[{"id":"1263","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Margaret Atwood and Alden Nowlan at Sir George Williams University, The Poetry Series, 13 October 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"MARGARET ATWOOD & ALDEN NOWLAN Recorder October 13, 1967 3.75 ips on 1.mil tape, 1/2 track\" written on sticker on the back of the tape's box. \"ATWOOD & NOWLAN I006/SR36\" written on sticker on the spine of the tape's box. \"I006-11-036\" also written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Atwood, Margaret","Nowlan, Alden"],"creator_names_search":["Atwood, Margaret","Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"Internationally acclaimed novelist, poet, critic and activist Margaret Atwood was born in Ottawa, Ontario, November 18,  1939. She lived in Ottawa until 1946, when her family settled in Leaside, a suburb of Toronto. Atwood entered Victoria College, University of Toronto, graduating with honours in 1961. Her first published collection of short stories was Double Persephone (Hawkshead Press, 1961). By 1962 she had received her MA in English from Radcliffe College in the United States, working on further graduate work at Harvard University between 1962-3 and in 1965-7. Atwood published her second collection, The Circle Game (Anansi, 1966), which won the Governor General Award for Poetry. She wrote articles and reviews for Alphabet, Canadian Literature and Poetry among other publications, and poems for Kayak, Quarry and the Tamarack Review. Poems published in her book The Animals in That Country (Oxford University Press, 1968) won first prize in Canada’s 1967 Centennial Commission poetry competition. In 1970, she published three books, Procedures for Underground (Oxford University Press), Time, and The Journals of Susanna Moodie (Oxford University Press). Between 1971 and 1973, Atwood worked as an editor and on the board of directors for the House of Anansi press in Toronto, which in 1972 published Power Politics. Upon the discovery at Harvard that there was no published critical study of Canadian literature, she herself wrote and published Survival: A Thematic Guide to Canadian Literature (Anansi, 1971), which created a stir of controversy, but by 1982 it had sold more than 85,000 copies. Since 1973, she has lived with novelist and activist Graeme Gibson, producing one daughter, Eleanor Jess in 1967. Atwood taught and lectured at several Universities across Canada, the US and Australia, including University of British Columbia, University of Alberta, Sir George Williams University (now Concordia) (1967-68) and at York University, Toronto. A selection of her publications include Surfacing (Simon & Schuster, 1972), You Are Happy (Harper &Row, 1974), Selected Poems (Oxford University Press) in 1976, Two-Headed Poems (Simon & Schuster, 1978), True Stories (Oxford University Press, 1981) and Second Words (Anansi, 1982). Her 1985 novel, The Handmaid’s Tale (McClelland & Stewart) became one of her most popular and critically acclaimed works. In 1986 she was appointed the Berg Chair at New York University, as well as serving as writer-in-residence at several other Universities. She co-founded and served as chair to the Writer’s Union of Canada in 1982-3, and served as president of the Canadian Centre of International PEN from 1984-6. She has subsequently published dozens of books, including Cat’s Eye (McClelland & Stewart, 1988), The Robber Bride (Doubleday, 1993), Alias Grace (Nan A. Talese, 1996), The Blind Assassin (Nan A. Talese, 2000), Oryx and Crake (2003), The Penelopiad (Canongate, 2005) and The Tent (Bloomsbury, 2006). Along with many other publications of her critical essays, Curious Pursuits: Occasional Writing 1970-2005 (Verago) came out in 2005. Her most recent novel, Year of the Flood was published in 2009 by Doubleday Press. Her many prizes and honours include the Booker Prize, the E.J. Pratt Medal (1961), The Radcliffe Medal (1980), the Commonwealth Writers Prize (1992), and she is a Companion of the Order of Canada. Atwood continues to work as spokesperson on behalf of human rights and the environment. \",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"Poet Alden Nowlan was born in 1933, in a small rural community near Windsor, Nova Scotia. Nowlan worked as a young man on farms, lumbermills and as a sawmill helper before he left Nova Scotia for New Brunswick to take a position as editor at The Heartland Observer and the night-news editor of the Saint John Telegraph-Journal. Nowlan published his first book of poetry, The rose and the puritan (New Brunswick University) in 1958, which was followed closely by A darkness in the earth (Hearse Press, 1959), Wind in a rocky country (Emblem Books, 1961), Under the ice (Ryerson Press, 1961) and The things which are (Contact Press,1962). In 1967 he was awarded the Governor General’s Award for his collection Bread, wine and salt (Clarke, Irwin). Nowlan was offered a writer-in-residence position at the University of New Brunswick, which he held until his death in 1983. His other publications include The mysterious naked man (Clarke, Irwin, 1969), Between tears and laughter (Clarke, Irwin, 1971), I’m a stranger here myself (Clarke, Irwin, 1974), Smoked glass (Clarke, Irwin, 1977) and I might not tell everybody this (Clarke, Irwin, 1982). Nowlan was also involved in theatre, and wrote three stage plays with Walter Learning: Frankenstein (Clarke, Irwin, 1976), The incredible murder of Cardinal Tosca (Learning Productions, 1978) and The dollar woman (Borealis Press, 1981). Nowlan was awarded a Doctor of Letters from the University of New Brunswick, and a Guggenheim Fellowship. Nowlan has also published an autobiography, Various persons named Kevin O’Brien (Clarke, Irwin, 1973), a collection of short stories, Miracle at Indian River (Clarke, Irwin, 1968), a travel book Campobello, the outer island (Clarke, Irwin, 1975) and collected twenty-seven of his magazine articles in Double exposure (Brunswick Press, 1978). Numerous titles were published posthumously, including Alden Nowlan, early poems (Fiddlehead Poetry Books, 1983), The best of Alden Nowlan (Lancelot Press, 1993), Will ye let the mummers in? (Clarke, Irwin, 1984), An exchange of gifts: poems new and selected (Irwin, 1985), Alden Nowlan: selected poems (Irwin, 1985).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1967],"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\":\"\",\"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\":\"1967 10 13\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Margaret Atwood reads from The Circle Game (House of Anansi, 1966) as well as poems later published in The Animals in that Country (Oxford University Press, 1968). Alden Nowlan reads from Bread Wine and Salt (Clarke, Irwin & Company, 1967) along with some poems from unknown sources.  "],"contents":["margaret_atwood_alden_nowlan_i006-11-036.mp3\n\nMargaret Atwood\n00:00:00\nI should apologize to begin with for my voice. I don't usually sound quite this much like Tallulah Bankhead [https://www.wikidata.org/wiki/Q255815]. I have the Montreal [https://www.wikidata.org/wiki/Q340] plague. The first poem is called \"This is a Photograph of Me,\" and it's the first poem in The Circle Game [https://www.wikidata.org/wiki/Q7723073].\n \nMargaret Atwood\n00:00:22\nReads \"This is a Photograph of Me\" from The Circle Game.\n \nMargaret Atwood\n00:01:35\nThe next poem is called \"Camera,\" and is dedicated to somebody I knew who liked to take pictures. \n \nMargaret Atwood\n00:01:44\nReads \"Camera\" [from The Circle Game].\n \nMargaret Atwood\n00:03:24\nAnd a small poem called \"Carved Animals\".\n\nMargaret Atwood\n00:03:28\nReads \"Carved Animals\" [from The Circle Game].\n \nMargaret Atwood\n00:04:25\nNow some more recent poems, which I should explain were mostly written in the United States [https://www.wikidata.org/wiki/Q30] when I was living there recently. The first one called \"At the Tourist centre in Boston\". Now Canada [https://www.wikidata.org/wiki/Q16] does have a Tourist centre in Boston [https://www.wikidata.org/wiki/Q100].\n \nMargaret Atwood\n00:04:50\nReads \"At the Tourist centre in Boston\" [published later in The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]].\n\nMargaret Atwood\n00:06:48\nAnd a poem called \"The Green Man\", which is dedicated to the Boston Strangler [https://www.wikidata.org/wiki/Q2855440]. \n \nMargaret Atwood\n00:06:56\nReads \"The Green Man\".\n \nMargaret Atwood\n00:08:03\nThis poem called \"A Fortification\".\n \nMargaret Atwood\n00:08:08\nReads \"A Fortification\" [published later in The Animals in that Country].\n\nMargaret Atwood\n00:09:17\nAnd this is a poem dedicated to my landlady who didn't remain my landlady for very long, called \"The Landlady\".\n \nMargaret Atwood\n00:09:29\nReads \"The Landlady\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:10:47\nAnd this poem called, \"A Foundling\".\n \nMargaret Atwood\n00:10:52\nReads \"A Foundling\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:11:41\nAnd this poem, which has no title.\n \nMargaret Atwood\n00:11:49\nReads [\"Untitled\"].\n \nMargaret Atwood\n00:12:58\nAnd a poem called \"Chronology\", which I wrote in one of my more paranoid states of mind. \n \nMargaret Atwood\n00:13:06\nReads \"Chronology\".\n \nMargaret Atwood\n00:14:39\nAnd here's my love poem to the, our large, friendly neighbour to the south. \n \nMargaret Atwood\n00:14:50\nReads \"Backdrop addresses cowboy\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:16:28\nThen a slightly happier poem called \"A Voice\".\n \nMargaret Atwood\n00:16:36\nReads \"A Voice\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:17:40\nAnd this one called, \"An Elegy for the Giant Tortoises\", which I wrote when I heard that they were planning to use a certain South Pacific island for the building of an airstrip. \n \nMargaret Atwood\n00:17:59\nReads \"An Elegy for the Giant Tortoises\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:19:19\nAnd this poem called, \"It is Dangerous to Read Newspapers\".\n \nMargaret Atwood\n00:19:26\nReads \"It is Dangerous to Read Newspapers\" [published later in The Animals in that Country].\n\nMargaret Atwood\n00:20:49\nReads \"I was reading a scientific article\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:22:20\nAnd the last poem. \n \nMargaret Atwood\n00:22:25\nReads \"The Reincarnation of Captain Cook\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:23:44\nThank you.\n \nAudience\n00:23:46\nApplause [cut off abruptly].\n \nUnknown\n00:23:49\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nRoy Kiyooka\n00:23:58\n...for quite a number of years as a journalist in the Maritimes [https://www.wikidata.org/wiki/Q731613], and this evening he is here with his wife and son and will be reading to you. Ladies and gentlemen, Alden Nowlan [https://www.wikidata.org/wiki/Q4713563].\n \nAudience\n00:24:17\nApplause.\n \nAlden Nowlan\n00:24:26\nThank you, Roy [https://www.wikidata.org/wiki/Q3445789]. First of all, I want to reassure everyone that I'm not going to read everything that's in this. I feel that probably there are some who are terrified when they see this, you know. It's really basically laziness that I haven't shortened anything out, I simply have wads of things here. \n \nAudience\n00:24:55\nLaughter.\n \nAlden Nowlan\n00:24:56\nNo no, not that one, I'm not going to read them all, definitely, definitely not. \n \nUnknown\n00:25:09\nSilence [pause].\n \nAlden Nowlan\n00:25:19\nFirst of all I have a very, very bad poem that I can't resist reading. I realized that it's sort of a bad beginning to start off with a poem that the poet himself considers a very bad one, but I wrote this when I arrived here this afternoon. To the natural egotism of a poet, you see, I can't resist offering it to this sort of captive audience here. [Audience laughter]. \"Poem for the Ritz Carlton\". [Audience laughter].\n \nAlden Nowlan\n00:26:06\nReads \"Poem for the Ritz Carlton\" [audience laughter throughout].\n \nAlden Nowlan\n00:26:30\nThat isn't really as critical of the Ritz Carlton as it sounds, because I sort of like the crypt of St. Paul's Cathedral [https://www.wikidata.org/wiki/Q173882], too, you see. [Audience laughter]. Next, I'd like to read some poems from my new book, Bread Wine and Salt, which is going to be published by Carter when, the first week in November, at three dollars and fifty cents. [Audience laughter]. That is the commercial.  \"I, Icarus\".\n \nAlden Nowlan\n00:27:15\nReads \"I, Icarus\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:28:34\nReads \"Sailors\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:30:06\nThis poem is entitled \"The Cinnamon Bears\", which sounds at first as if it were some sort of an animal cooking. But actually, what these cinnamon bears were, was back around the turn of the century in New Brunswick [https://www.wikidata.org/wiki/Q1965], as I've been told, there were all sorts of touring side-show type of things, you know, that, fortune tellers, and...people with a monkey, organ grinders with a monkey, and all this type of, sort of strolling pyres or wandering minstrels that existed up until the advent of radio and television. And it was a terrific thing, of course, in these backwoods communities. No doubt throughout Canada and the United States, when one of these people arrived. And among the, among these people were men who had trained bears, who, because of their colouration, were called cinnamon bears. And this poem actually is sort of a found poem, because it's not so much a creative thing as it is the transcription of a conversation which I happened to overhear between an old couple in northern New Brunswick. A man and his wife in their seventies, when they, suddenly something brought back these memories of these days of the organ grinders and the cinnamon bears. And as I say, I sort of made the poem more or less by simply transcribing the things which they said to one another, which it seemed to me was sort of a poetry, a form of poetry itself. \n \nAlden Nowlan\n00:32:20\nReads \"The Cinnamon Bears\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:33:21\nReads \"Britain Street, St. John, New Brunswick” [published as “Britain Street” in Bread, Wine and Salt].\n\nAlden Nowlan\n00:34:22\nThis is another, sort of a found poem, I'm not really terribly convinced that it's a poem at all. Last year, when I had a quite serious illness, one afternoon I was in the waiting room at the doctor's office, and the only thing that seemed to lay at hand for me to read was a copy of one of these Confessions magazines entitled Secret Life. [Audience laughter]. And as I glanced through it, it seemed to me, all that I actually read of it, you know, were these sort of captions at the top of the articles, and some of the big type in it. But it seemed to me really, as I glanced through it, that it had, that it contained sort of a crazy poetry of its own. At least, in the mood that I was in at the time, I sort of responded to it as though it were a crazy sort of poetry. And so as I sat there I sort of jotted down some of these things from the magazine, and ever since I've been trying to pass it off as a poem. \n \nAlden Nowlan\n00:35:37\nReads \"Secret Life\" [from Bread, Wine and Salt; audience laughter throughout].\n \nAudience\n00:36:39\nLaughter. \n \nAlden Nowlan\n00:36:57\nReads \"In Our Time\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:40:51\nReads \"The Changeling\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:41:49\nReads \"The Hollow Men\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:42:38\nThis poem is entitled \"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton [https://www.wikidata.org/wiki/Q2138], New Brunswick\". And I'm a little afraid that many of you will feel that it is sort of pointless. I'm not sure really but what you'd have to be completely immersed in the atmosphere of New Brunswick to get the real point of it, but. But that said, not implying any superiority on the part of New Brunswickers, unfortunately. Anyway.\n \nAlden Nowlan\n00:43:26\nReads \"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:44:36\nReads \"Every Man Owes God a Death\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:46:41\nThis poem, for no particular reason, is entitled \"The Loneliness of the Long-Distance Runner\". \n \nAlden Nowlan\n00:46:48\nReads \"The Loneliness of the Long-Distance Runner\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:48:23\nThis is a poem that came out of a serious illness that I had last year, and it's entitled \"In the Operating Room\". \n \nAlden Nowlan\n00:48:38\nReads \"In the Operating Room\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:50:05\nI have a few other recent poems I'll dig out of these. \n \nUnknown\n00:50:12\nAmbient Sound [pause; Nowlan turning pages].\n\nAlden Nowlan\n00:50:47\nAs I sort through these, I'm silently cursing myself for not having done this before I came here. \n \nUnknown\n00:50:52\nAmbient Sound [pause; Nowlan turning pages].\n\nAlden Nowlan\n00:51:20\nHere's a fairly recent poem which isn't a political poem at all, but a human poem. And one that I wrote as a result of watching on television the debates in the United Nations [https://www.wikidata.org/wiki/Q1065] on the Middle East [https://www.wikidata.org/wiki/Q7204] crisis. And one of the horrible things I felt as I watched it was how completely dehumanized it all was, that the real, human issues had been lost sight of, and sort of drowned in an ocean of resolutions and memos from embassies and all this sort of things. And one night when they televised these sessions through until about four o'clock, the ambassador of Saudi Arabia [https://www.wikidata.org/wiki/Q851] spoke, and he delivered certainly a very bigoted speech, and one that as a speech I wouldn't have agreed with, but I felt an admiration for him, because it had seemed to me that he was the only really human thing that had happened there all day. You know, that certainly he was a bigoted old man, full of thousands of years of hatred, but it was a human hatred, expressed in a human manner, something that the rest of them had completely lost sight of. And as a result of this feeling I wrote this poem, \"For Jamil Baroody [https://www.wikidata.org/wiki/Q96384169], Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\".\n \nAlden Nowlan\n00:53:21\nReads \"For Jamil Baroody, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\".\n \nAlden Nowlan\n00:56:26\nReads \"Fireworks\".\n \nAlden Nowlan\n00:57:34\nReads \"Two Poems for the Nova Scotia Department of Highways\".\n \nAlden Nowlan\n00:59:31\nFinally, this is a poem entitled \"State Visit\", and the motivation of it, like one of the earlier ones I read, was sort of this same feeling of frustration at the complete dehumanization of politics as we feel it today, and particularly, this sort of apotheosis of world leaders into some sort of a symbol, so they even, I think, begin to think of themselves in these sort of abstract terms, rather than as a human being. And out of--this is sort of, I suppose, perhaps to a degree sort of a bitter little poem, but it stemmed from an emotion which I'm sure many of us feel. \n \nAlden Nowlan\n01:00:27\nReads \"State Visit\".\n \nEND\n01:01:39\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1967, Margaret Atwood had moved to Montreal and took a position at the Sir George Williams University English Department. She taught four courses, as well as working on The Animals in that Country, The Journals of Susanna Moodie, Procedures for Underground and finished The Edible Woman.\\n\\nIn 1967, Nowlan was awarded the Governor General’s Award for Bread Wine and Salt which was published the same year. He was also offered a position as writer-in-residence at the University of New Brunswick during this time.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAtwood became an important award-winning poet and critic in Canada by the late 60‘s. Sir George Williams English Department hired Atwood in 1967 as an English lecturer, after she had graduated from Harvard.  \\n\\nHis direct connection to Sir George Williams is unknown, but Nowlan was one of the most popular and important Maritime poets of the sixties and seventies.\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, print catalogue, research, introduction and edits by Celyn Harding-Jones.\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/nowlan_alden.html\",\"citation\":\"“Alden Nolan (1933-1983)”. One Zero Zero: A Virtual Library of English Canadian Small      Presses, 1945-2044. Centre for Contemporary Canadian Art: The Canadian Art Database. Toronto: York University. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/977851868&referer=brief_results\",\"citation\":\"Atwood, Margaret. Selected Poems. Toronto: Oxford University Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/animals-in-that-country/oclc/301739674&referer=brief_results\",\"citation\":\"Atwood, Margaret. The Animals in that Country. Toronto: Oxford University Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/circle-game/oclc/549399081&referer=brief_results\",\"citation\":\"Atwood, Margaret. The Circle Game. Toronto, House of Anansi, 1966. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/840722670&referer=brief_results\",\"citation\":\"Bartlett, Donald R. “Nowlan, Alden”. The Oxford Companion to Twentieth-Century Poetry in English. Hamiton, Ian (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/489958766&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\",\"citation\":\"Charny, Marty. “Georgantics.” The Georgian. Montreal: Sir George Williams University, 13 October 1967. \"},{\"url\":\"ttps://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Findley, Timothy. “Atwood, Margaret (1939-)”. Routledge Encyclopedia of Post-Colonial        Literatures in English. Benson, Eugene; L.W. Connolly (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. “Nowlan, Alden”. The Oxford Companion to Canadian Literature. Benson,       Eugene and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970/oclc/833713141&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart Limited, 1972. \"},{\"url\":\"https://www.worldcat.org/title/bread-wine-and-salt/oclc/4321706&referer=brief_results\",\"citation\":\"Nowlan, Alden. Bread, Wine and Salt. Toronto: Clarke, Irwin & Company, 1967. \"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\",\"citation\":\"“Poets Next Week:”. OP-ED. Montreal: Sir George Williams University, October 1967.\"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-the-novel/oclc/470223344&referer=brief_results\",\"citation\":\"Rowland, Susan. “Margaret Atwood 1939- (Canadian)”. Encyclopedia of the Novel. Schellinger, Paul (ed.); Christopher Hudson, Marijke Rijsberman (asst. eds.). Chicago: Fitzroy Dearborn Publishers, 1998. 2 vols.\"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. The Gazette. 14 September 1967, page 15.\"},{\"url\":\"http://news.google.com/newspapers?id=waYtAAAAIBAJ&sjid=u58FAAAAIBAJ&pg=7250,4345207&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"Stephens, Anna. “Poetry- Anywhere, Anytime”. The Gazette. 20 October 1967, page 10. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"},{\"url\":\"\",\"citation\":\"Kibble, Matthew. “Atwood, Margaret Eleanor, 1939-”. Literature Online biography. Proquest Information and Learning Company, H.W. Wilson Company, 2006. \"}]"],"_version_":1853670548812333056,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0036_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan 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_0036_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan 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_0036_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan 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_0036_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan 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/margaret_atwood_alden_nowlan_i006-11-036.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"margaret_atwood_alden_nowlan_i006-11-036.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:01:39\",\"precision\":\"\",\"size\":\"148 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Margaret Atwood\\n00:00:00\\nI should apologize to begin with for my voice. I don't usually sound quite this much like Tallulah Bankhead [https://www.wikidata.org/wiki/Q255815]. I have the Montreal [https://www.wikidata.org/wiki/Q340] plague. The first poem is called \\\"This is a Photograph of Me,\\\" and it's the first poem in The Circle Game [https://www.wikidata.org/wiki/Q7723073].\\n \\nMargaret Atwood\\n00:00:22\\nReads \\\"This is a Photograph of Me\\\" from The Circle Game.\\n \\nMargaret Atwood\\n00:01:35\\nThe next poem is called \\\"Camera,\\\" and is dedicated to somebody I knew who liked to take pictures. \\n \\nMargaret Atwood\\n00:01:44\\nReads \\\"Camera\\\" [from The Circle Game].\\n \\nMargaret Atwood\\n00:03:24\\nAnd a small poem called \\\"Carved Animals\\\".\\n\\nMargaret Atwood\\n00:03:28\\nReads \\\"Carved Animals\\\" [from The Circle Game].\\n \\nMargaret Atwood\\n00:04:25\\nNow some more recent poems, which I should explain were mostly written in the United States [https://www.wikidata.org/wiki/Q30] when I was living there recently. The first one called \\\"At the Tourist centre in Boston\\\". Now Canada [https://www.wikidata.org/wiki/Q16] does have a Tourist centre in Boston [https://www.wikidata.org/wiki/Q100].\\n \\nMargaret Atwood\\n00:04:50\\nReads \\\"At the Tourist centre in Boston\\\" [published later in The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]].\\n\\nMargaret Atwood\\n00:06:48\\nAnd a poem called \\\"The Green Man\\\", which is dedicated to the Boston Strangler [https://www.wikidata.org/wiki/Q2855440]. \\n \\nMargaret Atwood\\n00:06:56\\nReads \\\"The Green Man\\\".\\n \\nMargaret Atwood\\n00:08:03\\nThis poem called \\\"A Fortification\\\".\\n \\nMargaret Atwood\\n00:08:08\\nReads \\\"A Fortification\\\" [published later in The Animals in that Country].\\n\\nMargaret Atwood\\n00:09:17\\nAnd this is a poem dedicated to my landlady who didn't remain my landlady for very long, called \\\"The Landlady\\\".\\n \\nMargaret Atwood\\n00:09:29\\nReads \\\"The Landlady\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:10:47\\nAnd this poem called, \\\"A Foundling\\\".\\n \\nMargaret Atwood\\n00:10:52\\nReads \\\"A Foundling\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:11:41\\nAnd this poem, which has no title.\\n \\nMargaret Atwood\\n00:11:49\\nReads [\\\"Untitled\\\"].\\n \\nMargaret Atwood\\n00:12:58\\nAnd a poem called \\\"Chronology\\\", which I wrote in one of my more paranoid states of mind. \\n \\nMargaret Atwood\\n00:13:06\\nReads \\\"Chronology\\\".\\n \\nMargaret Atwood\\n00:14:39\\nAnd here's my love poem to the, our large, friendly neighbour to the south. \\n \\nMargaret Atwood\\n00:14:50\\nReads \\\"Backdrop addresses cowboy\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:16:28\\nThen a slightly happier poem called \\\"A Voice\\\".\\n \\nMargaret Atwood\\n00:16:36\\nReads \\\"A Voice\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:17:40\\nAnd this one called, \\\"An Elegy for the Giant Tortoises\\\", which I wrote when I heard that they were planning to use a certain South Pacific island for the building of an airstrip. \\n \\nMargaret Atwood\\n00:17:59\\nReads \\\"An Elegy for the Giant Tortoises\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:19:19\\nAnd this poem called, \\\"It is Dangerous to Read Newspapers\\\".\\n \\nMargaret Atwood\\n00:19:26\\nReads \\\"It is Dangerous to Read Newspapers\\\" [published later in The Animals in that Country].\\n\\nMargaret Atwood\\n00:20:49\\nReads \\\"I was reading a scientific article\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:22:20\\nAnd the last poem. \\n \\nMargaret Atwood\\n00:22:25\\nReads \\\"The Reincarnation of Captain Cook\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:23:44\\nThank you.\\n \\nAudience\\n00:23:46\\nApplause [cut off abruptly].\\n \\nUnknown\\n00:23:49\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nRoy Kiyooka\\n00:23:58\\n...for quite a number of years as a journalist in the Maritimes [https://www.wikidata.org/wiki/Q731613], and this evening he is here with his wife and son and will be reading to you. Ladies and gentlemen, Alden Nowlan [https://www.wikidata.org/wiki/Q4713563].\\n \\nAudience\\n00:24:17\\nApplause.\\n \\nAlden Nowlan\\n00:24:26\\nThank you, Roy [https://www.wikidata.org/wiki/Q3445789]. First of all, I want to reassure everyone that I'm not going to read everything that's in this. I feel that probably there are some who are terrified when they see this, you know. It's really basically laziness that I haven't shortened anything out, I simply have wads of things here. \\n \\nAudience\\n00:24:55\\nLaughter.\\n \\nAlden Nowlan\\n00:24:56\\nNo no, not that one, I'm not going to read them all, definitely, definitely not. \\n \\nUnknown\\n00:25:09\\nSilence [pause].\\n \\nAlden Nowlan\\n00:25:19\\nFirst of all I have a very, very bad poem that I can't resist reading. I realized that it's sort of a bad beginning to start off with a poem that the poet himself considers a very bad one, but I wrote this when I arrived here this afternoon. To the natural egotism of a poet, you see, I can't resist offering it to this sort of captive audience here. [Audience laughter]. \\\"Poem for the Ritz Carlton\\\". [Audience laughter].\\n \\nAlden Nowlan\\n00:26:06\\nReads \\\"Poem for the Ritz Carlton\\\" [audience laughter throughout].\\n \\nAlden Nowlan\\n00:26:30\\nThat isn't really as critical of the Ritz Carlton as it sounds, because I sort of like the crypt of St. Paul's Cathedral [https://www.wikidata.org/wiki/Q173882], too, you see. [Audience laughter]. Next, I'd like to read some poems from my new book, Bread Wine and Salt, which is going to be published by Carter when, the first week in November, at three dollars and fifty cents. [Audience laughter]. That is the commercial.  \\\"I, Icarus\\\".\\n \\nAlden Nowlan\\n00:27:15\\nReads \\\"I, Icarus\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:28:34\\nReads \\\"Sailors\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:30:06\\nThis poem is entitled \\\"The Cinnamon Bears\\\", which sounds at first as if it were some sort of an animal cooking. But actually, what these cinnamon bears were, was back around the turn of the century in New Brunswick [https://www.wikidata.org/wiki/Q1965], as I've been told, there were all sorts of touring side-show type of things, you know, that, fortune tellers, and...people with a monkey, organ grinders with a monkey, and all this type of, sort of strolling pyres or wandering minstrels that existed up until the advent of radio and television. And it was a terrific thing, of course, in these backwoods communities. No doubt throughout Canada and the United States, when one of these people arrived. And among the, among these people were men who had trained bears, who, because of their colouration, were called cinnamon bears. And this poem actually is sort of a found poem, because it's not so much a creative thing as it is the transcription of a conversation which I happened to overhear between an old couple in northern New Brunswick. A man and his wife in their seventies, when they, suddenly something brought back these memories of these days of the organ grinders and the cinnamon bears. And as I say, I sort of made the poem more or less by simply transcribing the things which they said to one another, which it seemed to me was sort of a poetry, a form of poetry itself. \\n \\nAlden Nowlan\\n00:32:20\\nReads \\\"The Cinnamon Bears\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:33:21\\nReads \\\"Britain Street, St. John, New Brunswick” [published as “Britain Street” in Bread, Wine and Salt].\\n\\nAlden Nowlan\\n00:34:22\\nThis is another, sort of a found poem, I'm not really terribly convinced that it's a poem at all. Last year, when I had a quite serious illness, one afternoon I was in the waiting room at the doctor's office, and the only thing that seemed to lay at hand for me to read was a copy of one of these Confessions magazines entitled Secret Life. [Audience laughter]. And as I glanced through it, it seemed to me, all that I actually read of it, you know, were these sort of captions at the top of the articles, and some of the big type in it. But it seemed to me really, as I glanced through it, that it had, that it contained sort of a crazy poetry of its own. At least, in the mood that I was in at the time, I sort of responded to it as though it were a crazy sort of poetry. And so as I sat there I sort of jotted down some of these things from the magazine, and ever since I've been trying to pass it off as a poem. \\n \\nAlden Nowlan\\n00:35:37\\nReads \\\"Secret Life\\\" [from Bread, Wine and Salt; audience laughter throughout].\\n \\nAudience\\n00:36:39\\nLaughter. \\n \\nAlden Nowlan\\n00:36:57\\nReads \\\"In Our Time\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:40:51\\nReads \\\"The Changeling\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:41:49\\nReads \\\"The Hollow Men\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:42:38\\nThis poem is entitled \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton [https://www.wikidata.org/wiki/Q2138], New Brunswick\\\". And I'm a little afraid that many of you will feel that it is sort of pointless. I'm not sure really but what you'd have to be completely immersed in the atmosphere of New Brunswick to get the real point of it, but. But that said, not implying any superiority on the part of New Brunswickers, unfortunately. Anyway.\\n \\nAlden Nowlan\\n00:43:26\\nReads \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:44:36\\nReads \\\"Every Man Owes God a Death\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:46:41\\nThis poem, for no particular reason, is entitled \\\"The Loneliness of the Long-Distance Runner\\\". \\n \\nAlden Nowlan\\n00:46:48\\nReads \\\"The Loneliness of the Long-Distance Runner\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:48:23\\nThis is a poem that came out of a serious illness that I had last year, and it's entitled \\\"In the Operating Room\\\". \\n \\nAlden Nowlan\\n00:48:38\\nReads \\\"In the Operating Room\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:50:05\\nI have a few other recent poems I'll dig out of these. \\n \\nUnknown\\n00:50:12\\nAmbient Sound [pause; Nowlan turning pages].\\n\\nAlden Nowlan\\n00:50:47\\nAs I sort through these, I'm silently cursing myself for not having done this before I came here. \\n \\nUnknown\\n00:50:52\\nAmbient Sound [pause; Nowlan turning pages].\\n\\nAlden Nowlan\\n00:51:20\\nHere's a fairly recent poem which isn't a political poem at all, but a human poem. And one that I wrote as a result of watching on television the debates in the United Nations [https://www.wikidata.org/wiki/Q1065] on the Middle East [https://www.wikidata.org/wiki/Q7204] crisis. And one of the horrible things I felt as I watched it was how completely dehumanized it all was, that the real, human issues had been lost sight of, and sort of drowned in an ocean of resolutions and memos from embassies and all this sort of things. And one night when they televised these sessions through until about four o'clock, the ambassador of Saudi Arabia [https://www.wikidata.org/wiki/Q851] spoke, and he delivered certainly a very bigoted speech, and one that as a speech I wouldn't have agreed with, but I felt an admiration for him, because it had seemed to me that he was the only really human thing that had happened there all day. You know, that certainly he was a bigoted old man, full of thousands of years of hatred, but it was a human hatred, expressed in a human manner, something that the rest of them had completely lost sight of. And as a result of this feeling I wrote this poem, \\\"For Jamil Baroody [https://www.wikidata.org/wiki/Q96384169], Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\\\".\\n \\nAlden Nowlan\\n00:53:21\\nReads \\\"For Jamil Baroody, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\\\".\\n \\nAlden Nowlan\\n00:56:26\\nReads \\\"Fireworks\\\".\\n \\nAlden Nowlan\\n00:57:34\\nReads \\\"Two Poems for the Nova Scotia Department of Highways\\\".\\n \\nAlden Nowlan\\n00:59:31\\nFinally, this is a poem entitled \\\"State Visit\\\", and the motivation of it, like one of the earlier ones I read, was sort of this same feeling of frustration at the complete dehumanization of politics as we feel it today, and particularly, this sort of apotheosis of world leaders into some sort of a symbol, so they even, I think, begin to think of themselves in these sort of abstract terms, rather than as a human being. And out of--this is sort of, I suppose, perhaps to a degree sort of a bitter little poem, but it stemmed from an emotion which I'm sure many of us feel. \\n \\nAlden Nowlan\\n01:00:27\\nReads \\\"State Visit\\\".\\n \\nEND\\n01:01:39\\n[Cut off abruptly].\",\"notes\":\"Margaret Atwood reads from The Circle Game (House of Anansi, 1966) as well as poems later published in The Animals in that Country (Oxford University Press, 1968). Nowlan reads from Bread Wine and Salt (Clarke, Irwin & Company, 1967) along with some poems from unknown sources.  \\n\\n00:00- Atwood introduces “This is a Photograph of Me”. [INDEX: Montreal plague, Tallula Bankhead, The Circle Game; from The Circle Game.]\\n00:22- Reads “This is a Photograph of Me”.\\n01:35- Introduces “The Camera”. [INDEX: dedication; published as “Camera” in The Circle \\tGame]\\n01:44- Reads “Camera”.\\n03:28- Reads “Carved Animals”. [INDEX: from The Circle Game, part III of “Some Objects of Wood and Stone”.]\\n04:25- Introduces “At the tourist center in Boston”. [INDEX: recent poems, written in the   United States, Canada’s Tourist Center in Boston; from The Animals in that Country.]\\n04:50- Reads “At the tourist centre in Boston”.\\n06:48- Introduces “The Green Man” [INDEX: dedicated to the Boston Strangler; from   unknown source.]\\n06:56- Reads “The Green Man”.\\n08:03- Reads “A fortification”. [INDEX: from The Animals in that Country]\\n09:17- Introduces “The landlady”. [INDEX: dedicated to Atwood’s landlady; from The Animals in that Country.]\\n09:29- Reads “The landlady”.\\n10:47- Reads “A foundling”. [INDEX: from The Animals in that Country.]\\n11:41- Reads “Untitled”.\\n12:58- Introduces “Chronology”. [INDEX: written in a paranoid state of mind; from unknown source.]\\n13:06- Reads “Chronology”.\\n14:39- Introduces “Backdrop addresses cowboy”. [INDEX: U.S.A.]\\n14:50- Reads “Backdrop addresses cowboy”. [INDEX: from The Animals in that Country.]\\n16:36- Reads “A voice”. [INDEX: from The Animals in that Country.]\\n17:40- Introduces “Elegy for giant tortoises”. [INDEX: South Pacific Island as airstrip; from The Animals in that Country.]\\n17:59- Reads “Elegy for giant tortoises”.\\n19:19- Reads “It’s dangerous to read newspapers”. [INDEX: from The Animals in that        Country.]\\n20:49- Reads “I was reading a scientific article”. [INDEX: from The Animals in that Country.]\\n22:25- Reads “The reincarnation of Captain Cook”. [INDEX: from The Animals in that      Country.]\\n23:44- End of Atwood’s Reading.\\n23:49- CUT in recording.\\n23:58- Roy Kiyooka introduces Alden Nowlan (recording starts mid-introduction). [INDEX: Journalist from the Maritimes, with wife and son.]\\n24:26- Alden Nowlan introduces the reading. [INDEX: shortened poems, poems for reading.]\\n25:19- Introduces “Poem for the Rich Carlton”. [INDEX: bad poem, written upon arrival in Montreal, egotism of poet, audience.]\\n26:06- Reads “Poem for the Rich Carlton”.\\n26:30- Explains “Poem for the Rich Carlton”. [INDEX: crypt of St Paul’s Cathedral.]\\n26:43- Introduces “I, Icarus”. [INDEX: from new book, Bread Wine and Salt, published by Carter at $3.50.]\\n27:15- Reads “I, Icarus”.\\n28:34- Reads “Sailors” [INDEX: from Bread, Wine and Salt.]\\n30:06- Introduces “The Cinnamon Bears”. [INDEX: animal cooking, turn of the century, New Brunswick, touring side-show, fortune tellers, monkey, organ grinders, strolling pyres, wandering minstrels, advent of radio and television, Canada, United States, trained bears, found poem, creative, transcription of a conversation, northern New Brunswick, form of poetry; from Bread, Wine and Salt.]\\n32:30- Reads “The Cinnamon Bears”.\\n33:21- Reads “Britain Street, St. John, New Brunswick”. [INDEX: published as “Britain     Street” in Bread, Wine and Salt.]\\n34:22- Introduces “The Secret Life”. [INDEX: found poem, maybe not a poem, serious illness, doctor’s office, Confessions magazines called Sacred Life, crazy poetry; from Bread, Wine and Salt.]\\n35:37- Reads “Secret Life”.\\n36:57- Reads “In Our Time” [INDEX: from Bread, Wine and Salt.]\\n40:51- Reads “The Changeling” [INDEX: from Bread, Wine and Salt.]\\n41:49- Reads “The Hollow Men”. [INDEX: from Bread, Wine and Salt.]\\n42:38- Introduces \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick.\\\" [INDEX: atmosphere of New Brunswick; from   Bread, Wine and Salt.].]\\n43:26- Reads \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick.\\\"\\n44:36- Reads “Every Man Owes God a Death”. [INDEX: from Bread, Wine and Salt.]\\n46:41- Introduces “The Loneliness of the Long-Distance Runner”. [INDEX: title, from Bread, Wine and Salt.]\\n46:48- Reads “The Loneliness of the Long-Distance Runner”.\\n48:23- Introduces “In the Operating Room”. [INDEX: serious illness the previous year, from Bread, Wine and Salt.].]\\n48:38- Reads “In the Operating Room”.\\n51:20- Introduces “For Jamol Barudi, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967”. [INDEX: political      poem, human poem, television debates, United Nations, Middle East Crisis,    dehumanization, bigoted speech.]\\n53:21- Reads “For Jamol Barudi, Saudi Arabian Ambassador to the United Nations on    the Occasion of his Address to the Security Council, June 1967”.\\n56:26- Reads “Fireworks”.\\n57:34- Reads “Two Poems for the Nova Scotia Department of Highways”.\\n59:31- Introduces “State Visit”. [INDEX: dehumanization of politics, apotheosis of world     leaders into a symbol, abstract terms, emotion.]       \\n1:00:27- Reads “State Visit”.\\n1:01:27- RECORDING ENDS (suddenly).\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\"}]"],"score":1.9338971},{"id":"1264","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Barbara Howes at Sir George Williams University, The Poetry Series, 3 November 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"Barbara Howes Poetry Reading Nov 3, 1967\" written on sticker on the front of the tape's box. \"RT 521\" written on sticker on the front of the tape's box. \"Howes Poetry Nov 3/67\" written on sticker on the reel. \"Barbara Howes 3/11/67 I068-11-024\" also written on the spine of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Howes, Barbara"],"creator_names_search":["Howes, Barbara"],"creators":["[{\"url\":\"http://viaf.org/viaf/38160442\",\"name\":\"Howes, Barbara\",\"dates\":\"1914-1996\",\"notes\":\"American poet, short story writer, essayist, editor and translator Barbara Howes was born in New York in 1914, and adopted into a family in Boston. She enrolled at Bennington College in Vermont before moving to New York City upon her graduation. Howes then worked as an editor of Chimera: A Literary Magazine between 1944 and 1947. She married poet William Jay Smith, and they lived in England and Italy for a short while. Her first collection of poetry was published in 1948, named The Undersea Farmer (Banyan Press), which was followed by In the Cold Country (Bonaci & Saul in association with Grove Press, 1954), both of which drew critical acclaim and praise. She then published Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), The Blue Garden (Wesleyan University Press, 1972) and A Private Signal: Poems New and Selected (Wesleyan University Press, 1977). Howes divorced in the 60’s and traveled to the Caribbean, which inspired her to edit two anthologies of Caribbean and Latin American writing: From the Green Antilles: Writings of the Caribbean (Macmillan, 1966) and The Eye of the Heart: Short Stories from Latin America (Bobbs-Merrill, 1973). Howes also edited 23 Modern Stories, (Vintage, 1963), The Sea-Green Horse with her son Gregory Jay Smith (Macmillan, 1970), The Road Commissioner and Other Stories (Stinehour Press, 1983). She published two final collections of poetry, Moving (Elysian Press, 1983) and The Collected Poems of Barbara Howes, 1945-1990 (University of Arkansas Press, 1995), which was nominated for the 1995 National Book Award. Her poetry can be found in dozens of periodicals and literary magazines. Barbara Howes died at the age of 81 in Pownal, Vermont in 1996.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Hoffman, Stanton"],"contributors_names_search":["Hoffman, Stanton"],"contributors":["[{\"url\":\"\",\"name\":\"Hoffman, Stanton\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Hoffman, Stanton"],"Series_organizer_name":["Hoffman, Stanton"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 11 3\",\"type\":\"Performance Date\",\"notes\":\"Date written three times on the reel and tape's box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Previous researcher\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Barbara Howes reads from Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), and From the Green Antilles: Writings of the Caribbean, (Macmillan, 1966) as well as some poems from unknown sources."],"contents":["barbara_howes_i086-11-024.mp3\n\nStanton Hoffman\n00:00:00\nThe reading this evening is by Miss Barbara Howes [https://www.wikidata.org/wiki/Q4858990[. Miss Barbara Howes was born in Boston [https://www.wikidata.org/wiki/Q100] and educated at Bennington College [https://www.wikidata.org/wiki/Q817902]. She has published four volumes of poems: The Undersea Farmer, which was published in 1948 by the Banyan Press; In the Cold Country, which was was published by Bonaci and Saul in cooperation with Grove Press [https://www.wikidata.org/wiki/Q3777164] in 1954, Light and Dark, which was published by Wellesley University [https://www.wikidata.org/wiki/Q49205] Press in 1959, and the recent Looking up at Leaves, which was published by Knopf [https://www.wikidata.org/wiki/Q1431868] in 1966 and which was nominated for the National Book Awards. She has been the editor of a volume of writings of the Carribean which was published by MacMillan [https://www.wikidata.org/wiki/Q2108217]in 1966 and Twenty-three Modern Stories published in 1963 by Vintage Books [https://www.wikidata.org/wiki/Q3560313]. In 1949, she won the Bess Hokin Prize of Poetry Magazine, in 1955 she held a Guggenheim Fellowship [https://www.wikidata.org/wiki/Q1316544], and in 1957, she won the Brandeis Poetry Award. Her poems have appeared in many journals, such as Harper's Bazaar [https://www.wikidata.org/wiki/Q654606], New World Writing [https://www.wikidata.org/wiki/Q7012606], Poetry [https://www.wikidata.org/wiki/Q7207482], Suani Review, New Republic [https://www.wikidata.org/wiki/Q1329873], and so forth. And next week in New York City [https://www.wikidata.org/wiki/Q60], Miss Howes will be reading as part of series, or brothers, as part of reading, as part of a reading by fifteen or so other poets, as part of a Poets for Peace, sponsored by the Compassionate Art of the Fellowship of Reconciliation. Ladies and gentlemen, Miss Barbara Howes. \n \nAudience\n00:01:48\nApplause.\n \nBarbara Howes\n00:02:17\nThank you very much, Mr. Hoffman, I'm delighted to be here. If you can't hear me, raise your hands or let me know by some other device. Is this a microphone or does this have to do with this machine? Well I'll try to be clear. I thought rather than read a kind of segmented, like a string of sausages, series of poems, going on and on and on, which gives one very little hope that it'll ever end, it'd be better to say that I'm going to have a beginning, a middle, and an end, and that would be...and so I've arranged the poems in this way, so you will have hope that I won't continue forever, which has been done, in the annals of poetry. I wanted to write, read some poems that have to do with place, because I've thought a lot about the effect of place on poems, and to what extent the place you're in influences what you write. One's imagination would never become extended in certain directions if you hadn't happened to live in a certain place. I was very conscious of that when we lived in Florence [https://www.wikidata.org/wiki/Q2044] for two years and when my older boy was born, and subsequently for another two years. And I would never--because we--I would never possibly have been able to think, I mean this is obvious in a way, but it gets more complicated, of...Some of the imaginative happenings that occurred would, could never have happened, well in Massachusetts [https://www.wikidata.org/wiki/Q771] or anywhere else, and also even in, I mean in Vermont [https://www.wikidata.org/wiki/Q16551], where we now live, have been profoundly affected by the section of the mountain which we life. And also we spent some time in Haiti [https://www.wikidata.org/wiki/Q790], and so on and so forth, so this first group will be mostly poems that have a lot to do with experiences that have happened because of a particular place. The first poem is an Italian poem, or written out of Italy [https://www.wikidata.org/wiki/Q38], called \"Primavera\".\n \nBarbara Howes\n00:04:48\nReads \"Primavera\" [from Light and Dark].\n \nBarbara Howes\n00:06:19\nThis is called \"The Triumph of Love\".\n \nBarbara Howes\n00:06:27\nReads \"The Triumph of Love\" [from Light and Dark].\n \nBarbara Howes\n00:07:18\nThen for a summer, we lived in a little town in the south of France [https://www.wikidata.org/wiki/Q142], Le Lavandou [https://www.wikidata.org/wiki/Q736462], and it was a very good summer all in all, although, except we had no car and a very big house with only about one room on a floor. So the baby was on the top floor, and the kitchen, it's one burner, was on, you know, it's four floors down. And I would rush up and pick him up and then put him back in his bed, and then rush down and light the burner, and then rush up and get him, and then rush down. So it was difficult in some ways. But one of our entertainments, or entertainments that seemed to certainly entertain friends was to go to an island off Toulon [https://www.wikidata.org/wiki/Q44160] called Ile Levant [https://www.wikidata.org/wiki/Q292516], which is half a naval base and half a colony. And you could go out there in a small--it took about an hour in a small boat, and one time we stood on the dock not quite sure what to do next. Another person who'd come in the boat with us in very high heels and an enormous black hat removed everything else and ran up the hill. [Audience laughter]. So this is “L'Ile du Levant, the Nudist Colony”.\n \nBarbara Howes\n00:08:55\nReads \"L'Ile du Levant: the Nudist Colony\" [from Light and Dark].\n \nBarbara Howes\n00:10:59\nNow living as I do in the country in Vermont, there comes that terrible time in November when all the hunters from the cities come rushing up with their pint bottles and their confusion and they lounge around half the time sitting in cars and shooting vaguely at anything. So I used to try to write an anti-hunter poem every fall,I don't know about this year, I haven't got an idea yet, but I may see if I can do something. \"In Autumn\". Excuse me. \n \nBarbara Howes\n00:11:37\nReads \"In Autumn\" [from Light and Dark].\n \nBarbara Howes\n00:12:29\nAnd this is another on the same subject.\n \nBarbara Howes\n00:12:39\nReads [\"Landscape, Deer Season\" from Looking Up At Leaves].\n \nBarbara Howes\n00:13:16\nThis is another Pownal [https://www.wikidata.org/wiki/Q1940266] poem, it's really two things put together. It's called \"A Night Picture of Pownal”, for JFK. And I stood one evening in very bright moonlight looking out at the shadow of the apple tree across the road on the snow and it made an impression on me, I began to take notes in the dark as best I could on it. And then later, shortly after that, for the death of Kennedy [https://www.wikidata.org/wiki/Q9696], then I saw the poem wasn't, it was inadequate, and I somehow put, wove those two things together.\n \nBarbara Howes\n00:14:06\nReads \"A Night Picture of Pownal\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:15:19\nAnother Vermont poem or Pownal poem on a more cheerful note. \"Town Meeting Tuesday\". Town meeting is the first Tuesday in March, and many of the people who have stayed in all winter then emerge like woodchucks from their houses.\n \nBarbara Howes\n00:15:45\nReads \"Town Meeting Tuesday\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:16:22\nNow, we spent two or three Easter vacations in the islands of the Caribbean [https://www.wikidata.org/wiki/Q664609], we went to Guadeloupe [https://www.wikidata.org/wiki/Q17012] once for two weeks. And most of the time I find I write fish poems when I go down to the islands but this one is about a dead toucan in Guadeloupe. There was a little, well, a strange little zoo at the small hotel where we stayed and we would look at these creatures and one day I went and there was the toucan and it had fallen over dead. Somehow, it made an impression on me. \"Dead Toucan: Guadeloupe\".\n \nBarbara Howes\n00:17:04\nReads \"Dead Toucan: Guadeloupe\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:17:55\nI hope you can hear--can you hear me? In the back rows? We also spent some time in Haiti, earlier, and I'd like to read a couple of poems from that period. This was a thing--it could perfectly well have happened elsewhere but it was the kind of thing that, after we lived in Haiti for a while, I could see very clearly, would definitely have to happen there. There was a young man of about nineteen, very talented as a painter, and did, had just tried out through the art centre there, and doing really quite good and interesting work. And he needed a job so he could buy paints and paper, and anyway just to exist. So an American woman had two small boys and he said he could look after them and play ball and, you know, keep them out of trouble and so on and so forth. And she said, “Can you swim?” And he said, “Oh yes, of course.” So the boys dove into the pool because they had been swimming, as most American boys do, for years. And he dove into the pool, and didn't come up. And nobody was around except some workers who were fixing the garden. But like everybody, almost, in Haiti, they didn't want to get involved, because then the police might ask them questions, and then at the end there's trouble, so the poor young man just died, because the little boys couldn't do anything, and nobody else did anything. And so that made an impression on me. But it's the kind of unfortunate tragedy, due to his saying that he could swim and he couldn't, just because he was so desperately anxious to get the job, and he just made himself believe he could swim. Just a complete waste. \n \nBarbara Howes\n00:20:10\nReads [\"In a Prospect of Flowers\" from Light and Dark].\n \nBarbara Howes\n00:21:10\n\"Mirror Image: Port-au-Prince [https://www.wikidata.org/wiki/Q34261]\". This, there was a little sign on a tree we used to pass every day and then I thought of this poem.\n \nBarbara Howes\n00:21:19\nReads \"Mirror Image: Port-au-Prince\" [from Light and Dark].\n \nBarbara Howes\n00:21:59\nThere's one other. Oh yes. \n \nBarbara Howes\n00:22:06\nReads [\"On a Bougainvillea Vine at the Summer Palace\" from Light and Dark]. \n \nBarbara Howes\n00:23:36\nWell, this is one of the fishing poems from the, from Barbados [https://www.wikidata.org/wiki/Q244], from the islands.\n \nBarbara Howes\n00:23:46\nReads [\"Out Fishing\" from Looking Up At Leaves].\n \nBarbara Howes\n00:24:58\nThis poem is written in one foot, it's just an experiment to see what would happen. I, you know, diameter's two feet, or is it, trimeter is three feet. And tetrameter is four, and pentameter is five. One foot means you just have one sound, like that, and it's just, was a technical experiment, but I might as well read it. And it's also another fish poem. \n \nBarbara Howes\n00:25:32\nReads [\"The Crane Chub--Barbados\" from Looking Up At Leaves].\n \nBarbara Howes\n00:26:18\nHere's a fish, well, a jellyfish poem, from Texas [https://www.wikidata.org/wiki/Q1439]. \n \nBarbara Howes\n00:26:32\nReads [\"On Galveston Beach\" from Looking Up At Leaves].\n \nBarbara Howes\n00:27:32\nAnd then there's the last Caribbean poem, “A Letter from the Caribbean”. \n \nBarbara Howes\n00:27:45\nReads “A Letter From The Caribbean” [from Looking Up At Leaves].\n \nBarbara Howes\n00:28:59\nI've thought I would read just a few poems by modern poets that I like, they're not by any means their strongest or anything, but they're just ones I'm attached to. The first I cut out of the paper once, a long time ago. It's by an African schoolgirl, and I think it's very imaginative. It's awkward but it's really quite wonderful.\n \nBarbara Howes\n00:29:38\nReads unnamed poem by an unknown author. \n\nBarbara Howes\n00:29:53\nThis is an early poem of Wystan Auden's [https://www.wikidata.org/wiki/Q178698] that he kept out of, he didn't use in his book and then he printed again in a recent edition. I think it's technically as awfully, it's light verse but it's also very serious underneath, as good light verse can me. Poem. \n \nBarbara Howes\n00:30:15\nReads [\"To You Simply\"] by W.H. Auden [published in The Collected Poetry of W.H. Auden].\n \nBarbara Howes\n00:30:57\nAnd this is a, I think a simply charming poem by Richard Wilbur [https://www.wikidata.org/wiki/Q1333582]. It gets...it's about the Piazza di Spagna [https://www.wikidata.org/wiki/Q15124814], the Spanish Steps in Rome [https://www.wikidata.org/wiki/Q220], and it gets the feeling of someone gliding, really gliding down that long, gorgeous stairway. \n \nBarbara Howes\n00:31:22\nReads [\"Piazza Di Spagna, Early Morning\"] by Richard Wilbur.\n \nBarbara Howes\n00:32:11\nThis is a poem by Louise Bogan [https://www.wikidata.org/wiki/Q516180], who's a very well known American poet, a very recent one that she, that came out in The New Yorker [https://www.wikidata.org/wiki/Q217305], this summer, I think.\n \nBarbara Howes\n00:32:27\nReads [\"Masked Woman’s Song\"] by Louise Bogan.\n \nBarbara Howes\n00:32:51\nIt's a difficult poem, might read that again, if you don't mind. \n \nBarbara Howes\n00:32:56\nRe \"Masked Woman’s Song\" by Louise Bogan.\n \nBarbara Howes\n00:33:17\nAnd then, the last, oh, oh that's right, I thought I would read a poem by Derek Walcott [https://www.wikidata.org/wiki/Q132701], which I used in this Carribean Anthology. It's mostly short stories but I put a poem in front of each language section. This is by Derek Walcott who's a young poet from St. Lucia [https://www.wikidata.org/wiki/Q760], called \"Missing the Sea\".\n \nBarbara Howes\n00:33:48\nReads \"Missing the Sea\" by Derek Walcott [from The Castaway and collected in From the Green Antilles: Writings of the Caribbean].\n \nBarbara Howes\n00:34:31\nIt's quite a difficult poem but you...he had a book out, oh, can't remember the name, by Farrar, Straus & Giroux [https://www.wikidata.org/wiki/Q3067003] a couple of years ago, in the United States. [https://www.wikidata.org/wiki/Q30] And the last of this group is a poem that I've heard about a hundred thousand times, but it still gives me a chill. It's called \"American Primitive\" by William Jay Smith [https://www.wikidata.org/wiki/Q4355736].\n \nBarbara Howes\n00:35:06\nReads \"American Primitive\" by William Jay Smith.\n \nBarbara Howes\n00:35:47\nI still get a chill! Now, I don't know whether you prefer to have an intermission, and get up and smoke, or prefer for me to continue, what would you think, Stanton?\n \nUnknown\n00:36:06\nAmbient Sound [voices].\n \nBarbara Howes\n00:36:08\nHave an intermission? So people can...breathe?\n \nUnknown\n00:36:17\nAmbient Sound [voices].\n\nUnknown\n00:36:23\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nBarbara Howes\n00:36:23\nThe problem is the third group of poems, I'd read some poems that are more or less to and about people, and some new poems, although I've noticed that most of my new poems are very depressing, and this is not a good note on which to end, so I'll maybe not read them. I've been very much interested in old French forms, the trielle, the villanelle, the rondeau and rondelle, and ballade and so on and so forth, and they're very difficult but they're fascinating to try, at least. And this is in the form of a trielle. And the lines have to be repeated in a certain fashion which gives you very little room in which to maneuver. This is called \"Early Supper\".\n \nBarbara Howes\n00:37:14\nReads \"Early Supper\" [from Light and Dark].\n \nBarbara Howes\n00:38:10\nThis is a poem I wrote for W.H. Auden for his fiftieth birthday, which was several years ago, now. I think actually, he was last year, sixty.\n \nBarbara Howes\n00:38:21\nReads [\"To W.H. Auden on his Fiftieth Birthday\" from Light and Dark].\n \nBarbara Howes\n00:39:22\nI wrote three poems at that point about winds, and I'll just read one of them. The winds have names in Italy and they almost become like familiar characters. The sirocco, when it blows, is so terrible in its effect on people that if there're crimes of passion, the people generally get off with a lighter sentence, because you sell, well, the sirocco. Naturally you can throttle your wife during that period. This is about the mistral, which, if it blows for three days, one survives, if it blows for six days it's simply awful. If it blows for nine days you've probably already gone out of your head. It's a very wild wind who rushes down the Rhone Valley [https://www.wikidata.org/wiki/Q2747791] and just blows everything away. \n \nBarbara Howes\n00:40:22\nReads [\"Mistral\" from Light and Dark].\n \nBarbara Howes\n00:41:23\nThis is another one, an old French form, the rondeau, which again makes its, has its own complications because of the repetition of lines. And what interested me to do was to try to use, not the usual subject of the rondeaux but to write about, as in this case, the death of a Vermont farm woman, instead of just doing some sort of chittery-chattery business that generally is what people use a rondeau for. \n \nBarbara Howes\n00:42:03\nReads [\"Death of a Vermont Farm Woman\" from Light and Dark].  \n\nBarbara Howes\n00:42:51\nThis is a poem about a very disagreeable character, a thirteenth-century tyrant called Ugolino [https://www.wikidata.org/wiki/Q706003], who met his death from being thrown into prison to die of hunger. He is reputed to have attempted to eat his sons, who were there with him. I must say, it's not an agreeable picture, but I don't think there's been much improvement in that part of mankind. Dante [https://www.wikidata.org/wiki/Q1067] writes of him in the 33rd Canto of the Inferno [https://www.wikidata.org/wiki/Q4509219]. This poem is called \"The Critic\" and, I must say, critics have disliked it heartily. \n \nBarbara Howes\n00:43:28\nReads \"The Critic\" [from Light and Dark].\n \nBarbara Howes\n00:44:23\nThis is a, an odd combination about a person and about Pownal, I guess. \n \nBarbara Howes\n00:44:32\nReads [\"Running into Edgar Bellemare\" from Looking Up at Leaves]. \n \nBarbara Howes\n00:45:27\nThis is a poem I wrote for Katherine Anne Porter [https://www.wikidata.org/wiki/Q236958] on the occasion of her 75th birthday. \"For Katherine Anne Porter\".\n \nBarbara Howes\n00:45:39\nReads “For Katherine Anne Porter” [from Looking Up at Leaves].\n \nBarbara Howes\n00:46:15\nIt's quite marvelous, those collective nouns, who would know that you call a lot of heron a siege of herons and so forth. I'll read that again, because it really is, I was very lucky the way it worked out.\n \nBarbara Howes\n00:46:31\nReads line from “For Katherine Anne Porter”.\n \nBarbara Howes\n00:47:06\nThis is called \"Looking up at Leaves\".\n \nBarbara Howes\n00:47:14\nReads \"Looking up at Leaves\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:48:09\nI'd like to read one New England [https://www.wikidata.org/wiki/Q18389] poem, this is a newer poem, I haven't read this before, I guess.\n \nBarbara Howes\n00:48:16\nReads [\"Still Life: New England\", published later in The Blue Garden].\n \nBarbara Howes\n00:49:34\nI'll read three more poems, I think. This is \"A Rune for C.\"--‘C.’ was a dog of ours. \n \nBarbara Howes\n00:49:51\nReads \"A Rune for C.\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:50:36\nActually, I had just often, I'd made up a good luck thing that seeing the caboose was good luck, but then I found out that this has been an old piece of, well, I don't know, country folklore, that to see the caboose, it means luck. I want to read one poem about my son, and then one short one. \"Portrait of the Boy as Artist\".\n \nBarbara Howes\n00:51:18\nReads \"Portrait of the Boy as Artist\" [from Light and Dark].\n \nBarbara Howes\n00:52:11\nOh, I did want to read one that I'll read next week in New York. This poem is a, this is a rondelle, which is another old French form. And I'm obviously not using it for the usual subject, in this case. It's arranged about the idea, really, of a contrast of the use of space. \"Viet-Napalm: A Rondelle\".\n \nBarbara Howes\n00:52:45\nReads \"Viet-Napalm: A Rondelle\".\n \nBarbara Howes\n00:53:31\nAnd then one last poem on a more cheerful note. \"Leaning into Light\".\n \nBarbara Howes\n00:53:44\nReads \"Leaning into Light\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:54:21.\nThank you very much. \n \nAudience\n00:54:23\nApplause.\n \nStanton Hoffman\n00:54:38\nOne announcement, the next reading will be by Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], and that's Friday, the same time, November 17th. \n\nUnknown\n00:54:46\nAmbient Sound [voices].\n \nEND\n00:54:57\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1967, Looking Up At Leaves was published in Poetry Magazine. The previous year, Howes edited From the Green Antilles: Writings of the Caribbean, Macmillan (New York, NY), 1966.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connections between Barbara Howes and Sir George Williams University are unknown at this time. Howes’ position as an important American poet, though her work was not often acknowledged publicly, made her an ideal candidate for the Reading Series.\\n\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Grosholz, Emily. \\\"Howes, Barbara\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/light-and-dark-poems/oclc/1150226992&referer=brief_results\",\"citation\":\"Howes, Barbara. Light and Dark. Middletown, Connecticut: Wesleyan University Press, 1959. \"},{\"url\":\"https://www.worldcat.org/title/looking-up-at-leaves-poems/oclc/1150237234&referer=brief_results\",\"citation\":\"Howes, Barbara. Looking Up at Leaves. New York: Knopf, 1966. \"},{\"url\":\"https://www.worldcat.org/title/from-the-green-antilles-writings-of-the-caribbean/oclc/1140475941&referer=brief_results\",\"citation\":\"Howes, Barbara. (ed) From the Green Antilles: Writings of the Caribbean. New York: Macmillan, 1966. \"},{\"url\":\"http://www.nytimes.com/1996/02/25/us/barbara-howes-poet-and-editor-dies-at-81.html?pagewanted=1\",\"citation\":\"Pace, Eric. “Barbara Howes, Poet and Editor, Dies at 81”. New York Times. February 25, 1996. New York Edition: Obituary, page 139.\"},{\"url\":\"http://www.poetryfoundation.org/archive/poet.html?id=3307\",\"citation\":\"“Barbara Howes (1914-1996)”. Poetry Foundation. Poet Biography. Poetry Foundation: 2009.\"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. Montreal: The Gazette. 14 September 1967, page 15. \"},{\"url\":\"\",\"citation\":\"Howes, Barbara. Looking Up at Leaves. Poetry Magazine. Volume 109, January 1967, Page 270.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Howes, Barbara\\\". The Oxford Companion to American Literature. James D. Hart (ed). Phillip W. Leininger (rev.). Oxford University Press 1995.\"}]"],"_version_":1853670548818624512,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/barbara_howes_i086-11-024.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"barbara_howes_i086-11-024.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:54:57\",\"precision\":\"\",\"size\":\"131.9 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Stanton Hoffman\\n00:00:00\\nThe reading this evening is by Miss Barbara Howes [https://www.wikidata.org/wiki/Q4858990[. Miss Barbara Howes was born in Boston [https://www.wikidata.org/wiki/Q100] and educated at Bennington College [https://www.wikidata.org/wiki/Q817902]. She has published four volumes of poems: The Undersea Farmer, which was published in 1948 by the Banyan Press; In the Cold Country, which was was published by Bonaci and Saul in cooperation with Grove Press [https://www.wikidata.org/wiki/Q3777164] in 1954, Light and Dark, which was published by Wellesley University [https://www.wikidata.org/wiki/Q49205] Press in 1959, and the recent Looking up at Leaves, which was published by Knopf [https://www.wikidata.org/wiki/Q1431868] in 1966 and which was nominated for the National Book Awards. She has been the editor of a volume of writings of the Carribean which was published by MacMillan [https://www.wikidata.org/wiki/Q2108217]in 1966 and Twenty-three Modern Stories published in 1963 by Vintage Books [https://www.wikidata.org/wiki/Q3560313]. In 1949, she won the Bess Hokin Prize of Poetry Magazine, in 1955 she held a Guggenheim Fellowship [https://www.wikidata.org/wiki/Q1316544], and in 1957, she won the Brandeis Poetry Award. Her poems have appeared in many journals, such as Harper's Bazaar [https://www.wikidata.org/wiki/Q654606], New World Writing [https://www.wikidata.org/wiki/Q7012606], Poetry [https://www.wikidata.org/wiki/Q7207482], Suani Review, New Republic [https://www.wikidata.org/wiki/Q1329873], and so forth. And next week in New York City [https://www.wikidata.org/wiki/Q60], Miss Howes will be reading as part of series, or brothers, as part of reading, as part of a reading by fifteen or so other poets, as part of a Poets for Peace, sponsored by the Compassionate Art of the Fellowship of Reconciliation. Ladies and gentlemen, Miss Barbara Howes. \\n \\nAudience\\n00:01:48\\nApplause.\\n \\nBarbara Howes\\n00:02:17\\nThank you very much, Mr. Hoffman, I'm delighted to be here. If you can't hear me, raise your hands or let me know by some other device. Is this a microphone or does this have to do with this machine? Well I'll try to be clear. I thought rather than read a kind of segmented, like a string of sausages, series of poems, going on and on and on, which gives one very little hope that it'll ever end, it'd be better to say that I'm going to have a beginning, a middle, and an end, and that would be...and so I've arranged the poems in this way, so you will have hope that I won't continue forever, which has been done, in the annals of poetry. I wanted to write, read some poems that have to do with place, because I've thought a lot about the effect of place on poems, and to what extent the place you're in influences what you write. One's imagination would never become extended in certain directions if you hadn't happened to live in a certain place. I was very conscious of that when we lived in Florence [https://www.wikidata.org/wiki/Q2044] for two years and when my older boy was born, and subsequently for another two years. And I would never--because we--I would never possibly have been able to think, I mean this is obvious in a way, but it gets more complicated, of...Some of the imaginative happenings that occurred would, could never have happened, well in Massachusetts [https://www.wikidata.org/wiki/Q771] or anywhere else, and also even in, I mean in Vermont [https://www.wikidata.org/wiki/Q16551], where we now live, have been profoundly affected by the section of the mountain which we life. And also we spent some time in Haiti [https://www.wikidata.org/wiki/Q790], and so on and so forth, so this first group will be mostly poems that have a lot to do with experiences that have happened because of a particular place. The first poem is an Italian poem, or written out of Italy [https://www.wikidata.org/wiki/Q38], called \\\"Primavera\\\".\\n \\nBarbara Howes\\n00:04:48\\nReads \\\"Primavera\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:06:19\\nThis is called \\\"The Triumph of Love\\\".\\n \\nBarbara Howes\\n00:06:27\\nReads \\\"The Triumph of Love\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:07:18\\nThen for a summer, we lived in a little town in the south of France [https://www.wikidata.org/wiki/Q142], Le Lavandou [https://www.wikidata.org/wiki/Q736462], and it was a very good summer all in all, although, except we had no car and a very big house with only about one room on a floor. So the baby was on the top floor, and the kitchen, it's one burner, was on, you know, it's four floors down. And I would rush up and pick him up and then put him back in his bed, and then rush down and light the burner, and then rush up and get him, and then rush down. So it was difficult in some ways. But one of our entertainments, or entertainments that seemed to certainly entertain friends was to go to an island off Toulon [https://www.wikidata.org/wiki/Q44160] called Ile Levant [https://www.wikidata.org/wiki/Q292516], which is half a naval base and half a colony. And you could go out there in a small--it took about an hour in a small boat, and one time we stood on the dock not quite sure what to do next. Another person who'd come in the boat with us in very high heels and an enormous black hat removed everything else and ran up the hill. [Audience laughter]. So this is “L'Ile du Levant, the Nudist Colony”.\\n \\nBarbara Howes\\n00:08:55\\nReads \\\"L'Ile du Levant: the Nudist Colony\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:10:59\\nNow living as I do in the country in Vermont, there comes that terrible time in November when all the hunters from the cities come rushing up with their pint bottles and their confusion and they lounge around half the time sitting in cars and shooting vaguely at anything. So I used to try to write an anti-hunter poem every fall,I don't know about this year, I haven't got an idea yet, but I may see if I can do something. \\\"In Autumn\\\". Excuse me. \\n \\nBarbara Howes\\n00:11:37\\nReads \\\"In Autumn\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:12:29\\nAnd this is another on the same subject.\\n \\nBarbara Howes\\n00:12:39\\nReads [\\\"Landscape, Deer Season\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:13:16\\nThis is another Pownal [https://www.wikidata.org/wiki/Q1940266] poem, it's really two things put together. It's called \\\"A Night Picture of Pownal”, for JFK. And I stood one evening in very bright moonlight looking out at the shadow of the apple tree across the road on the snow and it made an impression on me, I began to take notes in the dark as best I could on it. And then later, shortly after that, for the death of Kennedy [https://www.wikidata.org/wiki/Q9696], then I saw the poem wasn't, it was inadequate, and I somehow put, wove those two things together.\\n \\nBarbara Howes\\n00:14:06\\nReads \\\"A Night Picture of Pownal\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:15:19\\nAnother Vermont poem or Pownal poem on a more cheerful note. \\\"Town Meeting Tuesday\\\". Town meeting is the first Tuesday in March, and many of the people who have stayed in all winter then emerge like woodchucks from their houses.\\n \\nBarbara Howes\\n00:15:45\\nReads \\\"Town Meeting Tuesday\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:16:22\\nNow, we spent two or three Easter vacations in the islands of the Caribbean [https://www.wikidata.org/wiki/Q664609], we went to Guadeloupe [https://www.wikidata.org/wiki/Q17012] once for two weeks. And most of the time I find I write fish poems when I go down to the islands but this one is about a dead toucan in Guadeloupe. There was a little, well, a strange little zoo at the small hotel where we stayed and we would look at these creatures and one day I went and there was the toucan and it had fallen over dead. Somehow, it made an impression on me. \\\"Dead Toucan: Guadeloupe\\\".\\n \\nBarbara Howes\\n00:17:04\\nReads \\\"Dead Toucan: Guadeloupe\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:17:55\\nI hope you can hear--can you hear me? In the back rows? We also spent some time in Haiti, earlier, and I'd like to read a couple of poems from that period. This was a thing--it could perfectly well have happened elsewhere but it was the kind of thing that, after we lived in Haiti for a while, I could see very clearly, would definitely have to happen there. There was a young man of about nineteen, very talented as a painter, and did, had just tried out through the art centre there, and doing really quite good and interesting work. And he needed a job so he could buy paints and paper, and anyway just to exist. So an American woman had two small boys and he said he could look after them and play ball and, you know, keep them out of trouble and so on and so forth. And she said, “Can you swim?” And he said, “Oh yes, of course.” So the boys dove into the pool because they had been swimming, as most American boys do, for years. And he dove into the pool, and didn't come up. And nobody was around except some workers who were fixing the garden. But like everybody, almost, in Haiti, they didn't want to get involved, because then the police might ask them questions, and then at the end there's trouble, so the poor young man just died, because the little boys couldn't do anything, and nobody else did anything. And so that made an impression on me. But it's the kind of unfortunate tragedy, due to his saying that he could swim and he couldn't, just because he was so desperately anxious to get the job, and he just made himself believe he could swim. Just a complete waste. \\n \\nBarbara Howes\\n00:20:10\\nReads [\\\"In a Prospect of Flowers\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:21:10\\n\\\"Mirror Image: Port-au-Prince [https://www.wikidata.org/wiki/Q34261]\\\". This, there was a little sign on a tree we used to pass every day and then I thought of this poem.\\n \\nBarbara Howes\\n00:21:19\\nReads \\\"Mirror Image: Port-au-Prince\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:21:59\\nThere's one other. Oh yes. \\n \\nBarbara Howes\\n00:22:06\\nReads [\\\"On a Bougainvillea Vine at the Summer Palace\\\" from Light and Dark]. \\n \\nBarbara Howes\\n00:23:36\\nWell, this is one of the fishing poems from the, from Barbados [https://www.wikidata.org/wiki/Q244], from the islands.\\n \\nBarbara Howes\\n00:23:46\\nReads [\\\"Out Fishing\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:24:58\\nThis poem is written in one foot, it's just an experiment to see what would happen. I, you know, diameter's two feet, or is it, trimeter is three feet. And tetrameter is four, and pentameter is five. One foot means you just have one sound, like that, and it's just, was a technical experiment, but I might as well read it. And it's also another fish poem. \\n \\nBarbara Howes\\n00:25:32\\nReads [\\\"The Crane Chub--Barbados\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:26:18\\nHere's a fish, well, a jellyfish poem, from Texas [https://www.wikidata.org/wiki/Q1439]. \\n \\nBarbara Howes\\n00:26:32\\nReads [\\\"On Galveston Beach\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:27:32\\nAnd then there's the last Caribbean poem, “A Letter from the Caribbean”. \\n \\nBarbara Howes\\n00:27:45\\nReads “A Letter From The Caribbean” [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:28:59\\nI've thought I would read just a few poems by modern poets that I like, they're not by any means their strongest or anything, but they're just ones I'm attached to. The first I cut out of the paper once, a long time ago. It's by an African schoolgirl, and I think it's very imaginative. It's awkward but it's really quite wonderful.\\n \\nBarbara Howes\\n00:29:38\\nReads unnamed poem by an unknown author. \\n\\nBarbara Howes\\n00:29:53\\nThis is an early poem of Wystan Auden's [https://www.wikidata.org/wiki/Q178698] that he kept out of, he didn't use in his book and then he printed again in a recent edition. I think it's technically as awfully, it's light verse but it's also very serious underneath, as good light verse can me. Poem. \\n \\nBarbara Howes\\n00:30:15\\nReads [\\\"To You Simply\\\"] by W.H. Auden [published in The Collected Poetry of W.H. Auden].\\n \\nBarbara Howes\\n00:30:57\\nAnd this is a, I think a simply charming poem by Richard Wilbur [https://www.wikidata.org/wiki/Q1333582]. It gets...it's about the Piazza di Spagna [https://www.wikidata.org/wiki/Q15124814], the Spanish Steps in Rome [https://www.wikidata.org/wiki/Q220], and it gets the feeling of someone gliding, really gliding down that long, gorgeous stairway. \\n \\nBarbara Howes\\n00:31:22\\nReads [\\\"Piazza Di Spagna, Early Morning\\\"] by Richard Wilbur.\\n \\nBarbara Howes\\n00:32:11\\nThis is a poem by Louise Bogan [https://www.wikidata.org/wiki/Q516180], who's a very well known American poet, a very recent one that she, that came out in The New Yorker [https://www.wikidata.org/wiki/Q217305], this summer, I think.\\n \\nBarbara Howes\\n00:32:27\\nReads [\\\"Masked Woman’s Song\\\"] by Louise Bogan.\\n \\nBarbara Howes\\n00:32:51\\nIt's a difficult poem, might read that again, if you don't mind. \\n \\nBarbara Howes\\n00:32:56\\nRe \\\"Masked Woman’s Song\\\" by Louise Bogan.\\n \\nBarbara Howes\\n00:33:17\\nAnd then, the last, oh, oh that's right, I thought I would read a poem by Derek Walcott [https://www.wikidata.org/wiki/Q132701], which I used in this Carribean Anthology. It's mostly short stories but I put a poem in front of each language section. This is by Derek Walcott who's a young poet from St. Lucia [https://www.wikidata.org/wiki/Q760], called \\\"Missing the Sea\\\".\\n \\nBarbara Howes\\n00:33:48\\nReads \\\"Missing the Sea\\\" by Derek Walcott [from The Castaway and collected in From the Green Antilles: Writings of the Caribbean].\\n \\nBarbara Howes\\n00:34:31\\nIt's quite a difficult poem but you...he had a book out, oh, can't remember the name, by Farrar, Straus & Giroux [https://www.wikidata.org/wiki/Q3067003] a couple of years ago, in the United States. [https://www.wikidata.org/wiki/Q30] And the last of this group is a poem that I've heard about a hundred thousand times, but it still gives me a chill. It's called \\\"American Primitive\\\" by William Jay Smith [https://www.wikidata.org/wiki/Q4355736].\\n \\nBarbara Howes\\n00:35:06\\nReads \\\"American Primitive\\\" by William Jay Smith.\\n \\nBarbara Howes\\n00:35:47\\nI still get a chill! Now, I don't know whether you prefer to have an intermission, and get up and smoke, or prefer for me to continue, what would you think, Stanton?\\n \\nUnknown\\n00:36:06\\nAmbient Sound [voices].\\n \\nBarbara Howes\\n00:36:08\\nHave an intermission? So people can...breathe?\\n \\nUnknown\\n00:36:17\\nAmbient Sound [voices].\\n\\nUnknown\\n00:36:23\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nBarbara Howes\\n00:36:23\\nThe problem is the third group of poems, I'd read some poems that are more or less to and about people, and some new poems, although I've noticed that most of my new poems are very depressing, and this is not a good note on which to end, so I'll maybe not read them. I've been very much interested in old French forms, the trielle, the villanelle, the rondeau and rondelle, and ballade and so on and so forth, and they're very difficult but they're fascinating to try, at least. And this is in the form of a trielle. And the lines have to be repeated in a certain fashion which gives you very little room in which to maneuver. This is called \\\"Early Supper\\\".\\n \\nBarbara Howes\\n00:37:14\\nReads \\\"Early Supper\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:38:10\\nThis is a poem I wrote for W.H. Auden for his fiftieth birthday, which was several years ago, now. I think actually, he was last year, sixty.\\n \\nBarbara Howes\\n00:38:21\\nReads [\\\"To W.H. Auden on his Fiftieth Birthday\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:39:22\\nI wrote three poems at that point about winds, and I'll just read one of them. The winds have names in Italy and they almost become like familiar characters. The sirocco, when it blows, is so terrible in its effect on people that if there're crimes of passion, the people generally get off with a lighter sentence, because you sell, well, the sirocco. Naturally you can throttle your wife during that period. This is about the mistral, which, if it blows for three days, one survives, if it blows for six days it's simply awful. If it blows for nine days you've probably already gone out of your head. It's a very wild wind who rushes down the Rhone Valley [https://www.wikidata.org/wiki/Q2747791] and just blows everything away. \\n \\nBarbara Howes\\n00:40:22\\nReads [\\\"Mistral\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:41:23\\nThis is another one, an old French form, the rondeau, which again makes its, has its own complications because of the repetition of lines. And what interested me to do was to try to use, not the usual subject of the rondeaux but to write about, as in this case, the death of a Vermont farm woman, instead of just doing some sort of chittery-chattery business that generally is what people use a rondeau for. \\n \\nBarbara Howes\\n00:42:03\\nReads [\\\"Death of a Vermont Farm Woman\\\" from Light and Dark].  \\n\\nBarbara Howes\\n00:42:51\\nThis is a poem about a very disagreeable character, a thirteenth-century tyrant called Ugolino [https://www.wikidata.org/wiki/Q706003], who met his death from being thrown into prison to die of hunger. He is reputed to have attempted to eat his sons, who were there with him. I must say, it's not an agreeable picture, but I don't think there's been much improvement in that part of mankind. Dante [https://www.wikidata.org/wiki/Q1067] writes of him in the 33rd Canto of the Inferno [https://www.wikidata.org/wiki/Q4509219]. This poem is called \\\"The Critic\\\" and, I must say, critics have disliked it heartily. \\n \\nBarbara Howes\\n00:43:28\\nReads \\\"The Critic\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:44:23\\nThis is a, an odd combination about a person and about Pownal, I guess. \\n \\nBarbara Howes\\n00:44:32\\nReads [\\\"Running into Edgar Bellemare\\\" from Looking Up at Leaves]. \\n \\nBarbara Howes\\n00:45:27\\nThis is a poem I wrote for Katherine Anne Porter [https://www.wikidata.org/wiki/Q236958] on the occasion of her 75th birthday. \\\"For Katherine Anne Porter\\\".\\n \\nBarbara Howes\\n00:45:39\\nReads “For Katherine Anne Porter” [from Looking Up at Leaves].\\n \\nBarbara Howes\\n00:46:15\\nIt's quite marvelous, those collective nouns, who would know that you call a lot of heron a siege of herons and so forth. I'll read that again, because it really is, I was very lucky the way it worked out.\\n \\nBarbara Howes\\n00:46:31\\nReads line from “For Katherine Anne Porter”.\\n \\nBarbara Howes\\n00:47:06\\nThis is called \\\"Looking up at Leaves\\\".\\n \\nBarbara Howes\\n00:47:14\\nReads \\\"Looking up at Leaves\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:48:09\\nI'd like to read one New England [https://www.wikidata.org/wiki/Q18389] poem, this is a newer poem, I haven't read this before, I guess.\\n \\nBarbara Howes\\n00:48:16\\nReads [\\\"Still Life: New England\\\", published later in The Blue Garden].\\n \\nBarbara Howes\\n00:49:34\\nI'll read three more poems, I think. This is \\\"A Rune for C.\\\"--‘C.’ was a dog of ours. \\n \\nBarbara Howes\\n00:49:51\\nReads \\\"A Rune for C.\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:50:36\\nActually, I had just often, I'd made up a good luck thing that seeing the caboose was good luck, but then I found out that this has been an old piece of, well, I don't know, country folklore, that to see the caboose, it means luck. I want to read one poem about my son, and then one short one. \\\"Portrait of the Boy as Artist\\\".\\n \\nBarbara Howes\\n00:51:18\\nReads \\\"Portrait of the Boy as Artist\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:52:11\\nOh, I did want to read one that I'll read next week in New York. This poem is a, this is a rondelle, which is another old French form. And I'm obviously not using it for the usual subject, in this case. It's arranged about the idea, really, of a contrast of the use of space. \\\"Viet-Napalm: A Rondelle\\\".\\n \\nBarbara Howes\\n00:52:45\\nReads \\\"Viet-Napalm: A Rondelle\\\".\\n \\nBarbara Howes\\n00:53:31\\nAnd then one last poem on a more cheerful note. \\\"Leaning into Light\\\".\\n \\nBarbara Howes\\n00:53:44\\nReads \\\"Leaning into Light\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:54:21.\\nThank you very much. \\n \\nAudience\\n00:54:23\\nApplause.\\n \\nStanton Hoffman\\n00:54:38\\nOne announcement, the next reading will be by Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], and that's Friday, the same time, November 17th. \\n\\nUnknown\\n00:54:46\\nAmbient Sound [voices].\\n \\nEND\\n00:54:57\\n\",\"notes\":\"Barbara Howes reads from Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), and From the Green Antilles: Writings of the Caribbean, (Macmillan, 1966) as well as some poems from unknown sources.\\n\\n00:00- Stanton Hoffman introduces Barbara Howes [INDEX: Boston, Bennington College, volumes of poetry: The Undersea Farmer (Banyan Press, 1948), In the Cold Country (Bonaci & Saul (Grove Press), 1954), Light and Dark (Wellesley University Press, 1959), Light and Dark (Knopf, 1966)- nominated for the National Book Award, editor of Caribbean writing (MacMillan, 1966), Twenty-Three Modern Stories (Vintage, 1963), won Bess Hawkin Prize of Poetry Magazine (1949), Guggenheim Fellowship (1955), Brandeis Poetry Award (1957), Harper's Bazaar, New World Writing, Poetry, Suani Review, New Republic, reading in NYC Poets for Peace sponsored by the Compassionate Art of the Fellowship of Reconciliation.]\\n01:48- Barbara Howes introduces reading, and “Primavera”. [INDEX: Mr. Hoffman,  \\tmicrophone, recording ‘machine’, reading order, poetry readings, place poems, influences, imagination, Florence (Italy), first son, Massachusetts, Vermont, Haiti,   \\tmountain, Italian poem.]\\n04:48- Reads \\\"Primavera\\\"  [INDEX:  horse, sick, city, Florence, Italy, riding, catacomb, past, history, stone, journey, Giotto, Aphrodite, art, architecture.]\\n06:29- Introduces and reads “The Triumph of Love”.  [INDEX: Italy, city, Venice, art,   Veronese, sight, gaze, painting, palace, love; from Light and Dark (Wesleyan University \\tPress, 1958)]\\n07:18- Introduces “L’Ile du Levant: The Nudist Colony”. [INDEX: La Bandue, town in the south of France, summer, car, house, baby, housewife, entertainment, island Toulon, Ile \\tle Bon, naval base, colony, small town, dock, nudist colony; from Light and Dark   (Wesleyan University Press, 1958).]\\n08:55- Reads “L’Ile du Levant: the Nudist Colony”. [INDEX: place, island, France, plants, cicadas, colony, nudist, vacation, display, clothes, body, skin, dusk]\\n10:59- Introduces “In Autumn”. [INDEX: Vermont, November, hunters, cities, pint bottles,  anti-hunter poem; from Light and Dark (Wesleyan University Press, 1958)]\\n11:37- Reads \\\"In Autumn\\\"  [INDEX: place, Vermont, city, rural, country, hunter,       \\thunting, game, cars, guns, blood, body, red, male, stag.]\\n12:29- Reads “Landscape, Deer Season”  [INDEX: buck, gun, deer, hunting, body, blood, sun, country, place, Vermont, death; from Looking up at Leaves (Knopf, 1966).]\\n13:16- Introduces “A Night Picture of Pownal for JFK”.  [INDEX Pownal poem, apple tree, snow, nighttime, death of Kennedy; from Looking up at Leaves (Knopf, 1966).]\\n14:06- Reads “A Night Picture of Pownal, for JFK”. [INDEX:  place, night, Pownal, Kennedy, history, Matthew Brady, civil war, moon, sound, death, tree, sight, tragedy, stain.]\\n15:19- Introduces “Town Meeting, Tuesday”. [INDEX: Vermont poem, Parnell Poem, cheerful, town meeting, first Tuesday in March, winter, woodchucks; from Looking up at Leaves (Knopf, 1966).]\\n15:45- Reads \\\"Town Meeting, Tuesday\\\"  [INDEX: place, Vermont, trees.]\\n16:22- Introduces  “Dead Toucan, Guadeloupe”. [INDEX: Easter vacations, Caribbean,          Guadeloupe, fish poems, islands, zoo, small hotel; ; from Looking up at Leaves (Knopf, 1966).]\\n17:04- Reads “Dead Toucan, Guadeloupe”. [INDEX: place, Guadeloupe, nature, bird, toucan, death, animals.]\\n17:55- Introduces “In a Prospect of Flowers”. [INDEX: Haiti, young painter, American woman, children, drowning death, Haitian attitudes and politics, tragedy, job; from Light and Dark (Wesleyan University Press, 1958).]\\n20:10- Reads “In a Prospect of Flowers”. [INDEX:  place, Haiti, art, artist, picture, water, pool, death, drowning, Icarus, elegy, ideal.]\\n21:10- Introduces “Mirror Image, Port-au-Prince”. [INDEX: sign on a tree; from Light and Dark (Wesleyan University Press, 1958).]\\n21:19- Reads “Mirror Image, Port-au-Prince”. [INDEX: place, Haiti, mirror, makeup,       woman, hairdresser; from Light and Dark (Wesleyan University Press, 1958).]\\n21:59- Reads “On Bougainvillea Vine at the Summer Palace”.  [INDEX: place, Haiti, lizard, nature, animals, palace, couple, winter.]\\n23:36- Introduces “Out Fishing”. [INDEX: Barbados, fishing poems; from Looking up at       Leaves (Knopf, 1966).] \\n23:46- Reads  “Out Fishing”. [INDEX: place, Barbados, ocean, fishing, fish, boat, war]\\n24:58- Introduces “The Crane Chub, Barbados”. [INDEX: technical experiment, diameter, trimeter, tetrameter, pentameter, one foot, one sound, fish poem; from Looking up at Leaves (Knopf, 1966).]\\n25:32- Reads “The Crane Chub, Barbados”. [INDEX: place, Barbados, fish, ocean, chub, eating, food, lover, absence]\\n26:18- Introduces “On Galveston Beach”. [INDEX: Jellyfish poem, Texas; from Looking up at Leaves (Knopf, 1966).]\\n26:32- Reads \\\"On Galveston Beach\\\"  [INDEX: place, Texas, Galveston Beach, ocean, beach, fish, jellyfish]\\n27:32- Introduces “A Letter from the Caribbean”. [INDEX:   Caribbean poem.]\\n27:45- Reads \\\"A Letter from the Caribbean\\\" [INDEX: place, Carribean, wind, air, nature, time, memory, remembrance.]\\n28:59- Introduces poem by Unknown author, first line “What a wonderful bird, the   \\tfraga” [Spelling unknown.] [INDEX: modern poets, poems Howes is attached to, poem   \\tcut out of newspaper, by an African schoolgirl; from unknown source.]\\n29:38- Reads “What a wonderful bird, the fraga” by unknown poet. [INDEX: nature, animal, bird, fraga.]\\n29:53- Introduces unknown poem, first line “For what is easy, for what though small” by    Wystan Auden. [INDEX: W.H. Auden, early poem, not published in his first edition,    \\tprinted in a recent edition, technical qualities, light verse; from Collected Shorter Poems, 1927-1957 (Faber Press, 1966) by W.H. Auden.]\\n30:15- Reads unknown poem, first line “For what is easy, for what though small” by    Wystan Auden. [INDEX: word, heart, memory]\\n30:57- Introduces poem by Richard Wilbur “Piazza Di Espagna, Early Morning”. [INDEX: Spanish Steps in Rome, gliding down a stairway; from unknown source.]\\n31:22- Reads poem by Richard Wilbur “Piazza Di Espagna, Early Morning”.\\n32:11- Introduces poem by Louise Bogan “Masked Woman Song”. [INDEX: American poet, The New Yorker Magazine; from unknown source.]\\n32:27- Reads “Masked Woman Song” by Louise Bogan. [INDEX: sight, woman, man, face, mask, virtue, evil, beauty.]\\n32:51- Decides to re-read the poem [INDEX: poem difficult to read.]\\n33:56- Re-reads “Masked Woman Song” by Louise Bogan.\\n33:17- Introduces “Missing the Sea” by Derek Walcott. [INDEX: Caribbean Anthology, short stories, poem in front of language section, St. Lucia; from From the Green Antilles:     Writings of the Caribbean (MacMillan, 1966).]\\n33:48- Reads “Missing the Sea” by Derek Walcott. [INDEX: place, house, absence, sea, sound, dead.]\\n34:31- Explains “Missing the Sea”, introduces “American Primitive” by William J. Smith. [INDEX: difficult poem, Walcott’s book (perhaps Another Life 1966) published by Farrar,   Straus & Giroux, United States, William J. Smith; from unknown source.]\\n35:06- Reads “American Primitive” by William J. Smith. [INDEX: man, clothes, money,     America, father, daddy, dollar.]\\n35:47- Introduces intermission. [INDEX: chill from poem, Stanton (Hoffman).]\\n36:23- Cut made in tape.\\n36:23- Howe introduces third group of poems and “Early Supper”. [INDEX: poems to or about people, new poems as depressing, old French forms, trielle, villanelle, rondeau and rondelle, ballade, difficult but fascinating, trielle; from unknown source.]    \\n37:14- Reads “Early Supper”. [INDEX: genre, form, trielle, kitchen, autumn, children, eating, cooking, food, night.]\\n38:10- Introduces “To W.H. Auden on his Fiftieth Birthday”. [INDEX: poem for W.H. Auden on his fiftieth birthday, sixtieth birthday last year; from Light and Dark (Wesleyan \\tUniversity Press, 1958).]\\n38:21- Reads “To W.H. Auden on his Fiftieth Birthday”. [INDEX: occasional poem, books, library, poem, poet, Auden.]\\n39:22- Introduces “Mistral”. [INDEX: three poems about winds, wind names in Italy, sirocco, crimes of passion, mistral blows for three days, down the Rhone Valley; from Light and Dark (Wesleyan University Press, 1958).]\\n40:22- Reads “Mistral”. [INDEX: nature, wind, Mistral, place, Italy, solitude, sound, storm.]\\n41:23- Introduces “Death of a Vermont Farm Woman”. [INDEX: old French form,   \\tcomplications because of the repetition of lines, not the usual subject of the rondeaux; from Light and Dark (Wesleyan University Press, 1958).]\\n42:03- Reads “Death of a Vermont Farm Woman”. [INDEX: form, genre, rondeau, death, woman, Vermont, place, farm.]\\n42:51- Introduces “The Critic”. [INDEX: disagreeable character, thirteenth century tyrant called Ugolino, prison, eat his sons, Dante’s 33rd Canto of the Inferno, critics dislike the poem; from Light and Dark (Wesleyan University Press, 1958).] \\n43:28- Reads “The Critic”. [INDEX: Ugolino, Dante, critic, criticism, poets, Eliot, Yeats,      eating, wisdom.]\\n44:23- Introduces “Running into Edgar Blemar”. [INDEX: odd combination or a person and Pownal; from Looking Up at Leaves (Knopf, 1966).] \\n44:32- Reads \\\"Running into Edgar Belmar\\\"  [INDEX: place, Vermont, Pownal, Edgar Belmar, car, children, accident.]\\n45:27- Introduces “For Catherine Anne Porter”. [INDEX: written for Catherine Ann Porter on her 75th birthday; from Looking Up at Leaves (Knopf, 1966).] \\n45:39- Reads “For Catherine Anne Porter”. [INDEX: occasional poem, Catherine Ann Porter, birthday, birds, heron, peacock, dove, starling, nightingale, lark.]\\n46:15- Introduces unknown poem first line “For Catherine Anne Porter”. [INDEX:   \\tcollective nouns, siege of herons.]\\n46:31- Rereads “For Catherine Anne Porter”. [INDEX: occasional poem, Catherine Ann     Porter, birthday, birds, heron, peacock, dove, starling, nightingale, lark.]\\n47:06- Introduces “Looking up at Leaves”. [INDEX: from Looking Up at Leaves (Knopf,     1966).] \\n47:14- Reads “Looking up at Leaves”. [INDEX: nature, tree, leaves, sight, reflection.]\\n48:09- Introduces “Still Life, New England”. [INDEX: new poem, never read before; unknown source.]\\n48:16- Reads “Still Life, New England”.   [INDEX: nature, animal, cow, birth, calf, sheep, boar, death, cat.]\\n49:34- Introduces “A Rune for C.”. [INDEX: dog named ‘C’; from Looking Up at Leaves      (Knopf, 1966).]\\n49:51- Reads “A Rune for C.”. [INDEX: animal, dog, sickness, omen, luck, rune, fate, death, train]\\n50:36- Explains “A Rune for C.”, introduces “Portrait of the Boy as Artist”. [INDEX: good    luck, caboose, country folklore; from Light and Dark (Wesleyan University Press, 1958).]\\n51:18- Reads “Portrait of the Boy as Artist”.  [INDEX: son, boy, artist, composer, music,     painter, train, colour, poet, Theseus, Daniel Boone, youth.]\\n52:11- Introduces “Viet-Napalm: A Rondelle”. [INDEX: will read in New York, rondelle, old French form, not usual subject, contrast of the use of space; unknown source.]\\n52:45- Reads “Viet-Napalm: A Rondelle”. [INDEX: war, Vietnam, peace, bomb, death, face, genre, form, rondelle.]\\n53:31- Introduces “Leaning into Light”. [INDEX: cheerful poem; unknown source.]\\n53:44- Reads “Leaning into Light”. [INDEX: hibiscus, nature, plant, light, shadow, wisteria]\\n54:21- Barbara Howes thanks audience.\\n54:38- Stanton Hoffman makes announcement about next reading. [INDEX: Charles Reznikoff reading on Friday, November 17th.]\\n54:57.60- RECORDING ENDS.\\n \\nHoward Fink Print catalogue page from Concordia University archives contains the following information:\\n \\nTitle: Barbara Howes reading poetry, November 3, 1967\\nDate: November 3, 1967\\nSource: one 7”, two track tape, mono, @ 3 ¾ ips, lasting one hour and 15 mins.\\n \\n1. Title:              \\n    First line: “The horse with consumption…”\\n2. Title: The Triumph of Love\\n    First line:        \\n3. Title:              \\n    First line: “All the wide…”\\n4. Title:              \\n    First line: “In Autumn, red men come…”\\n5. Title: Landscape: Deer Season\\n    First line: “Snorting his pleasure in the…”\\n6. Title: A Night Picture of Ponel for J.F.K.\\n    First line: “Thanks to the moon…”\\n7. Title: Town Meeting; Tuesday\\n    First line: “Our roadside trees…”\\n8. Title: Dead Tucan; Guadeloupe\\n    First line: “Down like the oval fall of a hammer…\\n9. Title:              \\n    First line: “As in his tomb…\\n10. Title: Mirror Image: Port au Prince\\n      First line: “Mirror image: Port au Prince…”\\n11. Title:              \\n      First line: “Under the Sovereign…”\\n12. Title: Out Fishing\\n      First line: “We went out…”\\n13. Title:              \\n      First line: “Darling I learn the full…”\\n14. Title: On Galveston Beach\\n      First line: “The sky was…”\\n15. Title: A Letter from the Caribbean\\n      First line: “Breeze ways in the tropics\\n16. Title: poem by a young African girl [is this the real title or a stand-in?]\\n      First line: “What a wonderful…”\\n17. Title: by W. H. Auden Poem\\n      First line: “For what is easy…”\\n18. Title: by R. Wilbur\\n      First line: “I can’t forget how she stood…”\\n19. Title: by L. Boden Masked Woman Song\\n      First line: “Before I saw the tall…”\\n20. Title: by D. Walker Missing the Sea\\n      First line: “Something removed roars in the ears…”\\n21. Title: by W. J. Smith American Primitive\\n      First line: “Look at him there…”\\nend of track one\\n22. Title: Early Supper  \\n      First line: “Laughter children bring…”\\n23. Title:              \\n      First line: “Books collide…”\\n24. Title: Mistral\\n      First line:        \\n25. Title:              \\n      First line: “It is time now to go away…”\\n26. Title: The Critic\\n      First line: “…takes his rest…”\\n27. Title:              \\n      First line: “In my fool…”\\n28. Title: For Katherine N. Porter\\n      First line: “Madam, a siege…”\\n29. Title: Looking up at Leaves\\n      First line: “No one need feel alone”\\n30. Title: Still Life: New England\\n      First line: “From that old cow…”\\n31. Title:              \\n      First line: “Luck, I am upset…”\\n32. Title: Portrait of a Boy as Artist\\n      First line: “Were he a composer…”\\n33. Title:              \\n      First line: “To save face…”\\n34. Title: Leaving into Light\\n      First line: “Beginning…”\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/barbara-howes-at-sgwu-1967/\"}]"],"score":1.9338971},{"id":"1265","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Charles Reznikoff at Sir George Williams University, The Poetry Series, 17 November 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"CHARLES REZNIKOFF I006/SR153\" written on sticker on the spine of the tape's box. \"I006-11-153\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Reznikoff, Charles"],"creator_names_search":["Reznikoff, Charles"],"creators":["[{\"url\":\"http://viaf.org/viaf/51811237\",\"name\":\"Reznikoff, Charles\",\"dates\":\"1894-1976\",\"notes\":\"American poet Charles Reznikoff was born on August 31, 1894, in Brooklyn, New York. His parents were Jewish Russian émigrés, and often encountered anti-semitism, which would have a strong influence on Reznikoff’s later work. An intelligent boy, Reznikoff finished high school in 1909, at the age of fifteen- three years ahead of his class. In the hopes of becoming a writer, Reznikoff entered the journalism department at the University of Missouri, but left after a year when he realized the priorities of a journalist and a poet were different. In 1912, he enrolled in New York University’s Law school, graduating at the top of his class in 1915, and entered the Bar of the State of New York the next year. Reznikoff spent a few years practicing as a lawyer, but again, he felt he needed to spend his energy writing, not working as a lawyer. Reznikoff published his first book of poems Rhythms in 1918, on his own small press, the next year printing Rhythms II. In 1920, he met Samuel Roth, who published Poems (S.Roth at the New York Poetry Book Shop), and during that decade he was able to publish more poems in magazines and plays. Reznikoff supported himself by working on the editorial board of the American Law Book Company, writing law encyclopedias. Reznikoff married his wife, Marie Syrkin in 1930. During the 1930s, Reznikoff met and joined the Objectivist group with Louis Zukofsky, George Oppen and Carl Rakosi. The Objectivist Press published three of Reznikoff’s books, Jerusalem the Golden (Objectivist Press, 1934), In Memoriam: 1933 (Objectivist Press, 1934) and Separate Way (Objectivist Press, 1936). Reznikoff spent a short time in Hollywood in the late 30’s, working as a screenwriter. Marie Reznikoff was hired by the English Department at Brandeis University in Boston, and throughout the 40’s Charles Reznikoff stayed in New York working on freelance contracts. Reznikoff published Going To and Fro and Walking Up and Down (Futuro Press, 1941). For a period of eighteen years, Reznikoff did not publish any poetry, until 1959, when Inscriptions: 1944-1956  was self-published. Reznikoff then published By the Waters of Manhattan: Selected Verse (New Directions, 1962), his major works Testimony: The United States (1885-1890): Recitative (New Directions, 1965), Testimony: The United States (1891-1900): Recitative (Privately Published, 1968) and Holocaust (Black Sparrow Press, 1975). Reznikoff also published By the Well of Living and Seeing and The Fifth Book of the Maccabees (Self Published, 1969), By the Well of Living & Seeing: New & Selected Poems 1918-1973 (Black Sparrow Press, 1974), several works of prose including Testimony (The Objectivist Press, 1934) and Family Chronicle: An Odyssey from Russia to America (Norton Bailey with the Human Constitution, 1969). A lifelong resident of New York City, Charles Reznikoff died on January 22, 1976 after suffering from a heart attack. The most comprehensive collection of Reznikoff’s work can be found in Poems 1918-1975: The Complete Poems of Charles Reznikoff (Black Sparrow Press, 1976-77), edited by Seamus Cooney.\",\"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":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 11 17\",\"type\":\"Performance Date\",\"notes\":\"Date specified in The Georgian's \\\"Op-Ed\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Location specified in The Georgian's \\\"Op-Ed\\\"\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Charles Reznikoff reads poems from several books, including Jerusalem the Golden (Objectivist Press, 1934), Inscriptions: 1944-1956 (Shulsinger Brothers, 1959), Going To and Fro and Walking Up and Down (Futuro Press, 1941), and By the Waters of Manhattan: Selected Verse (New Directions, 1962). Many of the poems were later re-organized, edited, and included in other publications, such as Poems 1918-1975:The Complete Poems of Charles Reznikoff (Black Sparrow, 1989). "],"contents":["charles_reznikoff_i006-11-153.mp3\n\nGeorge Bowering\n00:00:00\nI'd like to welcome you all to our third reading, and announce just before I have to say what I say that the next reading will be with Daryl Hine [https://www.wikidata.org/wiki/Q5226186] on the first of December. Tonight's reading will be by, as you probably all know, Mr. Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], whom I'm very happy to have the job, the chore of introducing, because I've been interested in his work for many years. He was born in Brooklyn [https://www.wikidata.org/wiki/Q18419], 1894, and graduated from the law school of New York University [https://www.wikidata.org/wiki/Q49210], admitted to the bar of the state of New York [https://www.wikidata.org/wiki/Q60] but never practiced, however, the law experience has stood him in good stead for his later poetry. He's published a number of volumes of verse and several volumes of prose, but most to the point, books that you probably saw on the table outside, in print by New Directions [https://www.wikidata.org/wiki/Q27474] and the San Francisco Review [https://www.wikidata.org/wiki/Q17087510], By the Waters of Manhattan, which was this joint effort's first book in 1962, and in 1965, Testimony, which is the first volume in a projected series of volumes about the moral and legal history of the United States [https://www.wikidata.org/wiki/Q30]. The main--my--the reason I said that I'm very happy about Mr. Reznikoff is because when I was going to university I was very hard looking for an alternative to the kind of poetry that was in vogue, especially in the universities, that is, that which tended towards T.S. Eliot [https://www.wikidata.org/wiki/Q37767] and highly symbolic language, and Mr. Reznikoff was one of the first poets I found able to do that for me, and I found a short poem of his which I would like to be brash enough to read, as introduction. He said, \"Not because of victories I sing, having none, but for the common sunshine, the breeze, the largesse of spring. Not for victory, but for the day's work done, as well as I was able, not for a seat upon the dais, but at the common table.\"  So to this common table, rather than dais, I'd like to welcome Mr. Charles Reznikoff.  \n \nAudience\n00:02:34\nApplause.\n \nCharles Reznikoff\n00:02:56\nVery much obliged to the gentleman who introduced me, among other things, for reading something I did. Perhaps I should ask him to read all that I brought along. But to get down to what I have here, let me say, to begin with, a few days ago, I came across in a bookshop a collection of Chinese verse translated into English. At the beginning was the following, written a thousand years ago, and I was very much impressed with it, and permit me to read it to you as a sort of an introduction. This man who wrote in the 11th century, this Chinese, said this: \"Poetry presents the thing in order to convey the feeling.  It should be precise about the thing and reticent about the feeling.\" I thought that was...expressed exactly what I feel, and what I have tried to do, not always, not always, I'm afraid, as well as called for, but a recipe. Among other things, let me begin by reading a couple of things I did also on the way I think verse should be written. And this is from this, By the Waters of Manhattan. \n \nCharles Reznikoff\n00:04:47\nReads \"Salmon and Red Wine\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\n \nCharles Reznikoff\n00:05:39\nThat's the first in this. And the second, I did on the same theme, in a way. \n \nCharles Reznikoff\n00:05:47\nReads \"I have neither the time nor the weaving skill, perhaps\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\n\n \nCharles Reznikoff\n00:06:13\nNow, let me start with a group which I've written about the city I come from, New York, and its suburbs, and some of its residents, including myself.\n \nCharles Reznikoff\n00:06:27\nReads \"The winter afternoon darkens\" [from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:06:44\nAnd this I call \"The Scrubwoman\". \n \nCharles Reznikoff\n00:06:48\nReads \"The Scrubwoman\" [from Rhythms II and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:07:07\nReads \"The peddler who goes from shop to shop\". \n \nCharles Reznikoff\n00:07:27\nAnd this next. \n \nCharles Reznikoff\n00:07:31\nReads “The elevator man\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:07:54\nReads \"The shopgirls leave their work\" [from Five Groups of Verse, Rhythms, and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:08:16\nThis one I call \"Cooper Union Library\". I should add, it's no longer that way, this is the way it used to be.\n \nCharles Reznikoff\n00:08:23\nReads \"Cooper Union Library\" [from \"Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:08:42\nReads \"Showing a Torn Sleeve\" [from By the Waters of Manhattan: Selected Verse and published later in Poems 1918-1936: The Complete Poems of Charles Reznikoff]. \n\nCharles Reznikoff\n00:09:06\nReads \"Two girls of twelve or so at a table\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:09:54\nReads \"I am always surprised to meet\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:10:23\nReads \"Rails in the Subway\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse]. \n \nAudience\n00:10:35\nLaughter.\n \nCharles Reznikoff\n00:10:41\nReads \"This subway station, with its electric lights\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n \nAudience\n00:10:58\nLaughter.\n \nCharles Reznikoff\n00:11:06\nReads \"Among the heaps of brick and plaster lies\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:11:18\nReads \"The sky is blue\" [from Jerusalem is Golden].\n \nCharles Reznikoff\n00:11:42\nThis I call \"Suburban River, Winter\".\n \nCharles Reznikoff\n00:11:48\nReads \"Suburban River, Winter\" [from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:12:07\nAnd this too I call \"Suburban River,\" this is \"Summer\".\n \nCharles Reznikoff\n00:12:13\nReads \"Suburban River, Summer\" [from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:12:38\nThis I call \"Twilight\".\n \nCharles Reznikoff\n00:12:40\nReads \"Twilight\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975]. \n \nCharles Reznikoff\n00:12:56\nReads \"Fraser, I think, tells of a Roman\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse; audience laughter throughout].\n \nCharles Reznikoff\n00:13:21\nReads \"The dogs that walk with me” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:13:44\nThis I call a \"Fable\".\n \nCharles Reznikoff\n00:13:46\nReads \"Fable\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:14:15\nReads \"Scrap of paper\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].  \n \nCharles Reznikoff\n00:14:28\nReads \"One of my sentinels, a tree\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].   \n \nCharles Reznikoff\n00:14:45\nReads \"I have not even been in the fields\" [from Rhythms ll and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:15:01\nReads \"How grey you are! No, white!” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:15:25\nReads \"Blurred sight, and trembling fingers\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:15:47\nReads \"You were young and contemptuous\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:16:03\nThis I call \"Heart and Clock\", there's a series in here. \n \nCharles Reznikoff\n00:16:09\nReads \"Heart and Clock” [from Separate Way and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:16:51\nReads \"If my days were like the ant's\" [published as “Heart and Clock II” in By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:17:18\nReads \"Our nightingale, the clock\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].  \n \nCharles Reznikoff\n00:17:32\nReads \"The clock on the bookcase ticks\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n \nCharles Reznikoff\n00:17:47\nReads \"My hair was caught in the wheels of a clock\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].   \n\nCharles Reznikoff\n00:17:58\nReads \"Of course we must die\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:18:20\nReads \"Now it is cold\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n\nCharles Reznikoff\n00:19:33\nReads \"It had been snowing at night\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n \nCharles Reznikoff\n00:19:54\nReads \"Hardly a breath of wind\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:20:14\nReads \"After I had worked all day\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:20:42\nNow I have a group that I will call 'religious,' for perhaps no better word, and this I call \"Meditations on the Fall and Winter Holidays\", and the first is “New Year's”. As many of you, or some of you may know, no doubt, the Jewish New Year's comes in the fall. This is based on it.\n \nCharles Reznikoff\n00:21:11\nReads \"Meditations on the Fall and Winter Holidays: New Year's\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:23:19\nAnd I call the next one \"The Day of Atonement\".\n \nCharles Reznikoff\n00:23:24\nReads \"The Day of Atonement\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:24:50\nAnd this I call \"Hanukkah\" which incidentally is a holiday that's just about to come, and it, as some of you may know, it represents the victory, a festival celebrating the victory of the Maccabees over the Syrians, about 150 B.C.E.\n \nCharles Reznikoff\n00:25:14\nReads \"Hanukkah\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:26:59\nI don't know why I should be having a cold on this occasion but, [laughter], these things [blows nose]. \n \nCharles Reznikoff\n00:27:18\nReads \"The lamps are burning in the synagogue\" [from Inscriptions: 1944-1956].\n \nCharles Reznikoff\n00:28:40\nThis one I call \"Samuel\". Samuel in the Bible, of course.\n \nCharles Reznikoff\n00:28:47\nReads \"Samuel\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:30:06\nThese are all from By the Waters of Manhattan, and I'm going to read you, if I may, something quite different, from the volume called Testimony, and which I call \"Recitative\".\n \nCharles Reznikoff\n00:30:27\nReads \"Recitative\" [from Testimony: the United States (1885-1890); Recitative].\n \nCharles Reznikoff\n00:31:15\nThat's the first. This, these, incidentally, I might say, are all based on law cases. Ah...I don't know what...whether that'll excuse their ferocity, but apparently something like that once happened. The names are different. The facts are the same.\n \nCharles Reznikoff\n00:31:39\nReads \"Tilda was just a child...” [from Testimony: the United States (1885-1890); Recitative].\n \nCharles Reznikoff\n00:32:49\nAnd this is the third in this. \n \nCharles Reznikoff\n00:32:53\nReads \"Years ago, a company procured a body of land...\" [from Testimony: the United States (1885-1890); Recitative].\n \nCharles Reznikoff\n00:33:44\nNow...let's see, if I may, the time...Here is a poem with which I generally end these readings but I don't intend to end this unless you wish me to because I have some other things to read. But I'll end it right here anyway and then we'll see how much time is left. I call this \"Kaddish\". Now, it's not the Kaddish for mourners that you might know about. It was written at the beginning of the rise of Hitler [https://www.wikidata.org/wiki/Q352]. I did it; I mean, I did the writing, not the Kaddish, which is very old. It was written at the beginning of the rise of Hitler and his influence, and before his extermination program was put into effect. It's really an ancient blessing in the Jewish ritual. And incidentally, I use that word \"Torah,\" and I doubt, it may be strange to many, but James Parks, I notice, in his History of the Jewish People, has defined it, correctly, I think, \"The word Torah,\" he says, \"has been defined as law, but is much wider in meaning. It applies a way of life\".  Now this is this \"Kaddish\".\n \nCharles Reznikoff\n00:35:09\nReads \"Kaddish\" [from Separate Way and from By the Waters of Manhattan: Selected Verse]].\n \nCharles Reznikoff\n00:36:43\nThis ends the, let's say the first part. And I'll continue, if you like, with some others, unless you're all...[inaudible]\n \nAudience\n00:36:51\nApplause.\n \nCharles Reznikoff\n00:37:04\nWell I, if, I shall continue, if you're not all exhausted. I have here, quite a few things that are not arranged in any way, so they're more or less haphazard. And...this is one. Let's see...well this one is “After Reading Translations of Ancient Texts on Stone and Clay”.\n \nCharles Reznikoff\n00:37:37\nReads “After Reading Translations of Ancient Texts on Stone and Clay”.\n \nCharles Reznikoff\n00:38:47\nNow, these, these are much less organized than that, haphazard, you'll have to take them as they come if we keep on. \n \nCharles Reznikoff\n00:39:00\nReads \"As I was wandering with my unhappy thoughts\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n\nCharles Reznikoff\n00:39:36\nReads \"The young fellow walks about with nothing to do\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:40:09\nReads “A well-phrased eulogy\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:40:44\nReads \"On a Sunday, when the place was closed\" [from Going To and Fro and Walking Up and Down].  \n \nCharles Reznikoff\n00:41:12\nNow here are two earlier testimony, two or more things based on a law case, which I call \"Testimony\", and these were included in that same By the Waters of Manhattan. \n \nBy the Waters of Manhattan. \n00:41:28\nReads \"The Company had advertised for men\" from By the Waters of Manhattan: Selected Verse. \n \nCharles Reznikoff\n00:43:13\nThat's the first, and this is the second.\n \nCharles Reznikoff \n00:43:16\nReads \"Amelia was just fourteen\" from By the Waters of Manhattan: Selected Verse.\n \nCharles Reznikoff\n00:44:33\nThat's the second. I have some more I'd like to get at before I close. Well, this I wrote for my wife. Pity she isn't here, but we'll read it in her absence.\n \nCharles Reznikoff\n00:44:55\nReads \"Malicious women greet you, saying...\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n\n Charles Reznikoff\n00:45:38\nNow, this, this is a kind of counterpiece to this I have just read. It was not written for my wife. [Laughter].\n \nCharles Reznikoff\n00:45:56\nReads \"He had with him a bag\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n \nAudience\n00:46:38\nLaughter. \n \nCharles Reznikoff\n00:46:42\nI'm reading this 'cause...\"On a seat\"...maybe it would....I think this is rather appropriate in view of all the Hebrew things I read.\n \nCharles Reznikoff\n00:46:56\nReads \"On a seat in the subway\" [from Going To and Fro and Walking Up and Down].  \n\nCharles Reznikoff\n00:47:41\nReads \"Permit me to warn you\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\n \nAudience\n00:47:51\nLaughter.\n \nCharles Reznikoff\n00:47:59\nReads \"These days, the papers in the street\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:48:36\nLet me close, unless it...if I should...with something that I tried to do which may be something to close with. This is based on the Book of Ezra [https://www.wikidata.org/wiki/Q131635], and the Book of Ezra, according to my note, I've probably forgotten by this time, is, 'This is a rearrangement and a versification of parts of the Fourth Book of Ezra.' And that's what it's called in the appendix to the Vulgate [https://www.wikidata.org/wiki/Q131175], or two Esdras of the Protestant Apocrypha. And I based this upon a translation of this Book of Ezra from the Syriac by a friend of mine who taught, and I have their permission and all, but the original was probably, there's quite a discussion as to what the original was right, and some scholars believe that it was in Greek, and a Doctor Bocks, who was in, G.H. Bocks, thinks that it was in Hebrew, and Bloch, who was, they had in 42nd Street at the library, didn't think that it was in either Greek or Hebrew, but Aramaic. Anyway, excuse me just, [laughter], anyway, I will read it, and its adaptation of it, and see what one can do with things that you...clear up. \n \nCharles Reznikoff\n00:50:12\nReads “Because I saw the desolation of Zion\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems of Charles Reznikoff: 1918-1975]. \n \nCharles Reznikoff\n00:53:33\nAnd I think this is enough, perhaps, for a time. \n \nAudience\n00:53:36\nApplause.\n \nGeorge Bowering\n00:54:01\nWhat else, thank you very much, Mr. Reznikoff, and I'd just like to repeat that the next reading is at, two weeks from tonight, December the first, Daryl Hine, who's a graduate of the other university.\n \nEND\n00:54:21\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n \\nIn 1967, Reznikoff held several other readings, including one at the 92nd Street Y in New York City. The next year, 1968, Testimony: The United States (1891-1900): Recitative was published.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections to Sir George Williams University are known. However, Charles Reznikoff was an established and highly regarded poet from New York. Reznikoff was involved in the Objectivist movement and an important American poet during the 60’s and 70’s.\\n\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits 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\":\"Heller, Michael. “Reznikoff, Charles\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967/\",\"citation\":\"Nemiroff, Michael. “Nemiroff on Reznikoff.” OP-ED. Montreal: Sir George Williams University, 28 November 1967, p. 7. \"},{\"url\":\"https://www.worldcat.org/title/history-of-the-jewish-people/oclc/32303940&referer=brief_results\",\"citation\":\"Parks, James Williams. A History of the Jewish People. London: Weidenfeld and Nicolson, 1952. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967/\",\"citation\":\"“Poetry: Bards Heard”. OP-ED. Montreal: Sir George Williams University, 14 November 1967, page 6. \"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967\",\"citation\":\"“Poetry Readings - Sir George Williams”. Montreal: Sir George Williams University, 1967. \"},{\"url\":\"https://library.ucsd.edu/speccoll/findingaids/mss0009.html\",\"citation\":\"“The Register of Charles Reznikoff Papers 1912-1976”. Mandeville Special Collections Library, Geisel Library, University of California, San Diego. \"},{\"url\":\"http://www.poets.org/poet.php/prmPID/694\",\"citation\":\"“Reznikoff, Charles”. Poets.org. The Academy of American Poets, 2007-2009. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Reznikoff, Charles\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press, 1995. \"},{\"url\":\"https://www.worldcat.org/title/concise-oxford-companion-to-american-literature/oclc/1146399202&referer=brief_results\",\"citation\":\"\\\"Reznikoff, Charles\\\". The Concise Oxford Companion to American Literature. James D. Hart (ed). Oxford University Press, 1986. \"},{\"url\":\"https://www.worldcat.org/title/by-the-waters-of-manhattan-selected-verse-introduction-by-cp-snow/oclc/503805384&referer=brief_results\",\"citation\":\"Reznikoff, Charles. By the Waters of Manhattan: Selected Verse. San Francisco: San Francisco Review, 1962. \"},{\"url\":\"https://www.worldcat.org/title/five-groups-of-verse-by-charles-reznikoff/oclc/457809461&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Five Groups of Verse. New York: Charles Reznikoff, 1927. \"},{\"url\":\"https://www.worldcat.org/title/going-to-and-fro-and-walking-up-and-down/oclc/644000166&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Going To and Fro and Walking Up and Down. New York: Futuro Press, 1941. \"},{\"url\":\"https://www.worldcat.org/title/inscriptions-1944-1956-by-charles-reznikoff/oclc/459778991&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Inscriptions: 1944-1956. New York: Shulsinger Brothers, 1959. \"},{\"url\":\"https://www.worldcat.org/title/jerusalem-the-golden-poems/oclc/503805492&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Jerusalem The Golden. New York: Objectivist Press, 1934. \"},{\"url\":\"https://www.worldcat.org/title/rhythms/oclc/11216921&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Rhythms. New York: Charles Reznikoff, 1918. \"},{\"url\":\"https://www.worldcat.org/title/rhythms-ii-poems/oclc/4400024&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Rhythms ll. New York: Charles Reznikoff, 1919. \"},{\"url\":\"https://www.worldcat.org/title/separate-way/oclc/2377996&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Separate Way. New York: Objectivist Press, 1936. \"},{\"url\":\"https://www.worldcat.org/title/testimony-the-united-states-1885-1890-recitative/oclc/1079271632&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Testimony: The United States (1885-1890); Recitative. New York: Charles Reznikoff, 1965. \"},{\"url\":\"https://www.worldcat.org/title/testimony-the-united-states-1891-1900-recitative/oclc/49565&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Testimony: The United States (1891-1900); Recitative. New York: Charles Reznikoff, 1968.\"},{\"url\":\"https://www.worldcat.org/title/poems-1918-1975-the-complete-poems-of-charles-reznikoff-edited-by-seamus-cooney/oclc/1167716778&referer=brief_results\",\"citation\":\"Reznikoff, Charles. The Poems of Charles Reznikoff: 1918-1975. Los Angeles: Black Sparrow Press, 1989. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. The Gazette. 14 September 1967, page 15.\"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"},{\"url\":\"\",\"citation\":\"“Reznikoff, Charles, 1894-1976”. Literature Online Biography. 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Tonight's reading will be by, as you probably all know, Mr. Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], whom I'm very happy to have the job, the chore of introducing, because I've been interested in his work for many years. He was born in Brooklyn [https://www.wikidata.org/wiki/Q18419], 1894, and graduated from the law school of New York University [https://www.wikidata.org/wiki/Q49210], admitted to the bar of the state of New York [https://www.wikidata.org/wiki/Q60] but never practiced, however, the law experience has stood him in good stead for his later poetry. He's published a number of volumes of verse and several volumes of prose, but most to the point, books that you probably saw on the table outside, in print by New Directions [https://www.wikidata.org/wiki/Q27474] and the San Francisco Review [https://www.wikidata.org/wiki/Q17087510], By the Waters of Manhattan, which was this joint effort's first book in 1962, and in 1965, Testimony, which is the first volume in a projected series of volumes about the moral and legal history of the United States [https://www.wikidata.org/wiki/Q30]. The main--my--the reason I said that I'm very happy about Mr. Reznikoff is because when I was going to university I was very hard looking for an alternative to the kind of poetry that was in vogue, especially in the universities, that is, that which tended towards T.S. Eliot [https://www.wikidata.org/wiki/Q37767] and highly symbolic language, and Mr. Reznikoff was one of the first poets I found able to do that for me, and I found a short poem of his which I would like to be brash enough to read, as introduction. He said, \\\"Not because of victories I sing, having none, but for the common sunshine, the breeze, the largesse of spring. Not for victory, but for the day's work done, as well as I was able, not for a seat upon the dais, but at the common table.\\\"  So to this common table, rather than dais, I'd like to welcome Mr. Charles Reznikoff.  \\n \\nAudience\\n00:02:34\\nApplause.\\n \\nCharles Reznikoff\\n00:02:56\\nVery much obliged to the gentleman who introduced me, among other things, for reading something I did. Perhaps I should ask him to read all that I brought along. But to get down to what I have here, let me say, to begin with, a few days ago, I came across in a bookshop a collection of Chinese verse translated into English. At the beginning was the following, written a thousand years ago, and I was very much impressed with it, and permit me to read it to you as a sort of an introduction. This man who wrote in the 11th century, this Chinese, said this: \\\"Poetry presents the thing in order to convey the feeling.  It should be precise about the thing and reticent about the feeling.\\\" I thought that was...expressed exactly what I feel, and what I have tried to do, not always, not always, I'm afraid, as well as called for, but a recipe. Among other things, let me begin by reading a couple of things I did also on the way I think verse should be written. And this is from this, By the Waters of Manhattan. \\n \\nCharles Reznikoff\\n00:04:47\\nReads \\\"Salmon and Red Wine\\\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\\n \\nCharles Reznikoff\\n00:05:39\\nThat's the first in this. And the second, I did on the same theme, in a way. \\n \\nCharles Reznikoff\\n00:05:47\\nReads \\\"I have neither the time nor the weaving skill, perhaps\\\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\\n\\n \\nCharles Reznikoff\\n00:06:13\\nNow, let me start with a group which I've written about the city I come from, New York, and its suburbs, and some of its residents, including myself.\\n \\nCharles Reznikoff\\n00:06:27\\nReads \\\"The winter afternoon darkens\\\" [from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:06:44\\nAnd this I call \\\"The Scrubwoman\\\". \\n \\nCharles Reznikoff\\n00:06:48\\nReads \\\"The Scrubwoman\\\" [from Rhythms II and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:07:07\\nReads \\\"The peddler who goes from shop to shop\\\". \\n \\nCharles Reznikoff\\n00:07:27\\nAnd this next. \\n \\nCharles Reznikoff\\n00:07:31\\nReads “The elevator man\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:07:54\\nReads \\\"The shopgirls leave their work\\\" [from Five Groups of Verse, Rhythms, and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:08:16\\nThis one I call \\\"Cooper Union Library\\\". I should add, it's no longer that way, this is the way it used to be.\\n \\nCharles Reznikoff\\n00:08:23\\nReads \\\"Cooper Union Library\\\" [from \\\"Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:08:42\\nReads \\\"Showing a Torn Sleeve\\\" [from By the Waters of Manhattan: Selected Verse and published later in Poems 1918-1936: The Complete Poems of Charles Reznikoff]. \\n\\nCharles Reznikoff\\n00:09:06\\nReads \\\"Two girls of twelve or so at a table\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:09:54\\nReads \\\"I am always surprised to meet\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:10:23\\nReads \\\"Rails in the Subway\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse]. \\n \\nAudience\\n00:10:35\\nLaughter.\\n \\nCharles Reznikoff\\n00:10:41\\nReads \\\"This subway station, with its electric lights\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n \\nAudience\\n00:10:58\\nLaughter.\\n \\nCharles Reznikoff\\n00:11:06\\nReads \\\"Among the heaps of brick and plaster lies\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:11:18\\nReads \\\"The sky is blue\\\" [from Jerusalem is Golden].\\n \\nCharles Reznikoff\\n00:11:42\\nThis I call \\\"Suburban River, Winter\\\".\\n \\nCharles Reznikoff\\n00:11:48\\nReads \\\"Suburban River, Winter\\\" [from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:12:07\\nAnd this too I call \\\"Suburban River,\\\" this is \\\"Summer\\\".\\n \\nCharles Reznikoff\\n00:12:13\\nReads \\\"Suburban River, Summer\\\" [from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:12:38\\nThis I call \\\"Twilight\\\".\\n \\nCharles Reznikoff\\n00:12:40\\nReads \\\"Twilight\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975]. \\n \\nCharles Reznikoff\\n00:12:56\\nReads \\\"Fraser, I think, tells of a Roman\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse; audience laughter throughout].\\n \\nCharles Reznikoff\\n00:13:21\\nReads \\\"The dogs that walk with me” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:13:44\\nThis I call a \\\"Fable\\\".\\n \\nCharles Reznikoff\\n00:13:46\\nReads \\\"Fable\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:14:15\\nReads \\\"Scrap of paper\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].  \\n \\nCharles Reznikoff\\n00:14:28\\nReads \\\"One of my sentinels, a tree\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].   \\n \\nCharles Reznikoff\\n00:14:45\\nReads \\\"I have not even been in the fields\\\" [from Rhythms ll and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:15:01\\nReads \\\"How grey you are! No, white!” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:15:25\\nReads \\\"Blurred sight, and trembling fingers\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:15:47\\nReads \\\"You were young and contemptuous\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:16:03\\nThis I call \\\"Heart and Clock\\\", there's a series in here. \\n \\nCharles Reznikoff\\n00:16:09\\nReads \\\"Heart and Clock” [from Separate Way and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:16:51\\nReads \\\"If my days were like the ant's\\\" [published as “Heart and Clock II” in By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:17:18\\nReads \\\"Our nightingale, the clock\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].  \\n \\nCharles Reznikoff\\n00:17:32\\nReads \\\"The clock on the bookcase ticks\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n \\nCharles Reznikoff\\n00:17:47\\nReads \\\"My hair was caught in the wheels of a clock\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].   \\n\\nCharles Reznikoff\\n00:17:58\\nReads \\\"Of course we must die\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:18:20\\nReads \\\"Now it is cold\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n\\nCharles Reznikoff\\n00:19:33\\nReads \\\"It had been snowing at night\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n \\nCharles Reznikoff\\n00:19:54\\nReads \\\"Hardly a breath of wind\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:20:14\\nReads \\\"After I had worked all day\\\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:20:42\\nNow I have a group that I will call 'religious,' for perhaps no better word, and this I call \\\"Meditations on the Fall and Winter Holidays\\\", and the first is “New Year's”. As many of you, or some of you may know, no doubt, the Jewish New Year's comes in the fall. This is based on it.\\n \\nCharles Reznikoff\\n00:21:11\\nReads \\\"Meditations on the Fall and Winter Holidays: New Year's\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:23:19\\nAnd I call the next one \\\"The Day of Atonement\\\".\\n \\nCharles Reznikoff\\n00:23:24\\nReads \\\"The Day of Atonement\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:24:50\\nAnd this I call \\\"Hanukkah\\\" which incidentally is a holiday that's just about to come, and it, as some of you may know, it represents the victory, a festival celebrating the victory of the Maccabees over the Syrians, about 150 B.C.E.\\n \\nCharles Reznikoff\\n00:25:14\\nReads \\\"Hanukkah\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:26:59\\nI don't know why I should be having a cold on this occasion but, [laughter], these things [blows nose]. \\n \\nCharles Reznikoff\\n00:27:18\\nReads \\\"The lamps are burning in the synagogue\\\" [from Inscriptions: 1944-1956].\\n \\nCharles Reznikoff\\n00:28:40\\nThis one I call \\\"Samuel\\\". Samuel in the Bible, of course.\\n \\nCharles Reznikoff\\n00:28:47\\nReads \\\"Samuel\\\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:30:06\\nThese are all from By the Waters of Manhattan, and I'm going to read you, if I may, something quite different, from the volume called Testimony, and which I call \\\"Recitative\\\".\\n \\nCharles Reznikoff\\n00:30:27\\nReads \\\"Recitative\\\" [from Testimony: the United States (1885-1890); Recitative].\\n \\nCharles Reznikoff\\n00:31:15\\nThat's the first. This, these, incidentally, I might say, are all based on law cases. Ah...I don't know what...whether that'll excuse their ferocity, but apparently something like that once happened. The names are different. The facts are the same.\\n \\nCharles Reznikoff\\n00:31:39\\nReads \\\"Tilda was just a child...” [from Testimony: the United States (1885-1890); Recitative].\\n \\nCharles Reznikoff\\n00:32:49\\nAnd this is the third in this. \\n \\nCharles Reznikoff\\n00:32:53\\nReads \\\"Years ago, a company procured a body of land...\\\" [from Testimony: the United States (1885-1890); Recitative].\\n \\nCharles Reznikoff\\n00:33:44\\nNow...let's see, if I may, the time...Here is a poem with which I generally end these readings but I don't intend to end this unless you wish me to because I have some other things to read. But I'll end it right here anyway and then we'll see how much time is left. I call this \\\"Kaddish\\\". Now, it's not the Kaddish for mourners that you might know about. It was written at the beginning of the rise of Hitler [https://www.wikidata.org/wiki/Q352]. I did it; I mean, I did the writing, not the Kaddish, which is very old. It was written at the beginning of the rise of Hitler and his influence, and before his extermination program was put into effect. It's really an ancient blessing in the Jewish ritual. And incidentally, I use that word \\\"Torah,\\\" and I doubt, it may be strange to many, but James Parks, I notice, in his History of the Jewish People, has defined it, correctly, I think, \\\"The word Torah,\\\" he says, \\\"has been defined as law, but is much wider in meaning. It applies a way of life\\\".  Now this is this \\\"Kaddish\\\".\\n \\nCharles Reznikoff\\n00:35:09\\nReads \\\"Kaddish\\\" [from Separate Way and from By the Waters of Manhattan: Selected Verse]].\\n \\nCharles Reznikoff\\n00:36:43\\nThis ends the, let's say the first part. And I'll continue, if you like, with some others, unless you're all...[inaudible]\\n \\nAudience\\n00:36:51\\nApplause.\\n \\nCharles Reznikoff\\n00:37:04\\nWell I, if, I shall continue, if you're not all exhausted. I have here, quite a few things that are not arranged in any way, so they're more or less haphazard. And...this is one. Let's see...well this one is “After Reading Translations of Ancient Texts on Stone and Clay”.\\n \\nCharles Reznikoff\\n00:37:37\\nReads “After Reading Translations of Ancient Texts on Stone and Clay”.\\n \\nCharles Reznikoff\\n00:38:47\\nNow, these, these are much less organized than that, haphazard, you'll have to take them as they come if we keep on. \\n \\nCharles Reznikoff\\n00:39:00\\nReads \\\"As I was wandering with my unhappy thoughts\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n\\nCharles Reznikoff\\n00:39:36\\nReads \\\"The young fellow walks about with nothing to do\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:40:09\\nReads “A well-phrased eulogy\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:40:44\\nReads \\\"On a Sunday, when the place was closed\\\" [from Going To and Fro and Walking Up and Down].  \\n \\nCharles Reznikoff\\n00:41:12\\nNow here are two earlier testimony, two or more things based on a law case, which I call \\\"Testimony\\\", and these were included in that same By the Waters of Manhattan. \\n \\nBy the Waters of Manhattan. \\n00:41:28\\nReads \\\"The Company had advertised for men\\\" from By the Waters of Manhattan: Selected Verse. \\n \\nCharles Reznikoff\\n00:43:13\\nThat's the first, and this is the second.\\n \\nCharles Reznikoff \\n00:43:16\\nReads \\\"Amelia was just fourteen\\\" from By the Waters of Manhattan: Selected Verse.\\n \\nCharles Reznikoff\\n00:44:33\\nThat's the second. I have some more I'd like to get at before I close. Well, this I wrote for my wife. Pity she isn't here, but we'll read it in her absence.\\n \\nCharles Reznikoff\\n00:44:55\\nReads \\\"Malicious women greet you, saying...\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n\\n Charles Reznikoff\\n00:45:38\\nNow, this, this is a kind of counterpiece to this I have just read. It was not written for my wife. [Laughter].\\n \\nCharles Reznikoff\\n00:45:56\\nReads \\\"He had with him a bag\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n \\nAudience\\n00:46:38\\nLaughter. \\n \\nCharles Reznikoff\\n00:46:42\\nI'm reading this 'cause...\\\"On a seat\\\"...maybe it would....I think this is rather appropriate in view of all the Hebrew things I read.\\n \\nCharles Reznikoff\\n00:46:56\\nReads \\\"On a seat in the subway\\\" [from Going To and Fro and Walking Up and Down].  \\n\\nCharles Reznikoff\\n00:47:41\\nReads \\\"Permit me to warn you\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\\n \\nAudience\\n00:47:51\\nLaughter.\\n \\nCharles Reznikoff\\n00:47:59\\nReads \\\"These days, the papers in the street\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:48:36\\nLet me close, unless it...if I should...with something that I tried to do which may be something to close with. This is based on the Book of Ezra [https://www.wikidata.org/wiki/Q131635], and the Book of Ezra, according to my note, I've probably forgotten by this time, is, 'This is a rearrangement and a versification of parts of the Fourth Book of Ezra.' And that's what it's called in the appendix to the Vulgate [https://www.wikidata.org/wiki/Q131175], or two Esdras of the Protestant Apocrypha. And I based this upon a translation of this Book of Ezra from the Syriac by a friend of mine who taught, and I have their permission and all, but the original was probably, there's quite a discussion as to what the original was right, and some scholars believe that it was in Greek, and a Doctor Bocks, who was in, G.H. Bocks, thinks that it was in Hebrew, and Bloch, who was, they had in 42nd Street at the library, didn't think that it was in either Greek or Hebrew, but Aramaic. Anyway, excuse me just, [laughter], anyway, I will read it, and its adaptation of it, and see what one can do with things that you...clear up. \\n \\nCharles Reznikoff\\n00:50:12\\nReads “Because I saw the desolation of Zion\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems of Charles Reznikoff: 1918-1975]. \\n \\nCharles Reznikoff\\n00:53:33\\nAnd I think this is enough, perhaps, for a time. \\n \\nAudience\\n00:53:36\\nApplause.\\n \\nGeorge Bowering\\n00:54:01\\nWhat else, thank you very much, Mr. Reznikoff, and I'd just like to repeat that the next reading is at, two weeks from tonight, December the first, Daryl Hine, who's a graduate of the other university.\\n \\nEND\\n00:54:21\\n\",\"notes\":\"Charles Reznikoff reads poems from several books, including Jerusalem the Golden (Objectivist Press, 1934), Inscriptions: 1944-1956 (Shulsinger Brothers, 1959), Going To and Fro and Walking Up and Down (Futuro Press, 1941), and By the Waters of Manhattan: Selected Verse (New Directions, 1962). Many of the poems were later re-organized, edited, and included in other publications, such as Poems 1918-1975:The Complete Poems of Charles Reznikoff (Black Sparrow, 1989). \\n\\n00:00- Unknown Introducer introduces Charles Reznikoff. [INDEX: Daryl Hine reading on December 1, 1967; born in Brooklyn in 1894, graduated from law school New York       University, state bar of NY, New Directions Press and the San Francisco Review, By the Waters of Manhattan (1962), Testimony (1965), moral and legal history of United States; Reznikoff as an alternative to popular poetry taught at universities; quote from “Te Deum” by Charles Reznikoff.]\\n02:56- Charles Reznikoff introduces “Salmon and Red Wine”. [INDEX: collection of Chinese verse translated in English, quotes from it as introduction, 11th century, \\\"Poetry presents the thing in order to convey the feeling.  It should be precise about the thing and reticent about the feeling\\\"; reading from By the Waters of Manhattan (New Directions, 1962).]\\n04:47- Reads first line “Salmon and red wine”. [INDEX: process, writing life, travel, Bible; found in By the Waters of Manhattan (New Directions, 1962).]\\n05:39- Introduces first line “I have neither the time nor the weaving skill, perhaps...”. [INDEX: second poem in the same theme; found in By the Waters of Manhattan (New    Directions, 1962).]\\n05:47- Reads first line “I have neither the time nor the weaving skill, perhaps...”. [INDEX: craft, descriptive.]\\n06:13- Introduces unknown poem, first line “The winter afternoon darkens...” [INDEX: group of poems about New York.]\\n06:27- Reads unknown poem, first line “The winter afternoon darkens...”. [INDEX: cities, New York, work.]\\n06:44- Introduces “The Scrubwoman”.\\n06:48- Reads “The Scrubwoman”. [INDEX: cities, New York, work, poverty.]\\n07:07- Reads unknown poem, first line “The peddler who goes from shop to shop...”. [INDEX: cities, New York, Work.]\\n07:31- Reads first line “The elevator man”. [INDEX: cities, New York, poverty, work; from the poem “Autobiography: New York” in By the Waters of Manhattan (New Directions, 1962).]\\n07:54- Reads unknown poem, first line “The shopgirls leave their work...”. [INDEX: cities, New York, work.]\\n08:16- Introduces “Cooper Union Library”.\\n08:23- Reads “Cooper Union Library”. [INDEX: cities, New York, reading, from the poem        “Autobiography: New York” in By the Waters of Manhattan (New Directions, 1962).]\\n08:42- Reads unknown poem, first line “Showing a torn sleeve...”. [INDEX: cities, New York, poverty, food, age.]\\n09:06- Reads “Two girls of twelve or so at a table”. [INDEX: cities, New York, poverty, food, age; from Inscriptions: 1944-1956.]\\n09:54- Reads first line “I am always surprised to meet...” [INDEX: cities, New York, death; from the poem “Autobiography: New York” in Going To and Fro and Walking Up and Down (1941).]\\n10:23- Reads unknown poem, first line “Rails in the subway”. [INDEX: cities, New York,         transportation, building.]\\n10:41- Reads unknown poem, first line “This subway station, with its electric lights”.   [INDEX: cities, New York, transportation, building, from the poem “Autobiography:      \\tNew York” in Going To and Fro and Walking Up and Down (1941).]\\n11:06- Reads unknown poem, first line “Among the heaps of brick and plaster lies...”. [INDEX: cities, New York, building.]\\n11:18- Reads unknown poem, first line “The sky is [a peculiar] blue...”. [INDEX: cities, New York, water, pollution; from “Sightseeing Tour: New York”, from Inscriptions:   1944-1956 (1959), By the Waters of Manhattan (1962).]\\n11:48- Reads “Suburban River, Winter”. [INDEX: cities, New York, water.]\\n12:13- Reads “Suburban River, Summer”. [INDEX: cities, New York, water, women.]\\n12:40- Reads “Twilight”. [INDEX: nature, sky, horse.]\\n13:16- Reads first line “Frasier, I think, tells of a Roman...”. [INDEX: nature, New York; from poem “Sightseeing Tour: New York” from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n13:31- Reads first line “The dogs that walk with me...”. [INDEX: time, nature, now, here, if; from By the Waters of Manhattan.]\\n13:46- Reads “Fable”. [INDEX: solitude, friendship, woods, song, joke, from By the Waters of Manhattan.]\\n14:15- Reads first line “Scrap of paper”. [INDEX: money, streets, from Inscriptions:  \\t1944-1956 (1959), By the Waters of Manhattan (1962).]\\n14:28- Reads first line “One of my sentinels, a tree...”. [INDEX: summer, seasons, time, nature, from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n14:45- Reads poem, first line “I have not even been in the fields...”. [INDEX: age, time,        seasons, wind.]\\n15:01- Reads poem, first line “How grey are you, no white...”. [INDEX: age, body, death,     friends, dog; from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n15:25- Reads poem, first line “Blurred sight, and trembling fingers...”. [INDEX: age; from  “Notes on the Spring Holiday” from Inscriptions: 1944-1956 (1959), By the Waters of  Manhattan (1962).]\\n16:03- Introduces “Hardened Clock”. [INDEX: series.]\\n16:09- Reads “Hardened Clock”. [INDEX: time, sun, cycles, clocks, stars.]\\n16:51- Reads poem, fist line “If my days were like the ant’s...”. [INDEX: time, ant, carpe diem; perhaps part of “Hardened Clock”.]\\n17:18- Reads poem, first line “Our nightingale, the clock...”. [INDEX: time, clocks, birds,        nightingale, nature; perhaps part of “Hardened Clock”.]\\n17:32- Reads poem, first line “The clock on the bookcase ticks...”. [INDEX: time, clocks,     insects, consumption; perhaps part of “Hardened Clock”.]\\n17:47- Reads poem, first line “My hair was caught in the wheels of a clock...”. [INDEX: age, clocks, time, baldness; perhaps part of “Hardened Clock”.]\\n17:58- Reads poem, first line “Of course we must die...”. [INDEX:  death, telephone numbers; perhaps from “Hardened Clock”, from By the Waters of Manhattan.]\\n18:20- Reads poem, first line “Now it is cold...”. [INDEX: age, winter, time, seasons, death, birds, sparrow, sun, tree, anger, statues, weather, Don Juan, St. Francis; perhaps part of “Hardened Clock”.]\\n19:33- Reads poem, first line “It had been snowing at night...”. [INDEX: winter, time, snow, weather, morning; perhaps part of “Hardened Clock”.]\\n19:54- Reads poem, first line “Hardly a breath of wind...”. [INDEX: wind, leaves, fate;        perhaps part of “Hardened Clock”.]\\n20:14- Reads poem, first line: “After I had worked all day...”. [INDEX: work, fatigue, strength, tide; perhaps part of “Hardened Clock”.]\\n20:42- Introduces group called ‘religious’, poem called “Meditations on the Fall and Winter Holidays”. [INDEX: religious, Jewish New Year's.]\\n21:11- Reads “New Year’s” from “Meditations on the Fall and Winter Holidays”. [INDEX:   religious, holiday, water, farewell, death, harvest, autumn, trees, beginning, God,  \\tholidays, seasons, Israel, Judaism, grief, peace, servants, inheritance, remembrance; from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n23:19- Introduces “Day of Atonement”. [INDEX: from “Meditations on the Fall and Winter         Holidays” from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan    \\t(1962).]\\n23:24- Reads “Day of Atonement”. [INDEX: time, religious holidays, Judaism, Yom Kippur, God, time, day, write, rabbi, creation, world, men.]\\n24:50- Introduces “Hanukah”. [INDEX: victory of Maccabees over Syrians in 150 BCE, festival celebration; from “Meditations on the Fall and Winter Holidays”, from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n25:14- Reads “Hanukah”. [INDEX: religious holiday, Judaism, death, water, songs,    \\tremembrance, power, God.]\\n27:18- Reads poem, first line, “The lamps are burning in the synagogue...” [INDEX: religious, Judaism, travel, tradition, remembrance, names, knowledge, ignorance, eternal life; from “Meditations on the Fall and Winter Holidays”, from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n28:40- Introduces “Samuel”. [INDEX: Samuel in the Bible.]\\n28:47- Reads “Samuel”. [INDEX: religious, Judaism, Bible, tradition, spirit, fire, seasons,      waiting, service.]\\n30:06- Introduces “Recitative”. [INDEX: from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962), Testimony (1965-8).]\\n30:27- Reads “Recitative”. [INDEX: birth, water, fire, murder, death]\\n31:15- Introduces poem, first line “Tilda was just a child...”. [INDEX: Testimony about law cases, different names, facts same.]\\n31:59- Reads poem, first line “Tilda was just a child...”. [INDEX: adolescence, girl,   \\tmenstruation, work, rural, domestic; from “The North: Boys & Girls, 5.” from Testimony.]\\n32:53- Reads poem, first line, “Years ago, a company procured a body of land...”. [INDEX: company land, urban planning, city, Mississippi City, streets, railroad, depot, pier, bankruptcy; from “The South: Negroes, X” from Testimony.]          \\n33:44- Introduces “Kaddish”. [INDEX: mourning, written at the beginning of the rise of Hitler, extermination program, ancient blessing in the Jewish ritual, Torah, quote from James Parks’ History of the Jewish People; from Going To and Fro and Walking Up and Down (1941).]\\n35:09- Reads “Kaddish”. [INDEX: religious, Judaism, Kaddish, Torah, Israel, blessing.]\\n37:04- Introduces “After Reading Translations of Ancient Texts on Stone and Clay”. [INDEX: from Going To and Fro and Walking Up and Down (1941).]\\n37:37- Reads “After Reading Translations of Ancient Texts on Stone and Clay”. [INDEX: religious, Bible, Judaism, Moses, Israel, Pharaoh, Egypt, soldiers.]\\n38:47- Introduces “As I was wandering with my unhappy thoughts...”\\n39:00- Reads “As I was wandering with my unhappy thoughts...”. [INDEX: unhappiness, sun, wind, paradise, Adam.]\\n39:36- Reads “The young fellow walks about with nothing to do”. [INDEX: work,   \\tunemployment, cigarettes, youth, stranger.]\\n40:09- Reads “A well-phrased eulogy”. [INDEX: funeral, death, eulogy, politeness.]\\n40:44- Reads “On a Sunday, when the place was closed”. [INDEX: mouse, food, God, blessing.]\\n41:12- Introduces “Testimony”. [INDEX: earlier testimony, based on law case, included in By the Waters of Manhattan.]\\n41:28- Reads “The company had advertised for men...”. [INDEX: company, work, dock,   water, ice, river, death.]\\n43:13- Introduces “Amelia was just fourteen...”.\\n43:16- Reads “Amelia was just fourteen...” [INDEX: work, orphanage, youth, girl, books,   wound.]\\n44:33- Introduces “Malicious women greet you, saying...”. [INDEX: poem written for his wife, wife not in attendance.]\\n44:55- Reads “Malicious women greet you, saying...”.  [INDEX: love poem, women, beauty, timeless.]\\n45:38- Introduces “He had with him a bag”. [INDEX: counter-piece, not written for wife.]\\n45:56- Reads “He had with him a bag”. [INDEX: scolding, walking, wives, husbands,   marriage.]\\n46:38- Introduces “On a seat in the subway”. [INDEX: Hebrew.]\\n46:56- Reads “On a seat in the subway”. [INDEX: cities, subway, Judaism, work,      \\tdiscrimination, racial, sadness, Aryan.]\\n47:41- Reads “Permit me to warn you...”. [INDEX: car, accident.]\\n47:59- Reads “These days, the papers in the street...”. [INDEX: cities, streets, sun.]\\n48:36- Introduces “Because I saw the desolation of Zion...”. [INDEX: Book of Ezra, fourth book of Ezra, appendix to the Vulgate, Protestant Apocrypha, translation, Syriac, original, Greek, Doctor G.H. Bocks, Hebrew, Bloch, 42nd Street Library, Aramaic.]\\n50:12- Reads “Because I saw the desolation of Zion”. [INDEX: Bible, Judaism, Ezra, Zion, God, prayer, angel, heaven, hell, fire, wind, sea, dialogue, Israel, plants, seeds, earth.]\\n54:01- Unknown introducer thanks Charles Reznikoff, announces next reading: Daryl Hine on December 1st. [INDEX: Daryl Hine reading, December 1.]\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967/\"}]"],"score":1.9338971},{"id":"1266","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Daryl Hine at Sir George Williams University, The Poetry Series, 1 December 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"DARYL HINES I006/SR158\" written on sticker on the spine of the tape's box. DARYL HINES refers to Daryl Hine; HINES is mispelled. \"I006-11-158\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Hine, Daryl"],"creator_names_search":["Hine, Daryl"],"creators":["[{\"url\":\"http://viaf.org/viaf/94517620\",\"name\":\"Hine, Daryl\",\"dates\":\"1936-2012\",\"notes\":\"Canadian-American poet, translator and editor Daryl Hine was born in Vancouver, British Columbia in 1936. His first poems were published when he was fifteen in Contemporary Verse. In 1954 he traveled to Montreal to study classics and philosophy at McGill University, and completed his B.A. by 1958. His first books of poetry published was Five Poems (Emblem Books, 1955), followed by The carnal and the crane (McGill Poetry Series by Contact Press, 1957). In 1968 Hine received a Canada Foundation-Rockefeller fellowship which he used to travel Europe and live in France. In 1962 he returned, and completed his M.A. and Ph.D. degrees at the University of Chicago in comparative literature by 1967. Hine then took on a position teaching English at the University of Chicago, and the next year edited the distinguished Poetry magazine until 1978. By this time Hine had already published The Devil’s Picture Book (Abelard, 1960), Heroics: Five Poems (Grosswiller, 1961), The Wooden Horse (Atheneum, 1965), Minutes (Atheneum, 1969), Resident Alien (Atheneum, 1975), privately printed In and Out in 1975 (reprinted in 1989 by Knopf) and Daylight Saving (Atheneum, 1978). Hine has also translated The Homeric Hymns and the Battle of the Frogs and Mice (Atheneum, 1972), Ovid’s Heroines: A Verse Translations of the Hero Heroides (Yale University Press, 1991) and Puerilities: Erotic Epigrams of The Greek Anthology (Princeton University Press, 2001), several radio and stage plays A Mutual Flame (BBC Radio, 1961), The Death of Seneca (Chicago, 1968) and Alecstis (BBC Radio, 1972). Hine has won several prestigious awards, including the Guggenheim Fellowship in 1980, an American Academy Award in 1982 and a MacArthur Foundation Fellowship in 1986. He has since published a novel, The Prince of Darkness & Co (Abelard-Schuman, 1961), and poetry collections, including Selected Poems (Oxford University Press, 1980), Academic Festival Overtures (Atheneum, 1985), Postscripts (Random House, 1990), Recollected poems: 1951-2004 (Fitzhenry & Whiteside, 2007) along with dozens of articles and poems in magazines and anthologies. Hine died in 2012. \",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Atwood, Margaret"],"contributors_names_search":["Atwood, Margaret"],"contributors":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"Presenter_name":["Atwood, Margaret"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:60:00\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 12 1\",\"type\":\"Performance Date\",\"notes\":\" \",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Previous researcher\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Daryl Hine reads from The Carnal and the Crane (McGill Poetry Series by Contact Press, 1957), The Devil’s Picture Book (Abelard, 1960), and The Wooden Horse (Atheneum, 1965), as well as poems published later in Minutes (Atheneum, 1968)."],"contents":["daryl_hine_i006-11-158.mp3\n\nUnknown\n00:00:00\nAmbient Sound [voices].\n\nMargaret Atwood\n00:00:12\nI first met Daryl Hine [https://www.wikidata.org/wiki/Q5226186] about six years ago in New York [https://www.wikidata.org/wiki/Q60], where he was living in the midst of a colony of cockroaches, and on that occasion, he drank me under the table with more ease and urbanity than anybody that's been able to manage since, which is actually a literary comment on the way he writes poetry. It's a pleasure to welcome him back to Montreal [https://www.wikidata.org/wiki/Q340], while attending the 'other' university here; before that he lived in Vancouver [https://www.wikidata.org/wiki/Q24639], where he was born in 1936, and where he began writing poetry at the age of twelve, and publishing it in such magazines as Northern Review [https://www.wikidata.org/wiki/Q15757902] and Contemporary Verse at the age of fifteen. His first book, Five Poems, was published when he was eighteen, and his next, The Carnal and the Crane, established him as an important poet at age 21, when most poets are still cutting their poetic teeth. Since then, his career, like his poetry, has been international, rather than national. After becoming a college dropout, he traveled widely in Europe [https://www.wikidata.org/wiki/Q46] and then in the United States [https://www.wikidata.org/wiki/Q30], producing, en route, four other books, The Devil's Picture Book and The Wooden Horse, both of which are poetry, The Prince of Darkness, a novel, and a travel book called Polish Subtitles.  He is currently awaiting the publication of his next book of poetry, to be called Minutes, while teaching in the English department at the University of Chicago [https://www.wikidata.org/wiki/Q131252]. He says that his plans for the future are vague, but he assures me that they include the evasion of Toronto [https://www.wikidata.org/wiki/Q172]. Ladies and gentlemen, Daryl Hine.\n \nAudience\n00:02:03\nApplause.\n \nDaryl Hine\n00:02:11\nI thought I'd begin by reading some poems that I wrote when I lived in Montreal...if I can find some fuel. Poems that are in my second book, which I tend to think of as my first book, The Carnal and the Crane. I'll read the third and fourth of four fabulary satires.\n \nDaryl Hine\n00:02:48\nReads “Four Fabulary Satires” part III from The Carnal and the Crane.\n \nDaryl Hine\n00:04:51\nAnd the fourth satire.\n \nDaryl Hine\n00:04:53\nReads “Four Fabulary Satires” part IV from The Carnal and the Crane.\n \nDaryl Hine\n00:06:56\nThe other poem that I'll read from The Carnal and the Crane is a one-sided dialogue called \"A Bewilderment at the Entrance of the Fat Boy into Eden\". It's in four fairly distinct parts. They're more distinct than the ordinary stanzas in a poem.\n \nDaryl Hine\n00:07:35\nReads \"A Bewilderment at the Entrance of the Fat Boy into Eden\" from The Carnal and the Crane.\n \nDaryl Hine\n00:10:52\nA number of the poems in my next book, The Devil's Picture Book, were also written in Montreal, although the book was published about two years after I left Montreal and went to Europe. I'm going to read one of the longest poems in this book, which is called \"The Double-Goer\".\n \nDaryl Hine\n00:11:41\nReads \"The Double-Goer\" from The Devil’s Picture Book.\n \nDaryl Hine\n00:16:31\nImmediately following that poem in The Devil's Picture Book, which I feel is very accurately titled, immediately after that poem is another much shorter, and...perhaps not really simpler poem on the same subject, the subject which seemed to preoccupy me a great deal at the time and I'm glad to say no longer does. This poem is a villanelle, and it's called \"The Black Swan\".\n \nDaryl Hine\n00:17:12\nReads \"The Black Swan\" from The Devil’s Picture Book.\n \nDaryl Hine\n00:18:38\nThere's a...poem in The Wooden Horse that deals also, perhaps, I think, with the same subject, but in a different way, and at a different stage. It's called \"The Ouija Board\".  It may be that some of you don't know what an ouija board is, in any case, this one wasn't a real ouija board. We made it up using a teacup, an inverted, as I remember, cracked, willow-patterned teacup, on a round circular table top. Four of us operated this by placing a single finger each on the teacup, and we cut out letters of the alphabet and placed them around the table. I did this in company with a friend of mine who's done it for many years, and has developed such perfect communication with the other side that instead of getting the usual scrambled answers that people get in these attempted communications, he gets extremely long, involved, and very literate answers, rather in the style of his own prose writing....[audience laughter] which all purport, or most of them purport to come from a Greek or Roman character called, in this poem Io, he's actually called Ephraim, although perhaps I shouldn't mention it. Anyway, this is about a session with the teacup.\n \nDaryl Hine\n00:20:15\nReads “The Ouija Board” from The Wooden Horse. \n \nDaryl Hine\n00:21:54\nPerhaps as an alternative to all of this tinkering with the other side, I'll read a poem that is, most of it, very much about this side, called \"Bluebeard's Wife\".\n \nDaryl Hine\n00:22:21\nReads \"Bluebeard's Wife\" from The Wooden Horse.\n \nDaryl Hine\n00:25:46\nThe last poem I'll read from The Wooden Horse is the last poem in The Wooden Horse, and I beg your indulgence, as it's a trifle long. It's called \"The Wave\".\n \nDaryl Hine\n00:26:17\nReads \"The Wave” from The Wooden Horse.\n \nDaryl Hine\n00:31:01\nFour years ago I came back to Montreal on my first visit since I left rather quietly in 1958, and spent the next year after this return visit, which was very pleasant, although very brief, struggling with a poem which I think perhaps is still not quite finished, but I think will go either in this form or some other form into the next book. It's a poem, of course, about the impossibility of writing an autobiographical poem. And it's called \"The Apology\".\n \nDaryl Hine\n00:31:56\nReads \"The Apology\" [published later in Minutes]. \n\nDaryl Hine\n00:35:53\nWell, I've returned to other places than Montreal [audience laughter], and two summers ago I went back just for the summer to Paris [https://www.wikidata.org/wiki/Q90], where I lived for something more than, between three and four years, and I didn't like it very much. And these are two poems from a series that I wrote about not liking it. This one is called \"The Marché aux Puces and the Jardin des Plantes\"- the Marché aux Puces is of course the flea market, and the Jardin des Plantes is the botanical and zoological gardens, where I spent, in one place or other I spent most of my afternoons, that rather boring summer in Paris. Having the habit of working in the morning.\n \nDaryl Hine\n00:36:53\nReads \"The Marché aux Puces and the Jardin des Plantes\" [published later in Minutes; audience laughter throughout]. \n \nDaryl Hine\n00:38:17\nWell, I think perhaps I'll read three of these [inaudible]. The next one will seem familiar to, I'm sure, many of you. I haven't quite decided on a title, it might be called \"Jardin des Gourmets\", or it might be called \"Rendez-vous des routiers\" or something like that, it's about a certain sort of French restaurant.\n \nDaryl Hine\n00:38:42\nReads \"Le Rendezvous des Gourmets\" [published later in Minutes; audience laughter throughout].\n \nDaryl Hine\n00:40:18\nAnd this poem isn't quite as funny [audience laughter], not that I really thought the last one was, but this one is really about Henry James' [https://www.wikidata.org/wiki/Q170509] novel, The Ambassadors [https://www.wikidata.org/wiki/Q650571]. It's also, of course, about being in any town in the off season, in this case, Paris, and of course, Paris in August is emptier than anywhere I've ever been. But, I imagine that other places in their off seasons are the same. It's called \"Clôture annuelle\".\n \nDaryl Hine\n00:40:57\nReads \"Clôture annuelle\" [published later in Minutes].\n\nDaryl Hine\n00:42:19\nI also, this year, or was it last, returned to my place of origin, British Columbia [https://www.wikidata.org/wiki/Q1974]. A [inaudible] which will be familiar to some of you as the site of the University of British Columbia [https://www.wikidata.org/wiki/Q391028], I don't mean the University by any of the architectural things I mention in this poem, but I'm talking about the beach, a very beautiful, barren Pacific beach that lies below Point Grey [https://www.wikidata.org/wiki/Q16898567]. \n \nDaryl Hine\n00:43:05\nBegins to read unnamed poem.\n \nDaryl Hine\n00:43:10\nWell...[shuffles paper] I'll read another version, I think. Excuse me. \n \nDaryl Hine\n00:43:18\nReads [“Point Grey”; published later in Minutes].\n \nDaryl Hine\n00:45:03\nReads unnamed poem.\n \nDaryl Hine\n00:46:12\nThe last poem I'll read, if I can find it...it is called...\"The Trout\".\n \nDaryl Hine\n00:46:50\nReads \"The Trout\" [published later in Minutes].\n \nAudience\n00:48:41\nApplause.\n \nAnnouncer\n00:48:59\nI want to thank Mr. Hine and also announce that the next reading is on January 26th, by the American poet John Logan [https://www.wikidata.org/wiki/Q6245151].\n \nEND\n00:49:12\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\n In 1969, Daryl Hine published Commonplaces (Unicorn Press), and had published Bluebeard’s wife (Pasdeloup Press) and Minutes: poems (Atheneum) and the play The Death of Seneca in 1968. Hines was working at the University of Chicago and was editing Poetry magazine.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\n At different points in his career, Daryl Hine lived in Montreal, and studied at McGill University. He met Margaret Atwood (the event presenter) in 1963 in New York, and I assume that she offers the direct connection between Hine and Sir George Williams University. Regardless of this connection, Hine is an important and influential Canadian-American poet, editor, translator and writer.\\n\",\"type\":\"General\"},{\"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 Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Gilbert, Roger. \\\"Hine, Daryl\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/minutes-poems/oclc/61503623&referer=brief_results\",\"citation\":\"Hine, Daryl. Minutes. New York: Atheneum, 1968. \"},{\"url\":\"https://www.worldcat.org/title/carnal-and-the-crane/oclc/460627893&referer=brief_results\",\"citation\":\"Hine, Daryl. The Carnal and the Crane. Montreal: McGill Poetry Series, 1957. \"},{\"url\":\"https://www.worldcat.org/title/devils-picture-book-poems/oclc/707438836&referer=brief_results\",\"citation\":\"Hine, Daryl. The Devil's Picture Book. Toronto: Abelard-Schuman, 1960.\"},{\"url\":\"https://www.worldcat.org/title/wooden-horse-poems/oclc/613046839&referer=brief_results\",\"citation\":\"Hine, Daryl. The Wooden Horse. New York: Atheneum, 1965. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Sullivan, Rosemary. \\\"Hine, Daryl\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"http://www.poetryfoundation.org/archive/poet.html?id=3167\",\"citation\":\"“Daryl Hine (1936-)”. The Poetry Foundation Website. Poetryfoundation.org, 2009. \"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. Montreal: The Gazette. 14 September 1967, page 15.\"},{\"url\":\"\",\"citation\":\"“Poetry: From the Archive”. Poetry Magazine Website. Poetrymagazine.org\"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548831207424,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0158_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine 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_0158_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine 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_0158_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine 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_0158_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine 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/daryl_hine_i006-11-158.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"daryl_hine_i006-11-158.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:49:12\",\"precision\":\"\",\"size\":\"118.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Unknown\\n00:00:00\\nAmbient Sound [voices].\\n\\nMargaret Atwood\\n00:00:12\\nI first met Daryl Hine [https://www.wikidata.org/wiki/Q5226186] about six years ago in New York [https://www.wikidata.org/wiki/Q60], where he was living in the midst of a colony of cockroaches, and on that occasion, he drank me under the table with more ease and urbanity than anybody that's been able to manage since, which is actually a literary comment on the way he writes poetry. It's a pleasure to welcome him back to Montreal [https://www.wikidata.org/wiki/Q340], while attending the 'other' university here; before that he lived in Vancouver [https://www.wikidata.org/wiki/Q24639], where he was born in 1936, and where he began writing poetry at the age of twelve, and publishing it in such magazines as Northern Review [https://www.wikidata.org/wiki/Q15757902] and Contemporary Verse at the age of fifteen. His first book, Five Poems, was published when he was eighteen, and his next, The Carnal and the Crane, established him as an important poet at age 21, when most poets are still cutting their poetic teeth. Since then, his career, like his poetry, has been international, rather than national. After becoming a college dropout, he traveled widely in Europe [https://www.wikidata.org/wiki/Q46] and then in the United States [https://www.wikidata.org/wiki/Q30], producing, en route, four other books, The Devil's Picture Book and The Wooden Horse, both of which are poetry, The Prince of Darkness, a novel, and a travel book called Polish Subtitles.  He is currently awaiting the publication of his next book of poetry, to be called Minutes, while teaching in the English department at the University of Chicago [https://www.wikidata.org/wiki/Q131252]. He says that his plans for the future are vague, but he assures me that they include the evasion of Toronto [https://www.wikidata.org/wiki/Q172]. Ladies and gentlemen, Daryl Hine.\\n \\nAudience\\n00:02:03\\nApplause.\\n \\nDaryl Hine\\n00:02:11\\nI thought I'd begin by reading some poems that I wrote when I lived in Montreal...if I can find some fuel. Poems that are in my second book, which I tend to think of as my first book, The Carnal and the Crane. I'll read the third and fourth of four fabulary satires.\\n \\nDaryl Hine\\n00:02:48\\nReads “Four Fabulary Satires” part III from The Carnal and the Crane.\\n \\nDaryl Hine\\n00:04:51\\nAnd the fourth satire.\\n \\nDaryl Hine\\n00:04:53\\nReads “Four Fabulary Satires” part IV from The Carnal and the Crane.\\n \\nDaryl Hine\\n00:06:56\\nThe other poem that I'll read from The Carnal and the Crane is a one-sided dialogue called \\\"A Bewilderment at the Entrance of the Fat Boy into Eden\\\". It's in four fairly distinct parts. They're more distinct than the ordinary stanzas in a poem.\\n \\nDaryl Hine\\n00:07:35\\nReads \\\"A Bewilderment at the Entrance of the Fat Boy into Eden\\\" from The Carnal and the Crane.\\n \\nDaryl Hine\\n00:10:52\\nA number of the poems in my next book, The Devil's Picture Book, were also written in Montreal, although the book was published about two years after I left Montreal and went to Europe. I'm going to read one of the longest poems in this book, which is called \\\"The Double-Goer\\\".\\n \\nDaryl Hine\\n00:11:41\\nReads \\\"The Double-Goer\\\" from The Devil’s Picture Book.\\n \\nDaryl Hine\\n00:16:31\\nImmediately following that poem in The Devil's Picture Book, which I feel is very accurately titled, immediately after that poem is another much shorter, and...perhaps not really simpler poem on the same subject, the subject which seemed to preoccupy me a great deal at the time and I'm glad to say no longer does. This poem is a villanelle, and it's called \\\"The Black Swan\\\".\\n \\nDaryl Hine\\n00:17:12\\nReads \\\"The Black Swan\\\" from The Devil’s Picture Book.\\n \\nDaryl Hine\\n00:18:38\\nThere's a...poem in The Wooden Horse that deals also, perhaps, I think, with the same subject, but in a different way, and at a different stage. It's called \\\"The Ouija Board\\\".  It may be that some of you don't know what an ouija board is, in any case, this one wasn't a real ouija board. We made it up using a teacup, an inverted, as I remember, cracked, willow-patterned teacup, on a round circular table top. Four of us operated this by placing a single finger each on the teacup, and we cut out letters of the alphabet and placed them around the table. I did this in company with a friend of mine who's done it for many years, and has developed such perfect communication with the other side that instead of getting the usual scrambled answers that people get in these attempted communications, he gets extremely long, involved, and very literate answers, rather in the style of his own prose writing....[audience laughter] which all purport, or most of them purport to come from a Greek or Roman character called, in this poem Io, he's actually called Ephraim, although perhaps I shouldn't mention it. Anyway, this is about a session with the teacup.\\n \\nDaryl Hine\\n00:20:15\\nReads “The Ouija Board” from The Wooden Horse. \\n \\nDaryl Hine\\n00:21:54\\nPerhaps as an alternative to all of this tinkering with the other side, I'll read a poem that is, most of it, very much about this side, called \\\"Bluebeard's Wife\\\".\\n \\nDaryl Hine\\n00:22:21\\nReads \\\"Bluebeard's Wife\\\" from The Wooden Horse.\\n \\nDaryl Hine\\n00:25:46\\nThe last poem I'll read from The Wooden Horse is the last poem in The Wooden Horse, and I beg your indulgence, as it's a trifle long. It's called \\\"The Wave\\\".\\n \\nDaryl Hine\\n00:26:17\\nReads \\\"The Wave” from The Wooden Horse.\\n \\nDaryl Hine\\n00:31:01\\nFour years ago I came back to Montreal on my first visit since I left rather quietly in 1958, and spent the next year after this return visit, which was very pleasant, although very brief, struggling with a poem which I think perhaps is still not quite finished, but I think will go either in this form or some other form into the next book. It's a poem, of course, about the impossibility of writing an autobiographical poem. And it's called \\\"The Apology\\\".\\n \\nDaryl Hine\\n00:31:56\\nReads \\\"The Apology\\\" [published later in Minutes]. \\n\\nDaryl Hine\\n00:35:53\\nWell, I've returned to other places than Montreal [audience laughter], and two summers ago I went back just for the summer to Paris [https://www.wikidata.org/wiki/Q90], where I lived for something more than, between three and four years, and I didn't like it very much. And these are two poems from a series that I wrote about not liking it. This one is called \\\"The Marché aux Puces and the Jardin des Plantes\\\"- the Marché aux Puces is of course the flea market, and the Jardin des Plantes is the botanical and zoological gardens, where I spent, in one place or other I spent most of my afternoons, that rather boring summer in Paris. Having the habit of working in the morning.\\n \\nDaryl Hine\\n00:36:53\\nReads \\\"The Marché aux Puces and the Jardin des Plantes\\\" [published later in Minutes; audience laughter throughout]. \\n \\nDaryl Hine\\n00:38:17\\nWell, I think perhaps I'll read three of these [inaudible]. The next one will seem familiar to, I'm sure, many of you. I haven't quite decided on a title, it might be called \\\"Jardin des Gourmets\\\", or it might be called \\\"Rendez-vous des routiers\\\" or something like that, it's about a certain sort of French restaurant.\\n \\nDaryl Hine\\n00:38:42\\nReads \\\"Le Rendezvous des Gourmets\\\" [published later in Minutes; audience laughter throughout].\\n \\nDaryl Hine\\n00:40:18\\nAnd this poem isn't quite as funny [audience laughter], not that I really thought the last one was, but this one is really about Henry James' [https://www.wikidata.org/wiki/Q170509] novel, The Ambassadors [https://www.wikidata.org/wiki/Q650571]. It's also, of course, about being in any town in the off season, in this case, Paris, and of course, Paris in August is emptier than anywhere I've ever been. But, I imagine that other places in their off seasons are the same. It's called \\\"Clôture annuelle\\\".\\n \\nDaryl Hine\\n00:40:57\\nReads \\\"Clôture annuelle\\\" [published later in Minutes].\\n\\nDaryl Hine\\n00:42:19\\nI also, this year, or was it last, returned to my place of origin, British Columbia [https://www.wikidata.org/wiki/Q1974]. A [inaudible] which will be familiar to some of you as the site of the University of British Columbia [https://www.wikidata.org/wiki/Q391028], I don't mean the University by any of the architectural things I mention in this poem, but I'm talking about the beach, a very beautiful, barren Pacific beach that lies below Point Grey [https://www.wikidata.org/wiki/Q16898567]. \\n \\nDaryl Hine\\n00:43:05\\nBegins to read unnamed poem.\\n \\nDaryl Hine\\n00:43:10\\nWell...[shuffles paper] I'll read another version, I think. Excuse me. \\n \\nDaryl Hine\\n00:43:18\\nReads [“Point Grey”; published later in Minutes].\\n \\nDaryl Hine\\n00:45:03\\nReads unnamed poem.\\n \\nDaryl Hine\\n00:46:12\\nThe last poem I'll read, if I can find it...it is called...\\\"The Trout\\\".\\n \\nDaryl Hine\\n00:46:50\\nReads \\\"The Trout\\\" [published later in Minutes].\\n \\nAudience\\n00:48:41\\nApplause.\\n \\nAnnouncer\\n00:48:59\\nI want to thank Mr. Hine and also announce that the next reading is on January 26th, by the American poet John Logan [https://www.wikidata.org/wiki/Q6245151].\\n \\nEND\\n00:49:12\\n\",\"notes\":\" Daryl Hine reads from The Carnal and the Crane (McGill Poetry Series by Contact Press, 1957), The Devil’s Picture Book (Abelard, 1960), and The Wooden Horse (Atheneum, 1965), as well as poems published later in Minutes (Atheneum, 1968).\\n\\n00:12- Unknown (female- perhaps Wynne Francis?) introduces Daryl Hine [INDEX: met in New York, McGill University, Vancouver (b. 1936), Northern Review, Contemporary Verse, books Five Poems (Emblem Books, 1955), The carnal and the crane (McGill Poetry Series by Contact Press, 1957), international career, traveling in Europe and the U.S., books The Devil’s Picture Book (Abelard, 1960), The Wooden Horse (Atheneum, 1965), The Prince of Darkness (Abelard-Schuman, 1961), Polish Subtitles (Abelard-Schuman,1962), next publication: Minutes (Atheneum, 1975), teaching at the University of Chicago, Toronto.]\\n02:11- Daryl Hine introduces “Four Fabulary Satires” part III. [INDEX: first line “Bee, at the end of your famous garden, admonished...”; poems written in Montreal, poems in “second” book (actually first); from The Carnal and the Crane (McGill Poetry Series,   \\t1957).]\\n02:48- Reads “Four Fabulary Satires” part III. [INDEX: garden, nature, bee, poppy,    hollyhock, time, rhetoric, language, orator, grasshopper, ant, grammar; Duration: 02:03.]\\n04:51- Introduces “Four Fabulary Satires” Part IV. [INDEX: fourth satire; from The Carnal and the Crane (McGill Poetry Series, 1957)]\\n04:53- Reads “Four Fabulary Satires” Part IV.\\n06:56- Introduces “A Bewilderment at the Entrance of the Fat Boy into Eden”. [INDEX:   one-sided dialogue, four parts, rather than stanzas; from The Carnal and the Crane    (McGill Poetry Series, 1957).]\\n07:35- Reads “A Bewilderment at the Entrance of the Fat Boy into Eden”. [INDEX: boy,   demons, paradise, money, angel, sleep, art, Hamlet, duality; duration: 03:17.]\\n10:52- Introduces “The Double-Goer”. [INDEX: number of poems in The Devil’s Picture Book (Abelard, 1960) written in Montreal, left Montreal for Europe, longest poem in the book.]\\n11:41- Reads “The Double-Goer”. [INDEX: lyric, error, crime, art, heart, half, double, heaven, earth, duality, day, single, sleeper, dream, sublime, careless; from The Devil’s Picture Book (Abelard, 1960), duration 04:50; Howard Fink list “The Double Door”.]\\n16:31- Introduces “The Black Swan”. [INDEX: title of The Devil’s Picture Book, poem following “The Double-goer” is shorter, subject matter, villanelle; from The Devil’s       \\tPicture Book (Abelard, 1960).]\\n17:12- Reads “The Black Swan”. [INDEX: nature, air, water, swan, villanelle, guilt, lover, fair, duality; from The Devil’s Picture Book (Abelard, 1960), duration 01:26.]\\n18:38- Introduces “The Ouija Board”. [INDEX: from The Wooden Horse (Atheneum, 1965), deals with similar subject to “The Black Swan” but at different stage, ouija board, self-made ouija board out of willow-patterned teacup, on table, four people operating it,   literate answers, prose writing, Greek or Roman character called Io or Ephraim.]\\n20:15- Reads “The Ouija Board”. [INDEX: ouija board, voices, spirit, questions, answers, dialogue, glass, grave, death, other side, other world, love; duration 01:38.]\\n21:54- Introduces “Bluebeard’s Wife”. [INDEX: about the other side; from The Wooden Horse (Atheneum, 1965)]\\n25:46- Reads “Bluebeard's Wife”. [INDEX: Bluebeard, myth, fairy tale, wife, objects, summer, nature, air, alone, artifice, rooms; from The Wooden Horse (Atheneum, 1965); duration 02:24.]\\n26:17- Reads “The Wave”. [INDEX: day, Sunday, sea, tide, beach, write, event, documentation, earthquake, death, flood, God; from unknown source; duration 03:45.]\\n31:01- Introduces “The Apology”. [INDEX: first trip to Montreal since 1958, came back with idea for this poem, not in finished form, about the impossibility of writing an      \\tautobiographical poem, published in next book of poetry; first published in Minutes         \\t(Atheneum, 1968). Note: possible differences in published version?]\\n31:56- Reads “The Apology”. [INDEX: apology, time machine, woman, school, poem,   machine, mechanical, reader, verse, silence, experience, meaning, poet; duration 03:57.]\\n35:53- Introduces “The Marche aux puces and the Jardin des Plantes”. [INDEX: return to Paris, lived there for 3-4 years, poem about not liking Paris, Marche aux puces is a flea   market, Jardin des Plantes is the botanical and zoological gardens, summer in Paris, working in the morning; from Minutes (Atheneum, 1968).]\\n36:53- Reads “The Marche aux Puces and the Jardins des Plantes”. [INDEX: art, beauty, zoo, flea market, metro, cities, Paris; duration 01:22.]\\n38:17- Introduces unknown poem, first line “The price is fixed...”. [INDEX: possible titles    “Jardin des Gourmets” or “Rendez-vous des routiers”, about French Restaurant;    published as “Le Rendezvous des Gourmets” in Minutes (Atheneum, 1968).]\\n38:42- Reads unknown poem, first line “The price is fixed...”. [INDEX: restaurant, food, soup, menu, bread, sacrament, Last Supper, remembrance; duration 01:34.]\\n40:18- Introduces “Clôture annuelle”. [INDEX: Henry James’ novel, The Ambassadors, being   in a town in the off-season, Paris in August; from Minutes (Atheneum, 1968).]\\n40:57- Reads “Clôture annuelle”. [INDEX: cities, Paris, August, emptiness, solitude, weather, summer, winter, stranger, life; duration 01:22.]\\n42:19- Introduces unknown poem, first line “Brought up as I was to judge the weather...”. [INDEX: returning to B.C., University of British Columbia, barren beach below Point Grey; published as “Point Grey” in Minutes (Atheneum, 1968).]\\n43:05- Begins to read “Brought up as I was to judge the weather...”.\\n43:10- Interrupts reading to read a different version.\\n43:18- Reads “Brought up as I was to ask of the weather...”. [INDEX: cities, Vancouver,    beach, water, mountains, rain, weather, concrete, guilt, waves, beauty.]\\n45:03- Reads “Antaeus, when once separated from the ground...”. [INDEX: myth, Antaeus, Hercules, gravity, love, suffering; from unknown source.]\\n46:12- Introduces “The Trout”. [INDEX: from Minutes (Atheneum, 1968).]\\n46:50- Reads “The Trout”. [INDEX: water, fish, prison, reality, music, cycles, death, pattern, paradise; duration 01:48.]\\n48:59- Unknown male announcer makes announcement of next reading [INDEX: January 26, American poet John Logan.]\\n\\nHoward Fink List: Print catalogue page from archives contains the following information:\\n\\nTitle: Daryl Hine reading his own poetry\\nDate: December 1, 1969\\nSource: one, two-track, 7” tape, 3 ¾, lasting 55 mins.\\n \\n1. Title:  \\n    First line: “Be, at the end of your famous garden…”\\n2. Title:              \\n    First line: “The fox and the crow…”\\n3. Title: A Bewilderment of the Entrance of the Fat Boy into Eden\\n    First line: “Not knowing…”\\n4. Title: The Double Door\\n    First line: “All that I do is…”\\n5. Title: The Black Swan\\n    First line: “Confused between the water and the air…”\\n6. Title: Ouija Board\\n    First line: “The wood that they prefer to walk…”\\n7. Title: Bluebeard’s Wife\\n    First line: “Impatiently she tampered with”\\n**Note inserted in archived print catalogue: -between poems #7 and #8; The Wave\\nFirst line: “Suddenly it was quiet as a Sunday”\\n8. Title: The Apology\\n    First line:“The time machine”\\n9. Title:              \\n    First line:“There are too many hours in a day”\\n10. Title:              \\n      First line: “The price is fixed…”\\n11. Title:              \\n      First line: “X, in August…”\\n12. Title:              \\n      First line: “Brought up as I was…”\\n13. Title: The Trout\\n      First line: “The water…”\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/daryl-hine-at-sgwu-1967/\"}]"],"score":1.9338971},{"id":"1267","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["John Logan at Sir George Williams University, The Poetry Series, 26 January 1968"],"item_title_source":["Cataloguer"],"item_title_note":["\"JOHN LOGAN I006/SR163\" written on sticker on the spine of the tape's box. \"I006-11-163\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Logan, John"],"creator_names_search":["Logan, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/85933786\",\"name\":\"Logan, John\",\"dates\":\"1923-1987\",\"notes\":\"Poet John Logan was born in Red Oak, Iowa. Logan earned a B.Sc. in zoology at Coe College and earned an M.A. in English at the University of Iowa. Later he pursued more graduate work at Georgetown University and at the University of Notre Dame. He taught English at St. John’s College in Maryland and at the University of Notre Dame, finally settling in as a professor at the State University of New York in Buffalo. He married, and fathered nine children but divorced later on in his life. His first of fourteen publications was Cycle for Mother Cabrini (Grove Press), published in 1955. Two collections followed, Ghosts of the Heart: New Poems (University of Chicago Press) in 1960 and Spring of the Thief: Poems 1960-1962 (Knopf) in 1963. In 1969, Logan published a selection of his poems written since 1963 in The Zig-Zag Walk: Poems 1963-1968 (E.P. Dutton), and in 1973 The Anonymous Lover: New Poems (Liveright) came out. The bridge of change: poems, 1974-1980 (BOA Editions) was published in 1981, along with Only the dreamer can change the dream (Ecco Press, 1981), which won the Lenore Marshall Poetry Prize the following year. Logan’s prose was collected in A Bullet for the Ear: Interviews, Essays and Reviews (Ann Arbor, 1983) edited by A. Poulin, Jr. Logan received a Rockefeller Foundation grant, Morton Dauwen Zabel Award, Guggenheim Fellowship, and a Wayne State University’s Miles Modern Poetry Prize. He was the poetry editor of The Nation and Critic, and founded Choice magazine. John Logan died in 1987, and his poetry was published posthumously in The Collected Poems (BOA Editions) in 1989.\\n\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1968],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"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"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1968 1 26\",\"type\":\"Performance Date\",\"notes\":\"Date specified in \\\"Georgantics\\\" by Marty Charny\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Marty Charny (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["John Logan reads from Ghosts of the Heart: New Poems (University of Chicago Press, 1960) and The Zigzag Walk: Poems; 1963-1968 (Dutton, 1969)."],"contents":["john_logan_i006-11-163.mp3\n\nJohn Logan\n00:00:00\nReads “Eight Poems on Portraits of the Foot” [recording begins abruptly].\n \nJohn Logan\n00:03:37\nNow, can you see over there? I'm still concerned about the situation of the lights. Light's one of the big problems in poetry. [Audience laughter]. This is \"Two Preludes for La Push\", and it’s dedicated to Michael Ross [https://www.wikidata.org/wiki/Q21280686]. It was written when I was teaching [Wetky's (?)] courses a couple of years ago in Seattle [https://www.wikidata.org/wiki/Q5083] for a couple of quarters. The physical beauty of the North West got me very involved and I wrote a number of poems about it, of which this was the first. La Push [https://www.wikidata.org/wiki/Q554902], Washington [https://www.wikidata.org/wiki/Q1223] is a city on the coast--city, no it's a hamlet on the coast, very poverty stricken Indian populated, really a ruined community with dead cars lying around and houses falling apart, but in the summer many people come there because of its superb beauty. I found that I couldn't write about the Indian community, I wrote rather about the sea and myself.\n \nJohn Logan\n00:05:38\nReads \"Two Preludes for La Push\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:07:48\nI'm sorry it bothers me when people come in late, I'm temperamental about that, you'll just have to excuse me. It's not that they're late, you know, it has no respect for the poem, they could wait until it's over. I'll go back to the second part.\n \nJohn Logan\n00:08:13\nResumes reading \"Two Preludes for La Push\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:10:57\nThis is another poem about a superb place in the North West called Deception Pass [https://www.wikidata.org/wiki/Q1181773], which is a pass really--a water pass between islands, Deception Island [https://www.wikidata.org/wiki/Q49636439] is the name of the poem which the poem takes its name.\n \nJohn Logan\n00:11:39\nReads \"The Pass\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:13:32\nI lived on a houseboat for a while, in Seattle, which I certainly think that everybody who considers going to Seattle ought to do. In fact, I was living on a houseboat when the tidal wave struck in the spring of that year. That is a marvelous thrill, it woke me up. I became friends with ducks there, I was living alone, and the poem is partly about that. \"Three Moves in Six Months\". You'll have to forgive me, I don't have this poem with me, I wanted to remember it, I'll see if I can.\n \nJohn Logan\n00:14:29\nReads \"Three Moves\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:15:45\nI'm sorry, I can't remember this poem now. I'll try it again in the second half of the program, I'm screwing it up. [Audience laughter]. I'll read you another poem, I'll try that one later. This is called \"Poem, Slow to Come, on the Death of Cummings, (1896-1962)\". There are two epigraphs, one from a student of mine who said  \"I care more about strawberries than about death\", and one from Rilke [https://www.wikidata.org/wiki/Q76483], who wrote \"Heir, es ist zeit\".\n \nJohn Logan\n00:16:43\nReads \"Poem, Slow to Come, on the Death of Cummings, (1896-1962)\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:22:27\nI'll read one more poem then would like to take a break, and begin again. It's called \"Love Poem\". I said that as though it didn't matter that it's called that. It does.\n \nJohn Logan\n00:23:17\nReads \"Love Poem\" [published later in The Zigzag Walk].\n\nAudience \n00:25:35 \nApplause.\n\nUnknown\n00:25:49\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nUnknown\n00:25:50\nAmbient Sound [voices].\n\nJohn Logan\n00:26:27\nI was just asked to read another, earlier poem, which I'm glad to do. Why not? I still like this poem. Then I'll come back and read some more recent things. Did we decide we'll try this without the lamp at all? I think we did, because it seems to get in the way of people. I think that people are more important than I am. Is that worse? Probably if you can't see me it should be marvelous. It’s called \"A Trip to Four or Five Towns\" and I dedicated it to James Wright [https://www.wikidata.org/wiki/Q6145850], simply because he liked it. There's a reference toward the end of the poem to a visit to William Carlos Williams [https://www.wikidata.org/wiki/Q178106], and there's also a reference to a story about e.e. cummings [https://www.wikidata.org/wiki/Q298703], told by Charles Norman in his biography of cummings about a long night spent at [Archebold (?)] and [unintelligible] with them living in France [https://www.wikidata.org/wiki/Q142], cummings was working for the New York Herald Tribune [https://www.wikidata.org/wiki/Q532494], I think, perhaps another New York [https://www.wikidata.org/wiki/Q60] paper, there aren't that many. But on the way back from the party, cummings had the urge to take a leak, and so he did so, but it was Champs-Élysées [https://www.wikidata.org/wiki/Q550] or some extraordinary [audience laughter] place like that and the cops saw him. They brought him to jail, and they said, 'You piss on Paris [https://www.wikidata.org/wiki/Q90]' [audience laughter]. He said, 'No ,it's not the point, I just had to take a leak', but they kept him there the whole night and when he finally got back to his office in the morning they had signs posted up around, which said--and I don't read French, I'm sorry because I know that many of you know French--but it was something like this, “[unintelligible] pisseur Americain”, which I guess translated \"Let the American pisser go\". [Audience laughter]. This was \"A Trip to Four or Five Towns”.\n \nJohn Logan\n00:29:01\nReads \"A Trip to Four of Five Towns\" [from Ghosts of the Heart]..\n \nJohn Logan\n00:38:34\nI realize reading the poem now how dated it is with the reference to the capital of [Viscount(?)] claim, which sold out some time ago to I don't know, somebody that sold out to somebody else. Williams by the way, did not read his Sixteen new poems, he had them, but he couldn't read them because he'd had a stroke and had never heard them. I visited him with Galway Kinnell [https://www.wikidata.org/wiki/Q2425705], and he asked us to read the poems, and we did. But I thought that, you know, one of the great things about poetry is that you can make it the way that it should be, so I had him read the poems. This is \"Big Sur: Partington Cove\". I went with a couple of students to, well we were in the Big Sur [https://www.wikidata.org/wiki/Q859413], and this is a very hidden place, Partington Cove [https://www.wikidata.org/wiki/Q21551591]. A marvelous place, accessible only by a tunnel shored up by ancient timbers, I feel I am sort of repeating the poem by telling you this, but there is such a cove, and you can only reach it through a tunnel, it's very beautiful. Smugglers used the cove and a cave nearby to hide booze during the prohibition, it was used for other purposes before and since, and there are--well why not? [Audience laughter]. But you can't get there at all now, I tried to revisit when I was back there last spring, but it's all roped off. And even the one time I did get to go there, there was a sign that was supposed to scare you away. The, one of the motivating things behind the poem was my understanding for the first time of what happens in some paintings that a friend of mine Jim Johnson [https://www.wikidata.org/wiki/Q100239918] does, where he uses combinations of landscape and the human body. He will have for example, mountains coming off an arm, and the figure of a clown. I had an experience which this poem talks about that made me see for the first time the kind of rapport between body and landscape. It was important to me, and part of what happens to the poem.\n \nJohn Logan\n00:41:54\nReads \"Big Sur: Partington Cove\" [published later in The Zigzag Walk].\n \nJohn Logan\n00:50:45\nReads \"Three Moves\" [in full, published later in The Zigzag Walk].\n\nAudience\n00:53:56 \nApplause. \n\nJohn Logan\n00:53:56\nI'm glad I finally read a poem you liked. [Laughter]. I'll read two more, they're both new, one is fairly long and one is fairly short. This one is called “Lines on Locks (or Jail and the Erie Canal)”. It's based on an experience of being in jail along the Erie Canal [https://www.wikidata.org/wiki/Q459578]. The name of the town is Herkimer [https://www.wikidata.org/wiki/Q3134036], New York [audience laughter] and I guess I won't go into the background of it, it's not that interesting. But it was written there. Not long ago.\n \nJohn Logan\n00:55:00\nReads \"Lines on Locks (or Jail and the Erie Canal)\" [published later in The Zigzag Walk].\n \nJohn Logan\n01:02:31\nAnd finally, read \"The Search\". Which is my most recent poem. If you knew how few poems there have been lately, that would mean more but...\n \nJohn Logan\n01:03:03\nReads \"The Search\" [published later in The Zigzag Walk].\n\nAudience \n01:07:31\nApplause.\n\nJohn Logan\n01:07:48\nThank you [audience applause continues throughout].\n\nIntroducer\n01:08:04\nThanks very much John [https://www.wikidata.org/wiki/Q6245151], just several announcements before we go. Fred Cogswell [https://www.wikidata.org/wiki/Q5494855], who is visiting us this year, has been invited by the Sir George Williams Student Literary Society to read his poetry, next Friday evening, in the students' lounge on the sixth floor. Jorge Luis Borges [https://www.wikidata.org/wiki/Q909], the distinguished--[audience laughter] you're not making it easier--the distinguished author will be coming here, to Sir George Williams [https://www.wikidata.org/wiki/Q326342], on Thursday February the 29th and I think I have this right. He's changed the title of his talk, it will be \"Beginnings of English Poetry\". Our next reading, John Newlove [https://www.wikidata.org/wiki/Q6250356] and Joe Rosenblatt [https://www.wikidata.org/wiki/Q1691575], two weeks from...\n\nUnknown\n01:09:05\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nUnknown\n01:09:06\nAmbient Sound [voices]. \n\nEND\n01:09:14\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1968, John Logan was an English Professor at State University New York in Buffalo. He was working on The Zig-Zag Walk: Poems 1963-1968, which was published in 1969.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections: \\n\\nJohn Logan’s direct connection to Montreal or Sir George Williams University is unknown at this point. Logan was, however, an important and influential American poet and professor at State University of New York.\\n\",\"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>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/john-logan-at-sgwu-1968/\",\"citation\":\"Charny, Marty. “Georgiantics.” The Georgian. Montreal: Sir George Williams University, 26 January 1968. \"},{\"url\":\"https://www.worldcat.org/title/ghosts-of-the-heart/oclc/328409781?referer=di&ht=edition\",\"citation\":\"Logan, John. Ghosts of the Heart. Chicago: University of Chicago Press, 1960.\"},{\"url\":\"https://www.worldcat.org/title/zig-zag-walk/oclc/251231523?referer=di&ht=edition\",\"citation\":\"Logan, John. The Zigzag Walk: Poems; 1963-1968. New York: Dutton, 1969.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Logan, John\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press 1995.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Butscher, Edward. \\\"Logan, John\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"http://www.poets.org/poet.php/prmPID/286\",\"citation\":\"“John Logan”. Poets.org: Poetry, Poems, Bios & More. The Academy of American Poets, 2009.\"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George University, Spring 1967, page 20. \"}]"],"_version_":1853670548833304576,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0163_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0163 back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Logan 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_0163_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0163 front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Logan 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_0163_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0163 side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Logan 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_0163_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0163_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Logan 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/john_logan_i006-11-163.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"john_logan_i006-11-163.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:09:14\",\"precision\":\"\",\"size\":\"166.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"John Logan\\n00:00:00\\nReads “Eight Poems on Portraits of the Foot” [recording begins abruptly].\\n \\nJohn Logan\\n00:03:37\\nNow, can you see over there? I'm still concerned about the situation of the lights. Light's one of the big problems in poetry. [Audience laughter]. This is \\\"Two Preludes for La Push\\\", and it’s dedicated to Michael Ross [https://www.wikidata.org/wiki/Q21280686]. It was written when I was teaching [Wetky's (?)] courses a couple of years ago in Seattle [https://www.wikidata.org/wiki/Q5083] for a couple of quarters. The physical beauty of the North West got me very involved and I wrote a number of poems about it, of which this was the first. La Push [https://www.wikidata.org/wiki/Q554902], Washington [https://www.wikidata.org/wiki/Q1223] is a city on the coast--city, no it's a hamlet on the coast, very poverty stricken Indian populated, really a ruined community with dead cars lying around and houses falling apart, but in the summer many people come there because of its superb beauty. I found that I couldn't write about the Indian community, I wrote rather about the sea and myself.\\n \\nJohn Logan\\n00:05:38\\nReads \\\"Two Preludes for La Push\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:07:48\\nI'm sorry it bothers me when people come in late, I'm temperamental about that, you'll just have to excuse me. It's not that they're late, you know, it has no respect for the poem, they could wait until it's over. I'll go back to the second part.\\n \\nJohn Logan\\n00:08:13\\nResumes reading \\\"Two Preludes for La Push\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:10:57\\nThis is another poem about a superb place in the North West called Deception Pass [https://www.wikidata.org/wiki/Q1181773], which is a pass really--a water pass between islands, Deception Island [https://www.wikidata.org/wiki/Q49636439] is the name of the poem which the poem takes its name.\\n \\nJohn Logan\\n00:11:39\\nReads \\\"The Pass\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:13:32\\nI lived on a houseboat for a while, in Seattle, which I certainly think that everybody who considers going to Seattle ought to do. In fact, I was living on a houseboat when the tidal wave struck in the spring of that year. That is a marvelous thrill, it woke me up. I became friends with ducks there, I was living alone, and the poem is partly about that. \\\"Three Moves in Six Months\\\". You'll have to forgive me, I don't have this poem with me, I wanted to remember it, I'll see if I can.\\n \\nJohn Logan\\n00:14:29\\nReads \\\"Three Moves\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:15:45\\nI'm sorry, I can't remember this poem now. I'll try it again in the second half of the program, I'm screwing it up. [Audience laughter]. I'll read you another poem, I'll try that one later. This is called \\\"Poem, Slow to Come, on the Death of Cummings, (1896-1962)\\\". There are two epigraphs, one from a student of mine who said  \\\"I care more about strawberries than about death\\\", and one from Rilke [https://www.wikidata.org/wiki/Q76483], who wrote \\\"Heir, es ist zeit\\\".\\n \\nJohn Logan\\n00:16:43\\nReads \\\"Poem, Slow to Come, on the Death of Cummings, (1896-1962)\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:22:27\\nI'll read one more poem then would like to take a break, and begin again. It's called \\\"Love Poem\\\". I said that as though it didn't matter that it's called that. It does.\\n \\nJohn Logan\\n00:23:17\\nReads \\\"Love Poem\\\" [published later in The Zigzag Walk].\\n\\nAudience \\n00:25:35 \\nApplause.\\n\\nUnknown\\n00:25:49\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nUnknown\\n00:25:50\\nAmbient Sound [voices].\\n\\nJohn Logan\\n00:26:27\\nI was just asked to read another, earlier poem, which I'm glad to do. Why not? I still like this poem. Then I'll come back and read some more recent things. Did we decide we'll try this without the lamp at all? I think we did, because it seems to get in the way of people. I think that people are more important than I am. Is that worse? Probably if you can't see me it should be marvelous. It’s called \\\"A Trip to Four or Five Towns\\\" and I dedicated it to James Wright [https://www.wikidata.org/wiki/Q6145850], simply because he liked it. There's a reference toward the end of the poem to a visit to William Carlos Williams [https://www.wikidata.org/wiki/Q178106], and there's also a reference to a story about e.e. cummings [https://www.wikidata.org/wiki/Q298703], told by Charles Norman in his biography of cummings about a long night spent at [Archebold (?)] and [unintelligible] with them living in France [https://www.wikidata.org/wiki/Q142], cummings was working for the New York Herald Tribune [https://www.wikidata.org/wiki/Q532494], I think, perhaps another New York [https://www.wikidata.org/wiki/Q60] paper, there aren't that many. But on the way back from the party, cummings had the urge to take a leak, and so he did so, but it was Champs-Élysées [https://www.wikidata.org/wiki/Q550] or some extraordinary [audience laughter] place like that and the cops saw him. They brought him to jail, and they said, 'You piss on Paris [https://www.wikidata.org/wiki/Q90]' [audience laughter]. He said, 'No ,it's not the point, I just had to take a leak', but they kept him there the whole night and when he finally got back to his office in the morning they had signs posted up around, which said--and I don't read French, I'm sorry because I know that many of you know French--but it was something like this, “[unintelligible] pisseur Americain”, which I guess translated \\\"Let the American pisser go\\\". [Audience laughter]. This was \\\"A Trip to Four or Five Towns”.\\n \\nJohn Logan\\n00:29:01\\nReads \\\"A Trip to Four of Five Towns\\\" [from Ghosts of the Heart]..\\n \\nJohn Logan\\n00:38:34\\nI realize reading the poem now how dated it is with the reference to the capital of [Viscount(?)] claim, which sold out some time ago to I don't know, somebody that sold out to somebody else. Williams by the way, did not read his Sixteen new poems, he had them, but he couldn't read them because he'd had a stroke and had never heard them. I visited him with Galway Kinnell [https://www.wikidata.org/wiki/Q2425705], and he asked us to read the poems, and we did. But I thought that, you know, one of the great things about poetry is that you can make it the way that it should be, so I had him read the poems. This is \\\"Big Sur: Partington Cove\\\". I went with a couple of students to, well we were in the Big Sur [https://www.wikidata.org/wiki/Q859413], and this is a very hidden place, Partington Cove [https://www.wikidata.org/wiki/Q21551591]. A marvelous place, accessible only by a tunnel shored up by ancient timbers, I feel I am sort of repeating the poem by telling you this, but there is such a cove, and you can only reach it through a tunnel, it's very beautiful. Smugglers used the cove and a cave nearby to hide booze during the prohibition, it was used for other purposes before and since, and there are--well why not? [Audience laughter]. But you can't get there at all now, I tried to revisit when I was back there last spring, but it's all roped off. And even the one time I did get to go there, there was a sign that was supposed to scare you away. The, one of the motivating things behind the poem was my understanding for the first time of what happens in some paintings that a friend of mine Jim Johnson [https://www.wikidata.org/wiki/Q100239918] does, where he uses combinations of landscape and the human body. He will have for example, mountains coming off an arm, and the figure of a clown. I had an experience which this poem talks about that made me see for the first time the kind of rapport between body and landscape. It was important to me, and part of what happens to the poem.\\n \\nJohn Logan\\n00:41:54\\nReads \\\"Big Sur: Partington Cove\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n00:50:45\\nReads \\\"Three Moves\\\" [in full, published later in The Zigzag Walk].\\n\\nAudience\\n00:53:56 \\nApplause. \\n\\nJohn Logan\\n00:53:56\\nI'm glad I finally read a poem you liked. [Laughter]. I'll read two more, they're both new, one is fairly long and one is fairly short. This one is called “Lines on Locks (or Jail and the Erie Canal)”. It's based on an experience of being in jail along the Erie Canal [https://www.wikidata.org/wiki/Q459578]. The name of the town is Herkimer [https://www.wikidata.org/wiki/Q3134036], New York [audience laughter] and I guess I won't go into the background of it, it's not that interesting. But it was written there. Not long ago.\\n \\nJohn Logan\\n00:55:00\\nReads \\\"Lines on Locks (or Jail and the Erie Canal)\\\" [published later in The Zigzag Walk].\\n \\nJohn Logan\\n01:02:31\\nAnd finally, read \\\"The Search\\\". Which is my most recent poem. If you knew how few poems there have been lately, that would mean more but...\\n \\nJohn Logan\\n01:03:03\\nReads \\\"The Search\\\" [published later in The Zigzag Walk].\\n\\nAudience \\n01:07:31\\nApplause.\\n\\nJohn Logan\\n01:07:48\\nThank you [audience applause continues throughout].\\n\\nIntroducer\\n01:08:04\\nThanks very much John [https://www.wikidata.org/wiki/Q6245151], just several announcements before we go. Fred Cogswell [https://www.wikidata.org/wiki/Q5494855], who is visiting us this year, has been invited by the Sir George Williams Student Literary Society to read his poetry, next Friday evening, in the students' lounge on the sixth floor. Jorge Luis Borges [https://www.wikidata.org/wiki/Q909], the distinguished--[audience laughter] you're not making it easier--the distinguished author will be coming here, to Sir George Williams [https://www.wikidata.org/wiki/Q326342], on Thursday February the 29th and I think I have this right. He's changed the title of his talk, it will be \\\"Beginnings of English Poetry\\\". Our next reading, John Newlove [https://www.wikidata.org/wiki/Q6250356] and Joe Rosenblatt [https://www.wikidata.org/wiki/Q1691575], two weeks from...\\n\\nUnknown\\n01:09:05\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nUnknown\\n01:09:06\\nAmbient Sound [voices]. \\n\\nEND\\n01:09:14\\n\",\"notes\":\"John Logan reads from Ghosts of the Heart: New Poems (University of Chicago Press, 1960) and The Zigzag Walk: Poems; 1963-1968 (Dutton, 1969).\\n\\n00:00- Begins mid-sentence “...sperm in the womb quickens to a man...” from “Eight Poems on Portraits of the Foot”\\n03:37- John Logan introduces “Two Preludes for La Push” [INDEX: Michael Ross, teaching Wetky’s class [?], North West, Seattle, La Push Washington, Indian]\\n05:38- Reads “Two Preludes for La Push”\\n10:57- Introduces “The Pass” [INDEX: Deception Pass, North West]\\n11:39- Reads “The Pass”\\n13:32- Introduces “Three Moves” [partial reading] [INDEX: houseboat, ducks, Seattle]\\n14:29- Reads “Three Moves”\\n15:45- Introduces “Poem, Slow to Come, on the Death of Cummings (1896-1962)” [INDEX: explains epigraphs]\\n16:43- Reads “Poem, Slow to Come, on the Death of Cummings (1896-1962)”\\n22:27- Introduces “Love Poem”\\n23:17- Reads “Love Poem”\\n25:52- Introduces “A Trip to Four or Five Towns” [INDEX: James Wright, William Carlos Williams, e.e. cummings, Charles Norman, Archebold [?], France, New York Herald        Tribune, Champs Elysees]\\n29:01- Reads “A Trip to Four or Five Towns”\\n38:34- Explains “A Trip to Four or Five Towns”, introduces “Big Sur, Partington Cove” [INDEX: Capital of Viscount, William Carlos Williams, Galway Kinnell,Partington Cove, prohibition, artist Jim Johnson, relationship between body and landscape]\\n41:54- Reads “Big Sur, Partington Cove”.\\n50:45.20- END OF RECORDING\\n\\n00:00- John Logan reads “Three Moves” in full.\\n03:10- Introduces “Lines on Locks, or Jail on the Erie Canal” [INDEX: Herkimer, New      York]\\n04:14- Reads “Lines on Locks, or Jail on the Erie Canal”\\n11:46- Introduces “The Search”\\n12:18- Reads “The Search”\\n17:19- Unknown male announces next readings [INDEX: Fred Cogswell, Sir George Williams Student Literary Society, Jorge Luis Borges, John Newlove, Joe Rosenblatt]\\n18:29.44- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/john-logan-at-sgwu-1968/\"}]"],"score":1.9338971},{"id":"1268","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":["Joe Rosenblatt and John Newlove at Sir George Williams University, The Poetry Series, 9 February 1968"],"item_title_source":["Cataloguer"],"item_title_note":["\"JOE RESENBLATT I006/SR138\" written on sticker on the spine of the tape's box. JOE RESENBLATT refers to Joe Rosenblatt. RESENBLATT is mispelled. \"I006-11-138\" written on sticker on the reel.\n\n\"JOHN NEWLOVE I006/S2143\" written on sticker on the spine of the tape's box. I006-11-143 written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[I006-11-138, I006-11-143]"],"creator_names":["Rosenblatt, Joseph","Newlove, John"],"creator_names_search":["Rosenblatt, Joseph","Newlove, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/69752567\",\"name\":\"Rosenblatt, Joseph\",\"dates\":\"1933-\",\"notes\":\"Poet and artist Joe (Joseph) Rosenblatt was born in Toronto in 1933, where he attended Central Technical School, which he left in grade ten. After a decade of traveling across Canada, working labour jobs with the CPR, Rosenblatt published his first collection of poetry through a small press, called The voyage of the mood (Heinrich Heine Press, 1963). He received a Canada Council grant in 1963 to write and draw, and published The LSD Leacock (Coach House Press, 1966), which established Rosenblatt as a serious poet. Rosenblatt then began editing Jewish Dialog, a literary magazine, in 1969, which he continued until 1983. He then published The winter of the lunar moth (House of Anansi, 1968), a collection of drawings Greenbaum (Coach House Press, 1971), Bumblebee dithyramb (Press Porcepic, 1972), Dream craters (Press Porcepic, 1974), Virgins and vampires (McClelland and Stewart, 1975) and Top Soil (Press Porcepic, 1976) which won a Governor General’s Award. Rosenblatt continued to publish collections of drawings and poetry collections, including Doctor Anacoda’s solar fan club (Press Porcepic, 1978), Loosely tied hands: an experiment in punk (Black Moss Press, 1978), The sleeping lady (Exile Editions, 1979), Brides of the stream (Oolichan Books, 1983), a reconsidered history of Marxist government Beds and consenting dreamers (Oolichan Books, 1994) and The Joe Rosenblatt Reader (Exile Editions, 1995). Rosenblatt received the B.C. Book Prize in 1986 for Poetry Hotel (1986). Rosenblatt held several positions as writer in residence at the University of Western Ontario (1979-1980), as Visiting Lecturer at University of Victoria (1980-81), the Associate editor of the Malahat Review (1980-1982), the writer in residence at the Saskatoon Public Library (1985-86) and at the University of Rome and University of Bologna (1987). Rosenblatt also served as a literary consultant for Porcupine's Quill, Blackfish Press, McClelland and Stewart, the Canada Council and Oolichan Books. His collected works can be found in The voluptuous gardener: the collected art and writing of Joe Rosenblatt, 1973-1996 (Beach Holme Publishers, 1996). Rosenblatt lived in Qualicum Beach on Vancouver Island, and during that time, also published Parrot fever (Exile Editions, 2002), The lunatic muse (Exile, 2007) and Dog (Mansfield Press, 2008). Rosenblatt died in 2019 after finishing work on Bite Me! Musings on Monsters and Mayhem (The Porcupine's Quill, 2019).\\n\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/92277383\",\"name\":\"Newlove, John\",\"dates\":\"1938-2003\",\"notes\":\"Canadian poet John Newlove was born on June 13, 1938 in Regina, and was raised in Kamsack, Saskatchewan. He graduated from Kamsack College in 1956, and completed one year at the University of Saskatoon before touring and working in many cities across Canada. Newlove has worked as a school teacher in Birtle, Manitoba, as a social worker in Yorkton, Saskatchewan, at a radio station in Weyburn and in Regina, and as a clerk at the University of British Columbia bookstore. His first book of poetry is titled Grave Sirs (Robert Reid & Takao Tanabe, Vancouver, 1962), and is followed by Elephants, Mothers and Others (Periwinkle, 1963), Moving in Alone (Contact Press, 1965), What They Say (Weed/Flower, 1967), Black Night Window (McClelland & Stewart, 1968), The Cave (McClelland & Stewart, 1970), and Lies (McClelland & Stewart, 1972), which won a Governor General’s Award for Poetry. Newlove also worked as a writer-in-residence at the Regina Public Library, the University of Toronto, at Montreal’s Loyola College, and as an editor with McClelland & Stewart Publishing in Toronto between 1970 and 1974. Newlove then edited the McClelland & Stewart anthology Canadian Poetry: the modern era (1977), and published his own poetry in The fat man: selected poems 1962-1972 (McClelland & Stewart, 1977), The green plain (Oolichan Books, 1981), The night the dog smiled (ECW Press, 1986) and Apology for absence: Selected poems 1962-1992 (Porcupine’s Quill, 1993). Newlove taught writing at the David Thompson University Centre in Nelson, B.C. and as an editor for the Federal Commission of Official Languages in Ottawa. Newlove won the Saskatchewan Writer’s Guild Founders Award in 1984 and the Literary Press Group Award in 1986. Known and celebrated for bringing the Canadian Prairie into Canadian Literature, John Newlove died suddenly at the age of 65 on December 23, 2003.\",\"nation\":[],\"role\":[]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1968],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"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\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"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\":\"1968 2 9\",\"type\":\"Performance Date\",\"notes\":\"Date specified in \\\"Georgantics\\\" by Marty Charny\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Marty Charny (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Joe Rosenblatt reads from Winter of the Luna Moth (Anansi Press, 1968)] and The LSD Leacock (Coach House Press, 1966) and a few poems from unknown sources. John Newlove reads from Black Night Window (McClelland & Stewart, 1968), What They Say (Weed/Flower, 1967), Elephants, Mothers and Others (Periwinkle Press, 1963) and poems later published in The Cave (McClelland & Stewart, 1970). Most of these poems have been collected in The Fat Man: Selected Poems 1962-1972 (McClelland & Stewart, 1977)."],"contents":["joe_rosenblatt_i006-11-138.mp3 [File 1 of 2]\n \nRoy Kiyooka\n00:00:00\nGood evening. Hello, Mr. Bowering [https://www.wikidata.org/wiki/Q1239280]. [Audience laughter]. Well, welcome to the sixth reading of our second series of evenings with Canadian and American poets. Tonight we have Joe Rosenblatt [https://www.wikidata.org/wiki/Q1691575], Toronto [https://www.wikidata.org/wiki/Q172], and John Newlove [https://www.wikidata.org/wiki/Q6250356], formerly of Vancouver [https://www.wikidata.org/wiki/Q24639], now residing in Nova Scotia [https://www.wikidata.org/wiki/Q1952]. Joe Rosenblatt will begin the reading, there will be an intermission, and John Newlove will follow. I'm going to quote largely from the copy in Joe Rosenblatt's book, The LSD Leacock, for I hope servient biographical information. It goes like this, he was born in Toronto on December the 26th, nineteen hundred and thirty-three. He says that he has suffocated in Toronto ever since then. He attended the Central Technical School [https://www.wikidata.org/wiki/Q5061898] and dropped out in Grade 10, he has worked as a grave-digger, plumber's helper, civil servant, railway express misanthrope. He has attended the Provincial Institute of Trades where he acquired a diploma as a welder fitter, his favourite writers are Ambrose Biers, William Blake [https://www.wikidata.org/wiki/Q41513], Emily Dickinson [https://www.wikidata.org/wiki/Q4441], and A.M. Klein [https://www.wikidata.org/wiki/Q2778027], and his favourite dream, is Cyclops turning up at a [nigh-bank (?)]. [Audience laughter]. His previous book of poems, which was probably printed in nineteen hundred and sixty-three, is called Voyage of the Mood. Joe Rosenblatt.\n \nAudience\n00:02:27\nApplause.\n \nJoe Rosenblatt\n00:02:36\nWasn't that [unintelligible]. I'm just going to read, start off with a series of poems I had written about my uncle, who was a fishmonger. He had a habit of phyxiating and murdering fish, and slicing them, and slicing them, and...well, I'll start. This is called \"Uncle Nathan: Blessed his memory, speaketh in land-locked green\".\n \nJoe Rosenblatt\n00:03:11\nReads \"Uncle Nathan: Blessed his memory, speaketh in land-locked green\" [from Winter of the Luna Moth].\n\nAudience\n00:06:10\nApplause.\n \nJoe Rosenblatt\n00:06:16\n\"Ichthycide\". Another poem about my uncle. It's funny, really. [Audience laughter].\n \nJoe Rosenblatt\n00:06:29\nReads \"Ichthycide\" [from Winter of the Luna Moth].\n \nAudience\n00:08:05\nLaughter and applause .\n\nJoe Rosenblatt\n00:08:13\nThis is called \"A Shell Game\". Has to do with my uncle. [Audience laughter]. It's about his funeral.  Joke.\n \nJoe Rosenblatt\n00:08:27\nReads \"A Shell Game [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:09:42\nI wrote all kinds of poems. I was in Vancouver and I came across the god-awful logic of the zoo. It kinda scared the hell out of me. It was a bat. I've never seen a bat before. Met people who were bats. But this was the real McCoy, it was a fruit bat and it was hanging upside-down, you know, that's the way they live and they fornicate that way too, apparently, upside-down. So I wrote about bats. I have some more fish poems but I get tired of that after a while, you start hating it. And we'll begin with \"Bats\". While it's true the bat is a mammal, not a bird, there's all types of kinds of mythology based on prejudice about bats and which I've tried to embody in these poems. \n \nJoe Rosenblatt\n00:10:47\nReads \"Bats\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:11:32\nOutside of the bat poem there came a group of sound poetry. Because I tried to get the feeling of the bat in the air, you know the image of the bat and the way it, and the movements of the bat. And this is called \"The Fruit Bat\". First encounter with a bat.\n \nJoe Rosenblatt\n00:11:56\nReads \"The Fruit Bat\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:13:16\nThis is better. This is “The Bat Cage”.\n \nJoe Rosenblatt\n00:13:19\nReads “The Bat Cage” [from Winter of the Luna Moth]. \n \nJoe Rosenblatt\n00:14:39\nOh we're like bats to people. We used to have, I used to, when I was a kid I went to school and we had a music teacher who was a bit of a nut. She used to rap kids across the knuckles, you know, just to hear them singing. [Audience laughter]. I may have called her Mrs. Love, I can't recall, the trauma was too great. \n \nJoe Rosenblatt\n00:15:02\nReads “The Vampire” [from Winter of the Luna Moth].\n \nAudience\n00:15:48\nLaughter and applause.\n \nJoe Rosenblatt\n00:15:55\n\"The Zombie\". Just whistle when you get tired of these bat poems. Do anything you wanna do. \"The Zombie\". By the way, bats are supposed to be unkosher according to Leviticus [https://www.wikidata.org/wiki/Q41490]. It says all fowl that creep going upon all fours shall be an abomination unto you. But in other countries they're great appetizers, the fruit bat especially, and I have an interesting poem, not right now though. \"The Zombie\".\n \nJoe Rosenblatt\n00:16:26\nReads \"The Zombie\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:17:59\nI'll read one more bat poem, it's the sound thing, an experimental thing which I later developed...too many of these bats here. I wrote a Christmas poem on bats, too. Maybe I should read it. Dedicated to somebody. I'll read the sound poem. It's more important. \"The Butterfly Bat\". There is a butterfly bat. Hm, found in the Orient, a very beautiful bat, orange apparently, very beautiful though. \n \nJoe Rosenblatt\n00:18:43\nReads \"The Butterfly Bat\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:20:02\nReads \"Orpheus in Stanley Park\" [from Winter of the Luna Moth]. \n \nJoe Rosenblatt\n00:20:50\n\"Sex and Death\". This poem's for a friend of mine. \n \nJoe Rosenblatt\n00:20:54\nReads \"Sex and Death\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:21:48\nI should read the egg poems, because I don't think many of you have heard them, and I'll do that. You'd probably like them better than the bats. More meaningful. This is called \"Egg Sonata\".\n \nJoe Rosenblatt\n00:22:20\nReads \"Egg Sonata\" [from The LSD Leacock].\n \nAudience\n00:23:38\nLaughter and applause.\n \nJoe Rosenblatt\n00:23:44\nReads [\"Let the egg live\" (?)].\n \nUnknown\n00:24:56\nSilence [cut or edit made in tape. Unknown amount of time elapsed].\n \nJoe Rosenblatt\n00:24:59\nReads \"It's in the egg, in the little round egg\" [from The LSD Leacock].\n \nJoe Rosenblatt\n00:26:57\nOne more egg poem. [Audience laughter and applause]. This is a prose poem. It's called \"The Easter I got for Passover\". [Audience laughter]. It has to do with an argument, whether the body of Christ did not go to heaven, the moderator of the United Church of Canada [https://www.wikidata.org/wiki/Q198745] said yesterday, Right Reverend Ernest Marshall Howes told a press conference that he does not believe in the physical resurrection of Jesus but does believe in a spiritual resurrection. That's from the Globe and Mail [https://www.wikidata.org/wiki/Q43148750], 23rd of April, '65.\n \nJoe Rosenblatt\n00:27:46\nReads \"The Easter I got for Passover\" [from The LSD Leacock].\n \nAudience\n00:30:02\nApplause. \n \nJoe Rosenblatt\n00:30:10\nDo you want to read, John? Where is he? [Audience laughter]. Do you want me to come here? Yeah, okay. I'm getting down to my dirty poems, what am I going to do? I wrote a whole bunch of pornographic poetry, right. I'll read that for the end when the time's up. I wrote a poem to Che Guevara [https://www.wikidata.org/wiki/Q5809], if I can find the thing now, because I really muddled everything up here, oh here it is. It's called \"The Beehive: An Elegy to Che Guevara\".\n \nJoe Rosenblatt\n00:30:52\nReads \"The Beehive: An Elegy to Che Guevara\" [from Winter of the Luna Moth]. \n \nJoe Rosenblatt\n00:31:42\nA poem about a critic, “Fable”.\n \nJoe Rosenblatt\n00:31:47\nReads “Fable” [from Winter of the Luna Moth].  \n \nJoe Rosenblatt\n00:32:37\nI wrote another one about a critic, a friend of mine. It's called \"The Crab Louse\". I'll read it. [Audience laughter]. I think some of you may recognize him. \n \nJoe Rosenblatt\n00:32:47\nReads \"The Crab Louse\".\n \nJoe Rosenblatt\n00:33:25\nReads \"The Fire Bug Poet\".\n \nJoe Rosenblatt\n00:34:29\n\"How Mice Make Love,\" how'd this get in here? \"How Mice Make Love\".\n \nJoe Rosenblatt\n00:34:36\nReads \"How Mice Make Love\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:35:29\n\"The Electric Rose\".\n \nJoe Rosenblatt\n00:35:34\nReads \"The Electric Rose\" [from Winter of the Luna Moth].\n \nAudience\n00:37:13\nApplause.\n \nJoe Rosenblatt\n00:37:17\nShould I read on? Well this is a poem called \"Itch\". It's about that cat who, you know, in the world of the dead. And as usual I mucked up all the mythology, but it was too late to change the poem. So I said, what the hell. \n \nJoe Rosenblatt\n00:37:44\nReads \"Itch\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:41:51\nThere's a loathsome typographical error in here. That's what happens.\n \nJoe Rosenblatt\n00:41:56\nResumes reading \"Itch\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:43:20\n[Unintelligible] a more cheerful poem, if I can find one here. How about \"Cricket Love\"? I'll read one very early poem I wrote, \"Better She Dressed in a Black Garment\". \n \nJoe Rosenblatt\n00:43:39\nReads \"Better She Dressed in a Black Garment\" [from Winter of the Luna Moth].\n \nJoe Rosenblatt\n00:44:21\nThank you. \n \nAudience\n00:44:22\nApplause.\n \nRoy Kiyooka\n00:44:35\nThere'll be a fifteen minute inter- [cut off abruptly]. \n \nEND\n00:44:37\n\n\njohn_newlove_i006-11-143.mp3 [File 2 of 2]\n\nRoy Kiyooka\n00:00:00\nWell, it gives me a very special kind of pleasure to introduce John Newlove. An old and dear friend. We met in the fall of '61 in Vancouver, and both of us had come from Saskatchewan [https://www.wikidata.org/wiki/Q1989] to Vancouver. I think that some of John's most memorable early poems have to do with the fact of Saskatchewan.  It's perhaps not an exaggeration to say that the place does continue to haunt him, and hopefully that the exorcism is not complete and that we may get some more Saskatchewan poems. Subsequently, and this is still in Vancouver, we shared a studio, or rather, he shared my studio [audience laughter], for a period of little over a year. Now during this time, we played marathon games of chess, ate several hundred dozens of chocolate-coated Long Johns, scribbled poems, dribbled paint, drank cheap red wine...and read through at least a dozen five-foot shelves of great and lesser works of literature, not to mention the confusion of mice, drunken poets, women, painters, and assorted kooks who kept visiting us. Now, it was during this period that his first book, called Grave Sirs was printed, and I have in italics here \"more or less.\" If you want to know the history of that book, you can ask John. I think there must be fifty odd copies that are still unbound someplace. This was printed by Robert Reed. It was followed by a second, called Elephants, Mothers, and Others, done by Tak Tanabe, again in Vancouver, and subsequent to that, it was rumored that Robert Columbo had discovered John Newlove for Canadian poetry [audience laughter], when he collected some of his works together in an anthology called Poetry '64. Now. Following this, of course, Contact Press bought out his book, Moving in Alone, which was perhaps the book that brought him his first large-scale critical attention. Meanwhile, of course, I'd come here, and some time afterwards I received a book, a wee book, called...let's see. [Audience laughter]. Can't read my own printing here. What They Say. Yes, What They Say is a wee book of poems, it's made up of the rejects from his manuscript that he submitted to McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. McClelland and Stewart is to bring out his next book of poems called Black Night Window, when they get around to doing it. The manuscript has been in their hands for over twenty-four months. There has been much other activity which include three, two years and a third one coming up as poet in residence at Deep Springs [https://www.wikidata.org/wiki/Q5250324] in California [https://www.wikidata.org/wiki/Q99]. I want to conclude this little preamble by saying that at the time that John moved out of our studio, I took over this room that he slept in and wrote poetry in. The mattress in this room was about sixteen inches from the floor, and on two sides, on the wall, there was copious scribbling.  Most of it were quotations from Heraclitus [https://www.wikidata.org/wiki/Q41155] that he was reading at that time.\n \nAudience\n00:04:43\nApplause.\n \nJohn Newlove\n00:04:51\nThey weren't quotations from whoever, whatever Greek name that was you just made up, [audience laughter], they were from Herodotus [https://www.wikidata.org/wiki/Q26825]. And, Roy [https://www.wikidata.org/wiki/Q3445789] might have mentioned that, while I suppose technically you could say I was sharing the studio, I was paying half the rent.  Almost half the rent. I was paying some rent. [Audience laughter]. And he never mentioned who won most of the chess games. I write a lot of...who's throwing things at me?  You didn't win any chess games. [Audience laughter]. And you weren't paying any rent, either. I write a lot of poems about dreams, one night I woke up with a dream about an Australian chief and I managed to write down most of it. It's called \"The Almost King\".\n \nJohn Newlove\n00:05:42\nReads \"The Almost King\" [audience laughter throughout].\n\nJohn Newlove\n00:08:32\nWell, when you have dreams like that, you don't really have much chance. I've a number of short poems, I'm told it's not good to give them at poetry readings because people don't listen fast enough or something. But. [Laughter]. This...Yes, that ashtray is stolen from the faculty club, George, and your wife stole it. [Audience laughter]. This one is called \"The Candle\".\n \nJohn Newlove\n00:09:07\nReads \"The Candle\".\n \nJohn Newlove\n00:09:19\nAgain a dream. This poem, misprinted in the Malahat Review [https://www.wikidata.org/wiki/Q1567225], is one that I most like. It's called \"The Engine and the Sea\".\n \nJohn Newlove\n00:09:32\nReads \"The Engine and the Sea\" [published later in The Cave and in The Fat Man].\n \nJohn Newlove\n00:11:26\nLove poems about sleep. And about dreams. This one is called \"Before Sleep\". I used to have a great deal of trouble going to sleep because I was afraid I would have nightmares.\n \nJohn Newlove\n00:11:44\nReads \"Before Sleep\" [later published in The Cave and in The Fat Man].\n \nJohn Newlove\n00:12:53\nAnd again another one about dreams, this one called \"The Dream Man”. Dreamed I once wrote a dream about somebody else's dream, but that's not fair, dreams are copyright. This was my own. [Audience laughter].\n \nJohn Newlove\n00:13:09\nReads \"The Dream Man\".\n \nJohn Newlove\n00:14:35\nAccording to the rules, you're supposed to say things in between poems, but I can't really ever think of anything appropriate to say in between them, so. I used to have some nice Ed Sullivan [https://www.wikidata.org/wiki/Q83807] routines, but I've forgotten them. This poem is called \"Burn\".\n \nJohn Newlove\n00:14:52\nReads \"Burn\".\n \nJohn Newlove\n00:15:16\nAnd this one, an old one, again fairly short. It's called \"No Song\".\n \nJohn Newlove\n00:15:25\nReads \"No Song\" [from Black Night Window and published later in The Fat Man].\n \nJohn Newlove\n00:15:47\nI have a poem I wrote for and about a friend, but after the poem was finished as you may see, I showed it to him but I didn't tell him it was about him. He said it was a very good poem and very accurate, and so on. But he didn't know it was about himself. It's called, \"What do you want, what do you want?\".\n \nJohn Newlove\n00:16:06\nReads \"What do you want, what do you want?\" [from Black Night Window and later published in The Fat Man; audience laughter and applause throughout].\n  \nJohn Newlove\n00:17:01\nAfter he said it was such an accurate poem, I couldn't tell him it was about him. This one's called \"Strand by Strand\".\n \nJohn Newlove\n00:17:14\nReads \"Strand by Strand\".\n \nJohn Newlove\n00:17:56\nThis is the first time I've kept to a list of...because usually I decide that I don't want to read a particular poem and I get all confused, but I'm very pleased with myself when I keep right to the schedule. Everything organized, everything complete. This short poem in five naturally short pieces is called \"One Day\".\n \nJohn Newlove\n00:18:23\nReads \"One Day\".\n \nJohn Newlove\n00:18:55\nCharles Williams [https://www.wikidata.org/wiki/Q124735] died in about 1953, he was an Englishman, originally Cockney. He wrote a number of what I think are very good poems, a number of detective novels, some theological deputation, I guess would be the right word. One of his detective novels is about finding the holy grail. It's called War in Heaven and it's out in Faber Paperback, go and buy it, it's really nice. This poem is for and from and about Charles Williams.\n \nJohn Newlove\n00:19:35\nReads “For and From Charles Williams” [from What They Say].\n \nJohn Newlove\n00:20:04\nNow my list has gone to pot, because I've got a poem down in a magazine that I didn't bring. So. One day some years ago, I was hitchhiking out to British Columbia [https://www.wikidata.org/wiki/Q1974]. I got to a place called Golden [https://www.wikidata.org/wiki/Q1020179], B.C. and I had to go up the Big Bend Highway [https://www.wikidata.org/wiki/Q30253222], this would be before the Rogers Pass [https://www.wikidata.org/wiki/Q383051] was open. And I got a ride about thirty miles in on what I didn't know was an illegally-present logging truck, because the Big Bend Highway was not open to traffic for three more days. So I sat three days on the Big Bend Highway. This poem roughly...well, it's called \"Solitaire\".\n \nJohn Newlove\n00:20:47\nReads \"Solitaire\" [from Black Night Window and published later in The Fat Man].\n \nJohn Newlove\n00:21:22\nThis short one called \"El Paso\" because El Paso was the place where it happens. It was ninety degrees outside in El Paso [https://www.wikidata.org/wiki/Q16562], and with the air conditioning, which I couldn't turn off, it was about thirty below. And I couldn't sleep, I had to get up in the middle of the night and get dressed and get under the blankets, and I caught terrible cold in that motel. \n \nJohn Newlove\n00:21:41\nReads \"El Paso\".\n \nJohn Newlove\n00:21:56\nSince I've been out of Nova Scotia, I've written a couple of poems about or around Nova Scotia. The main thing I can't seem to get in a poem just yet is the difference between the Pacific Ocean [https://www.wikidata.org/wiki/Q98], in Vancouver, and the Atlantic [https://www.wikidata.org/wiki/Q97]. There seems a tremendous difference that I can feel but that I can't seem yet to grasp in the fact. This poem is called \"God Bless You\".\n \nJohn Newlove\n00:22:24\nReads \"God Bless You\" [later published in The Cave and in The Fat Man].\n \nAudience\n00:22:43\nLaughter.\n \nJohn Newlove\n00:22:47\nThe next piece is on the back of my list. I think this is about the only other ethnic Nova Scotia-type poem that I've got, but I was only there for about six months and I can't quite put out a book yet. This is called \"By the Grey Atlantic\".\n \nJohn Newlove\n00:23:04\nReads \"By the Grey Atlantic\" [published later in The Cave and in The Fat Man].\n \nJohn Newlove\n00:23:31\nI think I'll read quickly a number of poems from this book. I'm anxious not to keep you too long, if anybody feels like walking out, I won't really be insulted if you'll [unintelligible]. These are all quite simple so I might as well just give the title in my school-class fashion and then go on to read them. This is called \"The Photograph my Mother Keeps\". I might see first that Veregin [https://www.wikidata.org/wiki/Q7921203] is a town in Saskatchewan named after a leader of the Doukhobors [https://www.wikidata.org/wiki/Q5302215], they first came to that area after Peter the Lordly Verigin [https://www.wikidata.org/wiki/Q4107818] [unintelligible] his palace, which is really just a gigantic farmhouse, it's outside the town. \n \nJohn Newlove\n00:24:19\nReads \"The Photograph my Mother Keeps\".\n \nJohn Newlove\n00:25:04\nThis one, about a pregnant girl, it's called \"On Her Long Bed of Night”.\n \nJohn Newlove\n00:25:09\nReads \"On Her Long Bed of Night\".\n \nJohn Newlove\n00:26:12\nSo, this one's about my father. Drowning kittens, in a lot of houses in Saskatchewan you keep a rain barrel on a corner of the house underneath a spout to get the fresh rainwater for washing and so on.\n \nJohn Newlove\n00:26:27\nReads “My Daddy Drowned” [from Elephants, Mothers and Others and later published in The Fat Man].\n \nAudience\n00:27:09.11\nLaughter and applause.\n \nJohn Newlove\n00:27:18\nThis one is called \"Half in Love\".\n \nJohn Newlove\n00:27:22\nReads \"Half in Love\".\n \nJohn Newlove\n00:28:02\nThis one is called \"Sister Cowen\". She used to run a mission in Edmonton [https://www.wikidata.org/wiki/Q2096], and she had very good stew. She was a very violent woman. On Christmas Eve she used to give all the bums fifty cents, but she gave a particularly long sermon on Christmas Eve. She was very down on booze.\n \nJohn Newlove\n00:28:25\nReads \"Sister Cowen\".\n \nJohn Newlove\n00:28:40\nLaughter.\n \nJohn Newlove\n00:28:49\nThis one is set in Vancouver outside Roy Kiyooka's studio. \n \nJohn Newlove\n00:28:58\nReads unnamed poem.\n \nJohn Newlove\n00:29:30\nThe name of this book is Elephants, Mothers, and Others. I've read poems about others and one about my mother, and this is the elephant’s poem. \n \nJohn Newlove\n00:29:41\nReads “Elephants” from Elephants, Mothers, and Others [and published later in The Fat Man; audience laughter throughout].\n \nJohn Newlove\n00:30:01\nI think I've gone on too long, there is a longish poem called \"The Fat Man\", which I want to read, so I'll skip the rest of the stuff I thought I was going to read and just do this one.\n \nAnnotation\n00:30:18\nReads \"The Fat Man\" [published later in The Fat Man].\n \nAudience\n00:34:47\nApplause.\n \nJohn Newlove\n00:34:48\nIt's not finished, you see, it's not...[Audience laughter].\n \nJohn Newlove\n00:34:52\nResumes reading \"The Fat Man\" [published later in The Fat Man].\n \nJohn Newlove\n00:36:33\nThank you.\n \nAudience\n00:36:35\nApplause.\n \nEND\n00:36:55\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1968, Rosenblatt published his third collection of poetry, The winter of the lunar moth (House of Anansi).\\n\\n In 1968, Newlove published Black Night Window (McClelland & Stewart) and 3 Poems (Western P). The Fat Man: Selected Poems 1962-1972 (McClelland & Stewart, 1977) collects poems written during this time.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nRosenblatt was an influential and up-and-coming Canadian poet in the mid 60’s and while there is no direct connection to Sir George Williams University, he was friends with and known by many in poetry circles.\\n\\nAs illustrated in the introduction to this reading, John Newlove was close friends with Roy Kiyooka (Professor at Sir George Williams and Reading Series Committee member) when they both lived in Vancouver. Newlove was also an important Canadian and Prairie poet.\",\"type\":\"General\"},{\"note\":\"Original transcript 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\":\"2 reel-to-reel tapes>2 CDs> 2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Besner, Neil. \\\"Rosenblatt, Joe (Joseph)\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/988192362&referer=brief_results\",\"citation\":\"Bowering, George (ed). “John Newlove”. The Contemporary Canadian Poem Anthology.         Toronto: Coach House Press, 1984.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/john-newlove-at-sgwu-1968/\",\"citation\":\"Charny, Marty. “Georgantics.” The Georgian. Montreal: Sir George Williams University, 9 February 1968. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Davey, Frank. “Joe Rosenblatt”. From There to Here: A Guide to English-Canadian Literature Since 1960. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Davey, Frank. “John Newlove”. From There to Here: A Guide to English-Canadian Literature Since 1960. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"Rosenblatt, Joe\\\". 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&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Geddes, Gary. \\\"Newlove, John\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001.\"},{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/newlove_john.html\",\"citation\":\"“John Newlove (1938-)”. One Zero Zero: A Virtual Library of English Canadian Small Press 1945-2044. Centre for Contemporary Canadian Art, York University. \"},{\"url\":\"https://canpoetry.library.utoronto.ca/rosenblatt/index.htm\",\"citation\":\"“Joe Rosenblatt: Biography”. Canadian Poetry Online. University of Toronto Libraries, 2000. \"},{\"url\":\"https://canpoetry.library.utoronto.ca/newlove/index.htm\",\"citation\":\"“John Newlove: Biography”. Canadian Poetry Online. University of Toronto Libraries, 2000.\"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970/oclc/42678409&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). “Joe Rosenblatt”. Poets of Contemporary Canada 1960-1970. Montreal, Quebec: McClelland and Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970/oclc/42678409&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). “John Newlove”. Poets of Contemporary Canada 1960-1970. Montreal:         McClelland & Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/apology-for-absence-selected-poems-1962-1992/oclc/751573535&referer=brief_results\",\"citation\":\"Newlove, John. Apology for Absence: Selected Poems 1962-1992. Ontario: The Porcupine’s Quill, 1993.\"},{\"url\":\"https://www.worldcat.org/title/black-night-window/oclc/253373347&referer=brief_results\",\"citation\":\"Newlove, John. Black Night Window. Toronto: McClelland and Stewart, 1968. \"},{\"url\":\"https://www.worldcat.org/title/cave/oclc/556837824&referer=brief_results\",\"citation\":\"Newlove, John. The Cave. Toronto: McClelland and Stewart, 1970.\"},{\"url\":\"https://www.worldcat.org/title/fat-man-selected-poems-1962-1972/oclc/299451378&referer=brief_results\",\"citation\":\"Newlove, John. The Fat Man: Selected Poems 1962-1972. Toronto: McClelland and Stewart, 1977.\"},{\"url\":\"https://www.worldcat.org/title/what-they-say/oclc/433815288&referer=brief_results\",\"citation\":\"Newlove, John. What They Say. Ontario: Weed/Flower Press, 1967. \"},{\"url\":\"http://www.abcbookworld.com/view_author.php?id=1871\",\"citation\":\"“Newlove, John”. ABC BookWorld, Simon Fraser University Library. \"},{\"url\":\"https://www.worldcat.org/title/lsd-leacock-a-new-volume-of-poetry-by-joe-rosenblatt-with-20-drawings-by-r-daigneault-published-by-the-coach-house-press/oclc/1007418956&referer=brief_results\",\"citation\":\"Rosenblatt, Joe. The LSD Leacock. Toronto: Coach House Press, 1966. \"},{\"url\":\"https://www.worldcat.org/title/lunatic-muse/oclc/1150303654&referer=brief_results\",\"citation\":\"Rosenblatt, Joe. The Lunatic Muse. Holstein, Ontario: Exile Editions, 2007.\"},{\"url\":\"https://www.worldcat.org/title/winter-of-the-luna-moth/oclc/557044236&referer=brief_results\",\"citation\":\"Rosenblatt, Joe. Winter of the Luna Moth. Toronto: Anansi Press, 1968. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. The Gazette. 14 September 1967, page 15. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Whalen, Terry. “Newlove, John (1938-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Eugene Benson & L.W. Connolly (eds). London: Routledge, 1994. 2 Vols. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548835401728,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/john_newlove_i006-11-143.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"john_newlove_i006-11-143.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:36:55\",\"precision\":\"\",\"size\":\"88.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"john_newlove_i006-11-143.mp3 [File 2 of 2]\\n\\nRoy Kiyooka\\n00:00:00\\nWell, it gives me a very special kind of pleasure to introduce John Newlove. An old and dear friend. We met in the fall of '61 in Vancouver, and both of us had come from Saskatchewan [https://www.wikidata.org/wiki/Q1989] to Vancouver. I think that some of John's most memorable early poems have to do with the fact of Saskatchewan.  It's perhaps not an exaggeration to say that the place does continue to haunt him, and hopefully that the exorcism is not complete and that we may get some more Saskatchewan poems. Subsequently, and this is still in Vancouver, we shared a studio, or rather, he shared my studio [audience laughter], for a period of little over a year. Now during this time, we played marathon games of chess, ate several hundred dozens of chocolate-coated Long Johns, scribbled poems, dribbled paint, drank cheap red wine...and read through at least a dozen five-foot shelves of great and lesser works of literature, not to mention the confusion of mice, drunken poets, women, painters, and assorted kooks who kept visiting us. Now, it was during this period that his first book, called Grave Sirs was printed, and I have in italics here \\\"more or less.\\\" If you want to know the history of that book, you can ask John. I think there must be fifty odd copies that are still unbound someplace. This was printed by Robert Reed. It was followed by a second, called Elephants, Mothers, and Others, done by Tak Tanabe, again in Vancouver, and subsequent to that, it was rumored that Robert Columbo had discovered John Newlove for Canadian poetry [audience laughter], when he collected some of his works together in an anthology called Poetry '64. Now. Following this, of course, Contact Press bought out his book, Moving in Alone, which was perhaps the book that brought him his first large-scale critical attention. Meanwhile, of course, I'd come here, and some time afterwards I received a book, a wee book, called...let's see. [Audience laughter]. Can't read my own printing here. What They Say. Yes, What They Say is a wee book of poems, it's made up of the rejects from his manuscript that he submitted to McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. McClelland and Stewart is to bring out his next book of poems called Black Night Window, when they get around to doing it. The manuscript has been in their hands for over twenty-four months. There has been much other activity which include three, two years and a third one coming up as poet in residence at Deep Springs [https://www.wikidata.org/wiki/Q5250324] in California [https://www.wikidata.org/wiki/Q99]. I want to conclude this little preamble by saying that at the time that John moved out of our studio, I took over this room that he slept in and wrote poetry in. The mattress in this room was about sixteen inches from the floor, and on two sides, on the wall, there was copious scribbling.  Most of it were quotations from Heraclitus [https://www.wikidata.org/wiki/Q41155] that he was reading at that time.\\n \\nAudience\\n00:04:43\\nApplause.\\n \\nJohn Newlove\\n00:04:51\\nThey weren't quotations from whoever, whatever Greek name that was you just made up, [audience laughter], they were from Herodotus [https://www.wikidata.org/wiki/Q26825]. And, Roy [https://www.wikidata.org/wiki/Q3445789] might have mentioned that, while I suppose technically you could say I was sharing the studio, I was paying half the rent.  Almost half the rent. I was paying some rent. [Audience laughter]. And he never mentioned who won most of the chess games. I write a lot of...who's throwing things at me?  You didn't win any chess games. [Audience laughter]. And you weren't paying any rent, either. I write a lot of poems about dreams, one night I woke up with a dream about an Australian chief and I managed to write down most of it. It's called \\\"The Almost King\\\".\\n \\nJohn Newlove\\n00:05:42\\nReads \\\"The Almost King\\\" [audience laughter throughout].\\n\\nJohn Newlove\\n00:08:32\\nWell, when you have dreams like that, you don't really have much chance. I've a number of short poems, I'm told it's not good to give them at poetry readings because people don't listen fast enough or something. But. [Laughter]. This...Yes, that ashtray is stolen from the faculty club, George, and your wife stole it. [Audience laughter]. This one is called \\\"The Candle\\\".\\n \\nJohn Newlove\\n00:09:07\\nReads \\\"The Candle\\\".\\n \\nJohn Newlove\\n00:09:19\\nAgain a dream. This poem, misprinted in the Malahat Review [https://www.wikidata.org/wiki/Q1567225], is one that I most like. It's called \\\"The Engine and the Sea\\\".\\n \\nJohn Newlove\\n00:09:32\\nReads \\\"The Engine and the Sea\\\" [published later in The Cave and in The Fat Man].\\n \\nJohn Newlove\\n00:11:26\\nLove poems about sleep. And about dreams. This one is called \\\"Before Sleep\\\". I used to have a great deal of trouble going to sleep because I was afraid I would have nightmares.\\n \\nJohn Newlove\\n00:11:44\\nReads \\\"Before Sleep\\\" [later published in The Cave and in The Fat Man].\\n \\nJohn Newlove\\n00:12:53\\nAnd again another one about dreams, this one called \\\"The Dream Man”. Dreamed I once wrote a dream about somebody else's dream, but that's not fair, dreams are copyright. This was my own. [Audience laughter].\\n \\nJohn Newlove\\n00:13:09\\nReads \\\"The Dream Man\\\".\\n \\nJohn Newlove\\n00:14:35\\nAccording to the rules, you're supposed to say things in between poems, but I can't really ever think of anything appropriate to say in between them, so. I used to have some nice Ed Sullivan [https://www.wikidata.org/wiki/Q83807] routines, but I've forgotten them. This poem is called \\\"Burn\\\".\\n \\nJohn Newlove\\n00:14:52\\nReads \\\"Burn\\\".\\n \\nJohn Newlove\\n00:15:16\\nAnd this one, an old one, again fairly short. It's called \\\"No Song\\\".\\n \\nJohn Newlove\\n00:15:25\\nReads \\\"No Song\\\" [from Black Night Window and published later in The Fat Man].\\n \\nJohn Newlove\\n00:15:47\\nI have a poem I wrote for and about a friend, but after the poem was finished as you may see, I showed it to him but I didn't tell him it was about him. He said it was a very good poem and very accurate, and so on. But he didn't know it was about himself. It's called, \\\"What do you want, what do you want?\\\".\\n \\nJohn Newlove\\n00:16:06\\nReads \\\"What do you want, what do you want?\\\" [from Black Night Window and later published in The Fat Man; audience laughter and applause throughout].\\n  \\nJohn Newlove\\n00:17:01\\nAfter he said it was such an accurate poem, I couldn't tell him it was about him. This one's called \\\"Strand by Strand\\\".\\n \\nJohn Newlove\\n00:17:14\\nReads \\\"Strand by Strand\\\".\\n \\nJohn Newlove\\n00:17:56\\nThis is the first time I've kept to a list of...because usually I decide that I don't want to read a particular poem and I get all confused, but I'm very pleased with myself when I keep right to the schedule. Everything organized, everything complete. This short poem in five naturally short pieces is called \\\"One Day\\\".\\n \\nJohn Newlove\\n00:18:23\\nReads \\\"One Day\\\".\\n \\nJohn Newlove\\n00:18:55\\nCharles Williams [https://www.wikidata.org/wiki/Q124735] died in about 1953, he was an Englishman, originally Cockney. He wrote a number of what I think are very good poems, a number of detective novels, some theological deputation, I guess would be the right word. One of his detective novels is about finding the holy grail. It's called War in Heaven and it's out in Faber Paperback, go and buy it, it's really nice. This poem is for and from and about Charles Williams.\\n \\nJohn Newlove\\n00:19:35\\nReads “For and From Charles Williams” [from What They Say].\\n \\nJohn Newlove\\n00:20:04\\nNow my list has gone to pot, because I've got a poem down in a magazine that I didn't bring. So. One day some years ago, I was hitchhiking out to British Columbia [https://www.wikidata.org/wiki/Q1974]. I got to a place called Golden [https://www.wikidata.org/wiki/Q1020179], B.C. and I had to go up the Big Bend Highway [https://www.wikidata.org/wiki/Q30253222], this would be before the Rogers Pass [https://www.wikidata.org/wiki/Q383051] was open. And I got a ride about thirty miles in on what I didn't know was an illegally-present logging truck, because the Big Bend Highway was not open to traffic for three more days. So I sat three days on the Big Bend Highway. This poem roughly...well, it's called \\\"Solitaire\\\".\\n \\nJohn Newlove\\n00:20:47\\nReads \\\"Solitaire\\\" [from Black Night Window and published later in The Fat Man].\\n \\nJohn Newlove\\n00:21:22\\nThis short one called \\\"El Paso\\\" because El Paso was the place where it happens. It was ninety degrees outside in El Paso [https://www.wikidata.org/wiki/Q16562], and with the air conditioning, which I couldn't turn off, it was about thirty below. And I couldn't sleep, I had to get up in the middle of the night and get dressed and get under the blankets, and I caught terrible cold in that motel. \\n \\nJohn Newlove\\n00:21:41\\nReads \\\"El Paso\\\".\\n \\nJohn Newlove\\n00:21:56\\nSince I've been out of Nova Scotia, I've written a couple of poems about or around Nova Scotia. The main thing I can't seem to get in a poem just yet is the difference between the Pacific Ocean [https://www.wikidata.org/wiki/Q98], in Vancouver, and the Atlantic [https://www.wikidata.org/wiki/Q97]. There seems a tremendous difference that I can feel but that I can't seem yet to grasp in the fact. This poem is called \\\"God Bless You\\\".\\n \\nJohn Newlove\\n00:22:24\\nReads \\\"God Bless You\\\" [later published in The Cave and in The Fat Man].\\n \\nAudience\\n00:22:43\\nLaughter.\\n \\nJohn Newlove\\n00:22:47\\nThe next piece is on the back of my list. I think this is about the only other ethnic Nova Scotia-type poem that I've got, but I was only there for about six months and I can't quite put out a book yet. This is called \\\"By the Grey Atlantic\\\".\\n \\nJohn Newlove\\n00:23:04\\nReads \\\"By the Grey Atlantic\\\" [published later in The Cave and in The Fat Man].\\n \\nJohn Newlove\\n00:23:31\\nI think I'll read quickly a number of poems from this book. I'm anxious not to keep you too long, if anybody feels like walking out, I won't really be insulted if you'll [unintelligible]. These are all quite simple so I might as well just give the title in my school-class fashion and then go on to read them. This is called \\\"The Photograph my Mother Keeps\\\". I might see first that Veregin [https://www.wikidata.org/wiki/Q7921203] is a town in Saskatchewan named after a leader of the Doukhobors [https://www.wikidata.org/wiki/Q5302215], they first came to that area after Peter the Lordly Verigin [https://www.wikidata.org/wiki/Q4107818] [unintelligible] his palace, which is really just a gigantic farmhouse, it's outside the town. \\n \\nJohn Newlove\\n00:24:19\\nReads \\\"The Photograph my Mother Keeps\\\".\\n \\nJohn Newlove\\n00:25:04\\nThis one, about a pregnant girl, it's called \\\"On Her Long Bed of Night”.\\n \\nJohn Newlove\\n00:25:09\\nReads \\\"On Her Long Bed of Night\\\".\\n \\nJohn Newlove\\n00:26:12\\nSo, this one's about my father. Drowning kittens, in a lot of houses in Saskatchewan you keep a rain barrel on a corner of the house underneath a spout to get the fresh rainwater for washing and so on.\\n \\nJohn Newlove\\n00:26:27\\nReads “My Daddy Drowned” [from Elephants, Mothers and Others and later published in The Fat Man].\\n \\nAudience\\n00:27:09.11\\nLaughter and applause.\\n \\nJohn Newlove\\n00:27:18\\nThis one is called \\\"Half in Love\\\".\\n \\nJohn Newlove\\n00:27:22\\nReads \\\"Half in Love\\\".\\n \\nJohn Newlove\\n00:28:02\\nThis one is called \\\"Sister Cowen\\\". She used to run a mission in Edmonton [https://www.wikidata.org/wiki/Q2096], and she had very good stew. She was a very violent woman. On Christmas Eve she used to give all the bums fifty cents, but she gave a particularly long sermon on Christmas Eve. She was very down on booze.\\n \\nJohn Newlove\\n00:28:25\\nReads \\\"Sister Cowen\\\".\\n \\nJohn Newlove\\n00:28:40\\nLaughter.\\n \\nJohn Newlove\\n00:28:49\\nThis one is set in Vancouver outside Roy Kiyooka's studio. \\n \\nJohn Newlove\\n00:28:58\\nReads unnamed poem.\\n \\nJohn Newlove\\n00:29:30\\nThe name of this book is Elephants, Mothers, and Others. I've read poems about others and one about my mother, and this is the elephant’s poem. \\n \\nJohn Newlove\\n00:29:41\\nReads “Elephants” from Elephants, Mothers, and Others [and published later in The Fat Man; audience laughter throughout].\\n \\nJohn Newlove\\n00:30:01\\nI think I've gone on too long, there is a longish poem called \\\"The Fat Man\\\", which I want to read, so I'll skip the rest of the stuff I thought I was going to read and just do this one.\\n \\nAnnotation\\n00:30:18\\nReads \\\"The Fat Man\\\" [published later in The Fat Man].\\n \\nAudience\\n00:34:47\\nApplause.\\n \\nJohn Newlove\\n00:34:48\\nIt's not finished, you see, it's not...[Audience laughter].\\n \\nJohn Newlove\\n00:34:52\\nResumes reading \\\"The Fat Man\\\" [published later in The Fat Man].\\n \\nJohn Newlove\\n00:36:33\\nThank you.\\n \\nAudience\\n00:36:35\\nApplause.\\n \\nEND\\n00:36:55\\n\",\"notes\":\"John Newlove reads from Black Night Window (McClelland & Stewart, 1968), What They Say (Weed/Flower, 1967), Elephants, Mothers and Others (Periwinkle Press, 1963) and poems later published in The Cave (McClelland & Stewart, 1970). Most of these poems have been collected in The Fat Man: Selected Poems 1962-1972 (McClelland & Stewart, 1977).\\n\\n00:00- Roy Kiyooka introduces John Newlove. [INDEX: friend, fall of 1961, Vancouver,        Saskatchewan, early poems, studio, chess, Long Johns, paint, wine, literature, mice,     drunken poets, women, Grave Sirs published in this period, Robert Reed, Elephants,      Mothers and Others, Tak Tanabe, Robert Columbo discovered John Newlove, Canadian        poetry, Poetry ’64, Contact Press, Moving in Alone, critical attention, What They Say \\t(Weed/Flower, 1967), rejected manuscripts submitted to McClelland and Stewart, new   book Black Night Window, manuscript, poet in residence at Deep Springs in California,    Heraclitus.]\\n04:51- John Newlove responds to Kiyooka’s introduction, and introduces “The Almost King”. [INDEX: Herodotus, studio, Roy Kiyooka, rent, chess games, poems about dreams, Australian chief; from unknown source.]\\n05:42- Reads “The Almost King”.\\n08:32- Introduces “The Candle”. [INDEX: drams, short poems, poetry readings, listening, ashtray, faculty club, George (Bowering), Angela (Bowering); from unknown source.]\\n09:07- Reads “The Candle”.\\n09:19- Introduces “The Engine in the Sea”. [INDEX: dream, misprinted in the Malahat Review, favourite poem, supposed to be ‘and the Sea’; first printed in The Cave (McClelland and Stewart, 1970), collected in The Fat Man (McClelland and Stewart, 1977).]\\n09:32- Reads “The Engine and the Sea”.\\n11:26- Introduces “Before Sleep”. [INDEX: love poems about sleep, dreams, problems sleeping, nightmares; first printed in The Cave (McClelland and Stewart, 1970), collected in The Fat Man (McClelland and Stewart, 1977).]\\n11:44- Reads “Before Sleep”.\\n12:53- Introduces “The Dream Man”. [INDEX: dreams, dream about someone else’s dream, copyright; from unknown source.]\\n13:09- Reads “The Dream Man”.\\n14:35- Introduces “Burn”. [INDEX: reading ‘rules’, extra-poetic speech, Ed Sullivan routines; from unknown source.]\\n14:52- Reads “Burn”.\\n15:16- Introduces “No Song”. [INDEX: old poem, short poem; published first in Black Night Window (McClelland and Stewart, 1968), collected in The Fat Man (McClelland and Stewart, 1977).]\\n15:25- Reads “No Song”.\\n15:47- Introduces “What do you want?” [INDEX: wrote for and about a friend; originally    printed in Black Night Window (McClelland and Stewart, 1968), collected in The Fat       Man (McClelland and Stewart, 1977).]\\n16:06- Reads “What do you want?”.\\n17:01- Introduces “Strand by Strand”. [INDEX: from unknown source.]\\n17:14- Reads “Strand by Strand”.\\n17:56- Introduces “One Day”. [INDEX: list of poems to read, poem in five short parts; from unknown source.]\\n18:23- Reads “One Day”.\\n18:55- Introduces first line “For and From Charles Williams”. [INDEX: Charles Williams   \\tdeath in 1953, Englishman, Cockney, detective novels, poems, theological disputation,   holy grail, War in Heaven Faber Paperback; published in What they Say (Weed/flower     Press, 1967).]\\n19:35- Reads first line “For and From Charles Williams”.\\n20:04- Introduces “Solitaire”. [INDEX: list, magazine, hitchhiking in British Columbia, Golden, B.C, Big Bend Highway, Rogers Pass, ride, illegally-present logging truck; originally printed in Black Night Window (McClelland and Stewart, 1968), collected in The Fat Man (McClelland and Stewart, 1977).]\\n20:47- Reads “Solitaire”.\\n21:22- Introduces “El Paso”. [INDEX: ninety degrees, air conditioning, thirty below, sleep, cold, motel; from unknown source.]\\n21:41- Reads “El Paso”.\\n21:56- Introduces “God Bless You”. [INDEX: Nova Scotia, poem, difference between Pacific Ocean and Atlantic Ocean, Vancouver; later printed in The Cave (McClelland and Stewart, 1970), The Fat Man (McClelland and Stewart, 1977).]\\n22:24- Reads “God Bless You”.\\n22:47- Introduces “By the Grey Atlantic”. [INDEX: list, Nova-Scotia-type poem, six months, unfinished book; later printed in The Cave (McClelland and Stewart, 1970), The Fat Man (McClelland and Stewart, 1977).]\\n23:04- Reads “By the Grey Atlantic”.\\n23:31- Introduces “The Photograph my Mother Keeps”. [INDEX: reading poems from book (unknown), title, school-class fashion, Verrigan, Saskatchewan, named after the leader of the Doukhabors, Peter the Lordly Verrigan, farmhouse; from unknown source.]\\n24:19- Reads “The Photograph my Mother Keeps”.\\n25:04- Introduces “On Her Long Bed of Night”. [INDEX: pregnant girl; from unknown        source.]\\n25:09- Reads “On Her Long Bed of Night”.\\n26:12- Introduces “My Daddy Drowned”. [INDEX: father, kittens, houses in Saskatchewan, rain barrel, house, fresh rainwater; published Elephants, Mothers and Others (Periwinkle, 1963), collected in The Fat Man (McClelland and Stewart, 1977).]\\n26:27- Reads “My Daddy Drowned”.\\n27:18- Reads “Half in Love”.\\n28:02- Introduces “Sister Cowen”. [INDEX: Sister Cowen, mission in Edmonton, stew, violent woman, Christmas eve, homeless men, fifty cents, alcohol, sermon; from unknown source.]\\n28:27- Reads “Sister Cowen”.\\n28:49- Introduces first line “The obnoxiously-generated neon suspense...”. [INDEX: Roy        Kiyooka’s studio; from unknown source.]\\n28:58- Reads first line “The obnoxiously-generated neon suspense...”.\\n29:30- Introduces first line “Elephants ”. [INDEX: from Elephants, Mothers and Others        (Periwinkle, 1963) later collected in The Fat Man (McClelland and Stewart, 1977),       \\tmother, others, elephant poem.]\\n29:41- Reads first line “Elephants”.\\n30:01- Introduces “The Fat Man”. 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Hello, Mr. Bowering [https://www.wikidata.org/wiki/Q1239280]. [Audience laughter]. Well, welcome to the sixth reading of our second series of evenings with Canadian and American poets. Tonight we have Joe Rosenblatt [https://www.wikidata.org/wiki/Q1691575], Toronto [https://www.wikidata.org/wiki/Q172], and John Newlove [https://www.wikidata.org/wiki/Q6250356], formerly of Vancouver [https://www.wikidata.org/wiki/Q24639], now residing in Nova Scotia [https://www.wikidata.org/wiki/Q1952]. Joe Rosenblatt will begin the reading, there will be an intermission, and John Newlove will follow. I'm going to quote largely from the copy in Joe Rosenblatt's book, The LSD Leacock, for I hope servient biographical information. It goes like this, he was born in Toronto on December the 26th, nineteen hundred and thirty-three. He says that he has suffocated in Toronto ever since then. He attended the Central Technical School [https://www.wikidata.org/wiki/Q5061898] and dropped out in Grade 10, he has worked as a grave-digger, plumber's helper, civil servant, railway express misanthrope. He has attended the Provincial Institute of Trades where he acquired a diploma as a welder fitter, his favourite writers are Ambrose Biers, William Blake [https://www.wikidata.org/wiki/Q41513], Emily Dickinson [https://www.wikidata.org/wiki/Q4441], and A.M. Klein [https://www.wikidata.org/wiki/Q2778027], and his favourite dream, is Cyclops turning up at a [nigh-bank (?)]. [Audience laughter]. His previous book of poems, which was probably printed in nineteen hundred and sixty-three, is called Voyage of the Mood. Joe Rosenblatt.\\n \\nAudience\\n00:02:27\\nApplause.\\n \\nJoe Rosenblatt\\n00:02:36\\nWasn't that [unintelligible]. I'm just going to read, start off with a series of poems I had written about my uncle, who was a fishmonger. He had a habit of phyxiating and murdering fish, and slicing them, and slicing them, and...well, I'll start. This is called \\\"Uncle Nathan: Blessed his memory, speaketh in land-locked green\\\".\\n \\nJoe Rosenblatt\\n00:03:11\\nReads \\\"Uncle Nathan: Blessed his memory, speaketh in land-locked green\\\" [from Winter of the Luna Moth].\\n\\nAudience\\n00:06:10\\nApplause.\\n \\nJoe Rosenblatt\\n00:06:16\\n\\\"Ichthycide\\\". Another poem about my uncle. It's funny, really. [Audience laughter].\\n \\nJoe Rosenblatt\\n00:06:29\\nReads \\\"Ichthycide\\\" [from Winter of the Luna Moth].\\n \\nAudience\\n00:08:05\\nLaughter and applause .\\n\\nJoe Rosenblatt\\n00:08:13\\nThis is called \\\"A Shell Game\\\". Has to do with my uncle. [Audience laughter]. It's about his funeral.  Joke.\\n \\nJoe Rosenblatt\\n00:08:27\\nReads \\\"A Shell Game [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:09:42\\nI wrote all kinds of poems. I was in Vancouver and I came across the god-awful logic of the zoo. It kinda scared the hell out of me. It was a bat. I've never seen a bat before. Met people who were bats. But this was the real McCoy, it was a fruit bat and it was hanging upside-down, you know, that's the way they live and they fornicate that way too, apparently, upside-down. So I wrote about bats. I have some more fish poems but I get tired of that after a while, you start hating it. And we'll begin with \\\"Bats\\\". While it's true the bat is a mammal, not a bird, there's all types of kinds of mythology based on prejudice about bats and which I've tried to embody in these poems. \\n \\nJoe Rosenblatt\\n00:10:47\\nReads \\\"Bats\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:11:32\\nOutside of the bat poem there came a group of sound poetry. Because I tried to get the feeling of the bat in the air, you know the image of the bat and the way it, and the movements of the bat. And this is called \\\"The Fruit Bat\\\". First encounter with a bat.\\n \\nJoe Rosenblatt\\n00:11:56\\nReads \\\"The Fruit Bat\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:13:16\\nThis is better. This is “The Bat Cage”.\\n \\nJoe Rosenblatt\\n00:13:19\\nReads “The Bat Cage” [from Winter of the Luna Moth]. \\n \\nJoe Rosenblatt\\n00:14:39\\nOh we're like bats to people. We used to have, I used to, when I was a kid I went to school and we had a music teacher who was a bit of a nut. She used to rap kids across the knuckles, you know, just to hear them singing. [Audience laughter]. I may have called her Mrs. Love, I can't recall, the trauma was too great. \\n \\nJoe Rosenblatt\\n00:15:02\\nReads “The Vampire” [from Winter of the Luna Moth].\\n \\nAudience\\n00:15:48\\nLaughter and applause.\\n \\nJoe Rosenblatt\\n00:15:55\\n\\\"The Zombie\\\". Just whistle when you get tired of these bat poems. Do anything you wanna do. \\\"The Zombie\\\". By the way, bats are supposed to be unkosher according to Leviticus [https://www.wikidata.org/wiki/Q41490]. It says all fowl that creep going upon all fours shall be an abomination unto you. But in other countries they're great appetizers, the fruit bat especially, and I have an interesting poem, not right now though. \\\"The Zombie\\\".\\n \\nJoe Rosenblatt\\n00:16:26\\nReads \\\"The Zombie\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:17:59\\nI'll read one more bat poem, it's the sound thing, an experimental thing which I later developed...too many of these bats here. I wrote a Christmas poem on bats, too. Maybe I should read it. Dedicated to somebody. I'll read the sound poem. It's more important. \\\"The Butterfly Bat\\\". There is a butterfly bat. Hm, found in the Orient, a very beautiful bat, orange apparently, very beautiful though. \\n \\nJoe Rosenblatt\\n00:18:43\\nReads \\\"The Butterfly Bat\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:20:02\\nReads \\\"Orpheus in Stanley Park\\\" [from Winter of the Luna Moth]. \\n \\nJoe Rosenblatt\\n00:20:50\\n\\\"Sex and Death\\\". This poem's for a friend of mine. \\n \\nJoe Rosenblatt\\n00:20:54\\nReads \\\"Sex and Death\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:21:48\\nI should read the egg poems, because I don't think many of you have heard them, and I'll do that. You'd probably like them better than the bats. More meaningful. This is called \\\"Egg Sonata\\\".\\n \\nJoe Rosenblatt\\n00:22:20\\nReads \\\"Egg Sonata\\\" [from The LSD Leacock].\\n \\nAudience\\n00:23:38\\nLaughter and applause.\\n \\nJoe Rosenblatt\\n00:23:44\\nReads [\\\"Let the egg live\\\" (?)].\\n \\nUnknown\\n00:24:56\\nSilence [cut or edit made in tape. Unknown amount of time elapsed].\\n \\nJoe Rosenblatt\\n00:24:59\\nReads \\\"It's in the egg, in the little round egg\\\" [from The LSD Leacock].\\n \\nJoe Rosenblatt\\n00:26:57\\nOne more egg poem. [Audience laughter and applause]. This is a prose poem. It's called \\\"The Easter I got for Passover\\\". [Audience laughter]. It has to do with an argument, whether the body of Christ did not go to heaven, the moderator of the United Church of Canada [https://www.wikidata.org/wiki/Q198745] said yesterday, Right Reverend Ernest Marshall Howes told a press conference that he does not believe in the physical resurrection of Jesus but does believe in a spiritual resurrection. That's from the Globe and Mail [https://www.wikidata.org/wiki/Q43148750], 23rd of April, '65.\\n \\nJoe Rosenblatt\\n00:27:46\\nReads \\\"The Easter I got for Passover\\\" [from The LSD Leacock].\\n \\nAudience\\n00:30:02\\nApplause. \\n \\nJoe Rosenblatt\\n00:30:10\\nDo you want to read, John? Where is he? [Audience laughter]. Do you want me to come here? Yeah, okay. I'm getting down to my dirty poems, what am I going to do? I wrote a whole bunch of pornographic poetry, right. I'll read that for the end when the time's up. I wrote a poem to Che Guevara [https://www.wikidata.org/wiki/Q5809], if I can find the thing now, because I really muddled everything up here, oh here it is. It's called \\\"The Beehive: An Elegy to Che Guevara\\\".\\n \\nJoe Rosenblatt\\n00:30:52\\nReads \\\"The Beehive: An Elegy to Che Guevara\\\" [from Winter of the Luna Moth]. \\n \\nJoe Rosenblatt\\n00:31:42\\nA poem about a critic, “Fable”.\\n \\nJoe Rosenblatt\\n00:31:47\\nReads “Fable” [from Winter of the Luna Moth].  \\n \\nJoe Rosenblatt\\n00:32:37\\nI wrote another one about a critic, a friend of mine. It's called \\\"The Crab Louse\\\". I'll read it. [Audience laughter]. I think some of you may recognize him. \\n \\nJoe Rosenblatt\\n00:32:47\\nReads \\\"The Crab Louse\\\".\\n \\nJoe Rosenblatt\\n00:33:25\\nReads \\\"The Fire Bug Poet\\\".\\n \\nJoe Rosenblatt\\n00:34:29\\n\\\"How Mice Make Love,\\\" how'd this get in here? \\\"How Mice Make Love\\\".\\n \\nJoe Rosenblatt\\n00:34:36\\nReads \\\"How Mice Make Love\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:35:29\\n\\\"The Electric Rose\\\".\\n \\nJoe Rosenblatt\\n00:35:34\\nReads \\\"The Electric Rose\\\" [from Winter of the Luna Moth].\\n \\nAudience\\n00:37:13\\nApplause.\\n \\nJoe Rosenblatt\\n00:37:17\\nShould I read on? Well this is a poem called \\\"Itch\\\". It's about that cat who, you know, in the world of the dead. And as usual I mucked up all the mythology, but it was too late to change the poem. So I said, what the hell. \\n \\nJoe Rosenblatt\\n00:37:44\\nReads \\\"Itch\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:41:51\\nThere's a loathsome typographical error in here. That's what happens.\\n \\nJoe Rosenblatt\\n00:41:56\\nResumes reading \\\"Itch\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:43:20\\n[Unintelligible] a more cheerful poem, if I can find one here. How about \\\"Cricket Love\\\"? I'll read one very early poem I wrote, \\\"Better She Dressed in a Black Garment\\\". \\n \\nJoe Rosenblatt\\n00:43:39\\nReads \\\"Better She Dressed in a Black Garment\\\" [from Winter of the Luna Moth].\\n \\nJoe Rosenblatt\\n00:44:21\\nThank you. \\n \\nAudience\\n00:44:22\\nApplause.\\n \\nRoy Kiyooka\\n00:44:35\\nThere'll be a fifteen minute inter- [cut off abruptly]. \\n \\nEND\\n00:44:37\\n\",\"notes\":\"Joe Rosenblatt reads from Winter of the Luna Moth (Anansi Press, 1968)] and The LSD Leacock (Coach House Press, 1966) and a few poems from unknown sources.\\n\\n00:00- Roy Kiyooka introduces Joe Rosenblatt. [INDEX: George Bowering, sixth reading, second series, Canadian and American poets, Toronto, John Newlove of Vancouver/Nova Scotia, Joe Rosenblatt as first reader, The LSD Leacock (Coach House Press, 1966), biographical information, born in Toronto Dec. 26, 1933, Central Technical School, dropped out in grade 10, grave-digger, plumber’s helper, civil servant, railway express misanthrope, Provincial Institute of Trades, diploma as a welder fitter, Ambrose Biers, William Blake, Emily Dickinson, A.M. Klein, dream of cyclops turned up at nigh-bank [?], previous book of poems Voyage of the Mood (Heinrich Heine Press, 1963).]\\n02:36- Joe Rosenblatt introduces “Uncle Nathan: Blessed his memory, speaketh in land-locked green” [INDEX series of poems about his uncle, fishmonger, fish, slicing \\tfish; from Winter of the Luna Moth (Anansi, 1968).]\\n03:11- Reads “Uncle Nathan: Blessed his memory, speaketh in land-locked green”.\\n06:16- Introduces “Ichthycide”. [INDEX: poem about uncle, funny; from Winter of the Luna Moth (Anansi, 1968).]\\n06:29- Reads “Ichthycide”\\n08:13- Introduces “A Shell Game” [INDEX: uncle, funeral, joke; from Winter of the Luna Moth (Anansi, 1968).]\\n08:27- Reads “A Shell Game”.\\n09:42- Introduces “Bats”. [INDEX: all kinds of poems, Vancouver, zoo, scared, bat, fruit bat, fornicate, fish poems, mammal, bird, mythology, prejudice about bats; most likely from Winter of the Luna Moth (Anansi, 1968).]\\n10:47- Reads “Bats”.\\n11:32- Introduces “The Fruit Bat”. [INDEX: bat poem, group of sound poetry, feeling of the bat, first encounter; from Winter of the Luna Moth (Anansi, 1968).]\\n11:56- Reads “The Fruit Bat”.\\n13:16- Introduces “The Bat Cage”. [INDEX: from Winter of the Luna Moth (Anansi, 1968).]\\n13:19- Reads “The Bat Cage”.\\n14:39- Introduces “The Vampire”. [INDEX: bats, people, kid, school, music teacher,  \\ttrauma; from Winter of the Luna Moth (Anansi, 1968).]\\n15:02- Reads “The Vampire”.\\n15:55- Introduces “The Zombie”. [INDEX: bat poem, unkosher, Levictis, fowl, appetizers; from Winter of the Luna Moth (Anansi, 1968).]\\n16:26- Reads “The Zombie”.\\n17:59- Introduces “The Butterfly Bat”. [INDEX: bat poem, experimental, Christmas poem, dedication, sound poem, Orient, orange bat; from Winter of the Luna Moth (Anansi, 1968).]\\n18:43- Reads “The Butterfly Bat”.\\n20:02- Reads “Orpheus in Stanley Park”. [INDEX: from Winter of the Luna Moth (Anansi, 1968).]\\n20:50- Introduces “Sex and Death”. [INDEX: for a friend; from Winter of the Luna Moth       (Anansi, 1968).]\\n20:54- Reads “Sex and Death”.\\n21:48- Introduces “Egg Sonata”. [INDEX: egg poem, meaning; from The LSD Leacock (Coach House Press, 1966).]\\n22:20- Reads “Egg Sonata”.\\n23:44- Reads unknown poem, first line “Let the egg live...”. [INDEX: from unknown source]\\n24:59- Reads “It’s in the egg, the little round egg” [INDEX: from The LSD Leacock (Coach House Press, 1966).]\\n27:08- Introduces “The Easter I got for Passover”. [INDEX: prose poem, argument, the body of Christ, moderator of the United Church of Canada, Right Reverend Earnest Marshall Hows, press conference, disbelief in the physical resurrection of Jesus, spiritual resurrection, Globe and Mail, April 23, 1965; from The LSD Leacock (Coach House Press, 1966).]\\n27:46- Reads “The Easter I got for Passover”.\\n30:02- Introduces “The Beehive: An Elegy to Che Guevara” [INDEX: John Newlove, dirty poems, pornographic poems, Che Guevara; from Winter of the Luna Moth (Anansi Press, 1968).] \\n30:52- Reads “The Beehive: An Elegy to Che Guevara”.\\n31:42- Introduces “Fable” [INDEX: critic, fable; from Winter of the Luna Moth (Anansi Press, 1968).]\\n31:47- Reads “Fable”.\\n32:37- Introduces “The Crab Louse”. [INDEX: critic, friend; from unknown source]\\n32:47- Reads “The Crab Louse”.\\n33:25- Reads “The Fire Bug Poet”. [INDEX: from unknown source\\n34:29- Introduces “How Mice Make Love”. [INDEX: from Winter of the Luna Moth (Anansi Press, 1968).]\\n34:36- Reads “How Mice Make Love”.\\n35:29- Reads “The Electric Rose” [INDEX: from Winter of the Luna Moth (Anansi Press,      1968).]\\n37:17- Introduces “Itch”. [INDEX: Cat, world of the dead, mythology from Winter of the Luna Moth (Anansi Press, 1968).]\\n37:44- Reads “Itch”. [INDEX: interrupts poem with admission of a typographical error]\\n43:20- Introduces “Better She Dressed in a Black Garment”. [INDEX: early poem, “Cricket Love”; from Winter of the Luna Moth (Anansi Press, 1968).]\\n43:39- Reads “Better She Dressed in a Black Garment”.\\n44:35- Introducer (Roy Kiyooka) introduces 15 minute intermission.\\n44:37.30- END OF RECORDING.\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/joe-rosenblatt-at-sgwu-1968/\"}]"],"score":1.9338971},{"id":"1269","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":["Earle Birney at Sir George Williams University, The Poetry Series, 23 February 1968"],"item_title_source":["Cataloguer"],"item_title_note":["\"EARLE BIRNEY Recorded February 23, 1968 3.75 ips, on 1/2 track on 1 mil. tape\" written on sticker on the back of the tape's box. \"EARLE BIRNEY i006/SR18\" written on sticker on the spine of the tape's box. \"I006-11-018\" also 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 2"],"item_identifiers":["[]"],"creator_names":["Birney, Earle"],"creator_names_search":["Birney, Earle"],"creators":["[{\"url\":\"http://viaf.org/viaf/97679781\",\"name\":\"Birney, Earle\",\"dates\":\"1904-1955\",\"notes\":\"Poet Earle Birney was born in Calgary, Alberta in 1904, when it was still part of the Northwest Territories. Birney spent his early years on a remote farm, until his family moved to Banff in 1911, and then again in 1916 to Creston, British Columbia. Upon graduation from high-school, Birney worked odd jobs as a bank clerk, a farm labourer and as a general labourer at national parks in B.C. before enrolling at the University of British Columbia, in chemistry, in 1922. He quickly switched into english literature and became the associate editor and subsequently editor-in-chief of the school newspaper, The Ubyssey. Birney graduated in Honours English in 1926, and completed a Master’s Degree from the University of Toronto in 1927. Birney pursued further graduate work at the University of California at Berkeley, until leaving in 1930 for the University of Utah to become a lecturer for two years. He returned to Toronto to complete his Ph.D. from the University of Toronto, and became a party organizer for the Trotskyist branch of the Communist Party. Birney received a fellowship to the University of London, England to study and thus traveled to Norway to interview Leon Trotsky. In 1938, with Ph.D. in hand, Birney taught at the University of Toronto and became the editor of the Canadian Forum until 1940. After enlisting in the Canadian Army, he published his first volume of poetry, David (Ryerson Press, 1942) which won the Governor General’s Award for Poetry. Birney then shipped off to serve in the Second World War, returning with a manuscript for Now is time (Ryerson Press, 1945), which also won a Governor General’s Award. Birney was editor of The Canadian Poetry Magazine (1946-48) and a professor at the University of British Columbia (1948-62). There, Birney created the very first department of creative writing in Canada. His subsequent publications include The strait of Anian (Ryerson Press, 1948), Trial of a city (Ryerson Press,1952) which was later published with its original title, The damnation of Vancouver (McClelland and Stewart, 1957), Ice cod bell or stone (McClelland and Stewart, 1962). Throughout the 60’s and 70’s, his poetry became more innovative and radical, publishing Near false creek mouth (McClelland and Stewart, 1964), a collaboration with bp Nichol, Pnomes, jukollages & other stunzas (Ganglia Press, 1969), Rag and bone shop (McClelland and Stewart, 1971), What’s so big about green? (McClelland and Stewart, 1973), The rugging and the moving times (Black Moss Press, 1976), Alphbeings and other seasyours (Pikadilly Press, 1976), and Fall by fury (McClelland and Stewart, 1978). Along with poetry, Birney published two prose novels, Turvey  (McClelland and Stewart, 1949) and Down the long table (McClelland and Stewart, 1955), a collection of stories Big bird in the bush (Mosaic Press, 1978), non fiction The creative writer (Canadian Broadcasting Corporation, 1966), and The cow jumped over the moon (Holt, Rinehart and Winston, 1972) among others. Birney’s poems have been collected in Selected poems (McClelland and Stewart, 1966), The poems of Earle Birney (McClelland and Stewart, 1969), Collected poems (McClelland and Stewart, 1975), and his last volume, Last makings (McClelland and Stewart, 1991). Birney received an honorary doctorate from the University of Alberta and was made a Fellow of the Royal Society of Canada. Earle Birney died in 1995.\",\"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\"]}]"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1968],"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\":\"06:00:00\",\"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\":\"1968 2 23\",\"type\":\"Performance Date\",\"notes\":\"Date written on tape box\",\"source\":\"Accompanying material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Sir George Williams University\",\"notes\":\"\",\"address\":\"1455  Boulevard de Maisonneuve O, Montreal\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455  Boulevard de Maisonneuve O, Montreal"],"Venue":["Sir George Williams University"],"content_notes":["Earle Birney reads from Near False Creek Mouth (McClelland and Stewart, 1964) and Selected Poems 1940-1966 (McClelland and Stewart, 1966), as well as poems later collected in Rag & Bone Shop (McClelland and Stewart, 1971), The Collected Poems of Earle Birney, Vol 1 (McClelland and Stewart, 1975), and Ghost in the Wheels: Selected Poems (McClelland and Stewart, 1977)."],"contents":["earle_birney_i006-11-018.mp3\n\nGeorge Bowering\n00:00:00\nI think it's, it's either redundant or futile to do anything more than the formality of introducing Earle Birney [https://www.wikidata.org/wiki/Q3046415] who's probably the most famous poet we've ever had and who you will see described on those pieces of paper, pink that flit around, as always as a, the Dean of Canadian Poetry, though I prefer to think of him as the federal Minister for Poetry, and the times he has been a semi-official courier of Canadian poetry around the world. Sadly enough, as he tells me, the only book of his still generally in print is the Selected Poems of 1966, which we do have on sale outside the door and of which, I should remind you, he gets a cut from his publisher. [Audience laughter]. Luckily there, I have, have heard that there will be a couple of Birney books within the next little while, one of them published in the United States [https://www.wikidata.org/wiki/Q30] and the other one by the Coach House Press [https://www.wikidata.org/wiki/Q5137585], presuming always that there will be a Coach House Press in the next little while. I would just like to mention that my association with Earle Birney has always been very, a good one, for me, and I wouldn't be here today to be talking about him unless I happened to be a member of the Poetry Committee, and, except that if it hadn't been for him, and the fact that both he and I were in Vancouver [https://www.wikidata.org/wiki/Q24639] at one time, I probably wouldn't have been writing any poems at all. Either that, or he would be writing mine. So without any further ado, and probably to our great delectation, I would like to introduce Earle Birney. \n \nAudience\n00:02:15 \nApplause.\n \nEarle Birney\n00:02:26\nThank you very much, George [https://www.wikidata.org/wiki/Q1239280]. I should, in all fairness to George, say that he actually wrote all this information about me and probably a good number of the poems, which I will be reading under my own name tonight. I would also like to say that I have, was recently corresponding with a man who had just resigned as president of a University to become a Dean of another University and had said, well, at least I will show them that if a Dean is a mouse in training to be a rat, then some rats can revert to being mice. Now, if we apply this to the world of poetry, I would say that I am a mouse in training to be less than a mouse, to be something in another category--I think I'd like to be Bursar of Canadian Poetry. But nobody has really set me up for that. I'm going to start by making sure that I read one good poem tonight by reading a poem of W. B. Yeats [https://www.wikidata.org/wiki/Q40213] [audience laughter] called \"A Prayer for Old Age\", which has, I think, I'm afraid, more and more pertinence to my condition. He wrote it at 69. \n \nEarle Birney\n00:04:10\nReads \"A Prayer for Old Age\"  by W. B. Yeats.\n \nEarle Birney\n00:04:54\nThat I will use as an excuse for some of the poems I now shall read you, if I can find my list. The last thing. Ah yes, here it is. Now there's no mic and I want to make sure that everyone is hearing me. If I'm not talking loud enough, those that cannot hear, would you please put a hand up now. I'm very sorry, I'm very sorry--well, you will have to go to the back and then somebody who's standing can come here. I'm sorry there aren't, that some of you have to stand, and I'll try to make it as fast as possible so we can all get out of here. [Audience laughter]. I'm going to begin with some poems that are, alas, too well known to my fellow poets, most of them in this room, but I had planned it this way and I'm stuck with it now and so are they. I'm going to begin with a series that came out, some members of a series that came out in Ice Cod Bell or Stone, and later others in, Near False Creek Mouth, that have to do with wandering around the global village, and this one begins in, well it since begins in Vancouver, but it's about Honolulu [https://www.wikidata.org/wiki/Q18094]. I got a fellowship to go to England [https://www.wikidata.org/wiki/Q21] and I was in Vancouver and I discovered that it only cost me two hundred dollars and some odd cents more to go to London [https://www.wikidata.org/wiki/Q84] and back to Vancouver by way of going around the world, you know, just heading west. The air tickets were accommodating me that way. So I decided to go west, and my first stop, I noticed, was Honolulu, and I began to get a bit of a temperature about that, and I thought, how 'bout, I might as well live it up, I'm going to Honolulu tomorrow morning, going to be there tomorrow night, and so I will engage a room in Hawaiian Village Hotel for the one night, because first night, I know I have a little money. After that, God knows what's going to happen to me because I intend to stay in a lot of places before I get to London. So I did this, I reserved a room before I left Vancouver, not realizing that this had put me in a bit of a box, because this is one of the Kaiser-Hilton hotels on Waikiki Beach [https://www.wikidata.org/wiki/Q254861], and they have a special greeter who meets all the planes, just for people coming to them. And it happened, through another mischance, that I was the only one for that hotel, and this unsettled me so much I had to write about it. [Audience laughter]. Something which I call \"Twenty-Third Flight\" for reasons, well, the poem is imitative of another poet, much older, much greater, by the name of David. Not the one that I pushed off the cliff [audience laughter], the one who was a harpist.\n \nEarle Birney\n00:08:39\nReads \"Twenty-Third Flight\" [from Selected Poems 1940-1966; audience laughter throughout].\n \nAudience\n00:10:58\nApplause and laughter.\n \nEarle Birney\n00:11:06\nThank you very much, I hesitate to look as if I anticipated more applause, but I would much prefer it if you'd just let me rattle ahead here, for one thing it's getting hotter in here and more and more uncomfortable and as I say, let me get ahead with it, and so if at the end, of course, if anybody is still here with enough energy left, fine. Is there anybody who knows where water is available, any water hole out there in those vast cement deserts?\n \nGeorge Bowering\n00:11:50\nThere should be some beside you, there.\n \nEarle Birney\n00:11:52\nUh, well, there's a water pitcher, and a water glass…[audience laughter]. I'll prove it... [audience laughter].\n \nGeorge Bowering\n00:12:05\nIf I drink it, it's okay.\n \nEarle Birney\n00:12:06\nYeah! ...Well, while George is away I'll read one of his poems. This one is called \"Honolulu\" and follows immediately after the other, but in between was about forty, twenty-four hours, I guess, in which I visited the very famous outdoor aviary, one of the world's famous aviaries, and also the aquarium and so on, and I also encountered a type, a Honolulu type of sorts. So this poem, which is perhaps about the involvement of people with animals through self-projection, and the involvement of human animals with each other. \n \nEarle Birney\n00:13:05\nReads \"Honolulu\" [from Selected Poems 1940-1966].\n \nEarle Birney\n00:14:41\nThen I went to Japan [https://www.wikidata.org/wiki/Q17], and I want to read you one little poem, this is my Zen poem, I guess. [Audience laughter]. Every poet has to have a Zen poem. Thank you, George. \n \nGeorge Bowering\n00:14:54\nOh ho, I could give you a Zen greeting. Alright. It's really cold. I tried to get it out of the Coke [https://www.wikidata.org/wiki/Q2813] machine but it just didn't work. \n \nEarle Birney\n00:15:03\nGood gin, thank you. \"Windchimes in a Temple Ruin\"--you know these little glass-leave things, which one expects to see in Japan, but not suddenly to hear when you're all alone in an old ruin. Some left up in the rafters.\n \nEarle Birney\n00:15:31\nReads \"Windchimes in a Temple Ruin\" [from Selected Poems 1940-1966].\n \nEarle Birney\n00:16:12\nBut I think I'm going to leave Asia [https://www.wikidata.org/wiki/Q48] for the moment, and get on to Europe [https://www.wikidata.org/wiki/Q46], briefly, been around to Spain [https://www.wikidata.org/wiki/Q29], at any rate. I was sitting, more or less minding my own business, on a plaza in Madrid [https://www.wikidata.org/wiki/Q2807] one morning, having my coffee, and something happened, which again I felt I should chronicle. Desmond Pacey [https://www.wikidata.org/wiki/Q5264782] says I'm a chronicler, and so I, having learned that, I now use the word [audience laughter] to explain what I'm doing. I renamed the plaza, it had a rather dull name, I call it Plaza de Inquisicion. \n \nEarle Birney\n00:17:09\nReads “Plaza de Inquisicion” [from Near False Creek Mouth and collected in Selected Poems 1940-1966].\n \nEarle Birney\n00:17:44\nI also went to the Prado [https://www.wikidata.org/wiki/Q160112] of course, and saw, for the first time, the original of one of the three studies by El Greco [https://www.wikidata.org/wiki/Q301] of The Espolio [https://www.wikidata.org/wiki/Q52301456], or the taking-off and rending of Christ's garments, which was one of El Greco's themes. And I was struck, as I had never been really before, I suppose because I never had really looked at these paintings properly, I had looked at them in small illustrations--I was struck by the extraordinary amount of space which had been taken up, which El Greco had devoted to the carpenter who was making the holes in the cross preparatory to having Christ nailed to the cross. In fact, the whole lower third of the canvas is devoted to him in one of these three versions, and not only that but he is, they're facing us, with his back to Christ, and on the right and left are two of the Marys, whose eyes are on him. I felt that perhaps El Greco was trying to say something here, apart from what he was saying about the actual scene of the crucifixion, in a symbolic way, perhaps about something that happened to do, really, with this religion, but with, whatever we'd call it, religion, whatever we'd call it, of art. Or if not of art, but craft. It's a little, perhaps, exaggerated, to call the carpenter an artist, but it's obvious that he'd been very much at that moment a craftsman. And so I wrote \"El Greco: Espolio\".\n \nEarle Birney\n00:20:04\nReads \"El Greco: Espolio\" [from Selected Poems 1940-1966].\n \nEarle Birney\n00:22:29\nWhen I come to Canada [https://www.wikidata.org/wiki/Q16], now, I'm going to kind of sneak in on the side by reading you a poem that has to do with a very remote, I suppose the most remote part of Canada, in fact, the piece of land that is even nearer to the North Pole [https://www.wikidata.org/wiki/Q934] than Greenland [https://www.wikidata.org/wiki/Q223] or anything the Russians have, Ellesmereland [https://www.wikidata.org/wiki/Q146841]. And I will read it first of all in English, and then, more or less for the hell of it, I'm going to read it in a translation into Spanish, but anyway, because I think I like the sound of it in Spanish. It's short, so I've practiced my Spanish on it, and maybe I won't make too many boobs.\n \nEarle Birney\n00:23:30\nReads \"Ellesmereland\" in English [published later in The Collected Poems of Earle Birney, Vol 1].\n \nEarle Birney\n00:24:10\nReads \"Ellesmereland\" in Spanish.\n \nEarle Birney\n00:24:59\nWell I'll get down and turn to more familiar territory. \"Canada Case History\". This is a poem written quite a long time ago, in 1945, in fact, when I'd just got back from World War Number Two [https://www.wikidata.org/wiki/Q362], I always have to be careful to name which one it is, people getting confused about how far back I go now. And I found that in 1967 I had to do a little patching and changing of this, because history had not only caught up with me, it had changed me. But here, first of all is the original. No, I don't think, I can't, I don't think I can bear to read the original, I think I'll just read you what, what happened to this poem in 1967 in the centennial year.\n \nEarle Birney\n00:26:09\nReads \"Canada: Case History\" [from Selected Poems 1940-1966; audience laughter throughout].\n \nEarle Birney\n00:28:15\nWell now I'm going to read you other various scrappy things about Canadian literature which have never been published and never will be, I think, sneak them out like this once in a while. \n \nEarle Birney\n00:28:38\nReads unnamed poem.\n \nAudience \n00:29:20\nLaughter.\n \nEarle Birney\n00:29:29\nThen there's John, Jean Cabot, as I think my school teacher, trying very hard to be bilingual, made us say, but it turns out he wasn't French at all, but Italian. His name was Giovanni Caboto [https://www.wikidata.org/wiki/Q85642]. \n \nEarle Birney\n00:29:48\nReads \"John Cabot\" [published later as “giovanni caboto - john cabot” in Rag & Bone Shop].\n \nAudience\n00:30:27\nLaughter.\n \nEarle Birney\n00:30:36\nThis is something to my publisher, when they brought out a book of mine, Ice Cod Bell or Stone, full of beautiful artwork, except that the man in charge of the artwork had never read the little poem, the \"Klein Ellesmereland\" that I've just read to you, and so never discovered that when I was talking about bells, I was talking about harebells, or flowers, and he put very large iron church bells into all the illustrations. [Audience laughter]. I had asked to see the artwork in advance and was told that the authors, that this was not the custom to show authors the artwork in advance, so I didn't see it. So all I could do at the end was write something. \"To the reader”, which was not included in the volume.\n \nEarle Birney\n00:31:45\nReads \"To the reader\".\n \nEarle Birney\n00:32:39\nI went to spend a weekend a couple of years ago for the first time with Al Purdy [https://www.wikidata.org/wiki/Q4704621] in his shack in Ameliasburg [https://www.wikidata.org/wiki/Q4742321], and I had read a lot of his Ameliasburg poems before, and I knew Al, but this was a new experience to be actually in the country of the poet, particularly as it was so well staked out--nobody else has ever written about Ameliasburg and the country north of there. Or ever will, I think. But Al has used it, and the country, and developed it into part of the remarkable fineness of his poetry. \n \nEarle Birney\n00:33:33\nReads \"In Purdy's Ameliasburg\" [published later in Rag & Bone Shop]. \n \nEarle Birney\n00:37:13\nNow a poem about another part of Canada. Still Ontario [https://www.wikidata.org/wiki/Q1904], part of the north. This is a poem about driving west with somebody else, another guy, and...well there it is. It's called \"Way to the West\". Summertime.\n \nEarle Birney\n00:37:46\nReads \"Way to the West\" [from Selected Poems 1940-1966].\n \nEarle Birney\n00:41:45\nWell, I'm going to get out to the West Coast very briefly. I'm going to read you something toward the end of a long poem. The trouble with long poems is, you could never dare to read the whole thing to any audience. So I'll read you, it's toward the end of the thing called \"November walk near False Creek mouth\". The last page.\n \nEarle Birney\n00:42:26\nReads final section of \"November walk near False Creek mouth\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\n \nEND\n00:45:06\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nEarle Birney\n00:45:07\nI'm going to read you a few odd things which are to some extent experimental, I suppose. Most of these have not been published, and some of them I haven't read before. This one is called a \"Swahili Serenade\" and I'll tell you about it after I read it. It's Swahili Found Serenade, really. \n \nEarle Birney\n00:45:44\nReads \"Swahili Serenade\" [published later as “found swahili serenade” in Rag & Bone Shop; audience laughter throughout].\n \nEarle Birney\n00:46:13\nWell, as some of you have already perceived, already noticed, this is made up, each line is a juke-box tune, it's just a very easy kind of poem to make up; I offer it to you as a formula for quick poetry, just sit down by a jukebox and pick off some titles. [Audience laughter]. Five minute poem. Here's another kind of found poem of a different sort, called, I call it \"Space Conquest\". That's about all that I've contributed to it. \"Space Conquest\".\n \nEarle Birney\n00:46:56\nReads \"Space Conquest\".\n \nEarle Birney\n00:47:33\nWell those ten lines, each of five syllables, came out of a computer at the University of Waterloo [https://www.wikidata.org/wiki/Q1049470] last week, into which we had programmed a hundred and eleven, the one hundred and eleven words of George Meredith's [https://www.wikidata.org/wiki/Q90238] \"Lucifer in Starlight,\" and the last thirty-three words of Archibald MacLeish's [https://www.wikidata.org/wiki/Q633354] \"The End of the World.\" Don't ask me why we picked those two poems, I had nothing to do with the picking of the poems. But some of us, two linguists, two linguist-isists, a mathematician, and myself, and masses of computers are producing this sort of poetry. It took point eight-three seconds, not even one second, to produce the hundred-some-odd lines, out of which I chose those ten. So you can see it doesn't take very long, once you've programmed the machine, to find the, you know, the entire text of Hamlet [https://www.wikidata.org/wiki/Q41567], but this is what we have done so far, we haven't put too much time on it yet. Some things that I haven't had computers write for me, although perhaps I might have, or should have. This one's called \"Kooks of the Monk\". \n \nEarle Birney\n00:49:24\nReads \"Kooks of the Monk\".\n \nAudience\n00:49:37\nLaughter.\n \nEarle Birney\n00:49:39\nThat is sometimes called \"concrete\". Fun anyway, to do. This is something that I may not be able to finish, but I'll try it. It's the train from Cardiff [https://www.wikidata.org/wiki/Q10690] to London. English trains sound different, of course. \n \nEarle Birney\n00:50:03\nPerforms \"Train from Cardiff to London\".\n \nAudience\n00:50:53\nLaughter.\n \nEarle Birney\n00:50:59\nThis is a found collage from one issue of the Toronto Daily Star [https://www.wikidata.org/wiki/Q1067299], called \"Toronto Daily Tele-Starlings\", and this is only a small part of the poem which has no beginning or end, it goes on forever if you read the whole of the Star.  \n \nEarle Birney\n00:51:22\nReads \"Toronto Daily Tele-Starlings\" [audience laughter throughout].\n \nEarle Birney\n00:53:26\nA series of poems with reference back to the Yeats poem I read at the beginning, perhaps. \n \nEarle Birney\n00:53:36\nReads \"Like an eddy\" [published later in Rag & Bone Shop and collected in Ghost in the Wheels: Selected Poems].\n\nEarle Birney\n00:55:42\nAnd, two short haikus.\n \nEarle Birney\n00:55:47\nReads [two of three haikus from “hokkai in the dew line snow”, published later in Rag & Bone Shop and collected in Ghost in the Wheels: Selected Poems].\n \nEarle Birney\n00:56:16\nReads [\"BUILDINGS\", published later in Rag & Bone Shop and collected in The Collected Poems of Earle Birney, Vol 1].\n \nEarle Birney\n00:56:50\nAnd, a poem that is written in kind of an attempt to write something to express a tiny little bit of the pleasure I've had, through most of my life, in reading Chaucer [https://www.wikidata.org/wiki/Q5683]. Called \"I'm always going back to Chaucer\".\n \nEarle Birney\n00:57:20\nReads \"I'm always going back to Chaucer\" in Middle English.\n \nEarle Birney\n00:59:06\nNow something that has to do with my Shetland [https://www.wikidata.org/wiki/Q47134] grand-aunt. Tea with my Shetland grand-aunt. This is a little, slightly different dialect. And there's a kind of an opposition of styles going on here. It's a very old poem, refurbished.\n \nEarle Birney\n00:59:32\nReads \"Tea at my Shetland Aunt’s\" in a Shetland dialect [published later in The Collected Poems of Earle Birney, Vol 1].\n\n \nEarle Birney\n01:01:21\nWell now I'm going to turn back to older poems. To conclude. Hum...I'm going to read two or three poems that, who have some relationship to California [https://www.wikidata.org/wiki/Q99] and Oregon [https://www.wikidata.org/wiki/Q824]. First of all, a poem that, when I wrote it, I wrote it on the day of its date. I thought the date was going to be very significant. August the seven, 1964, Florence [https://www.wikidata.org/wiki/Q862740], Oregon. And that was because on that day, the American fleet moved into the coast and shelled the coast of North Vietnam [https://www.wikidata.org/wiki/Q881], against the international agreements into which the United States had entered some years before. And I thought that this would surely go down in living memory, as a deed of aggression and perfidy. But there have been so many since, almost every day, that everybody has forgotten about that first shelling of the shore from the Gulf of Tonkin [https://www.wikidata.org/wiki/Q212428]. But I happened to be on the shore of the Pacific [https://www.wikidata.org/wiki/Q98] almost directly across from the Gulf of Tonkin, in fact, the waves that were coming in perhaps had their pulsing first on the other side. And this, one couldn't get it out of one's mind, having seen the morning papers and heard the radio, and I went, I had gone fishing with an American poet and his two boys. The salmon were running, coming in, but I have got less and less interested in killing even fish as I get older and softer, and I soon gave up even wanting to cook fish, and left it to the others, and I went up, because I had nothing to do then, I went up and I sat on a cliff, and started thinking about the sea out there, and cormorants fishing, and once in a while the flash of a seal coming up, also fishing, and I also suddenly realized I was sitting there just staring out at the sea and I began to think, I remembered Frost's [https://www.wikidata.org/wiki/Q168728] poem about how odd human beings are, you know, they go down to the sea and they sit and they all, they always look out at the sea, although they can't look very far out or very far in. And I thought that was exactly what I was feeling, the whole thing. But I thought well it's not really Frost's ocean, this is Robinson Jeffers' [https://www.wikidata.org/wiki/Q734955] ocean, and here is this great eye of indifference, so I began my poem, called \"Looking from Oregon\" with a line from Robinson Jeffers about the Pacific: \"And what it watches is not our wars\".\n \nEarle Birney\n01:04:54\nReads \"Looking from Oregon\" [from Selected Poems 1940-1966].\n \nEarle Birney\n01:06:20\nAnd another little poem which is really a video poem, and I should put it on a screen but I forgot to bring my slides. Brought them as far as the hotel, but I forgot to bring them up here.  o you'll just have to visualize a poem shaped like a pair of stairs but coming up at you, and visualize yourself at the top of these stairs with your back against the side of a theatre, a campus theatre at the University of Oregon [https://www.wikidata.org/wiki/Q766145], with signs of last week's shows, this one to go on tonight, that I'm waiting to go into, waiting for my friends, who have the tickets, and watching people come up these steps, the cars coming by and discharging people. \"Campus Theatre Steps\". Summertime, a beautiful summer night. \n \nEarle Birney\n01:07:14\nReads \"Campus Theatre Steps\" [from Selected Poems 1940-1966].\n \nEarle Birney\n01:08:04\nThen I was driving along the coast, a long time, and I was confronted with a sign that hadn't been there before. A billboard, with the same message multiplied up and down the coast and everywhere I went, since the last time I was there. Now I, this is my favourite state of the American Union, Oregon, absolutely beautiful, still, despite whatever, all the attempts of man to un-beautify it, there's still this great volcanic, snow-covered mountains, such, shaped a bit like Fujiyama [https://www.wikidata.org/wiki/Q39231], there is also all those beautiful rocks and sea-lion caves and the pounding surf and the rhododendrons, the whole works. And there's these, this sign saying, \"Billboards Build Freedom of Choice, Courtesy of Oregon Chamber of Commerce\". I brooded about this, and being alone, I couldn't get the answer. What is the philosophy behind this? So I invented a hitchhiker, and I picked him up, and he told me, and this is what he said. This poem is dated 61-62, and Khruschev [https://www.wikidata.org/wiki/Q35314] is still in power in Russia [https://www.wikidata.org/wiki/Q159]. \n \nEarle Birney\n01:09:36\nReads \"Billboards Build Freedom of Choice\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\n \nEarle Birney\n01:11:42\nWell, I think we'll slip down into Mexico [https://www.wikidata.org/wiki/Q96] for a moment before we wind this show up. There's a very short little thing called Irapuato [https://www.wikidata.org/wiki/Q816845]. Well it's all part, it's like, poetry is like guidebooks, you know, guidebooks are always pointing out irrational connections between things, and so is poetry, so sometimes they get together, and in this case the guidebook had told me that there were two things, sort of, that this place was famous for, and I had discovered they were right.\n \nEarle Birney\n01:12:29\nReads \"Irapuato\" [from Selected Poems 1940-1966].\n \nEarle Birney\n01:13:06\nReads \"Memory No Servant\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\n \nEarle Birney\n01:14:20\nA poem addressed to friend and writer George Lamming [https://www.wikidata.org/wiki/Q1340511], who's perhaps best known for his autobiography of his child as a poor negro boy on the island of Barbados [https://www.wikidata.org/wiki/Q244]. George Lamming who wrote In the Castle of My Skin [https://www.wikidata.org/wiki/Q23307454], and who happened to be in Jamaica [https://www.wikidata.org/wiki/Q766] when I went there, and was extremely hospitable to me, and so were all his friends. And when I left I wrote him this poem, which had to do with a split-second feeling, something, thing happening inside me, an internal happening, the night of the last party, the last night of the last party. \n \nEarle Birney\n01:15:18\nReads \"For George Lamming\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\n \nEarle Birney\n01:16:32\nWell just in case you would think that I am soft about this and I'm going to like anybody if their skin is darker than mine, I'll read you a counter-poem that happened to come out of the island of Trinidad [https://www.wikidata.org/wiki/Q128323], out of some little external happening, perhaps in part, perhaps really just an internal happening.\n \nEarle Birney\n01:17:20\nReads \"Meeting of Strangers\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\n \nEarle Birney\n01:19:06\nAnd then a very brief little, Irving Layton [https://www.wikidata.org/wiki/Q1673289]-type poem from Curacao [https://www.wikidata.org/wiki/Q25279]. Very much a...very pallid compared with Irving's, I must say.\n \nEarle Birney\n01:19:22\nReads \"Curacao\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\n \nAudience\n01:19:45\nLaughter.\n \nEarle Birney\n01:19:54\nNow I'm going to conclude with two pieces. One is about the farthest back of these poems. Although some things I've read tonight began earlier but have been revised, this one has not been particularly revised. It's called \"The Road to Nijmegen\" and was written in Holland [https://www.wikidata.org/wiki/Q55] in January of 1945, the last winter of the war. Which was the coldest winter, and in this part of Holland, first the Germans in coming and then in retreating had cut down every tree anywhere around. The trees were used for fuel and for mine props and...And then we had come in, and if there were any trees left, we'd got them. And in fact, it was no longer a matter of trees, it was a matter of trying to find bits and pieces of coal and getting the coal working and getting the coal out of the hands of black marketeers. And meantime the people were cold, even colder than we were, and they also lacked food. This is a letter home to a friend.\n \nEarle Birney\n01:22:10\nReads \"The Road to Nijmegen\" [published later in The Collected Poems of Earle Birney, Vol 1].\n \nEarle Birney\n01:24:38\nAnd finally, “From The Hazel Bough”.\n \nEarle Birney\n01:24:48\nReads \"From the Hazel Bough\" [from Selected Poems 1940-1966 and collected ater in The Collected Poems of Earle Birney, Vol 1].\n \nEarle Birney\n01:25:41\nThank you very much.\n \nAudience\n01:25:43\nApplause.\n \nGeorge Bowering\n01:26:12\nI guess you've already said it for us, and I can only repeat, thanks very much, Earle.\n \nEND\n01:26:25\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1968, Birney left for Australia on a trip financed by a Canada Council Medal and Award. He also went on a Canadian reading tour, which this reading might have been part of (see Elspeth Cameron’s Earle Birney: A Life, pg 492). Birney was also working on Pnomes, jukollages & other stunzas (Ganglia Press, 1969), a collaboration with bp Nichol.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nEarle Birney was an influential poet and professor at the University of British Columbia thus influencing a younger generation of poets like Frank Davey, George Bowering, Daphne Marlatt, David Bromige, Phyllis Webb, John Newlove, Joe Rosenblatt, Gwendolyn MacEwen, Michael Ondaatje, bill bissett and Lionel Kearns among many others during the early 60’s. Birney was also connected to poets like A.J.M. Smith, Irving Layton, Al Purdy and Robert Creeley. *On an interesting note, a trip to Montreal to read at Sir George Williams in 1970 was cancelled due to a car accident Birney was involved in. (Elspeth Cameron’s Earle Birney: A Life (Viking Press, 1994), page 498).\\n\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Adam, Ian. “Birney, Earle (1904-). Routledge Encyclopedia of Post-Colonial Literatures in English. Eugene Benson and L.W. Connolly (eds). London: Routledge, 1994. 2 vols.\"},{\"url\":\"https://www.worldcat.org/title/ice-cod-bell-or-stone-new-poems/oclc/61536179&referer=brief_results\",\"citation\":\"Birney, Earle. Ice Cod Bell or Stone. Toronto: McClelland and Stewart, 1962. \"},{\"url\":\"https://www.worldcat.org/title/near-false-creek-mouth-new-poems/oclc/301604488&referer=brief_results\",\"citation\":\"Birney, Earle. Near False Creek Mouth. Toronto: McClelland and Stewart, 1964.\"},{\"url\":\"https://www.worldcat.org/title/rag-bone-shop/oclc/877159326&referer=brief_results\",\"citation\":\"Birney, Earle. Rag & Bone Shop. Toronto: McClelland and Stewart, 1971.\"},{\"url\":\"https://www.worldcat.org/title/ghost-in-the-wheels-selected-poems/oclc/906091320&referer=brief_results\",\"citation\":\"Birney, Earle. Ghost in the Wheels: Selected Poems. Toronto: McClelland and Stewart, 1977.\"},{\"url\":\"https://www.worldcat.org/title/collected-poems-of-earle-birney-volume-1/oclc/941923628&referer=brief_results\",\"citation\":\"Birney, Earle. The Collected Poems of Earle Birney, Vol 1. Toronto: McClelland and Stewart, 1975. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems-1940-1966/oclc/256837965&referer=brief_results\",\"citation\":\"Birney, Earle. Selected Poems 1940-1966. Toronto: McClelland and Stewart, 1966.\"},{\"url\":\"https://www.worldcat.org/title/earle-birney-a-life/oclc/30973945&referer=brief_results\",\"citation\":\"Cameron, Elspeth. Earle Birney: A Life. Toronto: Penguin Books, 1995. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/earle-birney-at-sgwu-1968/#reading1\",\"citation\":\"Charney, Marty. “Georgiantics”. The Georgian. Montreal: Sir George Williams University, 23 February 1968.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"Birney, Earle\\\". 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&referer=brief_results\",\"citation\":\"Geddes, Gary. “Earle Birney (b. 1904)”. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"New, W.H. \\\"Birney, (Alfred) Earle\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"http://news.google.com/newspapersid=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. Montreal: The Gazette, 14 September 1967, page 15. \"},{\"url\":\"\",\"citation\":\"Freeland, Petra. “Birney, Earle, 1904-1995”. Literature Online Biography.\"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548842741760,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0018_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0018_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Earle Birney 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_0018_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0018_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Earle Birney 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_0018_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0018_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Earle Birney 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_0018_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0018_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Earle Birney 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/earle_birney_i006-11-018.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"earle_birney_i006-11-018.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:26:25\",\"precision\":\"\",\"size\":\"207.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nI think it's, it's either redundant or futile to do anything more than the formality of introducing Earle Birney [https://www.wikidata.org/wiki/Q3046415] who's probably the most famous poet we've ever had and who you will see described on those pieces of paper, pink that flit around, as always as a, the Dean of Canadian Poetry, though I prefer to think of him as the federal Minister for Poetry, and the times he has been a semi-official courier of Canadian poetry around the world. Sadly enough, as he tells me, the only book of his still generally in print is the Selected Poems of 1966, which we do have on sale outside the door and of which, I should remind you, he gets a cut from his publisher. [Audience laughter]. Luckily there, I have, have heard that there will be a couple of Birney books within the next little while, one of them published in the United States [https://www.wikidata.org/wiki/Q30] and the other one by the Coach House Press [https://www.wikidata.org/wiki/Q5137585], presuming always that there will be a Coach House Press in the next little while. I would just like to mention that my association with Earle Birney has always been very, a good one, for me, and I wouldn't be here today to be talking about him unless I happened to be a member of the Poetry Committee, and, except that if it hadn't been for him, and the fact that both he and I were in Vancouver [https://www.wikidata.org/wiki/Q24639] at one time, I probably wouldn't have been writing any poems at all. Either that, or he would be writing mine. So without any further ado, and probably to our great delectation, I would like to introduce Earle Birney. \\n \\nAudience\\n00:02:15 \\nApplause.\\n \\nEarle Birney\\n00:02:26\\nThank you very much, George [https://www.wikidata.org/wiki/Q1239280]. I should, in all fairness to George, say that he actually wrote all this information about me and probably a good number of the poems, which I will be reading under my own name tonight. I would also like to say that I have, was recently corresponding with a man who had just resigned as president of a University to become a Dean of another University and had said, well, at least I will show them that if a Dean is a mouse in training to be a rat, then some rats can revert to being mice. Now, if we apply this to the world of poetry, I would say that I am a mouse in training to be less than a mouse, to be something in another category--I think I'd like to be Bursar of Canadian Poetry. But nobody has really set me up for that. I'm going to start by making sure that I read one good poem tonight by reading a poem of W. B. Yeats [https://www.wikidata.org/wiki/Q40213] [audience laughter] called \\\"A Prayer for Old Age\\\", which has, I think, I'm afraid, more and more pertinence to my condition. He wrote it at 69. \\n \\nEarle Birney\\n00:04:10\\nReads \\\"A Prayer for Old Age\\\"  by W. B. Yeats.\\n \\nEarle Birney\\n00:04:54\\nThat I will use as an excuse for some of the poems I now shall read you, if I can find my list. The last thing. Ah yes, here it is. Now there's no mic and I want to make sure that everyone is hearing me. If I'm not talking loud enough, those that cannot hear, would you please put a hand up now. I'm very sorry, I'm very sorry--well, you will have to go to the back and then somebody who's standing can come here. I'm sorry there aren't, that some of you have to stand, and I'll try to make it as fast as possible so we can all get out of here. [Audience laughter]. I'm going to begin with some poems that are, alas, too well known to my fellow poets, most of them in this room, but I had planned it this way and I'm stuck with it now and so are they. I'm going to begin with a series that came out, some members of a series that came out in Ice Cod Bell or Stone, and later others in, Near False Creek Mouth, that have to do with wandering around the global village, and this one begins in, well it since begins in Vancouver, but it's about Honolulu [https://www.wikidata.org/wiki/Q18094]. I got a fellowship to go to England [https://www.wikidata.org/wiki/Q21] and I was in Vancouver and I discovered that it only cost me two hundred dollars and some odd cents more to go to London [https://www.wikidata.org/wiki/Q84] and back to Vancouver by way of going around the world, you know, just heading west. The air tickets were accommodating me that way. So I decided to go west, and my first stop, I noticed, was Honolulu, and I began to get a bit of a temperature about that, and I thought, how 'bout, I might as well live it up, I'm going to Honolulu tomorrow morning, going to be there tomorrow night, and so I will engage a room in Hawaiian Village Hotel for the one night, because first night, I know I have a little money. After that, God knows what's going to happen to me because I intend to stay in a lot of places before I get to London. So I did this, I reserved a room before I left Vancouver, not realizing that this had put me in a bit of a box, because this is one of the Kaiser-Hilton hotels on Waikiki Beach [https://www.wikidata.org/wiki/Q254861], and they have a special greeter who meets all the planes, just for people coming to them. And it happened, through another mischance, that I was the only one for that hotel, and this unsettled me so much I had to write about it. [Audience laughter]. Something which I call \\\"Twenty-Third Flight\\\" for reasons, well, the poem is imitative of another poet, much older, much greater, by the name of David. Not the one that I pushed off the cliff [audience laughter], the one who was a harpist.\\n \\nEarle Birney\\n00:08:39\\nReads \\\"Twenty-Third Flight\\\" [from Selected Poems 1940-1966; audience laughter throughout].\\n \\nAudience\\n00:10:58\\nApplause and laughter.\\n \\nEarle Birney\\n00:11:06\\nThank you very much, I hesitate to look as if I anticipated more applause, but I would much prefer it if you'd just let me rattle ahead here, for one thing it's getting hotter in here and more and more uncomfortable and as I say, let me get ahead with it, and so if at the end, of course, if anybody is still here with enough energy left, fine. Is there anybody who knows where water is available, any water hole out there in those vast cement deserts?\\n \\nGeorge Bowering\\n00:11:50\\nThere should be some beside you, there.\\n \\nEarle Birney\\n00:11:52\\nUh, well, there's a water pitcher, and a water glass…[audience laughter]. I'll prove it... [audience laughter].\\n \\nGeorge Bowering\\n00:12:05\\nIf I drink it, it's okay.\\n \\nEarle Birney\\n00:12:06\\nYeah! ...Well, while George is away I'll read one of his poems. This one is called \\\"Honolulu\\\" and follows immediately after the other, but in between was about forty, twenty-four hours, I guess, in which I visited the very famous outdoor aviary, one of the world's famous aviaries, and also the aquarium and so on, and I also encountered a type, a Honolulu type of sorts. So this poem, which is perhaps about the involvement of people with animals through self-projection, and the involvement of human animals with each other. \\n \\nEarle Birney\\n00:13:05\\nReads \\\"Honolulu\\\" [from Selected Poems 1940-1966].\\n \\nEarle Birney\\n00:14:41\\nThen I went to Japan [https://www.wikidata.org/wiki/Q17], and I want to read you one little poem, this is my Zen poem, I guess. [Audience laughter]. Every poet has to have a Zen poem. Thank you, George. \\n \\nGeorge Bowering\\n00:14:54\\nOh ho, I could give you a Zen greeting. Alright. It's really cold. I tried to get it out of the Coke [https://www.wikidata.org/wiki/Q2813] machine but it just didn't work. \\n \\nEarle Birney\\n00:15:03\\nGood gin, thank you. \\\"Windchimes in a Temple Ruin\\\"--you know these little glass-leave things, which one expects to see in Japan, but not suddenly to hear when you're all alone in an old ruin. Some left up in the rafters.\\n \\nEarle Birney\\n00:15:31\\nReads \\\"Windchimes in a Temple Ruin\\\" [from Selected Poems 1940-1966].\\n \\nEarle Birney\\n00:16:12\\nBut I think I'm going to leave Asia [https://www.wikidata.org/wiki/Q48] for the moment, and get on to Europe [https://www.wikidata.org/wiki/Q46], briefly, been around to Spain [https://www.wikidata.org/wiki/Q29], at any rate. I was sitting, more or less minding my own business, on a plaza in Madrid [https://www.wikidata.org/wiki/Q2807] one morning, having my coffee, and something happened, which again I felt I should chronicle. Desmond Pacey [https://www.wikidata.org/wiki/Q5264782] says I'm a chronicler, and so I, having learned that, I now use the word [audience laughter] to explain what I'm doing. I renamed the plaza, it had a rather dull name, I call it Plaza de Inquisicion. \\n \\nEarle Birney\\n00:17:09\\nReads “Plaza de Inquisicion” [from Near False Creek Mouth and collected in Selected Poems 1940-1966].\\n \\nEarle Birney\\n00:17:44\\nI also went to the Prado [https://www.wikidata.org/wiki/Q160112] of course, and saw, for the first time, the original of one of the three studies by El Greco [https://www.wikidata.org/wiki/Q301] of The Espolio [https://www.wikidata.org/wiki/Q52301456], or the taking-off and rending of Christ's garments, which was one of El Greco's themes. And I was struck, as I had never been really before, I suppose because I never had really looked at these paintings properly, I had looked at them in small illustrations--I was struck by the extraordinary amount of space which had been taken up, which El Greco had devoted to the carpenter who was making the holes in the cross preparatory to having Christ nailed to the cross. In fact, the whole lower third of the canvas is devoted to him in one of these three versions, and not only that but he is, they're facing us, with his back to Christ, and on the right and left are two of the Marys, whose eyes are on him. I felt that perhaps El Greco was trying to say something here, apart from what he was saying about the actual scene of the crucifixion, in a symbolic way, perhaps about something that happened to do, really, with this religion, but with, whatever we'd call it, religion, whatever we'd call it, of art. Or if not of art, but craft. It's a little, perhaps, exaggerated, to call the carpenter an artist, but it's obvious that he'd been very much at that moment a craftsman. And so I wrote \\\"El Greco: Espolio\\\".\\n \\nEarle Birney\\n00:20:04\\nReads \\\"El Greco: Espolio\\\" [from Selected Poems 1940-1966].\\n \\nEarle Birney\\n00:22:29\\nWhen I come to Canada [https://www.wikidata.org/wiki/Q16], now, I'm going to kind of sneak in on the side by reading you a poem that has to do with a very remote, I suppose the most remote part of Canada, in fact, the piece of land that is even nearer to the North Pole [https://www.wikidata.org/wiki/Q934] than Greenland [https://www.wikidata.org/wiki/Q223] or anything the Russians have, Ellesmereland [https://www.wikidata.org/wiki/Q146841]. And I will read it first of all in English, and then, more or less for the hell of it, I'm going to read it in a translation into Spanish, but anyway, because I think I like the sound of it in Spanish. It's short, so I've practiced my Spanish on it, and maybe I won't make too many boobs.\\n \\nEarle Birney\\n00:23:30\\nReads \\\"Ellesmereland\\\" in English [published later in The Collected Poems of Earle Birney, Vol 1].\\n \\nEarle Birney\\n00:24:10\\nReads \\\"Ellesmereland\\\" in Spanish.\\n \\nEarle Birney\\n00:24:59\\nWell I'll get down and turn to more familiar territory. \\\"Canada Case History\\\". This is a poem written quite a long time ago, in 1945, in fact, when I'd just got back from World War Number Two [https://www.wikidata.org/wiki/Q362], I always have to be careful to name which one it is, people getting confused about how far back I go now. And I found that in 1967 I had to do a little patching and changing of this, because history had not only caught up with me, it had changed me. But here, first of all is the original. No, I don't think, I can't, I don't think I can bear to read the original, I think I'll just read you what, what happened to this poem in 1967 in the centennial year.\\n \\nEarle Birney\\n00:26:09\\nReads \\\"Canada: Case History\\\" [from Selected Poems 1940-1966; audience laughter throughout].\\n \\nEarle Birney\\n00:28:15\\nWell now I'm going to read you other various scrappy things about Canadian literature which have never been published and never will be, I think, sneak them out like this once in a while. \\n \\nEarle Birney\\n00:28:38\\nReads unnamed poem.\\n \\nAudience \\n00:29:20\\nLaughter.\\n \\nEarle Birney\\n00:29:29\\nThen there's John, Jean Cabot, as I think my school teacher, trying very hard to be bilingual, made us say, but it turns out he wasn't French at all, but Italian. His name was Giovanni Caboto [https://www.wikidata.org/wiki/Q85642]. \\n \\nEarle Birney\\n00:29:48\\nReads \\\"John Cabot\\\" [published later as “giovanni caboto - john cabot” in Rag & Bone Shop].\\n \\nAudience\\n00:30:27\\nLaughter.\\n \\nEarle Birney\\n00:30:36\\nThis is something to my publisher, when they brought out a book of mine, Ice Cod Bell or Stone, full of beautiful artwork, except that the man in charge of the artwork had never read the little poem, the \\\"Klein Ellesmereland\\\" that I've just read to you, and so never discovered that when I was talking about bells, I was talking about harebells, or flowers, and he put very large iron church bells into all the illustrations. [Audience laughter]. I had asked to see the artwork in advance and was told that the authors, that this was not the custom to show authors the artwork in advance, so I didn't see it. So all I could do at the end was write something. \\\"To the reader”, which was not included in the volume.\\n \\nEarle Birney\\n00:31:45\\nReads \\\"To the reader\\\".\\n \\nEarle Birney\\n00:32:39\\nI went to spend a weekend a couple of years ago for the first time with Al Purdy [https://www.wikidata.org/wiki/Q4704621] in his shack in Ameliasburg [https://www.wikidata.org/wiki/Q4742321], and I had read a lot of his Ameliasburg poems before, and I knew Al, but this was a new experience to be actually in the country of the poet, particularly as it was so well staked out--nobody else has ever written about Ameliasburg and the country north of there. Or ever will, I think. But Al has used it, and the country, and developed it into part of the remarkable fineness of his poetry. \\n \\nEarle Birney\\n00:33:33\\nReads \\\"In Purdy's Ameliasburg\\\" [published later in Rag & Bone Shop]. \\n \\nEarle Birney\\n00:37:13\\nNow a poem about another part of Canada. Still Ontario [https://www.wikidata.org/wiki/Q1904], part of the north. This is a poem about driving west with somebody else, another guy, and...well there it is. It's called \\\"Way to the West\\\". Summertime.\\n \\nEarle Birney\\n00:37:46\\nReads \\\"Way to the West\\\" [from Selected Poems 1940-1966].\\n \\nEarle Birney\\n00:41:45\\nWell, I'm going to get out to the West Coast very briefly. I'm going to read you something toward the end of a long poem. The trouble with long poems is, you could never dare to read the whole thing to any audience. So I'll read you, it's toward the end of the thing called \\\"November walk near False Creek mouth\\\". The last page.\\n \\nEarle Birney\\n00:42:26\\nReads final section of \\\"November walk near False Creek mouth\\\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\\n \\nEND\\n00:45:06\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nEarle Birney\\n00:45:07\\nI'm going to read you a few odd things which are to some extent experimental, I suppose. Most of these have not been published, and some of them I haven't read before. This one is called a \\\"Swahili Serenade\\\" and I'll tell you about it after I read it. It's Swahili Found Serenade, really. \\n \\nEarle Birney\\n00:45:44\\nReads \\\"Swahili Serenade\\\" [published later as “found swahili serenade” in Rag & Bone Shop; audience laughter throughout].\\n \\nEarle Birney\\n00:46:13\\nWell, as some of you have already perceived, already noticed, this is made up, each line is a juke-box tune, it's just a very easy kind of poem to make up; I offer it to you as a formula for quick poetry, just sit down by a jukebox and pick off some titles. [Audience laughter]. Five minute poem. Here's another kind of found poem of a different sort, called, I call it \\\"Space Conquest\\\". That's about all that I've contributed to it. \\\"Space Conquest\\\".\\n \\nEarle Birney\\n00:46:56\\nReads \\\"Space Conquest\\\".\\n \\nEarle Birney\\n00:47:33\\nWell those ten lines, each of five syllables, came out of a computer at the University of Waterloo [https://www.wikidata.org/wiki/Q1049470] last week, into which we had programmed a hundred and eleven, the one hundred and eleven words of George Meredith's [https://www.wikidata.org/wiki/Q90238] \\\"Lucifer in Starlight,\\\" and the last thirty-three words of Archibald MacLeish's [https://www.wikidata.org/wiki/Q633354] \\\"The End of the World.\\\" Don't ask me why we picked those two poems, I had nothing to do with the picking of the poems. But some of us, two linguists, two linguist-isists, a mathematician, and myself, and masses of computers are producing this sort of poetry. It took point eight-three seconds, not even one second, to produce the hundred-some-odd lines, out of which I chose those ten. So you can see it doesn't take very long, once you've programmed the machine, to find the, you know, the entire text of Hamlet [https://www.wikidata.org/wiki/Q41567], but this is what we have done so far, we haven't put too much time on it yet. Some things that I haven't had computers write for me, although perhaps I might have, or should have. This one's called \\\"Kooks of the Monk\\\". \\n \\nEarle Birney\\n00:49:24\\nReads \\\"Kooks of the Monk\\\".\\n \\nAudience\\n00:49:37\\nLaughter.\\n \\nEarle Birney\\n00:49:39\\nThat is sometimes called \\\"concrete\\\". Fun anyway, to do. This is something that I may not be able to finish, but I'll try it. It's the train from Cardiff [https://www.wikidata.org/wiki/Q10690] to London. English trains sound different, of course. \\n \\nEarle Birney\\n00:50:03\\nPerforms \\\"Train from Cardiff to London\\\".\\n \\nAudience\\n00:50:53\\nLaughter.\\n \\nEarle Birney\\n00:50:59\\nThis is a found collage from one issue of the Toronto Daily Star [https://www.wikidata.org/wiki/Q1067299], called \\\"Toronto Daily Tele-Starlings\\\", and this is only a small part of the poem which has no beginning or end, it goes on forever if you read the whole of the Star.  \\n \\nEarle Birney\\n00:51:22\\nReads \\\"Toronto Daily Tele-Starlings\\\" [audience laughter throughout].\\n \\nEarle Birney\\n00:53:26\\nA series of poems with reference back to the Yeats poem I read at the beginning, perhaps. \\n \\nEarle Birney\\n00:53:36\\nReads \\\"Like an eddy\\\" [published later in Rag & Bone Shop and collected in Ghost in the Wheels: Selected Poems].\\n\\nEarle Birney\\n00:55:42\\nAnd, two short haikus.\\n \\nEarle Birney\\n00:55:47\\nReads [two of three haikus from “hokkai in the dew line snow”, published later in Rag & Bone Shop and collected in Ghost in the Wheels: Selected Poems].\\n \\nEarle Birney\\n00:56:16\\nReads [\\\"BUILDINGS\\\", published later in Rag & Bone Shop and collected in The Collected Poems of Earle Birney, Vol 1].\\n \\nEarle Birney\\n00:56:50\\nAnd, a poem that is written in kind of an attempt to write something to express a tiny little bit of the pleasure I've had, through most of my life, in reading Chaucer [https://www.wikidata.org/wiki/Q5683]. Called \\\"I'm always going back to Chaucer\\\".\\n \\nEarle Birney\\n00:57:20\\nReads \\\"I'm always going back to Chaucer\\\" in Middle English.\\n \\nEarle Birney\\n00:59:06\\nNow something that has to do with my Shetland [https://www.wikidata.org/wiki/Q47134] grand-aunt. Tea with my Shetland grand-aunt. This is a little, slightly different dialect. And there's a kind of an opposition of styles going on here. It's a very old poem, refurbished.\\n \\nEarle Birney\\n00:59:32\\nReads \\\"Tea at my Shetland Aunt’s\\\" in a Shetland dialect [published later in The Collected Poems of Earle Birney, Vol 1].\\n\\n \\nEarle Birney\\n01:01:21\\nWell now I'm going to turn back to older poems. To conclude. Hum...I'm going to read two or three poems that, who have some relationship to California [https://www.wikidata.org/wiki/Q99] and Oregon [https://www.wikidata.org/wiki/Q824]. First of all, a poem that, when I wrote it, I wrote it on the day of its date. I thought the date was going to be very significant. August the seven, 1964, Florence [https://www.wikidata.org/wiki/Q862740], Oregon. And that was because on that day, the American fleet moved into the coast and shelled the coast of North Vietnam [https://www.wikidata.org/wiki/Q881], against the international agreements into which the United States had entered some years before. And I thought that this would surely go down in living memory, as a deed of aggression and perfidy. But there have been so many since, almost every day, that everybody has forgotten about that first shelling of the shore from the Gulf of Tonkin [https://www.wikidata.org/wiki/Q212428]. But I happened to be on the shore of the Pacific [https://www.wikidata.org/wiki/Q98] almost directly across from the Gulf of Tonkin, in fact, the waves that were coming in perhaps had their pulsing first on the other side. And this, one couldn't get it out of one's mind, having seen the morning papers and heard the radio, and I went, I had gone fishing with an American poet and his two boys. The salmon were running, coming in, but I have got less and less interested in killing even fish as I get older and softer, and I soon gave up even wanting to cook fish, and left it to the others, and I went up, because I had nothing to do then, I went up and I sat on a cliff, and started thinking about the sea out there, and cormorants fishing, and once in a while the flash of a seal coming up, also fishing, and I also suddenly realized I was sitting there just staring out at the sea and I began to think, I remembered Frost's [https://www.wikidata.org/wiki/Q168728] poem about how odd human beings are, you know, they go down to the sea and they sit and they all, they always look out at the sea, although they can't look very far out or very far in. And I thought that was exactly what I was feeling, the whole thing. But I thought well it's not really Frost's ocean, this is Robinson Jeffers' [https://www.wikidata.org/wiki/Q734955] ocean, and here is this great eye of indifference, so I began my poem, called \\\"Looking from Oregon\\\" with a line from Robinson Jeffers about the Pacific: \\\"And what it watches is not our wars\\\".\\n \\nEarle Birney\\n01:04:54\\nReads \\\"Looking from Oregon\\\" [from Selected Poems 1940-1966].\\n \\nEarle Birney\\n01:06:20\\nAnd another little poem which is really a video poem, and I should put it on a screen but I forgot to bring my slides. Brought them as far as the hotel, but I forgot to bring them up here.  o you'll just have to visualize a poem shaped like a pair of stairs but coming up at you, and visualize yourself at the top of these stairs with your back against the side of a theatre, a campus theatre at the University of Oregon [https://www.wikidata.org/wiki/Q766145], with signs of last week's shows, this one to go on tonight, that I'm waiting to go into, waiting for my friends, who have the tickets, and watching people come up these steps, the cars coming by and discharging people. \\\"Campus Theatre Steps\\\". Summertime, a beautiful summer night. \\n \\nEarle Birney\\n01:07:14\\nReads \\\"Campus Theatre Steps\\\" [from Selected Poems 1940-1966].\\n \\nEarle Birney\\n01:08:04\\nThen I was driving along the coast, a long time, and I was confronted with a sign that hadn't been there before. A billboard, with the same message multiplied up and down the coast and everywhere I went, since the last time I was there. Now I, this is my favourite state of the American Union, Oregon, absolutely beautiful, still, despite whatever, all the attempts of man to un-beautify it, there's still this great volcanic, snow-covered mountains, such, shaped a bit like Fujiyama [https://www.wikidata.org/wiki/Q39231], there is also all those beautiful rocks and sea-lion caves and the pounding surf and the rhododendrons, the whole works. And there's these, this sign saying, \\\"Billboards Build Freedom of Choice, Courtesy of Oregon Chamber of Commerce\\\". I brooded about this, and being alone, I couldn't get the answer. What is the philosophy behind this? So I invented a hitchhiker, and I picked him up, and he told me, and this is what he said. This poem is dated 61-62, and Khruschev [https://www.wikidata.org/wiki/Q35314] is still in power in Russia [https://www.wikidata.org/wiki/Q159]. \\n \\nEarle Birney\\n01:09:36\\nReads \\\"Billboards Build Freedom of Choice\\\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\\n \\nEarle Birney\\n01:11:42\\nWell, I think we'll slip down into Mexico [https://www.wikidata.org/wiki/Q96] for a moment before we wind this show up. There's a very short little thing called Irapuato [https://www.wikidata.org/wiki/Q816845]. Well it's all part, it's like, poetry is like guidebooks, you know, guidebooks are always pointing out irrational connections between things, and so is poetry, so sometimes they get together, and in this case the guidebook had told me that there were two things, sort of, that this place was famous for, and I had discovered they were right.\\n \\nEarle Birney\\n01:12:29\\nReads \\\"Irapuato\\\" [from Selected Poems 1940-1966].\\n \\nEarle Birney\\n01:13:06\\nReads \\\"Memory No Servant\\\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\\n \\nEarle Birney\\n01:14:20\\nA poem addressed to friend and writer George Lamming [https://www.wikidata.org/wiki/Q1340511], who's perhaps best known for his autobiography of his child as a poor negro boy on the island of Barbados [https://www.wikidata.org/wiki/Q244]. George Lamming who wrote In the Castle of My Skin [https://www.wikidata.org/wiki/Q23307454], and who happened to be in Jamaica [https://www.wikidata.org/wiki/Q766] when I went there, and was extremely hospitable to me, and so were all his friends. And when I left I wrote him this poem, which had to do with a split-second feeling, something, thing happening inside me, an internal happening, the night of the last party, the last night of the last party. \\n \\nEarle Birney\\n01:15:18\\nReads \\\"For George Lamming\\\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\\n \\nEarle Birney\\n01:16:32\\nWell just in case you would think that I am soft about this and I'm going to like anybody if their skin is darker than mine, I'll read you a counter-poem that happened to come out of the island of Trinidad [https://www.wikidata.org/wiki/Q128323], out of some little external happening, perhaps in part, perhaps really just an internal happening.\\n \\nEarle Birney\\n01:17:20\\nReads \\\"Meeting of Strangers\\\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\\n \\nEarle Birney\\n01:19:06\\nAnd then a very brief little, Irving Layton [https://www.wikidata.org/wiki/Q1673289]-type poem from Curacao [https://www.wikidata.org/wiki/Q25279]. Very much a...very pallid compared with Irving's, I must say.\\n \\nEarle Birney\\n01:19:22\\nReads \\\"Curacao\\\" [from Near False Creek Mouth and collected later in Selected Poems 1940-1966].\\n \\nAudience\\n01:19:45\\nLaughter.\\n \\nEarle Birney\\n01:19:54\\nNow I'm going to conclude with two pieces. One is about the farthest back of these poems. Although some things I've read tonight began earlier but have been revised, this one has not been particularly revised. It's called \\\"The Road to Nijmegen\\\" and was written in Holland [https://www.wikidata.org/wiki/Q55] in January of 1945, the last winter of the war. Which was the coldest winter, and in this part of Holland, first the Germans in coming and then in retreating had cut down every tree anywhere around. The trees were used for fuel and for mine props and...And then we had come in, and if there were any trees left, we'd got them. And in fact, it was no longer a matter of trees, it was a matter of trying to find bits and pieces of coal and getting the coal working and getting the coal out of the hands of black marketeers. And meantime the people were cold, even colder than we were, and they also lacked food. This is a letter home to a friend.\\n \\nEarle Birney\\n01:22:10\\nReads \\\"The Road to Nijmegen\\\" [published later in The Collected Poems of Earle Birney, Vol 1].\\n \\nEarle Birney\\n01:24:38\\nAnd finally, “From The Hazel Bough”.\\n \\nEarle Birney\\n01:24:48\\nReads \\\"From the Hazel Bough\\\" [from Selected Poems 1940-1966 and collected ater in The Collected Poems of Earle Birney, Vol 1].\\n \\nEarle Birney\\n01:25:41\\nThank you very much.\\n \\nAudience\\n01:25:43\\nApplause.\\n \\nGeorge Bowering\\n01:26:12\\nI guess you've already said it for us, and I can only repeat, thanks very much, Earle.\\n \\nEND\\n01:26:25\\n[Cut off abruptly].\",\"notes\":\"Earle Birney reads from Near False Creek Mouth (McClelland and Stewart, 1964) and Selected Poems 1940-1966 (McClelland and Stewart, 1966), as well as poems later collected in Rag & Bone Shop (McClelland and Stewart, 1971), The Collected Poems of Earle Birney, Vol 1 (McClelland and Stewart, 1975), and Ghost in the Wheels: Selected Poems (McClelland and Stewart, 1977).\\n\\n00:00- George Bowering introduces Earle Birney. [INDEX: most famous poet, flyers for readings, ‘Dean of Canadian Poetry’, Selected Poems of 1966, publisher, sale of book at reading, United States, Coach House Press, SGWU Poetry Committee, inspiration for  writing poems, Vancouver.]\\n02:26- Earle Birney introduces reading. [INDEX: George Bowering’s introduction, university Dean, ‘Bursar of Canadian Poetry’.]\\n03:41- Introduces W.B. Yeats poem “A Prayer for Old Age”. [INDEX: good poem, old age, written at age 69.]\\n04:10- Reads W.B. Yeats poem “A Prayer for Old Age”.\\n04:54- Introduces “Twenty-Third Flight” [INDEX: no microphone at reading, other poets in the room, well-known poems, reading plan, series that came out in Ice Cod Bell or Stone near False Creek mouth, wandering around a global village, Vancouver, Honolulu, fellowship to go to England, traveling West around the world, Hawaiian Village Hotel, Kaiser-Hilton hotels on Wakiki Beach, greater poet named David, push off a cliff,       harpist; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n08:39- Reads “Twenty-Third Flight”.\\n11:06- Thanks audience for applause, asks for water\\n12:06- Introduces “Honolulu”. [INDEX: George Bowering, twenty-four hours after previous poem’s action, outdoor aviary, aquarium, Honolulu, people and animals, self-projection, involvement of human animals with each other; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n13:05- Reads “Honolulu”.\\n14:41- Introduces “Wind Chimes in a Temple Ruin”. [INDEX: Japan, Zen poem, George        Bowering; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).] \\n14:54- George Bowering brings Earle Birney a cold drink from a vending machine. [INDEX: Zen greeting, Coke Machine.]\\n15:03- Birney continues introducing “Wind Chimes in a Temple Ruin”. [INDEX: Japan, old ruins, chimes left in rafters.]\\n15:31- Reads “Wind Chimes in a Temple Ruin”.\\n16:12- Introduces “Plaza de Inquisicion”. [INDEX: Leave Asia, Europe, Spain, plaza in        Madrid, coffee, Desmond Pacey, chronicler, renaming plaza; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n17:09- Reads “Plaza de Inquisicion”.\\n17:44- Introduces “El Greco: Espolio”. [INDEX: Prado, one of the three studies by El Greco of the Espolio, Christs’ garments, El Greco’s themes, struck by the painting, amount of space, carpenter making the holes in the cross, Virgin Mary, religion of art, craft, carpenter as artist; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n20:04- Reads “El Greco: Espolio”.\\n22:29- Introduces “Ellesmereland”. [INDEX: Canada, remotest part of Canada, nearest to the North Pole, Greenland, Russians, English, translation into Spanish, sound of poem in Spanish; found in The Collected Poems of Earle Birney, Vol 1 (McClelland and Stewart, 1975).]\\n23:30- Reads “Ellesmereland”.\\n24:10- Reads “Ellesmereland” in Spanish.\\n24:59- Introduces “Canada Case History”. [INDEX: familiar territory, written in 1945, Birney’s return from WWII, edited the poem in 1967 because history had ‘changed’       \\tBirney, original, 1967 Centennial year; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n26:09- Reads “Canada Case History”.\\n28:15- Introduces unknown poem, first line “Our forefathers literary...”. [INDEX: Canadian literature, poems never published.]\\n28:38- Reads unknown poem, first line “Our forefathers literary...”.\\n29:29- Introduces “John Cabot”. [INDEX: Jean Cabot, schoolteacher, bilingual, French, Italian, Giovanni Cabotto; from unknown source.]\\n29:48- Reads “John Cabot”.\\n30:36- Introduces “To the Reader Who Was Not Included in the Volume”. [INDEX:   publisher, Ice Cod Bell or Stone, artwork, artist never read “Ellesmereland”, didn’t    \\tknow that bells were harebells or flowers, church bells, authors barred from viewing art \\tbefore publication, poem as a result; unknown source.]\\n31:45- Reads “To the Reader...”\\n32:39- Introduces “In Purdy’s Ameliasburg”. [INDEX: weekend spent with Al Purdy, shack in Ameliasburg, Ameliasburg poems, country of the poet; unknown source.]\\n33:33- Reads “In Purdy’s Ameliasburg”.\\n37:13- Introduces “Way to the West”. [INDEX: poem about Canada, north Ontario, driving west, summertime; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).] 37:46- Reads “Way to the West”.\\n41:45- Introduces selection from “November Walk Near False Creek Mouth”. [INDEX: West Coast, end of a long poem, problems reading long poems, audience, last page of the poem; unknown source; from Selected Poems 1940-1966 (McClelland and Stewart,    1966).]\\n42:26- Reads selection from “November Walk Near False Creek Mouth”.\\n45:06.96- END OF RECORDING.\\n\\n00:00- Earle Birney introduces second part of reading and “Swahili Serenade”. [INDEX:        experimental poems, not been published, never read, “Swahili Found Serenade”;   unknown source.]\\n00:37- Reads “Swahili Serenade”.\\n01:06- Explains “Swahili Serenade”, introduces  “Space Conquest”. [INDEX: poem composed of line from a juke-box tune, formula for quick poetry, five minute poem, found poem, title; unknown source.]\\n01:49- Reads “Space Conquest”.\\n02:26- Explains “Space Conquest”, introduces “Kooks of the Monk”. [INDEX: ten lines, five syllables, constraint poetry, computer at the University of Waterloo, programmed 111 words of George Meredith’s “Lucifer in Starlight”, 33 words from Archibald MacLeish’s “The End of the World”, random poems; linguists, mathematician, computers composed poem; 0.83 seconds to compose, chose ten lines, entire text of Hamlet; unknown source]\\n04:17- Reads “Kooks of the Monk”. [INDEX: list, wordplay, onomatopaeic, nonsense poem.]\\n04:32- Explains “Kooks of the Monk”, introduces “Train from Cardiff to London”. [INDEX:        concrete poetry; Cardiff, London, English trains, sound of train; unknown source.]\\n04:56- Reads “Train from Cardiff to London”. [INDEX: sound poem.] \\n05:52- Introduces “Toronto Daily Tele-Starlings”. [INDEX: found collage poem, issue of the Toronto Daily Star “Toronto Daily Tele-Starlings”, small part of the poem, no beginning   or end, goes on forever; unknown source.]\\n06:15- Reads “Toronto Daily Tele-Starlings”.\\n08:19- Introduces unknown poem, “Like an eddy, my words move...”. [INDEX: reference to Yeats poem “A Prayer for Old Age”; published in Ghost in the Wheels: Selected Poems (McClelland and Stewart, 1977).]\\n08:29- Reads unknown poem, “Like an eddy, my words move...”.\\n10:35- Introduces haiku “To sleep under real stars...”\\n10:40- Reads “To sleep under real stars...” [INDEX: Haiku; unknown source]\\n10:53- Reads “A north door opens...” [INDEX: Haiku; unknown source]\\n11:09- Reads “Walls”. [INDEX: unknown source]\\n11:43- Introduces “I’m always going back to Chaucer”. [INDEX: poem an attempt to express pleasure of reading Chaucer; unknown source.]\\n12:13- Reads “I’m always going back to Chaucer”. [INDEX: written and read in Middle      English.]\\n13:59- Introduces “Tea with my Shetland Grand-Aunt” [INDEX: dialect, opposition of styles, old poem ‘refurbished’; published later as “Tea at my Shetland Aunt’s” in The Collected Poems of Earle Birney, Vol 1 (McClelland and Stewart, 1975).]\\n14:25- Reads “Tea with my Shetland Grant-Aunt”. [INDEX: read in voice of aunt in a rolling Shetland dialect.]\\n16:15- Introduces “Looking from Oregon”. [INDEX: older poems, California, oregon, date, August 7, 1964; Florence, Oregon; American fleet shelled the coast of North Vietnam, international agreements, United States, deed of aggression, living memory, forgetting, shelling of the Gulf of Tonkin, Pacific Ocean, morning papers, radio, fishing with an American poet, salmon, killing fish, old age, cormorants fishing, seal, Robert Frost poem, Robinson Jeffers line “And what it watches is not our wars”; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n19:47- Reads “Looking from Oregon”.\\n21:13- Introduces “Campus Theatre Steps” [INDEX: video poem, screen, slides, hotel, visualize poem shaped like a pair of stairs, theatre, campus, University of Oregon, shows, friends, tickets, cars, people, summertime, nighttime; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n22:07- Reads “Campus Theatre Steps”.\\n22:57- Introduces unknown poem “Billboards Build Freedom of Choice”. [INDEX: driving along coast, billboard, Oregon, man, volcanic snow-covered mountains, Fujiyama, sea-lion caves, surf, rhododendrons, sign says “Billboards Build Freedom of Choice, Courtesy of Oregon Chamber of Commerce”, philosophy, invented hitchhiker, poem dated 61-62, Khruschev in power in Russia; from Selected Poems 1940-1966        \\t(McClelland and Stewart, 1966).]\\n24:29- Reads “Billboards Build Freedom of Choice”\\n26:35- Introduces “Irapuato” [INDEX: Mexico, Irapuato, poetry like a guidebook, irrational connections; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n27:22- Reads “Irapuato”.\\n27:59- Reads “Memory No Servant”. [INDEX: from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n29:13- Introduces “For George Lamming”. [INDEX: George Lamming, autobiography of        childhood, poor boy on the island of Barbados, book In the Castle of my Skin, Jamaica, the last night of the last party; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n30:11- Reads “For George Lamming”.\\n31:25- Introduces “Meeting of Strangers”. [INDEX: race issues, Trinidad, external/internal ‘happenings’; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n33:59- Introduces “Curacao”. [INDEX: Irving Layton poem; from Selected Poems 1940-1966 (McClelland and Stewart, 1966).]\\n34:15- Reads “Curacao”.\\n34:47- Introduces “The Road to Nijmegen”. [INDEX: oldest poem, not revised, written in     Holland in January 1945, last winter of the war, Germans invading and then retreating,   \\tcut down trees, used for fuel and mine props, coal, lacked food, letter home to a friend,   published later in The Collected Poems of Earle Birney, Vol 1 (McClelland and Stewart, 1975).]\\n36:54- Reads “The Road to Nijmegen”.\\n39:31- Introduces “From the Hazel Bough” [INDEX: from Selected Poems 1940-1966   (McClelland and Stewart, 1966).]\\n39:41- Reads “From the Hazel Bough”.\\n41:05- George Bowering thanks Earle Birney for the reading.\\n41:18.21- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/earle-birney-at-sgwu-1968/\"}]"],"score":1.9338971},{"id":"1270","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Joseph Langland at Sir George Williams University, The Poetry Series, 8 March 1968"],"item_title_source":["Cataloguer"],"item_title_note":["\"JOSEPH LANGLAND I006/SR126\" written on sticker on the spine of the tape's box. \"I006-11-126\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Langland, Jospeh"],"creator_names_search":["Langland, Jospeh"],"creators":["[{\"url\":\"http://viaf.org/viaf/92023235\",\"name\":\"Langland, Jospeh\",\"dates\":\"1917-2007\",\"notes\":\"American poet Joseph Langland was born on February 16, 1917, in Spring Grove, Minnesota. He grew up on his family’s farm in Iowa, which had been in his family since 1877. He attended Santa Ana College of California, then the University of Iowa, from which he received his Bachelor’s degree in 1940. A year later, the University of Iowa also awarded him his Master’s degree. Langland taught English during 1941 and 1942 at Dana College in Nebraska. Langland enlisted in the U.S. Infantry from 1942-1946, where he served in Europe during the Second World War. On his trips back to the U.S., Langland married Judith Gail Wood, and had three children. After the war, he served with the Military Government in Bavaria, going on to liberate the Concentration Camp at Buchenwald. By the time Langland left the military in 1946, he had risen to the position of Captain. Langland self-published his first collection of poetry, For Harold  in 1945 while still in Germany. He then taught at the University of Iowa from 1946-1948, at the University of Wyoming from 1948-1959, then to the University of Massachusets, Amherst from 1959-1979 as a Professor Emeritus and as the founder and Director of the Masters of Fine Arts writing program from 1964-1970 and from 1978-1979. Langland published more collections of poetry, including The Green Town (Scribner Press, 1956), The Wheel of Summer (Dial Press, 1963), An Interview and Fourteen Poems (GOB Press, 1973), The Sacrifice Poems (1975), co-edited The Short Story (Macmillan, 1956), and Poet’s Choice with Paul Engel (Dial Press, 1962), co-translated Poetry From the Russian Underground (Harper & Row, 1973). Langland was awarded many honours, including the Ford Fellowship in Humanities in 1953 from the Harvard-Columbia Universities, the Amy Lowell Fellowship in Poetry in 1966, the Melville Can Prize for Poetry from the Poetry Society of America in 1964, an honorary doctorate from Luther College in 1974, and the Living Art Treasure in Literature from the New England Arts Biennial in 1985. He also traveled to guest lecture at the University of Washington, The University of British Columbia and at San Francisco State University. His last publications include Any Body’s Song (Doubleday, 1980), A Dream of Love (Pleiades Press, 1986), Twelve Preludes and Postludes (Adastra Press, 1988) and Selected Poems (University of Massachusetts Press,1991). Joseph Langland died at 90 years old on April 9, 2007.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1968],"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\":\"01:20:00\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1968 3 8\",\"type\":\"Performance Date\",\"notes\":\"Date specified in written announcement \\\"Poetry at S.G.W.U.\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Location specified in written announcement \\\"Poetry at S.G.W.U.\\\"\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Joseph Langland reads from The Green Town (Scribner, 1956) and The Wheel of Summer (Dial Press, 1963), as well as poems published later in Poetry from the Russian Underground (Harper & Row, 1973), Any Body’s Song (Doubleday, 1980), and Selected Poems (University of Massachusetts Press, 1991)."],"contents":["joseph_langland_i006-11-126.mp3\n\nUnknown\n00:00:00\nAmbient Sound [voices].\n \nUnknown\n00:00:03\n[Cut or edit made in tape, Unknown amount of time elapsed]. \n \nIntroducer\n00:00:06\nThis evening, Joseph Langland [https://www.wikidata.org/wiki/Q6284810]reads. Mr. Langland was born in Spring Grove [https://www.wikidata.org/wiki/Q203865], Minnesota [https://www.wikidata.org/wiki/Q1527], and attended the public schools of Minnesota and Iowa [https://www.wikidata.org/wiki/Q1546], attended the State University of Iowa [https://www.wikidata.org/wiki/Q182973]. He has taught at the University of British Columbia [https://www.wikidata.org/wiki/Q391028], the University of Washington [https://www.wikidata.org/wiki/Q219563], the San Francisco [https://www.wikidata.org/wiki/Q62] Poetry Center, and so forth. He has been a professor of English at the University of Wyoming [https://www.wikidata.org/wiki/Q1326975], and he is presently a professor of English at the University of Massachusetts [https://www.wikidata.org/wiki/Q1061122]. And he has been associated with the Massachusetts Review as a member of its editorial board. His publications: For Harold, a collection of memorial poems for a younger brother killed in World War II [https://www.wikidata.org/wiki/Q362] and published in Germany [https://www.wikidata.org/wiki/Q183] in 1945, The Green Town, which was published in 1956 by Scribner’s [https://www.wikidata.org/wiki/Q845617] and nominated for the National Book Award [https://www.wikidata.org/wiki/Q572316] in Poetry in 1957, and The Wheel of Summer published in 1963 by Dial Press [https://www.wikidata.org/wiki/Q5270470], and winner of the Melville Kane Poetry Award. He has also published two anthologies, Poet's Choice, co-edited with Paul Engle [https://www.wikidata.org/wiki/Q7150503], published in 1952, and The Short Story, published in 1956 and co-edited with James B. Hall [https://www.wikidata.org/wiki/Q95328740], published by Macmillan [https://www.wikidata.org/wiki/Q2108217]. He has forthcoming a volume, a small volume called Adlai Stevenson, which is to be published in Iowa City [https://www.wikidata.org/wiki/Q487977] by the Stonewall Press, and is, will contain one long memorial poem and two lyrics. And also a larger volume, to appear perhaps next year, called Songs and Half-Songs. His poems have appeared in numerous anthologies, and have appeared in such journals as Poetry Chicago, Hudson Review, Chicago Review [https://www.wikidata.org/wiki/Q5095765], Paris Review [https://www.wikidata.org/wiki/Q3988628], London Magazine [https://www.wikidata.org/wiki/Q2154323], Nation, and so forth. He has written lyrics for songs by Morton Gould [https://www.wikidata.org/wiki/Q1352656], Phillip Esantzen, Elliot Schwartz, and also lyrics and music for folk songs. He has been recorded by FolkWays [https://www.wikidata.org/wiki/Q1435522], Scholastic Records, reading eight of his poems, and he has held a number of grants. In 1953-54 he was, he held a Ford Faculty Fellowship in the Humanities, in 1955 and 56, an Amy Lowell Traveling Poetry Fellowship, and in 1966, or last year, rather, a National Council of Arts Grant in Poetry, and in this period, he gave a series of readings at universities throughout Europe [https://www.wikidata.org/wiki/Q46], in Glasgow [https://www.wikidata.org/wiki/Q4093], London [https://www.wikidata.org/wiki/Q84], Sussex [https://www.wikidata.org/wiki/Q23346], Munich [https://www.wikidata.org/wiki/Q1726], Oslo [https://www.wikidata.org/wiki/Q585], and University College in Dublin [https://www.wikidata.org/wiki/Q1068258]. Ladies and gentlemen, Professor Joseph Langland. \n \nAudience\n00:03:03\nApplause. \n \nJoseph Langland\n00:03:19\nSo much of that sounds irrelevant. So I will begin by reading a poem which was really written in answer to a critic. I've written two poems in answers to critics. And this is one of them. I call it \"Desperate Equations\".\n \nJoseph Langland\n00:03:47\nReads \"Desperate Equations\" [from The Wheel of Summer].\n \nJoseph Langland\n00:04:33\nThen I would like to go to, from that to a newer poem, one which I call \"Natures\".\n \nJoseph Langland\n00:04:44\nReads \"Natures\".\n \nJoseph Langland\n00:06:54\nAnd I'd like to just simply move from that to a poem which is called, \"Dandelion\". It's a poem that, well, the daughter of a famous poet likes it very much, and she recently said so, and so consequently I'm very fond of it at the moment. I think this is a kind of procedure among artists. They tend to like very much, at least for a little while, something that someone else likes. It's a poem which I say partially for my wife, it's a poem of affection, but I wouldn't just simply say \"for\" my wife, it's for all of you, too. \"Dandelion\".\n \nJoseph Langland\n00:07:40\nReads \"Dandelion\" [published later in Any Body’s Song and collected in Selected Poems].\n \nJoseph Langland\n00:09:26\nI visited once a grotto in the southern coast of Italy [https://www.wikidata.org/wiki/Q38], the Amalfi [https://www.wikidata.org/wiki/Q80563] grotto, and it's typical of a whole series of such places. It's completely enclosed. You enter it...well actually, I was there a year ago, and it's a little disappointing, because, to sort of accommodate the tourist trade, they've blown out a little section of the wall, and they've hung a flapping canvas cloth over it. But eleven years ago this wasn't so, and you descend in an elevator into this inner room, and it's an absolutely magic place, it's explained to you, for instance, that about sixteen feet under the level of the sea, the Tyrrhenian Sea [https://www.wikidata.org/wiki/Q38882], there's a large hole in the cave, and the sunlight, particularly in the morning, you come there about 11 in the morning, it's a good time, the sun filters down these sixteen feet and through this huge hole and then comes up inside the cafe. And the effect of this is absolutely eerie because it's completely enclosed, it's like darkness, but you get in there, and you adjust, and everything is just luminous with light, water, everything. You pick up, and you dip your hands in water and pick them up, you know, drops of water fall from your fingers from the orb-blades that splash, the orb is simply just a whole splash of light that goes up, like that. It's magic, see. And I want to believe in the magic, but in this sense I want to believe in this way in poetry. We shouldn't, I think, just simply deceive ourselves, but....so we can talk about what is, but somehow it's a responsibility to do a little bit more than what is, and so I've written this poem, and of course it's about the Amalfi Grotto, it's about our own behaviour, an attitude toward many things, and it's also, for me, a poem about poetry. \"The Amalfi Grotto\".\n \nJoseph Langland\n00:11:38\nReads \"The Amalfi Grotto\" [from The Wheel of Summer; later collected in Selected Poems].\n \nJoseph Langland\n00:12:53\nI would go from that to a poem for my brother. I call the poem \"War\". This was a brother who was killed in the Philippines [https://www.wikidata.org/wiki/Q928] in World War II. I was in Europe at the time. I wrote thirty poems, at least, for him, following this. And finally I wrote this poem. This was...about eleven years afterwards when I got to this poem. And with this poem I knew I was, I was through writing those poems. It's also a poem that's had a very curious history. The history of poems is something that's difficult to predict. I was in Germany at the time, I suppose the next German soldier I met I would have shot. But this poem has been seen, or was seen a few years ago by a former infantry officer in the German Army, who at that moment was a captive at Stalingrad [https://www.wikidata.org/wiki/Q914]. He's come into the United States [https://www.wikidata.org/wiki/Q30] now and teaches music in an American university, not the one I'm in. And so he set it to music. And so it's a strange irony. I started the whole sequence, see, but, see art pays no attention to that kind of enmity whatsoever. And so it's been set to music by a former infantry officer in the German army. Also, just this past week, actually two days ago, I got a notice it's been published in a Japanese anthology, and it's been translated into Italian, and so all the axis powers have translated it, and then somehow, I don't, still don't know how, it found its way after the Hungarian Revolution [https://www.wikidata.org/wiki/Q164348] into Budapest [https://www.wikidata.org/wiki/Q1781] in '56, and got translated there, I understand a very poor translation into Hungarian, but nevertheless it's happened. This is just part of its history. And other things have been happening to it strangely like this. I just mention this because, see, at a certain point the thing is out of your control completely, and you sort of are, I feel a bit humbled by what happens to them, and the uses that people put these things to. I wrote poems in all sorts of forms for my brother, and I finally, there're some subjects...well, I'd heard William Carlos Williams [https://www.wikidata.org/wiki/Q178106] give a reading at the Lexington Y in New York City [https://www.wikidata.org/wiki/Q60] in 1954, and so I said, okay, I was still dealing with the same poem, and I was in an apartment up in 96th Street, and it was a very foggy night coming home, and I heard all these great foghorns coming off over the lower bay, over Manhattan [https://www.wikidata.org/wiki/Q11299] and so forth. And I wrote another poem, \"A Seachange for Harold\", which I'm not going to read, except just the beginning.\n \nJoseph Langland\n00:16:22\nReads the beginning of \"A Seachange: For Harold\" [fromThe Green Town and collected later in Selected Poems].\n \nJoseph Langland\n00:16:40\nWell that's, I wrote that thing first, and then I came back to this other poem, in which I just said, okay I'll put it down the way it was, but there's some subjects that by their very nature you can't do much about. Except, of course, the whole dry feeling associated with it led me to all kinds of selections. If there seem to be an excess of family in the poem, I just simply say I am one of nine children. \n \nJoseph Langland\n00:17:15\nReads \"War\" [from The Green Town and later collected in Selected Poems].\n \nJoseph Langland\n00:18:43\nI would go from that to some poems I'm trying to write now. Some of these poems are songs, and I've been writing music for them, also, but, and this is such a song. I call it \"A Hard Song to Sing\", and it's really about the contemporary condition of war and civil rights problems which threaten to just overwhelm the United States. And almost the entire poem is monosyllabic, but it just seemed like it had to be that way. So. I...and actually, the tune that goes with this thing is...well, I know for instance that I could come in right on pitch on it. I once fell in love with--I don't have absolute pitch, but I fell in love with a song by Edward Grieg [https://www.wikidata.org/wiki/Q80621], and all I have to do is remember this song and I can always begin singing in A flat. But, it's, sometimes I think that maybe this is what I mean by being so right with your subject that you finally say the right thing about it. Somehow the resonance, just the resonance of the idea set up in my body brings me in on pitch, see. Well, I'll just read it. \"The clear, cold night\"...oh I'll sing, I'll sing the one stanza. \n \nJoseph Langland\n00:20:24\nSings the beginning of \"A Hard Song to Sing\".\n \nJoseph Langland\n00:20:42.79\nAnd it repeats itself in various ways, the melody varies. \n \nJoseph Langland\n00:20:47\nReads \"A Hard Song to Sing\".\n \nJoseph Langland\n00:21:48\nI...when I spent some time in Europe, among other people I met Ralph Ellison [https://www.wikidata.org/wiki/Q299965]. And he and his wife, Fanny, and my wife, Judy, and I, we spent several very fine noons on a beach of a small Italian fishing town, and ever since then I've been trying to write a poem for him. He's been relatively silent, at least, he's not taken a very aggressive role in the whole civil rights movement, although he has published significant essays in that whole thing. Many of you will know his great novel The Invisible Man [https://www.wikidata.org/wiki/Q1784288]. And I've written a poem, I call it \"An Open Letter to Ralph Ellison\", I'm reading it, I have to send it to him. I have not sent it out to be published anywhere, either. You probably do know he used to be a jazz player, he played the trumpet, he was a photographer and so forth and he did live in some sort of cellar that he had brilliantly lit for a while, but in The Invisible Man there are aspects of this kind of background, too. So I just wanted to address--I started writing him a letter. And then I got interested in writing in the letter and quit the letter and wrote the poem instead, but that's the way it'd be. It was \"Dear Ralph\", you know but just, now the poem begins, \"Ralph...\"\n \nJoseph Langland\n00:23:16\nReads \"An Open Letter to Ralph Ellison\" [published later in The Massachusetts Review vol. 40, n.4].\n \nJoseph Langland\n00:27:02\nWell, I will move from that to a poem on Thoreau [https://www.wikidata.org/wiki/Q131149]. Actually, I'm doing a whole book of these things. But one...actually, the first time I ever went to Walden Pond [https://www.wikidata.org/wiki/Q2023853], things turned out like an art farm. There were certain people there, and I met people in certain sequences, and of course I've told all sorts of people that, when they write poetry, you know, just to say that this is the way it happened, or this is the way it was, you know, that's no guarantee that it will be art at all. But in this case, something else had happened, see, Thoreau himself plays influence and just simply organized, you know, a hundred years later, certain people who would be there. And this happened just this way, and so I, almost to defend myself against all the things I'd ever said to people, I called the poem, \"How It, So Help Me, Was\". And that's the title of the poem. I end with a, the blue-grey twilight, because it was 1963, and it was, or '62 when I went there, and it was, you know, a hundred years after the war between the North and the South in the United States, the blue and the grey. And I felt that whole shadow, and even, in a curious way, it's on the west end of the pond, actually, I'd gone swimming in it, it's illegal, but then the shadow was coming off the hill and it was just sort of beginning to cover, to cover me, and it was a blue-grey shadow, you see, I'm not making that up. And, but...I suppose that's a kind of selection you take out of what is made available to you at a certain point. So \"How It, So Help me, Was\".\n \nJoseph Langland\n00:29:04\nReads \"How It, So Help Me, Was\" [published in The Massachusetts Review, Vol. 4, n.1 and published later as “Walden” in Any Body’s Song].\n \nJoseph Langland\n00:29:29\nThat's a little poem he's written that's on the hearth there, about the smoke rising.\n\nJoseph Langland\n00:30:04\nResumes reading “How it, So Help Me, Was”. \n\nJoseph Langland\n00:32:10\nI know at a time like this I keep thinking all the time in poetry, you know, what does it mean in poetry to somehow keep alive, or...to keep the whole body open, and I wanted to write a poem about that. I call this one \"Still to be Man\". Because sort of in an animal way, we have to be able to continue to take in all sorts of things. \n \nJoseph Langland\n00:32:44\nReads \"Still to be Man\".\n \nJoseph Langland\n00:32:51\nI can remember when I was, the morning I was trying to write this poem because I was home alone, I stepped out the kitchen door and as I stepped out I felt I didn't even have to land on the earth itself, I would just step out into the air. \n \nJoseph Langland\n00:33:04\nResumes reading \"Still to be Man\".\n \nJoseph Langland\n00:34:10\nLast year, I spent, with my family, a half a year in Rome [https://www.wikidata.org/wiki/Q220], and I got acquainted with a certain kind of syndrome among some of the Roman women. They sort of get trapped, in a society which seems free and easy and open, there's an extreme conservatism. For instance, I know, well, a person who teaches art in an American university, he and his wife were adopting some children in Italy a few years ago, and he could not have children and she could. It was proved by tests in this country, and they went to adopt two children in Italy. But you cannot adopt children in Italy on this basis because by law, no man in Italy can be sterile. [Audience laughter]. And this is a law. And so they had to go to Naples [https://www.wikidata.org/wiki/Q2634] and be tested all over again, officially, by a doctor in Naples, and a lawyer had to follow this, and they discovered after the tests that she was sterile and she was not [audience laughter], and they got this all certified and they adopted the children and they now have them and are living happily with them. But there's some, there's another side to this coin, too. And so, we lived next to a high school called the church, or the school of the Adorazione, and I'd see this women, you know, they're so beautiful when they're young, and then when they get married they start dressing in black and start cooking spaghetti and having children, and something awful happens, and then their husbands lose interest in them and then they have to find other lovers and then, you know, it's an awful thing. [Audience laughter]. It's \"La Donna a Roma, an Odyssey\".\n \nJoseph Langland\n00:36:12\nReads \"La Donna a Roma, an Odyssey\".\n \nJoseph Langland\n00:37:24\nWell then, another kind of thing that happens in our society, I think it happens to many people, I've been writing a series of half-songs. I call them half-songs, they're at half-pitch, half-singing pitch, where we talk and we don't talk together. You know, we say something and someone answers and it goes, you know, we keep going past each other. And so I've written a poem that, it has two separate parts, both parts rhyme all the way but you won't hear this at all, I was talking about that with the class here, today, it may be aesthetically valid for myself alone. And it's one, it's called \"Not Quite a Conversation: A Half-Song\", and the first part is called \"He and Her\". You see, \"he\" is the noun and \"her\" is the object. And the next part is called, \"She and Him\". \"She\" is the noun and \"him\" is the object. And they're talking. Or, we're talking about them. And so, in a sense they should be printed facing each other on the page, and I can't read them together, so I have to read first \"He and Her\", then I might, they talk back and forth to each other all the way through the poem. \"He and Her.\"\n \nJoseph Langland\n00:38:44\nReads \"Not Quite a Conversation: He and Her\" [published later in Any Body’s Song].\n \nJoseph Langland\n00:39:40\nAnd the other, \"She and Him\". As I say, it rhymes all the way, and triad by triad it answers. \n \nJoseph Langland\n00:39:47\nReads \"Not Quite a Conversation: She and Him\" [published later in Any Body’s Song].\n \nJoseph Langland\n00:40:59\nI guess we take a break in the program. \n \nUnknown\n00:41:05\nAmbient Sound [voices].\n \nUnknown\n00:41:24\n[Cut or edit made in tape. Unknown amount of time elapsed].  \n \nJoseph Langland\n00:41:25\nAnd, I will read just one or two of these. And once again, I make no particular claim as to the validity of this, and probably in the long run it’s not even a fruitful thing. All my grandparents were born in Norway [https://www.wikidata.org/wiki/Q20], my name is Langeland. You know, they dropped the 'e' and called it Langland. And I have been back there a couple of times, I might go again this summer and work with a Norwegian poet, Paul Brekke, and maybe another one, on some translations from the Norwegian  I don't know much Norwegian, he knows a lot of English. [Audience laughter]. But when I was going through there a year ago, I got two, two poems. First this one, \"Singing in Late Summer\". When my father died they played a folk song, \"Den store hvide Flok\", \"The Great White Host\" [https://www.wikidata.org/wiki/Q10468796], at his funeral. And I'd sort of shipped my children off to jobs, I had, you know, I had a fourteen-year-old boy working on a ranch in Wyoming [https://www.wikidata.org/wiki/Q1214], and a twelve-year-old son working on a farm in Iowa, and a daughter who'd gone off to work in-- who was what, fifteen, sixteen, to a hotel in Switzerland [https://www.wikidata.org/wiki/Q39], and my wife was in Provincetown [https://www.wikidata.org/wiki/Q49154], painting [audience laughter], and I was at home writing. Which is what I wanted to do all the time, in any case. \"Singing in Late Summer\".\n \nJoseph Langland\n00:43:03\nReads \"Singing in Late Summer\" [published later in Any Body’s Song and collected in Selected Poems].\n \nJoseph Langland\n00:44:17\nAnd then, traveling through Norway, all these rivers, you know, they just...they're tumbling all over, rushing everywhere, and falling off the tops of mountains, you know, it just seemed endless, going from Oslo to Bergen [https://www.wikidata.org/wiki/Q26793] and Trondheim [https://www.wikidata.org/wiki/Q25804] and down to Oslo and so forth. Or down to the Island of Store [https://www.wikidata.org/wiki/Q1636366] along the west coast of Norway. And so, I was thinking of a phrase I'd heard an old, an older woman in my own area say about the younger generation. She would always say, \"[inaudible phrase in Norwegian]\". And so I saw these rivers, and every time I saw them I kept saying, \"[inaudible phrase in Norwegian]\". [Laughter]. And so then I started thinking of all of these Norwegian immigrants that just came, you know, more of them over here than there are over there...and...so I, it's about the rivers, it's called \"Norwegian Rivers\", and it's about the people, the younger people, and it's about the immigrants, and the older immigrants, everything like that, I guess.\n \nJoseph Langland\n00:45:22\nReads \"Norwegian Rivers\" [published in The Massachusetts Review, Vol. 4, n.1 and collected later in Any Body’s Song and in Selected Poems].\n\nJoseph Langland\n00:48:08\nWell, there's several like that. But I want to do some other things, so I'll just leave them alone. I'm...you know, I'm translating from the Russian, and no pretense about it, I have two great friends, Thomas Axel [https://www.wikidata.org/wiki/Q23565070], who was press agent for Imre Nagy [https://www.wikidata.org/wiki/Q177917] for eleven days, before, at the time of the Hungarian Revolution, and then he escaped to Austria [https://www.wikidata.org/wiki/Q40]. He teaches at my university, he's a very fine poet, he used to be a director of theatre in Budapest, of the State Theatre. And then Laszlo Ticosz, he teaches in the German-Russian department at the university. They both, for years, have been collecting from the underground poems by relatively unknown poets, student poets and so forth, from Russia [https://www.wikidata.org/wiki/Q159], and they have a magnificent collection of these things. They give me, absolutely literal cribbed translations, and then I work with them, and there're some magnificent things coming, and I'm as certain as I stand here that the moment these things are sent into a publisher, not because of what I'm doing, but because of the nature of the thing, that it'll be just snapped up. This is relative, totally fresh new material, no one else has it, they have, through their own channels in the underground, they are being fed this. And so I find it very exciting, and as I said to someone today, I have to sort of take it through my own experience, which included...I won't say poverty, that's not the right word, but absolutely no money, not poverty because we could milk the cow and, you know, raise the garden vegetables and shear our sheep and make our own blankets and, you know, we had food, clothing, and shelter. And then the war in Europe, and I was in well, concentration camps, I wasn't in them, but I was, at Nordhausen [https://www.wikidata.org/wiki/Q7033], I sort of participated in the burial of five thousand people in one day in open trenches, and was with a headquarters unit a few days after and captured Buchenwald [https://www.wikidata.org/wiki/Q152802], and it...I won't say it's these things that pulled together, I was in Weimar [https://www.wikidata.org/wiki/Q3955] when it was turned over to the Russians, I remember going out of there, you know, it was half the German population in their carts going toward Eisenach [https://www.wikidata.org/wiki/Q7070], to the west, and the Russian cavalry coming in, meeting it from the east...lots of things, but so that's simply what this material comes through, and so I have some sympathy for it. This is a poem \"Drowning\", by a person named Sergei Chudakov [https://www.wikidata.org/wiki/Q4517600]. \n \nJoseph Langland\n00:51:23\nReads \"Drowning\" by Sergei Chudakov [published later in Poetry from the Russian Underground].\n \nJoseph Langland\n00:51:31\nSee, in the original it says, \"bright as a house\".\n \nJoseph Langland\n00:51:36\nResumes reading \"Drowning\" by Sergei Chudakov.\n \nJoseph Langland\n00:52:06\nThis is \"The Jewish Cemetery in Leningrad\" by Joseph Brodsky [https://www.wikidata.org/wiki/Q862]. \n \nJoseph Langland\n00:52:12\nReads \"The Jewish Cemetery in Leningrad\" by Joseph Brodsky.\n \nJoseph Langland\n00:52:32\nSee the poem says, \"lie musicians, lawyers, businessmen, and revolutionaries\". I'm very certain in this case that, you know, I felt great when I thought of saying it in this other way. Makes it better. \n \nJoseph Langland\n00:52:47\nResumes reading \"The Jewish Cemetery in Leningrad\" by Joseph Brodsky.\n \nJoseph Langland\n00:54:03\nFor instance, the original translation was that this whole thing is \"one hour by foot FROM the nearest bus stop\" And as far as I'm concerned, saying \"to\" is apt, a crucial difference, \"and the crooked faces of the plywood\", see, \"are one hour by foot TO the nearest bus stop\". Wanted the whole sense that they might all get up and walk and haunt us, see, coming the other way. Here's a poem about conditions by Artyemy Mikhailov. These names may be just be relatively anonymous, although some of them are among the friends that have been defending Sinyavsky [https://www.wikidata.org/wiki/Q468267] and Daniel [https://www.wikidata.org/wiki/Q435770]. His idea about conditions. And it was a pretty rigid, stiff poem and I had to try to get movement in it and so forth. And it's whole, if, if you've, if your dearest friend has not been trapped and dragged to a camp, if, if, if, the entire way through.\n \nJoseph Langland\n00:55:01\nReads “Conditions” by Artyemy Mikahilov [published later in Poetry from the Russian Underground].\n \nJoseph Langland\n00:56:07\nHere once again, there's so many of these, I just, here's one in the older style but it's one that's full of an elegant, lyric despair, \"Now that I know\", by Vladimir Kovshin.\n \nJoseph Langland\n00:56:21\nReads \"Now that I Know\" by Vladimir Kovshin [published later in Poetry from the Russian Underground].\n \nJoseph Langland\n00:57:01\nThis is a poem called \"After the War\" by Gleb Garbovsky. I just completed this this previous weekend, these I'm reading from now. \n \nJoseph Langland\n00:57:11\nReads \"After the War\" by Gleb Garbovsky [published later in Poetry from the Russian Underground].\n \nJoseph Langland\n00:58:54\nIncidentally, I used the phrase \"called back\" because that's on Emily Dickinson's [https://www.wikidata.org/wiki/Q4441]  tomb in Amherst [https://www.wikidata.org/wiki/Q49164], Massachusetts. Just an example of how you get your own little allegiance and locality into something else. \n \nJoseph Langland\n00:59:08\nResumes reading \"After the War\" by Gleb Garbovsky.\n \nJoseph Langland\n00:59:27\nHere's one, \"Keeping up with the Humanskys\". It's a poem about keeping up with the Joneses. [Audience laughter]. I had a lieutenant in the army who said his name was Humansky, and he said his, that man, I'll never forget it because he said that means \"son of the fields\" but I've been called worse names. I remember him saying that [audience laughter]. And so I...Son of the fields, I thought, that's great, you know, I was looking for a Russian name that would be like the Joneses, only this is like the serfs, son of the fields, of the soil. Couldn't be better. \"Keeping up with the Humanskys\". So, see, that's my good luck out of a little piece of experience that came to me when I needed it. \n \nJoseph Langland\n01:00:06\nReads \"Keeping up with the Humanskys\".\n \nJoseph Langland\n01:01:33\nThen there's one about a march from Russia to Siberia [https://www.wikidata.org/wiki/Q5428]. And, \"Etape\". There's no title in the original, there's a footnote, which was, these were sent to Axel and Ticosz from Russia, this poem. Neither the name nor the fate of its author is known. The phrase \"Marching in Etape\" originates from the nineteenth century. One stretch of the Long March from Russia to Siberia was called Etape, and it was in a ballad stanza form, so that's the way I did it. It's...little old style, but.\n \nJoseph Langland\n01:02:07\nReads \"Etape\" by an unknown author.\n \nJoseph Langland\n01:03:57\nThen \"The Garbage Collector,\" a poem that...\n \nUnknown\n01:04:03\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nJoseph Langland\n01:04:04\nReads \"The Garbage Collector” [begins abruptly; audience laughter throughout].\n \nAudience\n01:04:27\nLaughter.\n \nJoseph Langland\n01:04:30\nI'm very proud of that too, because you know in the old Renaissance things there's always these, an infinitely wise Christ Child, you know, at the mother's breast but his eyes are looking out elsewhere, and he's pointing like this, you know, and it's, so I thought, you know, that's not quite the translation but it's mine [audience laughter]. \n\nJoseph Langland\n01:04:46\nResumes reading “The Garbage Collector”.\n\nJoseph Langland\n01:05:32\nWell, these are, you know, poems out of new, unknown--\n \nUnknown\n01:05:36\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nJoseph Langland\n01:05:37\nI've sort of been threatening to sing something, and the trouble is, I'm...as I...I wouldn't play the piano if there were one here, and I don't play the guitar, and if I play this thing, it's locked stuff, I'm tied to it, and, I haven't played this tape that's accompanying me, you know, for at least three weeks, and I haven't sung a note since I left Amherst, except the notes I sang here, so, that's all right. These are songs of all sorts. So this is my accompaniment. I hope it works, if it doesn't I'll just stop it. \n \nUnknown\n01:06:17\nAmbient Sound [music; recorded track]. \n \nJoseph Langland\n01:06:22\nListen here, just a song called \"All the Lovers that You Ever Knew\".\n \nJoseph Langland\n01:06:37\nPerforms \"All the Lovers that You Ever Knew\" [published later in Any Body’s Song] accompanied by recorded track.\n \nJoseph Langland\n01:08:02\nThis next is a song called \"Alone the Evening Falls on Me\". Sometimes I wonder, just trying to remember it here, whether I'm supposed to start singing now, and I'll get to the end of the song and I won't have accompaniment for the last dance. [Audience laughter].\n \nJoseph Langland\n01:08:31\nPerforms \"Alone the Evening Falls on Me\" accompanied by recorded track [published later as \"Song At Evening” in Any Body’s Song and collected in Selected Poems] \n \nJoseph Langland\n01:10:23\nThis is a song called \"Jump on my Back\". It's about Iowa and Wyoming. But since Wyoming didn't work, I had to say Idaho [https://www.wikidata.org/wiki/Q1221]. [Audience laughter].\n \nJoseph Langland\n01:10:45\nPerforms \"Jump on my Back\" accompanied by recorded track.\n \nJoseph Langland\n01:11:25\nThis next one is called \"A Hiroshima Lullaby\". There's an infinitely sad story. In Hiroshima [https://www.wikidata.org/wiki/Q34664] when the bomb fell, in 1945, there was a little girl, Sadako Sasaki [https://www.wikidata.org/wiki/Q231997], two years old, some of you may know of her. She was a mile and a half from the centre of the blast and apparently unharmed. She was a very gay and popular girl, and her classmates loved her. And she was in the sixth grade or the equivalent, age twelve, in Hiroshima, Hiroshima, however you pronounce it.  And she developed leukemia, which is of course, as many of you know, a latent effect of many people exposed to radiation, so she was, after all, a victim. And she, well she finally became so ill she had to go to the hospital. And her friends came to visit her. And among other things, they told her, and that she knew, that there's an old Japanese legend about herons. I've been writing poem about herons and cranes and I have some in my book, one on a sandhill crane, and I told some people today that I'm going to the University of Oregon [https://www.wikidata.org/wiki/Q766145] in June to speak in their summer Academy of the Arts, and I heard of a person who works in wildlife out in Oregon [https://www.wikidata.org/wiki/Q824], and so because of the poem about the crane he's invited me to visit his wildlife refuge, about two or three hours east of Eugene [https://www.wikidata.org/wiki/Q171224], where he has a refuge among other things for sandhill cranes, you know these water birds are simple. And so I'm going to visit him. I look forward to it. Not because of a poem, see, it's nice. And so, Sadako Sasaki in the hospital, she heard that if you fold a thousand paper cranes in this Japanese folding technique, this will protect your health and save you. So she started folding them. And the tale has two sides. She reached 964 and she died. Her classmates were so, at the centre so involved they completed the thousand, they formed them in a chain. They went around gathering the equivalent of pennies, around Japan [https://www.wikidata.org/wiki/Q17], and when they got enough they asked a sculptor from Tokyo [https://www.wikidata.org/wiki/Q1490] to make a statue of this girl, and so he made a statue showing...you'll surely see pictures of this if you haven't. It's a young, twelve year-old girl, you know, still with a girl's body, she's standing up like this....and she stands in the Peace Park in Hiroshima now. And over her, made out of gold, the folded crane. And so, I wanted to write a poem for her. And so just using the fifth in the bass, and then using the five notes, black keys, I wrote a little ballad and I'll probably sing one stanza maybe, and then read the rest. \n \nJoseph Langland\n01:15:03\nPerforms the beginning of \"A Hiroshima Lullaby\" [published later in Any Body’s Song and collected in Selected Poems].\n \nJoseph Langland\n01:15:38\nReads the continuation of “A Hiroshima Lullaby\" [published later in Any Body’s Song and collected in Selected Poems].\n \nJoseph Langland\n01:16:49\nI wanted to write a civil rights song, something that you could march to in Madison Square Garden [https://www.wikidata.org/wiki/Q186125]. And that's, you know, it's a marching song. That's like that. \n \nJoseph Langland\n01:17:15\nPerforms unnamed song accompanied by recorded track. \n \nJoseph Langland\n01:18:00\nStops recorded track. \n \nJoseph Langland\n01:18:00\nWell, there are a lot more of these songs and I'm just going to stop the tape at this time because...I haven't even begun reading you my favourite poems, [audience laughter], and I know it's about to end but maybe, maybe I can read for fifteen minutes or so. If you have to go, just get up and go. But. When I was in Italy in 1954, I read in Marcus Cunliffe's [https://www.wikidata.org/wiki/Q6758114] The Literature of the United States, \"New York is the intellectual centre of the United States.\"  That made my blood boil [audience laughter] because it's a marketplace, so I just simply took his own book, The Literature of the United States, took all his authors, and lined them up, and all the places where they were born, where they grew up, and where they wrote from, and sent them the chart, which proves, out of his own book, that in literature, creative ideas, there have been three great centres and then two subordinate ones. New England [https://www.wikidata.org/wiki/Q18389], the Midwest, and the South, and then as subordinate ones, they're the West Coast, and then the mid-Atlantic, New York area. That's in literature [audience laughter]. And we got in an argument...the result of it all was that I invited him to come and teach at my university [audience laughter]. So he came and he gave an address, and in one of his speeches he said, “Americans are overly given to haruspication and scrying” [audience laughter]. Well, you know, when someone comes out of England [https://www.wikidata.org/wiki/Q21] and says, gives, delivers a lecture to an American audience and says that, among other things you have to look up the words. [Audience laughter]. And, so...so I looked them up and I discovered \"haruspication\", the Haruspects were Roman and Etruscan pagan priests who examined the entrails of sacrificial animals [audience laughter] to predict natural phenomena and the future. So I started thinking about that. I grew up on a general farm, we had about a hundred pigs, two hundred sheep, a hundred head of cattle, twenty milk cows, a thousand chickens, about one hundred turkeys, twelve goats, you know [audience laughter], anywhere from twenty to fifty cats, and all sorts of wild animals, and I had seen bulls gored to death, I had seen flocks of sheep driven over limestone cliffs by dogs, I'd seen hawks that'd ripped little lambs and chickens, I'd seen skunks that had eaten them up, I'd butchered all of these things, I'd castrated, you know, I myself have castrated maybe three thousand pigs, and [laughter]..and...so, I thought okay. In fact, some of you may know that \"The Wheel of Summer\", the title poem, is about the castration of one hundred pigs, by three teenage boys [audience laughter], and as I was introduced in England once, he said it's probably the most distinguished poem in English about the castration of a hundred pigs. [Audience laughter]. But I started thinking about all of this and I thought, well, okay, I have a philosophy of life too, and it's been based with the whole business of producing food for you. You know, that's the end of it, the end of it all. And I participated in an awful lot of killing and...routine, it’s a way of life. And you know, if you eat meat, well you too. So I said, well okay, I've been haruspicating for a long time. And I gradually went up from age six to age eighteen, and meantime I achieved some kind of maturity, and I'm going to write my own poems. So I wrote all these poems, and the titles are, you know, like \"Sacrifice of a Rainbow Trout\", \"Sacrifice of My Pet Lamb\", but I'm going to read you the ultimate titles, which aren't in the book. Just running from age six on up to age eighteen, or when we got all old enough and we all went off to the war, as the last poem said.  But these say, you know, that's what these poems are really about.  \n \nJoseph Langland\n01:22:38\n\"The Clarity of Innocence: Sacrifice of a Trout\". “The Loss of Early Innocence: Sacrifice of My Pet Lamb\". \"The Plunder of Idealism: Sacrifice of the Golden Owl\". \"The Sickle among the Flowers\"...I quit making the equation...\"The Sickle Among the Flowers\". \"The Decline of Heroic Voices\"--that's the goring to death of a bull. \"The Suffocations of Love\"--that's the killing a pet chick by over-affection. \"The Attritions of Man\". \"The Unhousing of Beneficent God\". \"The Seeming, the Necessary and Beneficial Perversions of Love\"--that's my sacrifice of a gunny sack of cats. \"The Subtleties of Violent Revenge: Sacrifice of an old Sow\". \"The Sweet Solace of Evil\". \"The Absurdities of Fact\". \"The Pitfalls of Group Action: Sacrifice of a Flock of Sheep\"--they ran over this cliff, twelve of them died at once, and people say you shouldn't write villanelles, but that's the way sheep act, so I wrote a villanelle, you know, they repeat. \"The Catechism of Human Culpability\"--that's Eric, a suicide of a man. \"The Oddities of Affection\". \"The Sacred Violence of Purity\". \"The Bounties of Natural Law\". \"The Winter of the Cold War: Sacrifice of a Grey Wolf\". \"The Decline of Natural Instincts: Sacrifice of Three Wild Geese\". \"The Tyranny of Fixed Ideas\"--that's a sacrifice of a red squirrel. \"A Dream of the Ultimate Holocaust: Sacrifice of a Hill of Ants\" and \"The Warfare of the Sensuous Past: Sacrifice of My Aunt Marie\".  And then it all culminates in the longer narrative poem, \"The Wheel of Summer\". Which is just simply coming to maturity as a man. Well I'll, I'll read a few of these. \"Sacrifice of a Rainbow Trout\" has no music, but I oftentimes start singing when I'm reading it, but I'm not going to now, I've done that. \n \nJoseph Langland\n01:24:43\n\"Suddenly\"--this is six years old, you know.\n \nJoseph Langland\n01:24:46\nReads \"Sacrifice of a Rainbow Trout\" [from The Wheel of Summer and collected later in Selected Poems].\n \nJoseph Langland\n01:25:42\nI'll skip the lamb and read the owl. I wanted to just talk--\"We strung our wind-up rooster dead on a post\"--see, it can't be any flatter than that. \n \nJoseph Langland\n01:25:52\nReads \"Sacrifice of the Golden Owl\" [from The Wheel of Summer and later collected in Selected Poems].\n \nJoseph Langland\n01:27:39\nI'll read the one of the neighbors. No one can live on a, in a farm area without seeing over a period of years, people lose fingers, toes, arms, legs, in various ways. It's...I was on a reading tour, actually, when Kennedy [https://www.wikidata.org/wiki/Q9696] was killed. And I was actually in an auditorium about to start reading these poems, when it was cancelled, because of the announced death of the president. I couldn't have read them, but I didn't know what I was going to do. I was just sitting there, and five minutes from starting time. But this is \"Sacrifice of my Neighbors\".\n \nJoseph Langland\n01:28:20\nReads \"Sacrifice of my Neighbors\" [from The Wheel of Summer].\n \nJoseph Langland\n01:28:39\nThat was my brother.\n\nJoseph Langland\n01:28:42\nResumes reading “Sacrifice of my Neighbors”.\n \nJoseph Langland\n01:31:02\n\"Sacrifice of the Gunnysack of Cats\". I read it in New York City, I didn't know that the officers of the Society for the Friends of the Prevention of Cruelty to Animals were sitting in the audience. After I went back to Amherst I got a letter from them, saying that every year there are twenty-five million unwanted pets born in the United States [audience laughter] and we secure funds to get the females spayed and the males castrated, and your poem, \"The Sacrifice of the Gunnysack of Cats\" is perfect for our purposes for our annual appeal, and, could we...[audience laughter.]..could we use it, please. I thought, my God, you know, I just, I read this poem, like all of these things out of a great affection, and this is the thing, you'll have to forgive me but this is what occurred to me, you know. I just had this great affectionate conception of the whole thing, and now they wanted to turn it into a kind of contraceptive. [Audience laughter]. And...and then I thought, well, okay, what can I do at this point? And so, showing this charming little picture, you know, it's a dog, and a little puppy dog [audience laughter], little kitten and laying their heads against each other and saying \"Annual Appeal\" and on the back of it was my \"Sacrifice of the Gunnysack of Cats\" and...I, you know, when I travel around the United States even now, I often like wonder in what town did I do in this poor little male cat or this female, you know, cooperating in one way or another, it's like, you know, I have to refuse to pay your taxes...you don't know what you're maiming at a certain point. But that's an example. I wanted to start from the most ordinary thing and see how I could carry it, and this is the \"Sacrifice of the Gunnysack of Cats\".\n \nJoseph Langland\n01:33:13\nReads \"Sacrifice of the Gunnysack of Cats\" [from The Wheel of Summer and collected later in Selected Poems].\n \nJoseph Langland\n01:36:23\nOne hard poem about the old sow, which is, says something about this world. \n \nJoseph Langland\n01:36:31\nReads \"Sacrifice of an Old Sow\" [from The Wheel of Summer and later collected in Selected Poems].\n \nJoseph Langland\n01:37:48\nWell that's the way we do it. Then one, pretty hard poem, too, it's about Eric, but it's really about us, and then I'll read the squirrel poem, and then leave these alone. That...okay, actually this, I had in mind an uncle, a favourite uncle. Very talented, frustrated.\n \nJoseph Langland\n01:38:19\nReads [\"The Sacrifice of Eric” from The Wheel of Summer and collected later in Selected Poems].\n \nJoseph Langland\n01:41:09\nAlright, and then the squirrel. Actually, I...last week, I had a letter from some fellow in Kansas [https://www.wikidata.org/wiki/Q1558], I never, of course I don't know him at all. He wants to set the thing to music, I don't know what he's going to do with it, but...he plays the guitar, and so I said, fine. And just about anybody who gets caught in a rut...I must say that after this I'm going to read one little ballad on Adlai Stevenson [https://www.wikidata.org/wiki/Q311719], but...\n \nJoseph Langland\n01:41:47\nReads [\"The Sacrifice of a Red Squirrel\" from The Wheel of Summer]. \n \nJoseph Langland\n01:44:25\nLittle ballad for Stevenson, and I don't have it with me, but I know it. The state tree, bird, and flower of Illinois [https://www.wikidata.org/wiki/Q1204] is the oak, the cardinal, and the violet. That's green, red, and violet. It struck me, that's half a rainbow. That seemed like Adlai Stevens' life. A great theoretical life, unfinished, has to be completed by someone else. I asked, what's the other half, they're yellow, orange, and blue, and his home at Libertyville [https://www.wikidata.org/wiki/Q1787181], Illinois, you can't improve on that for the title, \"Libertyville\", it has a river the Des Plaines River [https://www.wikidata.org/wiki/Q8637], that's before it enters the Chicago [https://www.wikidata.org/wiki/Q1297] drainage system, it's a nice blue stream out of the Wisconsin [https://www.wikidata.org/wiki/Q1537] woods, that's blue, the sky is blue, the light by day is orange, and by night yellow. That's the full rainbow. \"There's a fountain in the wood\"...It's called \"Libertyville\" and past that, a little epigraph about the state tree, bird, and flower of Illinois, and I wanted to, for the schoolchildren of Illinois...\n \nJoseph Langland\n01:45:27\nReads \"Libertyville\" [from The Wheel of Summer and collected later in Selected Poems].\n \nAudience\n01:47:02\nApplause.\n \nEND\n01:47:35\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nJoseph Langland was a professor at the University of Massachusetts, Amherst, and had founded the Masters of Fine Arts writing program during the 1960’s.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nConnections between Joseph Langland and Sir George Williams University or Montreal are unknown, however Langland had taught at the University of British Columbia, and played an important role in the founding of the Master of Fine Arts writing program at the University of Massachusetts.\\n\",\"type\":\"General\"},{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, research, intro and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://news.google.com/newspapers?id=GYIuAAAAIBAJ&sjid=AqAFAAAAIBAJ&pg=2474,42252&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“Joseph Langland To Read At Next SG Poetry Night”.  Montreal: The Gazette. 1 March 1968, page 8. \"},{\"url\":\"https://www.worldcat.org/title/any-bodys-song/oclc/1148022872&referer=brief_results\",\"citation\":\"Langland, Joseph. Any Body’s Song. New York: Doubleday, 1980. \"},{\"url\":\"https://www.worldcat.org/title/green-town-poems/oclc/74670391&referer=brief_results\",\"citation\":\"Langland, Joseph, The Green Town. New York: Scribner, 1956.\"},{\"url\":\"https://www.worldcat.org/title/poetry-from-the-russian-underground-a-bilingual-anthology/oclc/568758531&referer=brief_results\",\"citation\":\"Langland, Joseph. Poetry from the Russian Underground. New York: Harper & Row, 1973. \"},{\"url\":\"https://www.worldcat.org/title/wheel-of-summer/oclc/2693715&referer=brief_results\",\"citation\":\"Langland, Joseph. The Wheel of Summer. New York: Dial Press, 1963. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/27191429&referer=brief_results\",\"citation\":\"Langland, Joseph. Selected Poems. Amherst: University of Massachusetts Press, 1991. \"},{\"url\":\"http://www.jstor.org/stable/25091591\",\"citation\":\"Langland, Joseph. “For Ralph Ellison: Then and Now”. The Massachusetts Review. Vol. 40, No. 4 (Winter, 1999/2000), pp. 614-416.\"},{\"url\":\"http://www.jstor.org/stable/25086942\",\"citation\":\"Langland, Joseph. “How It, so Help Me, Was”. The Massachusetts Review. Vol. 4, No. 1, (Autumn, 1962), pp. 53-54. \"},{\"url\":\"http://www.jstor.org/stable/25088573\",\"citation\":\"Langland, Joseph. “Norwegian Rivers”. The Massachusetts Review. Vol. 16, No. 3 (Summer, 1975), pp. 567-568.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/joseph-langland-at-sgwu-1968/\",\"citation\":\"“Poetry at S.G.W.U”. OP-ED. Montreal: Sir George Williams University, 27 February 1968. \"},{\"url\":\"\",\"citation\":\"“Joseph Langland: Poet, Teacher, Friend”. Luther College Archives: Biography. Iowa, 2010. \"}]"],"_version_":1853670548850081792,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0126_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0126_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joseph Langland 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_0126_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0126_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joseph Langland 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_0126_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0126_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joseph Langland 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_0126_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0126_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joseph Langland 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/joseph_langland_i006-11-126.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"joseph_langland_i006-11-126.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:47:35\",\"precision\":\"\",\"size\":\"258.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Unknown\\n00:00:00\\nAmbient Sound [voices].\\n \\nUnknown\\n00:00:03\\n[Cut or edit made in tape, Unknown amount of time elapsed]. \\n \\nIntroducer\\n00:00:06\\nThis evening, Joseph Langland [https://www.wikidata.org/wiki/Q6284810]reads. Mr. Langland was born in Spring Grove [https://www.wikidata.org/wiki/Q203865], Minnesota [https://www.wikidata.org/wiki/Q1527], and attended the public schools of Minnesota and Iowa [https://www.wikidata.org/wiki/Q1546], attended the State University of Iowa [https://www.wikidata.org/wiki/Q182973]. He has taught at the University of British Columbia [https://www.wikidata.org/wiki/Q391028], the University of Washington [https://www.wikidata.org/wiki/Q219563], the San Francisco [https://www.wikidata.org/wiki/Q62] Poetry Center, and so forth. He has been a professor of English at the University of Wyoming [https://www.wikidata.org/wiki/Q1326975], and he is presently a professor of English at the University of Massachusetts [https://www.wikidata.org/wiki/Q1061122]. And he has been associated with the Massachusetts Review as a member of its editorial board. His publications: For Harold, a collection of memorial poems for a younger brother killed in World War II [https://www.wikidata.org/wiki/Q362] and published in Germany [https://www.wikidata.org/wiki/Q183] in 1945, The Green Town, which was published in 1956 by Scribner’s [https://www.wikidata.org/wiki/Q845617] and nominated for the National Book Award [https://www.wikidata.org/wiki/Q572316] in Poetry in 1957, and The Wheel of Summer published in 1963 by Dial Press [https://www.wikidata.org/wiki/Q5270470], and winner of the Melville Kane Poetry Award. He has also published two anthologies, Poet's Choice, co-edited with Paul Engle [https://www.wikidata.org/wiki/Q7150503], published in 1952, and The Short Story, published in 1956 and co-edited with James B. Hall [https://www.wikidata.org/wiki/Q95328740], published by Macmillan [https://www.wikidata.org/wiki/Q2108217]. He has forthcoming a volume, a small volume called Adlai Stevenson, which is to be published in Iowa City [https://www.wikidata.org/wiki/Q487977] by the Stonewall Press, and is, will contain one long memorial poem and two lyrics. And also a larger volume, to appear perhaps next year, called Songs and Half-Songs. His poems have appeared in numerous anthologies, and have appeared in such journals as Poetry Chicago, Hudson Review, Chicago Review [https://www.wikidata.org/wiki/Q5095765], Paris Review [https://www.wikidata.org/wiki/Q3988628], London Magazine [https://www.wikidata.org/wiki/Q2154323], Nation, and so forth. He has written lyrics for songs by Morton Gould [https://www.wikidata.org/wiki/Q1352656], Phillip Esantzen, Elliot Schwartz, and also lyrics and music for folk songs. He has been recorded by FolkWays [https://www.wikidata.org/wiki/Q1435522], Scholastic Records, reading eight of his poems, and he has held a number of grants. In 1953-54 he was, he held a Ford Faculty Fellowship in the Humanities, in 1955 and 56, an Amy Lowell Traveling Poetry Fellowship, and in 1966, or last year, rather, a National Council of Arts Grant in Poetry, and in this period, he gave a series of readings at universities throughout Europe [https://www.wikidata.org/wiki/Q46], in Glasgow [https://www.wikidata.org/wiki/Q4093], London [https://www.wikidata.org/wiki/Q84], Sussex [https://www.wikidata.org/wiki/Q23346], Munich [https://www.wikidata.org/wiki/Q1726], Oslo [https://www.wikidata.org/wiki/Q585], and University College in Dublin [https://www.wikidata.org/wiki/Q1068258]. Ladies and gentlemen, Professor Joseph Langland. \\n \\nAudience\\n00:03:03\\nApplause. \\n \\nJoseph Langland\\n00:03:19\\nSo much of that sounds irrelevant. So I will begin by reading a poem which was really written in answer to a critic. I've written two poems in answers to critics. And this is one of them. I call it \\\"Desperate Equations\\\".\\n \\nJoseph Langland\\n00:03:47\\nReads \\\"Desperate Equations\\\" [from The Wheel of Summer].\\n \\nJoseph Langland\\n00:04:33\\nThen I would like to go to, from that to a newer poem, one which I call \\\"Natures\\\".\\n \\nJoseph Langland\\n00:04:44\\nReads \\\"Natures\\\".\\n \\nJoseph Langland\\n00:06:54\\nAnd I'd like to just simply move from that to a poem which is called, \\\"Dandelion\\\". It's a poem that, well, the daughter of a famous poet likes it very much, and she recently said so, and so consequently I'm very fond of it at the moment. I think this is a kind of procedure among artists. They tend to like very much, at least for a little while, something that someone else likes. It's a poem which I say partially for my wife, it's a poem of affection, but I wouldn't just simply say \\\"for\\\" my wife, it's for all of you, too. \\\"Dandelion\\\".\\n \\nJoseph Langland\\n00:07:40\\nReads \\\"Dandelion\\\" [published later in Any Body’s Song and collected in Selected Poems].\\n \\nJoseph Langland\\n00:09:26\\nI visited once a grotto in the southern coast of Italy [https://www.wikidata.org/wiki/Q38], the Amalfi [https://www.wikidata.org/wiki/Q80563] grotto, and it's typical of a whole series of such places. It's completely enclosed. You enter it...well actually, I was there a year ago, and it's a little disappointing, because, to sort of accommodate the tourist trade, they've blown out a little section of the wall, and they've hung a flapping canvas cloth over it. But eleven years ago this wasn't so, and you descend in an elevator into this inner room, and it's an absolutely magic place, it's explained to you, for instance, that about sixteen feet under the level of the sea, the Tyrrhenian Sea [https://www.wikidata.org/wiki/Q38882], there's a large hole in the cave, and the sunlight, particularly in the morning, you come there about 11 in the morning, it's a good time, the sun filters down these sixteen feet and through this huge hole and then comes up inside the cafe. And the effect of this is absolutely eerie because it's completely enclosed, it's like darkness, but you get in there, and you adjust, and everything is just luminous with light, water, everything. You pick up, and you dip your hands in water and pick them up, you know, drops of water fall from your fingers from the orb-blades that splash, the orb is simply just a whole splash of light that goes up, like that. It's magic, see. And I want to believe in the magic, but in this sense I want to believe in this way in poetry. We shouldn't, I think, just simply deceive ourselves, but....so we can talk about what is, but somehow it's a responsibility to do a little bit more than what is, and so I've written this poem, and of course it's about the Amalfi Grotto, it's about our own behaviour, an attitude toward many things, and it's also, for me, a poem about poetry. \\\"The Amalfi Grotto\\\".\\n \\nJoseph Langland\\n00:11:38\\nReads \\\"The Amalfi Grotto\\\" [from The Wheel of Summer; later collected in Selected Poems].\\n \\nJoseph Langland\\n00:12:53\\nI would go from that to a poem for my brother. I call the poem \\\"War\\\". This was a brother who was killed in the Philippines [https://www.wikidata.org/wiki/Q928] in World War II. I was in Europe at the time. I wrote thirty poems, at least, for him, following this. And finally I wrote this poem. This was...about eleven years afterwards when I got to this poem. And with this poem I knew I was, I was through writing those poems. It's also a poem that's had a very curious history. The history of poems is something that's difficult to predict. I was in Germany at the time, I suppose the next German soldier I met I would have shot. But this poem has been seen, or was seen a few years ago by a former infantry officer in the German Army, who at that moment was a captive at Stalingrad [https://www.wikidata.org/wiki/Q914]. He's come into the United States [https://www.wikidata.org/wiki/Q30] now and teaches music in an American university, not the one I'm in. And so he set it to music. And so it's a strange irony. I started the whole sequence, see, but, see art pays no attention to that kind of enmity whatsoever. And so it's been set to music by a former infantry officer in the German army. Also, just this past week, actually two days ago, I got a notice it's been published in a Japanese anthology, and it's been translated into Italian, and so all the axis powers have translated it, and then somehow, I don't, still don't know how, it found its way after the Hungarian Revolution [https://www.wikidata.org/wiki/Q164348] into Budapest [https://www.wikidata.org/wiki/Q1781] in '56, and got translated there, I understand a very poor translation into Hungarian, but nevertheless it's happened. This is just part of its history. And other things have been happening to it strangely like this. I just mention this because, see, at a certain point the thing is out of your control completely, and you sort of are, I feel a bit humbled by what happens to them, and the uses that people put these things to. I wrote poems in all sorts of forms for my brother, and I finally, there're some subjects...well, I'd heard William Carlos Williams [https://www.wikidata.org/wiki/Q178106] give a reading at the Lexington Y in New York City [https://www.wikidata.org/wiki/Q60] in 1954, and so I said, okay, I was still dealing with the same poem, and I was in an apartment up in 96th Street, and it was a very foggy night coming home, and I heard all these great foghorns coming off over the lower bay, over Manhattan [https://www.wikidata.org/wiki/Q11299] and so forth. And I wrote another poem, \\\"A Seachange for Harold\\\", which I'm not going to read, except just the beginning.\\n \\nJoseph Langland\\n00:16:22\\nReads the beginning of \\\"A Seachange: For Harold\\\" [fromThe Green Town and collected later in Selected Poems].\\n \\nJoseph Langland\\n00:16:40\\nWell that's, I wrote that thing first, and then I came back to this other poem, in which I just said, okay I'll put it down the way it was, but there's some subjects that by their very nature you can't do much about. Except, of course, the whole dry feeling associated with it led me to all kinds of selections. If there seem to be an excess of family in the poem, I just simply say I am one of nine children. \\n \\nJoseph Langland\\n00:17:15\\nReads \\\"War\\\" [from The Green Town and later collected in Selected Poems].\\n \\nJoseph Langland\\n00:18:43\\nI would go from that to some poems I'm trying to write now. Some of these poems are songs, and I've been writing music for them, also, but, and this is such a song. I call it \\\"A Hard Song to Sing\\\", and it's really about the contemporary condition of war and civil rights problems which threaten to just overwhelm the United States. And almost the entire poem is monosyllabic, but it just seemed like it had to be that way. So. I...and actually, the tune that goes with this thing is...well, I know for instance that I could come in right on pitch on it. I once fell in love with--I don't have absolute pitch, but I fell in love with a song by Edward Grieg [https://www.wikidata.org/wiki/Q80621], and all I have to do is remember this song and I can always begin singing in A flat. But, it's, sometimes I think that maybe this is what I mean by being so right with your subject that you finally say the right thing about it. Somehow the resonance, just the resonance of the idea set up in my body brings me in on pitch, see. Well, I'll just read it. \\\"The clear, cold night\\\"...oh I'll sing, I'll sing the one stanza. \\n \\nJoseph Langland\\n00:20:24\\nSings the beginning of \\\"A Hard Song to Sing\\\".\\n \\nJoseph Langland\\n00:20:42.79\\nAnd it repeats itself in various ways, the melody varies. \\n \\nJoseph Langland\\n00:20:47\\nReads \\\"A Hard Song to Sing\\\".\\n \\nJoseph Langland\\n00:21:48\\nI...when I spent some time in Europe, among other people I met Ralph Ellison [https://www.wikidata.org/wiki/Q299965]. And he and his wife, Fanny, and my wife, Judy, and I, we spent several very fine noons on a beach of a small Italian fishing town, and ever since then I've been trying to write a poem for him. He's been relatively silent, at least, he's not taken a very aggressive role in the whole civil rights movement, although he has published significant essays in that whole thing. Many of you will know his great novel The Invisible Man [https://www.wikidata.org/wiki/Q1784288]. And I've written a poem, I call it \\\"An Open Letter to Ralph Ellison\\\", I'm reading it, I have to send it to him. I have not sent it out to be published anywhere, either. You probably do know he used to be a jazz player, he played the trumpet, he was a photographer and so forth and he did live in some sort of cellar that he had brilliantly lit for a while, but in The Invisible Man there are aspects of this kind of background, too. So I just wanted to address--I started writing him a letter. And then I got interested in writing in the letter and quit the letter and wrote the poem instead, but that's the way it'd be. It was \\\"Dear Ralph\\\", you know but just, now the poem begins, \\\"Ralph...\\\"\\n \\nJoseph Langland\\n00:23:16\\nReads \\\"An Open Letter to Ralph Ellison\\\" [published later in The Massachusetts Review vol. 40, n.4].\\n \\nJoseph Langland\\n00:27:02\\nWell, I will move from that to a poem on Thoreau [https://www.wikidata.org/wiki/Q131149]. Actually, I'm doing a whole book of these things. But one...actually, the first time I ever went to Walden Pond [https://www.wikidata.org/wiki/Q2023853], things turned out like an art farm. There were certain people there, and I met people in certain sequences, and of course I've told all sorts of people that, when they write poetry, you know, just to say that this is the way it happened, or this is the way it was, you know, that's no guarantee that it will be art at all. But in this case, something else had happened, see, Thoreau himself plays influence and just simply organized, you know, a hundred years later, certain people who would be there. And this happened just this way, and so I, almost to defend myself against all the things I'd ever said to people, I called the poem, \\\"How It, So Help Me, Was\\\". And that's the title of the poem. I end with a, the blue-grey twilight, because it was 1963, and it was, or '62 when I went there, and it was, you know, a hundred years after the war between the North and the South in the United States, the blue and the grey. And I felt that whole shadow, and even, in a curious way, it's on the west end of the pond, actually, I'd gone swimming in it, it's illegal, but then the shadow was coming off the hill and it was just sort of beginning to cover, to cover me, and it was a blue-grey shadow, you see, I'm not making that up. And, but...I suppose that's a kind of selection you take out of what is made available to you at a certain point. So \\\"How It, So Help me, Was\\\".\\n \\nJoseph Langland\\n00:29:04\\nReads \\\"How It, So Help Me, Was\\\" [published in The Massachusetts Review, Vol. 4, n.1 and published later as “Walden” in Any Body’s Song].\\n \\nJoseph Langland\\n00:29:29\\nThat's a little poem he's written that's on the hearth there, about the smoke rising.\\n\\nJoseph Langland\\n00:30:04\\nResumes reading “How it, So Help Me, Was”. \\n\\nJoseph Langland\\n00:32:10\\nI know at a time like this I keep thinking all the time in poetry, you know, what does it mean in poetry to somehow keep alive, or...to keep the whole body open, and I wanted to write a poem about that. I call this one \\\"Still to be Man\\\". Because sort of in an animal way, we have to be able to continue to take in all sorts of things. \\n \\nJoseph Langland\\n00:32:44\\nReads \\\"Still to be Man\\\".\\n \\nJoseph Langland\\n00:32:51\\nI can remember when I was, the morning I was trying to write this poem because I was home alone, I stepped out the kitchen door and as I stepped out I felt I didn't even have to land on the earth itself, I would just step out into the air. \\n \\nJoseph Langland\\n00:33:04\\nResumes reading \\\"Still to be Man\\\".\\n \\nJoseph Langland\\n00:34:10\\nLast year, I spent, with my family, a half a year in Rome [https://www.wikidata.org/wiki/Q220], and I got acquainted with a certain kind of syndrome among some of the Roman women. They sort of get trapped, in a society which seems free and easy and open, there's an extreme conservatism. For instance, I know, well, a person who teaches art in an American university, he and his wife were adopting some children in Italy a few years ago, and he could not have children and she could. It was proved by tests in this country, and they went to adopt two children in Italy. But you cannot adopt children in Italy on this basis because by law, no man in Italy can be sterile. [Audience laughter]. And this is a law. And so they had to go to Naples [https://www.wikidata.org/wiki/Q2634] and be tested all over again, officially, by a doctor in Naples, and a lawyer had to follow this, and they discovered after the tests that she was sterile and she was not [audience laughter], and they got this all certified and they adopted the children and they now have them and are living happily with them. But there's some, there's another side to this coin, too. And so, we lived next to a high school called the church, or the school of the Adorazione, and I'd see this women, you know, they're so beautiful when they're young, and then when they get married they start dressing in black and start cooking spaghetti and having children, and something awful happens, and then their husbands lose interest in them and then they have to find other lovers and then, you know, it's an awful thing. [Audience laughter]. It's \\\"La Donna a Roma, an Odyssey\\\".\\n \\nJoseph Langland\\n00:36:12\\nReads \\\"La Donna a Roma, an Odyssey\\\".\\n \\nJoseph Langland\\n00:37:24\\nWell then, another kind of thing that happens in our society, I think it happens to many people, I've been writing a series of half-songs. I call them half-songs, they're at half-pitch, half-singing pitch, where we talk and we don't talk together. You know, we say something and someone answers and it goes, you know, we keep going past each other. And so I've written a poem that, it has two separate parts, both parts rhyme all the way but you won't hear this at all, I was talking about that with the class here, today, it may be aesthetically valid for myself alone. And it's one, it's called \\\"Not Quite a Conversation: A Half-Song\\\", and the first part is called \\\"He and Her\\\". You see, \\\"he\\\" is the noun and \\\"her\\\" is the object. And the next part is called, \\\"She and Him\\\". \\\"She\\\" is the noun and \\\"him\\\" is the object. And they're talking. Or, we're talking about them. And so, in a sense they should be printed facing each other on the page, and I can't read them together, so I have to read first \\\"He and Her\\\", then I might, they talk back and forth to each other all the way through the poem. \\\"He and Her.\\\"\\n \\nJoseph Langland\\n00:38:44\\nReads \\\"Not Quite a Conversation: He and Her\\\" [published later in Any Body’s Song].\\n \\nJoseph Langland\\n00:39:40\\nAnd the other, \\\"She and Him\\\". As I say, it rhymes all the way, and triad by triad it answers. \\n \\nJoseph Langland\\n00:39:47\\nReads \\\"Not Quite a Conversation: She and Him\\\" [published later in Any Body’s Song].\\n \\nJoseph Langland\\n00:40:59\\nI guess we take a break in the program. \\n \\nUnknown\\n00:41:05\\nAmbient Sound [voices].\\n \\nUnknown\\n00:41:24\\n[Cut or edit made in tape. Unknown amount of time elapsed].  \\n \\nJoseph Langland\\n00:41:25\\nAnd, I will read just one or two of these. And once again, I make no particular claim as to the validity of this, and probably in the long run it’s not even a fruitful thing. All my grandparents were born in Norway [https://www.wikidata.org/wiki/Q20], my name is Langeland. You know, they dropped the 'e' and called it Langland. And I have been back there a couple of times, I might go again this summer and work with a Norwegian poet, Paul Brekke, and maybe another one, on some translations from the Norwegian  I don't know much Norwegian, he knows a lot of English. [Audience laughter]. But when I was going through there a year ago, I got two, two poems. First this one, \\\"Singing in Late Summer\\\". When my father died they played a folk song, \\\"Den store hvide Flok\\\", \\\"The Great White Host\\\" [https://www.wikidata.org/wiki/Q10468796], at his funeral. And I'd sort of shipped my children off to jobs, I had, you know, I had a fourteen-year-old boy working on a ranch in Wyoming [https://www.wikidata.org/wiki/Q1214], and a twelve-year-old son working on a farm in Iowa, and a daughter who'd gone off to work in-- who was what, fifteen, sixteen, to a hotel in Switzerland [https://www.wikidata.org/wiki/Q39], and my wife was in Provincetown [https://www.wikidata.org/wiki/Q49154], painting [audience laughter], and I was at home writing. Which is what I wanted to do all the time, in any case. \\\"Singing in Late Summer\\\".\\n \\nJoseph Langland\\n00:43:03\\nReads \\\"Singing in Late Summer\\\" [published later in Any Body’s Song and collected in Selected Poems].\\n \\nJoseph Langland\\n00:44:17\\nAnd then, traveling through Norway, all these rivers, you know, they just...they're tumbling all over, rushing everywhere, and falling off the tops of mountains, you know, it just seemed endless, going from Oslo to Bergen [https://www.wikidata.org/wiki/Q26793] and Trondheim [https://www.wikidata.org/wiki/Q25804] and down to Oslo and so forth. Or down to the Island of Store [https://www.wikidata.org/wiki/Q1636366] along the west coast of Norway. And so, I was thinking of a phrase I'd heard an old, an older woman in my own area say about the younger generation. She would always say, \\\"[inaudible phrase in Norwegian]\\\". And so I saw these rivers, and every time I saw them I kept saying, \\\"[inaudible phrase in Norwegian]\\\". [Laughter]. And so then I started thinking of all of these Norwegian immigrants that just came, you know, more of them over here than there are over there...and...so I, it's about the rivers, it's called \\\"Norwegian Rivers\\\", and it's about the people, the younger people, and it's about the immigrants, and the older immigrants, everything like that, I guess.\\n \\nJoseph Langland\\n00:45:22\\nReads \\\"Norwegian Rivers\\\" [published in The Massachusetts Review, Vol. 4, n.1 and collected later in Any Body’s Song and in Selected Poems].\\n\\nJoseph Langland\\n00:48:08\\nWell, there's several like that. But I want to do some other things, so I'll just leave them alone. I'm...you know, I'm translating from the Russian, and no pretense about it, I have two great friends, Thomas Axel [https://www.wikidata.org/wiki/Q23565070], who was press agent for Imre Nagy [https://www.wikidata.org/wiki/Q177917] for eleven days, before, at the time of the Hungarian Revolution, and then he escaped to Austria [https://www.wikidata.org/wiki/Q40]. He teaches at my university, he's a very fine poet, he used to be a director of theatre in Budapest, of the State Theatre. And then Laszlo Ticosz, he teaches in the German-Russian department at the university. They both, for years, have been collecting from the underground poems by relatively unknown poets, student poets and so forth, from Russia [https://www.wikidata.org/wiki/Q159], and they have a magnificent collection of these things. They give me, absolutely literal cribbed translations, and then I work with them, and there're some magnificent things coming, and I'm as certain as I stand here that the moment these things are sent into a publisher, not because of what I'm doing, but because of the nature of the thing, that it'll be just snapped up. This is relative, totally fresh new material, no one else has it, they have, through their own channels in the underground, they are being fed this. And so I find it very exciting, and as I said to someone today, I have to sort of take it through my own experience, which included...I won't say poverty, that's not the right word, but absolutely no money, not poverty because we could milk the cow and, you know, raise the garden vegetables and shear our sheep and make our own blankets and, you know, we had food, clothing, and shelter. And then the war in Europe, and I was in well, concentration camps, I wasn't in them, but I was, at Nordhausen [https://www.wikidata.org/wiki/Q7033], I sort of participated in the burial of five thousand people in one day in open trenches, and was with a headquarters unit a few days after and captured Buchenwald [https://www.wikidata.org/wiki/Q152802], and it...I won't say it's these things that pulled together, I was in Weimar [https://www.wikidata.org/wiki/Q3955] when it was turned over to the Russians, I remember going out of there, you know, it was half the German population in their carts going toward Eisenach [https://www.wikidata.org/wiki/Q7070], to the west, and the Russian cavalry coming in, meeting it from the east...lots of things, but so that's simply what this material comes through, and so I have some sympathy for it. This is a poem \\\"Drowning\\\", by a person named Sergei Chudakov [https://www.wikidata.org/wiki/Q4517600]. \\n \\nJoseph Langland\\n00:51:23\\nReads \\\"Drowning\\\" by Sergei Chudakov [published later in Poetry from the Russian Underground].\\n \\nJoseph Langland\\n00:51:31\\nSee, in the original it says, \\\"bright as a house\\\".\\n \\nJoseph Langland\\n00:51:36\\nResumes reading \\\"Drowning\\\" by Sergei Chudakov.\\n \\nJoseph Langland\\n00:52:06\\nThis is \\\"The Jewish Cemetery in Leningrad\\\" by Joseph Brodsky [https://www.wikidata.org/wiki/Q862]. \\n \\nJoseph Langland\\n00:52:12\\nReads \\\"The Jewish Cemetery in Leningrad\\\" by Joseph Brodsky.\\n \\nJoseph Langland\\n00:52:32\\nSee the poem says, \\\"lie musicians, lawyers, businessmen, and revolutionaries\\\". I'm very certain in this case that, you know, I felt great when I thought of saying it in this other way. Makes it better. \\n \\nJoseph Langland\\n00:52:47\\nResumes reading \\\"The Jewish Cemetery in Leningrad\\\" by Joseph Brodsky.\\n \\nJoseph Langland\\n00:54:03\\nFor instance, the original translation was that this whole thing is \\\"one hour by foot FROM the nearest bus stop\\\" And as far as I'm concerned, saying \\\"to\\\" is apt, a crucial difference, \\\"and the crooked faces of the plywood\\\", see, \\\"are one hour by foot TO the nearest bus stop\\\". Wanted the whole sense that they might all get up and walk and haunt us, see, coming the other way. Here's a poem about conditions by Artyemy Mikhailov. These names may be just be relatively anonymous, although some of them are among the friends that have been defending Sinyavsky [https://www.wikidata.org/wiki/Q468267] and Daniel [https://www.wikidata.org/wiki/Q435770]. His idea about conditions. And it was a pretty rigid, stiff poem and I had to try to get movement in it and so forth. And it's whole, if, if you've, if your dearest friend has not been trapped and dragged to a camp, if, if, if, the entire way through.\\n \\nJoseph Langland\\n00:55:01\\nReads “Conditions” by Artyemy Mikahilov [published later in Poetry from the Russian Underground].\\n \\nJoseph Langland\\n00:56:07\\nHere once again, there's so many of these, I just, here's one in the older style but it's one that's full of an elegant, lyric despair, \\\"Now that I know\\\", by Vladimir Kovshin.\\n \\nJoseph Langland\\n00:56:21\\nReads \\\"Now that I Know\\\" by Vladimir Kovshin [published later in Poetry from the Russian Underground].\\n \\nJoseph Langland\\n00:57:01\\nThis is a poem called \\\"After the War\\\" by Gleb Garbovsky. I just completed this this previous weekend, these I'm reading from now. \\n \\nJoseph Langland\\n00:57:11\\nReads \\\"After the War\\\" by Gleb Garbovsky [published later in Poetry from the Russian Underground].\\n \\nJoseph Langland\\n00:58:54\\nIncidentally, I used the phrase \\\"called back\\\" because that's on Emily Dickinson's [https://www.wikidata.org/wiki/Q4441]  tomb in Amherst [https://www.wikidata.org/wiki/Q49164], Massachusetts. Just an example of how you get your own little allegiance and locality into something else. \\n \\nJoseph Langland\\n00:59:08\\nResumes reading \\\"After the War\\\" by Gleb Garbovsky.\\n \\nJoseph Langland\\n00:59:27\\nHere's one, \\\"Keeping up with the Humanskys\\\". It's a poem about keeping up with the Joneses. [Audience laughter]. I had a lieutenant in the army who said his name was Humansky, and he said his, that man, I'll never forget it because he said that means \\\"son of the fields\\\" but I've been called worse names. I remember him saying that [audience laughter]. And so I...Son of the fields, I thought, that's great, you know, I was looking for a Russian name that would be like the Joneses, only this is like the serfs, son of the fields, of the soil. Couldn't be better. \\\"Keeping up with the Humanskys\\\". So, see, that's my good luck out of a little piece of experience that came to me when I needed it. \\n \\nJoseph Langland\\n01:00:06\\nReads \\\"Keeping up with the Humanskys\\\".\\n \\nJoseph Langland\\n01:01:33\\nThen there's one about a march from Russia to Siberia [https://www.wikidata.org/wiki/Q5428]. And, \\\"Etape\\\". There's no title in the original, there's a footnote, which was, these were sent to Axel and Ticosz from Russia, this poem. Neither the name nor the fate of its author is known. The phrase \\\"Marching in Etape\\\" originates from the nineteenth century. One stretch of the Long March from Russia to Siberia was called Etape, and it was in a ballad stanza form, so that's the way I did it. It's...little old style, but.\\n \\nJoseph Langland\\n01:02:07\\nReads \\\"Etape\\\" by an unknown author.\\n \\nJoseph Langland\\n01:03:57\\nThen \\\"The Garbage Collector,\\\" a poem that...\\n \\nUnknown\\n01:04:03\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nJoseph Langland\\n01:04:04\\nReads \\\"The Garbage Collector” [begins abruptly; audience laughter throughout].\\n \\nAudience\\n01:04:27\\nLaughter.\\n \\nJoseph Langland\\n01:04:30\\nI'm very proud of that too, because you know in the old Renaissance things there's always these, an infinitely wise Christ Child, you know, at the mother's breast but his eyes are looking out elsewhere, and he's pointing like this, you know, and it's, so I thought, you know, that's not quite the translation but it's mine [audience laughter]. \\n\\nJoseph Langland\\n01:04:46\\nResumes reading “The Garbage Collector”.\\n\\nJoseph Langland\\n01:05:32\\nWell, these are, you know, poems out of new, unknown--\\n \\nUnknown\\n01:05:36\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nJoseph Langland\\n01:05:37\\nI've sort of been threatening to sing something, and the trouble is, I'm...as I...I wouldn't play the piano if there were one here, and I don't play the guitar, and if I play this thing, it's locked stuff, I'm tied to it, and, I haven't played this tape that's accompanying me, you know, for at least three weeks, and I haven't sung a note since I left Amherst, except the notes I sang here, so, that's all right. These are songs of all sorts. So this is my accompaniment. I hope it works, if it doesn't I'll just stop it. \\n \\nUnknown\\n01:06:17\\nAmbient Sound [music; recorded track]. \\n \\nJoseph Langland\\n01:06:22\\nListen here, just a song called \\\"All the Lovers that You Ever Knew\\\".\\n \\nJoseph Langland\\n01:06:37\\nPerforms \\\"All the Lovers that You Ever Knew\\\" [published later in Any Body’s Song] accompanied by recorded track.\\n \\nJoseph Langland\\n01:08:02\\nThis next is a song called \\\"Alone the Evening Falls on Me\\\". Sometimes I wonder, just trying to remember it here, whether I'm supposed to start singing now, and I'll get to the end of the song and I won't have accompaniment for the last dance. [Audience laughter].\\n \\nJoseph Langland\\n01:08:31\\nPerforms \\\"Alone the Evening Falls on Me\\\" accompanied by recorded track [published later as \\\"Song At Evening” in Any Body’s Song and collected in Selected Poems] \\n \\nJoseph Langland\\n01:10:23\\nThis is a song called \\\"Jump on my Back\\\". It's about Iowa and Wyoming. But since Wyoming didn't work, I had to say Idaho [https://www.wikidata.org/wiki/Q1221]. [Audience laughter].\\n \\nJoseph Langland\\n01:10:45\\nPerforms \\\"Jump on my Back\\\" accompanied by recorded track.\\n \\nJoseph Langland\\n01:11:25\\nThis next one is called \\\"A Hiroshima Lullaby\\\". There's an infinitely sad story. In Hiroshima [https://www.wikidata.org/wiki/Q34664] when the bomb fell, in 1945, there was a little girl, Sadako Sasaki [https://www.wikidata.org/wiki/Q231997], two years old, some of you may know of her. She was a mile and a half from the centre of the blast and apparently unharmed. She was a very gay and popular girl, and her classmates loved her. And she was in the sixth grade or the equivalent, age twelve, in Hiroshima, Hiroshima, however you pronounce it.  And she developed leukemia, which is of course, as many of you know, a latent effect of many people exposed to radiation, so she was, after all, a victim. And she, well she finally became so ill she had to go to the hospital. And her friends came to visit her. And among other things, they told her, and that she knew, that there's an old Japanese legend about herons. I've been writing poem about herons and cranes and I have some in my book, one on a sandhill crane, and I told some people today that I'm going to the University of Oregon [https://www.wikidata.org/wiki/Q766145] in June to speak in their summer Academy of the Arts, and I heard of a person who works in wildlife out in Oregon [https://www.wikidata.org/wiki/Q824], and so because of the poem about the crane he's invited me to visit his wildlife refuge, about two or three hours east of Eugene [https://www.wikidata.org/wiki/Q171224], where he has a refuge among other things for sandhill cranes, you know these water birds are simple. And so I'm going to visit him. I look forward to it. Not because of a poem, see, it's nice. And so, Sadako Sasaki in the hospital, she heard that if you fold a thousand paper cranes in this Japanese folding technique, this will protect your health and save you. So she started folding them. And the tale has two sides. She reached 964 and she died. Her classmates were so, at the centre so involved they completed the thousand, they formed them in a chain. They went around gathering the equivalent of pennies, around Japan [https://www.wikidata.org/wiki/Q17], and when they got enough they asked a sculptor from Tokyo [https://www.wikidata.org/wiki/Q1490] to make a statue of this girl, and so he made a statue showing...you'll surely see pictures of this if you haven't. It's a young, twelve year-old girl, you know, still with a girl's body, she's standing up like this....and she stands in the Peace Park in Hiroshima now. And over her, made out of gold, the folded crane. And so, I wanted to write a poem for her. And so just using the fifth in the bass, and then using the five notes, black keys, I wrote a little ballad and I'll probably sing one stanza maybe, and then read the rest. \\n \\nJoseph Langland\\n01:15:03\\nPerforms the beginning of \\\"A Hiroshima Lullaby\\\" [published later in Any Body’s Song and collected in Selected Poems].\\n \\nJoseph Langland\\n01:15:38\\nReads the continuation of “A Hiroshima Lullaby\\\" [published later in Any Body’s Song and collected in Selected Poems].\\n \\nJoseph Langland\\n01:16:49\\nI wanted to write a civil rights song, something that you could march to in Madison Square Garden [https://www.wikidata.org/wiki/Q186125]. And that's, you know, it's a marching song. That's like that. \\n \\nJoseph Langland\\n01:17:15\\nPerforms unnamed song accompanied by recorded track. \\n \\nJoseph Langland\\n01:18:00\\nStops recorded track. \\n \\nJoseph Langland\\n01:18:00\\nWell, there are a lot more of these songs and I'm just going to stop the tape at this time because...I haven't even begun reading you my favourite poems, [audience laughter], and I know it's about to end but maybe, maybe I can read for fifteen minutes or so. If you have to go, just get up and go. But. When I was in Italy in 1954, I read in Marcus Cunliffe's [https://www.wikidata.org/wiki/Q6758114] The Literature of the United States, \\\"New York is the intellectual centre of the United States.\\\"  That made my blood boil [audience laughter] because it's a marketplace, so I just simply took his own book, The Literature of the United States, took all his authors, and lined them up, and all the places where they were born, where they grew up, and where they wrote from, and sent them the chart, which proves, out of his own book, that in literature, creative ideas, there have been three great centres and then two subordinate ones. New England [https://www.wikidata.org/wiki/Q18389], the Midwest, and the South, and then as subordinate ones, they're the West Coast, and then the mid-Atlantic, New York area. That's in literature [audience laughter]. And we got in an argument...the result of it all was that I invited him to come and teach at my university [audience laughter]. So he came and he gave an address, and in one of his speeches he said, “Americans are overly given to haruspication and scrying” [audience laughter]. Well, you know, when someone comes out of England [https://www.wikidata.org/wiki/Q21] and says, gives, delivers a lecture to an American audience and says that, among other things you have to look up the words. [Audience laughter]. And, so...so I looked them up and I discovered \\\"haruspication\\\", the Haruspects were Roman and Etruscan pagan priests who examined the entrails of sacrificial animals [audience laughter] to predict natural phenomena and the future. So I started thinking about that. I grew up on a general farm, we had about a hundred pigs, two hundred sheep, a hundred head of cattle, twenty milk cows, a thousand chickens, about one hundred turkeys, twelve goats, you know [audience laughter], anywhere from twenty to fifty cats, and all sorts of wild animals, and I had seen bulls gored to death, I had seen flocks of sheep driven over limestone cliffs by dogs, I'd seen hawks that'd ripped little lambs and chickens, I'd seen skunks that had eaten them up, I'd butchered all of these things, I'd castrated, you know, I myself have castrated maybe three thousand pigs, and [laughter]..and...so, I thought okay. In fact, some of you may know that \\\"The Wheel of Summer\\\", the title poem, is about the castration of one hundred pigs, by three teenage boys [audience laughter], and as I was introduced in England once, he said it's probably the most distinguished poem in English about the castration of a hundred pigs. [Audience laughter]. But I started thinking about all of this and I thought, well, okay, I have a philosophy of life too, and it's been based with the whole business of producing food for you. You know, that's the end of it, the end of it all. And I participated in an awful lot of killing and...routine, it’s a way of life. And you know, if you eat meat, well you too. So I said, well okay, I've been haruspicating for a long time. And I gradually went up from age six to age eighteen, and meantime I achieved some kind of maturity, and I'm going to write my own poems. So I wrote all these poems, and the titles are, you know, like \\\"Sacrifice of a Rainbow Trout\\\", \\\"Sacrifice of My Pet Lamb\\\", but I'm going to read you the ultimate titles, which aren't in the book. Just running from age six on up to age eighteen, or when we got all old enough and we all went off to the war, as the last poem said.  But these say, you know, that's what these poems are really about.  \\n \\nJoseph Langland\\n01:22:38\\n\\\"The Clarity of Innocence: Sacrifice of a Trout\\\". “The Loss of Early Innocence: Sacrifice of My Pet Lamb\\\". \\\"The Plunder of Idealism: Sacrifice of the Golden Owl\\\". \\\"The Sickle among the Flowers\\\"...I quit making the equation...\\\"The Sickle Among the Flowers\\\". \\\"The Decline of Heroic Voices\\\"--that's the goring to death of a bull. \\\"The Suffocations of Love\\\"--that's the killing a pet chick by over-affection. \\\"The Attritions of Man\\\". \\\"The Unhousing of Beneficent God\\\". \\\"The Seeming, the Necessary and Beneficial Perversions of Love\\\"--that's my sacrifice of a gunny sack of cats. \\\"The Subtleties of Violent Revenge: Sacrifice of an old Sow\\\". \\\"The Sweet Solace of Evil\\\". \\\"The Absurdities of Fact\\\". \\\"The Pitfalls of Group Action: Sacrifice of a Flock of Sheep\\\"--they ran over this cliff, twelve of them died at once, and people say you shouldn't write villanelles, but that's the way sheep act, so I wrote a villanelle, you know, they repeat. \\\"The Catechism of Human Culpability\\\"--that's Eric, a suicide of a man. \\\"The Oddities of Affection\\\". \\\"The Sacred Violence of Purity\\\". \\\"The Bounties of Natural Law\\\". \\\"The Winter of the Cold War: Sacrifice of a Grey Wolf\\\". \\\"The Decline of Natural Instincts: Sacrifice of Three Wild Geese\\\". \\\"The Tyranny of Fixed Ideas\\\"--that's a sacrifice of a red squirrel. \\\"A Dream of the Ultimate Holocaust: Sacrifice of a Hill of Ants\\\" and \\\"The Warfare of the Sensuous Past: Sacrifice of My Aunt Marie\\\".  And then it all culminates in the longer narrative poem, \\\"The Wheel of Summer\\\". Which is just simply coming to maturity as a man. Well I'll, I'll read a few of these. \\\"Sacrifice of a Rainbow Trout\\\" has no music, but I oftentimes start singing when I'm reading it, but I'm not going to now, I've done that. \\n \\nJoseph Langland\\n01:24:43\\n\\\"Suddenly\\\"--this is six years old, you know.\\n \\nJoseph Langland\\n01:24:46\\nReads \\\"Sacrifice of a Rainbow Trout\\\" [from The Wheel of Summer and collected later in Selected Poems].\\n \\nJoseph Langland\\n01:25:42\\nI'll skip the lamb and read the owl. I wanted to just talk--\\\"We strung our wind-up rooster dead on a post\\\"--see, it can't be any flatter than that. \\n \\nJoseph Langland\\n01:25:52\\nReads \\\"Sacrifice of the Golden Owl\\\" [from The Wheel of Summer and later collected in Selected Poems].\\n \\nJoseph Langland\\n01:27:39\\nI'll read the one of the neighbors. No one can live on a, in a farm area without seeing over a period of years, people lose fingers, toes, arms, legs, in various ways. It's...I was on a reading tour, actually, when Kennedy [https://www.wikidata.org/wiki/Q9696] was killed. And I was actually in an auditorium about to start reading these poems, when it was cancelled, because of the announced death of the president. I couldn't have read them, but I didn't know what I was going to do. I was just sitting there, and five minutes from starting time. But this is \\\"Sacrifice of my Neighbors\\\".\\n \\nJoseph Langland\\n01:28:20\\nReads \\\"Sacrifice of my Neighbors\\\" [from The Wheel of Summer].\\n \\nJoseph Langland\\n01:28:39\\nThat was my brother.\\n\\nJoseph Langland\\n01:28:42\\nResumes reading “Sacrifice of my Neighbors”.\\n \\nJoseph Langland\\n01:31:02\\n\\\"Sacrifice of the Gunnysack of Cats\\\". I read it in New York City, I didn't know that the officers of the Society for the Friends of the Prevention of Cruelty to Animals were sitting in the audience. After I went back to Amherst I got a letter from them, saying that every year there are twenty-five million unwanted pets born in the United States [audience laughter] and we secure funds to get the females spayed and the males castrated, and your poem, \\\"The Sacrifice of the Gunnysack of Cats\\\" is perfect for our purposes for our annual appeal, and, could we...[audience laughter.]..could we use it, please. I thought, my God, you know, I just, I read this poem, like all of these things out of a great affection, and this is the thing, you'll have to forgive me but this is what occurred to me, you know. I just had this great affectionate conception of the whole thing, and now they wanted to turn it into a kind of contraceptive. [Audience laughter]. And...and then I thought, well, okay, what can I do at this point? And so, showing this charming little picture, you know, it's a dog, and a little puppy dog [audience laughter], little kitten and laying their heads against each other and saying \\\"Annual Appeal\\\" and on the back of it was my \\\"Sacrifice of the Gunnysack of Cats\\\" and...I, you know, when I travel around the United States even now, I often like wonder in what town did I do in this poor little male cat or this female, you know, cooperating in one way or another, it's like, you know, I have to refuse to pay your taxes...you don't know what you're maiming at a certain point. But that's an example. I wanted to start from the most ordinary thing and see how I could carry it, and this is the \\\"Sacrifice of the Gunnysack of Cats\\\".\\n \\nJoseph Langland\\n01:33:13\\nReads \\\"Sacrifice of the Gunnysack of Cats\\\" [from The Wheel of Summer and collected later in Selected Poems].\\n \\nJoseph Langland\\n01:36:23\\nOne hard poem about the old sow, which is, says something about this world. \\n \\nJoseph Langland\\n01:36:31\\nReads \\\"Sacrifice of an Old Sow\\\" [from The Wheel of Summer and later collected in Selected Poems].\\n \\nJoseph Langland\\n01:37:48\\nWell that's the way we do it. Then one, pretty hard poem, too, it's about Eric, but it's really about us, and then I'll read the squirrel poem, and then leave these alone. That...okay, actually this, I had in mind an uncle, a favourite uncle. Very talented, frustrated.\\n \\nJoseph Langland\\n01:38:19\\nReads [\\\"The Sacrifice of Eric” from The Wheel of Summer and collected later in Selected Poems].\\n \\nJoseph Langland\\n01:41:09\\nAlright, and then the squirrel. Actually, I...last week, I had a letter from some fellow in Kansas [https://www.wikidata.org/wiki/Q1558], I never, of course I don't know him at all. He wants to set the thing to music, I don't know what he's going to do with it, but...he plays the guitar, and so I said, fine. And just about anybody who gets caught in a rut...I must say that after this I'm going to read one little ballad on Adlai Stevenson [https://www.wikidata.org/wiki/Q311719], but...\\n \\nJoseph Langland\\n01:41:47\\nReads [\\\"The Sacrifice of a Red Squirrel\\\" from The Wheel of Summer]. \\n \\nJoseph Langland\\n01:44:25\\nLittle ballad for Stevenson, and I don't have it with me, but I know it. The state tree, bird, and flower of Illinois [https://www.wikidata.org/wiki/Q1204] is the oak, the cardinal, and the violet. That's green, red, and violet. It struck me, that's half a rainbow. That seemed like Adlai Stevens' life. A great theoretical life, unfinished, has to be completed by someone else. I asked, what's the other half, they're yellow, orange, and blue, and his home at Libertyville [https://www.wikidata.org/wiki/Q1787181], Illinois, you can't improve on that for the title, \\\"Libertyville\\\", it has a river the Des Plaines River [https://www.wikidata.org/wiki/Q8637], that's before it enters the Chicago [https://www.wikidata.org/wiki/Q1297] drainage system, it's a nice blue stream out of the Wisconsin [https://www.wikidata.org/wiki/Q1537] woods, that's blue, the sky is blue, the light by day is orange, and by night yellow. That's the full rainbow. \\\"There's a fountain in the wood\\\"...It's called \\\"Libertyville\\\" and past that, a little epigraph about the state tree, bird, and flower of Illinois, and I wanted to, for the schoolchildren of Illinois...\\n \\nJoseph Langland\\n01:45:27\\nReads \\\"Libertyville\\\" [from The Wheel of Summer and collected later in Selected Poems].\\n \\nAudience\\n01:47:02\\nApplause.\\n \\nEND\\n01:47:35\\n\",\"notes\":\"Joseph Langland reads from The Green Town (Scribner, 1956) and The Wheel of Summer (Dial Press, 1963), as well as poems published later in Poetry from the Russian Underground (Harper & Row, 1973), Any Body’s Song (Doubleday, 1980), and Selected Poems (University of Massachusetts Press, 1991).\\n\\n00:06- Unknown introducer introduces Joseph Langland. [INDEX: Spring Grove, Minnesota, public schools, Iowa, State University of Iowa, University of British Columbia, University of Washington, San Francisco Poetry Center, University of Wyoming, University of Massachusetts, Massachusetts Review, editorial board, books For Harold, memorial poems for brother, WWII, published in Germany in 1945, The Green Town published by Scribner’s in 1956, nominated for the National Book Award for poetry in 1957, The Wheel of Summer, (Dial Press, 1963), winner of the Melville Kane Poetry Award, anthologies Poet’s Choice co-edited with Paul Engle (1952), The Short Story (Macmillan, 1956) co-edited with James B. Hall, forthcoming books: Adlai Stevenson, Iowa City, Stonewall Press [unknown actual publication], long memorial poem, lyric poems, Songs and Half-Songs [unknown actual publication], poetry anthologies, Poetry Chicago, Hudson Review, Chicago Review, Paris Review, London Magazine, Nation magazine, song lyrics, Morton Gould, Phillip Esantzen, Elliot Schwartz, folk songs, Folk Ways Scholastic Records, grants, 1953-4 Ford Faculty Fellowship in Humanities, 1955 and 1956 Amy Lowell Traveling Poetry Fellowship, 1966 National Council of Arts Grant in Poetry, readings at universities in Europe, Glasgow, London, Sussex, Munich, Oslo, University College in Dublin.]\\n03:19- Joseph Langland introduces “Desperate Equations”. [INDEX: written in answer to a critic; from The Wheel of Summer (1963).]\\n03:47- Reads “Desperate Equations”.\\n04:33- Introduces “Natures”. [INDEX: newer poem]\\n04:44- Reads “Natures”.\\n06:54- Introduces “Dandelion”. [INDEX: daughter of famous poet, procedure among  \\tartists, wife, poem of affection.]\\n07:40- Reads “Dandelion”.\\n09:26- Introduces “The Amalfi Grotto”. [INDEX: grotto in the southern coast of Italy, tourist trade, magical place, sea level, Tyrrhenian Sea, cave, sunlight, morning, cafe, water, orb, poetry, poem about poetry; from The Wheel of Summer (1963).]\\n11:38- Reads “The Amalfi Grotto”.\\n12:53- Introduces “War” and “A Seachange for Harold”. [INDEX: poem for brother, killed in the Philippines in WWII, Europe, wrote thirty poems for him, history, Germany,     \\tGerman soldier, former infantry officer of the German Army, captive at Stalingrad, United States, teaches music, American university, irony, sequence, art, enmity, published in Japanese anthology, translated into Italian, axis powers, Hungarian Revolution, Budapest in 1956, Hungarian, history, humbled, forms, subjects, Williams Carlos Williams, reading at the Lexington Y in NYC in 1954, 96th Street, foghorns, Manhattan, beginning of poem “A Seachange for Harold”.; from The Wheel of Summer (1963)]\\n16:22- Reads beginning of “A Seachange for Harold”.\\n16:40- Introduces “War”. [INDEX: subjects, family, nine children; from The Wheel of  Summer (1963).]\\n17:15- Reads “War”.\\n18:43- Introduces “A Hard Song to Sing”. [INDEX: music for poems, song, contemporary condition of war, civil rights, United States, monosyllabic, pitch, love, Edward Grieg, A flat, resonance, body.]\\n20:24- Sings “A Hard Song to Sing”.\\n21:48- Introduces “An Open Letter to Ralph Ellison”. [INDEX: Ralph Ellison and his wife   Fanny, Langland’s wife Judy, beach on small Italian fishing town, civil rights movement,        Ellison’s essays, The Invisible Man, poem not published, jazz player, trumpet,      \\tphotographer, cellar, background, letter; published later in The Massachusetts Review Vol. 40, n.4, (Winter, 1999/2000).]\\n23:16- Reads “An Open Letter to Ralph Ellison”.\\n27:02- Introduces “How It, So Help Me, Was”. [INDEX: Thoreau, book of letters to famous people, Walden Pond, art farm, title, 1963/1962, 100 years after the Civil War, blue, grey, shadow, pond, illegal; published in The Massachusetts Review, Vol. 4, n.1, (Autumn, 1962).]\\n29:04- Reads “How It, So Help Me, Was”.\\n32:10- Introduces “Still to be Man”. [INDEX: poetry, alive, body, animal.]\\n32:44- Reads “Still to be Man”.’\\n32:51- Interrupts with explanation. [INDEX: writing a poem, home, kitchen, land on the earth, air.]\\n33:04- Continues reading “Still to be Man”.\\n34:10- Introduces “La Donna a Roma, an Odyssey”. [INDEX: family, Rome, syndrome,      Roman women, trapped in society, extreme conservatism, teacher of art at an American    university, adopting child in Italy, law, sterile men, Naples, doctor, lawyer, certified, high    school, Adorazione (school), beautiful and young women, married, dressing in black,   \\tspaghetti, children, husbands, lovers.]\\n36:12- Reads “La Donna a Roma, an Odyssey”.\\n37:24- Introduces “He and Her”. [INDEX: society, series of half-songs, half-pitch, half- singing, talk, two parts, rhyme, class (at Sir George Williams University), aesthetic value, \\t“Not Quite a Conversation: A Half-Song”, first part is “He and Her”, noun, object,    second part “She and Him”, talking, printed, page.]\\n38:44- Reads “Not Quite a Conversation: A Half-Song, part 1: He and Her”.\\n39:60- Introduces “She and Him”. [INDEX: triad, rhyme, answers.]\\n39:47- Reads “Not Quite a Conversation: A Half-Song, part 2: She and Him”\\n40:59- Langland announces break.\\n41:25- Introduces second part of reading and “Singing in Late Summer”. [INDEX:     \\tvalidity, grandparents, Norway, name ‘Langeland’, Norwegian poet Paul Brekke,    translations, Norwegian, two poems written in Norway, death of his father, folk song   \\t“Den store hvide Flok”/ “The Great White Host”, funeral, children’s jobs, farm in Iowa,       ranch in Wyoming, hotel in Switzerland, Provincetown, painting, writing; published later  in Selected Poems (University of Massachusetts Press, 1991).]\\n43:03- Reads “Singing in Late Summer”.\\n44:17- Introduces “Norwegian Rivers”. [INDEX: traveling through Norway, rivers,    \\tmountains, Oslo, Bergen, Trodheim, Island of Store, west coast of Norway, older  \\twoman, younger generation, Norwegian immigrants; published first in The       \\tMassachusetts Review, Vol. 4, n.1, (Autumn, 1962); later in Selected Poems       \\t(University of Massachusetts Press, 1991).]\\n45:22- Reads “Norwegian Rivers”.\\n48:08- Introduces “Drowning” by Sergey Chudakov. [INDEX: translation from Russian,     friends Thomas Axel, press agent for Imre Nagy, Hungarian Revolution, escape to        \\tAustria, teaches at university, poet, director of theatre in Budapest, State Theatre, Laszlo Ticosz, teaches in the German-Russian department at the university, collecting   underground poems from unknown poets from Russia, collection of poems, literal \\ttranslations, not sent to a publisher, new material, channels in the underground, war in   Europe, concentration camps, Nordhaussen, burial of five thousand people in one day in open trenches, captured Buchenwald, Weimar, Russians, German population Eisenach, Russian cavalry; from Poetry from the Russian Underground  (Harper & Row, 1973).]\\n51:23- Reads “Drowning” by Sergey Cuchadakov.\\n52:06- Reads “The Jewish Cemetery in Leningrad” by Joseph Brodsky. [INDEX:   \\tprobably intended for Poetry from the Russian Underground but was never published.]\\n52:32- Interrupts reading with explanation. [INDEX: translation changes.]\\n52:47- Continues reading “The Jewish Cemetery in Leningrad” by Joseph Bordsky.\\n54:03- Explains “The Jewish Cemetery in Leningrad” translations, introduces first line         “Conditions” by Artyemy Mikhailov. [INDEX: conditions, defending Sinyavsky and    Daniel, trapped, dragged to camp; from Poetry from the Russian Underground (Harper & Row, 1973).]\\n55:01- Reads first line “Conditions” by Artyemy Mikhailov.\\n56:07- Introduces “Now that I Know” by Vladimir Kovshin. [INDEX: older style, elegant    lyric despair; from Poetry from the Russian Underground (Harper & Row, 1973).]\\n56:21- Reads “Now that I Know” by Vladimir Kovshin.\\n57:01- Introduces “After the War” by Gleb Garbovsky. [INDEX: newest poem; from Poetry from the Russian Underground (Harper & Row, 1973).]\\n57:11- Reads “After the War” by Gleb Garbovsky.\\n58:54- Interrupts reading with explanation. [INDEX: Emily Dickinson’s tomb in Amherst        Massachusetts, locality.]\\n59:08- Continues reading “After the War” by Gleb Garbovsky.\\n59:27- Introduces “Keeping up with the Humansky’s”. [INDEX: Joneses, lieutenant in the army, son of the fields, Russian name, serfs, experience.]\\n1:00:06- Reads “Keeping up with the Humansky’s”.\\n1:01:33- Introduces “Etape”. [INDEX: march from Russia to Siberia, original, title,     \\tfootnote, Axel, Ticosz, author unknown, nineteenth century, part of the long March from   Russia called Etape, ballad stanza form.]\\n1:02:07- Reads “Etape”.\\n1:03:57- Begins to Introduce “The Garbage Collector”, but recording ends suddenly.\\n1:04:03.32- END OF RECORDING.\\n \\nRachel Kyne has tracked poem times and durations:\\n \\nTitle                                                                        \\tTime           \\tDuration (mins)\\nFIRST CD:\\n“Desperate Equations”                                           \\t00:03:47      \\t00:45\\n“Natures”                                                                \\t00:04:44      \\t02:09\\n“Dandelion”                                                            \\t00:07:40      \\t01:43\\n“The Amalfi Grotto”                                              \\t00:11:38      \\t01:14\\n“War”                                                                      \\t00:17:15      \\t01:27\\n“A Hard Song to Sing” (one stanza sung)              \\t00:20:24      \\t00:17\\n“A Hard Song to Sing” (read)                                \\t00:20:47      \\t01:00\\n“An Open Letter to Ralph Ellison”                        \\t00:23:16      \\t03:45\\n“How It, So Help Me, Was”                                   \\t00:29:04      \\t00:24\\n“Still to be Man”                                                    \\t00:32:44      \\t01:24\\n“La Donna a Roma, an Odyssey”                           \\t00:36:12      \\t01:11\\n“He and Her”                                                          \\t00:38:44      \\t00:56\\n“She and Him”                                                        \\t00:39:47      \\t01:10\\n“Singing in Late Summer”                                     \\t00:43:03      \\t01:13\\n“Norwegian Rivers”                                               \\t00:45:22      \\t02:44\\n“Drowning”                                                            \\t00:51:23      \\t00:42\\n“The Jewish Cemetery in Leningrad”                    \\t00:52:12      \\t01:55\\n“Conditions”                                                           \\t00:55:01      \\t01:05\\n“Now That I Know”                                               \\t00:56:21      \\t00:40\\n“After the War”                                                      \\t00:57:11      \\t02:09\\n“Keeping up with the Humanskys”                        \\t01:00:06      \\t01:26\\n“Etape”                                                                   \\t01:02:07      \\t01:48\\n  \\n00:00- Reads “The Garbage Collector”.\\n00:27- Interrupts poem with explanation, then continues reading.  [INDEX: Renaissance, Christ Child, mother’s breast, translation”.\\n01:33- Introduces song “All the Lovers that You Ever Knew”. [INDEX: piano, singing,       guitar, Amherst, recorded tape.]\\n02:14- Plays recorded piano accompaniment.\\n02:33- Sings “All the Lovers that You Ever Knew”.\\n03:59- Introduces “Alone the Evening Falls on Me”. [INDEX: recording, singing, song,        last dance”; most likely from Selected Poems (University of Massachusetts Press,    1991).]\\n04:28- Sings “Alone the Evening Falls on Me”.\\n06:20- Introduces “Jump on my Back”. [INDEX: Iowa, Wyoming, Idaho.]\\n06:41- Sings “Jump on my Back”.\\n07:22- Introduces “A Hiroshima Lullaby”. [INDEX: sad story, Hiroshima bomb, 1945, little girl named Sadako Saki, unharmed, leukemia, hospital, Japanese legend about herons,       cranes, sandhill crane, University of Oregon in June, Summer Academy of the Arts,       wildlife refuge, Oregon, Eugene, fold a thousand paper cranes, health, sculptor from        Tokyo, statue, Peace Park, five notes, black keys, fifth in the bass, sing, stanza; published later in Selected Poems (University of Massachusetts Press, 1991).]\\n11:00- Plays and Sings “A Hiroshima Lullaby”.\\n12:46- Introduces first line “I long to walk in the promised land”, [INDEX: Civil rights        \\tsong, march in Madison Square Garden, marching song.]\\n13:12- Sings first line “I long to walk in the promised land”.\\n13:57- Introduces The Wheel of Summer (Dial Press, 1963). [INDEX: Italy in 1954, Marcus Cunliffe’s The Literature of the United States, authors, New England, Midwest, South, West Coast and mid-Atlantic New York area, literature, speech, England, Haruspects, Roman/ Etruscan pagan priests, sacrificial animals, natural phenomena, farm animals, “The Wheel of Summer” title poem, titles “Sacrifice of a Rainbow Trout”, “Sacrifice of my Pet Lamb”, poem titles that aren’t in the book.]\\n18:34- Reads poem titles from The Wheel of Summer. [INDEX: \\\"The Clarity of   Innocence: Sacrifice of a Trout.”, “The Loss of Early Innocence: Sacrifice of My Pet Lamb\\\", \\\"The Plunder of Idealism: Sacrifice of the Golden Owl\\\", \\\"The Sickle among the Flowers\\\", \\\"The Sickle Among the Flowers\\\", \\\"The Decline of Heroic Voices\\\",  \\\"The Suffocations of Love\\\", \\\"The Attrition of Man\\\", \\\"The Unhousing of Beneficent God,\\\" \\\"The Seeming, the Necessary and Beneficial Perversions of Love\\\", \\\"The Subtleties of Violent Revenge: Sacrifice of an old Sow\\\", \\\"The Sweet Solace of Evil\\\", \\\"The Absurdities of Fact”,  \\\"The Pitfalls of Group Action: Sacrifice of a Flock of Sheep\\\", \\\"The Catechism of Human Culpability\\\", \\\"The Oddities of Affection”,  \\\"The Sacred Violence of Purity\\\", \\\"The        Bounties of Natural Law\\\", \\\"The Winter of the Cold War: Sacrifice of a Grey Wolf\\\", \\\"The    Decline of Natural Instincts: Sacrifice of Three Wild Geese\\\", \\\"The Tyranny of Fixed   Ideas\\\", \\\"A Dream of the Ultimate Holocaust: Sacrifice of a Hill of Ants\\\", \\\"The Warfare of  \\tthe Sensuous Past: Sacrifice of My Aunt Marie”, longer narrative poem, \\\"The Wheel of     Summer\\\",\\\"Sacrifice of a Rainbow Trout\\\"; titles from The Wheel of Summer.]\\n20:43- Reads “Sacrifice of a Rainbow Trout”. [INDEX: from The Wheel of Summer, (Dial   Press, 1963).]\\n21:38- Introduces “Sacrifice of a Golden Owl”. [INDEX: lamb, owl, from The Wheel of        Summer, (Dial Press, 1963).]\\n21:49- Reads “Sacrifice of a Golden Owl”.\\n23:36- Introduces “Sacrifice of my Neighbors”. [INDEX: farm, lost body parts, death of       President Kennedy, reading tour, auditorium, poems, cancelled; from The Wheel   \\tof Summer, (Dial Press, 1963).]\\n24:17- Reads “Sacrifice of my Neighbors”.\\n26:58- Introduces “Sacrifice of the Gunny-Sack of Cats”. [INDEX: read in New York City, officers of the Society for the Friends of the Prevention of Cruelty to Animals, Amherst,    letter, unwanted animals, United States, cat spaying, contraceptive, Annual Appeal, taxes;  from The Wheel of Summer, (Dial Press, 1963).]\\n29:10- Reads “Sacrifice of the Gunny-Sack of Cats”.\\n32:19- Introduces “Sacrifice of an Old Sow”. [INDEX: old sow, hard poem, world; from       The Wheel of Summer, (Dial Press, 1963).]\\n32:28- Reads “Sacrifice of an Old Sow”.\\n33:45- Introduces “The Catechism of Human Culpability”. [INDEX: hard poem, Eric, squirrel poem, uncle.]\\n34:15- Reads “The Catechism of Human Culpability”.\\n37:05- Introduces “The Tyranny of Fixed Ideas”. [INDEX: squirrel, letter, Kansas, music,    guitar, ballad on Adlai Stevens.]\\n37:44- Reads “The Tyranny of Fixed Ideas”.\\n40:21- Introduces “Libertyville”. [INDEX: Stevens, ballad, state tree, bird, flower,      \\tIllinois, oak, cardinal, violet, red, green, violet, rainbow, theoretical life, yellow, orange,       blue, Libertyville Illinois, Des Plaines River, Chicago drainage system, Winsconsin   woods, blue, sky, light, epigraph, school children.]\\n41:24- Reads “Libertyville”.\\n43:32.33- END OF RECORDING.\\n \\nSECOND CD:\\n“The Garbage Collector”                                        \\t00:00:00      \\t01:27\\n“All the Lovers that You Ever Knew” (song)        \\t00:02:33      \\t01:25\\n“Alone the Evening Falls on Me” (song)               \\t00:04:28      \\t01:45\\n“Jump on my Back” (song)                                    \\t00:06:41      \\t00:40\\n“A Hiroshima Lullaby” (song and reading)           \\t00:11:00      \\t01:45\\n[“I long to walk in the Promised Land”]                \\t00:13:12      \\t00:44\\n“Sacrifice of a Rainbow Trout”                              \\t00:20:43      \\t00:57\\n“Sacrifice of the Golden Owl”                               \\t00:21:49      \\t01:15\\n“Sacrifice of my Neighbours”                                \\t00:24:17      \\t02:30\\n“Sacrifice of the Gunny-Sack of Cats”                  \\t00:29:10      \\t03:08\\n“Sacrifice of an Old Sow”                                      \\t00:32:28      \\t01:18\\n“The Catechism of Human Culpability”                \\t00:34:15      \\t02:45\\n“The Tyranny of Fixed Ideas”                                         00:37:44      \\t02:44\\n“Libertyville”                                                         \\t00:41:24      \\t01:35\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/joseph-langland-at-sgwu-1968/\"}]"],"score":1.9338971},{"id":"1271","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Michael McClure and George Montana at Sir George Williams University, The Poetry Series, 22 March 1968"],"item_title_source":["Cataloguer"],"item_title_note":["\"MICHAEL McCLURE I006/SR160\" written on sticker on the spine of the tape's box. \"I006-11-160\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["McClure, Michael","Montana, George"],"creator_names_search":["McClure, Michael","Montana, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/71493269\",\"name\":\"McClure, Michael\",\"dates\":\"1932-\",\"notes\":\"American poet, playwright, essayist, novelist and teacher Michael McClure was born on October 20, 1932 in Marysville, Kansas. After his parents divorced, he went to live with his grandfather in Seattle, who influenced McClure’s early interests in the natural world. McClure attended several universities in Kansas and Arizona before completing his Bachelor degree at the San Francisco State College in 1955. McClure met his first wife, Joanna Kinnison, and married her in 1954. They later had one daughter, Katherine Jane (b. 1956), but divorced in 1986. While at San Francisco State College, he took a course with poet Robert Duncan, and was influenced by Charles Olson, William Blake and Walt Whitman’s poetries as well as Jackson Pollock’s paintings. McClure received instant fame when he participated in the infamous Six Gallery poetry reading in San Francisco with Allen Ginsberg, Philip Whalen, Gary Snyder and Philip Lamantia. McClure was thus associated with the Beat movement, and began publishing in what became a prolific writing career. In 1956, with poet and publisher Jonathan Williams and James Harmon, McClure published the work of both Black Mountain school poets and San Francisco Beat poets in Ark II/Moby I review; it was published in 1957. Jonathan Williams then published McClure’s first book of poetry, Passage (Jargon Book Series, 1956). McClure subsequently published many collections of poetry, including For Artaud (Totem Press, 1959), Hymns to St. Geryon and Other Poems (Auerhahn Press, 1959), Dark Brown (Auerhahn Press, 1961), The New Book/ A Book of Torture (Grove Press, 1961), Meat Science Essays (City Lights Books, 1963), Love Lion Lioness (Privately printed, 1963), Ghost Tantras (Privately printed, 1964), 13 Mad Sonnets (Privately printed, 1965), The Beard (Several publishers between 1965-7), The Sermons of Jean Harlow and the Curses of Billy the Kid (Four Seasons press, 1968), The Mammals (Cranium Press, 1972), Jaguar Skies (New Directions, 1975), Scratching the Beat Surface (North Point Press, 1982), Selected Poems (New Directions, 1986), and Rebel Lions (New Directions, 1991). McClure also wrote many plays, including !The Feast! (San Francisco, Batman Gallery, 22 December 1960), The Blossom; or Billy the Kid (New York, American Theatre for Poets, 1964), the controversial play The Beard (San Francisco, Encore Theatre, Encore Theare, December 18, 1965), Gorf (San Francisco, Magic Theare,1976) and Josephine the Mouse Singer (New York, WPA Theatre, November 20, 1978), recipient of two Off-Broadway Theatre Awards. In 1963, McClure became a professor at the California College of Arts and Crafts in Oakland, California, where he taught for more than 40 years, eventually becoming a professor emeritus. McClure was awarded numerous honours, including grants from the National Endowment for the Arts in 1967 and 1974, a Guggenheim Fellowship in 1974, a Pushcart Prize for Poetry in 1991 and a Lifetime Achievement Poetry Award from the National Poetry Society in 1993. More recently, McClure published Simple Eyes (New Directions, 1992), Love Lion Video (with Ray Manzarek, Mystic Fire Video, 1993), The Mad Club (Blue Moon Books, 1995), Rain Mirror (New Directions, 1999),  There’s a Word! audio recording with Ray Manzarek (Rare Angel Music 2001), and Plum Stones: Cartoons of No Heaven (O Books, 2002). In 1997, McClure married a sculptor, Amy Evans. Michael McClure continues to perform and write from the San Francisco Bay Area\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"\",\"name\":\"Montana, George\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1968],"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\":\"01:20:00\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"3/22/1968\",\"type\":\"Performance Date\",\"notes\":\"Date specified in written announcement \\\"Poetry at S.G.W.U.\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in written announcement \\\"Poetry at S.G.W.U.\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\" -73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Michael McClure reads poems collected in The Beards (Coyote, 1967), Star (Grove Press, 1970), Ghost Tantras (Four Seasons, 1969), and Dark Brown (Dave Haselwood Books, 1967). McClure also performs a number of songs with George Montana."],"contents":["michael_mcclure_george_montana_i006-11-160.mp3\n \nIntroducer\n00:00:00\nLadies and gentlemen, Michael McClure [https://www.wikidata.org/wiki/Q1390054], George Montana. \n\nAudience\n00:00:05\nApplause.\n \nMichael McClure\n00:00:29\nThat was [unintelligible]. Star is a four letter word, s-t-a-r. Now, in case I read, I--is this on right? In case I read something here tonight with a four letter word in it, which I'm liable to cause I might start off be reading part of The Beard, um, [unintelligible] if anyone would be offended, it would be a good thing if they got their money back, right now. It's their right to do so.\n\nAudience\n00:01:07\nApplause.\n\nMichael McClure\n00:01:22\nThe Beard is a poem of mine in the form of a play that's just been arrested fifteen nights in a row by Los Angeles [https://www.wikidata.org/wiki/Q65] police and a state law has been passed against it being performed in the state colleges in California [https://www.wikidata.org/wiki/Q99]. These are the trials and tribulations. And right now we're waiting for a panel of three federal judges to come and see it and decide if it has redeeming special significance. [Audience laughter]. And if they don't think it is, we'll take it to the Supreme Court [https://www.wikidata.org/wiki/Q11201] and see what they think. And, the play has two characters in it, Billy the Kid [https://www.wikidata.org/wiki/Q44200] and Jean Harlow [https://www.wikidata.org/wiki/Q105719]. And they're together in a blue velvet eternity, they both are wearing little beards made out of torn white tissue paper. They're--they only thing on the set with them is a table and two chairs covered with furs and Harlow is wearing a blue gown and she has a purse with her and a mirror and the Kid is dressed in a costume appropriate to his costume--I mean appropriate to his career. And when the curtain opens, there's an orange light shining on him which goes up after the first, about the first thirty seconds. And being that this is a poem in the form of a play, I can only read it, I can't read it properly, I can't be two people, I can't be Billy the Kid and Jean Harlow I can only be the author so I'll have to read it that way where it's actually meant to be a poem and acted by me on a stage, on a shelf with lights. We have a shelf with lights, but that's the best I can do.\n \nMichael McClure\n00:03:41\nReads selection from The Beard.\n\nAudience\n00:10:29\nApplause.\n \nMichael McClure\n00:11:02\nUm, I'm going to read two more tonight. I want to read for a while and then have an intermission and then I'd like to come back on and play some musical pieces that my music guru George Montana has been working on with me and we've been writing some songs together, but I'd like to read poems for maybe half an hour or so first. I want to read some poems called \"Mad Sonnets\" and I imagine a lot of you know what sons are, what known as sons are, fourteen lines with a legitimate rhyme scheme, and these are not quite exactly like that...Does this microphone sound right? If I stand right here is that okay so that I don't have to lean into it?\n \nMichael McClure\n00:12:25\nReads \"Mad Sonnet\" [from Star].\n \nMichael McClure\n00:14:08\nAnother \"Mad Sonnet\", kind of ecological.\n \nMichael McClure\n00:14:23\nReads [\"Mad Sonnet 3\" from Star].\n \nMichael McClure\n00:16:03\nHere's a--I live in San Francisco [https://www.wikidata.org/wiki/Q62], but here's a \"Mad Sonnet\" that I started in New York [https://www.wikidata.org/wiki/Q60], I went to Wall Street [https://www.wikidata.org/wiki/Q11690] on a Saturday morning, I guess you can imagine what it's like during the weekdays, it's a narrow street, buildings stretching up like cliffs on each side of them and on Saturday morning it's cold and empty and you can feel the crush and vibrations from the previous part of the week.\n \nMichael McClure\n00:16:32\nReads [“Mad Sonnet 13” from Star, published later as “Cold Saturday Mad Sonnet” in Selected Poems].\n \nMichael McClure\n00:17:58\nI never thought of those signs--they told me I can't smoke up here. It's my life. I'll do what I want, [unintelligible]. [Audience laughter]. The work--I think-are we all, I think I'm waiting for, this technology with which we live in, which is wonderful enough in it's own way, is also costly and [unintelligible], eating up the planet, and I think I'm waiting for an all-chemical science, by means in which we can manifest ourselves through the universe and I guess we'll have to tinker toys like rocket ships and space ships to begin it, but I don't think that's how we'll really do it. And it's become kind of tradition to write songs to science, so I guess I had to do one too.\n \nMichael McClure\n00:19:20\nReads [“Mad Sonnet 5” from Star].\n \nMichael McClure\n00:20:48\nI've got a book of poems in a language I call Beast Language, they're about half in English and half in this invented language. The book is called Ghost Tantras, ghost like the German word \"gist\", g-i-s-t, which means spirit, and I just said \"ghost\". Why can't ghost be a spirit, why can't we use that in English? And tantra, t-a-n-t-r-a, which is a Hindu form of poetry, it's poetry written in an invented language for magical purposes to bring about changes in the universe. I felt these poems, I felt these poems coming on, and I felt like I had a ball of silence within myself, within my body and I heard these sounds within that ball of silence, and I wrote them down phonetically, so kind of like Marvel comics [https://www.wikidata.org/wiki/Q173496], you know where it says \"keee\" or \"rash\", k-e-e-e, or r-a-s-h. And I see later that things like this have been done in gnostic Bizantine chants too, which also, is like Marvel comics. \"Ka-pow\". And some of them were written in San Francisco, some of them were written in airplanes, on the way to Mexico [https://www.wikidata.org/wiki/Q96]. I was going to Mexico to bring back cultures of [unintelligible] Mexicana, the sacred [salsavie (?)] mushroom which were grown by scientists in Brooklyn [https://www.wikidata.org/wiki/Q18419]. And, then upon my return I finished from there. I finished these \"Mad Sonnets\", there are 99 of them and I don't think you've probably heard anything like them before, and I guess all you can do is just relax. I like to start with one that starts with English because it's not so strange, they're about a third English or half English maybe.\n \nMichael McClure\n00:23:15\nBegins to perform unnamed sound poem.\n \nMichael McClure\n00:23:19\nNo, that's not it...Where'd George go? George? [Audience laughter].\n \nMichael McClure\n00:24:00\nPerforms “Ghost Tantra #51” [published later in Ghost Tantras].\n \nMichael McClure\n00:25:42\nHere's another one that starts in English, it starts in Spanish. Just went to Spanish, [unintelligible] George is.\n \nMichael McClure\n00:25:57\nPerforms “Ghost Tantra #54” [published later in Ghost Tantras].\n \nMichael McClure\n00:27:45\nI just had a lot of microphone trouble in Buffalo [https://www.wikidata.org/wiki/Q40435] too. I don't know what. It's alright?\n \nMichael McClure\n00:27:55\nPerforms “Ghost Tantra #69” [published later in Ghost Tantras].\n \nMichael McClure\n00:29:45\nHere's one, this was written the day after Marilyn Monroe [https://www.wikidata.org/wiki/Q4616] died, August 6, 1962.\n \nMichael McClure\n00:30:11\nReads \"Ghost Tantra #39\" [published later in Ghost Tantras].\n \nMichael McClure\n00:31:37\nYou've got a tourist card in the back of the room [(?)] Is everybody relaxed? Cause I'm not. Eddie in [unintelligible] was dismissed recently and I guess this poem had something to do with it. And, the poem is the ending of, it's the sexual ending of a very long poem called \"Dark Brown\" I see nothing wrong in taking any sexual part of the poem from any other part of the poem, and the sexual writing today will be viewed in fifty years or a hundred years much the way we view nature poetry today in the 19th century, because some [unintelligible] classes we kept bringing up the fact that for our [unintelligible] today if you were to look at the atmosphere or the air we breathe, the primary part of our environment is either other human bodies or concrete and we choose human bodies rather than the concrete which seems to be a pretty good choice. I think that given the changes that are going on today, I believe we won't be able to say anything. If we can say anything now. If we can say anything anytime but I mean, I think this will be looked upon as [unintelligible] Nature poetry, Shelley [https://www.wikidata.org/wiki/Q93343] and Keats [https://www.wikidata.org/wiki/Q82083]were pulling cockney school in their day, which of course was all there is for Shelley since he was a [unintelligible] and probably some of Keats although it was worse since he was a cockney. [Audience laughter]. They were insulted for their new nature poetries, and this too. I'd like to read some like, preliminary stanzas of that poem, and then read part of the longer section which seems to have to do with the [unintelligible]. In Eddie's defense I'll say that the London Times [https://www.wikidata.org/wiki/Q50008] literary supplement found that this is [unintelligible]. The poem is written in independent stanzas, I'd like to think of the stanzas as being independent in the way an organism is, and the totality of the poem in the totality in a way an--the way a primitive--and this is a primitive organism is comprised of [unintelligible] individuals to make up its [unintelligible] of being. The poem is called \"Dark Brown\" and I've just opened it to the page I wanted to. The stanza I wanted to.\n \nMichael McClure\n00:35:21\nReads \"Dark Brown\" from Dark Brown.\n \nMichael McClure\n00:37:48\nReads [\"The black black black damned and undreamy odem the undersoul\" from Dark Brown].\n \nMichael McClure\n00:40:00\nAnother poem. Okay, have I justified enough? Now's your chance to go home. I'm going to read the tough part.\n \nMichael McClure\n00:40:23\nReads [“Fuck Ode” from Dark Brown].\n \nAudience\n00:50:00\nApplause.\n \nMichael McClure\n00:50:15\nI'll take a break. George and I are going to play, George Montana and I, and I won't guarantee anything about it as my fingers are feeling very clumsy tonight. I'll be playing an instrument but I know George will play for us, so if you hear any faults in the playing, it's me not George. I want to take like, at least, I want to take a ten minute break and anybody who'd like to stay is welcome to stay, and if you'd like to go, go, and if you want to leave during the music if you don't like the music for god's sake go. Thank you. \n \nUnknown\n00:51:09\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nMichael McClure\n00:51:12\nI'm kind of nervous, us going through it again.\n \nGeorge Montana\n00:51:19\n[IUnintelligible].\n \nMichael McClure\n00:51:23\nSure, let's see if it picks up.\n \nGeorge Montana\n00:51:24\nI think it's picking up\n \nMichael McClure\n00:51:25\nYeah?\n \nGeorge Montana\n00:51:26\nYeah.\n \nMichael McClure\n00:51:27\nCan you hear us whispering?\n \nAudience\n00:51:28\nYes.\n \nUnknown\n00:51:30\nAmbient Sound [music].\n \nMichael McClure\n00:51:41\nLet's see what it sounds like.\n \nMichael McClure\n00:51:43\nIs it picking up? Can you hear in the back? Can you hear in the back row? Yeah, I think I lost that pic already. Christ. \n \nMichael McClure and George Montana\n00:52:17\nPerform unnamed song.\n \nAudience\n01:01:41\nApplause.\n \nMichael McClure\n01:01:56\nUm, I don't think I can sing. Do you want to do that one?\n \nGeorge Montana\n01:02:00\nAh, okay.\n \nMichael McClure\n01:02:04\nShall we tell them it's a new song? Why don't you tell them?\n \nGeorge Montana\n01:02:07\nThis is a song that Michael and I just have done, so I don't know the words by heart yet. So here it is.\n \nMichael McClure\n01:02:19\nAnd I haven't learned this melody very well yet. Let's get coordinated together. You set the [unintelligible]. You wanna sing it through three times? \n\nUnknown\n01:02:41\nAmbient Sound [voices].\n \nMichael McClure\n01:02:57\nIs this picking up alright? Can you hear it clear, loud enough? No? [Audience laughter]. Get out. [Audience laughter].\n \nMichael McClure and George Montana\n01:03:24\nPerform unnamed song.\n \nAudience\n01:10:50\nApplause.\n \nUnknown\n01:10:59\nAmbient Sound [voices].\n \nMichael McClure\n01:11:39\nThese are called technical difficulties. By the way we can smoke on the stage now because the lights are off in the auditorium. That's the fire alarm. [Audience laughter].\nWant to play the “Bells of Moscow”?\n \nGeorge Montana\n01:12:22\nHow about the other [unintelligible].\n \nMichael McClure\n01:12:31\nI don't think I'm up to...\n \nGeorge Montana\n01:12:40\nWe're going to try to do the Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] \"For President Walt\".\n \nMichael McClure\n01:12:43\nI think I'm too scared to. We'll try it. I might be too--can you hear alright? I might be too scared. This isn't very complicated, isn't it a two chord one?\n \nMichael McClure and George Montana\n01:13:04\nPerform \"For President Walt\" by Allen Ginsberg.\n \nMichael McClure\n01:13:20\nI can't remember the words.\n \nMichael McClure and George Montana\n01:13:31\nPerform \"For President Walt\" by Allen Ginsberg.\n \nAudience\n01:16:29\nApplause.\n\nUnknown\n01:16:39\nAmbient Sound [voices].\n \nMichael McClure\n01:16:45\nI was just thinking you'd play it your way fast. No, let's do a non-vocal.\n \nGeorge Montana\n01:17:03\nOkay, which one.\n \nMichael McClure\n01:17:05\nWhat about \"The Bells of Moscow\"?\n \nGeorge Montana\n01:17:06\nThat one?\n \nUnknown\n01:17:11\nAmbient Sound [voices]. \n\nGeorge Montana\n01:17:15\nWe'll play for you a little instrumental one it's called \"The Bells of Moscow\".\n \nMichael McClure\n01:17:20\nNamed today.\n \nMichael McClure and George Montana\n01:17:56\nPerform \"The Bells of Moscow\".\n \nAudience\n01:23:06\nApplause.\n \nMichael McClure\n01:23:17\nI don't think that was picking up here. Alright. Or I was too close. More music lovers are leaving. I don't know, we could try the [unintelligible] thing. \n\nUnknown\n01:23:40\nAmbient Sound [voices].\n \nMichael McClure\n01:24:12\nGeorge and I usually do this in my front room. With no light but a candle and the incense, but we can smoke there of course. This is a song by William Blake [https://www.wikidata.org/wiki/Q41513].\n \nMichael McClure and George Montana\n01:24:59\nPerform \"How sweet I roam’d from field to field\" [https://www.wikidata.org/wiki/Q19049519] by William Blake.\n \nAudience\n01:30:25\nApplause.\n \nMichael McClure\n01:30:46\nHow about, um, Dvořák’s [https://www.wikidata.org/wiki/Q7298] 43rd auto-harp duet? Which one is that?\n \nMichael McClure and George Montana\n01:31:44\nBegin to perform unnamed song.\n \nMichael McClure and George Montana\n01:31:58\nPerform unnamed song.\n \nAudience\n01:35:52\nApplause. \n\nUnknown\n01:35:57\nAmbient Sound [voices].\n\nMichael McClure\n01:36:12\nGood night.\n \nAudience \n01:36:28\nApplause. \n \nEND\n01:37:00\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nUnknown date-around 1970. McClure was teaching at the California College of Arts and Crafts in Oakland, California. He was publishing prolifically, often printing his own work in pamphlets and chap books.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nThe connection between McClure and Sir George Williams University is unknown, however as a member of the Beat movement, McClure was certainly a poet of interest for Canadians. McClure read his poetry often and his performances were also a part of his poetics. \",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, research, introduction, and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/dictionary-of-literary-biography-vol-16-the-beats-literary-bohemians-in-postwar-america-edited-by-ann-charters-parts-1-2/oclc/59250319&referer=brief_results\",\"citation\":\"King, William R. “Michael (Thomas) McClure”. The Beats: Literary Bohemians in Postwar  America. Ann Charters (ed). Dictionary of Literary Biography, Vol. 16. Detroit: Gale Research, 1983. \"},{\"url\":\"https://www.worldcat.org/title/dark-brown/oclc/69024444?referer=di&ht=edition\",\"citation\":\"McClure, Michael. Dark Brown. San Francisco: Dave Haselwood Books, 1967. \"},{\"url\":\"https://www.worldcat.org/title/ghost-tantras/oclc/923460319&referer=brief_results\",\"citation\":\"McClure, Michael. Ghost Tantras. San Francisco: Four Seasons Foundation, 1969. \"},{\"url\":\"https://www.worldcat.org/title/beard/oclc/561713511&referer=brief_results\",\"citation\":\"McClure, Michael. The Beard. San Francisco: Coyote Books, 1967. \"},{\"url\":\"https://www.worldcat.org/title/new-book-a-book-of-torture/oclc/918221317&referer=brief_results\",\"citation\":\"McClure, Michael. The New Book: A Book of Torture. New York City: Grove Press, 1967. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/916271510?referer=di&ht=edition\",\"citation\":\"McClure, Michael. Selected Poems. New York City: New Directions Books, 1986. \"},{\"url\":\"https://www.worldcat.org/title/star-poems/oclc/462091780&referer=brief_results\",\"citation\":\"McClure, Michael. Star. New York City: Grove Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"McClure, Michael (Thomas)\\\". The Oxford Companion to American Literature. James D. Hart, ed., rev. Phillip W. Leininger. Oxford University Press 1995. \"},{\"url\":\"\",\"citation\":\"Camlot, Jason. “Mammals and Machines: Michael McClure’s Embodying Poetics”. Atenea, 23, no.1; June 2003.\"},{\"url\":\"\",\"citation\":\"“Michael McClure” Literature Online Biography. Literature Online, 2008.\"}]"],"_version_":1853670548858470400,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0160_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0160_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McClure and Montana 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_0160_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0160_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McClure and Montana 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_0160_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0160_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McClure and Montana 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_0160_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0160_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McClure and Montana Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/michael_mcclure_george_montana_i006-11-160.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"michael_mcclure_george_montana_i006-11-160.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:37:00\",\"precision\":\"\",\"size\":\"232.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nLadies and gentlemen, Michael McClure [https://www.wikidata.org/wiki/Q1390054], George Montana. \\n\\nAudience\\n00:00:05\\nApplause.\\n \\nMichael McClure\\n00:00:29\\nThat was [unintelligible]. Star is a four letter word, s-t-a-r. Now, in case I read, I--is this on right? In case I read something here tonight with a four letter word in it, which I'm liable to cause I might start off be reading part of The Beard, um, [unintelligible] if anyone would be offended, it would be a good thing if they got their money back, right now. It's their right to do so.\\n\\nAudience\\n00:01:07\\nApplause.\\n\\nMichael McClure\\n00:01:22\\nThe Beard is a poem of mine in the form of a play that's just been arrested fifteen nights in a row by Los Angeles [https://www.wikidata.org/wiki/Q65] police and a state law has been passed against it being performed in the state colleges in California [https://www.wikidata.org/wiki/Q99]. These are the trials and tribulations. And right now we're waiting for a panel of three federal judges to come and see it and decide if it has redeeming special significance. [Audience laughter]. And if they don't think it is, we'll take it to the Supreme Court [https://www.wikidata.org/wiki/Q11201] and see what they think. And, the play has two characters in it, Billy the Kid [https://www.wikidata.org/wiki/Q44200] and Jean Harlow [https://www.wikidata.org/wiki/Q105719]. And they're together in a blue velvet eternity, they both are wearing little beards made out of torn white tissue paper. They're--they only thing on the set with them is a table and two chairs covered with furs and Harlow is wearing a blue gown and she has a purse with her and a mirror and the Kid is dressed in a costume appropriate to his costume--I mean appropriate to his career. And when the curtain opens, there's an orange light shining on him which goes up after the first, about the first thirty seconds. And being that this is a poem in the form of a play, I can only read it, I can't read it properly, I can't be two people, I can't be Billy the Kid and Jean Harlow I can only be the author so I'll have to read it that way where it's actually meant to be a poem and acted by me on a stage, on a shelf with lights. We have a shelf with lights, but that's the best I can do.\\n \\nMichael McClure\\n00:03:41\\nReads selection from The Beard.\\n\\nAudience\\n00:10:29\\nApplause.\\n \\nMichael McClure\\n00:11:02\\nUm, I'm going to read two more tonight. I want to read for a while and then have an intermission and then I'd like to come back on and play some musical pieces that my music guru George Montana has been working on with me and we've been writing some songs together, but I'd like to read poems for maybe half an hour or so first. I want to read some poems called \\\"Mad Sonnets\\\" and I imagine a lot of you know what sons are, what known as sons are, fourteen lines with a legitimate rhyme scheme, and these are not quite exactly like that...Does this microphone sound right? If I stand right here is that okay so that I don't have to lean into it?\\n \\nMichael McClure\\n00:12:25\\nReads \\\"Mad Sonnet\\\" [from Star].\\n \\nMichael McClure\\n00:14:08\\nAnother \\\"Mad Sonnet\\\", kind of ecological.\\n \\nMichael McClure\\n00:14:23\\nReads [\\\"Mad Sonnet 3\\\" from Star].\\n \\nMichael McClure\\n00:16:03\\nHere's a--I live in San Francisco [https://www.wikidata.org/wiki/Q62], but here's a \\\"Mad Sonnet\\\" that I started in New York [https://www.wikidata.org/wiki/Q60], I went to Wall Street [https://www.wikidata.org/wiki/Q11690] on a Saturday morning, I guess you can imagine what it's like during the weekdays, it's a narrow street, buildings stretching up like cliffs on each side of them and on Saturday morning it's cold and empty and you can feel the crush and vibrations from the previous part of the week.\\n \\nMichael McClure\\n00:16:32\\nReads [“Mad Sonnet 13” from Star, published later as “Cold Saturday Mad Sonnet” in Selected Poems].\\n \\nMichael McClure\\n00:17:58\\nI never thought of those signs--they told me I can't smoke up here. It's my life. I'll do what I want, [unintelligible]. [Audience laughter]. The work--I think-are we all, I think I'm waiting for, this technology with which we live in, which is wonderful enough in it's own way, is also costly and [unintelligible], eating up the planet, and I think I'm waiting for an all-chemical science, by means in which we can manifest ourselves through the universe and I guess we'll have to tinker toys like rocket ships and space ships to begin it, but I don't think that's how we'll really do it. And it's become kind of tradition to write songs to science, so I guess I had to do one too.\\n \\nMichael McClure\\n00:19:20\\nReads [“Mad Sonnet 5” from Star].\\n \\nMichael McClure\\n00:20:48\\nI've got a book of poems in a language I call Beast Language, they're about half in English and half in this invented language. The book is called Ghost Tantras, ghost like the German word \\\"gist\\\", g-i-s-t, which means spirit, and I just said \\\"ghost\\\". Why can't ghost be a spirit, why can't we use that in English? And tantra, t-a-n-t-r-a, which is a Hindu form of poetry, it's poetry written in an invented language for magical purposes to bring about changes in the universe. I felt these poems, I felt these poems coming on, and I felt like I had a ball of silence within myself, within my body and I heard these sounds within that ball of silence, and I wrote them down phonetically, so kind of like Marvel comics [https://www.wikidata.org/wiki/Q173496], you know where it says \\\"keee\\\" or \\\"rash\\\", k-e-e-e, or r-a-s-h. And I see later that things like this have been done in gnostic Bizantine chants too, which also, is like Marvel comics. \\\"Ka-pow\\\". And some of them were written in San Francisco, some of them were written in airplanes, on the way to Mexico [https://www.wikidata.org/wiki/Q96]. I was going to Mexico to bring back cultures of [unintelligible] Mexicana, the sacred [salsavie (?)] mushroom which were grown by scientists in Brooklyn [https://www.wikidata.org/wiki/Q18419]. And, then upon my return I finished from there. I finished these \\\"Mad Sonnets\\\", there are 99 of them and I don't think you've probably heard anything like them before, and I guess all you can do is just relax. I like to start with one that starts with English because it's not so strange, they're about a third English or half English maybe.\\n \\nMichael McClure\\n00:23:15\\nBegins to perform unnamed sound poem.\\n \\nMichael McClure\\n00:23:19\\nNo, that's not it...Where'd George go? George? [Audience laughter].\\n \\nMichael McClure\\n00:24:00\\nPerforms “Ghost Tantra #51” [published later in Ghost Tantras].\\n \\nMichael McClure\\n00:25:42\\nHere's another one that starts in English, it starts in Spanish. Just went to Spanish, [unintelligible] George is.\\n \\nMichael McClure\\n00:25:57\\nPerforms “Ghost Tantra #54” [published later in Ghost Tantras].\\n \\nMichael McClure\\n00:27:45\\nI just had a lot of microphone trouble in Buffalo [https://www.wikidata.org/wiki/Q40435] too. I don't know what. It's alright?\\n \\nMichael McClure\\n00:27:55\\nPerforms “Ghost Tantra #69” [published later in Ghost Tantras].\\n \\nMichael McClure\\n00:29:45\\nHere's one, this was written the day after Marilyn Monroe [https://www.wikidata.org/wiki/Q4616] died, August 6, 1962.\\n \\nMichael McClure\\n00:30:11\\nReads \\\"Ghost Tantra #39\\\" [published later in Ghost Tantras].\\n \\nMichael McClure\\n00:31:37\\nYou've got a tourist card in the back of the room [(?)] Is everybody relaxed? Cause I'm not. Eddie in [unintelligible] was dismissed recently and I guess this poem had something to do with it. And, the poem is the ending of, it's the sexual ending of a very long poem called \\\"Dark Brown\\\" I see nothing wrong in taking any sexual part of the poem from any other part of the poem, and the sexual writing today will be viewed in fifty years or a hundred years much the way we view nature poetry today in the 19th century, because some [unintelligible] classes we kept bringing up the fact that for our [unintelligible] today if you were to look at the atmosphere or the air we breathe, the primary part of our environment is either other human bodies or concrete and we choose human bodies rather than the concrete which seems to be a pretty good choice. I think that given the changes that are going on today, I believe we won't be able to say anything. If we can say anything now. If we can say anything anytime but I mean, I think this will be looked upon as [unintelligible] Nature poetry, Shelley [https://www.wikidata.org/wiki/Q93343] and Keats [https://www.wikidata.org/wiki/Q82083]were pulling cockney school in their day, which of course was all there is for Shelley since he was a [unintelligible] and probably some of Keats although it was worse since he was a cockney. [Audience laughter]. They were insulted for their new nature poetries, and this too. I'd like to read some like, preliminary stanzas of that poem, and then read part of the longer section which seems to have to do with the [unintelligible]. In Eddie's defense I'll say that the London Times [https://www.wikidata.org/wiki/Q50008] literary supplement found that this is [unintelligible]. The poem is written in independent stanzas, I'd like to think of the stanzas as being independent in the way an organism is, and the totality of the poem in the totality in a way an--the way a primitive--and this is a primitive organism is comprised of [unintelligible] individuals to make up its [unintelligible] of being. The poem is called \\\"Dark Brown\\\" and I've just opened it to the page I wanted to. The stanza I wanted to.\\n \\nMichael McClure\\n00:35:21\\nReads \\\"Dark Brown\\\" from Dark Brown.\\n \\nMichael McClure\\n00:37:48\\nReads [\\\"The black black black damned and undreamy odem the undersoul\\\" from Dark Brown].\\n \\nMichael McClure\\n00:40:00\\nAnother poem. Okay, have I justified enough? Now's your chance to go home. I'm going to read the tough part.\\n \\nMichael McClure\\n00:40:23\\nReads [“Fuck Ode” from Dark Brown].\\n \\nAudience\\n00:50:00\\nApplause.\\n \\nMichael McClure\\n00:50:15\\nI'll take a break. George and I are going to play, George Montana and I, and I won't guarantee anything about it as my fingers are feeling very clumsy tonight. I'll be playing an instrument but I know George will play for us, so if you hear any faults in the playing, it's me not George. I want to take like, at least, I want to take a ten minute break and anybody who'd like to stay is welcome to stay, and if you'd like to go, go, and if you want to leave during the music if you don't like the music for god's sake go. Thank you. \\n \\nUnknown\\n00:51:09\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nMichael McClure\\n00:51:12\\nI'm kind of nervous, us going through it again.\\n \\nGeorge Montana\\n00:51:19\\n[IUnintelligible].\\n \\nMichael McClure\\n00:51:23\\nSure, let's see if it picks up.\\n \\nGeorge Montana\\n00:51:24\\nI think it's picking up\\n \\nMichael McClure\\n00:51:25\\nYeah?\\n \\nGeorge Montana\\n00:51:26\\nYeah.\\n \\nMichael McClure\\n00:51:27\\nCan you hear us whispering?\\n \\nAudience\\n00:51:28\\nYes.\\n \\nUnknown\\n00:51:30\\nAmbient Sound [music].\\n \\nMichael McClure\\n00:51:41\\nLet's see what it sounds like.\\n \\nMichael McClure\\n00:51:43\\nIs it picking up? Can you hear in the back? Can you hear in the back row? Yeah, I think I lost that pic already. Christ. \\n \\nMichael McClure and George Montana\\n00:52:17\\nPerform unnamed song.\\n \\nAudience\\n01:01:41\\nApplause.\\n \\nMichael McClure\\n01:01:56\\nUm, I don't think I can sing. Do you want to do that one?\\n \\nGeorge Montana\\n01:02:00\\nAh, okay.\\n \\nMichael McClure\\n01:02:04\\nShall we tell them it's a new song? Why don't you tell them?\\n \\nGeorge Montana\\n01:02:07\\nThis is a song that Michael and I just have done, so I don't know the words by heart yet. So here it is.\\n \\nMichael McClure\\n01:02:19\\nAnd I haven't learned this melody very well yet. Let's get coordinated together. You set the [unintelligible]. You wanna sing it through three times? \\n\\nUnknown\\n01:02:41\\nAmbient Sound [voices].\\n \\nMichael McClure\\n01:02:57\\nIs this picking up alright? Can you hear it clear, loud enough? No? [Audience laughter]. Get out. [Audience laughter].\\n \\nMichael McClure and George Montana\\n01:03:24\\nPerform unnamed song.\\n \\nAudience\\n01:10:50\\nApplause.\\n \\nUnknown\\n01:10:59\\nAmbient Sound [voices].\\n \\nMichael McClure\\n01:11:39\\nThese are called technical difficulties. By the way we can smoke on the stage now because the lights are off in the auditorium. That's the fire alarm. [Audience laughter].\\nWant to play the “Bells of Moscow”?\\n \\nGeorge Montana\\n01:12:22\\nHow about the other [unintelligible].\\n \\nMichael McClure\\n01:12:31\\nI don't think I'm up to...\\n \\nGeorge Montana\\n01:12:40\\nWe're going to try to do the Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] \\\"For President Walt\\\".\\n \\nMichael McClure\\n01:12:43\\nI think I'm too scared to. We'll try it. I might be too--can you hear alright? I might be too scared. This isn't very complicated, isn't it a two chord one?\\n \\nMichael McClure and George Montana\\n01:13:04\\nPerform \\\"For President Walt\\\" by Allen Ginsberg.\\n \\nMichael McClure\\n01:13:20\\nI can't remember the words.\\n \\nMichael McClure and George Montana\\n01:13:31\\nPerform \\\"For President Walt\\\" by Allen Ginsberg.\\n \\nAudience\\n01:16:29\\nApplause.\\n\\nUnknown\\n01:16:39\\nAmbient Sound [voices].\\n \\nMichael McClure\\n01:16:45\\nI was just thinking you'd play it your way fast. No, let's do a non-vocal.\\n \\nGeorge Montana\\n01:17:03\\nOkay, which one.\\n \\nMichael McClure\\n01:17:05\\nWhat about \\\"The Bells of Moscow\\\"?\\n \\nGeorge Montana\\n01:17:06\\nThat one?\\n \\nUnknown\\n01:17:11\\nAmbient Sound [voices]. \\n\\nGeorge Montana\\n01:17:15\\nWe'll play for you a little instrumental one it's called \\\"The Bells of Moscow\\\".\\n \\nMichael McClure\\n01:17:20\\nNamed today.\\n \\nMichael McClure and George Montana\\n01:17:56\\nPerform \\\"The Bells of Moscow\\\".\\n \\nAudience\\n01:23:06\\nApplause.\\n \\nMichael McClure\\n01:23:17\\nI don't think that was picking up here. Alright. Or I was too close. More music lovers are leaving. I don't know, we could try the [unintelligible] thing. \\n\\nUnknown\\n01:23:40\\nAmbient Sound [voices].\\n \\nMichael McClure\\n01:24:12\\nGeorge and I usually do this in my front room. With no light but a candle and the incense, but we can smoke there of course. This is a song by William Blake [https://www.wikidata.org/wiki/Q41513].\\n \\nMichael McClure and George Montana\\n01:24:59\\nPerform \\\"How sweet I roam’d from field to field\\\" [https://www.wikidata.org/wiki/Q19049519] by William Blake.\\n \\nAudience\\n01:30:25\\nApplause.\\n \\nMichael McClure\\n01:30:46\\nHow about, um, Dvořák’s [https://www.wikidata.org/wiki/Q7298] 43rd auto-harp duet? Which one is that?\\n \\nMichael McClure and George Montana\\n01:31:44\\nBegin to perform unnamed song.\\n \\nMichael McClure and George Montana\\n01:31:58\\nPerform unnamed song.\\n \\nAudience\\n01:35:52\\nApplause. \\n\\nUnknown\\n01:35:57\\nAmbient Sound [voices].\\n\\nMichael McClure\\n01:36:12\\nGood night.\\n \\nAudience \\n01:36:28\\nApplause. \\n \\nEND\\n01:37:00\\n\",\"notes\":\"Michael McClure reads poems collected in The Beards (Coyote, 1967), Star (Grove Press, 1970), Ghost Tantras (Four Seasons, 1969), and Dark Brown (Dave Haselwood Books, 1967). McClure also performs a number of songs with George Montana.\\n\\n00:00- Unknown male introduces Michael McClure and George Montana.\\n00:29- Michael McClure introduces the reading, and selection from “The Beards”. [INDEX: four-letter words, offended audience, poem in the form of a play, arrested, Los Angeles Police, state laws, state colleges in California, federal judges, Supreme Court, Billy the Kid, Jean Harlow, set of the play/poem, character’s costumes, stage.]\\n03:41- Michael McClure reads selection from “The Beards”. [INDEX: selection begins on first page of the play/poem, The Beards (Coyote, 1967).]\\n11:02- Introduces “Mad Sonnet 1” series, first line “The plumes of love are black...”. [INDEX: reading arrangement, intermission, musical pieces, George Montana, songs,       “Mad Sonnets”, fourteen lines, rhyme scheme; from The New Book / A Book of Torture  \\t(Grove, 1961) and collected in Star (Grove Press, 1970)]\\n12:25- Reads “Mad Sonnet 1” first line “The plumes of love are black...”.\\n14:08- Introduces “Mad Sonnet 3” first line “Tiny mammals walk on white between the    yellow...” [INDEX: ecological; from Star  (Grove Press, 1970)]\\n14:23- Reads  “Mad Sonnet 3” first line “Tiny mammals walk on white between the   yellow...”\\n16:03- Introduces “Mad Sonnet 13” first line “On cold Saturday I walked in the empty      \\tvalley of Wall Street...”. [INDEX: San Francisco, New York, Wall Street, Saturday        \\tmorning, buildings, cliffs; from Star (Grove Press, 1970)]\\n16:32- Reads “Mad Sonnet 13 ” first line “On cold Saturday I walked in the empty valley of Wall Street...”.\\n17:58- Introduces “To Science”, published as “Mad Sonnet 5”. [INDEX: no-smoking signs in auditorium, technology, planet, all-chemical science, universe, rocket ships, space ships, tradition, songs written for science; from Star (Grove Press, 1970)]\\n19:20- Reads “To Science”.\\n20:48- Introduces poem from Ghost Tantras “#51” first line “I love to think of the red-purple rose...”. [INDEX: book of poems, Beast Language, half English, half in invented language, Ghost Tantras, German word “gist”, ghost, spirit, English, tantra, Hindu form of poetry, magical poetry, changes in the universe, body, Marvel Comic strips, some written in San Francisco, some written in airplanes, Mexico, Mexicana, Mexican sacred mushroom, scientists in Brooklyn, “Mad Sonnets”, 99 poems; from Ghost Tantras (Four Seasons, 1969)]\\n23:15- Begins to read unknown poem in Beast language.\\n23:19- Stops reading unknown poem. [INDEX: wrong poem, George Montana.]\\n24:00- Reads poem “Ghost Tantara #51”\\n25:42- Introduces poem first line “The motion of cool air shudders my shoulders...”.   [INDEX: English, Spanish, George Montana; from unknown source]\\n25:57- Reads first line “The motion of cool air shudders my shoulders...”.\\n27:45- Talks about prior reading in Buffalo, New York. [INDEX: microphone problems, Buffalo, New York.]\\n27:55- Reads “Ghost Tantra #69” first line Ooor greeeooossshhh strato, butterfly, beaks and pants...”. [INDEX: from Ghost Tantras (Four Seasons, 1969)]\\n29:45- Introduces poem “Ghost Tantra #39 first line “Marilyn Monroe today...”. [INDEX: \\twritten the day after Marilyn Monroe’s death, August 6, 1962; from Ghost Tantras (Four Seasons, 1969)]\\n30:11- Reads “Ghost Tantra #39”\\n31:37- Introduces “Dark Brown”. [INDEX: Eddie [unknown reference], sexual ending, long poem, fifty years into the future, 19th century, nature poetry, atmosphere, air,   \\tenvironment, human bodies, concrete, changes, [Percy] Shelley, [John] Keats, cockney, stanzas, London Times literary supplement, independent stanzas, organism; from Dark    Brown (Dave Haselwood Books, 1967)]\\n35:21- Reads “Dark Brown”.\\n37:48- Reads poem, first line “The black, black, black damned and un-dreamy...”. [INDEX: from Dark Brown (Dave Haselwood Books, 1967)]\\n40:00- Introduces poem, “(Fuck Ode)” first line “The huge figures fucking...”. [INDEX:       justification of poems, from Dark Brown (Dave Haselwood Books, 1967)]\\n40:23- Reads “(Fuck Ode)”.\\n50:15- Michael McClure introduces a break and the second part of the reading. [INDEX: George Montana, break, instruments, music.]\\n51:09.06- END OF RECORDING.\\n \\n00:00- Michael McClure and George Montana whisper to each other away from the microphone.\\n00:21- McClure and Montana begin to play unknown instruments, perhaps sitars.\\n00:33- Play first song. [Unknown song, no lyrics, only instrumental.]\\n10:47- McClure and Montana discuss which song to play next.\\n10:58- Montana introduces song. [INDEX: new song.]\\n11:10- McClure introduces song. [INDEX: melody, co-ordinated, singing.]\\n12:15- Play second song, George Montana sings. [Unknown song.]\\n19:50- McClure and Montana discuss playlist, inaudible to microphone.\\n20:30- McClure introduces the next song, “For President Walt” by Allen Ginsberg. [INDEX: smoking, auditorium, “Bells of Moscow”]\\n21:55- Plays song “For President Walt” by Allen Ginsberg, McClure sings.\\n25:35- McClure and Montana discuss next song, “The Bells of Moscow”.\\n26:46- Play song “The Bells of Moscow”.\\n32:08- McClure and Montana discuss next song, “Song: How sweet I roam’d from field to field” by William Blake [INDEX: practice at home, candles, incense, smoking.]\\n33:50- Play “Song: How sweet I roam’d from field to field” by William Blake.\\n39:37- McClure introduces song, first line “Takes a hundred sixty-five-thousand chicks to lay a railway from here to Chicago...”. [INDEX: Vorshack’s 43 auto-harp duet]\\n40:35- Play song, first line “Takes a hundred sixty-five-thousand chicks to lay a railway   from here to Chicago...”.\\n45:51.44- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/michael-mcclure-and-george-montana-at-sgwu-1968/\"}]"],"score":1.9338971}]