[{"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":2.5554688},{"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":2.5554688},{"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":2.5554688},{"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":2.5554688}]