[{"id":"1279","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":["Jerome Rothenberg at Sir George Williams University, The Poetry Series, 17 October 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"JEROME ROTHENBERG Recorded October 16, 1969 3.75 ips, 1/2 track on 1 mil. tape 43 minutes\" written on sticker on the back of the tape's box. \"JEROME ROTHENBERG I006/SR95\" written on sticker on the spine of the tape's box. \"I006-11-095\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Rothenberg, Jerome"],"creator_names_search":["Rothenberg, Jerome"],"creators":["[{\"url\":\"http://viaf.org/viaf/109302361\",\"name\":\"Rothenberg, Jerome\",\"dates\":\"1931-\",\"notes\":\"American poet, teacher, translator, performance artist and editor Jerome Rothenberg was born in New York City in 1931. He received his B.A. in 1952 from the City College of New York and his M.A. in 1953 from the University of Michigan. Directly after graduation, Rothenberg enrolled in the military and served until 1955. He then worked on additional graduate work at Columbia University from 1956-1959. Rothenberg’s first collection of poetry, White Sun Black Sun (1960) was published through the small press Hawk’s Well Press, which he founded in 1958 to promote the works of young poets. He also edited the magazine Poems from a Floating World which ran from 1959-1964. At that time, Rothenberg began a long and influential career as a teacher of both Literature and Visual Arts; he worked at the City College of New York (1960-61), the Mannes College of Music (1961-1970), the University of California, San Diego (1971), and at the New School for Social Research (1971-72). Along with his poetry, Rothenberg translated the works of German postwar poets Paul Celan, Gunter Grass and Ingeborg Bachman; the translations influenced many of the poets of the Beat movement. Rothenberg then published his own poetry in The Seven Hells of the Jigoku Zoshi (Trobar, 1962), Sightings (Hawk’s Well, 1964), The Gorky Poems (El Corno Emplumado, 1966), Between: 1960-1963 (Fulcrum, 1967), Poland/1931, Part I (Unicorn Press, 1969), Poems for the Game of Silence (Dial, 1970), Seneca Journal, Midwinter (Singing Bone, 1975) and his popular anthology Shaking the Pumpkin: Traditional Poetry of the Indian North Americas (Doubleday, 1972). Rothenberg then taught at the University of Wisconsin (1974-77), the University of California, San Diego (1977-85), the State University of New York (SUNY) at Albany in 1986 and at Binghamton from 1986-1988, and finally at the University of California, San Diego. More of his poetry collections include Narratives and Realtheater Pieces (Braad, 1978), Poems for the Society of the Mystic Animals (Tetrad, 1979), Abulafia’s Circles (Membrane, 1979), Vienna Blood (New Directions, 1983), Altar Piece (Station Hill, 1982), That Dada Strain (New Directions, 1983), Khurbn & Other Poems (New Directions, 1989), Lorca Variations (New Directions, 1993) which won the PEN Oakland Josephine Miles Literary Award in 1994, Seedings (New Directions, 1996) and A Paradise of Poets (New Directions, 1999). Rothenberg has won, among many other honors, the Wenner-Gren Foundation for Anthropological Research grant in 1968, fellowships fro the Guggenheim Foundation in 1974 and the National Endowment for the Arts in 1976. His first collection of essays on poetics, Pre-Faces (New Directions, 1982) won the American Book Award that same year. Rothenberg continues to teach in the Visual Arts and Literature Departments, as a Professor Emeritus at the University of California at San Diego.\",\"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\",\"Performer\"]}]"],"performer_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1969],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1969 10 17\",\"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 Room H-651\",\"notes\":\"Location specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Jerome Rothenberg reads poems published later in Shaking the Pumpkin (Doubleday, 1972) and from Poland/1931 (Unicorn Press, 1969)."],"contents":["jerome_rothenberg_i006-11-095.mp3\n\nGeorge Bowering\n00:00:00\nI'm glad we got this room. Welcome back to the first night of the fourth year of our series. And for those of you who are here for the first time, welcome you too. I'm really glad that we could start off with Jerome Rothenberg [https://www.wikidata.org/wiki/Q1775056], especially from my own personal viewpoint, because while Jerome Rothenberg is one of the names that I've paid a lot of attention to, and one of the names that poets have paid attention to over the last decade, this'll be the first time that I've been able to hear him read, too. Usually when, often when us people from the West think about the new American poetry, we tend to think of it in terms of people from outposts such as New Mexico [https://www.wikidata.org/wiki/Q1522], and Utah, [https://www.wikidata.org/wiki/Q829] and San Francisco [https://www.wikidata.org/wiki/Q62], and so on. And we forget that New York City [https://www.wikidata.org/wiki/Q60] is one of the centre-place, central-places, so that it can produce poets such as Joel Oppenheimer [https://www.wikidata.org/wiki/Q6213806] who will be here in the following spring, and Paul Blackburn [https://www.wikidata.org/wiki/Q7149388], who was here a couple of years ago. Jerome Rothenberg has always been the centre, in the centre of that scene, and not only as one of the principal poets, but as editor, and publisher, and so on and so forth, especially with a very important magazine of the 1960's called some--oblique thing [some/thing]. And he's especially interesting to me too because of the kind of work that produced a book such as Technicians of the Sacred, a compilation of the poetries from various oral traditions around the world, and a similar sort of impulse has always been at the centre of his work too. I'd also like to correct a mistake on the little printed page that wasn't really mine, that I picked up from somewhere else and couldn't quite believe myself, that said that Jerome Rothenberg was born in 1921. All I can say is that he was born sometime between the death of Lord Byron [https://www.wikidata.org/wiki/Q5679] and now. [Laughter]. But I'm pretty certain that he wasn't around in 1921. So I'd like you to give a welcome to Jerome Rothenberg.\n \nAudience\n00:02:53\nApplause.\n \nJerome Rothenberg\n00:02:58\nThe birthdate'll come clearer in the second part of the reading. I'll read in two parts. And in the first set, what I'll be reading are translations and re-workings of American Indian poetry, which have been important to me over the last five or six years. And I'll start with some which are based on earlier translations, re-workings of material previously translated, and then as I get into it, some translations that result from direct contact and direct experience of American Indian poetry. This is an Aztec poem. The first four or five, six poems will be Aztec or Mexican in origin, and the theme will be flowers.  \"Offering Flowers\".\n \nJerome Rothenberg\n00:04:24\nReads \"Offering Flowers\" [from Technicians of the Sacred].\n \nJerome Rothenberg\n00:07:37\nThis is Aztec, too, in origin, translated through the Spanish.\n \nJerome Rothenberg\n00:07:52\nReads “A Song of Chalco” [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:09:53\nAnd it doesn't die out, even with the destruction that follows, and flowers are picked up again, this in a series of translations, again through the Spanish, of a series of Peyote songs, from the Huichol Indians of central Mexico [https://www.wikidata.org/wiki/Q96]. The name Wirikuta [https://www.wikidata.org/wiki/Q8026952] is the name given to the place of the gods, and the spiritual place of the Peyote. The Peyote is described as the rose, it's described as the corn, the maize, it's described under a number of images, and through the figure, the mythological figure of one called the Blue Stag. This is the first Huichol, Peyote song.\n \nJerome Rothenberg\n00:10:46\nReads “First Peyote Song” [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:11:46.19\n\"Song of an Initiate\".\n \nJerome Rothenberg\n00:11:51\nReads \"Song of an Initiate\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:12:25\nAnd this is a poem called \"How the Violin Was Born: A Peyote Account”.\n \nJerome Rothenberg\n00:12:35\nReads \"How the Violin was Born: A Peyote Account” [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:13:24\nThese are a few short Indian pieces. Not poems but part of what's connected with the whole activity of poetry, among the tribal peoples. Which is more than an activity of words; which goes beyond language. And these are the events that accompany the words. And the first is an Iroquois dream event. \n \nJerome Rothenberg\n00:13:58\nReads [\"Dream Event 1\", published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:14:08\nThese are a series of vision events. The first two are Eskimo.\n \nJerome Rothenberg\n00:14:14\nReads \"Vision Event I\" [published later in Shaking the Pumpkin].\n\nJerome Rothenberg\n00:14:25\nReads \"Vision Event 2\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:14:39\nAnd this is a Sioux Indian vision event.\n \nJerome Rothenberg\n00:14:43\nReads \"Vision Event 3\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:15:01\nThis is a Kwakiutl Indian gift event. All the words are from Kwakiut'l Indians. It's either spoken in English or translated into English. The Kwakiut'l, like other Northwest Coast people, celebrate the potlatch, you know, which is not always terrible or distasteful in its consequences. This is benevolent gift-giving. \n \nJerome Rothenberg\n00:15:26\nReads \"Gift Event [2]\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:16:32\nThese are a series of seven Navajo animal songs. \n \nJerome Rothenberg\n00:16:42\nReads \"Navajo Animal Songs\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:17:49\nThe next few are from a series of translations I've been doing, are called, well, it's the Seneca Indian word for one of their major curing ceremonies, a term for a major curing ceremony, \"Shaking the Pumpkin\", because the pumpkin rattle, the big pumpkin rattle is the major instrument used in this. Or it's got a more ornate name, it's called \"The Society of the Mystic Animals\". The man, Richard Johnny John, Indian, who is working with me on this, explained it's a serious ceremony, he said, but if everything's alright, the one who says the prayer tells them, I leave it up to you, folks, and if you want to have a good time, have a good time. Well everything's alright in the translations, you know, so one eases up there. The translations are done trying to follow everything in the Seneca, including the meaning of the sounds, the hey-ya and the way-oh-hey, that are very common in Indian poetry. Basically the way I do it is to present them visually on the page, and I can't do this in reading them, so I'm just going to select out of these poems that read easily. The purpose is curing, and well-being. \n \nJerome Rothenberg\n00:19:34\nReads [\"Caw Caw the Crows Caw Caw\" published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:19:49\nReads \"Two more about a crow, in the manner of Zukofsky\" [later published in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:20:05\nThree poems about the owl, on the page, the vocables, the sounds, make the figure of an owl, even as in the singing of the song, the sound of the owl comes through. But here are just the words.\n \nJerome Rothenberg\n00:20:19\nReads \"The Owl: One\".\n \nJerome Rothenberg\n00:20:25\nReads \"The Owl: Two\".\n \nJerome Rothenberg\n00:20:32\nReads \"The Owl: Three\".\n \nJerome Rothenberg\n00:20:40\n\"A Song of My Song, In Three Parts”.\n \nJerome Rothenberg\n00:20:45\nReads \"A Song of My Song, In Three Parts\" [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:20:59\nReads “Three Ways to Screw Up on Your Way to the Doings” [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:21:16\nBuckets are important, to bring back soup and...The last one from this series.\n \nJerome Rothenberg\n00:21:31\nReads “Where the Song Went Where She Went & What Happened When they Met” [published later in Shaking the Pumpkin].\n \nJerome Rothenberg\n00:22:15\nThe next are a little harder to do, but I hope I make it. The Senecas don't use many words. It's a kind of minimal poetry and the power is in the compression. The Navajos use more words, the poetry gets dense, and in addition they use many many non-verbal sounds. And in addition, they distort many of the words in the singing. So that if you translate just for the meaning, you're only getting a small part of what the Navajo is doing. And then in addition, everything is sung in the Navajo. So I began to translate a series called, because that's what they are, \"The Seventeen Horse Songs of Frank Mitchell\". Seventeen horse-blessing, horse-curing songs that were the property of a Navajo medicine man named Frank Mitchell. And the problem that came up for me, I couldn't translate just for meaning, I wanted to, you know, consider all of the factors that went into the poem. So I began to insert sounds corresponding to the sound of the English words as the Navajo had the meaning of the sounds, and to distort the words. And then it seemed to me that it was necessary to carry this further, to begin to sing the songs as well. Which came to me with great difficulty. But I've gotten through a number of them now, and what I'll do is sing one, the \"Tenth Horse Song of Frank Mitchell,\" and then do a tape for three voices of another one of the horse songs. You'll notice the words are rather similar from one to another, the melody changes. In this, and the Navajos of course would know this, the hero, Enemy-Slayer, has gone to the house of his father, the sun up there, to bring back horses for the people. And in this Tenth Horse Song, it's mostly the father, the sun, speaking, telling him to bring the horses back to the house of his mother, you know, who everybody understands to be Changing Woman. Bring it back to the earth. And sometimes the voice of Enemy-Slayer comes into it.  But the basic refrain is to \"go to the woman, go to her.\" \n \nJerome Rothenberg\n00:25:24\nPerforms \"Tenth Horse Song of Frank Mitchell\" [from The 17 Horse-Songs of Frank Mitchell]. \n \nAudience\n00:31:25\nApplause.\n \nJerome Rothenberg\n00:31:38\nThe next one, and I guess the last piece in the first set, is the \"Twelfth Horse Song of Frank Mitchell\". The melody changes. Some of the distortions change. The burden changes, and now Enemy-Slayer contemplates the horses coming back to earth with him, in the same sequence. This is done on tape, with three voices. I think that's about all there is to say about it. Three voices.\n \nJerome Rothenberg\n00:32:23\nPlays recording of \"Twelfth Horse Song of Frank Mitchell\", sung by three voices [from The 17 Horse-Songs of Frank Mitchell and published later in Shaking the Pumpkin].\n \nAudience\n00:39:42\nApplause.\n \nJerome Rothenberg\n00:39:48\nIn fact, let me end this set with a live poem, I don't want to end with a machine. This is another Aztec poem called \"The Flight of Quetzalcoatl\". The plumed serpent, bird-snake man. In which he discovers that he's become old, and leaves and goes on a long journey, and is reborn as the morning star.\n \nJerome Rothenberg\n00:40:39\nReads \"The Flight of Quetzalcoatl\" [later published in Shaking the Pumpkin].\n \nAudience\n00:47:17\nApplause. \n \nUnknown\n00:47:20\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nGeorge Bowering\n00:47:20\nOkay, we'll hold for about ten minutes, and open the doors and get cool, and then come back. \n \nUnknown\n00:47:27\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nJerome Rothenberg\n00:47:28\nThe second set will be a straight reading, whatever that means, from a long series of poems called \"Poland/1931\". A series of ancestral poems. So Poland [https://www.wikidata.org/wiki/Q36] is where the ancestors come from, for some number, hundreds of years. And that is Jewish Poland. And 1931, rather than 1921, is the year of my birth. And it's in a sense, though I don't keep to it too strictly, everything before that. To try to build up a world that I really don't know.\n \nJerome Rothenberg\n00:48:29\nReads \"Poland/1931: The Wedding\" [from Poland/1931].\n \nJerome Rothenberg\n00:50:46\nReads \"The King of the Jews\" [from Poland/1931].\n \nJerome Rothenberg\n00:51:52\nThe next one's called \"The Key of Solomon\". It's the name of a medieval, a series of medieval magical books that were supposed to go back to the times of Solomon [https://www.wikidata.org/wiki/Q37085]. \n \nJerome Rothenberg\n00:57:07\nReads \"The Key of Solomon\" [from Poland/1931].\n \nJerome Rothenberg\n00:53:42\n\"The Beadle's Testimony.\" Because beadles were a demon.\n \nJerome Rothenberg\n00:53:47\nReads \"The Beadle's Testimony\" [from Poland/1931].\n \nJerome Rothenberg\n00:54:53\nTwo poems called \"Soap\".\n \nJerome Rothenberg\n00:54:57\nReads \"Soap \" [from Poland/1931].\n \nJerome Rothenberg\n00:55:56\nReads \"Soap II” [from Poland/1931].\n \nJerome Rothenberg\n00:57:37\nReads \"The Rabbi's Testimony\" [from Poland/1931].\n \nJerome Rothenberg\n00:59:08\nReads \"The Connoisseur of Jews\" [from Poland/1931].\n \nJerome Rothenberg\n01:00:38\nReads \"The Beards\" [from Poland/1931].\n \nJerome Rothenberg\n01:03:32\nReads \"The Mothers I\" [from Poland/1931]. \n \nJerome Rothenberg\n01:04:08\nReads \"The Mothers II\" [from Poland/1931].\n \nJerome Rothenberg\n01:04:43\nReads \"The Mothers III\" [from Poland/1931].\n \nJerome Rothenberg\n01:05:19\nReads \"Milk & Honey I\" [from Poland/1931].\n \nJerome Rothenberg\n01:06:00\nReads \"Milk & Honey II\" [from Poland/1931].\n \nJerome Rothenberg\n01:06:31\nReads \"Ancestral Scenes\" [from Poland/1931].\n \nJerome Rothenberg\n01:07:09\nReads \"The Fathers\" [from Poland/1931].\n \nJerome Rothenberg\n01:09:10\nThis one is called \"Portrait of the Jew, Old Country Style\".\n \nJerome Rothenberg\n01:09:16\nReads \"Poland, 1931: Portrait of the Jew, Old Country Style\" [from Poland/1931].\n \nJerome Rothenberg\n01:11:51\nThis is a longer one, called \"The Student's Testimony\"\n \nJerome Rothenberg\n01:12:04\nReads \"The Student's Testimony\" [from Poland/1931].\n \nJerome Rothenberg\n01:17:49\nA somewhat shorter one, and then another long one, and then a quite short one and that's...that's it. \n \nJerome Rothenberg\n01:17:58\nReads \"The Brothers\" [from Poland/1931].\n \nJerome Rothenberg\n01:20:10\nReads \"The Steward's Testimony\" [from Poland/1931].\n\nAudience\n01:25:15\nLaughter and applause [faint].\n \nJerome Rothenberg\n01:25:20\nNow, I'll end it with, I'll end it with two poems. \"A Poem for the Christians\". It's partly to...[Audience laughter]...it's a found poem from the prayer book. But you can see where there are changes, you know. [Audience laughter].\n \nJerome Rothenberg\n01:25:42\nReads \"A Poem for the Christians\" [from Poland/1931].\n \nJerome Rothenberg\n01:26:45\nReads \"Fish and Paradise\".\n \nEND\n01:27:32\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nJerome Rothenberg published Poland/1931 (Unicorn Press, 1969) and The Directions (Tetrad Press, 1969) with Tom Phillips and was teaching at the Mannes College for Music.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connection to Sir George Williams University is unknown. Jerome Rothenberg was an influential member of contemporary American poetry, and had correspondences with other members of the poetry reading series, such as Robert Creeley, Paul Blackburn, Allen Ginsberg, Robert Kelly, Jackson Mac Low, bp Nichol, Gary Snyder and Diane Wakoski (please see Rothenberg’s papers for correspondences).\",\"type\":\"General\"},{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/954547274&referer=brief_results\",\"citation\":\"Gilbert, Roger. \\\"Rothenberg, Jerome\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton. Oxford University Press, 1996.\"},{\"url\":\"https://visarts.ucsd.edu/people/emeriti-faculty/jerome-rothenberg.html?_ga=2.257346699.1600795371.1609275761-1945262426.1609275761\",\"citation\":\"“Jerome Rothenberg”. Faculty Description. University of California at San Diego. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jerome-rothenberg-at-sgwu-1969/\",\"citation\":\"“Poetry Four: Sir George Williams Poetry Series, First Reading”. Montreal: Sir George Williams University, 1969. \"},{\"url\":\"http://www.oac.cdlib.org/data/13030/gk/tf0n39n7gk/files/tf0n39n7gk.pdf\",\"citation\":\"“Register of the Jerome Rothenberg Papers, 1944-1985”. Online Archives of California.   University of California, San Diego.\"},{\"url\":\"https://www.worldcat.org/title/17-horse-songs-of-frank-mitchell-nos-x-xiii-total-translations-from-the-navaho-indian/oclc/976986882&referer=brief_results\",\"citation\":\"Rothenberg, Jerome. The 17 Horse-Songs of Frank Mitchell. London: Tetrad Press, 1969.\"},{\"url\":\"http://d7.drunkenboat.com/db3/rothenberg/rothenberg.html\",\"citation\":\"Rothenberg, Jerome. “Pre-Face to a Symposium on Ethnopoetics (1975)”. Drunken Boat Online Journal of the Arts, Issue 3: Fall/Winter 2001-2002.\"},{\"url\":\"https://www.worldcat.org/title/shaking-the-pumpkin-traditional-poetry-of-the-indian-north-americas/oclc/1131195375&referer=brief_results\",\"citation\":\"Rothenberg, Jerome. Shaking the Pumpkin. New York: Doubleday, 1972. \"},{\"url\":\"https://www.worldcat.org/title/seneca-journal/oclc/898040552&referer=brief_results\",\"citation\":\"Rothenberg, Jerome. A Seneca Journal. New York: New Directions, 1971.\"},{\"url\":\"https://www.worldcat.org/title/technicians-of-the-sacred-a-range-of-poetries-from-africa-america-asia-europe-and-oceania/oclc/1005090292&referer=brief_results\",\"citation\":\"Rothenberg, Jerome. Technicians of the Sacred. New York: Doubleday/Anchor Books, 1969.\"},{\"url\":\"https://www.worldcat.org/title/poems-1964-1967/oclc/869018006&referer=brief_results\",\"citation\":\"Rothenberg, Jerome. Poems 1964-1967. Los Angeles: Black Sparrow Press, 1968. \"},{\"url\":\"\",\"citation\":\"“Rothenberg, Jerome, 1931-”. Literature Online Biography. Cambridge: Chadwyck-Healey, 2000. \"}]"],"_version_":1853670548893073408,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0006_11_0095_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jerome Rothenberg 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_0095_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0095_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jerome Rothenberg 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_0095_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0095_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jerome Rothenberg 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_0095_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0095_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jerome Rothenberg 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/jerome_rothenberg_i006-11-095.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"jerome_rothenberg_i006-11-095.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:27:32\",\"precision\":\"\",\"size\":\"210.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nI'm glad we got this room. Welcome back to the first night of the fourth year of our series. And for those of you who are here for the first time, welcome you too. I'm really glad that we could start off with Jerome Rothenberg [https://www.wikidata.org/wiki/Q1775056], especially from my own personal viewpoint, because while Jerome Rothenberg is one of the names that I've paid a lot of attention to, and one of the names that poets have paid attention to over the last decade, this'll be the first time that I've been able to hear him read, too. Usually when, often when us people from the West think about the new American poetry, we tend to think of it in terms of people from outposts such as New Mexico [https://www.wikidata.org/wiki/Q1522], and Utah, [https://www.wikidata.org/wiki/Q829] and San Francisco [https://www.wikidata.org/wiki/Q62], and so on. And we forget that New York City [https://www.wikidata.org/wiki/Q60] is one of the centre-place, central-places, so that it can produce poets such as Joel Oppenheimer [https://www.wikidata.org/wiki/Q6213806] who will be here in the following spring, and Paul Blackburn [https://www.wikidata.org/wiki/Q7149388], who was here a couple of years ago. Jerome Rothenberg has always been the centre, in the centre of that scene, and not only as one of the principal poets, but as editor, and publisher, and so on and so forth, especially with a very important magazine of the 1960's called some--oblique thing [some/thing]. And he's especially interesting to me too because of the kind of work that produced a book such as Technicians of the Sacred, a compilation of the poetries from various oral traditions around the world, and a similar sort of impulse has always been at the centre of his work too. I'd also like to correct a mistake on the little printed page that wasn't really mine, that I picked up from somewhere else and couldn't quite believe myself, that said that Jerome Rothenberg was born in 1921. All I can say is that he was born sometime between the death of Lord Byron [https://www.wikidata.org/wiki/Q5679] and now. [Laughter]. But I'm pretty certain that he wasn't around in 1921. So I'd like you to give a welcome to Jerome Rothenberg.\\n \\nAudience\\n00:02:53\\nApplause.\\n \\nJerome Rothenberg\\n00:02:58\\nThe birthdate'll come clearer in the second part of the reading. I'll read in two parts. And in the first set, what I'll be reading are translations and re-workings of American Indian poetry, which have been important to me over the last five or six years. And I'll start with some which are based on earlier translations, re-workings of material previously translated, and then as I get into it, some translations that result from direct contact and direct experience of American Indian poetry. This is an Aztec poem. The first four or five, six poems will be Aztec or Mexican in origin, and the theme will be flowers.  \\\"Offering Flowers\\\".\\n \\nJerome Rothenberg\\n00:04:24\\nReads \\\"Offering Flowers\\\" [from Technicians of the Sacred].\\n \\nJerome Rothenberg\\n00:07:37\\nThis is Aztec, too, in origin, translated through the Spanish.\\n \\nJerome Rothenberg\\n00:07:52\\nReads “A Song of Chalco” [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:09:53\\nAnd it doesn't die out, even with the destruction that follows, and flowers are picked up again, this in a series of translations, again through the Spanish, of a series of Peyote songs, from the Huichol Indians of central Mexico [https://www.wikidata.org/wiki/Q96]. The name Wirikuta [https://www.wikidata.org/wiki/Q8026952] is the name given to the place of the gods, and the spiritual place of the Peyote. The Peyote is described as the rose, it's described as the corn, the maize, it's described under a number of images, and through the figure, the mythological figure of one called the Blue Stag. This is the first Huichol, Peyote song.\\n \\nJerome Rothenberg\\n00:10:46\\nReads “First Peyote Song” [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:11:46.19\\n\\\"Song of an Initiate\\\".\\n \\nJerome Rothenberg\\n00:11:51\\nReads \\\"Song of an Initiate\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:12:25\\nAnd this is a poem called \\\"How the Violin Was Born: A Peyote Account”.\\n \\nJerome Rothenberg\\n00:12:35\\nReads \\\"How the Violin was Born: A Peyote Account” [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:13:24\\nThese are a few short Indian pieces. Not poems but part of what's connected with the whole activity of poetry, among the tribal peoples. Which is more than an activity of words; which goes beyond language. And these are the events that accompany the words. And the first is an Iroquois dream event. \\n \\nJerome Rothenberg\\n00:13:58\\nReads [\\\"Dream Event 1\\\", published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:14:08\\nThese are a series of vision events. The first two are Eskimo.\\n \\nJerome Rothenberg\\n00:14:14\\nReads \\\"Vision Event I\\\" [published later in Shaking the Pumpkin].\\n\\nJerome Rothenberg\\n00:14:25\\nReads \\\"Vision Event 2\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:14:39\\nAnd this is a Sioux Indian vision event.\\n \\nJerome Rothenberg\\n00:14:43\\nReads \\\"Vision Event 3\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:15:01\\nThis is a Kwakiutl Indian gift event. All the words are from Kwakiut'l Indians. It's either spoken in English or translated into English. The Kwakiut'l, like other Northwest Coast people, celebrate the potlatch, you know, which is not always terrible or distasteful in its consequences. This is benevolent gift-giving. \\n \\nJerome Rothenberg\\n00:15:26\\nReads \\\"Gift Event [2]\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:16:32\\nThese are a series of seven Navajo animal songs. \\n \\nJerome Rothenberg\\n00:16:42\\nReads \\\"Navajo Animal Songs\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:17:49\\nThe next few are from a series of translations I've been doing, are called, well, it's the Seneca Indian word for one of their major curing ceremonies, a term for a major curing ceremony, \\\"Shaking the Pumpkin\\\", because the pumpkin rattle, the big pumpkin rattle is the major instrument used in this. Or it's got a more ornate name, it's called \\\"The Society of the Mystic Animals\\\". The man, Richard Johnny John, Indian, who is working with me on this, explained it's a serious ceremony, he said, but if everything's alright, the one who says the prayer tells them, I leave it up to you, folks, and if you want to have a good time, have a good time. Well everything's alright in the translations, you know, so one eases up there. The translations are done trying to follow everything in the Seneca, including the meaning of the sounds, the hey-ya and the way-oh-hey, that are very common in Indian poetry. Basically the way I do it is to present them visually on the page, and I can't do this in reading them, so I'm just going to select out of these poems that read easily. The purpose is curing, and well-being. \\n \\nJerome Rothenberg\\n00:19:34\\nReads [\\\"Caw Caw the Crows Caw Caw\\\" published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:19:49\\nReads \\\"Two more about a crow, in the manner of Zukofsky\\\" [later published in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:20:05\\nThree poems about the owl, on the page, the vocables, the sounds, make the figure of an owl, even as in the singing of the song, the sound of the owl comes through. But here are just the words.\\n \\nJerome Rothenberg\\n00:20:19\\nReads \\\"The Owl: One\\\".\\n \\nJerome Rothenberg\\n00:20:25\\nReads \\\"The Owl: Two\\\".\\n \\nJerome Rothenberg\\n00:20:32\\nReads \\\"The Owl: Three\\\".\\n \\nJerome Rothenberg\\n00:20:40\\n\\\"A Song of My Song, In Three Parts”.\\n \\nJerome Rothenberg\\n00:20:45\\nReads \\\"A Song of My Song, In Three Parts\\\" [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:20:59\\nReads “Three Ways to Screw Up on Your Way to the Doings” [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:21:16\\nBuckets are important, to bring back soup and...The last one from this series.\\n \\nJerome Rothenberg\\n00:21:31\\nReads “Where the Song Went Where She Went & What Happened When they Met” [published later in Shaking the Pumpkin].\\n \\nJerome Rothenberg\\n00:22:15\\nThe next are a little harder to do, but I hope I make it. The Senecas don't use many words. It's a kind of minimal poetry and the power is in the compression. The Navajos use more words, the poetry gets dense, and in addition they use many many non-verbal sounds. And in addition, they distort many of the words in the singing. So that if you translate just for the meaning, you're only getting a small part of what the Navajo is doing. And then in addition, everything is sung in the Navajo. So I began to translate a series called, because that's what they are, \\\"The Seventeen Horse Songs of Frank Mitchell\\\". Seventeen horse-blessing, horse-curing songs that were the property of a Navajo medicine man named Frank Mitchell. And the problem that came up for me, I couldn't translate just for meaning, I wanted to, you know, consider all of the factors that went into the poem. So I began to insert sounds corresponding to the sound of the English words as the Navajo had the meaning of the sounds, and to distort the words. And then it seemed to me that it was necessary to carry this further, to begin to sing the songs as well. Which came to me with great difficulty. But I've gotten through a number of them now, and what I'll do is sing one, the \\\"Tenth Horse Song of Frank Mitchell,\\\" and then do a tape for three voices of another one of the horse songs. You'll notice the words are rather similar from one to another, the melody changes. In this, and the Navajos of course would know this, the hero, Enemy-Slayer, has gone to the house of his father, the sun up there, to bring back horses for the people. And in this Tenth Horse Song, it's mostly the father, the sun, speaking, telling him to bring the horses back to the house of his mother, you know, who everybody understands to be Changing Woman. Bring it back to the earth. And sometimes the voice of Enemy-Slayer comes into it.  But the basic refrain is to \\\"go to the woman, go to her.\\\" \\n \\nJerome Rothenberg\\n00:25:24\\nPerforms \\\"Tenth Horse Song of Frank Mitchell\\\" [from The 17 Horse-Songs of Frank Mitchell]. \\n \\nAudience\\n00:31:25\\nApplause.\\n \\nJerome Rothenberg\\n00:31:38\\nThe next one, and I guess the last piece in the first set, is the \\\"Twelfth Horse Song of Frank Mitchell\\\". The melody changes. Some of the distortions change. The burden changes, and now Enemy-Slayer contemplates the horses coming back to earth with him, in the same sequence. This is done on tape, with three voices. I think that's about all there is to say about it. Three voices.\\n \\nJerome Rothenberg\\n00:32:23\\nPlays recording of \\\"Twelfth Horse Song of Frank Mitchell\\\", sung by three voices [from The 17 Horse-Songs of Frank Mitchell and published later in Shaking the Pumpkin].\\n \\nAudience\\n00:39:42\\nApplause.\\n \\nJerome Rothenberg\\n00:39:48\\nIn fact, let me end this set with a live poem, I don't want to end with a machine. This is another Aztec poem called \\\"The Flight of Quetzalcoatl\\\". The plumed serpent, bird-snake man. In which he discovers that he's become old, and leaves and goes on a long journey, and is reborn as the morning star.\\n \\nJerome Rothenberg\\n00:40:39\\nReads \\\"The Flight of Quetzalcoatl\\\" [later published in Shaking the Pumpkin].\\n \\nAudience\\n00:47:17\\nApplause. \\n \\nUnknown\\n00:47:20\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nGeorge Bowering\\n00:47:20\\nOkay, we'll hold for about ten minutes, and open the doors and get cool, and then come back. \\n \\nUnknown\\n00:47:27\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nJerome Rothenberg\\n00:47:28\\nThe second set will be a straight reading, whatever that means, from a long series of poems called \\\"Poland/1931\\\". A series of ancestral poems. So Poland [https://www.wikidata.org/wiki/Q36] is where the ancestors come from, for some number, hundreds of years. And that is Jewish Poland. And 1931, rather than 1921, is the year of my birth. And it's in a sense, though I don't keep to it too strictly, everything before that. To try to build up a world that I really don't know.\\n \\nJerome Rothenberg\\n00:48:29\\nReads \\\"Poland/1931: The Wedding\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:50:46\\nReads \\\"The King of the Jews\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:51:52\\nThe next one's called \\\"The Key of Solomon\\\". It's the name of a medieval, a series of medieval magical books that were supposed to go back to the times of Solomon [https://www.wikidata.org/wiki/Q37085]. \\n \\nJerome Rothenberg\\n00:57:07\\nReads \\\"The Key of Solomon\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:53:42\\n\\\"The Beadle's Testimony.\\\" Because beadles were a demon.\\n \\nJerome Rothenberg\\n00:53:47\\nReads \\\"The Beadle's Testimony\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:54:53\\nTwo poems called \\\"Soap\\\".\\n \\nJerome Rothenberg\\n00:54:57\\nReads \\\"Soap \\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:55:56\\nReads \\\"Soap II” [from Poland/1931].\\n \\nJerome Rothenberg\\n00:57:37\\nReads \\\"The Rabbi's Testimony\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n00:59:08\\nReads \\\"The Connoisseur of Jews\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:00:38\\nReads \\\"The Beards\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:03:32\\nReads \\\"The Mothers I\\\" [from Poland/1931]. \\n \\nJerome Rothenberg\\n01:04:08\\nReads \\\"The Mothers II\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:04:43\\nReads \\\"The Mothers III\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:05:19\\nReads \\\"Milk & Honey I\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:06:00\\nReads \\\"Milk & Honey II\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:06:31\\nReads \\\"Ancestral Scenes\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:07:09\\nReads \\\"The Fathers\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:09:10\\nThis one is called \\\"Portrait of the Jew, Old Country Style\\\".\\n \\nJerome Rothenberg\\n01:09:16\\nReads \\\"Poland, 1931: Portrait of the Jew, Old Country Style\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:11:51\\nThis is a longer one, called \\\"The Student's Testimony\\\"\\n \\nJerome Rothenberg\\n01:12:04\\nReads \\\"The Student's Testimony\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:17:49\\nA somewhat shorter one, and then another long one, and then a quite short one and that's...that's it. \\n \\nJerome Rothenberg\\n01:17:58\\nReads \\\"The Brothers\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:20:10\\nReads \\\"The Steward's Testimony\\\" [from Poland/1931].\\n\\nAudience\\n01:25:15\\nLaughter and applause [faint].\\n \\nJerome Rothenberg\\n01:25:20\\nNow, I'll end it with, I'll end it with two poems. \\\"A Poem for the Christians\\\". It's partly to...[Audience laughter]...it's a found poem from the prayer book. But you can see where there are changes, you know. [Audience laughter].\\n \\nJerome Rothenberg\\n01:25:42\\nReads \\\"A Poem for the Christians\\\" [from Poland/1931].\\n \\nJerome Rothenberg\\n01:26:45\\nReads \\\"Fish and Paradise\\\".\\n \\nEND\\n01:27:32\\n[Cut off abruptly].\",\"notes\":\"Jerome Rothenberg reads poems published later in Shaking the Pumpkin (Doubleday, 1972) and from Poland/1931 (Unicorn Press, 1969).\\n\\nRachel has indexed poems.\\n00:00- George Bowering introduces Jerome Rothenberg. [INDEX: room, first night of fourth year of the series, poets, West, New American Poetry, New Mexico, Utah, San Francisco, New York City, Joel Oppenheimer, Paul Blackburn, editor, publisher, Some CH Oblique Thing [unknown 1960’s magazine], Technicians of the Sacred, oral traditions worldwide, pamphlet mistake: Rothenberg not born in 1921, Lord Byron.]\\n02:58- Jerome Rothenberg introduces reading and “Offering Flowers”. [INDEX: birthdate, two-part reading, translations or re-workings of American Indian poetry, direct contact, direct experience with American Indians, Aztec poem, Mexican, theme of flowers; unknown source.]\\n04:24- Reads “Offering Flowers”. [INDEX: translation, Aztec, Mexico, flower, feast, offering, morning, temple, spiritual, god, dance, repetition, anaphora, food, drink, word]\\n07:37- Introduces “A Song of Chalco”. [INDEX: Aztec in origin, translated to Spanish; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n07:52- Reads “A Song of Chalco”. [INDEX: rose, fire, god, house, bird, thrush,   song, poet, forest, flower, dance, lust, father, prince, joy, son, body, river.]\\n09:53- Introduces first line “First Peyote Song”. [INDEX: die out, destruction, flowers, translations, Spanish, Peyote songs, Huichol Indians of central Mexico, Wiricota, gods,        spiritual place of the Peyote, rose, the corn, the maize, images, mythological figure called Blue Stag, Huichol; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n10:46- Reads first line “First Peyote Song” . [INDEX: rose, birth, flower, wind, eternal, god, mountain, mother, house, heart, Peyote, Blue Stag, rain, maize, earth, Aztec, Mexico, song.]\\n11:46- Reads “Song of an Initiate”. [INDEX: rose, song, god, stair, sky, silence; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n12:25- Introduces “How the Violin Was Born: A Peyote Account”. [INDEX: peyote account; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n12:35- Reads “How the Violin Was Born”. [INDEX: music, violin, wood, cedar, stone, tree, heart, soul, Big Stag, bird, song, wind.]\\n13:24- Introduces “Dream Event I”. [INDEX: Indian pieces, whole activity of poetry, tribal peoples, activity of words, beyond language, events that accompany words, Iroquois dream-event; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n13:58- Reads “Dream Event I\\\". [INDEX: aboriginal, dream, community,         \\tinterpretation, theatre.]\\n14:08- Introduces “Vision Event I”. [INDEX: ‘Eskimo’; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n14:14- Reads “Vision Event I”. [INDEX: aboriginal, Eskimo, solitude, stone, circle, place, time, ritual.]\\n14:25- Reads “Vision Event II”. [INDEX: aboriginal, Eskimo, vision, hanging, sight; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n14:39- Introduces “Vision Event III”. [INDEX: Sioux Indian.]\\n14:43- Reads “Vision Event III”. [INDEX: American Indian, aboriginal, vision, crying, sight; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n15:01- Introduces “Gift Event” [INDEX: Kwakiut’l Indian gift event, English, translation,        Northwest Coast people, celebrate the potlatch, consequences, benevolent; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n15:26- Reads “Gift Event”. [INDEX: Kwakiut'l, giving, gift, potlatch, Northwest, coast, aboriginal, animal, ritual, house, sound, value, name.]\\n16:32- Introduces “Seven Navajo Animal Songs”.\\n16:42- Reads “Seven Navajo Animal Songs”. [INDEX: animal, chipmunk, action, movement, mole, sex, wildcat, water, turkey, madness, scatological, pinion jay, bird; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n17:49- Introduces “Caw Caw the Crows Caw”. [INDEX: Seneca Indian word, curing ceremony “Shaking the pumpkin”, instrument, “The Society of the Mystic Animals”, Richard Johnny-John Indian, serious ceremony, prayer, translations, meanings of sounds, Indian poetry, visual presentation of sound, curing, well-being; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n19:34- Reads “Caw Caw the Crows Caw”.  [INDEX: Seneca, aboriginal, crow, movement; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n19:49- Reads  “Two more about a crow, in the manner of Zukofsky...”.  [INDEX: Louis Zukofsky, sound, Seneca, aboriginal later published in Shaking the Pumpkin      (Doubleday, 1972).]\\n20:05- Introduces “The Owl: One”. [INDEX: page, vocables, sounds, figure, singing of song, \\tsound of the owl.]\\n20:19- Reads “The Owl: One”. [INDEX: Seneca, aboriginal, owl, home, tree, hemlock]\\n20:25- Reads “The Owl: Two”.  [INDEX: Seneca, aboriginal, cure, sickness, poison, owl]\\n20:32- Reads “The Owl: Three”. [INDEX: Seneca, aboriginal, owl, tree, sound, whistle.]\\n20:40- Reads “A Song of My Song”. [INDEX: three parts, song, distance, circle, room,   proximity, sound; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n20:59- Reads “Three Ways to Screw Up on Your Way to the Doings”. [INDEX: later published in Shaking the Pumpkin (Doubleday, 1972)\\n21:16- Introduces “Where the Song Went Where She Went & What Happened When they Met”. [INDEX: buckets, soup, last of series; later published in Shaking the Pumpkin (Doubleday, 1972).]\\n21:31- Reads “Where the Song Went Where She Went & What Happened When they Met”\\n22:15- Introduces “Tenth Horse Song of Frank Mitchell”. [INDEX: Senecas, words, minimal poetry, power in compression, Navajo poetry, non-verbal sounds, distort words when sung, translation, meaning, series, horse-blessing, horse-curing songs, Navajo medicine man Frank Mitchell, problem translating, insert sounds, English, sing, tape of three voices of horse song, melody, hero, Enemy-Slayer, father’s house, sun, people, mother, Changing Woman, earth, refrain “go to the woman, go to her”.]\\n25:24- Reads/Sings “Tenth Horse Song of Frank Mitchell”.\\n31:38- Introduces “Twelfth Horse Song of Frank Mitchell”. [INDEX: melody change, distortions change, burden changes, Enemy-Slayer, horses, earth, sequence, three voices, later published in Shaking the Pumpkin (Doubleday, 1972).]\\n32:23- Plays recording of “Twelfth Horse Song of Frank Mitchell”.\\n39:48- Introduces “The Flight of the Quetzalcoatl”. [INDEX: live poem, machine, Aztec poem, plumed serpent, bird-snake-man, old, long journey, morning star; published later in Shaking the Pumpkin (Doubleday, 1972).]\\n40:39- Reads “The Flight of the Quetzalcoatl”.\\n47:20- George Bowering introduces break.\\n47:27.02- END OF RECORDING.\\n\\n00:00- Jerome Rothenberg introduces long poem “Poland 1931”. [INDEX: long poem, ancestral poems, Jewish Poland, year of Rothenberg’s birth, world unknown.]\\n01:02- Reads “Poland, 1931: The Wedding”.\\n03:19- Reads “Poland, 1931: The King of Jews”.\\n04:25- Introduces “Poland, 1931: The Key of Solomon”. [INDEX: medieval magical books.]\\n04:40- Reads “Poland, 1931: The Key of Solomon”.\\n06:15- Introduces “Poland, 1931: The Beetle’s Testimony”. [INDEX: beetles, demon.]\\n06:20- Reads “Poland, 1931: The Beetle’s Testimony”.\\n07:26- Introduces “Poland, 1931: Soap”. [INDEX: two poems called “Soap”.]\\n07:30- Reads “Poland, 1931: Soap I”.\\n08:29- Reads “Poland, 1931: Soap II”.\\n10:10- Reads \\\"Poland, 1931: The Rabbi's Testimony\\\"\\n11:41- Reads \\\"Poland, 1931: The Connoisseur of Jews\\\"\\n13:11- Reads \\\"Poland, 1931: The Beards\\\"\\n16:05- Reads \\\"Poland, 1931: The Mothers I\\\"  \\n16:41- Reads \\\"Poland, 1931: The Mothers II\\\"\\n17:16- Reads \\\"Poland, 1931: The Mothers III\\\"\\n17:52- Reads \\\"Poland, 1931: Milk and Honey I\\\"\\n18:33- Reads \\\"Poland, 1931: Milk and Honey II\\\"\\n19:04- Reads \\\"Poland, 1931: Ancestral Scenes\\\"\\n19:42- Reads \\\"Poland, 1931: The Fathers\\\"\\n21:43- Introduces \\\"Poland, 1931: Portrait of the Jew, Old Country Style\\\"\\n21:49- Reads \\\"Poland, 1931: Portrait of the Jew, Old Country Style\\\"\\n24:24- Introduces \\\"Poland, 1931: The Student's Testimony\\\"\\n24:37- Reads \\\"Poland, 1931: The Student's Testimony\\\"\\n30:31- Reads \\\"Poland, 1931: The Brothers\\\"\\n32:43- Reads \\\"Poland, 1931: The Steward's Testimony\\\"\\n37:53- Introduces “A Poem for the Christians”. [INDEX: found poem in prayer book.]\\n38:15- Reads \\\"A Poem for the Christians\\\"\\n39:18- Reads \\\"Fish and Paradise\\\"\\n00:40:05.58- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jerome-rothenberg-at-sgwu-1969/\"}]"],"score":2.4686255},{"id":"1280","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":["bill bissett at Sir George Williams University, The Poetry Series, 31 October 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"BILL BISSETT Recorded October 31, 1969 3.75 ips, on 1 mil. tape, 1/2 track\" written on sticker on the back of the tape's box. \"BILL BISSETT I006/SR83\" written on sticker on the spine of the tape's box. \"I006-11-083\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Bissett, Bill"],"creator_names_search":["Bissett, Bill"],"creators":["[{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"Poet, artist, painter and editor bill bissett was born in Halifax in 1939, but was most actively associated with the Vancouver poetry renaissance of the 60s. He has often been associated with bpNichol as a founder of the concrete poetry movement and a sound poetry practitioner. bissett has published dozens of collections of poems over thirty years, many of them self-published with his own art on the cover. A selection of his titles include we sleep inside each other all published in 1966 by Island press, which was followed by awake in the red desert (TalonBooks, 1968), selected poems: nobody owns th earth (House of Anansi Press, 1971), pomes for yoshi (blewointmentpress,1972), Medicine my mouths on fire (Oberon Press, 1974), Sailor (TalonBooks, 1978), Seagull on Yonge Street (TalonBooks, 1983), Canada gees mate for life (TalonBooks, 1985), Animal uproar (TalonBooks, 1987), Hard 2 beleev (TalonBooks, 1990), Th last photo uv th human soul (TalonBooks, 1993), Th influenza uv logik (TalonBooks, 1995). bissett founded Vancouver’s blewointmentpress in 1963. His poetry and alternative lifestyle often caused bissett to have legal problems, which rallied support from his community. what we have (TalonBooks, 1988) won the Milton Acorn People’s Poetry Award in 1989, and much of his art and activism privileges the democracy of poetry. He is most famous for his poetry readings, as his printed text lifts off the page through chanting, visual and sound poetry techniques. bissett currently lives in London, Ontario.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1969],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1969 10 31\",\"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\":\"Possibly, Hall Building Room H-651\",\"notes\":\"Location specified in previous written announcement \\\"Poetry Four: Sir George Williams Poetry Series,\\\" but not confirmed\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Possibly, Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["bill bissett reads and performs poems from Awake in th red desert! (1968),\nOf Th Land Divine Service (Weed/Flower Press, 1968), lost angel mining company (Blew Ointment Press, 1969), Liberating Skies (1969), and Nobody Owns th Earth (House of Anansi Press, 1971), some of which were later collected in Selected Poems: Beyond Even Faithful Legends (Talonbooks, 1980)."],"contents":["bill_bisset_i006-11-083.mp3\n\nbill bissett\n00:00:00\nReads “3. i have evn herd uv thee” [from Of Th Land Divine Service]. \n\nbill bissett\n00:01:12\nPerforms “4” [from Of Th Land Divine Service]. \n\nbill bissett\n00:04:44\nReads \"The molecular robbery\" [from lost angel mining company]. \n\nbill bissett\n00:11:09\nReads unnamed poem.\n\nbill bissett\n00:13:40\nReads \"Killer Whale\" [from lost angel mining company].\n\nbill bissett\n00:18:04\nPerforms “5. And that light is in thee is in thee and” [from Of Th Land Divine Service].\n\nbill bissett\n00:19:20\nPerforms “6. And in all things did even as Adam had done” [from Of Th Land Divine Service].\n\nbill bissett\n00:20:48\nPerforms “and the green wind is mooving thru th summr trees” [from awake in th red desert]. \n\nbill bissett\n00:22:54\nReads “Circles in th Sun” [from lost angel mining company].\n\nbill bissett\n00:24:13\nPerforms “Walrus Song” [from lost angel mining company].\n\nbill bissett\n00:33:09\nReads unnamed poem [from lost angel mining company].\n\nbill bissett\n00:37:14\nReads [“the flaming end: 8 beautiful people on a bus”].\n\nUnknown\n00:47:44\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nbill bissett\n00:47:44\nResumes reading [possibly still “the flaming end: 8 beautiful people on a bus”].\n\nbill bissett\n00:50:25\nReads unnamed poem.\n\nbill bissett\n00:51:09\nReads [\"Another 100 warrants issued\" from Nobody Owns th Earth].\n\nbill bissett\n00:53:36\nPerforms \"th water falls in yr mind nd yu get wet tooo\" [from liberating skies].\n\nbill bissett\n00:58:25\nPerforms unnamed poem.\n\nbill bissett\n01:02:02\nReads unnamed poem.\n\nbill bissett\n01:02:32\nPerforms “tarzan collage” [from drifting into war]. \n\nAudience\n01:04:37\nApplause.\n\nbill bissett\n01:05:08\nJust as you leave I'll just do this little thing, just keep going though.  \n\nbill bissett\n01:05:11\nPerforms unnamed poem.\n\nbill bissett\n01:06:18\nPerforms [“moss song” from Of Th Land Divine Service].\n\nEND\n01:14:13\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1969, bissett published Liberating Skies (Blewointment Press), Lost Angel Mining Company (Blewointment Press), and Sunday Work? (Blewointment Press). He was working on S the Story I to (Blewointment Press, 1970), Blew Trewz, Nobody Owns th Earth both published by Blewointment Press in 1971, along with Dragonfly (Weed/Flower Press, 1971), Drifting into War (Talonbooks, 1971), I.B.M. (Blewointment Press, 1971), Tuff Shit: Love Pomes (Bandit/Black Moss Press, 1971), and Rush (Blewointmeint Press, 1971).\",\"type\":\"General\"},{\"note\":\"Local Connections:  \\n\\nbissett’s blewointment press and its magazine has published (then) up-and-coming Vancouver poets Gerry Gilbert and Maxine Gadd. His own work was first published by Eli Mandel, and anthologized by Margaret Atwood and Dennis Lee. Though his poetry was radical and a rejection of conventional styles, bissett has become an important figure in Canada’s literary history. He was also connected to George Bowering from Sir George Williams University through the Vancouver poetry scene in the early 1960’s.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) and Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/liberating-skies/oclc/1053976136?referer=di&ht=edition\",\"citation\":\"bissett, bill. Liberating skies. Vancouver: Blew Ointment Press, 1969.\"},{\"url\":\"https://www.worldcat.org/title/selected-poems-beyond-even-faithful-legends/oclc/7717248&referer=brief_results\",\"citation\":\"bissett, bill. Selected Poems: Beyond Even Faithful Legends. Vancouver: Talonbooks, 1980. \"},{\"url\":\"https://www.worldcat.org/title/lost-angel-mining-company/oclc/7247222&referer=brief_results\",\"citation\":\"bissett, bill. lost angel mining company. Vancouver: Blew Ointment Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/nobody-owns-th-sic-earth/oclc/490387389&referer=brief_results\",\"citation\":\"bissett, bill. Nobody Owns th Earth. Toronto: House of Anansi Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/of-th-sic-land-divine-service-poems/oclc/25235&referer=brief_results>\",\"citation\":\"bissett, bill. Of Th Land Divine Service. Toronto: Weed/Flower Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/829314798&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Davey, Frank. From There to Here: A Guide to English-Canadian Literature Since 1960, Our Nature-Our Voices II. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canda-1960-1970/oclc/644860849?referer=di&ht=edition\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart Limited, 1972.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/865265719&referer=brief_results\",\"citation\":\"Stephen Scobie \\\"Bissett, Bill\\\". The Oxford Companion to Canadian Literature, 2nd edition. Eugene Benson and William Toye. Oxford University Press, 2006.\"},{\"url\":\"https://www.worldcat.org/title/awake-in-the-red-desert/oclc/1019165132&referer=brief_results\",\"citation\":\"bissett, bill. Awake in th[e] red desert! Vancouver: Talon Books, 1968. \"}]"],"_version_":1853670548895170560,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0083_back.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0083_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"bill bissett Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0083_front.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0083_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"bill bissett Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0083_side.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0083_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"bill bissett Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0083_tape.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0083_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"bill bissett 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/bill_bisset_i006-11-083.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"bill_bisset_i006-11-083.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:14:13\",\"precision\":\"\",\"size\":\"178.1MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"bill bissett\\n00:00:00\\nReads “3. i have evn herd uv thee” [from Of Th Land Divine Service]. \\n\\nbill bissett\\n00:01:12\\nPerforms “4” [from Of Th Land Divine Service]. \\n\\nbill bissett\\n00:04:44\\nReads \\\"The molecular robbery\\\" [from lost angel mining company]. \\n\\nbill bissett\\n00:11:09\\nReads unnamed poem.\\n\\nbill bissett\\n00:13:40\\nReads \\\"Killer Whale\\\" [from lost angel mining company].\\n\\nbill bissett\\n00:18:04\\nPerforms “5. And that light is in thee is in thee and” [from Of Th Land Divine Service].\\n\\nbill bissett\\n00:19:20\\nPerforms “6. And in all things did even as Adam had done” [from Of Th Land Divine Service].\\n\\nbill bissett\\n00:20:48\\nPerforms “and the green wind is mooving thru th summr trees” [from awake in th red desert]. \\n\\nbill bissett\\n00:22:54\\nReads “Circles in th Sun” [from lost angel mining company].\\n\\nbill bissett\\n00:24:13\\nPerforms “Walrus Song” [from lost angel mining company].\\n\\nbill bissett\\n00:33:09\\nReads unnamed poem [from lost angel mining company].\\n\\nbill bissett\\n00:37:14\\nReads [“the flaming end: 8 beautiful people on a bus”].\\n\\nUnknown\\n00:47:44\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nbill bissett\\n00:47:44\\nResumes reading [possibly still “the flaming end: 8 beautiful people on a bus”].\\n\\nbill bissett\\n00:50:25\\nReads unnamed poem.\\n\\nbill bissett\\n00:51:09\\nReads [\\\"Another 100 warrants issued\\\" from Nobody Owns th Earth].\\n\\nbill bissett\\n00:53:36\\nPerforms \\\"th water falls in yr mind nd yu get wet tooo\\\" [from liberating skies].\\n\\nbill bissett\\n00:58:25\\nPerforms unnamed poem.\\n\\nbill bissett\\n01:02:02\\nReads unnamed poem.\\n\\nbill bissett\\n01:02:32\\nPerforms “tarzan collage” [from drifting into war]. \\n\\nAudience\\n01:04:37\\nApplause.\\n\\nbill bissett\\n01:05:08\\nJust as you leave I'll just do this little thing, just keep going though.  \\n\\nbill bissett\\n01:05:11\\nPerforms unnamed poem.\\n\\nbill bissett\\n01:06:18\\nPerforms [“moss song” from Of Th Land Divine Service].\\n\\nEND\\n01:14:13\\n\",\"notes\":\"bill bissett reads and performs poems from Awake in th red desert! (1968),\\nOf Th Land Divine Service (Weed/Flower Press, 1968), lost angel mining company (Blew Ointment Press, 1969), Liberating Skies (1969), and Nobody Owns th Earth (House of Anansi Press, 1971), some of which were later collected in Selected Poems: Beyond Even Faithful Legends (Talonbooks, 1980).\\n\\nTRANSCRIPTION NOTES: Initially transcribed as two separate parts; this digital file combines two recordings. Timestamps reflect the single recording. \\n\\nList of Poems Read and Time Stamps [Part 1]\\n00:00 - Recording starts mid-sentence, reading “3. i have evn herd uv thee” [INDEX: from OF TH LAND DIVINE SERVICE,  line “...I had even heard of thee, that the spirit of the gods is in thee...”]\\n01:12 - Reads “4” [INDEX: from OF TH LAND DIVINE SERVICE, first line “a chain of gold which art of the children...”.]\\n04:44 - Reads “The molecular robbery” [INDEX: from lost angel mining company]\\n11:09 - Reads first line “Sung to the tune of Michael rowed his boat ashore...”\\n13:40 - Reads “Killer Whale”\\n18:04 - Reads “5. And that light is in thee is in thee and” [INDEX: from OF TH LAND DIVINE SERVICE.]\\n19:20 - Reads “6. And in all things did even as Adam had done” [INDEX: from OF TH LAND DIVINE SERVICE.]\\n20:48 - Reads “and the green wind is mooving thru th summr trees” [INDEX: from lost angel mining company and from OF TH LAND DIVINE SERVICE.]\\n22:36 - Reads “Circles in th Sun” [INDEX: from lost angel mining company, first line “In the mushroom village, all the little children, brightly smiling...”]\\n24:13 - Reads “Walrus Song” [INDEX: from lost angel mining company, first line “Drink all the lime you can...”.]\\n33:09 - Reads first line “So that even yourself becomes a serene stranger...”\\n37:14.17 - END OF RECORDING\\n\\nList of Poems Read and Time Stamps [Part 2]\\n00:00 - Reads first line “The flaming end, eight beautiful people on a bus...”\\n10:30 - [CUT] continues reading “...absolutely nothing there but to do with living...”\\n13:11 - Reads first line “Could we grow [inaudible] in the bomb shelter?...”\\n13:55 - Reads “Another 100 warrants issued” from NOBODY OWNS TH EARTH\\n16:21 - Reads first line “The water falls in your mind and you get wet too...”\\n21:11 - Reads  first line “The moon is [inaudible] she screamed, listen closely she said...”\\n24:48 - Reads first line “Sparrows dream of the endless sun...”\\n25:17- Reads “tarzan collage” from drifting into war, first line “Speaking, speaking, speaking, the I is speaking...”\\n27:48 - Reads first line “Bright, yellow, sky...”\\n29:04 - Reads “moss song” from OF TH LAND DIVINE SERVICE , first line “See the berries ripen in the trees...”\\n36:59 - END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/bill-bissett-at-sgwu-1969/\"}]"],"score":2.4686255},{"id":"1281","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Allen Ginsberg at Sir George Williams University, The Poetry Series, 7 November 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"ALAN GINSBERG -1 Recorded November 7, 1969 3.75 ips on 1 mil. tape, 1/2 track\" written on sticker on the back of the tape's box. ALAN GINSBERG refers to Allen Ginsberg. ALAN is mispelled. \"PERMISSION FROM HOWARD FINK TO REPRODUCE THIS TAPE\" also written on sticker on the back of the tape's box. \"ALAN GINSBERG-1 I006/SR33.1\" written on sticker on the spine of the tape's box. \"I006-11-033.1\" written on sticker on the reel.\n\n\"ALAN GINSBERG -2 Recorded November 7, 1969 3.75 ips on 1 mil. tape, 1/2 track\" written on sticker on the back of the tape's box. ALAN GINSBERG refers to Allen Ginsberg. ALAN is mispelled. \"PERMISSION FROM HOWARD FINK TO REPRODUCE THIS TAPE\" also written on sticker on the back of the tape's box. \"ALAN GINSBERG-1 I006/SR33.2\" written on sticker on the spine of the tape's box. \"ALAN GINSBERG-1 I006-11-033.2\" written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[I006-11-033.1, I006-11-033.2]"],"creator_names":["Ginsberg, Irwin Allen"],"creator_names_search":["Ginsberg, Irwin Allen"],"creators":["[{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Irwin Allen\",\"dates\":\"1926-1997 \",\"notes\":\"Poet, revolutionary, and Beat generation icon Allen Ginsberg was born on June 3, 1926 in Paterson, New Jersey, to Naomi, a radical communist, and Louis Ginsberg, teacher and lyric poet. In his early life, Ginsberg’s mother was diagnosed with paranoid schizophrenia, a condition that would forever shape her son’s life. After graduation from high school, Ginsberg was accepted to Columbia University on scholarship to study labor law. However, after meeting Mark Van Doren and Lionel Trilling, Ginsberg turned to English and poetry. It was also at this time when he met Jack Kerouac, Lucien Carr, William S. Burroughs and Neal Cassady who would eventually form the ‘Beat Generation’. In 1948, Ginsberg had a vision of poet William Blake entering his apartment window, an event which would influence the rest of his life, attempting to recapture the image. In 1949, Ginsberg had a few minor run-ins with the law and he was committed to the Columbia-Presbyterian Psychiatric Institution. There he met his future publisher and life-long friend, Carl Solomon, a troubled intellectual. After serving in the merchant marines, and spending several months in Mexico, Ginsberg moved to San Francisco, where he met poets Kenneth Rexroth, Gary Snyder and Peter Orlovsky, who would become his life-long partner. After composing his first major notable poem, “Howl”, in 1955, he and Rexroth organized a reading of it at the Six Gallery, featuring Snyder and Michael McClure, with Lawrence Ferlenghetti (who later published the poem) and Kerouac in attendance. Ginsberg’s first collection of poetry was published in 1956, but with its second printing in 1957, Howl and Other Poems (City Lights Books, 1956) was seized by U.S. Customs for being ‘obscene’. However, after a trial, the book was deemed to have literary merit, which propelled Ginsberg and the Beat group of poets into instant fame, giving Ginsberg the opportunity to promote Kerouac’s On the Road and Burroughs’ Naked Lunch. In 1956, Ginsberg received news that his mother had died, which compelled him to write the poems “Death to Van Gogh’s Ear!” and “The Lion for Real”, and Kaddish and Other Poems (City Lights Books, 1961) as well as Empty Mirror: Early Poems (Corinth Books, 1961). During the 1960s Ginsberg traveled widely with Burroughs, Gregory Corso, Snyder to Paris, India, Tangier, Prague (where he was deported for being a corrupting influence). He published  Reality Sandwiches: 1953-1960 (City Lights Books, 1963), The Yage Letters with William Burroughs (City Lights Books, 1963), TV Baby Poems (Beach Books, 1968), Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), and Airplane Dreams: Compositions from Journals (City Lights Books, 1969). The years of 1968 and 1969 were filled with mourning for Ginsberg, as he learned of the death of both Neal Cassady and Jack Kerouac. The 1970s saw Ginsberg publish a number of collections, including The Fall of America: Poems of These States (City Lights, 1972), which won the National Book Award in 1974, The Gates of Wrath: Rhymed Poems, 1948-1952 (Grey Fox, 1972), Iron Horse (City Lights, 1974), First Blues: Rags, Ballads and Harmonium Songs, 1971-1974 (Full Court Press, 1975), Mind Breaths: Poems (City Lights, 1977), Poems All Over the Place: Mostly Seventies (Cherry Valley Editions, 1978). In 1976, Ginsberg and poet Anne Waldman were invited to create a writing program at the Naropa Institute in Colorado, which they named the Jack Kerouac School of Disembodied Poetics. In the 1980s and 1990s, Ginsberg published Plutonian Ode and Other Poems, 1977-1980 (City Lights, 1982), White Shroud: Poems 1980-1985 (Harper & Row, 1986), Cosmopolitan Greetings: Poems, 1986-1992 (HarperCollins,1994), Selected Poems (HarperCollins, 1996), Death & Fame: Last Poems, 1993-1997 (HarperFlamingo, 1999). Until his death, Ginsberg used his fame and poetry to speak out against censorship, the Vietnam War and drug prohibition, and for gay rights. Allen Ginsberg died in New York City, on April 4th, 1997.\",\"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":[1969],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1969 11 7\",\"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 Room H-110\",\"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 Room H-110"],"City":["Montreal, Quebec"],"content_notes":["Allen Ginsberg reads from Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), as well as pieces that were published later in The Fall of America: Poems of These States (City Lights Books, 1973). Ginsbger also performs musical versions of William Blake’s Songs of Innocence and Songs of Experience, recorded later on Songs of Innocence and Experience (MGM, 1970). "],"contents":["allen_ginsberg_i006-11-033-1.mp3 [File 1 of 2]\n \nUnnamed Performers and Audience\n00:00:00\nSing and chant accompanied by music . \n \nUnknown\n00:16:38\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nGeorge Bowering\n00:16:41\nWelcome to the...welcome to the fourth—third week of the fourth series of our readings here at Sir George [https://www.wikidata.org/wiki/Q326342] and this one is a special one, partly in that it was, it is being presented by a combination of the daytime Arts Student Association and the evening Arts Student Association, and not simply on the normal schedule. I'm certain that you don't have to be told who Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] is, and you might think on how lucky it is that you happen to be in Montreal [https://www.wikidata.org/wiki/Q340] and he is here at the same time. Last night he was at York University [https://www.wikidata.org/wiki/Q849751] in Toronto [https://www.wikidata.org/wiki/Q172], and tomorrow he's going to be in Ottawa [https://www.wikidata.org/wiki/Q1930], and we're going to sap an awful lot of his energy. Allen is, I think, the most noted poet we've had over the last couple of decades, in the world, and as you're going to find out and as you already know, one of the super-poets in terms of writing poetry, as well. I'd like to give you, without any more cogitation, Mr. Allen Ginsberg. \n\nAudience\n00:18:13\nApplause.\n \nAllen Ginsberg\n00:18:23\nGeorge Bowering [https://www.wikidata.org/wiki/Q1239280], who I've known a long time, asked me to read a poem that I haven't read through but once before, called \"Angkor Wat\". So I'll try that. It's middle-sized, like, ten minutes, probably. What it is, is notations taken down in the course of one night in Cambodia [https://www.wikidata.org/wiki/Q424], in Siem Reap [https://www.wikidata.org/wiki/Q11711], which is outside of Angkor Wat [https://www.wikidata.org/wiki/Q43473], a town outside of the ruins.\n \nUnknown\n00:18:55\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:18:56\nReads \"Angkor Wat\" [from Angkor Wat]. \n \nAudience\n00:41:32\nApplause [cut off].\n \nUnknown\n00:41:37\nSilence [cut or edit made in tape].  \n \nAllen Ginsberg\n00:41:45\nI want to read a couple poems from a book published in Toronto by Anansi Press, or one poem from that. This is written in Saigon [https://www.wikidata.org/wiki/Q1854], so it's about a week, yes it's about...the same week, I think. Oh this is...a week before. \n \nAllen Ginsberg\n00:42:19\nReads “Understand that this is a Dream” [from Airplane Dreams].\n \nUnknown\n00:49:28\nSilence [cut or edit made in tape].\n \nAllen Ginsberg\n00:49:36\nI've been working on Blake's [https://www.wikidata.org/wiki/Q41513] Songs of Innocence [https://www.wikidata.org/wiki/Q20644964] and Experience [https://www.wikidata.org/wiki/Q27890603], making tunes, or tuning the songs, so I'd like to sing some. \n \nAllen Ginsberg\n00:49:48\nPerforms \"(a) Introduction / (b) The Shepherd”, accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:52:30\nSinging them in the order in Experience, that they're in the book, what follows is \"The Echoing Green\".\n \nAllen Ginsberg\n00:52:40\nPerforms \"The Echoing Green\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:54:29\n“The Little Boy Lost\" and \"The Little Boy Found\".\n \nAllen Ginsberg\n00:54:41\nPerforms \"The Little Boy Lost\" and \"The Little Boy Found\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:56:14\nPerforms \"The Blossom\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:57:16\nFrom Experience, the first song is \"Hear the Voice of the Bard\".\n \nAllen Ginsberg\n00:57:22\nPerforms \"Hear the Voice of the Bard\", accompanying himself on harmonium [recorded later as “Introduction” on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:59:26\nAnd the last song in Experience...\n \nAllen Ginsberg\n00:59:33\nPerforms \"Introduction\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n01:00:47.46\nAnd last from Innocence, \"The Laughing Song\".\n \nAllen Ginsberg\n01:00:50\nPerforms \"The Laughing Song\", accompanying himself on harmonium [recorded later as “b) Laughing Song” on Songs of Innocence and Experience].\n \nAudience\n01:01:48\nApplause [cut off].\n\nEND\n01:01:52\n\n\nallen_ginsberg_i006-11-033-2.mp3 [File 2 of 2] \n\nAllen Ginsberg\n00:00:00\nReads \"Morning\" [from Planet News]. \n \nAudience\n00:02:17\nLaughter and applause.\n \nUnknown\n00:02:23\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:02:23\nReads \"Today\" [from Planet News]. \n \nAudience\n00:10:04\nApplause.\n \nUnknown\n00:10:07\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:10:08\nReads \"First party at Ken Kesey's with Hell's Angels\" [from Planet News]. \n \nAllen Ginsberg\n00:11:22\nReads \"Uptown\" [from Planet News]. \n \nAudience\n00:12:20\nLaughter and applause\n \nUnknown\n00:12:29\n[Cut or edit made in tape].\n \nAllen Ginsberg\n00:12:30\nPerforms \"Holy Ghost on the Nod over the Body of Bliss\" [from Planet News]. \n \nAudience\n00:14:46\nApplause.\n \nUnknown\n00:14:52\nSilence [cut or edit made in tape].\n \nAllen Ginsberg\n00:14:59\nPerforms \"Hari Om Namah Shivaya” chant, accompanying himself on harmonium. \n \nAudience\n00:25:17\nApplause.\n \nAllen Ginsberg\n00:25:22\nPerforms \"The Lamb\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:27:00\nPerforms \"The Little Black Boy\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:30:11\nPerforms \"Holy Thursday\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:31:37\nI'll finish the Blake with \"The Nurse's Song\". Get up a little closer to me.\n \nAllen Ginsberg\n00:31:52\nPerforms\"The Nurse's Song\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:32:27\nNo...start again.\n \nAllen Ginsberg\n00:32:32\nPerforms \"The Nurse's Song\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\n \nAudience\n00:35:58\nApplause.\n \nUnknown\n00:36:05\nSilence [cut or edit made in tape].\n \nAllen Ginsberg\n00:36:13\nThe continuation of a long poem on these dates. Some of those who are specialists, some of those who are specialists in poesy will know a text published in a book I've been reading from, Planet News [https://www.wikidata.org/wiki/Q7201132], called \"Wichita Vortex Sutra\". This is the continuation of the same long poem a year later, bringing the war, the mental war up to 1967. January, 1967. Related to the poem \"Wichita Vortex Sutra\" in that it's crossing the central part of the United States [https://www.wikidata.org/wiki/Q30] again, north of Kansas [https://www.wikidata.org/wiki/Q1558] through Nebraska [https://www.wikidata.org/wiki/Q1553], passing again by Lincoln [https://www.wikidata.org/wiki/Q28260], Nebraska. A trip between Wichita, Kansas and Lincoln, Nebraska two...a year and a half earlier having been the subject of the text \"Wichita Vortex Sutra\". This continuation.\n \nAllen Ginsberg\n00:37:09\nReads [“Returning North of Vortex\", published later in The Fall of America: Poems of These States].\n \nAllen Ginsberg\n00:43:12\nA continuation of the same poem, between Kansas City [https://www.wikidata.org/wiki/Q41819] and St. Louis [https://www.wikidata.org/wiki/Q38022]. Middle of the long poem on these dates.\n \nAllen Ginsberg\n00:43:22\nReads [\"Kansas City to Saint Louis\", published later in The Fall of America: Poems of These States].\n \nAudience\n00:52:41\nApplause.\n \nUnknown\n00:52:46\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:52:47\nReads \"Car Crash\" [published later in The Fall of America: Poems of These States; audience laughter throughout].\n\nAllen Ginsberg\n00:58:17\nAnd July 4th, 1969. \"Orange hawkeye\"--Hawkeye is a New York state [https://www.wikidata.org/wiki/Q1384] flower, a flower that grows in New York state, very tiny, bright orange, eyeball with a tiny brown, brownish, purplish pupil.\n \nAllen Ginsberg\n00:58:35\nReads [\"Independence Day\", published later in The Fall of America: Poems of These States]\n \nAllen Ginsberg\n01:00:49\nFinish with a mantra. Well or, read one last poem, which has been distributed by Dakota Broadsides, they're people from Logos, or connected with Logos, I think. Is that not right? Yeah. I'll pass these out, I think. It's a poem written in Grant Park [https://www.wikidata.org/wiki/Q159085] on August 28th, '68, during the Democratic Convention. Uh, Grant Park, the day after the election of, or the day after the nomination of Humphrey [https://www.wikidata.org/wiki/Q209989]. \n \nAllen Ginsberg\n01:01:27\nReads unnamed poem.\n \nAudience\n01:02:25\nApplause and laughter [cut off].\n \nEND\n01:02:31\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nIn 1969, Ginsberg had published Airplane Dreams: Compositions from Journals. In June of 1969, Ginsberg recorded a series of William Blake’s poetry set to music, which was released by MGM records in 1970. Close friend Jack Kerouac died on October 21, 1969, which prompted Allen to write his long elegy, “Memory Gardens”. In December, Ginsberg testified in court at the “Chicago Seven” trial of protesters in the 1968 Democratic National Convention.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAllen Ginsberg not only became a household name and a symbol for youth in North America during the 60’s and 70’s, he led the ‘Beat’ poetry movement, was a world traveler, a defender of civil and human rights, a teacher and spiritual guide. Ginsberg states in the recording that he had known George Bowering, who was a professor at Sir George Williams University, for “a long time” (I006-11-033.1).\",\"type\":\"General\"},{\"note\":\"George Bowering published his reaction to Ginsberg’s poem, “Howl” in 1969, How I hear Howl (Montreal, Beaver kosmos folio, 1, 1969).\",\"type\":\"General\"},{\"note\":\"Stephen Morrissey has recollections of attending most of the readings in the series: <http://www.vehiculepoets.com/recollective_essay.htm>\",\"type\":\"General\"},{\"note\":\"Original print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Butscher, Edward. \\\"Ginsberg, Allen\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton, ed. Oxford University Press, 1996.\\n\"},{\"url\":\"https://www.worldcat.org/title/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"Carlise, Chuck. \\\"Ginsberg, Allen\\\". The Oxford Encyclopedia of American Literature. Jay Parini, ed. Oxford University Press 2004. \"},{\"url\":\"https://www.worldcat.org/title/ankor-wat/oclc/17611&referer=brief_results\",\"citation\":\"Ginsberg, Allen. Angkor Wat. London: Fulcrum Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/planet-news-1961-1967/oclc/806341370&referer=brief_results\",\"citation\":\"Ginsberg, Allen. Planet News. San Francisco: City Lights Books, 1968. \"},{\"url\":\"https://www.worldcat.org/title/fall-of-america-poems-of-these-states-1965-1971/oclc/472756006&referer=brief_results\",\"citation\":\"Ginsberg, Allen. The Fall of America: Poems of These States. San Francisco: City Lights Books, 1973.\"},{\"url\":\"https://www.wikidata.org/wiki/Q20713959\",\"citation\":\"Ginsberg, Allen. Songs of Innocence and Experience. New York: MGM, 1970. \"},{\"url\":\"http://www.writing.upenn.edu/~afilreis/50s/ginsberg-fbi.html\",\"citation\":\"Mitgang, Herbert. Dangerous dossiers: exposing the secret war against America’s greatest authors. New York: D.I. Fine, 1988.\"},{\"url\":\"http://www.allenginsberg.org\",\"citation\":\"Allen Ginsberg Project. The Allen Ginsberg Trust, 2010. \"},{\"url\":\"\",\"citation\":\"Duerden, Paul. “Ginsberg, Allen, 1926-”. Literature Online Biography. Proquest, 2008.   \"},{\"url\":\"\",\"citation\":\"“Nook: Ginsberg”. The Georgian. Montreal: Sir George Williams University, 12 November 1969, page 7.\"}]"],"_version_":1853670548896219136,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0033-1_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0033-1_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Allen Ginsberg Tape Box 1 - 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_0033-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0033-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Allen Ginsberg Tape Box 1 - 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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_0033-2_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0033-2_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Allen Ginsberg Tape Box 2 - 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_0033-2_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0033-2_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Allen Ginsberg Tape Box 2 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/allen_ginsberg_i006-11-033-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"allen_ginsberg_i006-11-033-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:01:52\",\"precision\":\"\",\"size\":\"148.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"allen_ginsberg_i006-11-033-1.mp3 [File 1 of 2]\\n \\nUnnamed Performers and Audience\\n00:00:00\\nSing and chant accompanied by music . \\n \\nUnknown\\n00:16:38\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nGeorge Bowering\\n00:16:41\\nWelcome to the...welcome to the fourth—third week of the fourth series of our readings here at Sir George [https://www.wikidata.org/wiki/Q326342] and this one is a special one, partly in that it was, it is being presented by a combination of the daytime Arts Student Association and the evening Arts Student Association, and not simply on the normal schedule. I'm certain that you don't have to be told who Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] is, and you might think on how lucky it is that you happen to be in Montreal [https://www.wikidata.org/wiki/Q340] and he is here at the same time. Last night he was at York University [https://www.wikidata.org/wiki/Q849751] in Toronto [https://www.wikidata.org/wiki/Q172], and tomorrow he's going to be in Ottawa [https://www.wikidata.org/wiki/Q1930], and we're going to sap an awful lot of his energy. Allen is, I think, the most noted poet we've had over the last couple of decades, in the world, and as you're going to find out and as you already know, one of the super-poets in terms of writing poetry, as well. I'd like to give you, without any more cogitation, Mr. Allen Ginsberg. \\n\\nAudience\\n00:18:13\\nApplause.\\n \\nAllen Ginsberg\\n00:18:23\\nGeorge Bowering [https://www.wikidata.org/wiki/Q1239280], who I've known a long time, asked me to read a poem that I haven't read through but once before, called \\\"Angkor Wat\\\". So I'll try that. It's middle-sized, like, ten minutes, probably. What it is, is notations taken down in the course of one night in Cambodia [https://www.wikidata.org/wiki/Q424], in Siem Reap [https://www.wikidata.org/wiki/Q11711], which is outside of Angkor Wat [https://www.wikidata.org/wiki/Q43473], a town outside of the ruins.\\n \\nUnknown\\n00:18:55\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:18:56\\nReads \\\"Angkor Wat\\\" [from Angkor Wat]. \\n \\nAudience\\n00:41:32\\nApplause [cut off].\\n \\nUnknown\\n00:41:37\\nSilence [cut or edit made in tape].  \\n \\nAllen Ginsberg\\n00:41:45\\nI want to read a couple poems from a book published in Toronto by Anansi Press, or one poem from that. This is written in Saigon [https://www.wikidata.org/wiki/Q1854], so it's about a week, yes it's about...the same week, I think. Oh this is...a week before. \\n \\nAllen Ginsberg\\n00:42:19\\nReads “Understand that this is a Dream” [from Airplane Dreams].\\n \\nUnknown\\n00:49:28\\nSilence [cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:49:36\\nI've been working on Blake's [https://www.wikidata.org/wiki/Q41513] Songs of Innocence [https://www.wikidata.org/wiki/Q20644964] and Experience [https://www.wikidata.org/wiki/Q27890603], making tunes, or tuning the songs, so I'd like to sing some. \\n \\nAllen Ginsberg\\n00:49:48\\nPerforms \\\"(a) Introduction / (b) The Shepherd”, accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:52:30\\nSinging them in the order in Experience, that they're in the book, what follows is \\\"The Echoing Green\\\".\\n \\nAllen Ginsberg\\n00:52:40\\nPerforms \\\"The Echoing Green\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:54:29\\n“The Little Boy Lost\\\" and \\\"The Little Boy Found\\\".\\n \\nAllen Ginsberg\\n00:54:41\\nPerforms \\\"The Little Boy Lost\\\" and \\\"The Little Boy Found\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:56:14\\nPerforms \\\"The Blossom\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:57:16\\nFrom Experience, the first song is \\\"Hear the Voice of the Bard\\\".\\n \\nAllen Ginsberg\\n00:57:22\\nPerforms \\\"Hear the Voice of the Bard\\\", accompanying himself on harmonium [recorded later as “Introduction” on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:59:26\\nAnd the last song in Experience...\\n \\nAllen Ginsberg\\n00:59:33\\nPerforms \\\"Introduction\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n01:00:47.46\\nAnd last from Innocence, \\\"The Laughing Song\\\".\\n \\nAllen Ginsberg\\n01:00:50\\nPerforms \\\"The Laughing Song\\\", accompanying himself on harmonium [recorded later as “b) Laughing Song” on Songs of Innocence and Experience].\\n \\nAudience\\n01:01:48\\nApplause [cut off].\\n\\nEND\\n01:01:52\\n\",\"notes\":\"Allen Ginsberg reads from Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), as well as pieces that were published later in The Fall of America: Poems of These States (City Lights Books, 1973). Ginsbger also performs musical versions of William Blake’s Songs of Innocence and Songs of Experience, recorded later on Songs of Innocence and Experience (MGM, 1970). \\n                                              \\n00:00- Recording begins with Hare Krishna chanting music.\\n16:41- George Bowering introduces Allen Ginsberg. [INDEX: Sir George Williams University, third week of the fourth series of readings, reading presented with both daytime and evening Arts Student Association, Ginsberg’s reading schedule: York University (Toronto), Ottawa.]\\n18:23- Introduces “Angkor Wat”. [INDEX: George Bowering, notations taken from one night in Siem Reap, Cambodia; from Angkor Wat (Fulcrum Press, 1968).]\\n18:56- Reads “Angkor Wat”.\\n41:45- Introduces “Understand That This is a Dream”. [INDEX: Published by Anansi Press, Toronto; found in Airplane Dreams (City Lights Books, 1969).]\\n42:19- Reads “Understand That This is a Dream”.\\n49:36- Introduces Blake’s Songs of Innocence and Experience, poem beginning “Piping down the valleys wild”.\\n49:48- Sings (with harmonium-style instrument) “Piping down the valleys wild”.\\n51:20- Sings (with harmonium-style instrument) “How sweet is the shepherd’s sweet lot”.\\n52:30- Introduces “The Echoing Green” [INDEX: Blake’s Experience.]\\n52:40- Sings (with harmonium-style instrument) “The Echoing Green”.\\n54:29- Sings (with harmonium-style instrument) “The Little Boy Lost” and “The Little Boy Found”.\\n56:14- Sings (with harmonium-style instrument) “The Blossom”.\\n57:16- Introduces “Hear the Voice of the Bard” [INDEX: from Experience.]\\n57:22- Sings (with harmonium-style instrument) “Hear the Voice of the Bard”.\\n59:33- Sings (with harmonium-style instrument) “Youth of delight, come hither”.\\n1:00:47- Sings (with harmonium-style instrument) “The Laughing Song”\\n1:01:48.50- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/allen-ginsberg-at-sgwu-1969/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/allen_ginsberg_i006-11-033-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"allen_ginsberg_i006-11-033-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"66.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"allen_ginsberg_i006-11-033-2.mp3 [File 2 of 2] \\n\\nAllen Ginsberg\\n00:00:00\\nReads \\\"Morning\\\" [from Planet News]. \\n \\nAudience\\n00:02:17\\nLaughter and applause.\\n \\nUnknown\\n00:02:23\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:02:23\\nReads \\\"Today\\\" [from Planet News]. \\n \\nAudience\\n00:10:04\\nApplause.\\n \\nUnknown\\n00:10:07\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:10:08\\nReads \\\"First party at Ken Kesey's with Hell's Angels\\\" [from Planet News]. \\n \\nAllen Ginsberg\\n00:11:22\\nReads \\\"Uptown\\\" [from Planet News]. \\n \\nAudience\\n00:12:20\\nLaughter and applause\\n \\nUnknown\\n00:12:29\\n[Cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:12:30\\nPerforms \\\"Holy Ghost on the Nod over the Body of Bliss\\\" [from Planet News]. \\n \\nAudience\\n00:14:46\\nApplause.\\n \\nUnknown\\n00:14:52\\nSilence [cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:14:59\\nPerforms \\\"Hari Om Namah Shivaya” chant, accompanying himself on harmonium. \\n \\nAudience\\n00:25:17\\nApplause.\\n \\nAllen Ginsberg\\n00:25:22\\nPerforms \\\"The Lamb\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:27:00\\nPerforms \\\"The Little Black Boy\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:30:11\\nPerforms \\\"Holy Thursday\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:31:37\\nI'll finish the Blake with \\\"The Nurse's Song\\\". Get up a little closer to me.\\n \\nAllen Ginsberg\\n00:31:52\\nPerforms\\\"The Nurse's Song\\\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:32:27\\nNo...start again.\\n \\nAllen Ginsberg\\n00:32:32\\nPerforms \\\"The Nurse's Song\\\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\\n \\nAudience\\n00:35:58\\nApplause.\\n \\nUnknown\\n00:36:05\\nSilence [cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:36:13\\nThe continuation of a long poem on these dates. Some of those who are specialists, some of those who are specialists in poesy will know a text published in a book I've been reading from, Planet News [https://www.wikidata.org/wiki/Q7201132], called \\\"Wichita Vortex Sutra\\\". This is the continuation of the same long poem a year later, bringing the war, the mental war up to 1967. January, 1967. Related to the poem \\\"Wichita Vortex Sutra\\\" in that it's crossing the central part of the United States [https://www.wikidata.org/wiki/Q30] again, north of Kansas [https://www.wikidata.org/wiki/Q1558] through Nebraska [https://www.wikidata.org/wiki/Q1553], passing again by Lincoln [https://www.wikidata.org/wiki/Q28260], Nebraska. A trip between Wichita, Kansas and Lincoln, Nebraska two...a year and a half earlier having been the subject of the text \\\"Wichita Vortex Sutra\\\". This continuation.\\n \\nAllen Ginsberg\\n00:37:09\\nReads [“Returning North of Vortex\\\", published later in The Fall of America: Poems of These States].\\n \\nAllen Ginsberg\\n00:43:12\\nA continuation of the same poem, between Kansas City [https://www.wikidata.org/wiki/Q41819] and St. Louis [https://www.wikidata.org/wiki/Q38022]. Middle of the long poem on these dates.\\n \\nAllen Ginsberg\\n00:43:22\\nReads [\\\"Kansas City to Saint Louis\\\", published later in The Fall of America: Poems of These States].\\n \\nAudience\\n00:52:41\\nApplause.\\n \\nUnknown\\n00:52:46\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:52:47\\nReads \\\"Car Crash\\\" [published later in The Fall of America: Poems of These States; audience laughter throughout].\\n\\nAllen Ginsberg\\n00:58:17\\nAnd July 4th, 1969. \\\"Orange hawkeye\\\"--Hawkeye is a New York state [https://www.wikidata.org/wiki/Q1384] flower, a flower that grows in New York state, very tiny, bright orange, eyeball with a tiny brown, brownish, purplish pupil.\\n \\nAllen Ginsberg\\n00:58:35\\nReads [\\\"Independence Day\\\", published later in The Fall of America: Poems of These States]\\n \\nAllen Ginsberg\\n01:00:49\\nFinish with a mantra. Well or, read one last poem, which has been distributed by Dakota Broadsides, they're people from Logos, or connected with Logos, I think. Is that not right? Yeah. I'll pass these out, I think. It's a poem written in Grant Park [https://www.wikidata.org/wiki/Q159085] on August 28th, '68, during the Democratic Convention. Uh, Grant Park, the day after the election of, or the day after the nomination of Humphrey [https://www.wikidata.org/wiki/Q209989]. \\n \\nAllen Ginsberg\\n01:01:27\\nReads unnamed poem.\\n \\nAudience\\n01:02:25\\nApplause and laughter [cut off].\\n \\nEND\\n01:02:31\\n\",\"notes\":\"Allen Ginsberg reads from Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), as well as pieces that were published later in The Fall of America: Poems of These States (City Lights Books, 1973). Ginsbger also performs musical versions of William Blake’s Songs of Innocence and Songs of Experience, recorded later on Songs of Innocence and Experience (MGM, 1970). \\n\\n00:00- Recording begins, Ginsberg reads “Morning”. [INDEX: from Planet News (City Lights Books, 1968).] \\n02:23- Reads “Today”. [INDEX: from Planet News (City Lights Books, 1968).] \\n10:08- Reads “First party at Ken Kesey’s with Hell’s Angels”. [INDEX: from Planet News (City Lights Books, 1968).]\\n11:22- Reads “Uptown”. [INDEX: from Planet News (City Lights Books, 1968).]\\n12:30- Reads “Holy Ghost, on the Nod, over the Body of Bliss”. [INDEX: from Planet News (City Lights Books, 1968).]\\n13:50- Chants section of poem, first line “And Santa Barbara rejoices in the alleyways of        Brindaban...”.\\n14:59- Harmonium/music starts, Ginsberg sings “Hari Om Namo Shivaya...”\\n25:22- Sings “Little Lamb, Who Made Thee?” [INDEX: William Blake]\\n27:00- Sings \\\"My mother bore me in the southern wild\\\". [INDEX: William Blake.]\\n30:11- Sings “Twas on a Holy Thursday”. [INDEX: William Blake]\\n31:37- Introduces “The Nurse’s Song”. [INDEX: William Blake]\\n31:52- Sings “The Nurse’s Song”.\\n36:13- Introduces “Wichita Votex Sutra”. [INDEX: from Planet News (City Lights Books,   1968).]\\n37:09- Reads “Wichita Vortex Sutra”.\\n43:12- Introduces continuation of same poem, first line “Leaving K.C., MO...”\\n52:47- Reads “Car Crash”.\\n58:17- Introduces “July 4th, 1969”. [INDEX: hawkeye, New York State flower]\\n58:35- Reads “July 4th, 1969”.\\n1:00:49- Introduces unknown mantra, line “Green air, children sit under trees with the old...”\\n1:01:27- Reads unknown mantra, line “Green air, children sit under trees with the old...”\\n1:02:31.23- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/allen-ginsberg-at-sgwu-1969/#2\"}]"],"score":2.4686255},{"id":"1282","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Milton Kessler at Sir George Williams University, The Poetry Series, 14 November 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"MILTON KESSLER Nov 14 69 I086-11-029\" written on sticker on the spine of the tape's box. \"MILTON KESSLER I086-11-029\" written on sticker on the reel. \"RT 533\" written on sticker on the front of the tape's box and on the back of the box. "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Kessler, Milton"],"creator_names_search":["Kessler, Milton"],"creators":["[{\"url\":\"http://viaf.org/viaf/29094528\",\"name\":\"Kessler, Milton\",\"dates\":\"1930-2000 \",\"notes\":\"Milton Kessler was born in 1930 in Brooklyn, New York. As a young man, he skipped school and wrote his own poetry instead. He completed a G.E.D. and married his high school sweetheart Sonia Berer in 1952. Kessler earned his undergraduate degree at University of Buffalo in English magna cum laude in 1957, and his master’s degree at the University of Washington in 1962 and continued further study towards a Ph.D. at Harvard and Ohio State University until 1963. He won the Robert Frost Fellowship in poetry in 1961. Kessler taught at Queens College of the City University of New York from 1963 to 1965. His first published collection of poetry came out in 1963, named A Road Came Once (Ohio State University Press). He was awarded several Yaddo fellowships from 1965 to 1976, as well as MacDowell Foundation fellowships in 1966 and 1979. Kessler has taught English and creative writing at many universities throughout the world, including State University of New York, University of Negev (1971-1972), University of Hawaii (1975), Haifa University (1973), Keio University Tokyo (1978) and Antioch International Writing Seminars at Oxford (1977, 1978). His other collections of poetry are Called Home (The Black Bird Press, 1967), Woodlawn North (1970), and Sailing Too Far (1973). Kessler’s poetry has been included in several anthologies, including Contemporary American Poetry (Penguin Books, 1972) and New York Times Book of Verse (Macmillan, 1970). The Grand Concourse: Poems (MSS State University of New York at Binghamton) was only published in 1990, decades after most of the poems were written. Milton Kessler died on April 17, 2000 in Binghamton, New York.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1969],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1969 11 14\",\"type\":\"Performance Date\",\"notes\":\"Date written on the spine of the tape's box. Date also specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Milton Kessler reads poems published later in both Woodlawn North (Impressions Workshop, 1970) and Sailing Too Far (Harper & Row 1973)."],"contents":["milton_kessler_i086-11-029.mp3\n\nIntroducer\n00:00:00\nLadies and gentlemen, Mr. Milton Kessler [https://www.wikidata.org/wiki/Q6861203], of the Bronx [https://www.wikidata.org/wiki/Q18426] and Binghamton [https://www.wikidata.org/wiki/Q213814], New York [https://www.wikidata.org/wiki/Q1384]. \n\nAudience\n00:00:08\nApplause.\n\nMilton Kessler\n00:00:13\nI'm going to read my most personal poems, and start with the things that mean the most to me. These are poems that will soon be published in a collection that I think it's going to be called The Grand Concourse, that some of you will know is the main street in the Bronx. When I find out what people think of the sight of the Grand Concourse who don't know that it's the main street in the Bronx, you know, they think I'm pretty pompous, but you know it's just another version of something like Flatbush Avenue or something like that. How they got this kind of name for the Bronx, I don't know. This is a poem called, by the way, I don't think I'm going to say too much in between these poems, I'm just going to read them, unless something happens that I will particularly want to say. \"Letter\".\n \nMilton Kessler\n00:01:39\nReads \"Letter\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:04:17\nThis one is called \"A Bombadier's Landscape\".\n \nMilton Kessler\n00:04:28\nReads \"A Bombadier's Landscape\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:05:54\nThis one is titled \"Called Home\" and it was the title of another collection of poems that I put together. \"Called Home\", I always liked this title, you know, and sort of found out later on what it meant, I always liked it, I wish I could have other titles that were sort of, that I liked as much.\n \nMilton Kessler\n00:06:27\nReads \"Called Home\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:07:39\nReads \"Something\" [published later under a different title in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:08:06\nReads \"Lost Song\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:09:04\nThis is a little poem called \"Davey\" for my son, Davey.\n \nMilton Kessler\n00:09:16\nReads \"Davey\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:10:14\nThis is a poem I recently finished, it's called \"The Quiet\", and it's his reply to me. Because you understand that, all of this weight of seriousness, is supposed to lift the whole scene, which is what it's all about, you know, just lift the whole thing. Not to go down, you know, but to just lift it. So this is his, I never read this one before, but this is his response to me.\n \nMilton Kessler\n00:10:52\nReads \"The Quiet\" [published later in Woodlawn North and Sailing Too Far]. \n \nMilton Kessler\n00:12:08\nThis one is called \"I Am No One Else\", which is very important to me, you know, I'm sort of a, I have a kind of involuntary independence and sometimes I would like to try to imitate somebody else's life or lifestyle, or anything but it's just a hopeless case and I can't ever manage it. This is \"I Am No One Else\".\n \nMilton Kessler\n00:12:41\nReads \"I Am No One Else\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:14:08\nI didn't read that too well, I really like that poem I don't want to mess it up, you know, but it's really very hard to be, to say a very, very tender kind of poem, because I'm not so tender, so I have a lot of trouble to be quiet, you know, because I can scream from here back to Brooklyn [https://www.wikidata.org/wiki/Q18419] if I wanted to. This is the last of the poems in this particular part of the sequence. It's a little poem called \"Surprise\", I read it this afternoon. I've had the most amazing response sometimes, at places, when I go very often to the anti-war readings I read these poems, very often this one. And it always sort of surprises me you know, that it's alright. \"Surprise\". Let me tell you a little about this situation--but if I tell you too much about it then I'll read it, you know, I can talk more and it's a little poem. But it was after a big war-type reading at the Loeb Center in New York, and after that, everyone went out, you know, and roaming around all night, and then about 4 am or something like that I got on the subway and went out to my parents' place in Rockaway [https://www.wikidata.org/wiki/Q62569], New York, on the ocean. And when I walked into the place, to their new house, I went to the--I walked in and saw that they were sleeping. And I had such a strong feeling, because when I was a kid, you know, and I used to come in late, either the door was locked, you know, the door was locked or there was this always this--come in after eleven, and you know, you won't get, you know, after eleven the door is locked, climb in through the fire escape or something. But here, you know, it was alright, and there it was and I stood and looked at them sleeping. They're both about 70. And by the way, extraordinarily happy. The poem is called \"Surprise\".\n\nMilton Kessler\n00:16:53\nReads \"Surprise\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:18:05\nNow I have these three poems that I call the “Willow Poems”. One of them isn't finished, because the last two lines of the middle one are just, I got into a kind of pleasure in saying \"O\", you know, “Oh, Joy, Oh”, and like that and sometimes I just enjoyed it so much I was just kind of, and then it didn't mean anything, it you know, I was just kind of enjoying it, which is great, you know, but it's great to enjoy it and also is maybe good, so you make them together like that, so here are the three \"Willow Songs\". This one, well here it is, it's perfectly clear.\n \nMilton Kessler\n00:18:58\nReads \"Willow Songs\" [part 1, published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:19:53\nIt's just like that beautiful girl, and you know, if you teach some place, what do you do? The last thing you do is hang around the school, stay away from it, you know, and so here I stay around the house, and here, I'm around the house during the day, you know, and so is this beautiful fifteen year old girl, and I'm watching her walk back and forth, you know, of course this is a song of innocence, you understand, this what she's got to worry about is me. Well I won't read the second one because the end of it isn't any good. But here is a little lyric, it's one of the Willow poems. I've written, it seems to me, an unusual number of poems that have something to do with my family. And whenever there's ever any suggestion of that kind coming from the world of important poetry, I really feel like just smashing somebody's head right in, nothing bothers me more than that, you know. The implication that something is important to you really isn't important, you know, just do what you please, that's all. But nevertheless, I do notice that there's a certain--sometimes I write a lot of these things. Here's a lyric. This is the last of them. It's a little poem.\n \nMilton Kessler\n00:21:38\nReads \"Willow Songs\" [part 3, published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:22:26\nNow this is a little different kind of series here. And this one is called, the first of these is called \"Summer's End\". This is a long poem that I wrote at a time, it's only some times that it's of any interest what these things develop out of, you know, but this one I think is kind of interesting. I had this very bad, I pulled a muscle in my calf, climbing a mountain, actually, in New Hampshire [https://www.wikidata.org/wiki/Q759], where the mountains aren't too high, you know. And I was in a barn, I was at the MacDowell Colony [https://www.wikidata.org/wiki/Q3273867], and I was in a barn, and I couldn't get out, I couldn't move any place, I had one big jar, you know, next to the floor, sort of thing, and I just stayed there, and they would come around and bring me some food, finally about a week later I couldn't do anything and somebody--Hortense Calisher [https://www.wikidata.org/wiki/Q436082]--I don't know if you know who she is, just finally came along and took my car, drove me to the airport, and that was that, kept the car. But while I was lying there, I said there's no big deal about it, but I have had asthma since I was seven, and the one thing about that, you know a little bit like Proust [https://www.wikidata.org/wiki/Q7199], if you just lie around, you just lie there and then you sort of, alright, so here you are. So you just do something I guess, so this poem, \"Summer's End\", there are a lot of things you do with these things lying around. I'll tell you--\"Summer's End\" alright, \"Summer's End\".\n \nMilton Kessler\n00:24:35\nReads \"Summer's End\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:28:20\nLittle poem, \"Russian Joke\".\n \nMilton Kessler\n00:28:26\nReads \"Russian Joke\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:29:02\n\"The Confusion: May 1969\". I’ve never read this one before, nor is it finished, nor is it any good, as far as I can tell.\n \nMilton Kessler\n00:29:17\nReads \"The Confusion: May 1969\".\n \nMilton Kessler\n00:30:08\nThis one is called \"A Dream of Weeping\".\n \nMilton Kessler\n00:30:14\nReads \"A Dream of Weeping\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:31:24\nHere's a brand new one, this is the last poem I've written, this one. We could stop for a few minutes, you know, if you're tired. I'm really terrified usually before this begins, but once it's going, you know, then it's alright, it's really very good. It's called \"The Moment of No Recovery\". Excuse me, \"The Moment of No Recovery\". Maybe the first one is better than this one. \"The Moment of No Recovery\", \"The Moment of No Discovery\", no this is better. It has only the slightest bit to do, by the way, with a woman in my family who I've recently come to know about, her name is Minnie, she is an aunt, she's my father's sister, she's been in the Rockland State Hospital [https://www.wikidata.org/wiki/Q22061059] for over forty years. Only recently did I find out about her existence. And I remember when I talked to Allen  [https://www.wikidata.org/wiki/Q6711], oh a few months ago, and he said something, he was just talking about the kind of people who are locked up, and he said it's like mini, you know, like mini, and I said that's it! My aunt Minnie, I have this aunt, and he said, well, go, go and see her. You know, what's happening there, how many times she could have been alright, well of course, this is just a little bit to her maybe, but I think I may have been thinking about it a little. Other things too. \"The Moment of No Recovery\". I have to learn, I think, how to read this poem. \n \nMilton Kessler\n00:33:49\nReads \"The Moment of No Recovery\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:35:10\nI've written quite a lot about women, and I have read so many of those, I know, but here is one that is a poem about--titled \"Anne\". When I read this poem in a Pittsburgh [https://www.wikidata.org/wiki/Q1342] high school, about three weeks ago, the teacher decided to call the whole thing off. After I read it, after I read it, and somebody asked me about why I read it and I said I read it because I liked it very much and because I--it was about women, you know, and it was kind of a poem of praise about women, and at that point this woman got up and called and said we have to move the chairs into another room, that's actually what she said, we have to take some of these chairs into another room now, sorry. What a bitch. The worst I've ever seen, she was just unbelievable. Let's not have any doubts about her, it was the Langley High School [https://www.wikidata.org/wiki/Q15241542] in Pittsburgh. This poem is titled \"Anne\".\n \nMilton Kessler\n00:36:48\nReads \"Anne\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:38:55\nThis poem is titled \"Chad Gadya: One Little Goat\"--a Chad Gadya is a passover song and I assume it's a round that has its sense, the idea that God makes it right. It has just the tiniest little autobiographical fact about it, which is that my grandfather actually sold papers in Brooklyn, so this is the beginning of the thing.\n \nMilton Kessler\n00:39:38\nReads \"Chad Gadya: One Little Goat\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:41:4\nThis one is titled \"The Voice of the Soldier\", no one's saying anything about it.\n \nMilton Kessler\n00:42:00\nReads \"The Voice of the Soldier\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:43:00\nThat's a song of innocence. I remember I showed this poem to a student of mine who was in the Israeli army [https://www.wikidata.org/wiki/Q58967], and he immediately said \"No, it's not like that, that's not--it's not like that\" and he described how someone had had his leg blown off and what he said, he didn't say anything like this at all, he said to me, he said something else, and so of course I didn't mean that's the way I thought war was. This is the last one I'm going to read and it's one I haven't read. It's called \"A Good Death\", and it's a poem for Henry Thoreau [https://www.wikidata.org/wiki/Q131149], it's \"A Good Death\" and it's for Henry Thoreau, and it's a century later. And it's the only time I tried, somebody just asked me, you know, it's to, to write something about Thoreau, which I thought would be absolutely impossible, but then as I started to read him, and I started to think of how I could never believe what he was saying, ever, like I could never believe so many affirmative, you know, things, and then I began to sort of see what--and I wrote this anyway. It was between Thoreau and me. You'll see what it sounds like.\n \nMilton Kessler\n00:44:51\nReads \"A Good Death\" [published later in Woodlawn North and Sailing Too Far].\n \nMilton Kessler\n00:45:20\n--oh damn it. That's the trouble, that's the way I am, you know, make the last one you're going to read, you know, something you don't know.\n \nEND\n00:45:33\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nDuring 1969, Kessler was teaching at State University of New York. He was also working on Woodlawn North (Impressions Workshop), to be published in 1970.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo known direct connections to Sir George Williams University are known, however Kessler was an influential poet and professor in New York.\",\"type\":\"General\"},{\"note\":\"Original transcript, 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/grand-concourse-poems/oclc/610177332?referer=di&ht=edition\",\"citation\":\"Kessler, Milton. The Grand Concourse. New York: MSS Paper Book, 1990. \"},{\"url\":\"https://www.worldcat.org/title/called-home-a-sequence-of-poems-1964-66/oclc/11121618?referer=di&ht=edition\",\"citation\":\"Kessler, Milton. Called Home. New York: The Black Bird Press, 1967. \"},{\"url\":\"https://www.worldcat.org/title/woodlawn-north-a-book-of-poems/oclc/121704&referer=brief_results\",\"citation\":\"Kessler, Milton. Woodlawn North. Boston: Impressions Workshop, 1970. \"},{\"url\":\"https://www.worldcat.org/title/sailing-too-far-poems/oclc/729990397&referer=brief_results\",\"citation\":\"Kessler, Milton. Sailing Too Far. New York: Harper & Row, 1973. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/milton-kessler-at-sgwu-1969/\",\"citation\":\"“Poetry Four: Sir George Williams Poetry Series, Special Reading”. Montreal: Sir George Williams University, 1969. \"},{\"url\":\"\",\"citation\":\"\\\"Milton Kessler.\\\" Contemporary Authors Online. Detroit: Gale, 2001. \\n\"},{\"url\":\"\",\"citation\":\"“Nook Book”. The Georgian. November 12, 1969: page 7.\"}]"],"_version_":1853670548899364864,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0029_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0029_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Milton Kessler 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_0029_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0029_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Milton Kessler 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_0029_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0029_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Milton Kessler 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_0029_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0029_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Milton Kessler 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/milton_kessler_i086-11-029.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"milton_kessler_i086-11-029.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:45:33\",\"precision\":\"\",\"size\":\"109.3 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nLadies and gentlemen, Mr. Milton Kessler [https://www.wikidata.org/wiki/Q6861203], of the Bronx [https://www.wikidata.org/wiki/Q18426] and Binghamton [https://www.wikidata.org/wiki/Q213814], New York [https://www.wikidata.org/wiki/Q1384]. \\n\\nAudience\\n00:00:08\\nApplause.\\n\\nMilton Kessler\\n00:00:13\\nI'm going to read my most personal poems, and start with the things that mean the most to me. These are poems that will soon be published in a collection that I think it's going to be called The Grand Concourse, that some of you will know is the main street in the Bronx. When I find out what people think of the sight of the Grand Concourse who don't know that it's the main street in the Bronx, you know, they think I'm pretty pompous, but you know it's just another version of something like Flatbush Avenue or something like that. How they got this kind of name for the Bronx, I don't know. This is a poem called, by the way, I don't think I'm going to say too much in between these poems, I'm just going to read them, unless something happens that I will particularly want to say. \\\"Letter\\\".\\n \\nMilton Kessler\\n00:01:39\\nReads \\\"Letter\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:04:17\\nThis one is called \\\"A Bombadier's Landscape\\\".\\n \\nMilton Kessler\\n00:04:28\\nReads \\\"A Bombadier's Landscape\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:05:54\\nThis one is titled \\\"Called Home\\\" and it was the title of another collection of poems that I put together. \\\"Called Home\\\", I always liked this title, you know, and sort of found out later on what it meant, I always liked it, I wish I could have other titles that were sort of, that I liked as much.\\n \\nMilton Kessler\\n00:06:27\\nReads \\\"Called Home\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:07:39\\nReads \\\"Something\\\" [published later under a different title in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:08:06\\nReads \\\"Lost Song\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:09:04\\nThis is a little poem called \\\"Davey\\\" for my son, Davey.\\n \\nMilton Kessler\\n00:09:16\\nReads \\\"Davey\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:10:14\\nThis is a poem I recently finished, it's called \\\"The Quiet\\\", and it's his reply to me. Because you understand that, all of this weight of seriousness, is supposed to lift the whole scene, which is what it's all about, you know, just lift the whole thing. Not to go down, you know, but to just lift it. So this is his, I never read this one before, but this is his response to me.\\n \\nMilton Kessler\\n00:10:52\\nReads \\\"The Quiet\\\" [published later in Woodlawn North and Sailing Too Far]. \\n \\nMilton Kessler\\n00:12:08\\nThis one is called \\\"I Am No One Else\\\", which is very important to me, you know, I'm sort of a, I have a kind of involuntary independence and sometimes I would like to try to imitate somebody else's life or lifestyle, or anything but it's just a hopeless case and I can't ever manage it. This is \\\"I Am No One Else\\\".\\n \\nMilton Kessler\\n00:12:41\\nReads \\\"I Am No One Else\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:14:08\\nI didn't read that too well, I really like that poem I don't want to mess it up, you know, but it's really very hard to be, to say a very, very tender kind of poem, because I'm not so tender, so I have a lot of trouble to be quiet, you know, because I can scream from here back to Brooklyn [https://www.wikidata.org/wiki/Q18419] if I wanted to. This is the last of the poems in this particular part of the sequence. It's a little poem called \\\"Surprise\\\", I read it this afternoon. I've had the most amazing response sometimes, at places, when I go very often to the anti-war readings I read these poems, very often this one. And it always sort of surprises me you know, that it's alright. \\\"Surprise\\\". Let me tell you a little about this situation--but if I tell you too much about it then I'll read it, you know, I can talk more and it's a little poem. But it was after a big war-type reading at the Loeb Center in New York, and after that, everyone went out, you know, and roaming around all night, and then about 4 am or something like that I got on the subway and went out to my parents' place in Rockaway [https://www.wikidata.org/wiki/Q62569], New York, on the ocean. And when I walked into the place, to their new house, I went to the--I walked in and saw that they were sleeping. And I had such a strong feeling, because when I was a kid, you know, and I used to come in late, either the door was locked, you know, the door was locked or there was this always this--come in after eleven, and you know, you won't get, you know, after eleven the door is locked, climb in through the fire escape or something. But here, you know, it was alright, and there it was and I stood and looked at them sleeping. They're both about 70. And by the way, extraordinarily happy. The poem is called \\\"Surprise\\\".\\n\\nMilton Kessler\\n00:16:53\\nReads \\\"Surprise\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:18:05\\nNow I have these three poems that I call the “Willow Poems”. One of them isn't finished, because the last two lines of the middle one are just, I got into a kind of pleasure in saying \\\"O\\\", you know, “Oh, Joy, Oh”, and like that and sometimes I just enjoyed it so much I was just kind of, and then it didn't mean anything, it you know, I was just kind of enjoying it, which is great, you know, but it's great to enjoy it and also is maybe good, so you make them together like that, so here are the three \\\"Willow Songs\\\". This one, well here it is, it's perfectly clear.\\n \\nMilton Kessler\\n00:18:58\\nReads \\\"Willow Songs\\\" [part 1, published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:19:53\\nIt's just like that beautiful girl, and you know, if you teach some place, what do you do? The last thing you do is hang around the school, stay away from it, you know, and so here I stay around the house, and here, I'm around the house during the day, you know, and so is this beautiful fifteen year old girl, and I'm watching her walk back and forth, you know, of course this is a song of innocence, you understand, this what she's got to worry about is me. Well I won't read the second one because the end of it isn't any good. But here is a little lyric, it's one of the Willow poems. I've written, it seems to me, an unusual number of poems that have something to do with my family. And whenever there's ever any suggestion of that kind coming from the world of important poetry, I really feel like just smashing somebody's head right in, nothing bothers me more than that, you know. The implication that something is important to you really isn't important, you know, just do what you please, that's all. But nevertheless, I do notice that there's a certain--sometimes I write a lot of these things. Here's a lyric. This is the last of them. It's a little poem.\\n \\nMilton Kessler\\n00:21:38\\nReads \\\"Willow Songs\\\" [part 3, published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:22:26\\nNow this is a little different kind of series here. And this one is called, the first of these is called \\\"Summer's End\\\". This is a long poem that I wrote at a time, it's only some times that it's of any interest what these things develop out of, you know, but this one I think is kind of interesting. I had this very bad, I pulled a muscle in my calf, climbing a mountain, actually, in New Hampshire [https://www.wikidata.org/wiki/Q759], where the mountains aren't too high, you know. And I was in a barn, I was at the MacDowell Colony [https://www.wikidata.org/wiki/Q3273867], and I was in a barn, and I couldn't get out, I couldn't move any place, I had one big jar, you know, next to the floor, sort of thing, and I just stayed there, and they would come around and bring me some food, finally about a week later I couldn't do anything and somebody--Hortense Calisher [https://www.wikidata.org/wiki/Q436082]--I don't know if you know who she is, just finally came along and took my car, drove me to the airport, and that was that, kept the car. But while I was lying there, I said there's no big deal about it, but I have had asthma since I was seven, and the one thing about that, you know a little bit like Proust [https://www.wikidata.org/wiki/Q7199], if you just lie around, you just lie there and then you sort of, alright, so here you are. So you just do something I guess, so this poem, \\\"Summer's End\\\", there are a lot of things you do with these things lying around. I'll tell you--\\\"Summer's End\\\" alright, \\\"Summer's End\\\".\\n \\nMilton Kessler\\n00:24:35\\nReads \\\"Summer's End\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:28:20\\nLittle poem, \\\"Russian Joke\\\".\\n \\nMilton Kessler\\n00:28:26\\nReads \\\"Russian Joke\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:29:02\\n\\\"The Confusion: May 1969\\\". I’ve never read this one before, nor is it finished, nor is it any good, as far as I can tell.\\n \\nMilton Kessler\\n00:29:17\\nReads \\\"The Confusion: May 1969\\\".\\n \\nMilton Kessler\\n00:30:08\\nThis one is called \\\"A Dream of Weeping\\\".\\n \\nMilton Kessler\\n00:30:14\\nReads \\\"A Dream of Weeping\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:31:24\\nHere's a brand new one, this is the last poem I've written, this one. We could stop for a few minutes, you know, if you're tired. I'm really terrified usually before this begins, but once it's going, you know, then it's alright, it's really very good. It's called \\\"The Moment of No Recovery\\\". Excuse me, \\\"The Moment of No Recovery\\\". Maybe the first one is better than this one. \\\"The Moment of No Recovery\\\", \\\"The Moment of No Discovery\\\", no this is better. It has only the slightest bit to do, by the way, with a woman in my family who I've recently come to know about, her name is Minnie, she is an aunt, she's my father's sister, she's been in the Rockland State Hospital [https://www.wikidata.org/wiki/Q22061059] for over forty years. Only recently did I find out about her existence. And I remember when I talked to Allen  [https://www.wikidata.org/wiki/Q6711], oh a few months ago, and he said something, he was just talking about the kind of people who are locked up, and he said it's like mini, you know, like mini, and I said that's it! My aunt Minnie, I have this aunt, and he said, well, go, go and see her. You know, what's happening there, how many times she could have been alright, well of course, this is just a little bit to her maybe, but I think I may have been thinking about it a little. Other things too. \\\"The Moment of No Recovery\\\". I have to learn, I think, how to read this poem. \\n \\nMilton Kessler\\n00:33:49\\nReads \\\"The Moment of No Recovery\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:35:10\\nI've written quite a lot about women, and I have read so many of those, I know, but here is one that is a poem about--titled \\\"Anne\\\". When I read this poem in a Pittsburgh [https://www.wikidata.org/wiki/Q1342] high school, about three weeks ago, the teacher decided to call the whole thing off. After I read it, after I read it, and somebody asked me about why I read it and I said I read it because I liked it very much and because I--it was about women, you know, and it was kind of a poem of praise about women, and at that point this woman got up and called and said we have to move the chairs into another room, that's actually what she said, we have to take some of these chairs into another room now, sorry. What a bitch. The worst I've ever seen, she was just unbelievable. Let's not have any doubts about her, it was the Langley High School [https://www.wikidata.org/wiki/Q15241542] in Pittsburgh. This poem is titled \\\"Anne\\\".\\n \\nMilton Kessler\\n00:36:48\\nReads \\\"Anne\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:38:55\\nThis poem is titled \\\"Chad Gadya: One Little Goat\\\"--a Chad Gadya is a passover song and I assume it's a round that has its sense, the idea that God makes it right. It has just the tiniest little autobiographical fact about it, which is that my grandfather actually sold papers in Brooklyn, so this is the beginning of the thing.\\n \\nMilton Kessler\\n00:39:38\\nReads \\\"Chad Gadya: One Little Goat\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:41:4\\nThis one is titled \\\"The Voice of the Soldier\\\", no one's saying anything about it.\\n \\nMilton Kessler\\n00:42:00\\nReads \\\"The Voice of the Soldier\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:43:00\\nThat's a song of innocence. I remember I showed this poem to a student of mine who was in the Israeli army [https://www.wikidata.org/wiki/Q58967], and he immediately said \\\"No, it's not like that, that's not--it's not like that\\\" and he described how someone had had his leg blown off and what he said, he didn't say anything like this at all, he said to me, he said something else, and so of course I didn't mean that's the way I thought war was. This is the last one I'm going to read and it's one I haven't read. It's called \\\"A Good Death\\\", and it's a poem for Henry Thoreau [https://www.wikidata.org/wiki/Q131149], it's \\\"A Good Death\\\" and it's for Henry Thoreau, and it's a century later. And it's the only time I tried, somebody just asked me, you know, it's to, to write something about Thoreau, which I thought would be absolutely impossible, but then as I started to read him, and I started to think of how I could never believe what he was saying, ever, like I could never believe so many affirmative, you know, things, and then I began to sort of see what--and I wrote this anyway. It was between Thoreau and me. You'll see what it sounds like.\\n \\nMilton Kessler\\n00:44:51\\nReads \\\"A Good Death\\\" [published later in Woodlawn North and Sailing Too Far].\\n \\nMilton Kessler\\n00:45:20\\n--oh damn it. That's the trouble, that's the way I am, you know, make the last one you're going to read, you know, something you don't know.\\n \\nEND\\n00:45:33\\n\",\"notes\":\"Milton Kessler reads poems published later in both Woodlawn North (Impressions Workshop, 1970) and Sailing Too Far (Harper & Row 1973).\\n\\n00:00- Unidentified male introduces [INDEX: The Bronx, Binghamton New York]\\n00:13- Milton Kessler introduces The Grand Concourse poems [INDEX: The Grand Concourse]\\n01:39- Reads “Letter”\\n04:17- Reads “A Bombardier’s Landscape”\\n05:54- Introduces “Called Home”\\n06:27- Reads “Called Home”\\n07:39- Reads “Something”\\n08:06- Reads “Lost Song”\\n09:04- Reads “Davey” [INDEX: Poem for his son]\\n10:14- Introduces “The Quiet”\\n10:52- Reads “The Quiet”\\n12:08- Introduces \\\"I Am No One Else\\\"\\n12:41- Reads \\\"I Am No One Else\\\"\\n14:08- Introduces “Surprise” [INDEX: Anti-war readings, Loeb Center, New York]\\n16:53- Reads “Surprise”\\n18:05- Introduces “Willow Songs” (series of three, only reads two)\\n18:58- Reads “Willow Songs”\\n19:53- Introduces second poem of “Willow Songs” [INDEX: Lyric poem]\\n21:38- Reads second poem of “Willow Songs”\\n22:26- Introduces “Summer’s End” [INDEX: McDowell Colony in New Hampshire, Hortense Calisher, Proust]\\n24:35- Reads “Summer’s End”\\n28:20- Reads “Russian Joke”\\n29:02- Introduces “The Confusion: May 1969”\\n29:17- Reads “The Confusion: May 1969”\\n30:08- Reads “A Dream of Weeping”\\n31:24- Introduces “The Moment of No Recovery” [INDEX: Allen Ginsberg, Rockland State \\tHospital, New York]\\n33:49- Reads “The Moment of No Recovery”\\n35:10- Introduces “Anne” [INDEX: Langley High School, Pittsburgh]\\n36:48- Reads “Anne”\\n38:55- Introduces “Chad Gadya: One Little Goat” [INDEX: Passover Songs]\\n39:38- Reads “Chad Gadya: One Little Goat”\\n41:45- Reads “The Voice of the Soldier”\\n43:00- Explains “The Voice of the Soldier” and Introduces “A Good Death” [INDEX: Soldiers, war, Henry Thoreau]\\n44:51- Reads “A Good Death”\\n45:33.56- END OF RECORDING\\n\\nHoward Fink List of Poems:\\n14/11/69\\nOn one 5”, single track, mono, reel, @ 3 3/4 ips, lasting 50 mins\\n \\n1.  “Letter”\\n2.  “A Bombardier’s Landscape\\n3.  “Called Home”\\n4.  “Something\\n5.  “Lost Song\\n6.  “Davey”\\n7.  “The Quiet”\\n8.  “I am no one else”\\n9.  “Surprise”\\n10. “Willow Poems”\\n11. “Summers End”\\n12. “Russian Joke”\\n13. “The Confusion: May 1969”\\n14.  “A Dream of Weeping”\\n15.  “The Moment of no Recovery”\\n16. “Anne”\\n17.  1st line: “Oh mister, I am your grandfather...”\\n18. “The Voice of the Soldier”\\n19.  “A Good Death”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/milton-kessler-at-sgwu-1969/\"}]"],"score":2.4686255},{"id":"1283","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Gladys Hindmarch and Stan Persky at Sir George Williams University, The Poetry Series, 21 November 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"GLADYS HINDMARCH I086-11-020\" written on sticker on the spine of the tape's box and on the reel. \"RT 511\" written on sticker on the front of the tape's box and on the back of the box.\n\n\"STAN PERSKY Recorded November 21, 1969 3.75 ips, 1/2 track 1 mil. tape 55 minutes\" written on sticker on the back of the tape's box. \"STAN PERSKY I006/SR137\" written on sticker on the spine of the tape's box. \"I006-11-137\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[I086-11-020, I006-11-137]"],"creator_names":["Hindmarch, Gladys","Persky, Stan"],"creator_names_search":["Hindmarch, Gladys","Persky, Stan"],"creators":["[{\"url\":\"http://viaf.org/viaf/38164256\",\"name\":\"Hindmarch, Gladys\",\"dates\":\"1940-\",\"notes\":\"Gladys Maria Hindmarch was born on Vancouver Island in 1940. She completed her Bachelor of Arts and a Master of Arts at the University of British Columbia. There she met poets George Bowering, Frank Davey, David Dawson, James Reid, Fred Wah and critic and professor Warren Tallman and was influential in creating the Tish magazine in 1961. However, she never published her own work in the magazine as she wrote prose. Her first publication was Sketches, published by George Bowering via the English Department of Sir George Williams University in 1970. Hindmarch wrote two novels, The Peter Stories (Coach House Press, 1976) and A Birth Account (New Star Books, 1967), which was followed by Watery part of the world (Douglas & McIntyre, 1988). Hindmarch has taught at Langara College and Capilano Colleges and she continues to live and write in Vancouver.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/57448780\",\"name\":\"Persky, Stan\",\"dates\":\"1941-\",\"notes\":\"Writer, teacher, activist and critic Stan Persky was born in Chicago on January 19, 1941. Early on, he was influenced by the Beat Generation poets and decided he would pursue a career in letters. Persky enrolled in the US Navy, and then moved to San Francisco in the early 1960’s where he became involved with the writers of the San Francisco Renaissance, including Jack Spicer, Robin Blaser and Robert Duncan. Persky’s first publications include Les enfants du paradis (St-Denis Press, 1961) and Moss (Rabbit Mountain College, 1961). In 1966, Persky moved with Robin Blaser to Vancouver, where Persky received his BA and MA degrees from the University of British Columbia. Persky co-founded the Georgia Straight Writing Supplements in the late 60’s, which led to what is now known as New Star Books. Persky and other writers began to publish the works of Milton Acorn, Gerry Gilbert, Jack Spicer, George Bowering, Fred Wah, bill bisset and Daphne Marlatt along with many others. Persky has taught at the Northwest College, Malaspina College, Simon Fraser University and at the Capilano University. Persky published Lives of the French Symbolist poets (White Rabbit Press, 1967),  The Day (Georgia Straight Writing Supplement, 1971), George Bowering published An oral literary history of Vancouver in 1972 in the Beaver Kosmos Series, Slaves (New Star Books, 1974), and Wrestling the angel (Talonbooks, 1976). His first political-themed books, Son of Socred (New Star, 1979), The House That Jack Built (New Star, 1980) and Bennett II (New Star, 1983) gained wide-spread acclaim. His other many publications include At the Lenin Shipyard: Poland and the Rise of the Solidarity Trade Union (New Star, 1981), The Solidarity Sourcebook (New Star, 1981), he edited Flaunting It: A Decade of Gay Journalism From the Body Politic with Henry Flam (New Star, 1982), The Holy Forest with introductions by Robin Blaser and Robert Creeley (Coach Hosue Press, 1998), Buddy’s: Meditations on Desire (New Star Press, 1989) which won a Hubert Evans Non-Fiction Prize nomination, Then we Take Berlin: Stories from the Other Side of Europe (Knopf, 1995), On Kiddie Porn: Sexual Representation, Free Speech and the Robin Sharpe Case with John Dixon (New Star, 2001) and most recently Top Sentence: A Writer’s Education (New Star, 2007). He has been a media commentator for the CBC, and has written for The Globe and Mail, the Vancouver Sun, Saturday Night, The Tyee and dooneyscafe.com as well as other journals. Persky resides in Vancouver and Berlin and continues to lecture and write.\",\"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":[1969],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"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","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1969 11 21\",\"type\":\"Performance Date\",\"notes\":\"Date written on tape box for I006-11-137\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Gladys Hindmarch reads a series of short stories later published in The Watery Part of the World (Douglas & McIntyre, 1988). Stan Persky reads from Wrestling the Angel (Talonbooks, 1976) as well as a few unpublished poems."],"contents":["gladys_hindmarch_i086-11-020.mp3 [File 1 of 2]\n\nGeorge Bowering\n00:00:00\nAnother Vancouver [https://www.wikidata.org/wiki/Q24639] night in the series, this will be, this is the final reading of the fall series, and will be picked up again in January. As you know from the propaganda sheets, we're presenting what I consider to be the centre of the Vancouver writing scene. Gladys Hindmarch has been in that scene for ten years, and was associated with all those people who've got all kinds of names over the last few years such as West Coast movement and the Tish movement and the New Wave Canada [https://www.wikidata.org/wiki/Q16] and that sort of business. And Stan Persky [https://www.wikidata.org/wiki/Q2330087], was as much related if not more because he is also a sort of superstar of little magazines [audience laughter] in San Francisco [https://www.wikidata.org/wiki/Q62], and made the usual move up to Vancouver, what, three years ago? And has now become the superstar of the Vancouver writing scene. What's going to happen is that the reading will be split into two pieces. At the beginning, Stan is going to introduce Gladys, and then there will be a break of about ten minutes, and then Gladys is going to introduce Stan. So, I'd like to give you \"Stan and Gladys Evening\".\n \nStan Persky\n00:01:43\n\"Beginning again and again is a natural thing, even when there is a series. Beginning again and again and again, explaining composition and time is a natural thing. It is understood by this time that everything's the same, except composition and time. Composition, and the time of the composition and the time in the composition. Everything is the same except composition and as the composition is different, and always going to be different, everything is not the same. Everything is not the same as the time when, of the composition, and the time in the composition is different. The composition is different, that is certain.\" Gertrude Stein [https://www.wikidata.org/wiki/Q188385].\n \nGladys Hindmarch\n00:02:40\nWhen I whistle, just imagine that it's a very good whistler. \"They know what they're doing\".\n \nGladys Hindmarch\n00:02:53\nReads \"They know what they're doing\" [published later as “Callback” in The Watery Part of the World].\n \nGladys Hindmarch\n00:16:08\nThat's the third in a group of stories, or series of stories that I'm writing. [Audience laughter]. I haven't got a title for this one, it's still in the first day on the trip but it's the seventh story. I call it \"The [Salad (?)] Story\" in my head but I'll have to find a title for it.\n \nGladys Hindmarch\n00:16:54\nReads [\"Nothing is Simple\", published later in The Watery Part of the World].\n \nGladys Hindmarch\n00:33:30\nAnother, I've got lots of others, but I'm just going to read one other short one that's got a number of daydream passages that I don't think I--it's necessary to know which of the day--I mean you can, I think you can get it, it's just call it \"Number 12\" right now it also hasn't got a title. \"Outside deck scene\"--I guess that George [https://www.wikidata.org/wiki/Q1239280] didn't say, I used to work as a mess girl and a cook on a West Coast freighter called the Tahsis Prince, I worked on four or five of them because I was relief working, but the main one I worked on went up the west coast of Vancouver Island [https://www.wikidata.org/wiki/Q170479], and not, they have great difficulty getting women to go out there, maybe obvious reasons in these stories so I could almost get a job on it, whereas the other ones I could get jobs if nobody was available, but since on this particular boat, usually nobody was available. One time I was leaving shopping in the Army and Navy and a guy came down the hall and said, Look you know, they're trying to get a hold of you, you've gotta go up there. And I said, come on, now, and sort of walked me back to the hall. And one Christmas run there were fifty one men--lots of people don't want to go out at Christmas, but a lot of the seamen, just work in the summer, so if they can get a job for two weeks they take it. They had fifty one cards on the board and not one of them--and there was a call for a cook, which was a girl's job and a call for an able seaman, and not one of the fifty-one men would go out on the boat--they got a guy who hadn't registered yet went out. This is an end of summer trip, it's not rough at all.\n \nAnnotation\n00:35:42\nReads [\"How It Feels”, published later in The Watery Part of the World].\n \nEND\n00:45:52\n[Cut off abruptly].\n\nstan_persky_i006-11-137.mp3 [File 2 of 2]\n\nGladys Hindmarch\n00:00:00\nStan and I both view Gertrude Stein as sort of eternal and I find that I can never read more than two pages of her at a time, like you just sort of become hypnotized, but she's pretty good to...like when I'm starting, trying to get into something to start to write and if I just read, you know just open one of her books at any sort of page, you know just at random and I just read two or three sentences, sometimes a paragraph, never more than that...and so I'm going to introduce Stan with a couple of Gertrude Stein sentences.  \"There's singularly nothing that makes a difference, a difference in beginning, and in middle, and in ending, except that each generation has something different at which they are all looking. By this I mean so simply that anybody knows it that composition is the difference which makes each and all of them then different from other generations, and this is what makes everything different, otherwise they're all like, and everybody knows it because everybody says it.\" Stan Persky. \n \nStan Persky\n00:01:13\nYeah, I'm doing fine. The reading that I'm going to give is called \"The Day\", and what it is is pieces of everything that I'm onto right now, and so you have to bear with however unable to follow it out. And of course, like what we're trying to do is give you some sense of what it's like to be out where we are. \n\nStan Persky\n00:01:45\nReads \"Notebook, around August 20th, 1969\". \n \nStan Persky\n00:03:34.14\nIs that unbearably fast?\n \nStan Persky\n00:03:38.89\nReads \"Notebook, around August 25th, 1969\".\n \nStan Persky\n00:07:16\n\"Notebook, Sunday, August 29th or 30th, 1969\"  You can see the energy this takes, it's just...[laughter]. This is barely doing it. \"Jim and Franz...\" I'm going to try to read one of these a little more slowly, maybe.\n \nStan Persky\n00:07:42\nReads \"Notebook, Sunday, August 29th or 30th, 1969\".\n \nStan Persky\n00:11:45\nThis one's a longer pull if that's possible. \"The Marriage\". Angela, this is the gossip for you [laughter]. Coming in here, I was thinking, who's sitting in the room, and you'd like to hear your names [laughter]...Arnie...\"The Marriage\". \n \nStan Persky\n00:12:23\nReads \"The Marriage\". \n\nAudience\n00:19:00\nLaughter. \n\nStan Persky\n00:19:04\nTricky dick! [laughter].\n \nStan Persky\n00:19:10\nResumes reading \"The Marriage\".\n \nAudience\n00:27:54\nApplause [cut off]. \n\nUnknown\n00:27:55\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nStan Persky\n00:27:57\nReads \"To Gladys\".\n \nAudience\n00:34:54\nLaughter.\n \nStan Persky\n00:34:59\n\"October 24th, 1969\". Did I write this for this, did I write this reading? \n \nStan Persky\n00:35:08\nReads \"October 24th, 1969\".\n \nStan Persky\n00:36:46\nReads \"Jamie\". \n \nStan Persky\n00:39:49\nAnd the last three...\n \nUnknown\n00:39:52\n[Cut or edit made in tape here. Unknown amount of time elapsed].\n \nStan Persky\n00:39:53\nReads \"Wednesday, November 5th, 1969, by Hunter's Creek\".\n \nStan Persky\n00:42:04\nReads \"Fred Study. Notebook, Friday, November 7th, 1969, Fred Study.\"\n \nStan Persky\n00:44:17\nAnd at last, to finish, as far as it's gone, or whatever it is, \"The Day\".\n \nStan Persky\n00:44:26\nReads \"The Day\".\n \nEND\n00:46:38\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nIn 1969, Gladys Hindmarch was writing and participating in the writing scene in Vancouver. No specific information could be found on Gladys Hindmarch during this year.\\n\\nIn 1969, Persky was living in Vancouver, was published in The Pacific Nation (Vancouver, 1969). He was working on a series of poems called “The Day”, published in Wrestling the Angel (Talonbooks, 1976).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nGladys Hindmarch went to the University of British Columbia, where she met professor and Poetry Reading Series Committee Member George Bowering. Hindmarch was an integral part of the Vancouver poetry renaissance, and was connected to the important poets of the Vancouver ‘scene’.\\n\\nStan Persky met George Bowering and Stanton Hoffman (Faculty and Poetry Reading Series Committee members) when they were in Vancouver and at University of British Columbia during the same period of time, involved in the poetry scene. Please see The Oral Literary History of Vancouver: Stan Persky’s Section (Beaver Kosmos Folio, #5) for how Bowering and Persky met as well as Persky’s relationship to Gladys Hindmarch. Persky is also associated with Robin Blaser (who also read in 1969), Robert Duncan, Robert Creeley, Allen Ginsberg, as well as many other local Vancouver writers in this series.\",\"type\":\"General\"},{\"note\":\"I086-11-020:\\nOriginal transcript, print catalogue, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\\nI006-11-137:\\nOriginal transcript by Rachel Kyne\\n\\nOriginal print catalogue, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>2 CDs> 2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oral-literary-history-of-vancouver-stan-perskys-section/oclc/85105672&referer=brief_results\",\"citation\":\"Bowering, George and Brad Robinson (eds). An Oral Literary History of Vancouver: Stan Persky’s Section. Vancouver: Beaver Kosmos Folios, no. 5, 1973. \"},{\"url\":\"https://www.worldcat.org/title/sketches/oclc/499435403&referer=brief_results\",\"citation\":\"Hindmarch, Gladys. Sketches. Montreal: Beaver Kosmos Folios, no. 3, 198-?.\\n\"},{\"url\":\"https://www.worldcat.org/title/watery-part-of-the-world/oclc/17479102&referer=brief_results\",\"citation\":\"Hindmarch, Gladys. The Watery Part of the World. Toronto: Douglas & McIntyre, 1988.\"},{\"url\":\"http://www.vancouverartinthesixties.com/people/189\",\"citation\":\"“People / Gladys (Maria) Hindmarch”. Ruins in the Process: Vancouver Art in the Sixties.\"},{\"url\":\"http://www.vancouverartinthesixties.com/people/185\",\"citation\":\"“People / Stan Persky”. Ruins in Process: Vancouver Art in the Sixties. Vancouver: The Morris and Helen Belkin Art Gallery, The University of British Columbia and the grunt gallery.\"},{\"url\":\"https://www.worldcat.org/title/topic-sentence-a-writers-education/oclc/1151428685&referer=brief_results\",\"citation\":\"Persky, Stan. Topic Sentence: A Writer’s Education. Vancouver: New Star Books, 2007.\"},{\"url\":\"https://www.worldcat.org/title/wrestling-the-angel/oclc/3320699&referer=brief_results\",\"citation\":\"Persky, Stan. Wrestling the Angel. Vancouver: Talonbooks, 1977.\"},{\"url\":\"https://dooneyscafe.com/robin-blaser-1925-2009-deaths-duty/\",\"citation\":\"Persky, Stan. “Robin Blaser, 1925-2009: Death’s Duty”. dooneyscafe.com. 8 May 2009. \"},{\"url\":\"https://www.worldcat.org/title/words-we-call-home-celebrating-creative-writing-at-ubc/oclc/923442804&referer=brief_results\",\"citation\":\"Svendsen, Linda. Words We Call Home: Celebrating Creative Writing at UBC. Vancouver: University of British Columbia Press, 1990. \"},{\"url\":\"http://www.abcbookworld.com/view_author.php?id=1850\",\"citation\":\"Twigg, Allen. “Persky, Stan”. BC BookWorld Canada. Vancouver: Simon Fraser University, 2007. \"},{\"url\":\"\",\"citation\":\"“Nook Book”. The Georgian. Montreal: Sir George Williams University, 12  November 1969, page 7. \"},{\"url\":\"\",\"citation\":\"“Stan Persky”. The Writers’ Union of Canada: Members’ Pages. The Writer’s Union of Canada, 2009.\"}]"],"_version_":1853670548901462016,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0020_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0137_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Stan Persky 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_0020_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0137_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Stan Persky Tape Box - 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Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/gladys_hindmarch_i086-11-020.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"gladys_hindmarch_i086-11-020.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:45:52\",\"precision\":\"\",\"size\":\"110.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"gladys_hindmarch_i086-11-020.mp3 [File 1 of 2]\\n\\nGeorge Bowering\\n00:00:00\\nAnother Vancouver [https://www.wikidata.org/wiki/Q24639] night in the series, this will be, this is the final reading of the fall series, and will be picked up again in January. As you know from the propaganda sheets, we're presenting what I consider to be the centre of the Vancouver writing scene. Gladys Hindmarch has been in that scene for ten years, and was associated with all those people who've got all kinds of names over the last few years such as West Coast movement and the Tish movement and the New Wave Canada [https://www.wikidata.org/wiki/Q16] and that sort of business. And Stan Persky [https://www.wikidata.org/wiki/Q2330087], was as much related if not more because he is also a sort of superstar of little magazines [audience laughter] in San Francisco [https://www.wikidata.org/wiki/Q62], and made the usual move up to Vancouver, what, three years ago? And has now become the superstar of the Vancouver writing scene. What's going to happen is that the reading will be split into two pieces. At the beginning, Stan is going to introduce Gladys, and then there will be a break of about ten minutes, and then Gladys is going to introduce Stan. So, I'd like to give you \\\"Stan and Gladys Evening\\\".\\n \\nStan Persky\\n00:01:43\\n\\\"Beginning again and again is a natural thing, even when there is a series. Beginning again and again and again, explaining composition and time is a natural thing. It is understood by this time that everything's the same, except composition and time. Composition, and the time of the composition and the time in the composition. Everything is the same except composition and as the composition is different, and always going to be different, everything is not the same. Everything is not the same as the time when, of the composition, and the time in the composition is different. The composition is different, that is certain.\\\" Gertrude Stein [https://www.wikidata.org/wiki/Q188385].\\n \\nGladys Hindmarch\\n00:02:40\\nWhen I whistle, just imagine that it's a very good whistler. \\\"They know what they're doing\\\".\\n \\nGladys Hindmarch\\n00:02:53\\nReads \\\"They know what they're doing\\\" [published later as “Callback” in The Watery Part of the World].\\n \\nGladys Hindmarch\\n00:16:08\\nThat's the third in a group of stories, or series of stories that I'm writing. [Audience laughter]. I haven't got a title for this one, it's still in the first day on the trip but it's the seventh story. I call it \\\"The [Salad (?)] Story\\\" in my head but I'll have to find a title for it.\\n \\nGladys Hindmarch\\n00:16:54\\nReads [\\\"Nothing is Simple\\\", published later in The Watery Part of the World].\\n \\nGladys Hindmarch\\n00:33:30\\nAnother, I've got lots of others, but I'm just going to read one other short one that's got a number of daydream passages that I don't think I--it's necessary to know which of the day--I mean you can, I think you can get it, it's just call it \\\"Number 12\\\" right now it also hasn't got a title. \\\"Outside deck scene\\\"--I guess that George [https://www.wikidata.org/wiki/Q1239280] didn't say, I used to work as a mess girl and a cook on a West Coast freighter called the Tahsis Prince, I worked on four or five of them because I was relief working, but the main one I worked on went up the west coast of Vancouver Island [https://www.wikidata.org/wiki/Q170479], and not, they have great difficulty getting women to go out there, maybe obvious reasons in these stories so I could almost get a job on it, whereas the other ones I could get jobs if nobody was available, but since on this particular boat, usually nobody was available. One time I was leaving shopping in the Army and Navy and a guy came down the hall and said, Look you know, they're trying to get a hold of you, you've gotta go up there. And I said, come on, now, and sort of walked me back to the hall. And one Christmas run there were fifty one men--lots of people don't want to go out at Christmas, but a lot of the seamen, just work in the summer, so if they can get a job for two weeks they take it. They had fifty one cards on the board and not one of them--and there was a call for a cook, which was a girl's job and a call for an able seaman, and not one of the fifty-one men would go out on the boat--they got a guy who hadn't registered yet went out. This is an end of summer trip, it's not rough at all.\\n \\nAnnotation\\n00:35:42\\nReads [\\\"How It Feels”, published later in The Watery Part of the World].\\n \\nEND\\n00:45:52\\n[Cut off abruptly].\",\"notes\":\"Gladys Hindmarch reads a series of short stories later published in The Watery Part of the World (Douglas & McIntyre, 1988). \\n\\n00:00- George Bowering introduces reading. [INDEX: ‘Vancouver night’, final reading in fall series, January, ‘propaganda sheet’, centre of Vancouver writing scene, West Coast    movement, Tish movement, New Wave Canada, Stan Persky, little magazines, San Francisco, move to Vancouver, Stan introduces Gladys, intermission, Gladys introduces Stan.]\\n01:43- Stan Persky reads Gertrude Stein quote [INDEX: composition, series, composition, time.]\\n02:40- Gladys Hindmarch introduces “They Know What They’re Doing”. [INDEX: originally published in Writing (renamed GSWS) No.3, April 1970; and in Iron, No. 3 as recorded in The Watery Part of the World; perhaps later published as “Callback” in The Watery Part of the World (Douglas & McIntyre, 1988).]\\n02:53- Reads “They Know What They’re Doing”.\\n16:08- Introduces untitled story, dubbed “The Salad Story”, first line “Setting up supper is not nearly so slow...”. [INDEX: third in series of stories, untitled, trip; published later as “Nothing is Simple” in The Watery Part of the World (Douglas & McIntyre, 1988).]\\n16:54- Reads first line “Setting up supper is not nearly so slow...”.\\n33:30- Introduces first line “The sun on my eyes...” [INDEX: short story, daydream passages, preliminary titled “12”, George Bowering, mess cook on a West Coast freighter called “Tahsis Prince”, relief working, Vancouver Island, women, seamen, jobs, treatment of women, Army and Navy, Christmas, summer, cook; perhaps later published as “How it Feels” in The Watery Part of the World (Douglas & McIntyre, 1988).]\\n35:42- Reads first line “The sun on my eyes...”.\\n45:52.62- END OF RECORDING.\\n\\n“Howard Fink List of Poems Read”:\\nPrint catalogue page from archives contains the following information:\\n \\nTitle: Gladys Hindmarch reading her own poetry: Final Fall Reading 1969\\nSource: One 5” reel, 3 3/4 , mono lasting 45 mins.\\nDate: November 21, 1969\\n \\nIntroduction by Stan Persky\\n \\nSpeakers: Stan Persky, Gladys Hindmarch\\n \\n1.Title: They Know What They’re Doing\\nFirst Line: “Nobody is moving quickly…”\\n2. Title: untitled [is poem actually called “Untitled,” or is it just listed on archived print cat. as such?]\\nFirst Line: “Setting up for supper…”\\n3.Title: untitled\\nFirst Line: “The sun in my eye…”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gladys-hindmarch-at-sgwu-1969/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/stan_persky_i006-11-137.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"stan_persky_i006-11-137.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"111.9 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"stan_persky_i006-11-137.mp3 [File 2 of 2]\\n\\nGladys Hindmarch\\n00:00:00\\nStan and I both view Gertrude Stein as sort of eternal and I find that I can never read more than two pages of her at a time, like you just sort of become hypnotized, but she's pretty good to...like when I'm starting, trying to get into something to start to write and if I just read, you know just open one of her books at any sort of page, you know just at random and I just read two or three sentences, sometimes a paragraph, never more than that...and so I'm going to introduce Stan with a couple of Gertrude Stein sentences.  \\\"There's singularly nothing that makes a difference, a difference in beginning, and in middle, and in ending, except that each generation has something different at which they are all looking. By this I mean so simply that anybody knows it that composition is the difference which makes each and all of them then different from other generations, and this is what makes everything different, otherwise they're all like, and everybody knows it because everybody says it.\\\" Stan Persky. \\n \\nStan Persky\\n00:01:13\\nYeah, I'm doing fine. The reading that I'm going to give is called \\\"The Day\\\", and what it is is pieces of everything that I'm onto right now, and so you have to bear with however unable to follow it out. And of course, like what we're trying to do is give you some sense of what it's like to be out where we are. \\n\\nStan Persky\\n00:01:45\\nReads \\\"Notebook, around August 20th, 1969\\\". \\n \\nStan Persky\\n00:03:34.14\\nIs that unbearably fast?\\n \\nStan Persky\\n00:03:38.89\\nReads \\\"Notebook, around August 25th, 1969\\\".\\n \\nStan Persky\\n00:07:16\\n\\\"Notebook, Sunday, August 29th or 30th, 1969\\\"  You can see the energy this takes, it's just...[laughter]. This is barely doing it. \\\"Jim and Franz...\\\" I'm going to try to read one of these a little more slowly, maybe.\\n \\nStan Persky\\n00:07:42\\nReads \\\"Notebook, Sunday, August 29th or 30th, 1969\\\".\\n \\nStan Persky\\n00:11:45\\nThis one's a longer pull if that's possible. \\\"The Marriage\\\". Angela, this is the gossip for you [laughter]. Coming in here, I was thinking, who's sitting in the room, and you'd like to hear your names [laughter]...Arnie...\\\"The Marriage\\\". \\n \\nStan Persky\\n00:12:23\\nReads \\\"The Marriage\\\". \\n\\nAudience\\n00:19:00\\nLaughter. \\n\\nStan Persky\\n00:19:04\\nTricky dick! [laughter].\\n \\nStan Persky\\n00:19:10\\nResumes reading \\\"The Marriage\\\".\\n \\nAudience\\n00:27:54\\nApplause [cut off]. \\n\\nUnknown\\n00:27:55\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nStan Persky\\n00:27:57\\nReads \\\"To Gladys\\\".\\n \\nAudience\\n00:34:54\\nLaughter.\\n \\nStan Persky\\n00:34:59\\n\\\"October 24th, 1969\\\". Did I write this for this, did I write this reading? \\n \\nStan Persky\\n00:35:08\\nReads \\\"October 24th, 1969\\\".\\n \\nStan Persky\\n00:36:46\\nReads \\\"Jamie\\\". \\n \\nStan Persky\\n00:39:49\\nAnd the last three...\\n \\nUnknown\\n00:39:52\\n[Cut or edit made in tape here. Unknown amount of time elapsed].\\n \\nStan Persky\\n00:39:53\\nReads \\\"Wednesday, November 5th, 1969, by Hunter's Creek\\\".\\n \\nStan Persky\\n00:42:04\\nReads \\\"Fred Study. Notebook, Friday, November 7th, 1969, Fred Study.\\\"\\n \\nStan Persky\\n00:44:17\\nAnd at last, to finish, as far as it's gone, or whatever it is, \\\"The Day\\\".\\n \\nStan Persky\\n00:44:26\\nReads \\\"The Day\\\".\\n \\nEND\\n00:46:38\\n[Cut off abruptly].\",\"notes\":\"Stan Persky reads from Wrestling the Angel (Talonbooks, 1976) as well as a few unpublished poems.\\n\\n00:00- Gladys Hindmarch introduces Stan Persky. [INDEX: Gertrude Stein, reading Stein, Stein quote.]\\n01:13- Stan Persky introduces reading and the poem “Notebook, around August 20th, 1969”. [INDEX: reading called “The Day”, current work; published in Wrestling the Angel (Talonbooks, 1976), titled “It Starts with This”.]\\n01:45- Reads “Notebook, around August 20th, 1969”.\\n03:35- Stan asks audience about speed of his reading.\\n03:38- Reads “Notebook, around August 25th, 1969”.\\n07:16- Introduces “Notebook, around August 29th or 30th, 1969”. [INDEX: energy, Jim, Franz, reading more slowly.]\\n07:42- Reads “Notebook, around August 29th, or 30th, 1969”.\\n11:45- Introduces “The Marriage”. [INDEX: longer poem, Angela, gossip, audience, Arnie (random audience names); published in Wrestling the Angel (Talonbooks, 1976).]\\n12:23- Reads “The Marriage”.\\n18:56- Interrupts poem [INDEX: interruption, tricky dick.]\\n19:10- Continues “The Marriage”.\\n27:57- Reads “To Gladys”. [INDEX: Robert Creeley, Robert Duncan, Pound’s Canto 29, H.D. Warren Tallman.]\\n34:59- Introduces “October 24th, 1969”. [INDEX: write poem for reading.]\\n35:08- Reads “October 24th, 1969”. [INDEX: Robert Duncan, Robert Creeley.]\\n36:46- Reads “Jamie”. [INDEX: Tish magazine, James Reed.]\\n39:53- Reads “Wednesday, November 5th, 1969, by Hunter’s Creek”.\\n42:04- Reads “Fred Study. Notebook, Friday, November 7th, 1969”\\n44:26- Introduces “The Day”.\\n44:26- Reads “The Day”.\\n46:38.09- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/stan-persky-at-sgwu-1969/\"}]"],"score":2.4686255}]