[{"id":"1258","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":["Henry Beissel and Mike Gnarowski at Sir George Williams University, The Poetry Series, 13 January 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"Henry Beissel Reading in The Poetry Series at Sir George Williams University, 1967-01-13\" handwritten on the back of the tape's box. Spelling mistakes and Mike Gnarwoski's name scratched over with pen. \n\n\"I086-11-003\" and \"RT 516\" also written. \n\n\"GNAROWSKI & BISSEL I006/SR122\" written on sticker on the spine of the tape's box. Gnarowski refers to Michael Gnarowski. Bissel refers to Henry Beissel. Biessel is mispelled "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[I086-11-003, I006-11-122]"],"access":["Streaming and download"],"creator_names":["Gnarowski, Michael","Beissel, Henry"],"creator_names_search":["Gnarowski, Michael","Beissel, Henry"],"creators":["[{\"url\":\"http://viaf.org/viaf/115582508\",\"name\":\"Gnarowski, Michael\",\"dates\":\"1934-\",\"notes\":\"Michael Gnarowski was born on September 27, 1934 in Shanghai, China. He attended several universities: McGill University, B.A. in 1956, Indiana University in 1959, University of Montreal, M.A. in 1960 and University of Ottawa, Ph.D. in 1967. While at McGill, he published his poetry in Yes, which he co-edited. Gnarowski was heavily involved in several presses and magazines throughout his career, which include Le Chien d’or/The Golden Dog, Delta, Golden Dog Press, the Tecumseh Press, Arc Poetry Magazine and McGraw-Hill Ryerson’s Critical Views on Canadian Writers Series (Ryerson Press, 1970), and Canadian Poetry. Along with Ron Everson, Raymond Souster and Louis Dudek, he founded the League of Canadian Poets in 1966. He taught English at the University of Sherbrooke from 1961-62; at Port Arthur (now Thunder Bay), Ontario from 1962-65; was an assistant professor of English at Sir George Williams University (now Concordia) from 1966-72; Carleton University from 1972 onwards. He published a book of his own poetry, Postscript for St. James Street in 1965 (Delta Press), and has since edited and compiled over fifteen other books.\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]},{\"url\":\"http://viaf.org/viaf/5489879\",\"name\":\"Beissel, Henry\",\"dates\":\"1929-\",\"notes\":\"Poet Henry Beissel was born in 1929 in Cologne, Germany. Beissel studied philosophy at universities in Cologne and in London before emigrating to Canada in 1951 where he graduated with an M.A. in English from the University of Toronto in 1960. He taught at the University of Edmonton, the University of Alberta as well as Sir George Williams University (now Concordia University) in Montreal. Beissel served as editor for the controversial literary and political journal Edge from 1963 (in Edmonton) until 1969 (in Montreal). He translated the poetry of German-Canadian Walter Bauer, called The Price of Morning in 1968 (Prism International Press). His first book, New Wings for Icarus was published in 1966 (Coach House Press), followed by Face on the Dark in 1970. Beissel later published The Salt I Taste (D.C. Books, 1975), The Cantos North (Penumbra Press, 1982), Season of Blood (Mosaic Press,1984), Poems new and selected (Grove Press, 1987), Across the Sun’s Warp (BuschekBooks, 2003). He later wrote and published several plays; Inook and the Sun was performed at the Stratford Festival in 1973. In 1980-1, Henry Beissel acted as President of the League of Canadian Poets.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Kiyooka, Roy","Dudek, Louis"],"contributors_names_search":["Kiyooka, Roy","Dudek, Louis"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/49240132\",\"name\":\"Dudek, Louis\",\"dates\":\"1918-2001\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"Presenter_name":["Dudek, Louis"],"Series_organizer_name":["Kiyooka, Roy"],"Speaker_name":["Kiyooka, Roy"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"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\":\"Kodak\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Popped strands\",\"track_configuration\":\"2 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\":\"1967 1 13\",\"type\":\"Performance Date\",\"notes\":\"Date specified in The Georgian's \\\"Op-Ed\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in The Georgian's \\\"Op-Ed\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Henry Beissel reads largely from New Wings for Icarus (Coach House Press, 1966). Mike Gnarowski reads from Postscript for St. James Street (Delta, 1965) and from other unknown sources."],"contents":["Henry_beissel_i086-11-003.mp3 [File 1 of 2]\n\nRoy Kiyooka\n00:00:00\nLadies and Gentleman, um, let's see, what am I going to say? [Audience laughter and applause]...Well, glad to see y’all here. So, Professor Louis Dudek []https://www.wikidata.org/wiki/Q3261787] from McGill University [https://www.wikidata.org/wiki/Q201492] will introduce the two poets who’re reading this evening. \n\nAudience\n00:00:31\nApplause.\n\nLouis Dudek\n00:00:40\nI expected a longer introduction than that, it will be very fine. There are two kinds of readings that I like to attend very much, one kind is the sort that they're having tonight at McGill University, where a well-established poet who has been on the scene for forty or fifty years comes to read. Over there, it's A.J.M. Smith [https://www.wikidata.org/wiki/Q4647944] from Michigan State [https://www.wikidata.org/wiki/Q270222], Canadian anthologist and well-known poet. With a poet like that, really makes no difference what he reads or how he reads it's just important to see him and even the tottering saint can perform miracles on occasions. The other kinds of poets I do like to hear very much are the sort that we'll hear tonight, Gnarowski and Beissel [https://www.wikidata.org/wiki/Q1606507]. The McGill publicity department sent out a notice about A.J.M. Smith and described him as well-known Anthropologist of Canadian poetry. Actually, they corrected it in ink, they made the mistake twice though, probably a typist error. But they didn't know how correct they were, with the current scene in Canadian writing, there are primitive types around that are hard to classify and we need anthropologists...Well, Beissel and Gnarowski are not of this breed of poets who seem to have lost all sense of poetic organization or form, where you think that conventions, poetic conventions have been abolished and what is left are chaotic bits of internal monologue on the page. Of course, that kind of school may be very interesting to watch to see what comes out of it but at present, having watched it now for a few years I'm a little impatient often and tired of the magazines where this material occurs because it seems so easy to turn out and anyone has these bits of chaotic monologue going on. On the other hand, there are many poets still writing who are not following the conventional forms of English metrics and rhyme and so forth, who are turning out poems or at least watching what happens what happens with the words on the page and both the poets we're listening to tonight are of this kind. They are very careful craftsmen. Henry Beissel has the long list of achievements to his credits already, but two on that list strike me very much. One is, amongst many of the posts where he's taught, one is the University of Alberta [https://www.wikidata.org/wiki/Q640694] is the kind of political stir that was created on the campus when his magazine Edge was brought into the classroom by one of the professors. That is, his poetry contains, content that can make one think, that is morally committed to certain issues in today's world. He's very strongly a moral poet on one side, and the other item in his biography is his new book which has just appeared New Wings for Icarus, which is extremely aesthetic at the same time that it is meaningful in this way. His poetry seems to combine two things, one is a moral urgency and on the other hand, at the same time, a romantic sense of language and of imagery and of emotion that goes with that, which are all very, very promising characteristics for a beginning poet, but I think that this New Wings for Icarus book is his first considerable book. So, without more ado, I introduce to you Henry Beissel. \n\nHenry Beissel\n00:05:30\nWhen I considered the kind of poems that I might read this evening and the order in which to read them, I was thinking of the condition of this hall, as it was the last time I was here and I therefore chose two poems which I wrote in the West Indies [https://www.wikidata.org/wiki/Q669037]. [Audience laughter]. They celebrate the sun in an ambiguous sort of way, I'm going to read them all the same, despite the fact that the conditions have changed. I don't know how much you need to know about the West Indies, I'm hoping—oh.\n\nAudience Member 1\n00:06:15\nAddresses Beissel [unintelligible].\n\nHenry Beissel\n00:06:17\nIs this any better? Is there someone in the hall who can attend please to all this? \n\nAudience Member 2\n00:06:28\nAddresses Beissel [unintelligible].\n\nAudience\n00:06:30\nLaughter.\n\nHenry Beissel\n00:06:39\nWell I'll try to speak a little louder on my own, in spite of the microphone. I was saying that I don't know how much one needs to know of the West Indies to respond to this sort of poem, I'm hoping something of the West Indies might be in the poems, the first is called \"Pans at Carnival\". Pan [https://www.wikidata.org/wiki/Q6610630] is the expression for a steel drum. The imagery in the poem is taken entirely from the steel drum and its use at Carnival [https://www.wikidata.org/wiki/Q4618], a feast that is about to be celebrated in Trinidad [https://www.wikidata.org/wiki/Q754] in about a month. Rhythmically, the poem tries to catch something of the rhythm of the steel pan. \n\nHenry Beissel\n00:07:28\nReads \"Pans at Carnival\".\n\nHenry Beissel\n00:10:18\nThe second poem celebrates something of the violence that the sun, with which the sun blesses those parts of the world from which it never really disappears.\n\nHenry Beissel\n00:10:34\nReads \"Where the Sun Only\".\n\nHenry Beissel\n00:12:49\nNext I want to read two parts from New Wings for Icarus. Time does not allow me to read the whole poem, because then I could read you nothing else. “Icarus” is a poem that is written in four parts, it is with some regret that I read only two, because to me it is like playing the second and fourth part of a symphony, but there is no alternative. \n\nHenry Beissel\n00:13:19\nReads \"New Wings for Icarus\", part 2 from New Wings for Icarus.\n\nHenry Beissel\n00:13:51\nSorry, I'll start again. This is a hard one to read and this print is very small. I better hold it closer.\n\nHenry Beissel\n00:13:59\nReads \"New Wings for Icarus\", part 2 from New Wings for Icarus.\n\nHenry Beissel\n00:19:41\nReads \"New Wings for Icarus\", part 4 from New Wings for Icarus.\n\nHenry Beissel\n00:26:39\nNow for a little sort of relaxation in-between, I find unrelieved serious poetry hard to bear myself, I'll read—unfortunately I do not write occasional poems terribly often, they always seem to grow into something much bigger than I can handle, but the next two poems I want to read you are occasional poems, poetry can come out of anything of course, and this one came out of an encounter in a house of Inquisition in Cartagena [https://www.wikidata.org/wiki/Q657461], in Colombia [https://www.wikidata.org/wiki/Q739], it is really self-explanatory. It's called \"En la Casa de Inquisición\". \n\nHenry Beissel\n00:27:40\nReads \"En la Casa de Inquisición\".\n\nHenry Beissel\n00:29:23\nThe next poem leads me on to the last set of poems, but you won't discover that until you hear the last two poems. This poem is dedicated to my daughter, when she was 1 and a half, the first stanza deals with the circumstances of her birth, which were somewhat elaborate, there were firemen. The second stanza deals with her present—this would be the past from the time of the poem, the second deals with her present, and the third with her future. \n\nHenry Beissel\n00:30:07\nReads \"To My Daughter at Age 1 1/2\".\n\nHenry Beissel\n00:33:25\nAnd now I come to the final two poems. They belong together and are part of a— we agreed not to torture you and not to read for more than 30 minutes this evening and I am trying to stick to that. This is rather the beginning of something that I may never live to finish, the entire thing is supposed to have some 26 poems, of which you will hear the first two, one is a prologue and the other one is called \"Adam Enter Eve\". In the prologue, a character introduces himself who is to play his part in the rest of the poem. It's not really a dramatic poem, although it's, well I don't think of it as a drama, although it has dramatic qualities. Anyway, I don't like to be my own critic. I prefer just to read you the poem. The whole cycle will be called \"The Dancer from the Dance\" that is as you no doubt know, a quotation from Yeats [https://www.wikidata.org/wiki/Q40213]. \n\nHenry Beissel\n00:34:45\nReads \"Prologue\" from \"The Dancer from the Dance\".\n\nHenry Beissel\n00:37:04\nReads \"Adam Enter Eve\".\n\nEND\n00:49:40\n[Recording continues on mike_gnarowski_i006-11-122.mp3].\n\nmike_gnarowski_i006-11-122.mp3 [File 2 of 2]\n\nLouis Dudek\n00:00:00\nStrongly I was impressed and moved by that reading by Henry Beissel. Really several times after the poems I wanted to applaud, only we don't do that. They were magnificently organized forms with powerful language and very well read, I felt, I think I'm speaking for most people here when I say that. Mike Gnarowski who reads next is different perhaps in the extent to which his poetry is oriented towards reality. Not by implication because Beissel's also is very real and very down to earth and very much committed to the real world, but Gnarowski's poetry has a lot to do with Canadian poetry and the way it has turned towards the real world since about 1925 since A.J.M. Smith and Scott [F.R. Scott; https://www.wikidata.org/wiki/Q3081656] and A.M. Klein [https://www.wikidata.org/wiki/Q2778027] began writing. Gnarowski's been very active as a student of Canadian literature, a scholar and a bibliographer and so forth of our literature looking into the sources of this modern poetry and to letters and documents. In this he has done some very valuable work, indexing little magazines that would be otherwise, less well known, preparing bibliographies and he is now working on a larger anthology of criticism introducing the backgrounds of modern Canadian poetry. All this kind of study which is very valuable on the academic side is also important to his poetry I feel, that it places him within the line of modern Canadian poets who have tried to interpret the real, the visible, the actual, directly in poetry. Somewhat in the way I suppose that all modern poetry in English does, including T.S. Eliot's [https://www.wikidata.org/wiki/Q37767] \"Waste Land\" [https://www.wikidata.org/wiki/Q581458] and Ezra Pound's [https://www.wikidata.org/wiki/Q163366] \"Cantos\" [https://www.wikidata.org/wiki/Q2701465] and e. e. cumming's [https://www.wikidata.org/wiki/Q298703] comedies and satires and Auden's [https://www.wikidata.org/wiki/Q178698] poetry also. That is the characteristic of twentieth-century poetry is that its extreme realism and the bringing of the romantic conceptions of the last century to bear upon the actual world and showing that the conflict, the intense conflict that exists in the poet between his conception of things and what he sees before him. That you find in Gnarowski very much. He as a writer he is a meticulous craftsman, I don't know if that's symbolic [audience laughter]... He's also a meticulous craftsman and his poems seem to grow by accretion, very gradually. He writes with a stubborn integrity and knows what he thinks and what he's trying to say in a poem, they aren't just momentary fusions. They're highly worked up pieces of writing. There's a strong element of rationality and reality in this poetry, less of the flight of the emotions and the fantasy that's in most other poets. There's a very strong formal organization in his poetry, a clean speech, straight as the Greeks as Ezra Pound used to say in the past. His first book is entitled Postscript for St. James Street which has to do with, in some part anyhow, with the business world in which we live and he has chosen that quite consciously as a subject that could be turned into poetry, to take the business man, the real in that sense, St. James Street [https://www.wikidata.org/wiki/Q1526237] and see what can be made out of that imaginatively. Most poets when they treat a subject like that turn it into satire, because what else can you make out of St. James Street, but Gnarowski wants to keep his vision clear and straight for the fact to see what it really is without elevating too much or perhaps without caricaturing the reality, and it's a very interesting experiment. I'm sure you'll all enjoy listening to his poetry.\n \nMike Gnarowski\n00:05:09\nA couple of years ago I had the occasion to go up into North Western Ontario [https://www.wikidata.org/wiki/Q1904], and I lived there for three or four years and more specifically on Port Arthur [https://www.wikidata.org/wiki/Q7230482] which is on the very shores of Lake Superior [https://www.wikidata.org/wiki/Q1066], and I kept looking at this magnificent and fantastic lake and it kept bothering me. It was too big and too vast and too meaningful and too ominous in many ways to be let off too easily. I also had a friend up there who was an anthropologist and archaeologist and a very good one, and he spent a lot of time going up into that country up around Lake Superior and he kept coming back with all sorts of wonderful thing, all sorts of relics of the past as it were. Gaffs and skulls and this and that which he kept finding and he told me that that part of the world had at one time had supported a pretty fantastic civilization of its own, a very peculiar civilization. And I looked at the lake, Lake Superior, and I decided I would try to write something about it, about the feelings that I think that this ominous body of water might have. A little poem I did for it is entitled \"Great Sea\".\n \nMike Gnarowski\n00:06:30\nReads \"Great Sea\".\n \nMike Gnarowski\n00:10:40\nAnd following along the same themes, a little poem entitled \"Amethyst Harbour\" which was occasioned by a visit of A.Y. Jackson [https://www.wikidata.org/wiki/Q3499926] and several friends who gathered in this quite magnificent place on the lake, just about this time of the year and you could look out across Thunder Bay [https://www.wikidata.org/wiki/Q9298873] and you saw nothing but ice-locked island and of course snow and ice continuing forever and ever. I always felt the nature, of course, there had not been overcome by man and that nature always threatened man and that there was a struggle, a conflict, a tension going on. So here is \"Amethyst Harbour\".\n \nMike Gnarowski\n00:11:31\nReads \"Amethyst Harbour\".\n \nMike Gnarowski\n00:13:20\nAs Louis Dudek pointed out, I've always been fascinated by those men who wheel and deal and who are responsible for much of the life of the nation, I suppose, of North America [https://www.wikidata.org/wiki/Q49], the so-called businessman, much maligned most of the time. I normally try to deal as properly as I can and in this instance I think I'm probably being unkind. This is a poem entitled \"Portrait of a Man Come to Say Farewell\".\n \nMike Gnarowski\n00:13:55\nReads \"Portrait of a Man Come to Say Farewell\".\n\nAudience\n00:15:26\nApplause [one person].\n \nMike Gnarowski\n00:15:30\nUhh--Thank you. A little while ago, or a few years ago I should say, I had the occasion to go to a town south-east of here called Victoriaville [https://www.wikidata.org/wiki/Q141731], I was there on business and I went through an old-age or an old-people's home and some of you may know what those places are like, I was profoundly affected by this experience and I tried to write something about it and I've called this little thing \"Provincia Nostra\".\n \nMike Gnarowski\n00:15:56\nReads \"Provincia Nostra”.\n \nMike Gnarowski\n00:16:50\nThis is for a friend who was lost in an automobile accident.\n \nMike Gnarowski\n00:16:54\nReads unnamed poem.\n \nMike Gnarowski\n00:17:31\nA very short thing, which I think fills the purpose of keeping me from becoming too serious.\n \nMike Gnarowski\n00:17:46\nReads unnamed poem. \n\nMike Gnarowski\n00:17:59\nThank you.\n \nAudience\n00:18:00\nLaughter and applause [cut off].\n\nIntroducer\n00:18:03\nWe'd like to express our thanks to Mike Gnarowski, Henry Beissel, and our special appreciation to Louis Dudek who made the supreme sacrifice of tearing himself away from McGill to come here and introduce them. [Audience applause]. Our next reading will be in two weeks, on Friday, January 27 Margaret Avison [https://www.wikidata.org/wiki/Q6759152] will be coming from Toronto [https://www.wikidata.org/wiki/Q172] to read her poetry and the following reading on Sat. Feb. 11, Paul Blackburn [https://www.wikidata.org/wiki/Q7149388] who is the Poet in Residence at the City College in New York [https://www.wikidata.org/wiki/Q1093910] and the author of, among other things, Brooklyn, Manhattan Transit will be coming here to read his poetry. Thank you.\n \nEND\n00:19:00\n"],"Note":["[{\"note\":\"Year-specific Information:\\n\\nHenry Beissel was teaching at Sir George Williams University in 1966. He also edited Edge: An Independent Periodical, no. 6, Spring 1967.\\n\\nMike Gnarowski received his Ph.D. from University of Ottawa in 1967, and was working as an associate professor at Sir George Williams University. He co-edited The Making of Modern Poetry in Canada with Louis Dudek, which was published by Ryerson Press in 1967. He was the editor of Yes magazine from 1956-69.\",\"type\":\"General\"},{\"note\":\"Local connections:\\n\\nBeissel retired as Distinguished Emeritus Professor of English from Concordia University in 1996. Henry Beissel, Mike Gnarowski and Louis Dudek (also in this reading) organized the Montreal Committee, and organized The Emergency Symposium on the Americanization of Canadian Universities in May of 1969.\\n\\nMike Gnarowski is very involved in the effort to promote Canadian authors and writers, editing and publishing criticism and anthologies of Canadian poetry, specifically those of Leonard Cohen, Archibald Lampman and Raymond Knister as well as little known writers.\",\"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\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/new-wings-for-icarus-a-poem-in-four-parts/oclc/1127807997&referer=brief_results\",\"citation\":\"Beissel, Henry. New Wings for Icarus. Toronto: Coach House Press, 1966. \"},{\"url\":\"https://www.worldcat.org/title/canadianization-movement-emergence-survival-and-success/oclc/1165482183&referer=brief_results\",\"citation\":\"Cormier, Jeffrey. The Canadianization movement: emergence, survival and success. Toronto: University of Toronto Press, 2004. \"},{\"url\":\"http://www.lac-bac.gc.ca/archiveslitteraires/027011-200.058-e.html\",\"citation\":\"“Gnarowski, Michael 1934-”. Michael Gnarowski fonds 1956-1985. Library and Archives       \\t\\nCanada\\n\"},{\"url\":\"https://www.worldcat.org/title/postscript-for-st-james-street/oclc/2566553&referer=brief_results\",\"citation\":\"Gnarowski, Michael. Postscript for St. James Street. Montreal: Delta, 1965. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/mike-gnarowski-at-sgwu-1967-louis-dudek/\",\"citation\":\"“Poetry Readings Resume Tonight with Beissel and Gnarowski”. OP-ED. Montreal: Sir George Williams University, 13 January 1967. \"},{\"url\":\"http://news.google.com/newspapers?id=O5UtAAAAIBAJ&sjid=4p8FAAAAIBAJ&pg=3951,6182119&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“Poetry Series Coming Up At University”. Montreal: The Gazette. 31 December 1966, page 39. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/mike-gnarowski-at-sgwu-1967-louis-dudek/\",\"citation\":\"Simco, Bob. “Georgiantics”. The Georgian. Montreal: Sir George Williams University, 9 January 1967. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/865265719&referer=brief_results\",\"citation\":\"Stevens, Peter. \\\"Beissel, Henry\\\". The Oxford Companion to Canadian Literature, 2nd edition. \\nEugene Benson and William Toye (eds). Oxford University Press, 2006. \\n\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/mike-gnarowski-at-sgwu-1967-louis-dudek/\",\"citation\":\"Thoms, Kathleen. “Professor Poets With Urgency and Imagery”. The Georgian. Montreal: Sir George Williams University, January 1967.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/86526\",\"citation\":\"Toye, William. \\\"League of Canadian Poets, The\\\". The Oxford Companion to Canadian \\nLiterature, 2nd edition. Eugene Benson and William Toye (eds). Oxford University Press, \\n2006. \\n\"},{\"url\":\"\",\"citation\":\"\\\"Michael Gnarowski.\\\" Contemporary Authors Online. Detroit: Gale, 2009. \"}]"],"_version_":1853670548668678144,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0122_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0122_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Mike Gnarowski 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_0122_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0122_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Mike Gnarowski Tape Box 1 - 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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/mike_gnarowski_i006-11-122.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"mike_gnarowski_i006-11-122.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:19:00\",\"precision\":\"\",\"size\":\"45.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"mike_gnarowski_i006-11-122.mp3 [File 2 of 2]\\n\\nLouis Dudek\\n00:00:00\\nStrongly I was impressed and moved by that reading by Henry Beissel. Really several times after the poems I wanted to applaud, only we don't do that. They were magnificently organized forms with powerful language and very well read, I felt, I think I'm speaking for most people here when I say that. Mike Gnarowski who reads next is different perhaps in the extent to which his poetry is oriented towards reality. Not by implication because Beissel's also is very real and very down to earth and very much committed to the real world, but Gnarowski's poetry has a lot to do with Canadian poetry and the way it has turned towards the real world since about 1925 since A.J.M. Smith and Scott [F.R. Scott; https://www.wikidata.org/wiki/Q3081656] and A.M. Klein [https://www.wikidata.org/wiki/Q2778027] began writing. Gnarowski's been very active as a student of Canadian literature, a scholar and a bibliographer and so forth of our literature looking into the sources of this modern poetry and to letters and documents. In this he has done some very valuable work, indexing little magazines that would be otherwise, less well known, preparing bibliographies and he is now working on a larger anthology of criticism introducing the backgrounds of modern Canadian poetry. All this kind of study which is very valuable on the academic side is also important to his poetry I feel, that it places him within the line of modern Canadian poets who have tried to interpret the real, the visible, the actual, directly in poetry. Somewhat in the way I suppose that all modern poetry in English does, including T.S. Eliot's [https://www.wikidata.org/wiki/Q37767] \\\"Waste Land\\\" [https://www.wikidata.org/wiki/Q581458] and Ezra Pound's [https://www.wikidata.org/wiki/Q163366] \\\"Cantos\\\" [https://www.wikidata.org/wiki/Q2701465] and e. e. cumming's [https://www.wikidata.org/wiki/Q298703] comedies and satires and Auden's [https://www.wikidata.org/wiki/Q178698] poetry also. That is the characteristic of twentieth-century poetry is that its extreme realism and the bringing of the romantic conceptions of the last century to bear upon the actual world and showing that the conflict, the intense conflict that exists in the poet between his conception of things and what he sees before him. That you find in Gnarowski very much. He as a writer he is a meticulous craftsman, I don't know if that's symbolic [audience laughter]... He's also a meticulous craftsman and his poems seem to grow by accretion, very gradually. He writes with a stubborn integrity and knows what he thinks and what he's trying to say in a poem, they aren't just momentary fusions. They're highly worked up pieces of writing. There's a strong element of rationality and reality in this poetry, less of the flight of the emotions and the fantasy that's in most other poets. There's a very strong formal organization in his poetry, a clean speech, straight as the Greeks as Ezra Pound used to say in the past. His first book is entitled Postscript for St. James Street which has to do with, in some part anyhow, with the business world in which we live and he has chosen that quite consciously as a subject that could be turned into poetry, to take the business man, the real in that sense, St. James Street [https://www.wikidata.org/wiki/Q1526237] and see what can be made out of that imaginatively. Most poets when they treat a subject like that turn it into satire, because what else can you make out of St. James Street, but Gnarowski wants to keep his vision clear and straight for the fact to see what it really is without elevating too much or perhaps without caricaturing the reality, and it's a very interesting experiment. I'm sure you'll all enjoy listening to his poetry.\\n \\nMike Gnarowski\\n00:05:09\\nA couple of years ago I had the occasion to go up into North Western Ontario [https://www.wikidata.org/wiki/Q1904], and I lived there for three or four years and more specifically on Port Arthur [https://www.wikidata.org/wiki/Q7230482] which is on the very shores of Lake Superior [https://www.wikidata.org/wiki/Q1066], and I kept looking at this magnificent and fantastic lake and it kept bothering me. It was too big and too vast and too meaningful and too ominous in many ways to be let off too easily. I also had a friend up there who was an anthropologist and archaeologist and a very good one, and he spent a lot of time going up into that country up around Lake Superior and he kept coming back with all sorts of wonderful thing, all sorts of relics of the past as it were. Gaffs and skulls and this and that which he kept finding and he told me that that part of the world had at one time had supported a pretty fantastic civilization of its own, a very peculiar civilization. And I looked at the lake, Lake Superior, and I decided I would try to write something about it, about the feelings that I think that this ominous body of water might have. A little poem I did for it is entitled \\\"Great Sea\\\".\\n \\nMike Gnarowski\\n00:06:30\\nReads \\\"Great Sea\\\".\\n \\nMike Gnarowski\\n00:10:40\\nAnd following along the same themes, a little poem entitled \\\"Amethyst Harbour\\\" which was occasioned by a visit of A.Y. Jackson [https://www.wikidata.org/wiki/Q3499926] and several friends who gathered in this quite magnificent place on the lake, just about this time of the year and you could look out across Thunder Bay [https://www.wikidata.org/wiki/Q9298873] and you saw nothing but ice-locked island and of course snow and ice continuing forever and ever. I always felt the nature, of course, there had not been overcome by man and that nature always threatened man and that there was a struggle, a conflict, a tension going on. So here is \\\"Amethyst Harbour\\\".\\n \\nMike Gnarowski\\n00:11:31\\nReads \\\"Amethyst Harbour\\\".\\n \\nMike Gnarowski\\n00:13:20\\nAs Louis Dudek pointed out, I've always been fascinated by those men who wheel and deal and who are responsible for much of the life of the nation, I suppose, of North America [https://www.wikidata.org/wiki/Q49], the so-called businessman, much maligned most of the time. I normally try to deal as properly as I can and in this instance I think I'm probably being unkind. This is a poem entitled \\\"Portrait of a Man Come to Say Farewell\\\".\\n \\nMike Gnarowski\\n00:13:55\\nReads \\\"Portrait of a Man Come to Say Farewell\\\".\\n\\nAudience\\n00:15:26\\nApplause [one person].\\n \\nMike Gnarowski\\n00:15:30\\nUhh--Thank you. A little while ago, or a few years ago I should say, I had the occasion to go to a town south-east of here called Victoriaville [https://www.wikidata.org/wiki/Q141731], I was there on business and I went through an old-age or an old-people's home and some of you may know what those places are like, I was profoundly affected by this experience and I tried to write something about it and I've called this little thing \\\"Provincia Nostra\\\".\\n \\nMike Gnarowski\\n00:15:56\\nReads \\\"Provincia Nostra”.\\n \\nMike Gnarowski\\n00:16:50\\nThis is for a friend who was lost in an automobile accident.\\n \\nMike Gnarowski\\n00:16:54\\nReads unnamed poem.\\n \\nMike Gnarowski\\n00:17:31\\nA very short thing, which I think fills the purpose of keeping me from becoming too serious.\\n \\nMike Gnarowski\\n00:17:46\\nReads unnamed poem. \\n\\nMike Gnarowski\\n00:17:59\\nThank you.\\n \\nAudience\\n00:18:00\\nLaughter and applause [cut off].\\n\\nIntroducer\\n00:18:03\\nWe'd like to express our thanks to Mike Gnarowski, Henry Beissel, and our special appreciation to Louis Dudek who made the supreme sacrifice of tearing himself away from McGill to come here and introduce them. [Audience applause]. Our next reading will be in two weeks, on Friday, January 27 Margaret Avison [https://www.wikidata.org/wiki/Q6759152] will be coming from Toronto [https://www.wikidata.org/wiki/Q172] to read her poetry and the following reading on Sat. Feb. 11, Paul Blackburn [https://www.wikidata.org/wiki/Q7149388] who is the Poet in Residence at the City College in New York [https://www.wikidata.org/wiki/Q1093910] and the author of, among other things, Brooklyn, Manhattan Transit will be coming here to read his poetry. Thank you.\\n \\nEND\\n00:19:00\\n\",\"notes\":\" Mike Gnarowski reads from Postscript for St. James Street (Delta, 1965) and from other unknown sources.\\n\\n00:00 - Introduction by Louis Dudek [INDEX: Henry Beissel’s reading, realism in poetry, Canadian poetry since 1925, A.J.M. Smith, F.R. Scott, A.M. Klein, bibliographer, indexing smaller magazines, T.S. Eliot’s “Wastel Land”, Ezra Pound’s “Cantos”, e e cumming’s satires and comedies, W.H. Auden, romantic conceptions of 19th century vs. extreme realism of 20th century, Postscript for St. James Street by Gnarowski]\\n05:09 - Mike Gnarowski introduces “Great Sea” [INDEX: North Western Ontario, Port Arthur, Lake Superior, archaeological artifacts]\\n06:30 - Reads “Great Sea”\\n10:40 - Introduces “Amethyst Harbour” [INDEX: A.Y. Jackson, Thunder Bay, man vs. nature]\\n11:31 - Reads “Amethyst Harbour”\\n13:20 - Introduces “Portrait of a Man Come to Say Farewell” \\n13:55 - Reads “Portrait of a Man Come to Say Farewell”\\n15:30 - Introduces “Provincia Nostra” [INDEX: Victoriaville]\\n15:56 - Reads “Provincia Nostra”\\n16:50 - Introduces first line “For some inimitable action...”\\n16:54 - Reads first line “For some inimitable action...”\\n17:31 - Introduces first line “If I had legs like yours...”\\n17:46 - Reads first line “If I had legs like yours...”\\n18:03 - Introducer (unknown) says thank-you’s. [INDEX: Mike Gnarowski, Henry Beissel, Louis Dudek, McGill, Margaret Avison, Paul Blackburn]\\n19:00 - END OF EVENT.\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/henry-beissel-reads-with-introduction-by-louis-dudek-michael-gnarowski-in-same-reading/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/henry_beissel_i086-11-003.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"henry_beissel_i086-11-003.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:49:40\",\"precision\":\"\",\"size\":\"119.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Henry_beissel_i086-11-003.mp3 [File 1 of 2]\\n\\nRoy Kiyooka\\n00:00:00\\nLadies and Gentleman, um, let's see, what am I going to say? [Audience laughter and applause]...Well, glad to see y’all here. So, Professor Louis Dudek []https://www.wikidata.org/wiki/Q3261787] from McGill University [https://www.wikidata.org/wiki/Q201492] will introduce the two poets who’re reading this evening. \\n\\nAudience\\n00:00:31\\nApplause.\\n\\nLouis Dudek\\n00:00:40\\nI expected a longer introduction than that, it will be very fine. There are two kinds of readings that I like to attend very much, one kind is the sort that they're having tonight at McGill University, where a well-established poet who has been on the scene for forty or fifty years comes to read. Over there, it's A.J.M. Smith [https://www.wikidata.org/wiki/Q4647944] from Michigan State [https://www.wikidata.org/wiki/Q270222], Canadian anthologist and well-known poet. With a poet like that, really makes no difference what he reads or how he reads it's just important to see him and even the tottering saint can perform miracles on occasions. The other kinds of poets I do like to hear very much are the sort that we'll hear tonight, Gnarowski and Beissel [https://www.wikidata.org/wiki/Q1606507]. The McGill publicity department sent out a notice about A.J.M. Smith and described him as well-known Anthropologist of Canadian poetry. Actually, they corrected it in ink, they made the mistake twice though, probably a typist error. But they didn't know how correct they were, with the current scene in Canadian writing, there are primitive types around that are hard to classify and we need anthropologists...Well, Beissel and Gnarowski are not of this breed of poets who seem to have lost all sense of poetic organization or form, where you think that conventions, poetic conventions have been abolished and what is left are chaotic bits of internal monologue on the page. Of course, that kind of school may be very interesting to watch to see what comes out of it but at present, having watched it now for a few years I'm a little impatient often and tired of the magazines where this material occurs because it seems so easy to turn out and anyone has these bits of chaotic monologue going on. On the other hand, there are many poets still writing who are not following the conventional forms of English metrics and rhyme and so forth, who are turning out poems or at least watching what happens what happens with the words on the page and both the poets we're listening to tonight are of this kind. They are very careful craftsmen. Henry Beissel has the long list of achievements to his credits already, but two on that list strike me very much. One is, amongst many of the posts where he's taught, one is the University of Alberta [https://www.wikidata.org/wiki/Q640694] is the kind of political stir that was created on the campus when his magazine Edge was brought into the classroom by one of the professors. That is, his poetry contains, content that can make one think, that is morally committed to certain issues in today's world. He's very strongly a moral poet on one side, and the other item in his biography is his new book which has just appeared New Wings for Icarus, which is extremely aesthetic at the same time that it is meaningful in this way. His poetry seems to combine two things, one is a moral urgency and on the other hand, at the same time, a romantic sense of language and of imagery and of emotion that goes with that, which are all very, very promising characteristics for a beginning poet, but I think that this New Wings for Icarus book is his first considerable book. So, without more ado, I introduce to you Henry Beissel. \\n\\nHenry Beissel\\n00:05:30\\nWhen I considered the kind of poems that I might read this evening and the order in which to read them, I was thinking of the condition of this hall, as it was the last time I was here and I therefore chose two poems which I wrote in the West Indies [https://www.wikidata.org/wiki/Q669037]. [Audience laughter]. They celebrate the sun in an ambiguous sort of way, I'm going to read them all the same, despite the fact that the conditions have changed. I don't know how much you need to know about the West Indies, I'm hoping—oh.\\n\\nAudience Member 1\\n00:06:15\\nAddresses Beissel [unintelligible].\\n\\nHenry Beissel\\n00:06:17\\nIs this any better? Is there someone in the hall who can attend please to all this? \\n\\nAudience Member 2\\n00:06:28\\nAddresses Beissel [unintelligible].\\n\\nAudience\\n00:06:30\\nLaughter.\\n\\nHenry Beissel\\n00:06:39\\nWell I'll try to speak a little louder on my own, in spite of the microphone. I was saying that I don't know how much one needs to know of the West Indies to respond to this sort of poem, I'm hoping something of the West Indies might be in the poems, the first is called \\\"Pans at Carnival\\\". Pan [https://www.wikidata.org/wiki/Q6610630] is the expression for a steel drum. The imagery in the poem is taken entirely from the steel drum and its use at Carnival [https://www.wikidata.org/wiki/Q4618], a feast that is about to be celebrated in Trinidad [https://www.wikidata.org/wiki/Q754] in about a month. Rhythmically, the poem tries to catch something of the rhythm of the steel pan. \\n\\nHenry Beissel\\n00:07:28\\nReads \\\"Pans at Carnival\\\".\\n\\nHenry Beissel\\n00:10:18\\nThe second poem celebrates something of the violence that the sun, with which the sun blesses those parts of the world from which it never really disappears.\\n\\nHenry Beissel\\n00:10:34\\nReads \\\"Where the Sun Only\\\".\\n\\nHenry Beissel\\n00:12:49\\nNext I want to read two parts from New Wings for Icarus. Time does not allow me to read the whole poem, because then I could read you nothing else. “Icarus” is a poem that is written in four parts, it is with some regret that I read only two, because to me it is like playing the second and fourth part of a symphony, but there is no alternative. \\n\\nHenry Beissel\\n00:13:19\\nReads \\\"New Wings for Icarus\\\", part 2 from New Wings for Icarus.\\n\\nHenry Beissel\\n00:13:51\\nSorry, I'll start again. This is a hard one to read and this print is very small. I better hold it closer.\\n\\nHenry Beissel\\n00:13:59\\nReads \\\"New Wings for Icarus\\\", part 2 from New Wings for Icarus.\\n\\nHenry Beissel\\n00:19:41\\nReads \\\"New Wings for Icarus\\\", part 4 from New Wings for Icarus.\\n\\nHenry Beissel\\n00:26:39\\nNow for a little sort of relaxation in-between, I find unrelieved serious poetry hard to bear myself, I'll read—unfortunately I do not write occasional poems terribly often, they always seem to grow into something much bigger than I can handle, but the next two poems I want to read you are occasional poems, poetry can come out of anything of course, and this one came out of an encounter in a house of Inquisition in Cartagena [https://www.wikidata.org/wiki/Q657461], in Colombia [https://www.wikidata.org/wiki/Q739], it is really self-explanatory. It's called \\\"En la Casa de Inquisición\\\". \\n\\nHenry Beissel\\n00:27:40\\nReads \\\"En la Casa de Inquisición\\\".\\n\\nHenry Beissel\\n00:29:23\\nThe next poem leads me on to the last set of poems, but you won't discover that until you hear the last two poems. This poem is dedicated to my daughter, when she was 1 and a half, the first stanza deals with the circumstances of her birth, which were somewhat elaborate, there were firemen. The second stanza deals with her present—this would be the past from the time of the poem, the second deals with her present, and the third with her future. \\n\\nHenry Beissel\\n00:30:07\\nReads \\\"To My Daughter at Age 1 1/2\\\".\\n\\nHenry Beissel\\n00:33:25\\nAnd now I come to the final two poems. They belong together and are part of a— we agreed not to torture you and not to read for more than 30 minutes this evening and I am trying to stick to that. This is rather the beginning of something that I may never live to finish, the entire thing is supposed to have some 26 poems, of which you will hear the first two, one is a prologue and the other one is called \\\"Adam Enter Eve\\\". In the prologue, a character introduces himself who is to play his part in the rest of the poem. It's not really a dramatic poem, although it's, well I don't think of it as a drama, although it has dramatic qualities. Anyway, I don't like to be my own critic. I prefer just to read you the poem. The whole cycle will be called \\\"The Dancer from the Dance\\\" that is as you no doubt know, a quotation from Yeats [https://www.wikidata.org/wiki/Q40213]. \\n\\nHenry Beissel\\n00:34:45\\nReads \\\"Prologue\\\" from \\\"The Dancer from the Dance\\\".\\n\\nHenry Beissel\\n00:37:04\\nReads \\\"Adam Enter Eve\\\".\\n\\nEND\\n00:49:40\\n[Recording continues on mike_gnarowski_i006-11-122.mp3].\\n\",\"notes\":\"Henry Beissel reads largely from New Wings for Icarus (Coach House Press, 1966).\\n\\n00:00 - Unknown speaker introduces Louis Dudek [INDEX: McGill University, Louis Dudek]\\n00:40 - Louis Dudek introduces Henry Beissel [INDEX: A.J.M. Smith from Michigan State as Canadian Anthropologist of poetry, Mike Gnarowski, poetic organization and conventions, new schools of poetry, ‘chaotic monologue’, English metrics and rhyme, University of Alberta, Edge Magazine, New Wings for Icarus]\\n05:30 - Henry Beissel speaks [INDEX: West Indies]\\n06:39 - Henry Beissel introduces “Pans at Carnival” [INDEX: imagery of a steel drum, Trinidad]\\n07:28 - Reads “Pans at Carnival”\\n10:18 - Introduces “Where the Sun Only” [INDEX: imagery of the sun]\\n10:34 - Reads “Where the Sun Only”\\n12:49 - Introduces “New Wings for Icarus”, part 2 [INDEX: Icarus]\\n13:51 - Re-starts poem\\n19:41 - Reads “New Wings for Icarus”, part 4\\n26:39 - Introduces “En la Casa de Inquisition” [INDEX: occasional poetry, Cartagena, Columbia]\\n27:40 - Reads “En la Casa de Inquisition”\\n29:23 - Introduces “To my Daughter at Age 1 1/2” [INDEX: poem for his daughter]\\n30:07 - Reads “To my Daughter at Age 1 1/2”\\n33:25 - Introduces “Prologue” and “Adam Enter Eve” from “The Dancer from the Dance” [INDEX: Yeats]\\n34:45 - Reads “Prologue”\\n37:04 - Reads “Adam Enter Eve”\\n49:40 - END OF RECORDING.\\n\\nHoward Fink List of Poems:\\n“Henry Beissel”\\nJanuary 13, 1967\\nwith reel information\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/henry-beissel-reads-with-introduction-by-louis-dudek-michael-gnarowski-in-same-reading/\"}]"],"score":1.9290923},{"id":"1259","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":["Margaret Avison at Sir George Williams University, The Poetry Series, 27 January 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"Marg. Avison (2 tracks 3 3/4\"/sec ) I086-11-002\" written on sticker on the reel and on the tape's box. Marg. Avison refers to Margaret Avison. \"RT 518\" also written."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"access":["Streaming and download"],"creator_names":["Avison, Margaret"],"creator_names_search":["Avison, Margaret"],"creators":["[{\"url\":\" http://viaf.org/viaf/79128508\",\"name\":\"Avison, Margaret\",\"dates\":\"1918-2007\",\"notes\":\"Poet Margaret Avison was born in Galt, Ontario in 1918. She was educated at the University of Toronto and received her Bachelor’s degree in 1940. During the early forties, she contributed her poetry to Sid Corman’s Origin, with the likes of Charles Olson, Denise Levertov and Robert Creeley. While she is often associated with this group of poets, her content differs from theirs. Avison worked as an English literature lecturer, a secretary, a librarian, a researcher and as a social worker at a mission in downtown Toronto. Her first collection of poems was published in 1960, titled Winter Sun (University of Toronto Press), followed by The Dumbfounding (Noron, 1966). Avison’s poetry was also anthologized in Eli Mandel and Jean-Guy Pilon’s Poetry 62 (Ryerson, 1961). In 1963, she returned to the University of Toronto to write her thesis on Don Juan and to pursue graduate work. Avison taught and lectured English at Scarborough College and at the University of Toronto, as well as working at the Presbyterian Church Mission in Toronto. In 1970, she collaborated with bp Nichol and published The Cosmic Chef Glee & Perloo Memorial Society under the direction of Captain Poetry presents...: [an evening of concrete, courtesy of Oberon Cement Works] (Oberon Press). Avison, staying on the periphery of the poetry scene, attended and participated in several readings, and supported other writers in their pursuits. She translated poems from Hungarian, which appear in The Plough and the Pen: Writings from Hungary, 1930-1956 (London, P. Owen, 1963). Sunblue was published in 1978 by Lancelot Press, and a collected edition of Winter Sun/The Dumbfounding: Poems 1940-1966 (McClelland & Stewart, 1982) and No time (Lancelot Press, 1989). Her Selected Poems was published in 1991 by Oxford University Press, followed by A kind of perseverance (Lancelot Press, 1994) and Not yet but still (Lancelot Press, 1997). Avison has produced a number of books, Always Now: The collected poems (Porcupine’s Quill) came as a three volume series published between 2003 and 2005. Momentary dark (McClelland & Stewart, 2006), Listening: the last poems (McClelland & Stewart, 2009) and I am here and not not-there: an autobiography (Porcupine’s Quill, 2009) have both recently been released. Margaret Avison died in Toronto in August of 2007.\\n\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"01:20:00\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 1 27\",\"type\":\"Performance Date\",\"notes\":\"Date specified in The Georgian's \\\"Op-Ed\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in The Georgian's \\\"Op-Ed\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"contents":["margaret_avison_i086-11-002.mp3\n\nRoy Kiyooka\n00:00:00\nIn view of the embarrassment of having made such a mess of introducing the last poet, I spent a considerable amount of time setting out what I should say this evening, so hopefully I'll be a little more successful. Well, this is our seventh poetry evening and we welcome you all here this cold and blustery evening. Now, this evening we're having Margaret Avison [https://www.wikidata.org/wiki/Q6759152] read poems, and I wanted to say a few things about her. I first listened to Margaret read her poems at the poetry conference, University of British Columbia [https://www.wikidata.org/wiki/Q391028], during the summer of 1963. Her reading, together with those of the other poets on hand, are among the most memorable occasions I've had in my love affair with poems and poets. Four years later, in early January, we spent an afternoon together. Now I don't want to attribute, what I felt with a thought, on Bloor Street, to our conversation, but the warmth of it was very real. Margaret Avison was born in Guelph [https://www.wikidata.org/wiki/Q504114], Ontario [https://www.wikidata.org/wiki/Q1904]; some early years were spent in Alberta [https://www.wikidata.org/wiki/Q1951]; she graduated from Victoria College [https://www.wikidata.org/wiki/Q3551503], the University of Toronto [https://www.wikidata.org/wiki/Q180865], in 1940, with a BA in English Language and Literature. She has been a secretary of all sorts for various firms, individuals, and organizations, and has also been a research assistant and librarian and presently teaches English at Scarborough College, Toronto [https://www.wikidata.org/wiki/Q172]. 1956-57 she was a Guggenheim Fellow [https://www.wikidata.org/wiki/Property:P6594] in poetry, and during the forties her work appeared in various Canadian magazines, and in the fifties, mainly in American ones. She has published two books of poems; The Winter Sun in 1960 won the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and in 1966, W.W. Norton [https://www.wikidata.org/wiki/Q1282208] in New York [https://www.wikidata.org/wiki/Q60] issued The Dumbfounding [https://www.wikidata.org/wiki/Q42189162], her latest book. Ladies and gentlemen, it gives me great pleasure in introducing to you Margaret Avison.\n \nUnknown\n00:02:59\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nMargaret Avison\n00:02:59\nI don't know about the reading but I do know about the pleasure of meeting Roy [https://www.wikidata.org/wiki/Q3445789] again here, and being introduced by him. If this were Monday, or up to a week from tonight, I would be able to join the Angry Art Week. I don't know if anybody else has received these letters, but in New York City initially they're trying this and anybody who gets a letter from them is asked to dedicate any reading or event to what they're trying to do. You can still send them money, too, I'll give you the address if you want it later. What they're going to do is play harps in railroad stations and have...lets see, Bach [https://www.wikidata.org/wiki/Q1339] cantatas in railroad stations, play-ins in various museums and the lobbies of concert halls, recital halls, business buildings--I like that one--dramatic presentations in laundromats and supermarkets, [audience laughter], a paint-in, and fences and billboards throughout Manhattan [https://www.wikidata.org/wiki/Q11299] with their work showing and so on. This is a series. \"What we're trying to do is through art to reach the American people as human beings.\" So...[audience laughter]. If this were Monday I'd dedicate the reading [audience laughter and applause]...This is all very orderly, although it doesn't look it, and it starts with other people's poems of various kinds. A little section of C. Bukowski [https://www.wikidata.org/wiki/Q76409], somebody said that's Charles, an American poet. It's a great long thing that was in a mimeograph magazine, and the description is of a woman with a bicycle and a baby carriage, high-heeled shoes, white socks, and all her belongings, on a hot day in the middle of a road in a city. \n \nMargaret Avison\n00:05:28\nReads unnamed poem by Charles Bukowski.\n \nMargaret Avison\n00:06:30.\nThat's sad, so on the same page I copied one of Al Fowler's, which was in a magazine called Lines, which is the all-time happiest little poem, and I don't know why. I'm going to stop where the lines stop, not where the sense stops, so you can see the shape of it.  There's no capital letters. There's no title.\n \nMargaret Avison\n00:07:01\nReads “Are you a root or a tendermint” by Al Fowler [published in Lines 6].\n\nAudience \n00:07:20\nLaughter.\n\nMargaret Avison\n00:07:30\nThis is one by Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756], called \"Zoo\".\n \nMargaret Avison\n00:07:39\nReads \"Zoo\" by Gerry Gilbert.\n \nMargaret Avison\n00:08:00\nI may bring in some more of other people's, but this is just a little, it's a friend of mine in Toronto who's made it to grade seven this year. He calls it \"The Delinquent\", and he has, in this copy he has said that it's his copyright so if you betray the fact that I read some of it, I'll be in trouble with him.\n \nMargaret Avison\n00:08:33\nReads \"The Delinquent\" by an unnamed author [audience laughter throughout].\n \nMargaret Avison\n00:10:20\nIt goes on, a bit, I want to go back to where it gets sad, though. I love \"She twisted her pinkies behind her but all the knots held more\".\n \nMargaret Avison\n00:10:30\nResumes reading \"The Delinquent\" [audience laughter throughout].\n \nMargaret Avison\n00:11:33\nThere's an awful line in the next verse. [Audience laughter].\n \nMargaret Avison\n00:11:41\nResumes reading \"The Delinquent\" [audience laughter throughout].\n \nMargaret Avison\n00:12:43\nIt ends up with knotting a burning matchstick into her old man's hair. [Audience laughter]. I think as he goes on he'll be somebody. If I'm not reading mine I'll warn of you. Some of these...the first one is a Toronto poem with footnotes, saying that TTC [https://www.wikidata.org/wiki/Q17978] means Toronto Transit Commission, and the Ditch is an open cut on the Yonge subway between Bloor and Rosedale. \n \nMargaret Avison\n00:13:38\nReads unnamed poem.\n \nMargaret Avison\n00:14:37\nThe second subway poem...a little child, it's called \"Subway Station Why Not.\"\n \nMargaret Avison\n00:14:53\nReads \"Subway Station Why Not\".\n \nMargaret Avison\n00:15:56\nThis next one is St. Clair Avenue, where I live on the car tracks. It's called \"Insomniac Report\".\n \nMargaret Avison\n00:16:11\nReads \"Insomniac Report\".\n \nMargaret Avison\n00:17:07\nFeels as if I should be doing something different, but I don't know what. I did a poem to people writing examinations I'm hunting for, but I think I've forgotten it. There's three about this odd experience of teaching and students. This one was written before I had had the experience, but was looking forward to it. And it had the title \"Is That You/Me Standing on My/Your Feet?\" And it's very full of fine theory and idealism.\n \nMargaret Avison\n00:18:18\nReads \"Is That You/Me Standing on My/Your Feet?\".\n \nMargaret Avison\n00:19:21\nAnd I've got two other incomplete ones that should be read with that. I'll just read two stanzas of the first one, it's got one four-line stanza for the students...\n \nMargaret Avison\n00:19:36\nReads unnamed poem.\n \nMargaret Avison\n00:20:36\nThe teacher's answer hasn't got written yet. Here's another bit, two stanzas, the student and the teacher, that isn't finished. The student is talking although it doesn't sound like it. \n \nMargaret Avison\n00:21:01\nReads unnamed poem.\n \nMargaret Avison\n00:21:51\nThere's a daybreak bus I have to catch and this one is called \"October 21, '66, at a bus stop on the way\".\n \nMargaret Avison\n00:22:03\nReads \"October 21, '66, at a bus stop on the way\".\n \nMargaret Avison\n00:23:07\nI had planned to get all this organized on the plane, but I was in the middle of the three seats and I kept getting the briefcase out and everything would fall to the floor, and this one would dive for it, or this one, and I finally gave up, so it's upside down. This is dedicated to Jacques Ellul [https://www.wikidata.org/wiki/Q322922], The Technological Society [https://www.wikidata.org/wiki/Q1607727], a book he wrote that's a little mad but very stirring.\n \nMargaret Avison\n00:23:56\nReads [“Making Senses”, published later in No Time]. \n \nMargaret Avison\n00:26:39\nThere's one here that is just the equivalent to sketching, I guess. I know a poet in Chicago [https://www.wikidata.org/wiki/Q1297] who used to go and sit around in the Art Institute [https://www.wikidata.org/wiki/Q239303], when it was a fairly quiet room, and stare all morning, and if any words occurred to him, he dashed them down. And sometime he worked up his sketches and sometime he didn't, which is a technique that's lots of fun to practice, and occasionally something grows out of it. In this case I don't think I'll ever do anything but it'll show you the kind of thing that I mean, if, as I assume, most of you are writers.\n \nMargaret Avison\n00:27:38\nReads unnamed poem. \n \nMargaret Avison\n00:28:25\nNow a poem with syntax and stuff called \"The Seven Birds\". A corner of Bathurst and College Street in Toronto which is the kind of buildings that have been there since the first world war, where there's often stores on the street level and an apartment or two above. \n \nMargaret Avison\n00:29:01\nReads \"The Seven Birds\" [published later in sunblue].\n\nMargaret Avison\n00:30:15\nI think I should read a long, fierce poem. This is not by me except translated. It's the poem of Gyula Illyes [https://www.wikidata.org/wiki/Q381107], called \"Of Tyranny, In One Breath\". Ilona Duczynska [https://www.wikidata.org/wiki/Q967353] did a literal translation for me and then read it to me for sound and we worked through it that way.  Apparently the poem started, or happened, in 1956 in Budapest [https://www.wikidata.org/wiki/Q1781]. Illyes had written it some years before but hadn't been angry enough at the time to risk what it was to bring it out. But he grew angry enough and somebody said the one thing that nobody censors is the magazine which tells you what lectures are going on where and what movies are running where and is just a news sheet, and the middle spread was for advertising, so they printed this in the middle sheet and it was, they tried to stop it as soon as the authorities found it but by then they were storming the radio station or however it started. I can't do it in one breath because it goes on for several pages. In the first part of it, \"it,\" meaning \"tyranny\" is small \"i\" and towards the end it's a capital \"I.\"\n \nMargaret Avison\n00:32:27\nReads English translation of \"Of Tyranny, In One Breath\" by Gyula Illyes [published later in Always Now, Vol. 1].\n\nMargaret Avison\n00:39:26\nSo, after the revolution he was much too well-known to disappear but they said he was insane and he was in an asylum for a while, but he wrote a lot of lovely things there, so I don't think he was, and he's not there now. It's much better, I think. A group of silly things it's embarrassing to read but I will, called \"Bestialities\".\n \nMargaret Avison\n00:40:19\nReads \"Bestialities\", parts 1-5 [from The Dumbfounding; audience laughter throughout].\n \nMargaret Avison\n00:41:14\nThe last one I think is just beautiful, but nobody gets it unless I explain, so I'll explain, it's like you take a piece of 8 by 11 typing paper...\n \nAudience Member 1\n00:41:26\nDon't explain, just say it.\n \nMargaret Avison\n00:41:28\nAlright, you can tell me then, eh? \n \nMargaret Avison\n00:41:33\nReads \"Bestialities\", part 6 [from The Dumbfounding].\n \nMargaret Avison\n00:41:40\nNow, come on...[Audience laughter]. Hmm? Does anybody want the explanation? Well I've read it. It's just a crumpled-up letter, you know, you get it and you read it and you cry and you crumble it up and you throw it down and the mite goes up...Now I'll read it again.\n \nMargaret Avison\n00:42:17\nReads \"Bestialities\", part 6 [from The Dumbfounding].\n \nMargaret Avison\n00:42:35\n“The Absorbed\". This is one of the very cold days, I guess about ten below, enough. It's inside the pane of glass separating inside from outside comes into it, a certain kind of sky that goes with that which is like glass again. \n \nMargaret Avison\n00:43:09\nReads \"The Absorbed\" [from The Dumbfounding].\n \nMargaret Avison\n00:45:50\nReads [\"Thaw\" from Winter Sun].\n \nMargaret Avison\n00:47:37\nI would like to read two other weather ones and then I'll give you a break. This is “Two Mayday Selves”.\n \nMargaret Avison\n00:47:54\nReads \"Two Mayday Selves\" [from The Dumbfounding].\n \nMargaret Avison\n00:49:42\nAnd the last one is late spring, early summer. Jet-plane and terminuses, called \"Black-White Under Green, May 18th 1965”.\n \nMargaret Avison\n00:50:06\nReads \"Black-White Under Green, May 18th 1965” [published as “May 18 1965” in The Dumbfounding].\n\nUnknown\n00:52:53\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nMargaret Avison\n00:52:54\nI've been asked to read \"The Valiant Vacationist\". It was written so many years ago...I think I would be quite right in saying thirty years ago, and probably a little more. And I couldn't write this well now but in a way when you're very young you've got the whole world in one lump without any lump, and you only get bits later on. \n \nMargaret Avison\n00:53:34\nReads \"The Valiant Vacationist\" [published later in Always Now: Vol. 1].\n \nMargaret Avison\n00:56:54\nThen the one \"To Professor X, Year Y\".\n \nMargaret Avison\n00:57:03\nReads \"To Professor X, Year Y\" [from Winter Sun].\n\nMargaret Avison\n00:59:57\nI'd like to read one introductory poem to the long one, \"The Earth that Falls Away\", and that one, and two short ones, if you'll bear with me that long. This is called \"The Absolute, the Day\".\n \nMargaret Avison\n01:00:22\nReads \"The Absolute, the Day\" [published later as “Absolute” in sunblue and in Always Now Vol. 2].\n\nMargaret Avison\n01:01:39\nThis one is \"The Earth that Falls Away\". There's an epigraph from Beddoes’ [https://www.wikidata.org/wiki/Q2165597] Death's Jest-Book [https://www.wikidata.org/wiki/Q42188673]: \"Can a man die? Aye, as the sun doth set, it is the earth that falls away from light\". There are a number of human situations, some into the past, through the present generation, the rest various city people, myself, and the stories come interleaving so that as I name a new section it'll be a new group of people, and by request I'm going to  stop at the line-ends here. \n \nMargaret Avison\n01:02:32\nReads \"The Earth that Falls Away\" [from The Dumbfounding].\n \nMargaret Avison\n01:15:52\nReads [\"He Couldn’t Be Safe (Isaiah 53:5)”, published later in sunblue].\n \nMargaret Avison\n01:16:54\nThere's one more and I'll stop with this one. \n \nMargaret Avison\n01:17:00\nReads [section from “The Jo Poems”, part 6. Published later in No Time. Subtitled “Having” in Always Now: Vol. 2].\n \nEND\n01:17:54\n[Cut off abruptly].\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1967, Margaret Avison was teaching English at Scarborough College. The Dumbfounding had been published the previous year.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMargaret Avison met Roy Kiyooka, who was teaching at Sir George Williams University at a reading in 1963 at the University of British Columbia.\\n\",\"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/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Anderson, Mia. “Avison, Margaret (1918-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Benson, Eugene; Connoly, L.W. (eds). London: Routledge, 1994. 2 vols.\"},{\"url\":\"https://www.worldcat.org/title/always-now-the-collected-poems-vol-1/oclc/834732786&referer=brief_results\",\"citation\":\"Avison, Margaret. Always Now: The Collected Poems, Vols 1-3. Erin, Ontario: The Porcupine’s Quill, 2003. \"},{\"url\":\"https://www.worldcat.org/title/dumbfounding-poems/oclc/635930&referer=brief_results\",\"citation\":\"Avison, Margaret. The Dumbfounding. New York: W.W. Norton & Co, 1966. \"},{\"url\":\"https://www.worldcat.org/title/no-time/oclc/751204318&referer=brief_results\",\"citation\":\"Avison, Margaret. No Time. Hantsport: Lancelot Press; London: Brick Books, 1989. \"},{\"url\":\"https://www.worldcat.org/title/sunblue/oclc/867940471&referer=brief_results\",\"citation\":\"Avison, Margaret. sunblue. Hantsport: Lancelot Press; London: Brick Books, 1978.\"},{\"url\":\"https://www.worldcat.org/title/winter-sun/oclc/320960000&referer=brief_results\",\"citation\":\"Avison, Margaret. Winter Sun. London: Routledge and Kegan Paul 1960. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-avison-at-sgwu-1967/#reading1-1\",\"citation\":\"“Avison: Next Poet to Read”. The Georgian. Montreal: Sir George Williams University, 27 January 1967. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960/oclc/441669839&referer=brief_results\",\"citation\":\"Davey, Frank. From There to Here: A Guide to English-Canadian Literature Since 1960. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"http://news.google.com/newspapers?id=O5UtAAAAIBAJ&sjid=4p8FAAAAIBAJ&pg=3951,6182119&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“Poetry Series Coming Up At University”. The Gazette. Saturday, December 31, 1966: page 39.\"},{\"url\":\"https://www.worldcat.org/title/margaret-avison/oclc/556890573&referer=brief_results\",\"citation\":\"Redekop, Ernest. Margaret Avison: Studies in Canadian Literature. Toronto: The Copp Clark Publishing Company, 1970. \\n\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-avison-at-sgwu-1967/#reading1-1\",\"citation\":\"Simco, Bob. “Georgiantics”. The Georgian. Montreal: Sir George Williams University, 27 January 1967. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-avison-at-sgwu-1967/#reading1-1\",\"citation\":\"Thoms, Kathleen. “Margaret Avison’s Poetry”. OP-ED. Montreal: Sir George Williams University, 3 February 1967. \"}]"],"_version_":1853670548673921024,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0002_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0002_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Avison 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_0002_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0002_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Avison 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_0002_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0002_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Avison 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_0002_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0002_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Avison Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/margaret_avison_i086-11-002.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"margaret_avison_i086-11-002.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:17:54\",\"precision\":\"\",\"size\":\"187 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Roy Kiyooka\\n00:00:00\\nIn view of the embarrassment of having made such a mess of introducing the last poet, I spent a considerable amount of time setting out what I should say this evening, so hopefully I'll be a little more successful. Well, this is our seventh poetry evening and we welcome you all here this cold and blustery evening. Now, this evening we're having Margaret Avison [https://www.wikidata.org/wiki/Q6759152] read poems, and I wanted to say a few things about her. I first listened to Margaret read her poems at the poetry conference, University of British Columbia [https://www.wikidata.org/wiki/Q391028], during the summer of 1963. Her reading, together with those of the other poets on hand, are among the most memorable occasions I've had in my love affair with poems and poets. Four years later, in early January, we spent an afternoon together. Now I don't want to attribute, what I felt with a thought, on Bloor Street, to our conversation, but the warmth of it was very real. Margaret Avison was born in Guelph [https://www.wikidata.org/wiki/Q504114], Ontario [https://www.wikidata.org/wiki/Q1904]; some early years were spent in Alberta [https://www.wikidata.org/wiki/Q1951]; she graduated from Victoria College [https://www.wikidata.org/wiki/Q3551503], the University of Toronto [https://www.wikidata.org/wiki/Q180865], in 1940, with a BA in English Language and Literature. She has been a secretary of all sorts for various firms, individuals, and organizations, and has also been a research assistant and librarian and presently teaches English at Scarborough College, Toronto [https://www.wikidata.org/wiki/Q172]. 1956-57 she was a Guggenheim Fellow [https://www.wikidata.org/wiki/Property:P6594] in poetry, and during the forties her work appeared in various Canadian magazines, and in the fifties, mainly in American ones. She has published two books of poems; The Winter Sun in 1960 won the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and in 1966, W.W. Norton [https://www.wikidata.org/wiki/Q1282208] in New York [https://www.wikidata.org/wiki/Q60] issued The Dumbfounding [https://www.wikidata.org/wiki/Q42189162], her latest book. Ladies and gentlemen, it gives me great pleasure in introducing to you Margaret Avison.\\n \\nUnknown\\n00:02:59\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nMargaret Avison\\n00:02:59\\nI don't know about the reading but I do know about the pleasure of meeting Roy [https://www.wikidata.org/wiki/Q3445789] again here, and being introduced by him. If this were Monday, or up to a week from tonight, I would be able to join the Angry Art Week. I don't know if anybody else has received these letters, but in New York City initially they're trying this and anybody who gets a letter from them is asked to dedicate any reading or event to what they're trying to do. You can still send them money, too, I'll give you the address if you want it later. What they're going to do is play harps in railroad stations and have...lets see, Bach [https://www.wikidata.org/wiki/Q1339] cantatas in railroad stations, play-ins in various museums and the lobbies of concert halls, recital halls, business buildings--I like that one--dramatic presentations in laundromats and supermarkets, [audience laughter], a paint-in, and fences and billboards throughout Manhattan [https://www.wikidata.org/wiki/Q11299] with their work showing and so on. This is a series. \\\"What we're trying to do is through art to reach the American people as human beings.\\\" So...[audience laughter]. If this were Monday I'd dedicate the reading [audience laughter and applause]...This is all very orderly, although it doesn't look it, and it starts with other people's poems of various kinds. A little section of C. Bukowski [https://www.wikidata.org/wiki/Q76409], somebody said that's Charles, an American poet. It's a great long thing that was in a mimeograph magazine, and the description is of a woman with a bicycle and a baby carriage, high-heeled shoes, white socks, and all her belongings, on a hot day in the middle of a road in a city. \\n \\nMargaret Avison\\n00:05:28\\nReads unnamed poem by Charles Bukowski.\\n \\nMargaret Avison\\n00:06:30.\\nThat's sad, so on the same page I copied one of Al Fowler's, which was in a magazine called Lines, which is the all-time happiest little poem, and I don't know why. I'm going to stop where the lines stop, not where the sense stops, so you can see the shape of it.  There's no capital letters. There's no title.\\n \\nMargaret Avison\\n00:07:01\\nReads “Are you a root or a tendermint” by Al Fowler [published in Lines 6].\\n\\nAudience \\n00:07:20\\nLaughter.\\n\\nMargaret Avison\\n00:07:30\\nThis is one by Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756], called \\\"Zoo\\\".\\n \\nMargaret Avison\\n00:07:39\\nReads \\\"Zoo\\\" by Gerry Gilbert.\\n \\nMargaret Avison\\n00:08:00\\nI may bring in some more of other people's, but this is just a little, it's a friend of mine in Toronto who's made it to grade seven this year. He calls it \\\"The Delinquent\\\", and he has, in this copy he has said that it's his copyright so if you betray the fact that I read some of it, I'll be in trouble with him.\\n \\nMargaret Avison\\n00:08:33\\nReads \\\"The Delinquent\\\" by an unnamed author [audience laughter throughout].\\n \\nMargaret Avison\\n00:10:20\\nIt goes on, a bit, I want to go back to where it gets sad, though. I love \\\"She twisted her pinkies behind her but all the knots held more\\\".\\n \\nMargaret Avison\\n00:10:30\\nResumes reading \\\"The Delinquent\\\" [audience laughter throughout].\\n \\nMargaret Avison\\n00:11:33\\nThere's an awful line in the next verse. [Audience laughter].\\n \\nMargaret Avison\\n00:11:41\\nResumes reading \\\"The Delinquent\\\" [audience laughter throughout].\\n \\nMargaret Avison\\n00:12:43\\nIt ends up with knotting a burning matchstick into her old man's hair. [Audience laughter]. I think as he goes on he'll be somebody. If I'm not reading mine I'll warn of you. Some of these...the first one is a Toronto poem with footnotes, saying that TTC [https://www.wikidata.org/wiki/Q17978] means Toronto Transit Commission, and the Ditch is an open cut on the Yonge subway between Bloor and Rosedale. \\n \\nMargaret Avison\\n00:13:38\\nReads unnamed poem.\\n \\nMargaret Avison\\n00:14:37\\nThe second subway poem...a little child, it's called \\\"Subway Station Why Not.\\\"\\n \\nMargaret Avison\\n00:14:53\\nReads \\\"Subway Station Why Not\\\".\\n \\nMargaret Avison\\n00:15:56\\nThis next one is St. Clair Avenue, where I live on the car tracks. It's called \\\"Insomniac Report\\\".\\n \\nMargaret Avison\\n00:16:11\\nReads \\\"Insomniac Report\\\".\\n \\nMargaret Avison\\n00:17:07\\nFeels as if I should be doing something different, but I don't know what. I did a poem to people writing examinations I'm hunting for, but I think I've forgotten it. There's three about this odd experience of teaching and students. This one was written before I had had the experience, but was looking forward to it. And it had the title \\\"Is That You/Me Standing on My/Your Feet?\\\" And it's very full of fine theory and idealism.\\n \\nMargaret Avison\\n00:18:18\\nReads \\\"Is That You/Me Standing on My/Your Feet?\\\".\\n \\nMargaret Avison\\n00:19:21\\nAnd I've got two other incomplete ones that should be read with that. I'll just read two stanzas of the first one, it's got one four-line stanza for the students...\\n \\nMargaret Avison\\n00:19:36\\nReads unnamed poem.\\n \\nMargaret Avison\\n00:20:36\\nThe teacher's answer hasn't got written yet. Here's another bit, two stanzas, the student and the teacher, that isn't finished. The student is talking although it doesn't sound like it. \\n \\nMargaret Avison\\n00:21:01\\nReads unnamed poem.\\n \\nMargaret Avison\\n00:21:51\\nThere's a daybreak bus I have to catch and this one is called \\\"October 21, '66, at a bus stop on the way\\\".\\n \\nMargaret Avison\\n00:22:03\\nReads \\\"October 21, '66, at a bus stop on the way\\\".\\n \\nMargaret Avison\\n00:23:07\\nI had planned to get all this organized on the plane, but I was in the middle of the three seats and I kept getting the briefcase out and everything would fall to the floor, and this one would dive for it, or this one, and I finally gave up, so it's upside down. This is dedicated to Jacques Ellul [https://www.wikidata.org/wiki/Q322922], The Technological Society [https://www.wikidata.org/wiki/Q1607727], a book he wrote that's a little mad but very stirring.\\n \\nMargaret Avison\\n00:23:56\\nReads [“Making Senses”, published later in No Time]. \\n \\nMargaret Avison\\n00:26:39\\nThere's one here that is just the equivalent to sketching, I guess. I know a poet in Chicago [https://www.wikidata.org/wiki/Q1297] who used to go and sit around in the Art Institute [https://www.wikidata.org/wiki/Q239303], when it was a fairly quiet room, and stare all morning, and if any words occurred to him, he dashed them down. And sometime he worked up his sketches and sometime he didn't, which is a technique that's lots of fun to practice, and occasionally something grows out of it. In this case I don't think I'll ever do anything but it'll show you the kind of thing that I mean, if, as I assume, most of you are writers.\\n \\nMargaret Avison\\n00:27:38\\nReads unnamed poem. \\n \\nMargaret Avison\\n00:28:25\\nNow a poem with syntax and stuff called \\\"The Seven Birds\\\". A corner of Bathurst and College Street in Toronto which is the kind of buildings that have been there since the first world war, where there's often stores on the street level and an apartment or two above. \\n \\nMargaret Avison\\n00:29:01\\nReads \\\"The Seven Birds\\\" [published later in sunblue].\\n\\nMargaret Avison\\n00:30:15\\nI think I should read a long, fierce poem. This is not by me except translated. It's the poem of Gyula Illyes [https://www.wikidata.org/wiki/Q381107], called \\\"Of Tyranny, In One Breath\\\". Ilona Duczynska [https://www.wikidata.org/wiki/Q967353] did a literal translation for me and then read it to me for sound and we worked through it that way.  Apparently the poem started, or happened, in 1956 in Budapest [https://www.wikidata.org/wiki/Q1781]. Illyes had written it some years before but hadn't been angry enough at the time to risk what it was to bring it out. But he grew angry enough and somebody said the one thing that nobody censors is the magazine which tells you what lectures are going on where and what movies are running where and is just a news sheet, and the middle spread was for advertising, so they printed this in the middle sheet and it was, they tried to stop it as soon as the authorities found it but by then they were storming the radio station or however it started. I can't do it in one breath because it goes on for several pages. In the first part of it, \\\"it,\\\" meaning \\\"tyranny\\\" is small \\\"i\\\" and towards the end it's a capital \\\"I.\\\"\\n \\nMargaret Avison\\n00:32:27\\nReads English translation of \\\"Of Tyranny, In One Breath\\\" by Gyula Illyes [published later in Always Now, Vol. 1].\\n\\nMargaret Avison\\n00:39:26\\nSo, after the revolution he was much too well-known to disappear but they said he was insane and he was in an asylum for a while, but he wrote a lot of lovely things there, so I don't think he was, and he's not there now. It's much better, I think. A group of silly things it's embarrassing to read but I will, called \\\"Bestialities\\\".\\n \\nMargaret Avison\\n00:40:19\\nReads \\\"Bestialities\\\", parts 1-5 [from The Dumbfounding; audience laughter throughout].\\n \\nMargaret Avison\\n00:41:14\\nThe last one I think is just beautiful, but nobody gets it unless I explain, so I'll explain, it's like you take a piece of 8 by 11 typing paper...\\n \\nAudience Member 1\\n00:41:26\\nDon't explain, just say it.\\n \\nMargaret Avison\\n00:41:28\\nAlright, you can tell me then, eh? \\n \\nMargaret Avison\\n00:41:33\\nReads \\\"Bestialities\\\", part 6 [from The Dumbfounding].\\n \\nMargaret Avison\\n00:41:40\\nNow, come on...[Audience laughter]. Hmm? Does anybody want the explanation? Well I've read it. It's just a crumpled-up letter, you know, you get it and you read it and you cry and you crumble it up and you throw it down and the mite goes up...Now I'll read it again.\\n \\nMargaret Avison\\n00:42:17\\nReads \\\"Bestialities\\\", part 6 [from The Dumbfounding].\\n \\nMargaret Avison\\n00:42:35\\n“The Absorbed\\\". This is one of the very cold days, I guess about ten below, enough. It's inside the pane of glass separating inside from outside comes into it, a certain kind of sky that goes with that which is like glass again. \\n \\nMargaret Avison\\n00:43:09\\nReads \\\"The Absorbed\\\" [from The Dumbfounding].\\n \\nMargaret Avison\\n00:45:50\\nReads [\\\"Thaw\\\" from Winter Sun].\\n \\nMargaret Avison\\n00:47:37\\nI would like to read two other weather ones and then I'll give you a break. This is “Two Mayday Selves”.\\n \\nMargaret Avison\\n00:47:54\\nReads \\\"Two Mayday Selves\\\" [from The Dumbfounding].\\n \\nMargaret Avison\\n00:49:42\\nAnd the last one is late spring, early summer. Jet-plane and terminuses, called \\\"Black-White Under Green, May 18th 1965”.\\n \\nMargaret Avison\\n00:50:06\\nReads \\\"Black-White Under Green, May 18th 1965” [published as “May 18 1965” in The Dumbfounding].\\n\\nUnknown\\n00:52:53\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nMargaret Avison\\n00:52:54\\nI've been asked to read \\\"The Valiant Vacationist\\\". It was written so many years ago...I think I would be quite right in saying thirty years ago, and probably a little more. And I couldn't write this well now but in a way when you're very young you've got the whole world in one lump without any lump, and you only get bits later on. \\n \\nMargaret Avison\\n00:53:34\\nReads \\\"The Valiant Vacationist\\\" [published later in Always Now: Vol. 1].\\n \\nMargaret Avison\\n00:56:54\\nThen the one \\\"To Professor X, Year Y\\\".\\n \\nMargaret Avison\\n00:57:03\\nReads \\\"To Professor X, Year Y\\\" [from Winter Sun].\\n\\nMargaret Avison\\n00:59:57\\nI'd like to read one introductory poem to the long one, \\\"The Earth that Falls Away\\\", and that one, and two short ones, if you'll bear with me that long. This is called \\\"The Absolute, the Day\\\".\\n \\nMargaret Avison\\n01:00:22\\nReads \\\"The Absolute, the Day\\\" [published later as “Absolute” in sunblue and in Always Now Vol. 2].\\n\\nMargaret Avison\\n01:01:39\\nThis one is \\\"The Earth that Falls Away\\\". There's an epigraph from Beddoes’ [https://www.wikidata.org/wiki/Q2165597] Death's Jest-Book [https://www.wikidata.org/wiki/Q42188673]: \\\"Can a man die? Aye, as the sun doth set, it is the earth that falls away from light\\\". There are a number of human situations, some into the past, through the present generation, the rest various city people, myself, and the stories come interleaving so that as I name a new section it'll be a new group of people, and by request I'm going to  stop at the line-ends here. \\n \\nMargaret Avison\\n01:02:32\\nReads \\\"The Earth that Falls Away\\\" [from The Dumbfounding].\\n \\nMargaret Avison\\n01:15:52\\nReads [\\\"He Couldn’t Be Safe (Isaiah 53:5)”, published later in sunblue].\\n \\nMargaret Avison\\n01:16:54\\nThere's one more and I'll stop with this one. \\n \\nMargaret Avison\\n01:17:00\\nReads [section from “The Jo Poems”, part 6. Published later in No Time. Subtitled “Having” in Always Now: Vol. 2].\\n \\nEND\\n01:17:54\\n[Cut off abruptly].\\n\",\"notes\":\"Margaret Avison reads from Winter Sun (Routledge and Kegan Paul, 1960) and The Dumbfounding (W.W. Norton & Co, 1966), as well as a few poems published years later in books like sunblue (Lancelot Press, 1978) and No Time (Lancelot Press and Brick Books, 1998). The majority of the poems read were also collected in three volumes, entitled Always Now (The Porcupine’s Quill, 2003).\\n\\nI086-11-002.1=AC\\n\\n(Rachel has indexed poems)\\n00:00- Roy Kiyooka introduces Margaret Avison. [INDEX: seventh poetry evening, poetry conference at UBC summer of 1963; Bloor Street, Guelph Ontario, Alberta, Victoria College of the University of Toronto in 1940 with BA from English Language and Literature, secretary at firms, research assistant, librarian, teaching English at    \\tScarborough College (Toronto), Guggenheim Fellow 1956-7, Canadian and American    \\tmagazines; books: The Winter Sun won Governor General’s Award in 1960, The    Dumbfounding (W.W. Norton in New York, 1966).]\\n02:59- Avison introduces poem by Charles Bukowski, first line “She had gone wrong somewhere...” [INDEX: Roy Kiyooka (meeting), Angry Art Week in NYC, dedicate    \\treadings to Angry Art Week, Bach, Manhattan, American people, American poet,        \\tMimeograph Magazine.]\\n05:28- Reads section from a poem by Charles Bukowski “She had gone wrong somewhere...”\\n06:30- Introduces poem by Al Fowler first line “Quote: Are you a root or a tender mint     tea?”. [INDEX: magazine Line, line stops, shape of poem, no capital letters, no title.]\\n07:01- Reads poem by Al Fowler, first line “Quote: Are you a root or a tender mint tea?”.\\n07:30- Introduces poem by Gerry Gilbert called “Zoo”.\\n07:39- Reads poem by Gerry Gilbert, called  “Zoo”.\\n08:00- Introduces poem called “The Delinquent”  by unknown child. [INDEX: friend in Toronto, in grade seven.]\\n08:33- Reads “The Delinquent”.\\n10:20- Interjects comment about poem.\\n10:30- Continues reading “The Delinquent”.\\n11:33- Interjects comment about poem.\\n11:41- Continues reading “The Delinquent”.\\n12:43- Explains “The Delinquent”, Introduces poem, first line “Inside the TTC’s fence...”.  [INDEX: Toronto poem, footnotes, TTC means Toronto Transit Commission, Yonge       \\tSubway between Bloor and Rosedale.]\\n13:38- Reads first line “Inside the TTC’s fence...”. [INDEX: cities, Toronto, transportation, subway; from an unknown source.]\\n14:37- Introduces “Subway Station Why Not”. [INDEX: subway poem, child, from unknown source]\\n14:53- Reads “Subway Station Why Not”. [INDEX: cities, Toronto,  transportation, subway, child; from an unknown source.]\\n15:56- Introduces “Insomniac Report”. [INDEX: St. Clair Avenue (Toronto), car tracks.]\\n16:11- Reads “Insomniac Report”. [INDEX: cities, Toronto, night, streets, sounds, sleep; from an unknown source.]\\n17:07- Introduces “Is that You/Me Standing on My/Your Feet?”. [INDEX: students writing exams, teaching, theory, idealism; from an unknown source.]\\n18:18- Reads “Is that You/Me Standing on My/Your Feet?”. [INDEX: school, teaching, work, children, student.]\\n19:21- Introduces incomplete poems, first line “No instant morality for us...”. [INDEX:        incomplete poem, two stanzas of first, one four-line stanza for the students; from an      unknown source.]\\n19:36- Reads first line “No instant morality for us...”. [INDEX: school, teaching, work,        children, students.]\\n20:36- Introduces incomplete poem, first line “The boy with the brilliant promises...”. [INDEX: teacher’s answer, two stanzas, incomplete poem; from an unknown source.]\\n21:01- Reads first line “The boy with the brilliant promises...”. [INDEX: work, school,        teaching, children, students.]\\n21:51- Introduces \\\"October 21, '66, at a bus stop on the way.\\\". [INDEX: daybreak bus; from an unknown source]\\n22:03- Reads \\\"October 21, '66, at a bus stop on the way.\\\". [INDEX: nature, time, day.]\\n23:07- Introduces unknown poem first line “A junk truck stopped beside my bus...”. [INDEX: plane, dedicated to Jacques Ellul who wrote The Technological Society; from an unknown source.]\\n23:55- Reads first line “A junk truck stopped beside my bus...”. [INDEX: cities, bus, truck, metal, urban, waste, stone, wreck, yard, grass, gargoyle.]\\n26:39- Introduces first line, “Grey by water...”. [INDEX: sketching, poet in Chicago, Art       Institute; from an unknown source.]\\n27:38- Reads first line “Grey by water...”. [INDEX: language, play, process, sketch.]\\n28:25- Introduces “The Seven Birds”. [INDEX: poem with syntax, corner of Bathurst and     College Street in Toronto, First World War building; from sunblue in “Sketches”.]\\n29:01- Reads “The Seven Birds”.\\n30:15- Introduces poem Avison translated, called “Of Tyranny in One Breath” by Gyula     Illyes. [INDEX: Ilona Duczynska, translation, 1956 in Budapest, censorship in magazines, newsheets, radio station, authorities, protest, tyranny; collected in Always  Now, Vol. 1 (Porcupine’s Quill, 2003).]\\n32:27- Reads “Of Tyranny in One Breath” by Gyula Illyes.\\n39:26- Explains “Of Tyranny in One Breath”, introduces “Bestialities”. [INDEX: revolution, Gyula Illyes, insane asylum; from The Dumbfounding.]\\n40:19- Reads “Bestialities”. [INDEX: play, animals, language, puns.]\\n41:14- Introduces first line “Said the mite on the single page of a sad letter: Eureka...”.      [INDEX: misunderstood poem, 8x11 typing paper.]\\n41:26- Audience member interjects, asks her to read it without explanation.\\n41:28- Avison reads first line “Said the mite on the single page of a sad letter: Eureka...”.\\n41:40- Explains “Said the mite on the single page of a sad letter: Eureka...”. [INDEX:        crumpled up letter, mite; from unknown source.]\\n42:17- Re-reads “Said the mite on the single page of a sad letter: Eureka...”.\\n42:35- Introduces “Be Absorbed”. [INDEX: cold day, glass pane, sky; from unknown source.]\\n43:09- Reads “Be Absorbed”. [INDEX: nature, weather, glass, window, cold, winter, ice.]\\n45:50- Reads “The Thaw”. [INDEX: city, children, weather, winter, spring, streets, dog, sparrow, pigeons, boy; published as “Thaw” in Winter Sun.]\\n47:37- Introduces poem, first line “The grackle shining in long grass...”. [INDEX weather   poem, May; Howard Fink list “To May Day”.]\\n47:54- Reads “The grackle shining in long grass...”. [INDEX: colours, birds, grackle, city,   streets, winter, day, breath; from unknown source.]\\n49:42- Introduces “Black-White Under Green”. [INDEX: late spring, early summer, Jet-plane terminuses, May 18th, 1965.]\\n50:06- Reads “Black-White Under Green”. [INDEX: nature, flowers, birds, plane, flight,     leaves, snow, sky, sea, music, ice; from The Dumbfounding.]\\n52:53.49- END OF RECORDING.\\n  \\nPoem (by stated title or first line):                                     \\nFIRST CD: I086-11-002.1=AC                         \\t\\t           Time            Duration\\n\\n[\\\"She had gone wrong...\\\"]by Charles Bukowski                        00:05:28      \\t01:01\\n[\\\"Quote: Are you a root or a tender mint tea?\\\"] by Al Fowler    00:07:01      \\t00:28\\n\\\"Zoo\\\" by Gerry Gilbert                                                       \\t00:07:39      \\t00:19\\n\\\"The Delinquent\\\" by an unknown, seven year-old friend  \\t00:08:33      \\t04:10\\n[\\\"Inside the TTC's fence...\\\"]                                               \\t00:13:38      \\t00:58\\n\\\"Subway Station Why Not\\\"                                    \\t        \\t00:14:53      \\t01:03  \\n\\\"Insomniac Report\\\"                                                            \\t00:16:11      \\t00:55\\n\\\"Is That You/Me Standing on My/Your Feet?\\\"                 \\t00:18:18      \\t01:02\\n[\\\"No instant morality for us...\\\"]                                          \\t00:19:36      \\t00:58\\n[\\\"The boy with the brilliant promises\\\"]                              \\t00:21:01      \\t00:50\\n\\\"October 21, '66, at a bus stop on the way\\\"                        \\t00:22:03      \\t01:02\\n [\\\"A junk truck stopped beside my bus\\\"]                           \\t00:23:56      \\t02:40\\n[\\\"Grey by water...\\\"]                                                            \\t00:27:38      \\t00:45\\n\\\"The Seven Birds\\\"                                                              \\t00:29:01      \\t01:13\\n\\\"Of Tyranny in One Breath\\\" by Gyula Illyes         \\t        \\t00:32:27      \\t04:58\\n\\\"Bestialities\\\"                                                           \\t        \\t00:40:19      \\t00:54\\n\\\"Said the mite on the single page of a sad letter: Eureka.\\\"      00:41:33      \\t00:57\\n\\\"Be Absorbed\\\"                                                                    \\t00:43:09      \\t02:40\\n\\\"The Thaw\\\"                                                                        \\t00:45:50      \\t01:40\\n\\\"The grackle shining in long grass\\\"                                   \\t00:47:54      \\t00:46\\n\\\"Black-White Under Green,\\\" May 18th, 1965                   \\t00:50:06      \\t02:47\\n\\nI086-11-002.2=AC \\n\\n00:00- Avison introduces “The Valiant Vacationist”. [INDEX: written more than thirty years before, writing when young; from Elsewhere.]\\n00:41- Reads “The Valiant Vacationist”. [INDEX: vacation, travel, walking, picnic, park, city, landing, steps, trees, bridge, tourist, stranger.]\\n04:00- Reads “To Professor X, Year Y”. [INDEX: November, waiting, uniformity, crowd,        downtown, history, historian, death, snow; from The Winter Sun.]\\n07:04- Introduces “The Absolute, the Day”. [INDEX: introductory poem to “The Earth that Falls Away”.] \\n07:28- Reads “The Absolute, the Day”. [INDEX: power, rabbi, Judaism, good, morality, love.]\\n08:46- Introduces “The Earth that Falls Away”. [INDEX: epigraph from Beddoes’s Death’s Jest Book, human situations, present generation, city people, stop at the line-ends; from The Dumbfounding.]\\n09:38- Reads “The Earth that Falls Away”. [INDEX: long poem, Romans, history, Bible,    silence, breaking, marriage, illness, winter, summer, city, Dawson City, gold rush, books, Canadiana, photographs, remembrance, scholar, value, cloth, fabric, textiles, production, operation, cancer, treasure, children, blind, snow, farm, emptiness, isolation, solitude, sight, sound.]\\n22:58- Reads first line “He chose a street where he wouldn’t be safe...” [INDEX: city, street, party, Bible, safety, saviour, Jesus; from unknown source; not indicated as separate poem on Howard Fink List.]\\n24:00- Reads first line “Sir, you have nothing...”. [INDEX emptiness, nothing, snow, heart, cup, fullness, joy; from unknown source. .]\\n25:01.03- END OF RECORDING.\\n \\nPoems Time Stamped with Duration\\nSECOND CD: I086-11-002.2=AC                         \\t\\tTime            \\tDuration\\n\\\"The Valiant Vacationist\\\"                                                  \\t00:00:41      \\t03:15\\n\\\"To Professor X, Year Y\\\"                                                   \\t00:04:10      \\t02:55\\n\\\"The Absolute, the Day\\\"                                                    \\t00:07:28      \\t01:15\\n\\\"The Earth that Falls Away\\\"                                              \\t00:09:38      \\t13:15\\n\\\"He chose a street where he wouldn't be safe\\\"                   \\t00:22:58      \\t01:00\\n \\\"Sir, you have nothing\\\"                                                     \\t00:24:06      \\t00:55\\n\\nHoward Fink List:\\n“Marg Avison” reading her own poetry 21/1/67 reel information.\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-avison-at-sgwu-1967/\"}]"],"score":1.9290923},{"id":"1260","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":["Robert Creeley at Sir George Williams University, The Poetry Series, 24 February 1967 "],"item_title_source":["Cataloguer"],"item_title_note":["\"ROBERT CREELEY I006/SR89.1\" written on sticker on the spine of the tape's box. I006-11-089.1 is written on a sticker on the tape reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"access":["Streaming and download"],"creator_names":["Creeley, Robert"],"creator_names_search":["Creeley, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"American poet and essayist Robert Creeley was born in 1926 in Arlington, Massachusetts. His early life was marred by tragedy, as he lost his left eye in an accident and suffered the death of his father when he was four years old. Creeley then grew up on a farm, and felt repressed by his traditional Puritanical New England upbringing. After a year of Harvard University, Creeley joined the US Field Service in India and Burma. Returning again to Harvard, he married his first wife Ann MacKinnon, with whom he had three children, only to leave Harvard in his final semester. From 1948 to 1950, Creeley and his family moved to several locations including Provincetown, New Hampshire; Provenance, France; and Mallorca, Spain. Once in Mallorca, he set up The Divers Press with poet Denise Levertov. Creeley thus began correspondence with Charles Olson, and Olson offered Creeley a teaching position at the Black Mountain College in North Carolina, as well as a Bachelor’s degree in 1954. During his short time at Black Mountain, Creely edited Black Mountain Review, a journal known for its experimental writing. As well as many publications in poetry magazines, he published his first collection of short stories in The Gold Diggers in 1954 (Divers Press). After his marriage dissolved, Creeley headed West to San Francisco, meeting with Allen Ginsberg, Gary Snyder, and Kenneth Rexroth, as well as other Beat poets during the San Francisco Poetry Renaissance. Creeley then moved to Albuquerque, New Mexico, completed his M.A., and then took a position as professor of English. There, he met and married Bobbie Louise Hall, with whom he had two daughters and for whom he wrote most of his love poetry. His first major collection of poetry was For Love: Poems 1950-1960, published in 1962 (Scribner Press). Creeley subsequently published his novel, The Island (Scribner Press, 1963), and other poetry collections including Words (Scribner), The Charm: Early and Uncollected Poems (Perishable Press, 1967), and Pieces (Scribner, 1969). His essays and prose publications include A Quick Graph: Collected Notes and Essays (Four Seasons Foundation, 1970), A Sense of Measure (Calder and Boyars, 1973), and Was That a Real Poem and Other Essays (Four Seasons Foundation, 1979). His marriage with Bobbie ended in the late 70’s, and he married his third wife, Penelope Highton.  Creeley continued to publish his poetry in collections such as Later (New Directions, 1979), Mirrors (New Directions, 1983), Windows (New Directions, 1990), Echoes (New Directions, 1994), Life and Death (New Directions, 1998), and If I Were Writing This (New Directions, 2003). He has won a number of awards and honors, including the New York State Poet Laureate from 1989-91. He was elected a Chancellor of the Academy of American Poets in 1999, received the Lannan Lifetime Achievement Award, the Bollingen Prize, the Shelley Memorial Award, a Rockefeller Grant and two Guggenheim Fellowships. Robert Creeley died in 2005, but his poetry has been published posthumously in On Earth: Last Poems and an Essay (University of California Press, 2009), The Collected Poems of Robert Creeley, 1975-2005 (University of California Press, 2006) and Robert Creeley: Selected Poems, 1945-2005 (University of California Press, 2008).\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"contributors_names":["Layton, Irving"],"contributors_names_search":["Layton, Irving"],"contributors":["[{\"url\":\"http://viaf.org/viaf/66482092\",\"name\":\"Layton, Irving\",\"dates\":\"1912-2006\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"Presenter_name":["Layton, Irving"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 2 24\",\"type\":\"Performance Date\",\"notes\":\"Date specified in \\\"Georgantics\\\" \",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Robert Creeley reads from For Love (Scribner, 1962) and Words (Scribner, 1967)."],"contents":["robert_creeley_i006-11-089-1_1987.mp3\n\nIrving Layton\n00:00:15\nMr. Creeley [https://www.wikidata.org/wiki/Q918620] has published too many books for me to list for you this evening, but some titles are deserving of notice. His Collected Poems was published by Scriveners in 1962 under the title For Love. He has also published short stories and they're brought out by Scriveners after first being published, privately I believe, under the title of The Gold Diggers. His most recent book, also brought out by Scriveners, is called Words. Mr. Creeley has a style that is unique and inimitable. There are many, both in this country [https://www.wikidata.org/wiki/Q16?wprov=srpw1_0] and in United States of America [https://www.wikidata.org/wiki/Q30?wprov=srpw1_0] that are trying to capture the delicate, tenuous quality of his work, and not quite successfully. For his is an art of pauses, of hesitations. He affirms by diffidence, and he destroys our pretensions with a whisper. He uses silence as a modern composer of music [unintelligible], or the way a contemporary painter uses space. He bounces words off against the wall of [unintelligible]. If you listen carefully, you'll hear reverberations and the subtlest of echoes. Mr. Creeley is one of the most honest poets writing today. And a very brave man, who knows the price that has to be paid for a good poem certified to endure. He has written a little song, sing days of happiness, make a pardonable wonder of one's blunders. The man who wrote those words knows all that needs to be known about the perilous vocation of the poet. One critic has said his poems are miniatures, but then hastened to add that they are not miniatures, sorry-One critic has said-this is not from memory-One critic has said that his poems are miniatures, but there's nothing miniature about the power that they release. I have said somewhere that he has written skinny poems, that miraculously grow in length and breath, one's air absorbed into one's consciousness. Slender firecrackers that explode with the power of a bomb. Ladies and gentlemen, Mr. Robert Creeley.\n\nAudience\n00:03:42\nApplause.\n\nRobert Creeley\n00:03:52\nSee now, it's extremely generous, Irving [https://www.wikidata.org/wiki/Q1673289], all that. No, because we have had a very long association. I think I'd like to say my piece too, apropos that fact that I think that the kind of community that say either Irving or myself in this way were involved with was what kinds of, no really, how could you find the world?  I mean, I, for example first read his poems in the collection called Cerberus with Louis Dudek [https://www.wikidata.org/wiki/Q3261787] and Raymond Souster [https://www.wikidata.org/wiki/Q304129] and then I was very interested in the magazine that they had going called Contact, I was looking for connections I suppose, the man, in no hips sense, but we were, I was extraordinar--I wanted to know where the world was, and Irving seemed to be very much, very much part of any world I certainly could respect. And so, what he generously and definitely himself ignores was that he was that he was a very decisive contributing editor for the Black Mountain Review, and it was really, a very decisive friend all those fifteen years he imagines. Let me read now. Let me start from back then, \"A Song\".\n \nRobert Creeley\n00:05:47\nReads \"A Song\" [from For Love].\n \nRobert Creeley\n00:06:37\nThis is apropos. \"The Conspiracy\".\n \nRobert Creeley\n00:06:43\nReads \"The Conspiracy\" [from For Love].\n \nAudience\n00:07:11\nLaughter.\n\nRobert Creeley\n00:07:12\nThat was no joke. \"Chanson\".\n \nRobert Creeley\n00:07:26\nReads \"Chanson\" [from For Love].\n \nRobert Creeley\n00:08:00\n\"The Operation\".\n \nRobert Creeley\n00:08:05\nReads \"The Operation\" [from For Love].\n \nRobert Creeley\n00:08:35\n\"The Death of Venus\".\n \nRobert Creeley\n00:08:41\nReads \"The Death of Venus\" [from For Love].\n \nRobert Creeley\n00:09:17\nI was thinking Paul Blackburn [https://www.wikidata.org/wiki/Q7149388] happily has been here, so this is a poem, again of the same, the same situation that we were very active in the exchange of, I mean, again I want to emphasize  the sense that we were looking around to see what kinds of possibility that we could find in the world and I suppose if we shared anything, I was thinking of Irving's lovely stories and letters about the problems of visiting literary parties [laughs] and partly being forbidden because he made such awkward problems for guests and hosts, etc. So that Paul Blackburn at this point was translating from Provencal poetry, he'd been at the University of Wisconsin [https://www.wikidata.org/wiki/Q838330] and had had a very active and useful relation with the woman there, I think it was, teaching Provencal, so that he'd also been very involved with Pound [https://www.wikidata.org/wiki/Q163366?wprov=srpw1_0], with Pound's senses of activity in verse and had therefore become particularly interested in Provencal and had begun to translate, and through the same agency that we had in Mallorca [https://www.wikidata.org/wiki/Q8828], my wife and I then, the so called Divers Press that had published Irving's book, we published a collection of Paul's Provencal translations called Proensa. So the title, is actually Paul's title, I can't now remember what- I don't think he ever published the poem it was the title for, but I was struck by it, and you know, you take things, obviously from friends, it was that you were stealing, but that it was always a common situation. It's a form of adaptation, and I think a young friend now at Buffalo [https://www.wikidata.org/wiki/Q681025] were presently working was telling me that I am in the courtly tradition which is confusing to me, but I can see what he means simply that did pick up a lot through Paul Blackburn and writers in this way using a vocabulary or sense of possibility involved with that kind of writing. So this poem, for example, would be, would be actually a, would be a poem not written by Paul Blackburn, but a poem much informed by his way of perceiving. \"A Form of Adaptation\".\n \nRobert Creeley\n00:11:46\nReads \"A Form of Adaptation\" [from For Love].\n \nRobert Creeley\n00:12:40\n“The Whip”.\n \nRobert Creeley\n00:12:43\nReads \"The Whip\" [from For Love].\n \nRobert Creeley\n00:13:29\n\"Please\".\n \nRobert Creeley\n00:13:36\nReads \"Please\" [from For Love].\n \nRobert Creeley\n00:14:36\n\"The Three Ladies\".\n \nRobert Creeley\n00:14:39\nReads \"The Three Ladies\" [from For Love].\n \nRobert Creeley\n00:16:04\n[Unintelligible] \"New Year’s\".\n \nRobert Creeley\n00:16:17\nReads \"New Year’s\" [from For Love].\n \nRobert Creeley\n00:17:34\n\"Entre Nous\".\n \nRobert Creeley\n00:17:40\nReads \"Entre Nous\" [from For Love].\n \nRobert Creeley\n00:18:08\n\"The Place\".\n \nRobert Creeley\n00:18:11\nReads \"The Place\" [from For Love].\n \nRobert Creeley\n00:19:20\n\"The Hill\".\n \nRobert Creeley\n00:19:32\nReads \"The Hill\" [from For Love].\n \nRobert Creeley\n00:20:21\n\"The Awakening\" for Charles Olson [https://www.wikidata.org/wiki/Q922978].\n \nRobert Creeley\n00:20:25\nReads \"The Awakening\" [from For Love].\n \nRobert Creeley\n00:22:04\n\"The Rain\".\n \nRobert Creeley\n00:22:12\nReads \"The Rain\" [from For Love]. \n \nRobert Creeley\n00:23:12\n\"Kore\".\n \nRobert Creeley\n00:23:20\nReads \"Kore\" [from For Love].\n \nRobert Creeley\n00:24:09\nI thought I'd read a few more of these in this particular collection. Zukofsky [https://www.wikidata.org/wiki/Q975481] is a man I very much respect. \"The House\", for Louis Zukofsky.\n \nRobert Creeley\n00:24:29\nReads \"The House\" [from For Love].\n \nRobert Creeley\n00:25:06\n\"The Pool\".\n \nRobert Creeley\n00:25:13\nReads \"The Pool\" [from For Love].\n \nRobert Creeley\n00:26:18\nWater, I really love water. To Water.\n \nRobert Creeley\n00:26:26\nReads \"The Rocks\" [from Words].\n \nRobert Creeley\n00:27:47\n\"The Fire\".\n \nRobert Creeley\n00:27:50\nReads \"The Fire\" [from Words].\n \nRobert Creeley\n00:28:31\n\"Something\".\n \nRobert Creeley\n00:28:37\nReads \"Something” [from Words].\n \nRobert Creeley\n00:29:46\nThat was a, there's another poem with that same sense, no really, I'm very, I think that some of the lovely incongruities of existence [unintelligible] Charlotte- whose last name I can't remember, [unintelligible] like to say was arrested in New York for trying to, as she put it, and I believe, lovely innocence, she wanted to have chamber music as quote sexy unquote as other life circumstances seemed to be becoming, so that she was playing something like [unintelligible] or Bach [https://www.wikidata.org/wiki/Q1339] in topless condition and was arrested by a very discreet policeman and taken away. Although she wanted apparently to entertain the sight as well as the ear. I don't know, I mean, why shouldn't she be permitted to do that? \"Distance\".\n \nRobert Creeley\n00:31:03\nReads \"Distance\" [from Words].\n \nRobert Creeley\n00:34:29\nA couple of these, two from Mexico [https://www.wikidata.org/wiki/Q96]. \"The Window\".\n \nRobert Creeley\n00:34:36\nReads \"The Window\" [from Words].\n \nRobert Creeley\n00:35:30\n\"To Bobbie\".\n \nRobert Creeley\n00:35:34\nReads \"To Bobbie\" [from Words].\n \nRobert Creeley\n00:36:46\nI wanna, there's one poem, apropos I'd like to go back to, a couple--\"The Rose\".\n \nRobert Creeley\n00:37:02\nReads \"The Rose\" [from For Love].\n \nRobert Creeley\n00:38:46\n\"Love Comes Quietly\".\n \nRobert Creeley\n00:38:53\nReads \"Love Comes Quietly\" [from For Love].\n \nRobert Creeley\n00:39:15\n\"The Gesture\".\n \nRobert Creeley\n00:39:21\nReads \"The Gesture\" [from For Love].\n \nRobert Creeley\n00:39:52\n\"For Love\".\n \nRobert Creeley\n00:39:56\nReads \"For Love\" [from For Love].\n\nRobert Creeley\n00:42:39\nI want to go back to this one. There's one... called, \"Anger\". This interpolates, so to speak of. I've been traveling in an extraordinary company of people the last, or the week previous and then, we'll see them again at the same activity tomorrow night in New York [https://www.wikidata.org/wiki/Q60?wprov=srpw1_0]. We were billed as quote contemporary voices in the arts, unquote, but apart from that the, we were visiting various colleges and universities in the Upstate New York area from say Albany State [https://www.wikidata.org/wiki/Q4709390] to Rensselaer Polytechnic [https://www.wikidata.org/wiki/Q49211] to Potsdam [https://www.wikidata.org/wiki/Q7603628], and then places St Lawrence [https://www.wikidata.org/wiki/Q1411093] or Union College [https://www.wikidata.org/wiki/Q1567748] and we were trying, in effect, to- we had the problem of we were billed as a panel, seven men, sitting down to discuss- John Cage [https://www.wikidata.org/wiki/Q180727] is one of the participants, and he said, 'well', of course if we sit down, we say, 'well where do you think art is going?' and then you have to figure out where do you think art's come from? [laughter] And at that point you just might as well come home because it's going to be a long, long conversation. So we decided that we would, instead of having the formal sense of panel, that we would simply create, improvise, or go about in effect at our own activity, except that we wouldn't isolate ourselves in that but would simply try to improvise, as we were seven people, a poem that could permit each one of us to be active, all together so that we at no point had much- we had no decision as to what the others would be doing, so that the whole activity occurred as the complex, and I was- I mean, I had never had any experience of this kind previously at all, John Cage had made, oh very large decisions indeed about this kind of possibility in music, simply that he wanted all possibility of sound to be admitted into the context that music proposes. He also had very decisive relation to what are called loosely 'happenings', and both he and Merce Cunningham [https://www.wikidata.org/wiki/Q318364], another participant, had in that with some previous experience, but the point is that they weren't- neither was trying to create a system from previous experience, but again was trying to think of how this activity of seven people could be evident in ways that simply didn't create a three-ring circus but was actually a participation so, I was intrigued, I was extraordinarily intrigued as to how words, as poetry and whatnot could enter into this circumstance, and because I literally was in it, I have in a sense no quote objective unquote experience at all, but it was extraordinary to me to hear how things are heard in a multiple, in a multiple event, rather than the kind of singularity that this occasion proposes. So I still have that on my mind in a way, and I may, I really do feel that say, all the arts, I mean if one does want some kind of statement about them, that all the arts are moving into a situation where the agency is becoming less and less singular, I don't mean necessarily that in some seminal sense, that everyone's quote an artist, I mean I don't know what an artist is, in one way at all, but I think that the participation is becoming much more a situation of process and activity, and that it is becoming less and less evident as one singular isolation of person, and I realize in my own writing how much the previous condition had been my, my occasion. So, I may be reading these poems for the last time in that sense. I'm certainly prepared to do so, I'm not at all interested in continuing an activity that maybe, you know, maybe have much more experience or much more range of possibility than say contemporary habits about it seem to imply. But anyhow, that was interesting to me to have that experience and also interesting of course is what it had as an impact on educational process. Immediately this activity finished and I've never been in such a- I mean I've been, you know, like they say in [unintelligible] auditorium in the summer, I certainly have seen light shows and other [unintelligible] happenings, a few years ago, it was Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789], knows, having been there also, there was an extraordinary happening like they say put on by the Tate Music Center from San Francisco [https://www.wikidata.org/wiki/Q62]  [unintelligible] being the painter doing the so called decor, doing the set, the set that was used, creating the visual. But this other thing was something quite distinct, simply that each person was so active in ways that he couldn't anticipate and we had with us also Billy Kluver [https://www.wikidata.org/wiki/Q4912866], who can be most easily identified as the man who, is literally is an Engineer at Bell Labs [https://www.wikidata.org/wiki/Q217365] in New Jersey [https://www.wikidata.org/wiki/Q1408?wprov=srpw1_0] who engineered the 9 Evenings [https://www.wikidata.org/wiki/Q4646407] of the Armory [Hall (?)] in company with Rauschenberg [https://www.wikidata.org/wiki/Q164358], [Vergan (?)] and Cage [https://www.wikidata.org/wiki/Q180727] and others, a situation that brought technology into close apropos with the arts, and led to the practical effects of this activity are very evident, it led to ten patented inventions, all of which have much more extensive use, let's say than that occasion of those particular evenings. That was [unintelligible] you know, many, many poets [unintelligible] of this kind, that is, it turns out that when the arts are permitted this situation, that, I think we were talking to Irving earlier this evening, I think we both fear a situation, or have some kind of, feeling of personal awkwardness about a situation that is turning to the arts as if the arts had a necessary message or condition of life to stake for people to have use of, I mean, again, in these evenings we were round in these colleges, I mean the students or the people present, again and again said that \"what were you trying to tell us?\" And the point was that we weren't trying to tell them anything. We were in fact, we thought, that the activity was something which each person could have experienced, it would be like going to the beach and saying what do you think the water is trying to tell us? [audience laughter.] And you stand there, you're swimming [unintelligible] for two hours enjoying yourself thoroughly and then you come out and say to your friend, but what did it all mean? You know, we assumed that the people there would have some - would have some decision of their own, you know, did you think it was too cold, or too hot, or did you enjoy it, or you know, that's the kind of question no one can answer for you. In any case, I do feel the arts has, as Irving feels also, are being turned to, as some possibility of decision in contemporary society and don't think they can offer that ever, I don't- I think the very value of the arts is that they have no conclusion of this kind to propose, that what they do give is something I think perhaps Pound puts as ably as anyone when he says that \"art is the antenna of the race\". It's a very large statement obviously, and I think what he proposes in it is perhaps even can be put more simply in that the arts tend to experience the condition of the society that is, in a sense, and that way I have use of the condition of the society, perhaps more immediately than any other definition or activity in the society, I mean they tend to respond to the present condition perhaps more decisively than any other segment, I mean everyone else tends, not- I don't mean this in any put down sense of their attitudes in this society but I mean, that as the war goes on because it's an historical precedent and so on and so forth, I mean people continued to act as though what they were doing is still what they are doing, what they are doing is still what they were doing and they literally tend to continue in those habits of attitude or activity until something simply makes them impossible, but the arts tend to have experience I think of present condition, that they have no other viable occasion, they tend to propose what the immediate experience of say any life situation simply is, but they have no instruction therefore offer except that is possible, so that as I say, if poetry, as we've now experienced it is about to yield to another situation that is if books or printed medium of this order are to be changed, in societal experience, great, I mean I don't see why I want you to have to carry around all these pieces of paper, there must be, I'm sure that there's a simple way to communicate this kind of content but I do want to make the insistence that these poems or what I'm doing here has- I mean, I'm enjoying this, I'd probably do this even if you weren't here. [audience laughter], obviously did do it, you know. Now this is something else again, I had no messages, if the media is the message, this is perhaps the most absolute demonstration you'll probably get. \"Anger\".\n \nRobert Creeley\n00:54:01\nReads \"Anger\" [from Words].\n \nRobert Creeley\n00:59:25\nI'd like if people are feeling reasonably restless, I'd like to read one or two more poems and then one more story to make a selection frankly [unintelligible]  I think I'll see what would be useful. A couple of shorter poems for the end. One called \"A Tally\".\n \nRobert Creeley\n01:00:01\nReads \"A Tally\" [from Words].\n \nRobert Creeley\n01:01:41\n\"Enough\".\n \nRobert Creeley\n01:01:45\nReads \"Enough\" [from Words].\n \nRobert Creeley\n01:06:00\nOne last poem I want to read now, [unintelligible] \"The Hole\".\n \nRobert Creeley\n01:06:07\nReads \"The Hole\" [from Words].\n \nRobert Creeley\n01:07:53\nRead a story that's in effect going back some time to the time of the writing of the Island, a novel. And I hadn't written any prose for some time, not since the middle 50's and I had a [joke (?)], myself and my wife and our four kids were all down in Guatemala [https://www.wikidata.org/wiki/Q774]where I was tutoring children on a coffee plantation, and having that kind of isolation and time that seemed to, you know, have the possibility to try some prose. I like prose simply that it has--it's continuous, it permits a kind of variety of activity in ways that sometimes poetry from my own experience, at least in the way I'm given to write it, doesn't altogether- I mean, the emotional demand, let's say in a poem is in my own experience has known it, is of such order that alternatives in a curious way aren't possible, you simply say what you're thus brought to say as best you can. In prose, the emotional so called situation tends to be more various, it goes up, down, it ebbs, flows, re-forms, changes its mind, and so on and so forth, so I--not in recent years, I think the last prose I wrote was this novel, called the Island and I've not really written any since, that's about--when I was in Vancouver [https://www.wikidata.org/wiki/Q24639]teaching I finished that novel, and that was the last prose I think I've written and hopefully won't--I would like to go back to prose for a time. I'd like to have it open, I mean, again, this experience of being with these particular people, whenever habits become, oh let's say whenever you expect everything to be as you have experienced, it's time to look out or do something else because it means that you're assuming of the reality of your life has become too much of a pattern of a habit. Anyhow, this is a story called \"The Book\". I sort of like this story.\n \nRobert Creeley\n01:10:22\nReads \"The Book\".\n\nRobert Creeley\n01:21:15\nThank you very much for your...\n\nAudience \n01:21:16\nApplause.\n\nIntroducer\n01:21:39\nI think I speak for everyone in thanking Robert Creeley for being able to come down and make the scene tonight. There are a couple of announcements that I want to make, the first one I can't remember so I'll have to [unintelligible], [Audrey Brunet (?)], that I do remember invites everyone to come to hear \"Prayers on the Periphery\", an original reading, this coming Monday, March the 6th at 8:30 pm in the little gallery on the mezzanine. Our next reading is a week from now, next Friday, March the 3rd, and Victor Coleman [https://www.wikidata.org/wiki/Q23882910] and George Bowering [https://www.wikidata.org/wiki/Q1239280] from Buffalo [https://www.wikidata.org/wiki/Q40435]  and Toronto [https://www.wikidata.org/wiki/Q172] will be coming. Thank you.\n\nAudience\n01:22:32\nApplause.\n\nUnknown\n01:22:45\n[Cut or edit made in tape].\n\nRobert Creeley \n01:22:48\nReads “The Book” [repeated from 00:27:43].\n\nEND\n01:23:12\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nRobert Creeley, tenured as a full professor at SUNY Buffalo in 1967, edited The New Writing in the USA with Don Allen, and published Words and The Charm: Early and Uncollected Poems.  Creeley attended the London International Poetry Festival in July of 1967.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections: \\n\\nCreeley had ties with Irving Layton through the Black Mountain Review in the 50’s. Creeley moved to Vancouver to work at the University of British Columbia in 1960-61. He had contacts with Phyllis Webb and Irving Layton. Creeley was George Bowering’s Master's thesis advisor at University of British Columbia until 1963, and wrote introductions for Bowering’s poetry[1]. He came to visit Montreal and Sir George Williams University the same year Layton was poet in residence, after years of correspondence.\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"},{\"note\":\"Notes on item identifiers: \\n\\nIrving Layton makes introductory speech, and it’s referred to in Irving’s reading, in 1967. I006-11-089.1 and I006-11-089.1-AC2 are from same reading. I006-11-089.2 is a separate reading.\\n\",\"type\":\"General\"},{\"note\":\"Original transcript, print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Sarah McDonnell and Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/collected-poems-of-robert-creeley/oclc/1151730303&referer=brief_results\",\"citation\":\"Creeley, Robert, and Penelope Creeley. The Collected Poems of Robert Creeley: 1945-1975. University of California Press, 2006. \\n\"},{\"url\":\"https://www.worldcat.org/title/was-that-a-real-poem-other-essays/oclc/247870873&referer=brief_results#reviews\",\"citation\":\"Creeley, Robert; Allen, Donald; Novik, Mary. Was That a Real Poem and Other Essays. Four Seasons Foundation, 1979. \"},{\"url\":\"https://www.worldcat.org/title/words-poems/oclc/421895361?referer=di&ht=edition\",\"citation\":\"Creeley, Robert. Words: poems. New York: Scribner, 1967. \"},{\"url\":\"https://www.worldcat.org/title/sense-of-measure/oclc/718716260&referer=brief_results\",\"citation\":\"Creeley, Robert. A Sense of Measure. Calder and Boyars, 1973. \"},{\"url\":\"https://www.worldcat.org/title/some-echoes/oclc/1167543687&referer=brief_results\",\"citation\":\"Creeley, Robert. Echoes. New Directions, 1994.\"},{\"url\":\"https://www.worldcat.org/title/for-love-poems-1950-1960/oclc/268031?referer=di&ht=edition\",\"citation\":\"Creeley, Robert. For Love: Poems Poems 1950-1960. New York: Scribner, 1962. \"},{\"url\":\"https://www.worldcat.org/title/if-i-were-writing-this/oclc/181140062&referer=brief_results\",\"citation\":\"Creeley, Robert. If I Were Writing This. New Directions, 2008. \"},{\"url\":\"https://www.worldcat.org/title/later/oclc/470953767&referer=brief_results\",\"citation\":\"Creeley, Robert. Later. New Directions, 1980. \"},{\"url\":\"https://www.worldcat.org/title/life-death/oclc/694895837&referer=brief_results\",\"citation\":\"Creeley, Robert. Life and Death. New Directions, 2000.\"},{\"url\":\"https://www.worldcat.org/title/mirrors/oclc/239774564&referer=brief_results\",\"citation\":\"Creeley, Robert. Mirrors. New Directions, 1983. \"},{\"url\":\"https://www.worldcat.org/title/on-earth-last-poems-and-an-essay/oclc/264039622&referer=brief_results\",\"citation\":\"Creeley, Robert. On Earth: Last Poems and an Essay. University of California Press, 2009. \"},{\"url\":\"https://www.worldcat.org/title/pieces/oclc/729928833&referer=brief_results\",\"citation\":\"Creeley, Robert. Pieces. Scribner, 1969. \"},{\"url\":\"https://www.worldcat.org/title/charm/oclc/9997283&referer=brief_results\",\"citation\":\"Creeley, Robert. The Charm: Early and Uncollected Poems. Book People & Mudra, 1971. \"},{\"url\":\"https://www.worldcat.org/title/gold-diggers-and-other-stories/oclc/10263594&referer=brief_results\",\"citation\":\"Creeley, Robert. The Gold Diggers. Divers Press, 1954. \"},{\"url\":\"https://www.worldcat.org/title/windows/oclc/797857141&referer=brief_results\",\"citation\":\"Creeley, Robert. Windows. Boyars, 1991. \"},{\"url\":\"https://www.worldcat.org/title/robert-creeley-a-biography/oclc/951202214&referer=brief_results\",\"citation\":\"Fass, Ekbert. Robert Creeley: A Biography. Montreal: McGill-Queen’s University Press, 2001. \"},{\"url\":\"http://news.google.com/newspapers?id=O5UtAAAAIBAJ&sjid=4p8FAAAAIBAJ&pg=3951,6182119&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“Poetry Series Coming Up At University”. Montreal: The Gazette. 31 December 1966, page 39.  \"},{\"url\":\"\",\"citation\":\"O’Reilly, Elizabeth. “Creeley, Robert, 1926-”. Literature Online Biography. Proquest, 2008. \"}]"],"_version_":1853670548677066752,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-1_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0089-1_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 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_0089-1_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0089-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 1 - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-1_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0089-1_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 1 - 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_0089-1_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0089-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/robert_creeley_i006-11-089-1_1967.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_creeley_i006-11-089-1_1987.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:23:12\",\"precision\":\"\",\"size\":\"199.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Irving Layton\\n00:00:15\\nMr. Creeley [https://www.wikidata.org/wiki/Q918620] has published too many books for me to list for you this evening, but some titles are deserving of notice. His Collected Poems was published by Scriveners in 1962 under the title For Love. He has also published short stories and they're brought out by Scriveners after first being published, privately I believe, under the title of The Gold Diggers. His most recent book, also brought out by Scriveners, is called Words. Mr. Creeley has a style that is unique and inimitable. There are many, both in this country [https://www.wikidata.org/wiki/Q16?wprov=srpw1_0] and in United States of America [https://www.wikidata.org/wiki/Q30?wprov=srpw1_0] that are trying to capture the delicate, tenuous quality of his work, and not quite successfully. For his is an art of pauses, of hesitations. He affirms by diffidence, and he destroys our pretensions with a whisper. He uses silence as a modern composer of music [unintelligible], or the way a contemporary painter uses space. He bounces words off against the wall of [unintelligible]. If you listen carefully, you'll hear reverberations and the subtlest of echoes. Mr. Creeley is one of the most honest poets writing today. And a very brave man, who knows the price that has to be paid for a good poem certified to endure. He has written a little song, sing days of happiness, make a pardonable wonder of one's blunders. The man who wrote those words knows all that needs to be known about the perilous vocation of the poet. One critic has said his poems are miniatures, but then hastened to add that they are not miniatures, sorry-One critic has said-this is not from memory-One critic has said that his poems are miniatures, but there's nothing miniature about the power that they release. I have said somewhere that he has written skinny poems, that miraculously grow in length and breath, one's air absorbed into one's consciousness. Slender firecrackers that explode with the power of a bomb. Ladies and gentlemen, Mr. Robert Creeley.\\n\\nAudience\\n00:03:42\\nApplause.\\n\\nRobert Creeley\\n00:03:52\\nSee now, it's extremely generous, Irving [https://www.wikidata.org/wiki/Q1673289], all that. No, because we have had a very long association. I think I'd like to say my piece too, apropos that fact that I think that the kind of community that say either Irving or myself in this way were involved with was what kinds of, no really, how could you find the world?  I mean, I, for example first read his poems in the collection called Cerberus with Louis Dudek [https://www.wikidata.org/wiki/Q3261787] and Raymond Souster [https://www.wikidata.org/wiki/Q304129] and then I was very interested in the magazine that they had going called Contact, I was looking for connections I suppose, the man, in no hips sense, but we were, I was extraordinar--I wanted to know where the world was, and Irving seemed to be very much, very much part of any world I certainly could respect. And so, what he generously and definitely himself ignores was that he was that he was a very decisive contributing editor for the Black Mountain Review, and it was really, a very decisive friend all those fifteen years he imagines. Let me read now. Let me start from back then, \\\"A Song\\\".\\n \\nRobert Creeley\\n00:05:47\\nReads \\\"A Song\\\" [from For Love].\\n \\nRobert Creeley\\n00:06:37\\nThis is apropos. \\\"The Conspiracy\\\".\\n \\nRobert Creeley\\n00:06:43\\nReads \\\"The Conspiracy\\\" [from For Love].\\n \\nAudience\\n00:07:11\\nLaughter.\\n\\nRobert Creeley\\n00:07:12\\nThat was no joke. \\\"Chanson\\\".\\n \\nRobert Creeley\\n00:07:26\\nReads \\\"Chanson\\\" [from For Love].\\n \\nRobert Creeley\\n00:08:00\\n\\\"The Operation\\\".\\n \\nRobert Creeley\\n00:08:05\\nReads \\\"The Operation\\\" [from For Love].\\n \\nRobert Creeley\\n00:08:35\\n\\\"The Death of Venus\\\".\\n \\nRobert Creeley\\n00:08:41\\nReads \\\"The Death of Venus\\\" [from For Love].\\n \\nRobert Creeley\\n00:09:17\\nI was thinking Paul Blackburn [https://www.wikidata.org/wiki/Q7149388] happily has been here, so this is a poem, again of the same, the same situation that we were very active in the exchange of, I mean, again I want to emphasize  the sense that we were looking around to see what kinds of possibility that we could find in the world and I suppose if we shared anything, I was thinking of Irving's lovely stories and letters about the problems of visiting literary parties [laughs] and partly being forbidden because he made such awkward problems for guests and hosts, etc. So that Paul Blackburn at this point was translating from Provencal poetry, he'd been at the University of Wisconsin [https://www.wikidata.org/wiki/Q838330] and had had a very active and useful relation with the woman there, I think it was, teaching Provencal, so that he'd also been very involved with Pound [https://www.wikidata.org/wiki/Q163366?wprov=srpw1_0], with Pound's senses of activity in verse and had therefore become particularly interested in Provencal and had begun to translate, and through the same agency that we had in Mallorca [https://www.wikidata.org/wiki/Q8828], my wife and I then, the so called Divers Press that had published Irving's book, we published a collection of Paul's Provencal translations called Proensa. So the title, is actually Paul's title, I can't now remember what- I don't think he ever published the poem it was the title for, but I was struck by it, and you know, you take things, obviously from friends, it was that you were stealing, but that it was always a common situation. It's a form of adaptation, and I think a young friend now at Buffalo [https://www.wikidata.org/wiki/Q681025] were presently working was telling me that I am in the courtly tradition which is confusing to me, but I can see what he means simply that did pick up a lot through Paul Blackburn and writers in this way using a vocabulary or sense of possibility involved with that kind of writing. So this poem, for example, would be, would be actually a, would be a poem not written by Paul Blackburn, but a poem much informed by his way of perceiving. \\\"A Form of Adaptation\\\".\\n \\nRobert Creeley\\n00:11:46\\nReads \\\"A Form of Adaptation\\\" [from For Love].\\n \\nRobert Creeley\\n00:12:40\\n“The Whip”.\\n \\nRobert Creeley\\n00:12:43\\nReads \\\"The Whip\\\" [from For Love].\\n \\nRobert Creeley\\n00:13:29\\n\\\"Please\\\".\\n \\nRobert Creeley\\n00:13:36\\nReads \\\"Please\\\" [from For Love].\\n \\nRobert Creeley\\n00:14:36\\n\\\"The Three Ladies\\\".\\n \\nRobert Creeley\\n00:14:39\\nReads \\\"The Three Ladies\\\" [from For Love].\\n \\nRobert Creeley\\n00:16:04\\n[Unintelligible] \\\"New Year’s\\\".\\n \\nRobert Creeley\\n00:16:17\\nReads \\\"New Year’s\\\" [from For Love].\\n \\nRobert Creeley\\n00:17:34\\n\\\"Entre Nous\\\".\\n \\nRobert Creeley\\n00:17:40\\nReads \\\"Entre Nous\\\" [from For Love].\\n \\nRobert Creeley\\n00:18:08\\n\\\"The Place\\\".\\n \\nRobert Creeley\\n00:18:11\\nReads \\\"The Place\\\" [from For Love].\\n \\nRobert Creeley\\n00:19:20\\n\\\"The Hill\\\".\\n \\nRobert Creeley\\n00:19:32\\nReads \\\"The Hill\\\" [from For Love].\\n \\nRobert Creeley\\n00:20:21\\n\\\"The Awakening\\\" for Charles Olson [https://www.wikidata.org/wiki/Q922978].\\n \\nRobert Creeley\\n00:20:25\\nReads \\\"The Awakening\\\" [from For Love].\\n \\nRobert Creeley\\n00:22:04\\n\\\"The Rain\\\".\\n \\nRobert Creeley\\n00:22:12\\nReads \\\"The Rain\\\" [from For Love]. \\n \\nRobert Creeley\\n00:23:12\\n\\\"Kore\\\".\\n \\nRobert Creeley\\n00:23:20\\nReads \\\"Kore\\\" [from For Love].\\n \\nRobert Creeley\\n00:24:09\\nI thought I'd read a few more of these in this particular collection. Zukofsky [https://www.wikidata.org/wiki/Q975481] is a man I very much respect. \\\"The House\\\", for Louis Zukofsky.\\n \\nRobert Creeley\\n00:24:29\\nReads \\\"The House\\\" [from For Love].\\n \\nRobert Creeley\\n00:25:06\\n\\\"The Pool\\\".\\n \\nRobert Creeley\\n00:25:13\\nReads \\\"The Pool\\\" [from For Love].\\n \\nRobert Creeley\\n00:26:18\\nWater, I really love water. To Water.\\n \\nRobert Creeley\\n00:26:26\\nReads \\\"The Rocks\\\" [from Words].\\n \\nRobert Creeley\\n00:27:47\\n\\\"The Fire\\\".\\n \\nRobert Creeley\\n00:27:50\\nReads \\\"The Fire\\\" [from Words].\\n \\nRobert Creeley\\n00:28:31\\n\\\"Something\\\".\\n \\nRobert Creeley\\n00:28:37\\nReads \\\"Something” [from Words].\\n \\nRobert Creeley\\n00:29:46\\nThat was a, there's another poem with that same sense, no really, I'm very, I think that some of the lovely incongruities of existence [unintelligible] Charlotte- whose last name I can't remember, [unintelligible] like to say was arrested in New York for trying to, as she put it, and I believe, lovely innocence, she wanted to have chamber music as quote sexy unquote as other life circumstances seemed to be becoming, so that she was playing something like [unintelligible] or Bach [https://www.wikidata.org/wiki/Q1339] in topless condition and was arrested by a very discreet policeman and taken away. Although she wanted apparently to entertain the sight as well as the ear. I don't know, I mean, why shouldn't she be permitted to do that? \\\"Distance\\\".\\n \\nRobert Creeley\\n00:31:03\\nReads \\\"Distance\\\" [from Words].\\n \\nRobert Creeley\\n00:34:29\\nA couple of these, two from Mexico [https://www.wikidata.org/wiki/Q96]. \\\"The Window\\\".\\n \\nRobert Creeley\\n00:34:36\\nReads \\\"The Window\\\" [from Words].\\n \\nRobert Creeley\\n00:35:30\\n\\\"To Bobbie\\\".\\n \\nRobert Creeley\\n00:35:34\\nReads \\\"To Bobbie\\\" [from Words].\\n \\nRobert Creeley\\n00:36:46\\nI wanna, there's one poem, apropos I'd like to go back to, a couple--\\\"The Rose\\\".\\n \\nRobert Creeley\\n00:37:02\\nReads \\\"The Rose\\\" [from For Love].\\n \\nRobert Creeley\\n00:38:46\\n\\\"Love Comes Quietly\\\".\\n \\nRobert Creeley\\n00:38:53\\nReads \\\"Love Comes Quietly\\\" [from For Love].\\n \\nRobert Creeley\\n00:39:15\\n\\\"The Gesture\\\".\\n \\nRobert Creeley\\n00:39:21\\nReads \\\"The Gesture\\\" [from For Love].\\n \\nRobert Creeley\\n00:39:52\\n\\\"For Love\\\".\\n \\nRobert Creeley\\n00:39:56\\nReads \\\"For Love\\\" [from For Love].\\n\\nRobert Creeley\\n00:42:39\\nI want to go back to this one. There's one... called, \\\"Anger\\\". This interpolates, so to speak of. I've been traveling in an extraordinary company of people the last, or the week previous and then, we'll see them again at the same activity tomorrow night in New York [https://www.wikidata.org/wiki/Q60?wprov=srpw1_0]. We were billed as quote contemporary voices in the arts, unquote, but apart from that the, we were visiting various colleges and universities in the Upstate New York area from say Albany State [https://www.wikidata.org/wiki/Q4709390] to Rensselaer Polytechnic [https://www.wikidata.org/wiki/Q49211] to Potsdam [https://www.wikidata.org/wiki/Q7603628], and then places St Lawrence [https://www.wikidata.org/wiki/Q1411093] or Union College [https://www.wikidata.org/wiki/Q1567748] and we were trying, in effect, to- we had the problem of we were billed as a panel, seven men, sitting down to discuss- John Cage [https://www.wikidata.org/wiki/Q180727] is one of the participants, and he said, 'well', of course if we sit down, we say, 'well where do you think art is going?' and then you have to figure out where do you think art's come from? [laughter] And at that point you just might as well come home because it's going to be a long, long conversation. So we decided that we would, instead of having the formal sense of panel, that we would simply create, improvise, or go about in effect at our own activity, except that we wouldn't isolate ourselves in that but would simply try to improvise, as we were seven people, a poem that could permit each one of us to be active, all together so that we at no point had much- we had no decision as to what the others would be doing, so that the whole activity occurred as the complex, and I was- I mean, I had never had any experience of this kind previously at all, John Cage had made, oh very large decisions indeed about this kind of possibility in music, simply that he wanted all possibility of sound to be admitted into the context that music proposes. He also had very decisive relation to what are called loosely 'happenings', and both he and Merce Cunningham [https://www.wikidata.org/wiki/Q318364], another participant, had in that with some previous experience, but the point is that they weren't- neither was trying to create a system from previous experience, but again was trying to think of how this activity of seven people could be evident in ways that simply didn't create a three-ring circus but was actually a participation so, I was intrigued, I was extraordinarily intrigued as to how words, as poetry and whatnot could enter into this circumstance, and because I literally was in it, I have in a sense no quote objective unquote experience at all, but it was extraordinary to me to hear how things are heard in a multiple, in a multiple event, rather than the kind of singularity that this occasion proposes. So I still have that on my mind in a way, and I may, I really do feel that say, all the arts, I mean if one does want some kind of statement about them, that all the arts are moving into a situation where the agency is becoming less and less singular, I don't mean necessarily that in some seminal sense, that everyone's quote an artist, I mean I don't know what an artist is, in one way at all, but I think that the participation is becoming much more a situation of process and activity, and that it is becoming less and less evident as one singular isolation of person, and I realize in my own writing how much the previous condition had been my, my occasion. So, I may be reading these poems for the last time in that sense. I'm certainly prepared to do so, I'm not at all interested in continuing an activity that maybe, you know, maybe have much more experience or much more range of possibility than say contemporary habits about it seem to imply. But anyhow, that was interesting to me to have that experience and also interesting of course is what it had as an impact on educational process. Immediately this activity finished and I've never been in such a- I mean I've been, you know, like they say in [unintelligible] auditorium in the summer, I certainly have seen light shows and other [unintelligible] happenings, a few years ago, it was Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789], knows, having been there also, there was an extraordinary happening like they say put on by the Tate Music Center from San Francisco [https://www.wikidata.org/wiki/Q62]  [unintelligible] being the painter doing the so called decor, doing the set, the set that was used, creating the visual. But this other thing was something quite distinct, simply that each person was so active in ways that he couldn't anticipate and we had with us also Billy Kluver [https://www.wikidata.org/wiki/Q4912866], who can be most easily identified as the man who, is literally is an Engineer at Bell Labs [https://www.wikidata.org/wiki/Q217365] in New Jersey [https://www.wikidata.org/wiki/Q1408?wprov=srpw1_0] who engineered the 9 Evenings [https://www.wikidata.org/wiki/Q4646407] of the Armory [Hall (?)] in company with Rauschenberg [https://www.wikidata.org/wiki/Q164358], [Vergan (?)] and Cage [https://www.wikidata.org/wiki/Q180727] and others, a situation that brought technology into close apropos with the arts, and led to the practical effects of this activity are very evident, it led to ten patented inventions, all of which have much more extensive use, let's say than that occasion of those particular evenings. That was [unintelligible] you know, many, many poets [unintelligible] of this kind, that is, it turns out that when the arts are permitted this situation, that, I think we were talking to Irving earlier this evening, I think we both fear a situation, or have some kind of, feeling of personal awkwardness about a situation that is turning to the arts as if the arts had a necessary message or condition of life to stake for people to have use of, I mean, again, in these evenings we were round in these colleges, I mean the students or the people present, again and again said that \\\"what were you trying to tell us?\\\" And the point was that we weren't trying to tell them anything. We were in fact, we thought, that the activity was something which each person could have experienced, it would be like going to the beach and saying what do you think the water is trying to tell us? [audience laughter.] And you stand there, you're swimming [unintelligible] for two hours enjoying yourself thoroughly and then you come out and say to your friend, but what did it all mean? You know, we assumed that the people there would have some - would have some decision of their own, you know, did you think it was too cold, or too hot, or did you enjoy it, or you know, that's the kind of question no one can answer for you. In any case, I do feel the arts has, as Irving feels also, are being turned to, as some possibility of decision in contemporary society and don't think they can offer that ever, I don't- I think the very value of the arts is that they have no conclusion of this kind to propose, that what they do give is something I think perhaps Pound puts as ably as anyone when he says that \\\"art is the antenna of the race\\\". It's a very large statement obviously, and I think what he proposes in it is perhaps even can be put more simply in that the arts tend to experience the condition of the society that is, in a sense, and that way I have use of the condition of the society, perhaps more immediately than any other definition or activity in the society, I mean they tend to respond to the present condition perhaps more decisively than any other segment, I mean everyone else tends, not- I don't mean this in any put down sense of their attitudes in this society but I mean, that as the war goes on because it's an historical precedent and so on and so forth, I mean people continued to act as though what they were doing is still what they are doing, what they are doing is still what they were doing and they literally tend to continue in those habits of attitude or activity until something simply makes them impossible, but the arts tend to have experience I think of present condition, that they have no other viable occasion, they tend to propose what the immediate experience of say any life situation simply is, but they have no instruction therefore offer except that is possible, so that as I say, if poetry, as we've now experienced it is about to yield to another situation that is if books or printed medium of this order are to be changed, in societal experience, great, I mean I don't see why I want you to have to carry around all these pieces of paper, there must be, I'm sure that there's a simple way to communicate this kind of content but I do want to make the insistence that these poems or what I'm doing here has- I mean, I'm enjoying this, I'd probably do this even if you weren't here. [audience laughter], obviously did do it, you know. Now this is something else again, I had no messages, if the media is the message, this is perhaps the most absolute demonstration you'll probably get. \\\"Anger\\\".\\n \\nRobert Creeley\\n00:54:01\\nReads \\\"Anger\\\" [from Words].\\n \\nRobert Creeley\\n00:59:25\\nI'd like if people are feeling reasonably restless, I'd like to read one or two more poems and then one more story to make a selection frankly [unintelligible]  I think I'll see what would be useful. A couple of shorter poems for the end. One called \\\"A Tally\\\".\\n \\nRobert Creeley\\n01:00:01\\nReads \\\"A Tally\\\" [from Words].\\n \\nRobert Creeley\\n01:01:41\\n\\\"Enough\\\".\\n \\nRobert Creeley\\n01:01:45\\nReads \\\"Enough\\\" [from Words].\\n \\nRobert Creeley\\n01:06:00\\nOne last poem I want to read now, [unintelligible] \\\"The Hole\\\".\\n \\nRobert Creeley\\n01:06:07\\nReads \\\"The Hole\\\" [from Words].\\n \\nRobert Creeley\\n01:07:53\\nRead a story that's in effect going back some time to the time of the writing of the Island, a novel. And I hadn't written any prose for some time, not since the middle 50's and I had a [joke (?)], myself and my wife and our four kids were all down in Guatemala [https://www.wikidata.org/wiki/Q774]where I was tutoring children on a coffee plantation, and having that kind of isolation and time that seemed to, you know, have the possibility to try some prose. I like prose simply that it has--it's continuous, it permits a kind of variety of activity in ways that sometimes poetry from my own experience, at least in the way I'm given to write it, doesn't altogether- I mean, the emotional demand, let's say in a poem is in my own experience has known it, is of such order that alternatives in a curious way aren't possible, you simply say what you're thus brought to say as best you can. In prose, the emotional so called situation tends to be more various, it goes up, down, it ebbs, flows, re-forms, changes its mind, and so on and so forth, so I--not in recent years, I think the last prose I wrote was this novel, called the Island and I've not really written any since, that's about--when I was in Vancouver [https://www.wikidata.org/wiki/Q24639]teaching I finished that novel, and that was the last prose I think I've written and hopefully won't--I would like to go back to prose for a time. I'd like to have it open, I mean, again, this experience of being with these particular people, whenever habits become, oh let's say whenever you expect everything to be as you have experienced, it's time to look out or do something else because it means that you're assuming of the reality of your life has become too much of a pattern of a habit. Anyhow, this is a story called \\\"The Book\\\". I sort of like this story.\\n \\nRobert Creeley\\n01:10:22\\nReads \\\"The Book\\\".\\n\\nRobert Creeley\\n01:21:15\\nThank you very much for your...\\n\\nAudience \\n01:21:16\\nApplause.\\n\\nIntroducer\\n01:21:39\\nI think I speak for everyone in thanking Robert Creeley for being able to come down and make the scene tonight. There are a couple of announcements that I want to make, the first one I can't remember so I'll have to [unintelligible], [Audrey Brunet (?)], that I do remember invites everyone to come to hear \\\"Prayers on the Periphery\\\", an original reading, this coming Monday, March the 6th at 8:30 pm in the little gallery on the mezzanine. Our next reading is a week from now, next Friday, March the 3rd, and Victor Coleman [https://www.wikidata.org/wiki/Q23882910] and George Bowering [https://www.wikidata.org/wiki/Q1239280] from Buffalo [https://www.wikidata.org/wiki/Q40435]  and Toronto [https://www.wikidata.org/wiki/Q172] will be coming. Thank you.\\n\\nAudience\\n01:22:32\\nApplause.\\n\\nUnknown\\n01:22:45\\n[Cut or edit made in tape].\\n\\nRobert Creeley \\n01:22:48\\nReads “The Book” [repeated from 00:27:43].\\n\\nEND\\n01:23:12\\n\",\"notes\":\"Robert Creeley reads from For Love (Scribner, 1962) and Words (Scribner, 1967).\\n\\nI006-11-089.1=AC.1\\n\\n00:15- Irving Layton introduces Robert Creeley [INDEX: Irving Layton, Collected Poems         \\tScriveners Press 1962, For Love, The Gold Diggers, Words by Robert Creeley]\\n03:52- Robert Creeley responds to Layton’s introduction and introduces “A Song”. [INDEX:  \\tCerberus, Contact Magazine, Louis Dudek, Raymond Souster, Irving Layton as editor for \\tBlack Mountain Review]\\n05:47- Reads “A Song”\\n06:37- Reads “The Conspiracy”\\n07:12- Reads “Chanson”\\n08:00- Reads “The Operation”\\n08:35- Reads “The Death of Venus”\\n09:17- Introduces “A Form of Adaptation”. [INDEX: Paul Blackburn, University of Wisconsin, Divers Press, Irving Layton, Provencal Poetry, Ezra Pound, Mallorca, Proensa by Paul Blackburn.]\\n11:46- Reads “A Form of Adaptation”\\n12:40- Reads “The Whip”\\n13:29- Reads “Please”\\n14:36- Reads “The Three Ladies”\\n16:04- Reads “New Year’s”\\n17:34- Reads “Entre-Nous”\\n18:08- Reads “The Place”\\n19:20- Reads “The Hill”\\n20:21- Reads “The Awakening” [INDEX: Charles Olson]\\n22:04- Reads “The Rain”\\n23:12- Reads “Kore”\\n24:09- Introduces “The House” [INDEX: Louis Zukofsky]\\n24:29- Reads “The House”\\n25:06- Reads “The Pool”\\n26:18- Reads “To Water”\\n27:47- Reads “The Fire”\\n28:31- Reads “Something”\\n29:46- Introduces “Distance” [INDEX: New York, Bach]\\n31:03- Reads “Distance”\\n34:29- Introduces “The Window”\\n34:36- Reads “The Window”\\n35:30- Reads “To Bobby”\\n36:46- Reads “The Rose”\\n38:46- Reads “Love Comes Quietly”\\n39:25- Reads “The Gesture”\\n39:52- Reads “For Love”\\n42:39.23- END OF RECORDING\\n\\nI006-11-089.1= AC2\\n \\n00:00- Robert Creeley introduces “Anger” and talks about the state of art and poetry [INDEX:    Upstate New York, Albany State University, Rensselaer Polytechnic, Pottsdam, St.        \\tLawrence College, Union College- Part of Reading Series of seven artists with John Cage, Merce Cunningham. Roy Kiyooka at the Tate Music Center in San Francisco. Billy Kluver from Bell Labs in New Jersey, engineered “9 Evenings” at the Armory Hall with Rauschenberg, [Vergan (?) ] and John Cage. Technology and art, purpose of art, Ezra Pound.]\\n11:21- Reads “Anger”\\n16:46- Reads “A Tally”\\n19:02- Reads “Enough”\\n23:21- Reads “The Hole”\\n25:14- Introduces short story “The Book”. [INDEX: Prose, middle 50’s, Guatemala (teaching \\tchildren on a coffee plantation), writing poetry vs. prose, Vancouver, Island by Robert   \\tCreeley.]\\n27:43- Reads “The Book”\\n38:59- Unknown male thanks Robert Creeley, makes announcements. [INDEX: Audrey Brunet   [?] “Prayers on the Periphery” on March 6th. Victor Coleman and George Bowering from  \\tBuffalo and Toronto reading on March 3rd.]\\n40:32- END OF RECORDING.\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-creeley-at-sgwu-1967/\"}]"],"score":1.9290923},{"id":"1261","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":["Victor Coleman at Sir George Williams University, The Poetry Series,  3 March 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"VICTOR COLEMAN I006/SR159\" written on sticker on the spine of the tape's box. \"I006-11-159\" is written on a sticker on the tape reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"creator_names":["Coleman, Victor","Bowering, George"],"creator_names_search":["Coleman, Victor","Bowering, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/38160442\",\"name\":\"Coleman, Victor\",\"dates\":\"1944-\",\"notes\":\"A self-educated poet and publisher, Victor Coleman was born in Toronto on September 11, 1944, and he lived in both Montreal and Toronto. By the end of 1964, he had met poet Raymond Souster and founded Island Magazine and Island Press, drawing the avant-garde poetry centre from the West Coast to Toronto. Mr. Coleman was a publishing assistant for the Oxford University Press in Toronto from 1966 to 1967, after which he served for almost ten years as the editor for Coach House Press. Coleman was influential in the creations of Is, Image Nation, The Goose & Duck and Open Letter magazines and journals. He published his own poetry in From Erik Satie’s Notes to the Music (Island Press, 1965),  One/eye/love (Coach House Press, 1967), Light Verse (Coach House Press, 1969), Old Friends’ Ghosts: Poems 1963-68 (Weed/Flower, 1970), along with a dozen other titles. Victor Coleman was the director of the “A Space” (1975-1978), “31 Mercer” (1975-1978), Nightingale Arts Council in Toronto, the editor and writer for the Association of Non-Profit Artist-Run Centres, and has served as the director of the National Film Theatre in Kingston, Ontario. The poet also taught Creative Writing at both Queen's and York Universities. In 1995, as Coach House Press struggled, Coleman and Stan Bevington created Coach House Books to save the Press. In 2001, Victor Coleman became the Editorial Director for the Centre for Contemporary Canadian Art, a website devoted to the promotion of Canadian artists and writers. Victor Coleman continues to promote the development of avant-garde or postmodernist Canadian writing.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"Mentioned, but missing from recording\",\"nation\":[],\"role\":[]}]"],"contributors_names":["Francis, Wynne"],"contributors_names_search":["Francis, Wynne"],"contributors":["[{\"url\":\"http://viaf.org/viaf/77926194\",\"name\":\"Francis, Wynne\",\"dates\":\"1918-2000\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Francis, Wynne"],"Series_organizer_name":["Francis, Wynne"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 3 3\",\"type\":\"Performance Date\",\"notes\":\"Date specified in \\\"Georgantics\\\" by Bob Simco\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Bob Simco (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Victor Coleman reads from One/eye/love (Coach House Press, 1967)."],"contents":["victor_coleman_i086.11-159.mp3\n\nWynne Francis\n00:00:00\nBy the way I must remember a most important announcement, there is to be no smoking in the theatre. You may smoke at intermission, but please do not smoke during the readings. Our first reader tonight is Mr. Victor Coleman [https://www.wikidata.org/wiki/Q23882910] who comes to us from Toronto [https://www.wikidata.org/wiki/Q172]. Mr. Coleman is the publisher of Island Magazine [https://www.wikidata.org/wiki/Q15754909], and Is Magazine which is spelled 'i' 's' and looks like 'is' but is pronounced 'I’s', and he is also the publisher and editor of Island Press. He is a very active promoter of new Canadian poetry and he himself has published in several little magazines in Canada [https://www.wikidata.org/wiki/Q16] and he has made translations from Erik Satie's [https://www.wikidata.org/wiki/Q187192] notes to the music, he has also been published in New Wave Canada, an anthology of new Canadian poets published by Contact Press, and edited by Raymond Souster [https://www.wikidata.org/wiki/Q304129]. He is also affiliated, his press, Island Press, is affiliated with the Coach House Press [https://www.wikidata.org/wiki/Q5137585] in Toronto and through this press a book of his poems will be appearing this spring. He is our first reader and our second reader is Mr. George Bowering [https://www.wikidata.org/wiki/Q1239280], who has already published three books, the first one by Contact Press called Points On The Grid, the second one, The Silver Wire published by Quarry Press and the third one, A Man in Yellow Boots, by El Corno Emplumado which was done bilingually in Spanish and in English and which contains montages and illustrations by poet and artist Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789]. Mr. Bowering is also editor of Imago Magazine, which emanated from Alberta [https://www.wikidata.org/wiki/Q1951] and which is devoted to the long poem or the longer poem, he is expecting to publish very shortly, in the spring I believe, a novel called The Mirror on the Floor. Mr. Coleman will read first, and then there will be a short intermission, and then Mr. Bowering will read to you.\n \nVictor Coleman\n00:02:49\nI like to make it a habit always at a reading to start off with something that somebody else wrote, simply to show you that my concerns lie elsewhere, then in my own self. This is something from A History of America by an American writer by the name of Bill Hutton and it's— well, I won't explain it to you.\n \nVictor Coleman\n00:03:35\nReads unnamed poem by Bill Hutton.\n \nVictor Coleman\n00:06:00\nI'll read a few short poems first, and then go into something from a sequence, a longer sequence. This is a poem dedicated to Bill Hutton, the author of that piece I just read, it's called \"Buff Hello, 6\".\n \nVictor Coleman\n00:06:33\nReads \"Buff Hello, 6\".\n \nVictor Coleman\n00:08:27\nI'm going to focus on that clock every once in a while, simply because I want to keep track of myself. If I might say, um, it's interesting that I'm reading with George Bowering and my general tenure at this time, uh, which I'm not really that self-conscious about which is interesting to me to be growing a beard at this time and that the last time that I started to grow a beard was the first time that I met George Bowering and it was about two years ago and we were sitting up in my attic which was a room and I said to him, \"How do you like my beard?\" and he says that \"It makes you look like an impotent D.H. Lawrence [https://www.wikidata.org/wiki/Q34970]”. [Audience laughter]. This is a poem called \"The Lady Vanishes\".\n \nVictor Coleman\n00:09:41\nReads \"The Lady Vanishes\".\n \nVictor Coleman\n00:11:14\nHere's a kind of poem that I can bug everybody with because it probably won't mean anything to you at all, but simply because it really is my occasion but rather than hide it away, um, I think that the sound of it is enough to carry to you, some measure of the poetry that I got from the occasion that I speak of. It's called \"For Basil Bunting\".\n \nVictor Coleman\n00:11:48\nReads \"For Basil Bunting\".\n \nVictor Coleman\n00:12:34\nI don't know whether any of you are familiar with a Japanese-English dictionary called Kenkyusha [https://www.wikidata.org/wiki/Q6389422], if not, all I can tell you is that it's a Japanese-English dictionary and that it has a strange quality to be able to predict the future, by chance operations in that it's very fat and you open it and you're like the guy with the funny hat at the track who really shouldn't be there because he can only guess and he just opens the racing form and sticks his finger on the horse and he bets on the horse and he usually loses. Kenkyusha is a little better than that because you're not trying to win anything, you're looking for some kind of instruction and the time I wrote these poems I was rather desperate for some kind of instruction, and uh, it's just a matter of opening the book, pointing and getting the epigraph for each poem from the Japanese-English dictionary. I'll just read a couple. \"Day Seven\", oh there are given days, that are sort of daily devotions.\n \nVictor Coleman\n00:14:09\nReads \"Day Seven\".\n \nVictor Coleman\n00:14:33\nReads \"Day Eight\".\n \nVictor Coleman\n00:15:19\nReads \"Day Ten\".\n \nVictor Coleman\n00:16:18\nMany of these relate to certain experiences with LSD also.\n \nVictor Coleman\n00:16:29\nReads \"Day Thirteen\".\n \nVictor Coleman\n00:16:49\nThe reason that the definitions, the English definitions in this section are so interesting and not like the ones we are accustomed to is because the characters that they represent go through their own changes and it's almost an ideogrammatic dictionary rather than a dictionary of definitions.\n \nVictor Coleman\n00:17:13\nResumes reading “Day Thirteen”.\n \nVictor Coleman\n00:20:17\nI need to get one of those spider clocks, can't read in this light.\n \nVictor Coleman\n00:20:39\nReads \"Day Twenty-One\" .\n \nVictor Coleman\n00:22:36\nReads \"Day Twenty-Two\".\n \nVictor Coleman\n00:24:56\nReads \"Day Twenty-Four\".\n \nVictor Coleman\n00:28:22\nThese next poems are the poems that are closest to me now. It's another long sequence called \"Separations\" and I don't think I need to give you any background on it. I'll not read the whole thing because it's quite long.\n \nVictor Coleman\n00:28:56\nReads \"Separations” [parts 4-8, 10-12, and 14].\n \nVictor Coleman\n00:37:00\nThank you.\n \nEND\n00:37:17\n"],"Note":["[{\"note\":\"George Bowering is repeatedly mentioned on the tape and in printed announcements, but no supporting audio has been found. \",\"type\":\"General\"},{\"note\":\"Year-specific Information:\\n\\nOne/eye/love was published in 1967, and Coleman was working at Coach House Press.\\n\",\"type\":\"General\"},{\"note\":\"Local connections:\\n\\nVictor Coleman was very involved in the promotion of small presses and Canadian writers, specifically through his own presses and Coach House Press. Victor Coleman and George Bowering regularly corresponded (Archives Canada has these correspondences under George Bowering).\\n\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) & Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/802667762&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House \\nPress, 1984. \\n\"},{\"url\":\"https://www.worldcat.org/title/one-eye-love/oclc/461736&referer=brief_results\",\"citation\":\"Coleman, Victor. One/eye/love. Toronto: Coach House Press, 1967. \"},{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/coleman_victor.html\",\"citation\":\"“Coleman, Victor (1944-  )”. One Zero One: A Virtual Library of English Canadian Small Press 1945-2044. Centre for Contemporary Canadian Art, 2009. \\n\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/victor-coleman-at-sgwu/\",\"citation\":\"Simco, Bob. “Georgiantics”. The Georgian. Montreal: Sir George Williams University, 28 February 1967. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Staines, David. \\\"Coleman, Victor\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye, eds. Oxford University Press 2001. \"}]"],"_version_":1853670548681261056,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0159_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman 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_0159_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman 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_0159_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman 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_0159_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0159_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Victor Coleman 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/victor_coleman_i086-11-159.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"victor_coleman_i086.11-159.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:37:17\",\"precision\":\"\",\"size\":\"89.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Wynne Francis\\n00:00:00\\nBy the way I must remember a most important announcement, there is to be no smoking in the theatre. You may smoke at intermission, but please do not smoke during the readings. Our first reader tonight is Mr. Victor Coleman [https://www.wikidata.org/wiki/Q23882910] who comes to us from Toronto [https://www.wikidata.org/wiki/Q172]. Mr. Coleman is the publisher of Island Magazine [https://www.wikidata.org/wiki/Q15754909], and Is Magazine which is spelled 'i' 's' and looks like 'is' but is pronounced 'I’s', and he is also the publisher and editor of Island Press. He is a very active promoter of new Canadian poetry and he himself has published in several little magazines in Canada [https://www.wikidata.org/wiki/Q16] and he has made translations from Erik Satie's [https://www.wikidata.org/wiki/Q187192] notes to the music, he has also been published in New Wave Canada, an anthology of new Canadian poets published by Contact Press, and edited by Raymond Souster [https://www.wikidata.org/wiki/Q304129]. He is also affiliated, his press, Island Press, is affiliated with the Coach House Press [https://www.wikidata.org/wiki/Q5137585] in Toronto and through this press a book of his poems will be appearing this spring. He is our first reader and our second reader is Mr. George Bowering [https://www.wikidata.org/wiki/Q1239280], who has already published three books, the first one by Contact Press called Points On The Grid, the second one, The Silver Wire published by Quarry Press and the third one, A Man in Yellow Boots, by El Corno Emplumado which was done bilingually in Spanish and in English and which contains montages and illustrations by poet and artist Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789]. Mr. Bowering is also editor of Imago Magazine, which emanated from Alberta [https://www.wikidata.org/wiki/Q1951] and which is devoted to the long poem or the longer poem, he is expecting to publish very shortly, in the spring I believe, a novel called The Mirror on the Floor. Mr. Coleman will read first, and then there will be a short intermission, and then Mr. Bowering will read to you.\\n \\nVictor Coleman\\n00:02:49\\nI like to make it a habit always at a reading to start off with something that somebody else wrote, simply to show you that my concerns lie elsewhere, then in my own self. This is something from A History of America by an American writer by the name of Bill Hutton and it's— well, I won't explain it to you.\\n \\nVictor Coleman\\n00:03:35\\nReads unnamed poem by Bill Hutton.\\n \\nVictor Coleman\\n00:06:00\\nI'll read a few short poems first, and then go into something from a sequence, a longer sequence. This is a poem dedicated to Bill Hutton, the author of that piece I just read, it's called \\\"Buff Hello, 6\\\".\\n \\nVictor Coleman\\n00:06:33\\nReads \\\"Buff Hello, 6\\\".\\n \\nVictor Coleman\\n00:08:27\\nI'm going to focus on that clock every once in a while, simply because I want to keep track of myself. If I might say, um, it's interesting that I'm reading with George Bowering and my general tenure at this time, uh, which I'm not really that self-conscious about which is interesting to me to be growing a beard at this time and that the last time that I started to grow a beard was the first time that I met George Bowering and it was about two years ago and we were sitting up in my attic which was a room and I said to him, \\\"How do you like my beard?\\\" and he says that \\\"It makes you look like an impotent D.H. Lawrence [https://www.wikidata.org/wiki/Q34970]”. [Audience laughter]. This is a poem called \\\"The Lady Vanishes\\\".\\n \\nVictor Coleman\\n00:09:41\\nReads \\\"The Lady Vanishes\\\".\\n \\nVictor Coleman\\n00:11:14\\nHere's a kind of poem that I can bug everybody with because it probably won't mean anything to you at all, but simply because it really is my occasion but rather than hide it away, um, I think that the sound of it is enough to carry to you, some measure of the poetry that I got from the occasion that I speak of. It's called \\\"For Basil Bunting\\\".\\n \\nVictor Coleman\\n00:11:48\\nReads \\\"For Basil Bunting\\\".\\n \\nVictor Coleman\\n00:12:34\\nI don't know whether any of you are familiar with a Japanese-English dictionary called Kenkyusha [https://www.wikidata.org/wiki/Q6389422], if not, all I can tell you is that it's a Japanese-English dictionary and that it has a strange quality to be able to predict the future, by chance operations in that it's very fat and you open it and you're like the guy with the funny hat at the track who really shouldn't be there because he can only guess and he just opens the racing form and sticks his finger on the horse and he bets on the horse and he usually loses. Kenkyusha is a little better than that because you're not trying to win anything, you're looking for some kind of instruction and the time I wrote these poems I was rather desperate for some kind of instruction, and uh, it's just a matter of opening the book, pointing and getting the epigraph for each poem from the Japanese-English dictionary. I'll just read a couple. \\\"Day Seven\\\", oh there are given days, that are sort of daily devotions.\\n \\nVictor Coleman\\n00:14:09\\nReads \\\"Day Seven\\\".\\n \\nVictor Coleman\\n00:14:33\\nReads \\\"Day Eight\\\".\\n \\nVictor Coleman\\n00:15:19\\nReads \\\"Day Ten\\\".\\n \\nVictor Coleman\\n00:16:18\\nMany of these relate to certain experiences with LSD also.\\n \\nVictor Coleman\\n00:16:29\\nReads \\\"Day Thirteen\\\".\\n \\nVictor Coleman\\n00:16:49\\nThe reason that the definitions, the English definitions in this section are so interesting and not like the ones we are accustomed to is because the characters that they represent go through their own changes and it's almost an ideogrammatic dictionary rather than a dictionary of definitions.\\n \\nVictor Coleman\\n00:17:13\\nResumes reading “Day Thirteen”.\\n \\nVictor Coleman\\n00:20:17\\nI need to get one of those spider clocks, can't read in this light.\\n \\nVictor Coleman\\n00:20:39\\nReads \\\"Day Twenty-One\\\" .\\n \\nVictor Coleman\\n00:22:36\\nReads \\\"Day Twenty-Two\\\".\\n \\nVictor Coleman\\n00:24:56\\nReads \\\"Day Twenty-Four\\\".\\n \\nVictor Coleman\\n00:28:22\\nThese next poems are the poems that are closest to me now. It's another long sequence called \\\"Separations\\\" and I don't think I need to give you any background on it. I'll not read the whole thing because it's quite long.\\n \\nVictor Coleman\\n00:28:56\\nReads \\\"Separations” [parts 4-8, 10-12, and 14].\\n \\nVictor Coleman\\n00:37:00\\nThank you.\\n \\nEND\\n00:37:17\\n\",\"notes\":\"Victor Coleman reads from One/eye/love (Coach House Press, 1967).\\n\\nList of Poems Read and Time Stamps [File 1 of 2]\\n0:00 - Introductions of Coleman and George Bowering (also reading the same night, but not on    this recording.) [INDEX: Island Magazine, Is Magazine, Island Press, new Canadian   poetry, translations of Eric Satie’s notes to music, New Wave Canada edited by Ramond Souster published by Contact Press, Coach House Press in Toronto. George Bowering: Contact Press published Points on the Grid, The Silver Wire, A Man in Yellow Boots by El Corno Emplumado in Spanish and English with drawings by Roy Kiyooka. Editor of Imago Magazine, Alberta, Long Poem or Longer Poem, The Mirror on the Floor.]\\n2:49 - Victor Coleman introduces poem by Bill Hutton from History of America, first line “John         Fitzgerald Kennedy shot John Wilkes Booth...” [INDEX: History of America by Bill Hutton]\\n3:35 - Reads unknown poem by Bill Hutton from History of America.\\n5:45 - Introduces “Buff Hello 6”\\n6:33 - Reads “Buff Hello 6”\\n8.27 - Introduces “The Lady Vanishes” [INDEX: George Bowering, D.H. Lawrence]\\n9:41 - Reads “The Lady Vanishes”\\n11:14 - Introduces “For Basil Bunting” [INDEX: Basil Bunting, occasional poetry]\\n11:48 - Reads “For Basil Bunting”\\n12:34 - Introduces “Day Seven” [INDEX: Japanese-English Dictionary Kenkyusha, chance     operations, days of devotions]\\n14:09 - Reads “Day Seven”\\n14:33 - Reads “Day Eight”\\n15:19 - Reads “Day Ten”\\n16:18 - Introduces “Day Thirteen” [INDEX: experiences with LSD]\\n16:29 - Reads “Day Thirteen”\\n20:17 - Introduces “Day 21”\\n20:39 - Reads “Day 21”\\n22:36 - Reads “Day 22”\\n24:56 - Reads “Day 24”\\n28:22 - Introduces “Separations” [INDEX: long sequence poem]\\n28:56 - Reads “Separations”, #4, 5, 6, 7, 8, 10, 11, 12, 14.\\n37:17 - END OF RECORDING.\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/victor-coleman-at-sgwu/\"}]"],"score":1.9290923},{"id":"1262","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":["Irving Layton at Sir George Williams University, The Poetry Series, 18 March 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"IRVING LAYTON (2 tracks-3 3/4)\" written on sticker on the front of the tape's box and on the reel. \"I086-11-031\" also written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"creator_names":["Layton, Irving"],"creator_names_search":["Layton, Irving"],"creators":["[{\"url\":\"http://viaf.org/viaf/66482092\",\"name\":\"Layton, Irving\",\"dates\":\"1912-2006\",\"notes\":\"Canadian poet Irving Layton was born Israel Lazarovitch in Romania on March 12, 1913. His parents moved to Montreal when he was an infant. He attended Baron Byng High School, and then received a B.Sc. in agriculture in 1939 at MacDonald College. He completed an M.A. in 1946 in economics and political science at McGill University. At McGill, Layton began publishing his poetry in 1943 in First Statement, joining John Sutherland and Louis Dudek on the editorial board, and was involved with Northern Review from 1945-1956. Irving Layton was a founding member of Contact Press, along with Dudek and Raymond Souster in 1952. Layton’s first collection of poems began with Here and now (First Statement, 1945), followed by Now is the place (First Statement, 1948), The black huntsman (Contact Press [?], 1951), Love the conqueror worm (Contact Press, 1953), In the midst of my fever (published by Robert Creeley for Divers Press in 1954), The long pea-shooter (Laocoon Press, 1954), The cold green element and The blue propeller (Contact Press, 1955), The bull calf and other poems, Music on a Kazoo and The improved binoculars (published with an introduction by William Carlos Williams, Contact Press and J.Williams Press, 1956), A laughter in the mind (J. Williams, 1958) and A red carpet for the sun (J. Williams, 1959), which won a Governor General’s Award. He was a member of the editorial board of the Black Mountain Review in 1955. Layton also taught part time at Sir George University (now Concordia University) which appointed him poet-in-residence in 1965. Producing an average of one collection of poems per year, Layton published The swinging flesh (1961), Balls for a one-armed juggler (1963), The laughing rooster (1964), Collected poems (1965), Periods of the moon (1967), The shattered plinths (1968), The whole bloody bird: obs, alphs, and poems (1969), Nail polish (1971), Lovers and lesser men (1973), The pole vaulter (1974), For my brother Jesus (1976), The covenant (1977), The tightrope dancer (1978), Droppings from heaven (1979), For my neighbours in hell (Mosaic Press, 1980), Europe and other bad news (1981), The Gucci bag (1983), and Fortunate exile (1987), all published by McClelland and Stewart Press unless otherwise indicated. Layton also published selected poems in The collected poems of Irving Layton (McClelland and Stewart Press, 1971), The darkening fire: selected poems, 1945-68 (McClelland and Stewart Press, 1975), The unwavering eye: selected poems, 1969-75 (McClelland and Stewart Press, 1975), A wild peculiar joy: selected poems 1945-1982 (1982), Final reckoning: poems 1982-1986 (Mosaic Press, 1987), and Fornaluxt: selected poems 1928-1990 (1992). Layton has edited dozens of anthologies of Canadian poems and prose, as well as having his poetry published internationally. Layton ended his teaching career at York University in Toronto. An influential part of Canada’s literary scene, Irving Layton died on January 4, 2006.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Fink, Howard,"],"contributors_names_search":["Fink, Howard,"],"contributors":["[{\"url\":\"http://viaf.org/viaf/6332801\",\"name\":\"Fink, Howard, \",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Fink, Howard, "],"Series_organizer_name":["Fink, Howard, "],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:60:00\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 3 18\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Previous researcher\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Irving Layton reads from Collected Poems (McClelland & Stewart, 1965) and Periods of the Moon (McClelland &Stewart, 1967). "],"contents":["irving_layton_i086-11-031.mp3\n\nHoward Fink\n00:00:00\n...Irving Layton [https://www.wikidata.org/wiki/Q1673289] to this stage again tonight, this time to read his poetry. The last time he was up here was to introduce Robert Creeley [https://www.wikidata.org/wiki/Q918620], and what was said then clearly explained the close relations between Mr. Layton and the Black Mountain Group [https://www.wikidata.org/wiki/Q2905420] in the 50's, so I won't go into that again, but I'll only add that Mr. Layton was a member of the editorial board of Black Mountain Review [https://www.wikidata.org/wiki/Q2905420] from 1955 on. Of course he's been publishing poetry since the 40's and was associated during those years with the First Statement Press, which became the Northern Review [https://www.wikidata.org/wiki/Q15757902] in 1949, and all this time studying at McGill University [https://www.wikidata.org/wiki/Q201492] where he received the M.A. in Political Science and Economics in 1946. It's impossible to list all of his appearances in periodicals and little magazines, and I'll mention only a few of his two dozen or so volumes of poetry, anyway that's what it seemed like to me when I looked at that page in the new one. A Red Carpet for the Sun in 1959, with the well-known introduction by William Carlos Williams [https://www.wikidata.org/wiki/Q178106] which acknowledged, American recognition of Mr. Layton's reputation. A Red Carpet, like all of Mr. Layton's subsequent books was published by McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. Then, a book of short stories and poems, The Swinging Flesh, which came out in 1961, Balls for a One-armed Juggler in 1963, The Laughing Rooster in 1964, Collected Poems in 1965 and his latest work, just published this winter, Periods of the Moon. And I should say the ones that I have mentioned are the ones which are still in stock and able to be bought. Among Mr. Layton's other frenetic activities, poetry readings in Canada [https://www.wikidata.org/wiki/Q16], United States [https://www.wikidata.org/wiki/Q30], Germany [https://www.wikidata.org/wiki/Q183] and elsewhere, television appearances, controversial ones and so on, he finds time to communicate with students as well as Poet in Residence of this university [https://www.wikidata.org/wiki/Q326342]. I'd like to present Mr. Irving Layton.\n\nAudience\n00:02:21\nApplause.\n \nIrving Layton\n00:02:30\nThank you Howard, for your kind introduction. I'm glad that you did not introduce me as a letter writer. I'm very glad to see so large a turn out this evening. I am very heartened by it, very moved, and I'm very glad to see so many of my friends and former students in the audience. I like beginning my reading with a poem \"There Are No Signs\" because if any one poem expresses what I try to say, and all the poems and stories that I have written, is that modern man, pretty well, has to find out where he is going, by just going. Now the old sign posts are down, and that he must make his sign posts as he goes along.\n \nIrving Layton\n00:04:00\nReads \"There Are No Signs\" [published as “There Were No Signs in Collected Poems].\n \nIrving Layton\n00:04:51\n\"The Swimmer\", my symbol for the poet, condemned to live in two realms, and happy to live in neither of them. The realm of actuality and the realm of the imagination. Here I compare the poet to the swimmer.\n \nIrving Layton\n00:05:15\nReads \"The Swimmer\" [from Collected Poems].\n \nIrving Layton\n00:06:38\nSeveral years ago I taught at the Jewish Library, one of my students was a Mrs. Fornheim, who had lived in Vienna [https://www.wikidata.org/wiki/Q1741], and left Vienna when that city fell to the Nazis. She went to Paris [https://www.wikidata.org/wiki/Q90], and left Paris for Spain [https://www.wikidata.org/wiki/Q29], when the Vichy government was formed. From Spain, she went to Portugal [https://www.wikidata.org/wiki/Q45] and then came to Montreal [https://www.wikidata.org/wiki/Q340], where I taught her English. She died of cancer, this is my poem for her. \"Mrs. Fornheim, Refugee\".\n \nIrving Layton\n00:07:19\nReads \"Mrs. Fornheim, Refugee\" [from Collected Poems].\n \nIrving Layton\n00:08:12\n\"Gothic Landscape\", or what it means to be a Jewish boy growing up in a hostile neighbourhood of French Canadians and Italians who are convinced that you have lately murdered Christ. And where you are entranced by the church bells every Sunday, because of the ecstatic music over the sky, over the rooftops, and yet, in that ecstatic music of the bells, a sound of menace, something alien and frightening.\n \nIrving Layton\n00:09:00\nReads \"Gothic Landscape\" [from Collected Poems].\n \nIrving Layton\n00:10:19\n\"The Black Huntsmen\". This was written at a time when Jewish skin was made into lampshades. Or, the song of innocence becoming the song of experience.\n \nIrving Layton\n00:10:42\nReads \"The Black Huntsmen\" [from Collected Poems].\n\nUnknown\n00:12:07\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nIrving Layton\n00:12:08\nThis is how the fringes of a prayer shawl, a sheitel is a wig. If you are an Orthodox, Jewess as my mother was, you have to cut your hair very short and wear a wig so that you are no longer attractive so to speak, to any other man but your husband. Peculiar way of looking at it.\n \nIrving Layton\n00:12:43\nReads \"Archetypes\" [from Collected Poems].\n\nIrving Layton\n00:13:38\nReads \"Soleil de Noces\" [from Collected Poems].\n \nIrving Layton\n00:14:15\n\"De Bullion Street\". I don't suppose De Bullion Street has the reputation that it had when I was a boy. I suppose the present administration has cleaned up things, and anyway harlots now are more peripatetic. So this, in a sense, is an old fashioned poem.\n \nIrving Layton\n00:14:40\nReads \"De Bullion Street\" [from Collected Poems].\n \nIrving Layton\n00:16:10\n\"On My Way To School\" or the changes that come. I wasn't the most punctual of students, and it's a great comfort to me therefore when I was late to find a sign on a Baptist church \"Jesus Saves\". Many years, I returned and found some change had taken place and this poem celebrates the change, or records it.\n \nIrving Layton\n00:16:44\nReads \"On My Way To School\" [from Collected Poems].\n \nIrving Layton\n00:17:20\nReads \"Love the Conqueror Worm\" [from Collected Poems].\n \nIrving Layton\n00:18:31\n\"Vexata Quaestio\". Western man is the product we are told, of two traditions, the Greek, and the Hebrew. The Greek, pagan, believing that all experience is worth having, and man should refuse no experience. The Hebrew believing that the proper life, salvation is to be found in obedience to God's will. The two traditions are quite contradictory and can never be reconciled. It is our unfortunate destiny to try to reconcile them. I do not think we have been successful at it because the task cannot be done, it's impossible. So I've written this poem, \"Vexata Quaestio\" and what I'm saying is that each and every one of us in the West is a sort of compromise between these two traditions. Here I use the tree, a tall tree, as a symbol for the Hebraic, the Maccabean and the sun becomes a symbol for the pagan, and you'll see what happens to both the tree and the sun.\n \nIrving Layton\n00:20:11\nReads \"Vexata Quaestio\" [from Collected Poems].\n \nIrving Layton\n00:21:19\n\"Cemetery in August\". Only humans of course are aware of death, and even in August, when you feel the flush and thrill and intensity of life, you are aware of the autumn and the winter and when you are in a cemetery, the macabre juxtaposition of life and death becomes even more intense. So I wrote this poem, \"Cemetery in August\".\n \nIrving Layton\n00:21:54\nReads \"Cemetery in August\" [from Collected Poems].\n \nIrving Layton\n00:24:20\n\"To the Girls of my Graduating Class\". This was a graduating class, not at Sir George Williams, but my high school I taught several years ago. And I was very fortunate one year in having six very, very lovely, nubile adolescents, very attractive, and very, very well aware of precisely where attractions lay [audience laughter]. And very often when I was in the middle of a serious lecture in history, one of them would make some provocative gesture that would drive my thoughts from the lecture to something far more interesting [audience laughter].\n \nIrving Layton\n00:25:15\nReads \"To the Girls of my Graduating Class\" [from Collected Poems].\n\nAudience\n00:26:30\nLaughter.\n \nIrving Layton\n00:26:33\nAnd what you see when you are in the tavern, the kind of dreams you have about pleasure and about the strange, the strange dance that all of us lead. And this very queer life and journey of ours. And I call this \"Bacchanal\", and it's a rather unusual Bacchanal, because it's a rather sad one, or shall I say a prayerful one.\n \nIrving Layton\n00:27:10\nReads \"Bacchanal\" [from Collected Poems].\n \nIrving Layton\n00:28:18\nThis one is for my son, \"Maxie\".\n \nIrving Layton\n00:28:24\nReads \"Maxie\" [from Collected Poems].\n \nIrving Layton\n00:30:03\nAnd I suppose all teachers of literature have had the experience of giving an inspired lecture on Shakespeare [https://www.wikidata.org/wiki/Q692] or John Donne [https://www.wikidata.org/wiki/Q140412], and finding some hand at the back waving furiously as you're getting to the home stretch and your peroration is the most resounding thing that you've ever thought about but this hand out there, very insistent, you know, and finally you stop in the middle of the peroration and you say \"Yes, yes what is it?\" and the student says, \"Sir, will this be on the exam?\" [audience laughter].\n \nIrving Layton\n00:30:57\nReads \"Seven o'Clock Lecture\" [from Collected Poems].\n \nIrving Layton\n00:34:07\n\"The Birth of Tragedy\". The title is taken from one of the earliest books of Nietzsche [https://www.wikidata.org/wiki/Q9358], the gods here that I speak about in the poem, are the gods of Dream and Dance, of Reason and Ecstasy, Apollo and Dionysus, Nietzsche held that tragedy came from the union of both dream and dance, intellect and impulse.\n \nIrving Layton\n00:34:44\nReads \"The Birth of Tragedy\" [from Collected Poems].\n \nIrving Layton\n00:36:44\nAnd I suppose no Layton reading would be quite complete without this poem, \"Misunderstanding\".\n \nIrving Layton\n00:36:54\nReads \"Misunderstanding\" [from Collected Poems].\n \nIrving Layton\n00:37:16\n\"The Cold Green Element\". This is about life, death, nature, and poetry. It's really a meditation, and, I hope, a passionate meditation on art and life. Like Yeats [https://www.wikidata.org/wiki/Q40213], I am very concerned with the necessary antinomies or contradictions of life. Like Yeats, I believe that great art results from the happy, the miraculous fusion of the two.\n \nIrving Layton\n00:38:04\nReads \"The Cold Green Element\" [from Collected Poems].\n \nIrving Layton\n00:40:20\n\"The Improved Binoculars\", my symbol for science. It is truism to say that unless man's moral development, his capacity for sympathy, keeps space, or this development in science and technology he's in danger of blowing himself off the face of this earth. This poem is an apocalyptic poem, it is a vision of the future, such as I hope will never be realized. But in one of my more despairing moments, or one of my more savage and bitter moments, I wrote this poem, \"The Improved Binoculars\".\n \nIrving Layton\n00:41:05\nReads \"The Improved Binoculars\" [from Collected Poems].\n \nIrving Layton\n00:42:25\nReads [“Orpheus” from Collected Poems].\n \nIrving Layton\n00:44:11\nReads \"Death of a Construction Worker\" [from Collected Poems].\n \nIrving Layton\n00:45:08\nReads “Theology” [from Collected Poems].\n \nIrving Layton\n00:45:47\nReads “For Louise, Age 17” [from Collected Poems].\n \nIrving Layton\n00:47:14\n\"Song for Naomi\". Naomi's my daughter. Several years ago we were out in the country, I was appalled to find that while she was by the bank of the lake, I couldn't see her because the weeds and the flowers were taller than she was. If she fell into the lake, neither I nor my wife might see it. But nothing happened. Just a day before we were to pack up to leave, I noticed my daughter down by the lake, and this time, her dear little head was peeping just above the weeds and the flowers and this gave me the idea for this poem, which I wrote, while of course my wife did the packing.\n \nIrving Layton\n00:48:12\nReads \"Song for Naomi\" [from Collected Poems].\n \nIrving Layton\n00:49:47\nHere's a rather erotic poem, called \"Gathering of Poets\", to be taken of course with a grain of salt.\n \nUnknown\n00:49:59\n[Cut or edit made in tape].\n \nIrving Layton\n00:50:00\n...to be taken, of course, with a grain of salt. Just a short thing.\n \nIrving Layton\n00:50:08\nReads \"Gathering of Poets\" [from Collected Poems].\n \nIrving Layton\n00:50:40\nReads \"The Bull Calf\" [from Collected Poems].\n \nIrving Layton\n00:53:19\nAnd here's a lighter poem called \"Bargain\".\n \nIrving Layton\n00:53:22\nReads \"Bargain\" [from Collected Poems].\n\nAudience\n00:53:46\nLaughter.\n \nIrving Layton\n00:53:58\nThis next poem is for my mother, who died at the age of 89. She was a very remarkable woman, I'd like to tell you a great deal about her, she certainly merits it, she was a most remarkable character with a tremendous joie-de-vivre and a wonderful gift of vituperation, which it is said I have inherited [audience laughter]. Certainly I learned the cadence of poetry from my mother's cursing. My mother would start cursing as soon as I opened my eyes in the morning and wouldn't stop cursing until I closed them at night when I went to bed. But the cadence was what interested me [audience laughter] and I didn't pay any attention to words. Occasionally I would get the drift, of course, of what the curses were intended to say, and I must say it did me a wonderful lot of good because later on when I got knocked my critics and so on, it was like so much water off a duck's back after my mother's cursing. Nothing the critics say could possibly make any impression upon me whatsoever [audience laughter]. She was extremely vain of her black eyebrows. When she was 85, I was taking her somewhere and we stopped for a red light. I noticed a very lovely girl standing on the curb, and of course, I looked very intently at her. My mother caught my intent gaze and said, sighing, \"Yes, she's very beautiful, but has she got my black eyebrows?\" [audience laughter]. She wore earrings that were made of old Romanian coins, she wore an amber necklace, which I remember playing with when I was a child. But it was her immense vitality and joie-de-vivre, coupled with an immense discontent that always fascinated me about my mother. She was a very Orthodox woman, reverencing God, but often giving me the impression that she might have made a much better job of creation than God himself. So this is my tribute to my very, very remarkable mother.\n \nIrving Layton\n00:56:56\nReads \"Keine Lazarovitch, 1870-1959\" [from Collected Poems].\n \nIrving Layton\n00:59:16\nReads \"The Well-Wrought Urn\" [from Collected Poems].\n \nIrving Layton\n00:59:57\nSome time ago, I went down to the church at Notre Dame, and you know, you have halos lighting up over the head of your favourite saint, or the Virgin Mary, if you drop the requisite number of coins. There's nobody else in that vast gloomy church, except another man and myself, and he went over to the little machine and he dropped some coins, and he waited for the halo to light up and it didn't. And that nettled him a great deal, and he waited, and it still didn't light up so he gave the machine a kick, nothing happened. But he said something and I went home and I wrote this poem.\n \nIrving Layton\n01:01:01\nReads \"This Machine Age\" [from Collected Poems; audience laughter throughout].\n \nIrving Layton\n01:02:09\nThis next poem of mine is also based on an actual experience, I'm sure that most of you have heard of Djilas [https://www.wikidata.org/wiki/Q153909], the very courageous Yugoslav writer who's imprisoned by his erstwhile comrade and companion in arms, Tito. He's imprisoned for writing and publishing outside of the country, Conversations with Stalin [https://www.wikidata.org/wiki/Q5166446]. That was several years ago, he's just been released. Well I thought a brave man like that deserves some kind of support, especially from and by writers, and so I decided to go up to Ottawa [https://www.wikidata.org/wiki/Q1930] and demonstrate in front of the Yugoslav Embassy. I took my wife with me, and one or two of the local poets, we made some signs and we drove up to Ottawa. We got out of the car, and the sign read, of course, \"Free Djilas\", and I was amazed and delighted to find that a considerable crowd gathered around me and the sign. Until I realized just what was happening. And so I wrote this poem, called \"Free Djilas\".\n \nIrving Layton\n01:03:31\nReads \"Free Djilas\" [from Collected Poems; audience laughter throughout].\n \nIrving Layton\n01:04:29\nThis one, in a more serious vein, \"The Predator\".\n \nIrving Layton\n01:04:36\nReads \"The Predator\" [from Collected Poems].\n\nIrving Layton\n01:06:41\nReads \"Plaza de Toros\" [from Collected Poems].\n \nIrving Layton\n01:09:13\nReads \"At the Alhambra\" [from Collected Poems].\n \nIrving Layton\n01:10:20\nReads \"For My Green Old Age\" [from Collected Poems].\n \nIrving Layton\n01:11:44\nNow I want to read a few poems from my most recent book, Periods of the Moon. \"Castles on the Rhine\".\n \nIrving Layton\n01:12:01\nReads \"Castles on the Rhine\" [published as “Rhine Boat Trip in Periods of the Moon].\n \nIrving Layton\n01:12:54\nReads \"Mutability\" from Periods of the Moon.\n \nIrving Layton\n01:14:19\nReads \"Time's Velvet Tongue\" from Periods of the Moon.\n \nIrving Layton\n01:15:20\nReads \"Gratitude\" from Periods of the Moon.\n\nAudience\n01:16:00\nLaughter \n\nIrving Layton\n01:16:04\nMy contribution to the centennial year, “Confederation Ode”.\n\nIrving Layton\n01:16:10\nReads \"Confederation Ode\" from Periods of the Moon [audience laughter throughout].\n\nAudience\n01:17:23\nLaughter and Applause.\n \nIrving Layton\n01:17:34\nReads \"The Beautiful Unknown Girl\" from Periods of the Moon.\n \nIrving Layton\n01:18:55\nAnd this one, \"For Musia's Grandchildren\".\n \nIrving Layton\n01:19:09\nReads \"For Musia's Grandchildren\" from Periods of the Moon.\n \nIrving Layton\n01:20:59\nReads \"Look Homeward, Angel\" from Periods of the Moon.\n \nIrving Layton\n01:21:45\nAnd this last one, \"Family Portrait\".\n \nIrving Layton\n01:21:54\nReads \"Family Portrait\" [from Collected Poems; audience laughter throughout].\n\nAudience\n01:22:59\nLaughter and Applause.\n \nEND\n01:23:43\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nHis collection of poetry Periods of the Moon was published in 1967, and he participated in several other readings at the Jewish Public Library in Montreal, among other places. His poetry was anthologized in Modern Canadian Verse: In English and French (Oxford University Press), edited by F.R. Scott and A.J.M. Smith, The Blasted Pine: An Anthology of Satire, also edited by F.R. Scott and A.J.M. Smith in 1967 (Macmillan). Layton was poet-in-residence at Sir George Williams University.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections: \\n\\nLayton’s meeting with Louis Dudek and John Sutherland culminated in the very influential First Statement magazine and press in 1942. His poetry is widely-read and has been awarded generously. Layton has also become a well-known figure in Montreal, and caught the attention of many critics--for better or for worse. Layton and Dudek helped Aileen Collins found the magazine CIV/n, and with Raymond Souster founded Contact Press in 1952, which both published many young Canadian poets like Margaret Atwood, Phyllis Webb, Eli Mandel, D.G. Jones, Alden Nowlan, Gwendolyn MacEwen, George Bowering, Frank Davey and John Newlove. Through Raymond Souster, he began correspondence with Robert Creeley in 1953, and continued to prove to American poets that Canadian poets had something interesting to say. Layton, Dudek and F.R. Scott promoted and mentored the newer generation of Canadian poets. He has become a Montreal icon, as he spent most of his life in the city.\\n\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"Layton, Irving\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press 2001. \"},{\"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/collected-poems-irving-layton/oclc/460183130&referer=brief_results\",\"citation\":\"Layton, Irving. Collected Poems. Toronto: McClelland & Stewart, 1965. \"},{\"url\":\"https://www.worldcat.org/title/periods-of-the-moon-poems/oclc/907399867&referer=brief_results\",\"citation\":\"Layton, Irving. Periods of the Moon. Toronto: McClelland & Stewart, 1967. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol2/oclc/1156824609&referer=brief_results\",\"citation\":\"Lynch, Gerald. “Layton, Irving (1912-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Eugene Benson and L.W. Conolly, (eds). London: Routledge, 1994. 2 Vols. \\n\"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 13. \"},{\"url\":\"http://news.google.com/newspapers?id=O5UtAAAAIBAJ&sjid=4p8FAAAAIBAJ&pg=3951,6182119&dq=sir+george+williams+poetry &hl=en\",\"citation\":\"“Poetry Series Coming Up At University”. Montreal; The Gazette. 31 December 1966, page 39. \"}]"],"_version_":1853670548809187328,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0031_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0031_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Irving Layton 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_0031_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0031_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Irving Layton 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_0031_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0031_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Irving Layton 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/irving_layton_i086-11-031.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"irving_layton_i086-11-031.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:23:43\",\"precision\":\"\",\"size\":\"200.9 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Howard Fink\\n00:00:00\\n...Irving Layton [https://www.wikidata.org/wiki/Q1673289] to this stage again tonight, this time to read his poetry. The last time he was up here was to introduce Robert Creeley [https://www.wikidata.org/wiki/Q918620], and what was said then clearly explained the close relations between Mr. Layton and the Black Mountain Group [https://www.wikidata.org/wiki/Q2905420] in the 50's, so I won't go into that again, but I'll only add that Mr. Layton was a member of the editorial board of Black Mountain Review [https://www.wikidata.org/wiki/Q2905420] from 1955 on. Of course he's been publishing poetry since the 40's and was associated during those years with the First Statement Press, which became the Northern Review [https://www.wikidata.org/wiki/Q15757902] in 1949, and all this time studying at McGill University [https://www.wikidata.org/wiki/Q201492] where he received the M.A. in Political Science and Economics in 1946. It's impossible to list all of his appearances in periodicals and little magazines, and I'll mention only a few of his two dozen or so volumes of poetry, anyway that's what it seemed like to me when I looked at that page in the new one. A Red Carpet for the Sun in 1959, with the well-known introduction by William Carlos Williams [https://www.wikidata.org/wiki/Q178106] which acknowledged, American recognition of Mr. Layton's reputation. A Red Carpet, like all of Mr. Layton's subsequent books was published by McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. Then, a book of short stories and poems, The Swinging Flesh, which came out in 1961, Balls for a One-armed Juggler in 1963, The Laughing Rooster in 1964, Collected Poems in 1965 and his latest work, just published this winter, Periods of the Moon. And I should say the ones that I have mentioned are the ones which are still in stock and able to be bought. Among Mr. Layton's other frenetic activities, poetry readings in Canada [https://www.wikidata.org/wiki/Q16], United States [https://www.wikidata.org/wiki/Q30], Germany [https://www.wikidata.org/wiki/Q183] and elsewhere, television appearances, controversial ones and so on, he finds time to communicate with students as well as Poet in Residence of this university [https://www.wikidata.org/wiki/Q326342]. I'd like to present Mr. Irving Layton.\\n\\nAudience\\n00:02:21\\nApplause.\\n \\nIrving Layton\\n00:02:30\\nThank you Howard, for your kind introduction. I'm glad that you did not introduce me as a letter writer. I'm very glad to see so large a turn out this evening. I am very heartened by it, very moved, and I'm very glad to see so many of my friends and former students in the audience. I like beginning my reading with a poem \\\"There Are No Signs\\\" because if any one poem expresses what I try to say, and all the poems and stories that I have written, is that modern man, pretty well, has to find out where he is going, by just going. Now the old sign posts are down, and that he must make his sign posts as he goes along.\\n \\nIrving Layton\\n00:04:00\\nReads \\\"There Are No Signs\\\" [published as “There Were No Signs in Collected Poems].\\n \\nIrving Layton\\n00:04:51\\n\\\"The Swimmer\\\", my symbol for the poet, condemned to live in two realms, and happy to live in neither of them. The realm of actuality and the realm of the imagination. Here I compare the poet to the swimmer.\\n \\nIrving Layton\\n00:05:15\\nReads \\\"The Swimmer\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:06:38\\nSeveral years ago I taught at the Jewish Library, one of my students was a Mrs. Fornheim, who had lived in Vienna [https://www.wikidata.org/wiki/Q1741], and left Vienna when that city fell to the Nazis. She went to Paris [https://www.wikidata.org/wiki/Q90], and left Paris for Spain [https://www.wikidata.org/wiki/Q29], when the Vichy government was formed. From Spain, she went to Portugal [https://www.wikidata.org/wiki/Q45] and then came to Montreal [https://www.wikidata.org/wiki/Q340], where I taught her English. She died of cancer, this is my poem for her. \\\"Mrs. Fornheim, Refugee\\\".\\n \\nIrving Layton\\n00:07:19\\nReads \\\"Mrs. Fornheim, Refugee\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:08:12\\n\\\"Gothic Landscape\\\", or what it means to be a Jewish boy growing up in a hostile neighbourhood of French Canadians and Italians who are convinced that you have lately murdered Christ. And where you are entranced by the church bells every Sunday, because of the ecstatic music over the sky, over the rooftops, and yet, in that ecstatic music of the bells, a sound of menace, something alien and frightening.\\n \\nIrving Layton\\n00:09:00\\nReads \\\"Gothic Landscape\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:10:19\\n\\\"The Black Huntsmen\\\". This was written at a time when Jewish skin was made into lampshades. Or, the song of innocence becoming the song of experience.\\n \\nIrving Layton\\n00:10:42\\nReads \\\"The Black Huntsmen\\\" [from Collected Poems].\\n\\nUnknown\\n00:12:07\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nIrving Layton\\n00:12:08\\nThis is how the fringes of a prayer shawl, a sheitel is a wig. If you are an Orthodox, Jewess as my mother was, you have to cut your hair very short and wear a wig so that you are no longer attractive so to speak, to any other man but your husband. Peculiar way of looking at it.\\n \\nIrving Layton\\n00:12:43\\nReads \\\"Archetypes\\\" [from Collected Poems].\\n\\nIrving Layton\\n00:13:38\\nReads \\\"Soleil de Noces\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:14:15\\n\\\"De Bullion Street\\\". I don't suppose De Bullion Street has the reputation that it had when I was a boy. I suppose the present administration has cleaned up things, and anyway harlots now are more peripatetic. So this, in a sense, is an old fashioned poem.\\n \\nIrving Layton\\n00:14:40\\nReads \\\"De Bullion Street\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:16:10\\n\\\"On My Way To School\\\" or the changes that come. I wasn't the most punctual of students, and it's a great comfort to me therefore when I was late to find a sign on a Baptist church \\\"Jesus Saves\\\". Many years, I returned and found some change had taken place and this poem celebrates the change, or records it.\\n \\nIrving Layton\\n00:16:44\\nReads \\\"On My Way To School\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:17:20\\nReads \\\"Love the Conqueror Worm\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:18:31\\n\\\"Vexata Quaestio\\\". Western man is the product we are told, of two traditions, the Greek, and the Hebrew. The Greek, pagan, believing that all experience is worth having, and man should refuse no experience. The Hebrew believing that the proper life, salvation is to be found in obedience to God's will. The two traditions are quite contradictory and can never be reconciled. It is our unfortunate destiny to try to reconcile them. I do not think we have been successful at it because the task cannot be done, it's impossible. So I've written this poem, \\\"Vexata Quaestio\\\" and what I'm saying is that each and every one of us in the West is a sort of compromise between these two traditions. Here I use the tree, a tall tree, as a symbol for the Hebraic, the Maccabean and the sun becomes a symbol for the pagan, and you'll see what happens to both the tree and the sun.\\n \\nIrving Layton\\n00:20:11\\nReads \\\"Vexata Quaestio\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:21:19\\n\\\"Cemetery in August\\\". Only humans of course are aware of death, and even in August, when you feel the flush and thrill and intensity of life, you are aware of the autumn and the winter and when you are in a cemetery, the macabre juxtaposition of life and death becomes even more intense. So I wrote this poem, \\\"Cemetery in August\\\".\\n \\nIrving Layton\\n00:21:54\\nReads \\\"Cemetery in August\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:24:20\\n\\\"To the Girls of my Graduating Class\\\". This was a graduating class, not at Sir George Williams, but my high school I taught several years ago. And I was very fortunate one year in having six very, very lovely, nubile adolescents, very attractive, and very, very well aware of precisely where attractions lay [audience laughter]. And very often when I was in the middle of a serious lecture in history, one of them would make some provocative gesture that would drive my thoughts from the lecture to something far more interesting [audience laughter].\\n \\nIrving Layton\\n00:25:15\\nReads \\\"To the Girls of my Graduating Class\\\" [from Collected Poems].\\n\\nAudience\\n00:26:30\\nLaughter.\\n \\nIrving Layton\\n00:26:33\\nAnd what you see when you are in the tavern, the kind of dreams you have about pleasure and about the strange, the strange dance that all of us lead. And this very queer life and journey of ours. And I call this \\\"Bacchanal\\\", and it's a rather unusual Bacchanal, because it's a rather sad one, or shall I say a prayerful one.\\n \\nIrving Layton\\n00:27:10\\nReads \\\"Bacchanal\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:28:18\\nThis one is for my son, \\\"Maxie\\\".\\n \\nIrving Layton\\n00:28:24\\nReads \\\"Maxie\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:30:03\\nAnd I suppose all teachers of literature have had the experience of giving an inspired lecture on Shakespeare [https://www.wikidata.org/wiki/Q692] or John Donne [https://www.wikidata.org/wiki/Q140412], and finding some hand at the back waving furiously as you're getting to the home stretch and your peroration is the most resounding thing that you've ever thought about but this hand out there, very insistent, you know, and finally you stop in the middle of the peroration and you say \\\"Yes, yes what is it?\\\" and the student says, \\\"Sir, will this be on the exam?\\\" [audience laughter].\\n \\nIrving Layton\\n00:30:57\\nReads \\\"Seven o'Clock Lecture\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:34:07\\n\\\"The Birth of Tragedy\\\". The title is taken from one of the earliest books of Nietzsche [https://www.wikidata.org/wiki/Q9358], the gods here that I speak about in the poem, are the gods of Dream and Dance, of Reason and Ecstasy, Apollo and Dionysus, Nietzsche held that tragedy came from the union of both dream and dance, intellect and impulse.\\n \\nIrving Layton\\n00:34:44\\nReads \\\"The Birth of Tragedy\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:36:44\\nAnd I suppose no Layton reading would be quite complete without this poem, \\\"Misunderstanding\\\".\\n \\nIrving Layton\\n00:36:54\\nReads \\\"Misunderstanding\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:37:16\\n\\\"The Cold Green Element\\\". This is about life, death, nature, and poetry. It's really a meditation, and, I hope, a passionate meditation on art and life. Like Yeats [https://www.wikidata.org/wiki/Q40213], I am very concerned with the necessary antinomies or contradictions of life. Like Yeats, I believe that great art results from the happy, the miraculous fusion of the two.\\n \\nIrving Layton\\n00:38:04\\nReads \\\"The Cold Green Element\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:40:20\\n\\\"The Improved Binoculars\\\", my symbol for science. It is truism to say that unless man's moral development, his capacity for sympathy, keeps space, or this development in science and technology he's in danger of blowing himself off the face of this earth. This poem is an apocalyptic poem, it is a vision of the future, such as I hope will never be realized. But in one of my more despairing moments, or one of my more savage and bitter moments, I wrote this poem, \\\"The Improved Binoculars\\\".\\n \\nIrving Layton\\n00:41:05\\nReads \\\"The Improved Binoculars\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:42:25\\nReads [“Orpheus” from Collected Poems].\\n \\nIrving Layton\\n00:44:11\\nReads \\\"Death of a Construction Worker\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:45:08\\nReads “Theology” [from Collected Poems].\\n \\nIrving Layton\\n00:45:47\\nReads “For Louise, Age 17” [from Collected Poems].\\n \\nIrving Layton\\n00:47:14\\n\\\"Song for Naomi\\\". Naomi's my daughter. Several years ago we were out in the country, I was appalled to find that while she was by the bank of the lake, I couldn't see her because the weeds and the flowers were taller than she was. If she fell into the lake, neither I nor my wife might see it. But nothing happened. Just a day before we were to pack up to leave, I noticed my daughter down by the lake, and this time, her dear little head was peeping just above the weeds and the flowers and this gave me the idea for this poem, which I wrote, while of course my wife did the packing.\\n \\nIrving Layton\\n00:48:12\\nReads \\\"Song for Naomi\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:49:47\\nHere's a rather erotic poem, called \\\"Gathering of Poets\\\", to be taken of course with a grain of salt.\\n \\nUnknown\\n00:49:59\\n[Cut or edit made in tape].\\n \\nIrving Layton\\n00:50:00\\n...to be taken, of course, with a grain of salt. Just a short thing.\\n \\nIrving Layton\\n00:50:08\\nReads \\\"Gathering of Poets\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:50:40\\nReads \\\"The Bull Calf\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:53:19\\nAnd here's a lighter poem called \\\"Bargain\\\".\\n \\nIrving Layton\\n00:53:22\\nReads \\\"Bargain\\\" [from Collected Poems].\\n\\nAudience\\n00:53:46\\nLaughter.\\n \\nIrving Layton\\n00:53:58\\nThis next poem is for my mother, who died at the age of 89. She was a very remarkable woman, I'd like to tell you a great deal about her, she certainly merits it, she was a most remarkable character with a tremendous joie-de-vivre and a wonderful gift of vituperation, which it is said I have inherited [audience laughter]. Certainly I learned the cadence of poetry from my mother's cursing. My mother would start cursing as soon as I opened my eyes in the morning and wouldn't stop cursing until I closed them at night when I went to bed. But the cadence was what interested me [audience laughter] and I didn't pay any attention to words. Occasionally I would get the drift, of course, of what the curses were intended to say, and I must say it did me a wonderful lot of good because later on when I got knocked my critics and so on, it was like so much water off a duck's back after my mother's cursing. Nothing the critics say could possibly make any impression upon me whatsoever [audience laughter]. She was extremely vain of her black eyebrows. When she was 85, I was taking her somewhere and we stopped for a red light. I noticed a very lovely girl standing on the curb, and of course, I looked very intently at her. My mother caught my intent gaze and said, sighing, \\\"Yes, she's very beautiful, but has she got my black eyebrows?\\\" [audience laughter]. She wore earrings that were made of old Romanian coins, she wore an amber necklace, which I remember playing with when I was a child. But it was her immense vitality and joie-de-vivre, coupled with an immense discontent that always fascinated me about my mother. She was a very Orthodox woman, reverencing God, but often giving me the impression that she might have made a much better job of creation than God himself. So this is my tribute to my very, very remarkable mother.\\n \\nIrving Layton\\n00:56:56\\nReads \\\"Keine Lazarovitch, 1870-1959\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:59:16\\nReads \\\"The Well-Wrought Urn\\\" [from Collected Poems].\\n \\nIrving Layton\\n00:59:57\\nSome time ago, I went down to the church at Notre Dame, and you know, you have halos lighting up over the head of your favourite saint, or the Virgin Mary, if you drop the requisite number of coins. There's nobody else in that vast gloomy church, except another man and myself, and he went over to the little machine and he dropped some coins, and he waited for the halo to light up and it didn't. And that nettled him a great deal, and he waited, and it still didn't light up so he gave the machine a kick, nothing happened. But he said something and I went home and I wrote this poem.\\n \\nIrving Layton\\n01:01:01\\nReads \\\"This Machine Age\\\" [from Collected Poems; audience laughter throughout].\\n \\nIrving Layton\\n01:02:09\\nThis next poem of mine is also based on an actual experience, I'm sure that most of you have heard of Djilas [https://www.wikidata.org/wiki/Q153909], the very courageous Yugoslav writer who's imprisoned by his erstwhile comrade and companion in arms, Tito. He's imprisoned for writing and publishing outside of the country, Conversations with Stalin [https://www.wikidata.org/wiki/Q5166446]. That was several years ago, he's just been released. Well I thought a brave man like that deserves some kind of support, especially from and by writers, and so I decided to go up to Ottawa [https://www.wikidata.org/wiki/Q1930] and demonstrate in front of the Yugoslav Embassy. I took my wife with me, and one or two of the local poets, we made some signs and we drove up to Ottawa. We got out of the car, and the sign read, of course, \\\"Free Djilas\\\", and I was amazed and delighted to find that a considerable crowd gathered around me and the sign. Until I realized just what was happening. And so I wrote this poem, called \\\"Free Djilas\\\".\\n \\nIrving Layton\\n01:03:31\\nReads \\\"Free Djilas\\\" [from Collected Poems; audience laughter throughout].\\n \\nIrving Layton\\n01:04:29\\nThis one, in a more serious vein, \\\"The Predator\\\".\\n \\nIrving Layton\\n01:04:36\\nReads \\\"The Predator\\\" [from Collected Poems].\\n\\nIrving Layton\\n01:06:41\\nReads \\\"Plaza de Toros\\\" [from Collected Poems].\\n \\nIrving Layton\\n01:09:13\\nReads \\\"At the Alhambra\\\" [from Collected Poems].\\n \\nIrving Layton\\n01:10:20\\nReads \\\"For My Green Old Age\\\" [from Collected Poems].\\n \\nIrving Layton\\n01:11:44\\nNow I want to read a few poems from my most recent book, Periods of the Moon. \\\"Castles on the Rhine\\\".\\n \\nIrving Layton\\n01:12:01\\nReads \\\"Castles on the Rhine\\\" [published as “Rhine Boat Trip in Periods of the Moon].\\n \\nIrving Layton\\n01:12:54\\nReads \\\"Mutability\\\" from Periods of the Moon.\\n \\nIrving Layton\\n01:14:19\\nReads \\\"Time's Velvet Tongue\\\" from Periods of the Moon.\\n \\nIrving Layton\\n01:15:20\\nReads \\\"Gratitude\\\" from Periods of the Moon.\\n\\nAudience\\n01:16:00\\nLaughter \\n\\nIrving Layton\\n01:16:04\\nMy contribution to the centennial year, “Confederation Ode”.\\n\\nIrving Layton\\n01:16:10\\nReads \\\"Confederation Ode\\\" from Periods of the Moon [audience laughter throughout].\\n\\nAudience\\n01:17:23\\nLaughter and Applause.\\n \\nIrving Layton\\n01:17:34\\nReads \\\"The Beautiful Unknown Girl\\\" from Periods of the Moon.\\n \\nIrving Layton\\n01:18:55\\nAnd this one, \\\"For Musia's Grandchildren\\\".\\n \\nIrving Layton\\n01:19:09\\nReads \\\"For Musia's Grandchildren\\\" from Periods of the Moon.\\n \\nIrving Layton\\n01:20:59\\nReads \\\"Look Homeward, Angel\\\" from Periods of the Moon.\\n \\nIrving Layton\\n01:21:45\\nAnd this last one, \\\"Family Portrait\\\".\\n \\nIrving Layton\\n01:21:54\\nReads \\\"Family Portrait\\\" [from Collected Poems; audience laughter throughout].\\n\\nAudience\\n01:22:59\\nLaughter and Applause.\\n \\nEND\\n01:23:43\\n\",\"notes\":\"Irving Layton reads from Collected Poems (McClelland & Stewart, 1965) and Periods of the Moon (McClelland &Stewart, 1967). \\n\\nI086-11-031.1\\n00:00- Howard Fink introduces Irving Layton [INDEX: Layton introduced Robert Creeley in earlier reading, Black Mountain Poetry Group in 1950’s, Board of Black Mountain      \\tReview in 1955 onwards, First Statement Press- became Northern Review in 1949,  A    red carpet for the sun (1959) with intro by William Carlos Williams, published by       \\tMcClelland and Stewart, The swinging flesh,  Balls for a one-armed juggler (1963),        \\tLaughing Rooster (1964), Collected Poems (1965), Periods of the Moon (1967),    \\tcontroversial T.V. appearances, Poet in Residence at Sir George University 1967]\\n02:30- Irving Layton introduces “There Are No Signs”\\n04:00- Reads “There Are No Signs”\\n04:51- Introduces “The Swimmer” [INDEX: Poet as swimmer symbol; Howard Fink List “The Summer”.]\\n05:15- Reads “The Swimmer”\\n06:38- Introduces “Mrs. Fornheim, Refugee” [INDEX: Jewish Library: teaching English, Mrs. Fornheim: an European refugee from Nazis]\\n07:19- Reads “Mrs. Fornheim, Refugee”\\n08:12- Introduces “Gothic Landscape” [INDEX: Jewish boy living in Christian and Catholic neighborhoods]\\n09:00- Reads “Gothic Landscape”\\n10:19- Introduces “The Black Huntsman”\\n10:40- Reads “The Black Huntsman”\\n12:08- Introduces “Archetypes” [INDEX: Orthodox Judaism]\\n12:43- Reads “Archetypes”\\n13:38- Reads “Soleil de Nos”\\n14:15- Introduces “De Bullion Street”\\n14:40- Reads “De Bullion Street”\\n16:10- Introduces “On My Way To School”\\n16:44- Reads “On My Way To School”\\n17:20- Reads “Love the Conqueror Worm”\\n18:31- Introduces “Exata Christio” [INDEX: Western man: Greek vs. Hebraic Cultures]\\n20:11- Reads “Exata Christio”\\n21:19- Introduces “Cemetery in August”\\n21:54- Reads “Cemetery in August”\\n24:20- Introduces “To The Girls of My Graduating Class”\\n25:15- Reads “To The Girls of My Graduating Class”\\n26:33- Introduces “Bacchanal”\\n27:10- Reads “Bacchanal”\\n28:18- Introduces “Maxie” [INDEX: poem for his son]\\n28:24- Reads “Maxie”\\n30:03- Introduces “Seven O’Clock Lecture”\\n30:57- Reads “Seven O’Clock Lecture”\\n34:07- Introduces “Birth of a Tragedy” [INDEX: Nietzsche]\\n34:44- Reads “Birth of a Tragedy”\\n36:44- Introduces “Misunderstanding”\\n36:54- Reads “Misunderstanding”\\n37:16- Introduces “A Cold Green Element” [INDEX: William Butler Yeats]\\n38:04- Reads “A Cold Green Element”\\n40:20- Introduces “The Improved Binoculars” [INDEX: dangers of science and technology]\\n41:05- Reads “The Improved Binoculars”\\n42:25- Reads first line “Poets of a distant time...”\\n44:11- Reads “Death of a Construction Worker”\\n45:08- Reads “Theology”\\n45:47- Reads “For Louise, Age 17”\\n47:14- Introduces “Song for Naomi”\\n48:12- Reads “Song for Naomi” [INDEX: Poem for Naomi, daughter]\\n49:47- Begins to introduce “Gathering of Poets”\\n49:59.53- END OF RECORDING\\n   \\nHoward Fink List of poems:\\n18/03/67\\nmono, 2 tracks, speed 3 3/4 one one 5” reel, lasting 1 hr 35 min\\n \\n1.  “There Are No Signs”\\n2.  “The Summer”\\n3.  “Mrs. Fornheim, the Refugee”\\n4.  “Gothic Landscape”\\n5.  “The Black Huntsman”\\n6.  “Archetypes”\\n7.  “Soleil de Nos”\\n8.  “DeBullion Street”\\n9.  “On My Way To School”\\n10. “Love the Conquerer Worm”\\n11. “Exata Christio”\\n12. “Cemetary in August”\\n13. “To the Girls (gauls) of My Graduating Class”\\n14. “Bachnal”\\n15. “Maxie”\\n16. “Seven O’clock Lecture”\\n17. “The Birth Of Tragedy”\\n18. “Misunderstanding”\\n19. “The Cold Green Element”\\n20. “The Improved Binoculars”\\n21. first line “Poets of a distant time...”\\n22. “Death of a Construction Worker”\\n23. first line “She came to us...”\\n24. “Song for Naomi”\\n25. “Gathering of Poets”\\n\\nI086-11-031.2\\n00:00- Irving Layton introduces “Gathering of Poets”\\n00:08- Reads “Gathering of Poets”\\n00:40- Reads “The Bull Calf”\\n03:20- Reads “Bargain”\\n03:58- Introduces “Keine Lazarovitch, 1870-1959” [INDEX: Layton’s mother, Keine \\tLazarovitch]\\n06:57- Reads “Keine Lazarovitch, 1870-1959”\\n09:15- Reads “The Wall Watt Urn”\\n09:56- Introduces “This Machine Age”\\n11:01- Reads “This Machine Age”\\n12:09- Introduces “Free Djilas” [INDEX: Milovan Djilas Conversations with Stalin, Tito]\\n13:31- Reads “Free Djilas”\\n14:29- Reads “The Predator”\\n14:36- Reads “Plaza de Toros” [Plaza de Toros in Madrid]\\n19:14- Reads “At The Alhambra”\\n20:20- Reads “For My Green Old Age”\\n21:44- Reads “Castles on the Rhine”, following poems are from Periods of the Moon\\n22:54- Reads “Mutability” [INDEX: The Rhine]\\n24:20- Reads “Time’s Velvet Tongue”\\n25:02- Reads “Gratitude”\\n26:02- Reads “Confederation Ode” [INDEX: Canada’s Centennial Year, Confederation Ode]\\n27:35- Reads “The Beautiful Unknown Girl”\\n28:55- Reads “For Musia’s Grandchildren”\\n31:00- Reads “Look Homeward, Angel”\\n31:45- Reads “Family Portrait”\\n33:43.03- END OF RECORDING\\n\\nHoward Fink list of poems:\\n26.  “The Bull Calf”\\n27.  “Bargain”\\n28.  “Kana (sp??) Laserovich” (Layton’s mom)--Keine Lazarovitch\\n29.  “The Will Watt Van”\\n30.  “This Machine Age”\\n31.  “Free Gilas”\\n32.  “The Predator”\\n33.  “Plaza de Toro’s”\\n34.  first line “I sat where...”\\n35.  “For My Green Old Age”\\nThe following poems are from Layton’s book Periods of the Moon:\\n36.  “Castles On the Rine”\\n37.  “Meutability”\\n38.  “Times Velvet Tongue”\\n39.  “Gratitude”\\n40.  “Confederation Ode”\\n41.  “The Beautiful Unknowen Girl”\\n42.  “For Muska’s Grandchildren”\\n43.  “Look Homeward Angel”\\n44.  “Family Portrait”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/irving-layton-at-sgwu-1967/\"}]"],"score":1.9290923},{"id":"1263","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Margaret Atwood and Alden Nowlan at Sir George Williams University, The Poetry Series, 13 October 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"MARGARET ATWOOD & ALDEN NOWLAN Recorder October 13, 1967 3.75 ips on 1.mil tape, 1/2 track\" written on sticker on the back of the tape's box. \"ATWOOD & NOWLAN I006/SR36\" written on sticker on the spine of the tape's box. \"I006-11-036\" also written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Atwood, Margaret","Nowlan, Alden"],"creator_names_search":["Atwood, Margaret","Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"Internationally acclaimed novelist, poet, critic and activist Margaret Atwood was born in Ottawa, Ontario, November 18,  1939. She lived in Ottawa until 1946, when her family settled in Leaside, a suburb of Toronto. Atwood entered Victoria College, University of Toronto, graduating with honours in 1961. Her first published collection of short stories was Double Persephone (Hawkshead Press, 1961). By 1962 she had received her MA in English from Radcliffe College in the United States, working on further graduate work at Harvard University between 1962-3 and in 1965-7. Atwood published her second collection, The Circle Game (Anansi, 1966), which won the Governor General Award for Poetry. She wrote articles and reviews for Alphabet, Canadian Literature and Poetry among other publications, and poems for Kayak, Quarry and the Tamarack Review. Poems published in her book The Animals in That Country (Oxford University Press, 1968) won first prize in Canada’s 1967 Centennial Commission poetry competition. In 1970, she published three books, Procedures for Underground (Oxford University Press), Time, and The Journals of Susanna Moodie (Oxford University Press). Between 1971 and 1973, Atwood worked as an editor and on the board of directors for the House of Anansi press in Toronto, which in 1972 published Power Politics. Upon the discovery at Harvard that there was no published critical study of Canadian literature, she herself wrote and published Survival: A Thematic Guide to Canadian Literature (Anansi, 1971), which created a stir of controversy, but by 1982 it had sold more than 85,000 copies. Since 1973, she has lived with novelist and activist Graeme Gibson, producing one daughter, Eleanor Jess in 1967. Atwood taught and lectured at several Universities across Canada, the US and Australia, including University of British Columbia, University of Alberta, Sir George Williams University (now Concordia) (1967-68) and at York University, Toronto. A selection of her publications include Surfacing (Simon & Schuster, 1972), You Are Happy (Harper &Row, 1974), Selected Poems (Oxford University Press) in 1976, Two-Headed Poems (Simon & Schuster, 1978), True Stories (Oxford University Press, 1981) and Second Words (Anansi, 1982). Her 1985 novel, The Handmaid’s Tale (McClelland & Stewart) became one of her most popular and critically acclaimed works. In 1986 she was appointed the Berg Chair at New York University, as well as serving as writer-in-residence at several other Universities. She co-founded and served as chair to the Writer’s Union of Canada in 1982-3, and served as president of the Canadian Centre of International PEN from 1984-6. She has subsequently published dozens of books, including Cat’s Eye (McClelland & Stewart, 1988), The Robber Bride (Doubleday, 1993), Alias Grace (Nan A. Talese, 1996), The Blind Assassin (Nan A. Talese, 2000), Oryx and Crake (2003), The Penelopiad (Canongate, 2005) and The Tent (Bloomsbury, 2006). Along with many other publications of her critical essays, Curious Pursuits: Occasional Writing 1970-2005 (Verago) came out in 2005. Her most recent novel, Year of the Flood was published in 2009 by Doubleday Press. Her many prizes and honours include the Booker Prize, the E.J. Pratt Medal (1961), The Radcliffe Medal (1980), the Commonwealth Writers Prize (1992), and she is a Companion of the Order of Canada. Atwood continues to work as spokesperson on behalf of human rights and the environment. \",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"Poet Alden Nowlan was born in 1933, in a small rural community near Windsor, Nova Scotia. Nowlan worked as a young man on farms, lumbermills and as a sawmill helper before he left Nova Scotia for New Brunswick to take a position as editor at The Heartland Observer and the night-news editor of the Saint John Telegraph-Journal. Nowlan published his first book of poetry, The rose and the puritan (New Brunswick University) in 1958, which was followed closely by A darkness in the earth (Hearse Press, 1959), Wind in a rocky country (Emblem Books, 1961), Under the ice (Ryerson Press, 1961) and The things which are (Contact Press,1962). In 1967 he was awarded the Governor General’s Award for his collection Bread, wine and salt (Clarke, Irwin). Nowlan was offered a writer-in-residence position at the University of New Brunswick, which he held until his death in 1983. His other publications include The mysterious naked man (Clarke, Irwin, 1969), Between tears and laughter (Clarke, Irwin, 1971), I’m a stranger here myself (Clarke, Irwin, 1974), Smoked glass (Clarke, Irwin, 1977) and I might not tell everybody this (Clarke, Irwin, 1982). Nowlan was also involved in theatre, and wrote three stage plays with Walter Learning: Frankenstein (Clarke, Irwin, 1976), The incredible murder of Cardinal Tosca (Learning Productions, 1978) and The dollar woman (Borealis Press, 1981). Nowlan was awarded a Doctor of Letters from the University of New Brunswick, and a Guggenheim Fellowship. Nowlan has also published an autobiography, Various persons named Kevin O’Brien (Clarke, Irwin, 1973), a collection of short stories, Miracle at Indian River (Clarke, Irwin, 1968), a travel book Campobello, the outer island (Clarke, Irwin, 1975) and collected twenty-seven of his magazine articles in Double exposure (Brunswick Press, 1978). Numerous titles were published posthumously, including Alden Nowlan, early poems (Fiddlehead Poetry Books, 1983), The best of Alden Nowlan (Lancelot Press, 1993), Will ye let the mummers in? (Clarke, Irwin, 1984), An exchange of gifts: poems new and selected (Irwin, 1985), Alden Nowlan: selected poems (Irwin, 1985).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 10 13\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Margaret Atwood reads from The Circle Game (House of Anansi, 1966) as well as poems later published in The Animals in that Country (Oxford University Press, 1968). Alden Nowlan reads from Bread Wine and Salt (Clarke, Irwin & Company, 1967) along with some poems from unknown sources.  "],"contents":["margaret_atwood_alden_nowlan_i006-11-036.mp3\n\nMargaret Atwood\n00:00:00\nI should apologize to begin with for my voice. I don't usually sound quite this much like Tallulah Bankhead [https://www.wikidata.org/wiki/Q255815]. I have the Montreal [https://www.wikidata.org/wiki/Q340] plague. The first poem is called \"This is a Photograph of Me,\" and it's the first poem in The Circle Game [https://www.wikidata.org/wiki/Q7723073].\n \nMargaret Atwood\n00:00:22\nReads \"This is a Photograph of Me\" from The Circle Game.\n \nMargaret Atwood\n00:01:35\nThe next poem is called \"Camera,\" and is dedicated to somebody I knew who liked to take pictures. \n \nMargaret Atwood\n00:01:44\nReads \"Camera\" [from The Circle Game].\n \nMargaret Atwood\n00:03:24\nAnd a small poem called \"Carved Animals\".\n\nMargaret Atwood\n00:03:28\nReads \"Carved Animals\" [from The Circle Game].\n \nMargaret Atwood\n00:04:25\nNow some more recent poems, which I should explain were mostly written in the United States [https://www.wikidata.org/wiki/Q30] when I was living there recently. The first one called \"At the Tourist centre in Boston\". Now Canada [https://www.wikidata.org/wiki/Q16] does have a Tourist centre in Boston [https://www.wikidata.org/wiki/Q100].\n \nMargaret Atwood\n00:04:50\nReads \"At the Tourist centre in Boston\" [published later in The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]].\n\nMargaret Atwood\n00:06:48\nAnd a poem called \"The Green Man\", which is dedicated to the Boston Strangler [https://www.wikidata.org/wiki/Q2855440]. \n \nMargaret Atwood\n00:06:56\nReads \"The Green Man\".\n \nMargaret Atwood\n00:08:03\nThis poem called \"A Fortification\".\n \nMargaret Atwood\n00:08:08\nReads \"A Fortification\" [published later in The Animals in that Country].\n\nMargaret Atwood\n00:09:17\nAnd this is a poem dedicated to my landlady who didn't remain my landlady for very long, called \"The Landlady\".\n \nMargaret Atwood\n00:09:29\nReads \"The Landlady\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:10:47\nAnd this poem called, \"A Foundling\".\n \nMargaret Atwood\n00:10:52\nReads \"A Foundling\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:11:41\nAnd this poem, which has no title.\n \nMargaret Atwood\n00:11:49\nReads [\"Untitled\"].\n \nMargaret Atwood\n00:12:58\nAnd a poem called \"Chronology\", which I wrote in one of my more paranoid states of mind. \n \nMargaret Atwood\n00:13:06\nReads \"Chronology\".\n \nMargaret Atwood\n00:14:39\nAnd here's my love poem to the, our large, friendly neighbour to the south. \n \nMargaret Atwood\n00:14:50\nReads \"Backdrop addresses cowboy\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:16:28\nThen a slightly happier poem called \"A Voice\".\n \nMargaret Atwood\n00:16:36\nReads \"A Voice\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:17:40\nAnd this one called, \"An Elegy for the Giant Tortoises\", which I wrote when I heard that they were planning to use a certain South Pacific island for the building of an airstrip. \n \nMargaret Atwood\n00:17:59\nReads \"An Elegy for the Giant Tortoises\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:19:19\nAnd this poem called, \"It is Dangerous to Read Newspapers\".\n \nMargaret Atwood\n00:19:26\nReads \"It is Dangerous to Read Newspapers\" [published later in The Animals in that Country].\n\nMargaret Atwood\n00:20:49\nReads \"I was reading a scientific article\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:22:20\nAnd the last poem. \n \nMargaret Atwood\n00:22:25\nReads \"The Reincarnation of Captain Cook\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:23:44\nThank you.\n \nAudience\n00:23:46\nApplause [cut off abruptly].\n \nUnknown\n00:23:49\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nRoy Kiyooka\n00:23:58\n...for quite a number of years as a journalist in the Maritimes [https://www.wikidata.org/wiki/Q731613], and this evening he is here with his wife and son and will be reading to you. Ladies and gentlemen, Alden Nowlan [https://www.wikidata.org/wiki/Q4713563].\n \nAudience\n00:24:17\nApplause.\n \nAlden Nowlan\n00:24:26\nThank you, Roy [https://www.wikidata.org/wiki/Q3445789]. First of all, I want to reassure everyone that I'm not going to read everything that's in this. I feel that probably there are some who are terrified when they see this, you know. It's really basically laziness that I haven't shortened anything out, I simply have wads of things here. \n \nAudience\n00:24:55\nLaughter.\n \nAlden Nowlan\n00:24:56\nNo no, not that one, I'm not going to read them all, definitely, definitely not. \n \nUnknown\n00:25:09\nSilence [pause].\n \nAlden Nowlan\n00:25:19\nFirst of all I have a very, very bad poem that I can't resist reading. I realized that it's sort of a bad beginning to start off with a poem that the poet himself considers a very bad one, but I wrote this when I arrived here this afternoon. To the natural egotism of a poet, you see, I can't resist offering it to this sort of captive audience here. [Audience laughter]. \"Poem for the Ritz Carlton\". [Audience laughter].\n \nAlden Nowlan\n00:26:06\nReads \"Poem for the Ritz Carlton\" [audience laughter throughout].\n \nAlden Nowlan\n00:26:30\nThat isn't really as critical of the Ritz Carlton as it sounds, because I sort of like the crypt of St. Paul's Cathedral [https://www.wikidata.org/wiki/Q173882], too, you see. [Audience laughter]. Next, I'd like to read some poems from my new book, Bread Wine and Salt, which is going to be published by Carter when, the first week in November, at three dollars and fifty cents. [Audience laughter]. That is the commercial.  \"I, Icarus\".\n \nAlden Nowlan\n00:27:15\nReads \"I, Icarus\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:28:34\nReads \"Sailors\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:30:06\nThis poem is entitled \"The Cinnamon Bears\", which sounds at first as if it were some sort of an animal cooking. But actually, what these cinnamon bears were, was back around the turn of the century in New Brunswick [https://www.wikidata.org/wiki/Q1965], as I've been told, there were all sorts of touring side-show type of things, you know, that, fortune tellers, and...people with a monkey, organ grinders with a monkey, and all this type of, sort of strolling pyres or wandering minstrels that existed up until the advent of radio and television. And it was a terrific thing, of course, in these backwoods communities. No doubt throughout Canada and the United States, when one of these people arrived. And among the, among these people were men who had trained bears, who, because of their colouration, were called cinnamon bears. And this poem actually is sort of a found poem, because it's not so much a creative thing as it is the transcription of a conversation which I happened to overhear between an old couple in northern New Brunswick. A man and his wife in their seventies, when they, suddenly something brought back these memories of these days of the organ grinders and the cinnamon bears. And as I say, I sort of made the poem more or less by simply transcribing the things which they said to one another, which it seemed to me was sort of a poetry, a form of poetry itself. \n \nAlden Nowlan\n00:32:20\nReads \"The Cinnamon Bears\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:33:21\nReads \"Britain Street, St. John, New Brunswick” [published as “Britain Street” in Bread, Wine and Salt].\n\nAlden Nowlan\n00:34:22\nThis is another, sort of a found poem, I'm not really terribly convinced that it's a poem at all. Last year, when I had a quite serious illness, one afternoon I was in the waiting room at the doctor's office, and the only thing that seemed to lay at hand for me to read was a copy of one of these Confessions magazines entitled Secret Life. [Audience laughter]. And as I glanced through it, it seemed to me, all that I actually read of it, you know, were these sort of captions at the top of the articles, and some of the big type in it. But it seemed to me really, as I glanced through it, that it had, that it contained sort of a crazy poetry of its own. At least, in the mood that I was in at the time, I sort of responded to it as though it were a crazy sort of poetry. And so as I sat there I sort of jotted down some of these things from the magazine, and ever since I've been trying to pass it off as a poem. \n \nAlden Nowlan\n00:35:37\nReads \"Secret Life\" [from Bread, Wine and Salt; audience laughter throughout].\n \nAudience\n00:36:39\nLaughter. \n \nAlden Nowlan\n00:36:57\nReads \"In Our Time\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:40:51\nReads \"The Changeling\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:41:49\nReads \"The Hollow Men\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:42:38\nThis poem is entitled \"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton [https://www.wikidata.org/wiki/Q2138], New Brunswick\". And I'm a little afraid that many of you will feel that it is sort of pointless. I'm not sure really but what you'd have to be completely immersed in the atmosphere of New Brunswick to get the real point of it, but. But that said, not implying any superiority on the part of New Brunswickers, unfortunately. Anyway.\n \nAlden Nowlan\n00:43:26\nReads \"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:44:36\nReads \"Every Man Owes God a Death\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:46:41\nThis poem, for no particular reason, is entitled \"The Loneliness of the Long-Distance Runner\". \n \nAlden Nowlan\n00:46:48\nReads \"The Loneliness of the Long-Distance Runner\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:48:23\nThis is a poem that came out of a serious illness that I had last year, and it's entitled \"In the Operating Room\". \n \nAlden Nowlan\n00:48:38\nReads \"In the Operating Room\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:50:05\nI have a few other recent poems I'll dig out of these. \n \nUnknown\n00:50:12\nAmbient Sound [pause; Nowlan turning pages].\n\nAlden Nowlan\n00:50:47\nAs I sort through these, I'm silently cursing myself for not having done this before I came here. \n \nUnknown\n00:50:52\nAmbient Sound [pause; Nowlan turning pages].\n\nAlden Nowlan\n00:51:20\nHere's a fairly recent poem which isn't a political poem at all, but a human poem. And one that I wrote as a result of watching on television the debates in the United Nations [https://www.wikidata.org/wiki/Q1065] on the Middle East [https://www.wikidata.org/wiki/Q7204] crisis. And one of the horrible things I felt as I watched it was how completely dehumanized it all was, that the real, human issues had been lost sight of, and sort of drowned in an ocean of resolutions and memos from embassies and all this sort of things. And one night when they televised these sessions through until about four o'clock, the ambassador of Saudi Arabia [https://www.wikidata.org/wiki/Q851] spoke, and he delivered certainly a very bigoted speech, and one that as a speech I wouldn't have agreed with, but I felt an admiration for him, because it had seemed to me that he was the only really human thing that had happened there all day. You know, that certainly he was a bigoted old man, full of thousands of years of hatred, but it was a human hatred, expressed in a human manner, something that the rest of them had completely lost sight of. And as a result of this feeling I wrote this poem, \"For Jamil Baroody [https://www.wikidata.org/wiki/Q96384169], Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\".\n \nAlden Nowlan\n00:53:21\nReads \"For Jamil Baroody, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\".\n \nAlden Nowlan\n00:56:26\nReads \"Fireworks\".\n \nAlden Nowlan\n00:57:34\nReads \"Two Poems for the Nova Scotia Department of Highways\".\n \nAlden Nowlan\n00:59:31\nFinally, this is a poem entitled \"State Visit\", and the motivation of it, like one of the earlier ones I read, was sort of this same feeling of frustration at the complete dehumanization of politics as we feel it today, and particularly, this sort of apotheosis of world leaders into some sort of a symbol, so they even, I think, begin to think of themselves in these sort of abstract terms, rather than as a human being. And out of--this is sort of, I suppose, perhaps to a degree sort of a bitter little poem, but it stemmed from an emotion which I'm sure many of us feel. \n \nAlden Nowlan\n01:00:27\nReads \"State Visit\".\n \nEND\n01:01:39\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1967, Margaret Atwood had moved to Montreal and took a position at the Sir George Williams University English Department. She taught four courses, as well as working on The Animals in that Country, The Journals of Susanna Moodie, Procedures for Underground and finished The Edible Woman.\\n\\nIn 1967, Nowlan was awarded the Governor General’s Award for Bread Wine and Salt which was published the same year. He was also offered a position as writer-in-residence at the University of New Brunswick during this time.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAtwood became an important award-winning poet and critic in Canada by the late 60‘s. Sir George Williams English Department hired Atwood in 1967 as an English lecturer, after she had graduated from Harvard.  \\n\\nHis direct connection to Sir George Williams is unknown, but Nowlan was one of the most popular and important Maritime poets of the sixties and seventies.\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, print catalogue, research, introduction and edits by Celyn Harding-Jones.\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/nowlan_alden.html\",\"citation\":\"“Alden Nolan (1933-1983)”. One Zero Zero: A Virtual Library of English Canadian Small      Presses, 1945-2044. Centre for Contemporary Canadian Art: The Canadian Art Database. Toronto: York University. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/977851868&referer=brief_results\",\"citation\":\"Atwood, Margaret. Selected Poems. Toronto: Oxford University Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/animals-in-that-country/oclc/301739674&referer=brief_results\",\"citation\":\"Atwood, Margaret. The Animals in that Country. Toronto: Oxford University Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/circle-game/oclc/549399081&referer=brief_results\",\"citation\":\"Atwood, Margaret. The Circle Game. Toronto, House of Anansi, 1966. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/840722670&referer=brief_results\",\"citation\":\"Bartlett, Donald R. “Nowlan, Alden”. The Oxford Companion to Twentieth-Century Poetry in English. Hamiton, Ian (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/489958766&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\",\"citation\":\"Charny, Marty. “Georgantics.” The Georgian. Montreal: Sir George Williams University, 13 October 1967. \"},{\"url\":\"ttps://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Findley, Timothy. “Atwood, Margaret (1939-)”. Routledge Encyclopedia of Post-Colonial        Literatures in English. Benson, Eugene; L.W. Connolly (eds). London: Routledge, 1994. 2 vols. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. “Nowlan, Alden”. The Oxford Companion to Canadian Literature. Benson,       Eugene and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970/oclc/833713141&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart Limited, 1972. \"},{\"url\":\"https://www.worldcat.org/title/bread-wine-and-salt/oclc/4321706&referer=brief_results\",\"citation\":\"Nowlan, Alden. Bread, Wine and Salt. Toronto: Clarke, Irwin & Company, 1967. \"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\",\"citation\":\"“Poets Next Week:”. OP-ED. Montreal: Sir George Williams University, October 1967.\"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-the-novel/oclc/470223344&referer=brief_results\",\"citation\":\"Rowland, Susan. “Margaret Atwood 1939- (Canadian)”. Encyclopedia of the Novel. Schellinger, Paul (ed.); Christopher Hudson, Marijke Rijsberman (asst. eds.). Chicago: Fitzroy Dearborn Publishers, 1998. 2 vols.\"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. The Gazette. 14 September 1967, page 15.\"},{\"url\":\"http://news.google.com/newspapers?id=waYtAAAAIBAJ&sjid=u58FAAAAIBAJ&pg=7250,4345207&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"Stephens, Anna. “Poetry- Anywhere, Anytime”. The Gazette. 20 October 1967, page 10. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"},{\"url\":\"\",\"citation\":\"Kibble, Matthew. “Atwood, Margaret Eleanor, 1939-”. Literature Online biography. Proquest Information and Learning Company, H.W. Wilson Company, 2006. \"}]"],"_version_":1853670548812333056,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0036_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0036_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0036_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0036_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/margaret_atwood_alden_nowlan_i006-11-036.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"margaret_atwood_alden_nowlan_i006-11-036.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:01:39\",\"precision\":\"\",\"size\":\"148 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Margaret Atwood\\n00:00:00\\nI should apologize to begin with for my voice. I don't usually sound quite this much like Tallulah Bankhead [https://www.wikidata.org/wiki/Q255815]. I have the Montreal [https://www.wikidata.org/wiki/Q340] plague. The first poem is called \\\"This is a Photograph of Me,\\\" and it's the first poem in The Circle Game [https://www.wikidata.org/wiki/Q7723073].\\n \\nMargaret Atwood\\n00:00:22\\nReads \\\"This is a Photograph of Me\\\" from The Circle Game.\\n \\nMargaret Atwood\\n00:01:35\\nThe next poem is called \\\"Camera,\\\" and is dedicated to somebody I knew who liked to take pictures. \\n \\nMargaret Atwood\\n00:01:44\\nReads \\\"Camera\\\" [from The Circle Game].\\n \\nMargaret Atwood\\n00:03:24\\nAnd a small poem called \\\"Carved Animals\\\".\\n\\nMargaret Atwood\\n00:03:28\\nReads \\\"Carved Animals\\\" [from The Circle Game].\\n \\nMargaret Atwood\\n00:04:25\\nNow some more recent poems, which I should explain were mostly written in the United States [https://www.wikidata.org/wiki/Q30] when I was living there recently. The first one called \\\"At the Tourist centre in Boston\\\". Now Canada [https://www.wikidata.org/wiki/Q16] does have a Tourist centre in Boston [https://www.wikidata.org/wiki/Q100].\\n \\nMargaret Atwood\\n00:04:50\\nReads \\\"At the Tourist centre in Boston\\\" [published later in The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]].\\n\\nMargaret Atwood\\n00:06:48\\nAnd a poem called \\\"The Green Man\\\", which is dedicated to the Boston Strangler [https://www.wikidata.org/wiki/Q2855440]. \\n \\nMargaret Atwood\\n00:06:56\\nReads \\\"The Green Man\\\".\\n \\nMargaret Atwood\\n00:08:03\\nThis poem called \\\"A Fortification\\\".\\n \\nMargaret Atwood\\n00:08:08\\nReads \\\"A Fortification\\\" [published later in The Animals in that Country].\\n\\nMargaret Atwood\\n00:09:17\\nAnd this is a poem dedicated to my landlady who didn't remain my landlady for very long, called \\\"The Landlady\\\".\\n \\nMargaret Atwood\\n00:09:29\\nReads \\\"The Landlady\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:10:47\\nAnd this poem called, \\\"A Foundling\\\".\\n \\nMargaret Atwood\\n00:10:52\\nReads \\\"A Foundling\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:11:41\\nAnd this poem, which has no title.\\n \\nMargaret Atwood\\n00:11:49\\nReads [\\\"Untitled\\\"].\\n \\nMargaret Atwood\\n00:12:58\\nAnd a poem called \\\"Chronology\\\", which I wrote in one of my more paranoid states of mind. \\n \\nMargaret Atwood\\n00:13:06\\nReads \\\"Chronology\\\".\\n \\nMargaret Atwood\\n00:14:39\\nAnd here's my love poem to the, our large, friendly neighbour to the south. \\n \\nMargaret Atwood\\n00:14:50\\nReads \\\"Backdrop addresses cowboy\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:16:28\\nThen a slightly happier poem called \\\"A Voice\\\".\\n \\nMargaret Atwood\\n00:16:36\\nReads \\\"A Voice\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:17:40\\nAnd this one called, \\\"An Elegy for the Giant Tortoises\\\", which I wrote when I heard that they were planning to use a certain South Pacific island for the building of an airstrip. \\n \\nMargaret Atwood\\n00:17:59\\nReads \\\"An Elegy for the Giant Tortoises\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:19:19\\nAnd this poem called, \\\"It is Dangerous to Read Newspapers\\\".\\n \\nMargaret Atwood\\n00:19:26\\nReads \\\"It is Dangerous to Read Newspapers\\\" [published later in The Animals in that Country].\\n\\nMargaret Atwood\\n00:20:49\\nReads \\\"I was reading a scientific article\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:22:20\\nAnd the last poem. \\n \\nMargaret Atwood\\n00:22:25\\nReads \\\"The Reincarnation of Captain Cook\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:23:44\\nThank you.\\n \\nAudience\\n00:23:46\\nApplause [cut off abruptly].\\n \\nUnknown\\n00:23:49\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nRoy Kiyooka\\n00:23:58\\n...for quite a number of years as a journalist in the Maritimes [https://www.wikidata.org/wiki/Q731613], and this evening he is here with his wife and son and will be reading to you. Ladies and gentlemen, Alden Nowlan [https://www.wikidata.org/wiki/Q4713563].\\n \\nAudience\\n00:24:17\\nApplause.\\n \\nAlden Nowlan\\n00:24:26\\nThank you, Roy [https://www.wikidata.org/wiki/Q3445789]. First of all, I want to reassure everyone that I'm not going to read everything that's in this. I feel that probably there are some who are terrified when they see this, you know. It's really basically laziness that I haven't shortened anything out, I simply have wads of things here. \\n \\nAudience\\n00:24:55\\nLaughter.\\n \\nAlden Nowlan\\n00:24:56\\nNo no, not that one, I'm not going to read them all, definitely, definitely not. \\n \\nUnknown\\n00:25:09\\nSilence [pause].\\n \\nAlden Nowlan\\n00:25:19\\nFirst of all I have a very, very bad poem that I can't resist reading. I realized that it's sort of a bad beginning to start off with a poem that the poet himself considers a very bad one, but I wrote this when I arrived here this afternoon. To the natural egotism of a poet, you see, I can't resist offering it to this sort of captive audience here. [Audience laughter]. \\\"Poem for the Ritz Carlton\\\". [Audience laughter].\\n \\nAlden Nowlan\\n00:26:06\\nReads \\\"Poem for the Ritz Carlton\\\" [audience laughter throughout].\\n \\nAlden Nowlan\\n00:26:30\\nThat isn't really as critical of the Ritz Carlton as it sounds, because I sort of like the crypt of St. Paul's Cathedral [https://www.wikidata.org/wiki/Q173882], too, you see. [Audience laughter]. Next, I'd like to read some poems from my new book, Bread Wine and Salt, which is going to be published by Carter when, the first week in November, at three dollars and fifty cents. [Audience laughter]. That is the commercial.  \\\"I, Icarus\\\".\\n \\nAlden Nowlan\\n00:27:15\\nReads \\\"I, Icarus\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:28:34\\nReads \\\"Sailors\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:30:06\\nThis poem is entitled \\\"The Cinnamon Bears\\\", which sounds at first as if it were some sort of an animal cooking. But actually, what these cinnamon bears were, was back around the turn of the century in New Brunswick [https://www.wikidata.org/wiki/Q1965], as I've been told, there were all sorts of touring side-show type of things, you know, that, fortune tellers, and...people with a monkey, organ grinders with a monkey, and all this type of, sort of strolling pyres or wandering minstrels that existed up until the advent of radio and television. And it was a terrific thing, of course, in these backwoods communities. No doubt throughout Canada and the United States, when one of these people arrived. And among the, among these people were men who had trained bears, who, because of their colouration, were called cinnamon bears. And this poem actually is sort of a found poem, because it's not so much a creative thing as it is the transcription of a conversation which I happened to overhear between an old couple in northern New Brunswick. A man and his wife in their seventies, when they, suddenly something brought back these memories of these days of the organ grinders and the cinnamon bears. And as I say, I sort of made the poem more or less by simply transcribing the things which they said to one another, which it seemed to me was sort of a poetry, a form of poetry itself. \\n \\nAlden Nowlan\\n00:32:20\\nReads \\\"The Cinnamon Bears\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:33:21\\nReads \\\"Britain Street, St. John, New Brunswick” [published as “Britain Street” in Bread, Wine and Salt].\\n\\nAlden Nowlan\\n00:34:22\\nThis is another, sort of a found poem, I'm not really terribly convinced that it's a poem at all. Last year, when I had a quite serious illness, one afternoon I was in the waiting room at the doctor's office, and the only thing that seemed to lay at hand for me to read was a copy of one of these Confessions magazines entitled Secret Life. [Audience laughter]. And as I glanced through it, it seemed to me, all that I actually read of it, you know, were these sort of captions at the top of the articles, and some of the big type in it. But it seemed to me really, as I glanced through it, that it had, that it contained sort of a crazy poetry of its own. At least, in the mood that I was in at the time, I sort of responded to it as though it were a crazy sort of poetry. And so as I sat there I sort of jotted down some of these things from the magazine, and ever since I've been trying to pass it off as a poem. \\n \\nAlden Nowlan\\n00:35:37\\nReads \\\"Secret Life\\\" [from Bread, Wine and Salt; audience laughter throughout].\\n \\nAudience\\n00:36:39\\nLaughter. \\n \\nAlden Nowlan\\n00:36:57\\nReads \\\"In Our Time\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:40:51\\nReads \\\"The Changeling\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:41:49\\nReads \\\"The Hollow Men\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:42:38\\nThis poem is entitled \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton [https://www.wikidata.org/wiki/Q2138], New Brunswick\\\". And I'm a little afraid that many of you will feel that it is sort of pointless. I'm not sure really but what you'd have to be completely immersed in the atmosphere of New Brunswick to get the real point of it, but. But that said, not implying any superiority on the part of New Brunswickers, unfortunately. Anyway.\\n \\nAlden Nowlan\\n00:43:26\\nReads \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:44:36\\nReads \\\"Every Man Owes God a Death\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:46:41\\nThis poem, for no particular reason, is entitled \\\"The Loneliness of the Long-Distance Runner\\\". \\n \\nAlden Nowlan\\n00:46:48\\nReads \\\"The Loneliness of the Long-Distance Runner\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:48:23\\nThis is a poem that came out of a serious illness that I had last year, and it's entitled \\\"In the Operating Room\\\". \\n \\nAlden Nowlan\\n00:48:38\\nReads \\\"In the Operating Room\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:50:05\\nI have a few other recent poems I'll dig out of these. \\n \\nUnknown\\n00:50:12\\nAmbient Sound [pause; Nowlan turning pages].\\n\\nAlden Nowlan\\n00:50:47\\nAs I sort through these, I'm silently cursing myself for not having done this before I came here. \\n \\nUnknown\\n00:50:52\\nAmbient Sound [pause; Nowlan turning pages].\\n\\nAlden Nowlan\\n00:51:20\\nHere's a fairly recent poem which isn't a political poem at all, but a human poem. And one that I wrote as a result of watching on television the debates in the United Nations [https://www.wikidata.org/wiki/Q1065] on the Middle East [https://www.wikidata.org/wiki/Q7204] crisis. And one of the horrible things I felt as I watched it was how completely dehumanized it all was, that the real, human issues had been lost sight of, and sort of drowned in an ocean of resolutions and memos from embassies and all this sort of things. And one night when they televised these sessions through until about four o'clock, the ambassador of Saudi Arabia [https://www.wikidata.org/wiki/Q851] spoke, and he delivered certainly a very bigoted speech, and one that as a speech I wouldn't have agreed with, but I felt an admiration for him, because it had seemed to me that he was the only really human thing that had happened there all day. You know, that certainly he was a bigoted old man, full of thousands of years of hatred, but it was a human hatred, expressed in a human manner, something that the rest of them had completely lost sight of. And as a result of this feeling I wrote this poem, \\\"For Jamil Baroody [https://www.wikidata.org/wiki/Q96384169], Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\\\".\\n \\nAlden Nowlan\\n00:53:21\\nReads \\\"For Jamil Baroody, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\\\".\\n \\nAlden Nowlan\\n00:56:26\\nReads \\\"Fireworks\\\".\\n \\nAlden Nowlan\\n00:57:34\\nReads \\\"Two Poems for the Nova Scotia Department of Highways\\\".\\n \\nAlden Nowlan\\n00:59:31\\nFinally, this is a poem entitled \\\"State Visit\\\", and the motivation of it, like one of the earlier ones I read, was sort of this same feeling of frustration at the complete dehumanization of politics as we feel it today, and particularly, this sort of apotheosis of world leaders into some sort of a symbol, so they even, I think, begin to think of themselves in these sort of abstract terms, rather than as a human being. And out of--this is sort of, I suppose, perhaps to a degree sort of a bitter little poem, but it stemmed from an emotion which I'm sure many of us feel. \\n \\nAlden Nowlan\\n01:00:27\\nReads \\\"State Visit\\\".\\n \\nEND\\n01:01:39\\n[Cut off abruptly].\",\"notes\":\"Margaret Atwood reads from The Circle Game (House of Anansi, 1966) as well as poems later published in The Animals in that Country (Oxford University Press, 1968). Nowlan reads from Bread Wine and Salt (Clarke, Irwin & Company, 1967) along with some poems from unknown sources.  \\n\\n00:00- Atwood introduces “This is a Photograph of Me”. [INDEX: Montreal plague, Tallula Bankhead, The Circle Game; from The Circle Game.]\\n00:22- Reads “This is a Photograph of Me”.\\n01:35- Introduces “The Camera”. [INDEX: dedication; published as “Camera” in The Circle \\tGame]\\n01:44- Reads “Camera”.\\n03:28- Reads “Carved Animals”. [INDEX: from The Circle Game, part III of “Some Objects of Wood and Stone”.]\\n04:25- Introduces “At the tourist center in Boston”. [INDEX: recent poems, written in the   United States, Canada’s Tourist Center in Boston; from The Animals in that Country.]\\n04:50- Reads “At the tourist centre in Boston”.\\n06:48- Introduces “The Green Man” [INDEX: dedicated to the Boston Strangler; from   unknown source.]\\n06:56- Reads “The Green Man”.\\n08:03- Reads “A fortification”. [INDEX: from The Animals in that Country]\\n09:17- Introduces “The landlady”. [INDEX: dedicated to Atwood’s landlady; from The Animals in that Country.]\\n09:29- Reads “The landlady”.\\n10:47- Reads “A foundling”. [INDEX: from The Animals in that Country.]\\n11:41- Reads “Untitled”.\\n12:58- Introduces “Chronology”. [INDEX: written in a paranoid state of mind; from unknown source.]\\n13:06- Reads “Chronology”.\\n14:39- Introduces “Backdrop addresses cowboy”. [INDEX: U.S.A.]\\n14:50- Reads “Backdrop addresses cowboy”. [INDEX: from The Animals in that Country.]\\n16:36- Reads “A voice”. [INDEX: from The Animals in that Country.]\\n17:40- Introduces “Elegy for giant tortoises”. [INDEX: South Pacific Island as airstrip; from The Animals in that Country.]\\n17:59- Reads “Elegy for giant tortoises”.\\n19:19- Reads “It’s dangerous to read newspapers”. [INDEX: from The Animals in that        Country.]\\n20:49- Reads “I was reading a scientific article”. [INDEX: from The Animals in that Country.]\\n22:25- Reads “The reincarnation of Captain Cook”. [INDEX: from The Animals in that      Country.]\\n23:44- End of Atwood’s Reading.\\n23:49- CUT in recording.\\n23:58- Roy Kiyooka introduces Alden Nowlan (recording starts mid-introduction). [INDEX: Journalist from the Maritimes, with wife and son.]\\n24:26- Alden Nowlan introduces the reading. [INDEX: shortened poems, poems for reading.]\\n25:19- Introduces “Poem for the Rich Carlton”. [INDEX: bad poem, written upon arrival in Montreal, egotism of poet, audience.]\\n26:06- Reads “Poem for the Rich Carlton”.\\n26:30- Explains “Poem for the Rich Carlton”. [INDEX: crypt of St Paul’s Cathedral.]\\n26:43- Introduces “I, Icarus”. [INDEX: from new book, Bread Wine and Salt, published by Carter at $3.50.]\\n27:15- Reads “I, Icarus”.\\n28:34- Reads “Sailors” [INDEX: from Bread, Wine and Salt.]\\n30:06- Introduces “The Cinnamon Bears”. [INDEX: animal cooking, turn of the century, New Brunswick, touring side-show, fortune tellers, monkey, organ grinders, strolling pyres, wandering minstrels, advent of radio and television, Canada, United States, trained bears, found poem, creative, transcription of a conversation, northern New Brunswick, form of poetry; from Bread, Wine and Salt.]\\n32:30- Reads “The Cinnamon Bears”.\\n33:21- Reads “Britain Street, St. John, New Brunswick”. [INDEX: published as “Britain     Street” in Bread, Wine and Salt.]\\n34:22- Introduces “The Secret Life”. [INDEX: found poem, maybe not a poem, serious illness, doctor’s office, Confessions magazines called Sacred Life, crazy poetry; from Bread, Wine and Salt.]\\n35:37- Reads “Secret Life”.\\n36:57- Reads “In Our Time” [INDEX: from Bread, Wine and Salt.]\\n40:51- Reads “The Changeling” [INDEX: from Bread, Wine and Salt.]\\n41:49- Reads “The Hollow Men”. [INDEX: from Bread, Wine and Salt.]\\n42:38- Introduces \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick.\\\" [INDEX: atmosphere of New Brunswick; from   Bread, Wine and Salt.].]\\n43:26- Reads \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick.\\\"\\n44:36- Reads “Every Man Owes God a Death”. [INDEX: from Bread, Wine and Salt.]\\n46:41- Introduces “The Loneliness of the Long-Distance Runner”. [INDEX: title, from Bread, Wine and Salt.]\\n46:48- Reads “The Loneliness of the Long-Distance Runner”.\\n48:23- Introduces “In the Operating Room”. [INDEX: serious illness the previous year, from Bread, Wine and Salt.].]\\n48:38- Reads “In the Operating Room”.\\n51:20- Introduces “For Jamol Barudi, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967”. [INDEX: political      poem, human poem, television debates, United Nations, Middle East Crisis,    dehumanization, bigoted speech.]\\n53:21- Reads “For Jamol Barudi, Saudi Arabian Ambassador to the United Nations on    the Occasion of his Address to the Security Council, June 1967”.\\n56:26- Reads “Fireworks”.\\n57:34- Reads “Two Poems for the Nova Scotia Department of Highways”.\\n59:31- Introduces “State Visit”. [INDEX: dehumanization of politics, apotheosis of world     leaders into a symbol, abstract terms, emotion.]       \\n1:00:27- Reads “State Visit”.\\n1:01:27- RECORDING ENDS (suddenly).\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\"}]"],"score":1.9290923},{"id":"1264","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Barbara Howes at Sir George Williams University, The Poetry Series, 3 November 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"Barbara Howes Poetry Reading Nov 3, 1967\" written on sticker on the front of the tape's box. \"RT 521\" written on sticker on the front of the tape's box. \"Howes Poetry Nov 3/67\" written on sticker on the reel. \"Barbara Howes 3/11/67 I068-11-024\" also written on the spine of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Howes, Barbara"],"creator_names_search":["Howes, Barbara"],"creators":["[{\"url\":\"http://viaf.org/viaf/38160442\",\"name\":\"Howes, Barbara\",\"dates\":\"1914-1996\",\"notes\":\"American poet, short story writer, essayist, editor and translator Barbara Howes was born in New York in 1914, and adopted into a family in Boston. She enrolled at Bennington College in Vermont before moving to New York City upon her graduation. Howes then worked as an editor of Chimera: A Literary Magazine between 1944 and 1947. She married poet William Jay Smith, and they lived in England and Italy for a short while. Her first collection of poetry was published in 1948, named The Undersea Farmer (Banyan Press), which was followed by In the Cold Country (Bonaci & Saul in association with Grove Press, 1954), both of which drew critical acclaim and praise. She then published Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), The Blue Garden (Wesleyan University Press, 1972) and A Private Signal: Poems New and Selected (Wesleyan University Press, 1977). Howes divorced in the 60’s and traveled to the Caribbean, which inspired her to edit two anthologies of Caribbean and Latin American writing: From the Green Antilles: Writings of the Caribbean (Macmillan, 1966) and The Eye of the Heart: Short Stories from Latin America (Bobbs-Merrill, 1973). Howes also edited 23 Modern Stories, (Vintage, 1963), The Sea-Green Horse with her son Gregory Jay Smith (Macmillan, 1970), The Road Commissioner and Other Stories (Stinehour Press, 1983). She published two final collections of poetry, Moving (Elysian Press, 1983) and The Collected Poems of Barbara Howes, 1945-1990 (University of Arkansas Press, 1995), which was nominated for the 1995 National Book Award. Her poetry can be found in dozens of periodicals and literary magazines. Barbara Howes died at the age of 81 in Pownal, Vermont in 1996.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Hoffman, Stanton"],"contributors_names_search":["Hoffman, Stanton"],"contributors":["[{\"url\":\"\",\"name\":\"Hoffman, Stanton\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Hoffman, Stanton"],"Series_organizer_name":["Hoffman, Stanton"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 11 3\",\"type\":\"Performance Date\",\"notes\":\"Date written three times on the reel and tape's box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Previous researcher\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Barbara Howes reads from Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), and From the Green Antilles: Writings of the Caribbean, (Macmillan, 1966) as well as some poems from unknown sources."],"contents":["barbara_howes_i086-11-024.mp3\n\nStanton Hoffman\n00:00:00\nThe reading this evening is by Miss Barbara Howes [https://www.wikidata.org/wiki/Q4858990[. Miss Barbara Howes was born in Boston [https://www.wikidata.org/wiki/Q100] and educated at Bennington College [https://www.wikidata.org/wiki/Q817902]. She has published four volumes of poems: The Undersea Farmer, which was published in 1948 by the Banyan Press; In the Cold Country, which was was published by Bonaci and Saul in cooperation with Grove Press [https://www.wikidata.org/wiki/Q3777164] in 1954, Light and Dark, which was published by Wellesley University [https://www.wikidata.org/wiki/Q49205] Press in 1959, and the recent Looking up at Leaves, which was published by Knopf [https://www.wikidata.org/wiki/Q1431868] in 1966 and which was nominated for the National Book Awards. She has been the editor of a volume of writings of the Carribean which was published by MacMillan [https://www.wikidata.org/wiki/Q2108217]in 1966 and Twenty-three Modern Stories published in 1963 by Vintage Books [https://www.wikidata.org/wiki/Q3560313]. In 1949, she won the Bess Hokin Prize of Poetry Magazine, in 1955 she held a Guggenheim Fellowship [https://www.wikidata.org/wiki/Q1316544], and in 1957, she won the Brandeis Poetry Award. Her poems have appeared in many journals, such as Harper's Bazaar [https://www.wikidata.org/wiki/Q654606], New World Writing [https://www.wikidata.org/wiki/Q7012606], Poetry [https://www.wikidata.org/wiki/Q7207482], Suani Review, New Republic [https://www.wikidata.org/wiki/Q1329873], and so forth. And next week in New York City [https://www.wikidata.org/wiki/Q60], Miss Howes will be reading as part of series, or brothers, as part of reading, as part of a reading by fifteen or so other poets, as part of a Poets for Peace, sponsored by the Compassionate Art of the Fellowship of Reconciliation. Ladies and gentlemen, Miss Barbara Howes. \n \nAudience\n00:01:48\nApplause.\n \nBarbara Howes\n00:02:17\nThank you very much, Mr. Hoffman, I'm delighted to be here. If you can't hear me, raise your hands or let me know by some other device. Is this a microphone or does this have to do with this machine? Well I'll try to be clear. I thought rather than read a kind of segmented, like a string of sausages, series of poems, going on and on and on, which gives one very little hope that it'll ever end, it'd be better to say that I'm going to have a beginning, a middle, and an end, and that would be...and so I've arranged the poems in this way, so you will have hope that I won't continue forever, which has been done, in the annals of poetry. I wanted to write, read some poems that have to do with place, because I've thought a lot about the effect of place on poems, and to what extent the place you're in influences what you write. One's imagination would never become extended in certain directions if you hadn't happened to live in a certain place. I was very conscious of that when we lived in Florence [https://www.wikidata.org/wiki/Q2044] for two years and when my older boy was born, and subsequently for another two years. And I would never--because we--I would never possibly have been able to think, I mean this is obvious in a way, but it gets more complicated, of...Some of the imaginative happenings that occurred would, could never have happened, well in Massachusetts [https://www.wikidata.org/wiki/Q771] or anywhere else, and also even in, I mean in Vermont [https://www.wikidata.org/wiki/Q16551], where we now live, have been profoundly affected by the section of the mountain which we life. And also we spent some time in Haiti [https://www.wikidata.org/wiki/Q790], and so on and so forth, so this first group will be mostly poems that have a lot to do with experiences that have happened because of a particular place. The first poem is an Italian poem, or written out of Italy [https://www.wikidata.org/wiki/Q38], called \"Primavera\".\n \nBarbara Howes\n00:04:48\nReads \"Primavera\" [from Light and Dark].\n \nBarbara Howes\n00:06:19\nThis is called \"The Triumph of Love\".\n \nBarbara Howes\n00:06:27\nReads \"The Triumph of Love\" [from Light and Dark].\n \nBarbara Howes\n00:07:18\nThen for a summer, we lived in a little town in the south of France [https://www.wikidata.org/wiki/Q142], Le Lavandou [https://www.wikidata.org/wiki/Q736462], and it was a very good summer all in all, although, except we had no car and a very big house with only about one room on a floor. So the baby was on the top floor, and the kitchen, it's one burner, was on, you know, it's four floors down. And I would rush up and pick him up and then put him back in his bed, and then rush down and light the burner, and then rush up and get him, and then rush down. So it was difficult in some ways. But one of our entertainments, or entertainments that seemed to certainly entertain friends was to go to an island off Toulon [https://www.wikidata.org/wiki/Q44160] called Ile Levant [https://www.wikidata.org/wiki/Q292516], which is half a naval base and half a colony. And you could go out there in a small--it took about an hour in a small boat, and one time we stood on the dock not quite sure what to do next. Another person who'd come in the boat with us in very high heels and an enormous black hat removed everything else and ran up the hill. [Audience laughter]. So this is “L'Ile du Levant, the Nudist Colony”.\n \nBarbara Howes\n00:08:55\nReads \"L'Ile du Levant: the Nudist Colony\" [from Light and Dark].\n \nBarbara Howes\n00:10:59\nNow living as I do in the country in Vermont, there comes that terrible time in November when all the hunters from the cities come rushing up with their pint bottles and their confusion and they lounge around half the time sitting in cars and shooting vaguely at anything. So I used to try to write an anti-hunter poem every fall,I don't know about this year, I haven't got an idea yet, but I may see if I can do something. \"In Autumn\". Excuse me. \n \nBarbara Howes\n00:11:37\nReads \"In Autumn\" [from Light and Dark].\n \nBarbara Howes\n00:12:29\nAnd this is another on the same subject.\n \nBarbara Howes\n00:12:39\nReads [\"Landscape, Deer Season\" from Looking Up At Leaves].\n \nBarbara Howes\n00:13:16\nThis is another Pownal [https://www.wikidata.org/wiki/Q1940266] poem, it's really two things put together. It's called \"A Night Picture of Pownal”, for JFK. And I stood one evening in very bright moonlight looking out at the shadow of the apple tree across the road on the snow and it made an impression on me, I began to take notes in the dark as best I could on it. And then later, shortly after that, for the death of Kennedy [https://www.wikidata.org/wiki/Q9696], then I saw the poem wasn't, it was inadequate, and I somehow put, wove those two things together.\n \nBarbara Howes\n00:14:06\nReads \"A Night Picture of Pownal\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:15:19\nAnother Vermont poem or Pownal poem on a more cheerful note. \"Town Meeting Tuesday\". Town meeting is the first Tuesday in March, and many of the people who have stayed in all winter then emerge like woodchucks from their houses.\n \nBarbara Howes\n00:15:45\nReads \"Town Meeting Tuesday\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:16:22\nNow, we spent two or three Easter vacations in the islands of the Caribbean [https://www.wikidata.org/wiki/Q664609], we went to Guadeloupe [https://www.wikidata.org/wiki/Q17012] once for two weeks. And most of the time I find I write fish poems when I go down to the islands but this one is about a dead toucan in Guadeloupe. There was a little, well, a strange little zoo at the small hotel where we stayed and we would look at these creatures and one day I went and there was the toucan and it had fallen over dead. Somehow, it made an impression on me. \"Dead Toucan: Guadeloupe\".\n \nBarbara Howes\n00:17:04\nReads \"Dead Toucan: Guadeloupe\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:17:55\nI hope you can hear--can you hear me? In the back rows? We also spent some time in Haiti, earlier, and I'd like to read a couple of poems from that period. This was a thing--it could perfectly well have happened elsewhere but it was the kind of thing that, after we lived in Haiti for a while, I could see very clearly, would definitely have to happen there. There was a young man of about nineteen, very talented as a painter, and did, had just tried out through the art centre there, and doing really quite good and interesting work. And he needed a job so he could buy paints and paper, and anyway just to exist. So an American woman had two small boys and he said he could look after them and play ball and, you know, keep them out of trouble and so on and so forth. And she said, “Can you swim?” And he said, “Oh yes, of course.” So the boys dove into the pool because they had been swimming, as most American boys do, for years. And he dove into the pool, and didn't come up. And nobody was around except some workers who were fixing the garden. But like everybody, almost, in Haiti, they didn't want to get involved, because then the police might ask them questions, and then at the end there's trouble, so the poor young man just died, because the little boys couldn't do anything, and nobody else did anything. And so that made an impression on me. But it's the kind of unfortunate tragedy, due to his saying that he could swim and he couldn't, just because he was so desperately anxious to get the job, and he just made himself believe he could swim. Just a complete waste. \n \nBarbara Howes\n00:20:10\nReads [\"In a Prospect of Flowers\" from Light and Dark].\n \nBarbara Howes\n00:21:10\n\"Mirror Image: Port-au-Prince [https://www.wikidata.org/wiki/Q34261]\". This, there was a little sign on a tree we used to pass every day and then I thought of this poem.\n \nBarbara Howes\n00:21:19\nReads \"Mirror Image: Port-au-Prince\" [from Light and Dark].\n \nBarbara Howes\n00:21:59\nThere's one other. Oh yes. \n \nBarbara Howes\n00:22:06\nReads [\"On a Bougainvillea Vine at the Summer Palace\" from Light and Dark]. \n \nBarbara Howes\n00:23:36\nWell, this is one of the fishing poems from the, from Barbados [https://www.wikidata.org/wiki/Q244], from the islands.\n \nBarbara Howes\n00:23:46\nReads [\"Out Fishing\" from Looking Up At Leaves].\n \nBarbara Howes\n00:24:58\nThis poem is written in one foot, it's just an experiment to see what would happen. I, you know, diameter's two feet, or is it, trimeter is three feet. And tetrameter is four, and pentameter is five. One foot means you just have one sound, like that, and it's just, was a technical experiment, but I might as well read it. And it's also another fish poem. \n \nBarbara Howes\n00:25:32\nReads [\"The Crane Chub--Barbados\" from Looking Up At Leaves].\n \nBarbara Howes\n00:26:18\nHere's a fish, well, a jellyfish poem, from Texas [https://www.wikidata.org/wiki/Q1439]. \n \nBarbara Howes\n00:26:32\nReads [\"On Galveston Beach\" from Looking Up At Leaves].\n \nBarbara Howes\n00:27:32\nAnd then there's the last Caribbean poem, “A Letter from the Caribbean”. \n \nBarbara Howes\n00:27:45\nReads “A Letter From The Caribbean” [from Looking Up At Leaves].\n \nBarbara Howes\n00:28:59\nI've thought I would read just a few poems by modern poets that I like, they're not by any means their strongest or anything, but they're just ones I'm attached to. The first I cut out of the paper once, a long time ago. It's by an African schoolgirl, and I think it's very imaginative. It's awkward but it's really quite wonderful.\n \nBarbara Howes\n00:29:38\nReads unnamed poem by an unknown author. \n\nBarbara Howes\n00:29:53\nThis is an early poem of Wystan Auden's [https://www.wikidata.org/wiki/Q178698] that he kept out of, he didn't use in his book and then he printed again in a recent edition. I think it's technically as awfully, it's light verse but it's also very serious underneath, as good light verse can me. Poem. \n \nBarbara Howes\n00:30:15\nReads [\"To You Simply\"] by W.H. Auden [published in The Collected Poetry of W.H. Auden].\n \nBarbara Howes\n00:30:57\nAnd this is a, I think a simply charming poem by Richard Wilbur [https://www.wikidata.org/wiki/Q1333582]. It gets...it's about the Piazza di Spagna [https://www.wikidata.org/wiki/Q15124814], the Spanish Steps in Rome [https://www.wikidata.org/wiki/Q220], and it gets the feeling of someone gliding, really gliding down that long, gorgeous stairway. \n \nBarbara Howes\n00:31:22\nReads [\"Piazza Di Spagna, Early Morning\"] by Richard Wilbur.\n \nBarbara Howes\n00:32:11\nThis is a poem by Louise Bogan [https://www.wikidata.org/wiki/Q516180], who's a very well known American poet, a very recent one that she, that came out in The New Yorker [https://www.wikidata.org/wiki/Q217305], this summer, I think.\n \nBarbara Howes\n00:32:27\nReads [\"Masked Woman’s Song\"] by Louise Bogan.\n \nBarbara Howes\n00:32:51\nIt's a difficult poem, might read that again, if you don't mind. \n \nBarbara Howes\n00:32:56\nRe \"Masked Woman’s Song\" by Louise Bogan.\n \nBarbara Howes\n00:33:17\nAnd then, the last, oh, oh that's right, I thought I would read a poem by Derek Walcott [https://www.wikidata.org/wiki/Q132701], which I used in this Carribean Anthology. It's mostly short stories but I put a poem in front of each language section. This is by Derek Walcott who's a young poet from St. Lucia [https://www.wikidata.org/wiki/Q760], called \"Missing the Sea\".\n \nBarbara Howes\n00:33:48\nReads \"Missing the Sea\" by Derek Walcott [from The Castaway and collected in From the Green Antilles: Writings of the Caribbean].\n \nBarbara Howes\n00:34:31\nIt's quite a difficult poem but you...he had a book out, oh, can't remember the name, by Farrar, Straus & Giroux [https://www.wikidata.org/wiki/Q3067003] a couple of years ago, in the United States. [https://www.wikidata.org/wiki/Q30] And the last of this group is a poem that I've heard about a hundred thousand times, but it still gives me a chill. It's called \"American Primitive\" by William Jay Smith [https://www.wikidata.org/wiki/Q4355736].\n \nBarbara Howes\n00:35:06\nReads \"American Primitive\" by William Jay Smith.\n \nBarbara Howes\n00:35:47\nI still get a chill! Now, I don't know whether you prefer to have an intermission, and get up and smoke, or prefer for me to continue, what would you think, Stanton?\n \nUnknown\n00:36:06\nAmbient Sound [voices].\n \nBarbara Howes\n00:36:08\nHave an intermission? So people can...breathe?\n \nUnknown\n00:36:17\nAmbient Sound [voices].\n\nUnknown\n00:36:23\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nBarbara Howes\n00:36:23\nThe problem is the third group of poems, I'd read some poems that are more or less to and about people, and some new poems, although I've noticed that most of my new poems are very depressing, and this is not a good note on which to end, so I'll maybe not read them. I've been very much interested in old French forms, the trielle, the villanelle, the rondeau and rondelle, and ballade and so on and so forth, and they're very difficult but they're fascinating to try, at least. And this is in the form of a trielle. And the lines have to be repeated in a certain fashion which gives you very little room in which to maneuver. This is called \"Early Supper\".\n \nBarbara Howes\n00:37:14\nReads \"Early Supper\" [from Light and Dark].\n \nBarbara Howes\n00:38:10\nThis is a poem I wrote for W.H. Auden for his fiftieth birthday, which was several years ago, now. I think actually, he was last year, sixty.\n \nBarbara Howes\n00:38:21\nReads [\"To W.H. Auden on his Fiftieth Birthday\" from Light and Dark].\n \nBarbara Howes\n00:39:22\nI wrote three poems at that point about winds, and I'll just read one of them. The winds have names in Italy and they almost become like familiar characters. The sirocco, when it blows, is so terrible in its effect on people that if there're crimes of passion, the people generally get off with a lighter sentence, because you sell, well, the sirocco. Naturally you can throttle your wife during that period. This is about the mistral, which, if it blows for three days, one survives, if it blows for six days it's simply awful. If it blows for nine days you've probably already gone out of your head. It's a very wild wind who rushes down the Rhone Valley [https://www.wikidata.org/wiki/Q2747791] and just blows everything away. \n \nBarbara Howes\n00:40:22\nReads [\"Mistral\" from Light and Dark].\n \nBarbara Howes\n00:41:23\nThis is another one, an old French form, the rondeau, which again makes its, has its own complications because of the repetition of lines. And what interested me to do was to try to use, not the usual subject of the rondeaux but to write about, as in this case, the death of a Vermont farm woman, instead of just doing some sort of chittery-chattery business that generally is what people use a rondeau for. \n \nBarbara Howes\n00:42:03\nReads [\"Death of a Vermont Farm Woman\" from Light and Dark].  \n\nBarbara Howes\n00:42:51\nThis is a poem about a very disagreeable character, a thirteenth-century tyrant called Ugolino [https://www.wikidata.org/wiki/Q706003], who met his death from being thrown into prison to die of hunger. He is reputed to have attempted to eat his sons, who were there with him. I must say, it's not an agreeable picture, but I don't think there's been much improvement in that part of mankind. Dante [https://www.wikidata.org/wiki/Q1067] writes of him in the 33rd Canto of the Inferno [https://www.wikidata.org/wiki/Q4509219]. This poem is called \"The Critic\" and, I must say, critics have disliked it heartily. \n \nBarbara Howes\n00:43:28\nReads \"The Critic\" [from Light and Dark].\n \nBarbara Howes\n00:44:23\nThis is a, an odd combination about a person and about Pownal, I guess. \n \nBarbara Howes\n00:44:32\nReads [\"Running into Edgar Bellemare\" from Looking Up at Leaves]. \n \nBarbara Howes\n00:45:27\nThis is a poem I wrote for Katherine Anne Porter [https://www.wikidata.org/wiki/Q236958] on the occasion of her 75th birthday. \"For Katherine Anne Porter\".\n \nBarbara Howes\n00:45:39\nReads “For Katherine Anne Porter” [from Looking Up at Leaves].\n \nBarbara Howes\n00:46:15\nIt's quite marvelous, those collective nouns, who would know that you call a lot of heron a siege of herons and so forth. I'll read that again, because it really is, I was very lucky the way it worked out.\n \nBarbara Howes\n00:46:31\nReads line from “For Katherine Anne Porter”.\n \nBarbara Howes\n00:47:06\nThis is called \"Looking up at Leaves\".\n \nBarbara Howes\n00:47:14\nReads \"Looking up at Leaves\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:48:09\nI'd like to read one New England [https://www.wikidata.org/wiki/Q18389] poem, this is a newer poem, I haven't read this before, I guess.\n \nBarbara Howes\n00:48:16\nReads [\"Still Life: New England\", published later in The Blue Garden].\n \nBarbara Howes\n00:49:34\nI'll read three more poems, I think. This is \"A Rune for C.\"--‘C.’ was a dog of ours. \n \nBarbara Howes\n00:49:51\nReads \"A Rune for C.\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:50:36\nActually, I had just often, I'd made up a good luck thing that seeing the caboose was good luck, but then I found out that this has been an old piece of, well, I don't know, country folklore, that to see the caboose, it means luck. I want to read one poem about my son, and then one short one. \"Portrait of the Boy as Artist\".\n \nBarbara Howes\n00:51:18\nReads \"Portrait of the Boy as Artist\" [from Light and Dark].\n \nBarbara Howes\n00:52:11\nOh, I did want to read one that I'll read next week in New York. This poem is a, this is a rondelle, which is another old French form. And I'm obviously not using it for the usual subject, in this case. It's arranged about the idea, really, of a contrast of the use of space. \"Viet-Napalm: A Rondelle\".\n \nBarbara Howes\n00:52:45\nReads \"Viet-Napalm: A Rondelle\".\n \nBarbara Howes\n00:53:31\nAnd then one last poem on a more cheerful note. \"Leaning into Light\".\n \nBarbara Howes\n00:53:44\nReads \"Leaning into Light\" [from Looking Up At Leaves].\n \nBarbara Howes\n00:54:21.\nThank you very much. \n \nAudience\n00:54:23\nApplause.\n \nStanton Hoffman\n00:54:38\nOne announcement, the next reading will be by Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], and that's Friday, the same time, November 17th. \n\nUnknown\n00:54:46\nAmbient Sound [voices].\n \nEND\n00:54:57\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1967, Looking Up At Leaves was published in Poetry Magazine. The previous year, Howes edited From the Green Antilles: Writings of the Caribbean, Macmillan (New York, NY), 1966.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connections between Barbara Howes and Sir George Williams University are unknown at this time. Howes’ position as an important American poet, though her work was not often acknowledged publicly, made her an ideal candidate for the Reading Series.\\n\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Grosholz, Emily. \\\"Howes, Barbara\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/light-and-dark-poems/oclc/1150226992&referer=brief_results\",\"citation\":\"Howes, Barbara. Light and Dark. Middletown, Connecticut: Wesleyan University Press, 1959. \"},{\"url\":\"https://www.worldcat.org/title/looking-up-at-leaves-poems/oclc/1150237234&referer=brief_results\",\"citation\":\"Howes, Barbara. Looking Up at Leaves. New York: Knopf, 1966. \"},{\"url\":\"https://www.worldcat.org/title/from-the-green-antilles-writings-of-the-caribbean/oclc/1140475941&referer=brief_results\",\"citation\":\"Howes, Barbara. (ed) From the Green Antilles: Writings of the Caribbean. New York: Macmillan, 1966. \"},{\"url\":\"http://www.nytimes.com/1996/02/25/us/barbara-howes-poet-and-editor-dies-at-81.html?pagewanted=1\",\"citation\":\"Pace, Eric. “Barbara Howes, Poet and Editor, Dies at 81”. New York Times. February 25, 1996. New York Edition: Obituary, page 139.\"},{\"url\":\"http://www.poetryfoundation.org/archive/poet.html?id=3307\",\"citation\":\"“Barbara Howes (1914-1996)”. Poetry Foundation. Poet Biography. Poetry Foundation: 2009.\"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. Montreal: The Gazette. 14 September 1967, page 15. \"},{\"url\":\"\",\"citation\":\"Howes, Barbara. Looking Up at Leaves. Poetry Magazine. Volume 109, January 1967, Page 270.\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Howes, Barbara\\\". The Oxford Companion to American Literature. James D. Hart (ed). Phillip W. Leininger (rev.). Oxford University Press 1995.\"}]"],"_version_":1853670548818624512,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0024_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0024_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Barbara Howes Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/barbara_howes_i086-11-024.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"barbara_howes_i086-11-024.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:54:57\",\"precision\":\"\",\"size\":\"131.9 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Stanton Hoffman\\n00:00:00\\nThe reading this evening is by Miss Barbara Howes [https://www.wikidata.org/wiki/Q4858990[. Miss Barbara Howes was born in Boston [https://www.wikidata.org/wiki/Q100] and educated at Bennington College [https://www.wikidata.org/wiki/Q817902]. She has published four volumes of poems: The Undersea Farmer, which was published in 1948 by the Banyan Press; In the Cold Country, which was was published by Bonaci and Saul in cooperation with Grove Press [https://www.wikidata.org/wiki/Q3777164] in 1954, Light and Dark, which was published by Wellesley University [https://www.wikidata.org/wiki/Q49205] Press in 1959, and the recent Looking up at Leaves, which was published by Knopf [https://www.wikidata.org/wiki/Q1431868] in 1966 and which was nominated for the National Book Awards. She has been the editor of a volume of writings of the Carribean which was published by MacMillan [https://www.wikidata.org/wiki/Q2108217]in 1966 and Twenty-three Modern Stories published in 1963 by Vintage Books [https://www.wikidata.org/wiki/Q3560313]. In 1949, she won the Bess Hokin Prize of Poetry Magazine, in 1955 she held a Guggenheim Fellowship [https://www.wikidata.org/wiki/Q1316544], and in 1957, she won the Brandeis Poetry Award. Her poems have appeared in many journals, such as Harper's Bazaar [https://www.wikidata.org/wiki/Q654606], New World Writing [https://www.wikidata.org/wiki/Q7012606], Poetry [https://www.wikidata.org/wiki/Q7207482], Suani Review, New Republic [https://www.wikidata.org/wiki/Q1329873], and so forth. And next week in New York City [https://www.wikidata.org/wiki/Q60], Miss Howes will be reading as part of series, or brothers, as part of reading, as part of a reading by fifteen or so other poets, as part of a Poets for Peace, sponsored by the Compassionate Art of the Fellowship of Reconciliation. Ladies and gentlemen, Miss Barbara Howes. \\n \\nAudience\\n00:01:48\\nApplause.\\n \\nBarbara Howes\\n00:02:17\\nThank you very much, Mr. Hoffman, I'm delighted to be here. If you can't hear me, raise your hands or let me know by some other device. Is this a microphone or does this have to do with this machine? Well I'll try to be clear. I thought rather than read a kind of segmented, like a string of sausages, series of poems, going on and on and on, which gives one very little hope that it'll ever end, it'd be better to say that I'm going to have a beginning, a middle, and an end, and that would be...and so I've arranged the poems in this way, so you will have hope that I won't continue forever, which has been done, in the annals of poetry. I wanted to write, read some poems that have to do with place, because I've thought a lot about the effect of place on poems, and to what extent the place you're in influences what you write. One's imagination would never become extended in certain directions if you hadn't happened to live in a certain place. I was very conscious of that when we lived in Florence [https://www.wikidata.org/wiki/Q2044] for two years and when my older boy was born, and subsequently for another two years. And I would never--because we--I would never possibly have been able to think, I mean this is obvious in a way, but it gets more complicated, of...Some of the imaginative happenings that occurred would, could never have happened, well in Massachusetts [https://www.wikidata.org/wiki/Q771] or anywhere else, and also even in, I mean in Vermont [https://www.wikidata.org/wiki/Q16551], where we now live, have been profoundly affected by the section of the mountain which we life. And also we spent some time in Haiti [https://www.wikidata.org/wiki/Q790], and so on and so forth, so this first group will be mostly poems that have a lot to do with experiences that have happened because of a particular place. The first poem is an Italian poem, or written out of Italy [https://www.wikidata.org/wiki/Q38], called \\\"Primavera\\\".\\n \\nBarbara Howes\\n00:04:48\\nReads \\\"Primavera\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:06:19\\nThis is called \\\"The Triumph of Love\\\".\\n \\nBarbara Howes\\n00:06:27\\nReads \\\"The Triumph of Love\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:07:18\\nThen for a summer, we lived in a little town in the south of France [https://www.wikidata.org/wiki/Q142], Le Lavandou [https://www.wikidata.org/wiki/Q736462], and it was a very good summer all in all, although, except we had no car and a very big house with only about one room on a floor. So the baby was on the top floor, and the kitchen, it's one burner, was on, you know, it's four floors down. And I would rush up and pick him up and then put him back in his bed, and then rush down and light the burner, and then rush up and get him, and then rush down. So it was difficult in some ways. But one of our entertainments, or entertainments that seemed to certainly entertain friends was to go to an island off Toulon [https://www.wikidata.org/wiki/Q44160] called Ile Levant [https://www.wikidata.org/wiki/Q292516], which is half a naval base and half a colony. And you could go out there in a small--it took about an hour in a small boat, and one time we stood on the dock not quite sure what to do next. Another person who'd come in the boat with us in very high heels and an enormous black hat removed everything else and ran up the hill. [Audience laughter]. So this is “L'Ile du Levant, the Nudist Colony”.\\n \\nBarbara Howes\\n00:08:55\\nReads \\\"L'Ile du Levant: the Nudist Colony\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:10:59\\nNow living as I do in the country in Vermont, there comes that terrible time in November when all the hunters from the cities come rushing up with their pint bottles and their confusion and they lounge around half the time sitting in cars and shooting vaguely at anything. So I used to try to write an anti-hunter poem every fall,I don't know about this year, I haven't got an idea yet, but I may see if I can do something. \\\"In Autumn\\\". Excuse me. \\n \\nBarbara Howes\\n00:11:37\\nReads \\\"In Autumn\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:12:29\\nAnd this is another on the same subject.\\n \\nBarbara Howes\\n00:12:39\\nReads [\\\"Landscape, Deer Season\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:13:16\\nThis is another Pownal [https://www.wikidata.org/wiki/Q1940266] poem, it's really two things put together. It's called \\\"A Night Picture of Pownal”, for JFK. And I stood one evening in very bright moonlight looking out at the shadow of the apple tree across the road on the snow and it made an impression on me, I began to take notes in the dark as best I could on it. And then later, shortly after that, for the death of Kennedy [https://www.wikidata.org/wiki/Q9696], then I saw the poem wasn't, it was inadequate, and I somehow put, wove those two things together.\\n \\nBarbara Howes\\n00:14:06\\nReads \\\"A Night Picture of Pownal\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:15:19\\nAnother Vermont poem or Pownal poem on a more cheerful note. \\\"Town Meeting Tuesday\\\". Town meeting is the first Tuesday in March, and many of the people who have stayed in all winter then emerge like woodchucks from their houses.\\n \\nBarbara Howes\\n00:15:45\\nReads \\\"Town Meeting Tuesday\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:16:22\\nNow, we spent two or three Easter vacations in the islands of the Caribbean [https://www.wikidata.org/wiki/Q664609], we went to Guadeloupe [https://www.wikidata.org/wiki/Q17012] once for two weeks. And most of the time I find I write fish poems when I go down to the islands but this one is about a dead toucan in Guadeloupe. There was a little, well, a strange little zoo at the small hotel where we stayed and we would look at these creatures and one day I went and there was the toucan and it had fallen over dead. Somehow, it made an impression on me. \\\"Dead Toucan: Guadeloupe\\\".\\n \\nBarbara Howes\\n00:17:04\\nReads \\\"Dead Toucan: Guadeloupe\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:17:55\\nI hope you can hear--can you hear me? In the back rows? We also spent some time in Haiti, earlier, and I'd like to read a couple of poems from that period. This was a thing--it could perfectly well have happened elsewhere but it was the kind of thing that, after we lived in Haiti for a while, I could see very clearly, would definitely have to happen there. There was a young man of about nineteen, very talented as a painter, and did, had just tried out through the art centre there, and doing really quite good and interesting work. And he needed a job so he could buy paints and paper, and anyway just to exist. So an American woman had two small boys and he said he could look after them and play ball and, you know, keep them out of trouble and so on and so forth. And she said, “Can you swim?” And he said, “Oh yes, of course.” So the boys dove into the pool because they had been swimming, as most American boys do, for years. And he dove into the pool, and didn't come up. And nobody was around except some workers who were fixing the garden. But like everybody, almost, in Haiti, they didn't want to get involved, because then the police might ask them questions, and then at the end there's trouble, so the poor young man just died, because the little boys couldn't do anything, and nobody else did anything. And so that made an impression on me. But it's the kind of unfortunate tragedy, due to his saying that he could swim and he couldn't, just because he was so desperately anxious to get the job, and he just made himself believe he could swim. Just a complete waste. \\n \\nBarbara Howes\\n00:20:10\\nReads [\\\"In a Prospect of Flowers\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:21:10\\n\\\"Mirror Image: Port-au-Prince [https://www.wikidata.org/wiki/Q34261]\\\". This, there was a little sign on a tree we used to pass every day and then I thought of this poem.\\n \\nBarbara Howes\\n00:21:19\\nReads \\\"Mirror Image: Port-au-Prince\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:21:59\\nThere's one other. Oh yes. \\n \\nBarbara Howes\\n00:22:06\\nReads [\\\"On a Bougainvillea Vine at the Summer Palace\\\" from Light and Dark]. \\n \\nBarbara Howes\\n00:23:36\\nWell, this is one of the fishing poems from the, from Barbados [https://www.wikidata.org/wiki/Q244], from the islands.\\n \\nBarbara Howes\\n00:23:46\\nReads [\\\"Out Fishing\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:24:58\\nThis poem is written in one foot, it's just an experiment to see what would happen. I, you know, diameter's two feet, or is it, trimeter is three feet. And tetrameter is four, and pentameter is five. One foot means you just have one sound, like that, and it's just, was a technical experiment, but I might as well read it. And it's also another fish poem. \\n \\nBarbara Howes\\n00:25:32\\nReads [\\\"The Crane Chub--Barbados\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:26:18\\nHere's a fish, well, a jellyfish poem, from Texas [https://www.wikidata.org/wiki/Q1439]. \\n \\nBarbara Howes\\n00:26:32\\nReads [\\\"On Galveston Beach\\\" from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:27:32\\nAnd then there's the last Caribbean poem, “A Letter from the Caribbean”. \\n \\nBarbara Howes\\n00:27:45\\nReads “A Letter From The Caribbean” [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:28:59\\nI've thought I would read just a few poems by modern poets that I like, they're not by any means their strongest or anything, but they're just ones I'm attached to. The first I cut out of the paper once, a long time ago. It's by an African schoolgirl, and I think it's very imaginative. It's awkward but it's really quite wonderful.\\n \\nBarbara Howes\\n00:29:38\\nReads unnamed poem by an unknown author. \\n\\nBarbara Howes\\n00:29:53\\nThis is an early poem of Wystan Auden's [https://www.wikidata.org/wiki/Q178698] that he kept out of, he didn't use in his book and then he printed again in a recent edition. I think it's technically as awfully, it's light verse but it's also very serious underneath, as good light verse can me. Poem. \\n \\nBarbara Howes\\n00:30:15\\nReads [\\\"To You Simply\\\"] by W.H. Auden [published in The Collected Poetry of W.H. Auden].\\n \\nBarbara Howes\\n00:30:57\\nAnd this is a, I think a simply charming poem by Richard Wilbur [https://www.wikidata.org/wiki/Q1333582]. It gets...it's about the Piazza di Spagna [https://www.wikidata.org/wiki/Q15124814], the Spanish Steps in Rome [https://www.wikidata.org/wiki/Q220], and it gets the feeling of someone gliding, really gliding down that long, gorgeous stairway. \\n \\nBarbara Howes\\n00:31:22\\nReads [\\\"Piazza Di Spagna, Early Morning\\\"] by Richard Wilbur.\\n \\nBarbara Howes\\n00:32:11\\nThis is a poem by Louise Bogan [https://www.wikidata.org/wiki/Q516180], who's a very well known American poet, a very recent one that she, that came out in The New Yorker [https://www.wikidata.org/wiki/Q217305], this summer, I think.\\n \\nBarbara Howes\\n00:32:27\\nReads [\\\"Masked Woman’s Song\\\"] by Louise Bogan.\\n \\nBarbara Howes\\n00:32:51\\nIt's a difficult poem, might read that again, if you don't mind. \\n \\nBarbara Howes\\n00:32:56\\nRe \\\"Masked Woman’s Song\\\" by Louise Bogan.\\n \\nBarbara Howes\\n00:33:17\\nAnd then, the last, oh, oh that's right, I thought I would read a poem by Derek Walcott [https://www.wikidata.org/wiki/Q132701], which I used in this Carribean Anthology. It's mostly short stories but I put a poem in front of each language section. This is by Derek Walcott who's a young poet from St. Lucia [https://www.wikidata.org/wiki/Q760], called \\\"Missing the Sea\\\".\\n \\nBarbara Howes\\n00:33:48\\nReads \\\"Missing the Sea\\\" by Derek Walcott [from The Castaway and collected in From the Green Antilles: Writings of the Caribbean].\\n \\nBarbara Howes\\n00:34:31\\nIt's quite a difficult poem but you...he had a book out, oh, can't remember the name, by Farrar, Straus & Giroux [https://www.wikidata.org/wiki/Q3067003] a couple of years ago, in the United States. [https://www.wikidata.org/wiki/Q30] And the last of this group is a poem that I've heard about a hundred thousand times, but it still gives me a chill. It's called \\\"American Primitive\\\" by William Jay Smith [https://www.wikidata.org/wiki/Q4355736].\\n \\nBarbara Howes\\n00:35:06\\nReads \\\"American Primitive\\\" by William Jay Smith.\\n \\nBarbara Howes\\n00:35:47\\nI still get a chill! Now, I don't know whether you prefer to have an intermission, and get up and smoke, or prefer for me to continue, what would you think, Stanton?\\n \\nUnknown\\n00:36:06\\nAmbient Sound [voices].\\n \\nBarbara Howes\\n00:36:08\\nHave an intermission? So people can...breathe?\\n \\nUnknown\\n00:36:17\\nAmbient Sound [voices].\\n\\nUnknown\\n00:36:23\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nBarbara Howes\\n00:36:23\\nThe problem is the third group of poems, I'd read some poems that are more or less to and about people, and some new poems, although I've noticed that most of my new poems are very depressing, and this is not a good note on which to end, so I'll maybe not read them. I've been very much interested in old French forms, the trielle, the villanelle, the rondeau and rondelle, and ballade and so on and so forth, and they're very difficult but they're fascinating to try, at least. And this is in the form of a trielle. And the lines have to be repeated in a certain fashion which gives you very little room in which to maneuver. This is called \\\"Early Supper\\\".\\n \\nBarbara Howes\\n00:37:14\\nReads \\\"Early Supper\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:38:10\\nThis is a poem I wrote for W.H. Auden for his fiftieth birthday, which was several years ago, now. I think actually, he was last year, sixty.\\n \\nBarbara Howes\\n00:38:21\\nReads [\\\"To W.H. Auden on his Fiftieth Birthday\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:39:22\\nI wrote three poems at that point about winds, and I'll just read one of them. The winds have names in Italy and they almost become like familiar characters. The sirocco, when it blows, is so terrible in its effect on people that if there're crimes of passion, the people generally get off with a lighter sentence, because you sell, well, the sirocco. Naturally you can throttle your wife during that period. This is about the mistral, which, if it blows for three days, one survives, if it blows for six days it's simply awful. If it blows for nine days you've probably already gone out of your head. It's a very wild wind who rushes down the Rhone Valley [https://www.wikidata.org/wiki/Q2747791] and just blows everything away. \\n \\nBarbara Howes\\n00:40:22\\nReads [\\\"Mistral\\\" from Light and Dark].\\n \\nBarbara Howes\\n00:41:23\\nThis is another one, an old French form, the rondeau, which again makes its, has its own complications because of the repetition of lines. And what interested me to do was to try to use, not the usual subject of the rondeaux but to write about, as in this case, the death of a Vermont farm woman, instead of just doing some sort of chittery-chattery business that generally is what people use a rondeau for. \\n \\nBarbara Howes\\n00:42:03\\nReads [\\\"Death of a Vermont Farm Woman\\\" from Light and Dark].  \\n\\nBarbara Howes\\n00:42:51\\nThis is a poem about a very disagreeable character, a thirteenth-century tyrant called Ugolino [https://www.wikidata.org/wiki/Q706003], who met his death from being thrown into prison to die of hunger. He is reputed to have attempted to eat his sons, who were there with him. I must say, it's not an agreeable picture, but I don't think there's been much improvement in that part of mankind. Dante [https://www.wikidata.org/wiki/Q1067] writes of him in the 33rd Canto of the Inferno [https://www.wikidata.org/wiki/Q4509219]. This poem is called \\\"The Critic\\\" and, I must say, critics have disliked it heartily. \\n \\nBarbara Howes\\n00:43:28\\nReads \\\"The Critic\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:44:23\\nThis is a, an odd combination about a person and about Pownal, I guess. \\n \\nBarbara Howes\\n00:44:32\\nReads [\\\"Running into Edgar Bellemare\\\" from Looking Up at Leaves]. \\n \\nBarbara Howes\\n00:45:27\\nThis is a poem I wrote for Katherine Anne Porter [https://www.wikidata.org/wiki/Q236958] on the occasion of her 75th birthday. \\\"For Katherine Anne Porter\\\".\\n \\nBarbara Howes\\n00:45:39\\nReads “For Katherine Anne Porter” [from Looking Up at Leaves].\\n \\nBarbara Howes\\n00:46:15\\nIt's quite marvelous, those collective nouns, who would know that you call a lot of heron a siege of herons and so forth. I'll read that again, because it really is, I was very lucky the way it worked out.\\n \\nBarbara Howes\\n00:46:31\\nReads line from “For Katherine Anne Porter”.\\n \\nBarbara Howes\\n00:47:06\\nThis is called \\\"Looking up at Leaves\\\".\\n \\nBarbara Howes\\n00:47:14\\nReads \\\"Looking up at Leaves\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:48:09\\nI'd like to read one New England [https://www.wikidata.org/wiki/Q18389] poem, this is a newer poem, I haven't read this before, I guess.\\n \\nBarbara Howes\\n00:48:16\\nReads [\\\"Still Life: New England\\\", published later in The Blue Garden].\\n \\nBarbara Howes\\n00:49:34\\nI'll read three more poems, I think. This is \\\"A Rune for C.\\\"--‘C.’ was a dog of ours. \\n \\nBarbara Howes\\n00:49:51\\nReads \\\"A Rune for C.\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:50:36\\nActually, I had just often, I'd made up a good luck thing that seeing the caboose was good luck, but then I found out that this has been an old piece of, well, I don't know, country folklore, that to see the caboose, it means luck. I want to read one poem about my son, and then one short one. \\\"Portrait of the Boy as Artist\\\".\\n \\nBarbara Howes\\n00:51:18\\nReads \\\"Portrait of the Boy as Artist\\\" [from Light and Dark].\\n \\nBarbara Howes\\n00:52:11\\nOh, I did want to read one that I'll read next week in New York. This poem is a, this is a rondelle, which is another old French form. And I'm obviously not using it for the usual subject, in this case. It's arranged about the idea, really, of a contrast of the use of space. \\\"Viet-Napalm: A Rondelle\\\".\\n \\nBarbara Howes\\n00:52:45\\nReads \\\"Viet-Napalm: A Rondelle\\\".\\n \\nBarbara Howes\\n00:53:31\\nAnd then one last poem on a more cheerful note. \\\"Leaning into Light\\\".\\n \\nBarbara Howes\\n00:53:44\\nReads \\\"Leaning into Light\\\" [from Looking Up At Leaves].\\n \\nBarbara Howes\\n00:54:21.\\nThank you very much. \\n \\nAudience\\n00:54:23\\nApplause.\\n \\nStanton Hoffman\\n00:54:38\\nOne announcement, the next reading will be by Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], and that's Friday, the same time, November 17th. \\n\\nUnknown\\n00:54:46\\nAmbient Sound [voices].\\n \\nEND\\n00:54:57\\n\",\"notes\":\"Barbara Howes reads from Light and Dark (Wesleyan University Press, 1959), Looking Up at Leaves (Knopf, 1966), and From the Green Antilles: Writings of the Caribbean, (Macmillan, 1966) as well as some poems from unknown sources.\\n\\n00:00- Stanton Hoffman introduces Barbara Howes [INDEX: Boston, Bennington College, volumes of poetry: The Undersea Farmer (Banyan Press, 1948), In the Cold Country (Bonaci & Saul (Grove Press), 1954), Light and Dark (Wellesley University Press, 1959), Light and Dark (Knopf, 1966)- nominated for the National Book Award, editor of Caribbean writing (MacMillan, 1966), Twenty-Three Modern Stories (Vintage, 1963), won Bess Hawkin Prize of Poetry Magazine (1949), Guggenheim Fellowship (1955), Brandeis Poetry Award (1957), Harper's Bazaar, New World Writing, Poetry, Suani Review, New Republic, reading in NYC Poets for Peace sponsored by the Compassionate Art of the Fellowship of Reconciliation.]\\n01:48- Barbara Howes introduces reading, and “Primavera”. [INDEX: Mr. Hoffman,  \\tmicrophone, recording ‘machine’, reading order, poetry readings, place poems, influences, imagination, Florence (Italy), first son, Massachusetts, Vermont, Haiti,   \\tmountain, Italian poem.]\\n04:48- Reads \\\"Primavera\\\"  [INDEX:  horse, sick, city, Florence, Italy, riding, catacomb, past, history, stone, journey, Giotto, Aphrodite, art, architecture.]\\n06:29- Introduces and reads “The Triumph of Love”.  [INDEX: Italy, city, Venice, art,   Veronese, sight, gaze, painting, palace, love; from Light and Dark (Wesleyan University \\tPress, 1958)]\\n07:18- Introduces “L’Ile du Levant: The Nudist Colony”. [INDEX: La Bandue, town in the south of France, summer, car, house, baby, housewife, entertainment, island Toulon, Ile \\tle Bon, naval base, colony, small town, dock, nudist colony; from Light and Dark   (Wesleyan University Press, 1958).]\\n08:55- Reads “L’Ile du Levant: the Nudist Colony”. [INDEX: place, island, France, plants, cicadas, colony, nudist, vacation, display, clothes, body, skin, dusk]\\n10:59- Introduces “In Autumn”. [INDEX: Vermont, November, hunters, cities, pint bottles,  anti-hunter poem; from Light and Dark (Wesleyan University Press, 1958)]\\n11:37- Reads \\\"In Autumn\\\"  [INDEX: place, Vermont, city, rural, country, hunter,       \\thunting, game, cars, guns, blood, body, red, male, stag.]\\n12:29- Reads “Landscape, Deer Season”  [INDEX: buck, gun, deer, hunting, body, blood, sun, country, place, Vermont, death; from Looking up at Leaves (Knopf, 1966).]\\n13:16- Introduces “A Night Picture of Pownal for JFK”.  [INDEX Pownal poem, apple tree, snow, nighttime, death of Kennedy; from Looking up at Leaves (Knopf, 1966).]\\n14:06- Reads “A Night Picture of Pownal, for JFK”. [INDEX:  place, night, Pownal, Kennedy, history, Matthew Brady, civil war, moon, sound, death, tree, sight, tragedy, stain.]\\n15:19- Introduces “Town Meeting, Tuesday”. [INDEX: Vermont poem, Parnell Poem, cheerful, town meeting, first Tuesday in March, winter, woodchucks; from Looking up at Leaves (Knopf, 1966).]\\n15:45- Reads \\\"Town Meeting, Tuesday\\\"  [INDEX: place, Vermont, trees.]\\n16:22- Introduces  “Dead Toucan, Guadeloupe”. [INDEX: Easter vacations, Caribbean,          Guadeloupe, fish poems, islands, zoo, small hotel; ; from Looking up at Leaves (Knopf, 1966).]\\n17:04- Reads “Dead Toucan, Guadeloupe”. [INDEX: place, Guadeloupe, nature, bird, toucan, death, animals.]\\n17:55- Introduces “In a Prospect of Flowers”. [INDEX: Haiti, young painter, American woman, children, drowning death, Haitian attitudes and politics, tragedy, job; from Light and Dark (Wesleyan University Press, 1958).]\\n20:10- Reads “In a Prospect of Flowers”. [INDEX:  place, Haiti, art, artist, picture, water, pool, death, drowning, Icarus, elegy, ideal.]\\n21:10- Introduces “Mirror Image, Port-au-Prince”. [INDEX: sign on a tree; from Light and Dark (Wesleyan University Press, 1958).]\\n21:19- Reads “Mirror Image, Port-au-Prince”. [INDEX: place, Haiti, mirror, makeup,       woman, hairdresser; from Light and Dark (Wesleyan University Press, 1958).]\\n21:59- Reads “On Bougainvillea Vine at the Summer Palace”.  [INDEX: place, Haiti, lizard, nature, animals, palace, couple, winter.]\\n23:36- Introduces “Out Fishing”. [INDEX: Barbados, fishing poems; from Looking up at       Leaves (Knopf, 1966).] \\n23:46- Reads  “Out Fishing”. [INDEX: place, Barbados, ocean, fishing, fish, boat, war]\\n24:58- Introduces “The Crane Chub, Barbados”. [INDEX: technical experiment, diameter, trimeter, tetrameter, pentameter, one foot, one sound, fish poem; from Looking up at Leaves (Knopf, 1966).]\\n25:32- Reads “The Crane Chub, Barbados”. [INDEX: place, Barbados, fish, ocean, chub, eating, food, lover, absence]\\n26:18- Introduces “On Galveston Beach”. [INDEX: Jellyfish poem, Texas; from Looking up at Leaves (Knopf, 1966).]\\n26:32- Reads \\\"On Galveston Beach\\\"  [INDEX: place, Texas, Galveston Beach, ocean, beach, fish, jellyfish]\\n27:32- Introduces “A Letter from the Caribbean”. [INDEX:   Caribbean poem.]\\n27:45- Reads \\\"A Letter from the Caribbean\\\" [INDEX: place, Carribean, wind, air, nature, time, memory, remembrance.]\\n28:59- Introduces poem by Unknown author, first line “What a wonderful bird, the   \\tfraga” [Spelling unknown.] [INDEX: modern poets, poems Howes is attached to, poem   \\tcut out of newspaper, by an African schoolgirl; from unknown source.]\\n29:38- Reads “What a wonderful bird, the fraga” by unknown poet. [INDEX: nature, animal, bird, fraga.]\\n29:53- Introduces unknown poem, first line “For what is easy, for what though small” by    Wystan Auden. [INDEX: W.H. Auden, early poem, not published in his first edition,    \\tprinted in a recent edition, technical qualities, light verse; from Collected Shorter Poems, 1927-1957 (Faber Press, 1966) by W.H. Auden.]\\n30:15- Reads unknown poem, first line “For what is easy, for what though small” by    Wystan Auden. [INDEX: word, heart, memory]\\n30:57- Introduces poem by Richard Wilbur “Piazza Di Espagna, Early Morning”. [INDEX: Spanish Steps in Rome, gliding down a stairway; from unknown source.]\\n31:22- Reads poem by Richard Wilbur “Piazza Di Espagna, Early Morning”.\\n32:11- Introduces poem by Louise Bogan “Masked Woman Song”. [INDEX: American poet, The New Yorker Magazine; from unknown source.]\\n32:27- Reads “Masked Woman Song” by Louise Bogan. [INDEX: sight, woman, man, face, mask, virtue, evil, beauty.]\\n32:51- Decides to re-read the poem [INDEX: poem difficult to read.]\\n33:56- Re-reads “Masked Woman Song” by Louise Bogan.\\n33:17- Introduces “Missing the Sea” by Derek Walcott. [INDEX: Caribbean Anthology, short stories, poem in front of language section, St. Lucia; from From the Green Antilles:     Writings of the Caribbean (MacMillan, 1966).]\\n33:48- Reads “Missing the Sea” by Derek Walcott. [INDEX: place, house, absence, sea, sound, dead.]\\n34:31- Explains “Missing the Sea”, introduces “American Primitive” by William J. Smith. [INDEX: difficult poem, Walcott’s book (perhaps Another Life 1966) published by Farrar,   Straus & Giroux, United States, William J. Smith; from unknown source.]\\n35:06- Reads “American Primitive” by William J. Smith. [INDEX: man, clothes, money,     America, father, daddy, dollar.]\\n35:47- Introduces intermission. [INDEX: chill from poem, Stanton (Hoffman).]\\n36:23- Cut made in tape.\\n36:23- Howe introduces third group of poems and “Early Supper”. [INDEX: poems to or about people, new poems as depressing, old French forms, trielle, villanelle, rondeau and rondelle, ballade, difficult but fascinating, trielle; from unknown source.]    \\n37:14- Reads “Early Supper”. [INDEX: genre, form, trielle, kitchen, autumn, children, eating, cooking, food, night.]\\n38:10- Introduces “To W.H. Auden on his Fiftieth Birthday”. [INDEX: poem for W.H. Auden on his fiftieth birthday, sixtieth birthday last year; from Light and Dark (Wesleyan \\tUniversity Press, 1958).]\\n38:21- Reads “To W.H. Auden on his Fiftieth Birthday”. [INDEX: occasional poem, books, library, poem, poet, Auden.]\\n39:22- Introduces “Mistral”. [INDEX: three poems about winds, wind names in Italy, sirocco, crimes of passion, mistral blows for three days, down the Rhone Valley; from Light and Dark (Wesleyan University Press, 1958).]\\n40:22- Reads “Mistral”. [INDEX: nature, wind, Mistral, place, Italy, solitude, sound, storm.]\\n41:23- Introduces “Death of a Vermont Farm Woman”. [INDEX: old French form,   \\tcomplications because of the repetition of lines, not the usual subject of the rondeaux; from Light and Dark (Wesleyan University Press, 1958).]\\n42:03- Reads “Death of a Vermont Farm Woman”. [INDEX: form, genre, rondeau, death, woman, Vermont, place, farm.]\\n42:51- Introduces “The Critic”. [INDEX: disagreeable character, thirteenth century tyrant called Ugolino, prison, eat his sons, Dante’s 33rd Canto of the Inferno, critics dislike the poem; from Light and Dark (Wesleyan University Press, 1958).] \\n43:28- Reads “The Critic”. [INDEX: Ugolino, Dante, critic, criticism, poets, Eliot, Yeats,      eating, wisdom.]\\n44:23- Introduces “Running into Edgar Blemar”. [INDEX: odd combination or a person and Pownal; from Looking Up at Leaves (Knopf, 1966).] \\n44:32- Reads \\\"Running into Edgar Belmar\\\"  [INDEX: place, Vermont, Pownal, Edgar Belmar, car, children, accident.]\\n45:27- Introduces “For Catherine Anne Porter”. [INDEX: written for Catherine Ann Porter on her 75th birthday; from Looking Up at Leaves (Knopf, 1966).] \\n45:39- Reads “For Catherine Anne Porter”. [INDEX: occasional poem, Catherine Ann Porter, birthday, birds, heron, peacock, dove, starling, nightingale, lark.]\\n46:15- Introduces unknown poem first line “For Catherine Anne Porter”. [INDEX:   \\tcollective nouns, siege of herons.]\\n46:31- Rereads “For Catherine Anne Porter”. [INDEX: occasional poem, Catherine Ann     Porter, birthday, birds, heron, peacock, dove, starling, nightingale, lark.]\\n47:06- Introduces “Looking up at Leaves”. [INDEX: from Looking Up at Leaves (Knopf,     1966).] \\n47:14- Reads “Looking up at Leaves”. [INDEX: nature, tree, leaves, sight, reflection.]\\n48:09- Introduces “Still Life, New England”. [INDEX: new poem, never read before; unknown source.]\\n48:16- Reads “Still Life, New England”.   [INDEX: nature, animal, cow, birth, calf, sheep, boar, death, cat.]\\n49:34- Introduces “A Rune for C.”. [INDEX: dog named ‘C’; from Looking Up at Leaves      (Knopf, 1966).]\\n49:51- Reads “A Rune for C.”. [INDEX: animal, dog, sickness, omen, luck, rune, fate, death, train]\\n50:36- Explains “A Rune for C.”, introduces “Portrait of the Boy as Artist”. [INDEX: good    luck, caboose, country folklore; from Light and Dark (Wesleyan University Press, 1958).]\\n51:18- Reads “Portrait of the Boy as Artist”.  [INDEX: son, boy, artist, composer, music,     painter, train, colour, poet, Theseus, Daniel Boone, youth.]\\n52:11- Introduces “Viet-Napalm: A Rondelle”. [INDEX: will read in New York, rondelle, old French form, not usual subject, contrast of the use of space; unknown source.]\\n52:45- Reads “Viet-Napalm: A Rondelle”. [INDEX: war, Vietnam, peace, bomb, death, face, genre, form, rondelle.]\\n53:31- Introduces “Leaning into Light”. [INDEX: cheerful poem; unknown source.]\\n53:44- Reads “Leaning into Light”. [INDEX: hibiscus, nature, plant, light, shadow, wisteria]\\n54:21- Barbara Howes thanks audience.\\n54:38- Stanton Hoffman makes announcement about next reading. [INDEX: Charles Reznikoff reading on Friday, November 17th.]\\n54:57.60- RECORDING ENDS.\\n \\nHoward Fink Print catalogue page from Concordia University archives contains the following information:\\n \\nTitle: Barbara Howes reading poetry, November 3, 1967\\nDate: November 3, 1967\\nSource: one 7”, two track tape, mono, @ 3 ¾ ips, lasting one hour and 15 mins.\\n \\n1. Title:              \\n    First line: “The horse with consumption…”\\n2. Title: The Triumph of Love\\n    First line:        \\n3. Title:              \\n    First line: “All the wide…”\\n4. Title:              \\n    First line: “In Autumn, red men come…”\\n5. Title: Landscape: Deer Season\\n    First line: “Snorting his pleasure in the…”\\n6. Title: A Night Picture of Ponel for J.F.K.\\n    First line: “Thanks to the moon…”\\n7. Title: Town Meeting; Tuesday\\n    First line: “Our roadside trees…”\\n8. Title: Dead Tucan; Guadeloupe\\n    First line: “Down like the oval fall of a hammer…\\n9. Title:              \\n    First line: “As in his tomb…\\n10. Title: Mirror Image: Port au Prince\\n      First line: “Mirror image: Port au Prince…”\\n11. Title:              \\n      First line: “Under the Sovereign…”\\n12. Title: Out Fishing\\n      First line: “We went out…”\\n13. Title:              \\n      First line: “Darling I learn the full…”\\n14. Title: On Galveston Beach\\n      First line: “The sky was…”\\n15. Title: A Letter from the Caribbean\\n      First line: “Breeze ways in the tropics\\n16. Title: poem by a young African girl [is this the real title or a stand-in?]\\n      First line: “What a wonderful…”\\n17. Title: by W. H. Auden Poem\\n      First line: “For what is easy…”\\n18. Title: by R. Wilbur\\n      First line: “I can’t forget how she stood…”\\n19. Title: by L. Boden Masked Woman Song\\n      First line: “Before I saw the tall…”\\n20. Title: by D. Walker Missing the Sea\\n      First line: “Something removed roars in the ears…”\\n21. Title: by W. J. Smith American Primitive\\n      First line: “Look at him there…”\\nend of track one\\n22. Title: Early Supper  \\n      First line: “Laughter children bring…”\\n23. Title:              \\n      First line: “Books collide…”\\n24. Title: Mistral\\n      First line:        \\n25. Title:              \\n      First line: “It is time now to go away…”\\n26. Title: The Critic\\n      First line: “…takes his rest…”\\n27. Title:              \\n      First line: “In my fool…”\\n28. Title: For Katherine N. Porter\\n      First line: “Madam, a siege…”\\n29. Title: Looking up at Leaves\\n      First line: “No one need feel alone”\\n30. Title: Still Life: New England\\n      First line: “From that old cow…”\\n31. Title:              \\n      First line: “Luck, I am upset…”\\n32. Title: Portrait of a Boy as Artist\\n      First line: “Were he a composer…”\\n33. Title:              \\n      First line: “To save face…”\\n34. Title: Leaving into Light\\n      First line: “Beginning…”\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/barbara-howes-at-sgwu-1967/\"}]"],"score":1.9290923},{"id":"1265","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Charles Reznikoff at Sir George Williams University, The Poetry Series, 17 November 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"CHARLES REZNIKOFF I006/SR153\" written on sticker on the spine of the tape's box. \"I006-11-153\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Reznikoff, Charles"],"creator_names_search":["Reznikoff, Charles"],"creators":["[{\"url\":\"http://viaf.org/viaf/51811237\",\"name\":\"Reznikoff, Charles\",\"dates\":\"1894-1976\",\"notes\":\"American poet Charles Reznikoff was born on August 31, 1894, in Brooklyn, New York. His parents were Jewish Russian émigrés, and often encountered anti-semitism, which would have a strong influence on Reznikoff’s later work. An intelligent boy, Reznikoff finished high school in 1909, at the age of fifteen- three years ahead of his class. In the hopes of becoming a writer, Reznikoff entered the journalism department at the University of Missouri, but left after a year when he realized the priorities of a journalist and a poet were different. In 1912, he enrolled in New York University’s Law school, graduating at the top of his class in 1915, and entered the Bar of the State of New York the next year. Reznikoff spent a few years practicing as a lawyer, but again, he felt he needed to spend his energy writing, not working as a lawyer. Reznikoff published his first book of poems Rhythms in 1918, on his own small press, the next year printing Rhythms II. In 1920, he met Samuel Roth, who published Poems (S.Roth at the New York Poetry Book Shop), and during that decade he was able to publish more poems in magazines and plays. Reznikoff supported himself by working on the editorial board of the American Law Book Company, writing law encyclopedias. Reznikoff married his wife, Marie Syrkin in 1930. During the 1930s, Reznikoff met and joined the Objectivist group with Louis Zukofsky, George Oppen and Carl Rakosi. The Objectivist Press published three of Reznikoff’s books, Jerusalem the Golden (Objectivist Press, 1934), In Memoriam: 1933 (Objectivist Press, 1934) and Separate Way (Objectivist Press, 1936). Reznikoff spent a short time in Hollywood in the late 30’s, working as a screenwriter. Marie Reznikoff was hired by the English Department at Brandeis University in Boston, and throughout the 40’s Charles Reznikoff stayed in New York working on freelance contracts. Reznikoff published Going To and Fro and Walking Up and Down (Futuro Press, 1941). For a period of eighteen years, Reznikoff did not publish any poetry, until 1959, when Inscriptions: 1944-1956  was self-published. Reznikoff then published By the Waters of Manhattan: Selected Verse (New Directions, 1962), his major works Testimony: The United States (1885-1890): Recitative (New Directions, 1965), Testimony: The United States (1891-1900): Recitative (Privately Published, 1968) and Holocaust (Black Sparrow Press, 1975). Reznikoff also published By the Well of Living and Seeing and The Fifth Book of the Maccabees (Self Published, 1969), By the Well of Living & Seeing: New & Selected Poems 1918-1973 (Black Sparrow Press, 1974), several works of prose including Testimony (The Objectivist Press, 1934) and Family Chronicle: An Odyssey from Russia to America (Norton Bailey with the Human Constitution, 1969). A lifelong resident of New York City, Charles Reznikoff died on January 22, 1976 after suffering from a heart attack. The most comprehensive collection of Reznikoff’s work can be found in Poems 1918-1975: The Complete Poems of Charles Reznikoff (Black Sparrow Press, 1976-77), edited by Seamus Cooney.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"Tape\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 11 17\",\"type\":\"Performance Date\",\"notes\":\"Date specified in The Georgian's \\\"Op-Ed\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Location specified in The Georgian's \\\"Op-Ed\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Charles Reznikoff reads poems from several books, including Jerusalem the Golden (Objectivist Press, 1934), Inscriptions: 1944-1956 (Shulsinger Brothers, 1959), Going To and Fro and Walking Up and Down (Futuro Press, 1941), and By the Waters of Manhattan: Selected Verse (New Directions, 1962). Many of the poems were later re-organized, edited, and included in other publications, such as Poems 1918-1975:The Complete Poems of Charles Reznikoff (Black Sparrow, 1989). "],"contents":["charles_reznikoff_i006-11-153.mp3\n\nGeorge Bowering\n00:00:00\nI'd like to welcome you all to our third reading, and announce just before I have to say what I say that the next reading will be with Daryl Hine [https://www.wikidata.org/wiki/Q5226186] on the first of December. Tonight's reading will be by, as you probably all know, Mr. Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], whom I'm very happy to have the job, the chore of introducing, because I've been interested in his work for many years. He was born in Brooklyn [https://www.wikidata.org/wiki/Q18419], 1894, and graduated from the law school of New York University [https://www.wikidata.org/wiki/Q49210], admitted to the bar of the state of New York [https://www.wikidata.org/wiki/Q60] but never practiced, however, the law experience has stood him in good stead for his later poetry. He's published a number of volumes of verse and several volumes of prose, but most to the point, books that you probably saw on the table outside, in print by New Directions [https://www.wikidata.org/wiki/Q27474] and the San Francisco Review [https://www.wikidata.org/wiki/Q17087510], By the Waters of Manhattan, which was this joint effort's first book in 1962, and in 1965, Testimony, which is the first volume in a projected series of volumes about the moral and legal history of the United States [https://www.wikidata.org/wiki/Q30]. The main--my--the reason I said that I'm very happy about Mr. Reznikoff is because when I was going to university I was very hard looking for an alternative to the kind of poetry that was in vogue, especially in the universities, that is, that which tended towards T.S. Eliot [https://www.wikidata.org/wiki/Q37767] and highly symbolic language, and Mr. Reznikoff was one of the first poets I found able to do that for me, and I found a short poem of his which I would like to be brash enough to read, as introduction. He said, \"Not because of victories I sing, having none, but for the common sunshine, the breeze, the largesse of spring. Not for victory, but for the day's work done, as well as I was able, not for a seat upon the dais, but at the common table.\"  So to this common table, rather than dais, I'd like to welcome Mr. Charles Reznikoff.  \n \nAudience\n00:02:34\nApplause.\n \nCharles Reznikoff\n00:02:56\nVery much obliged to the gentleman who introduced me, among other things, for reading something I did. Perhaps I should ask him to read all that I brought along. But to get down to what I have here, let me say, to begin with, a few days ago, I came across in a bookshop a collection of Chinese verse translated into English. At the beginning was the following, written a thousand years ago, and I was very much impressed with it, and permit me to read it to you as a sort of an introduction. This man who wrote in the 11th century, this Chinese, said this: \"Poetry presents the thing in order to convey the feeling.  It should be precise about the thing and reticent about the feeling.\" I thought that was...expressed exactly what I feel, and what I have tried to do, not always, not always, I'm afraid, as well as called for, but a recipe. Among other things, let me begin by reading a couple of things I did also on the way I think verse should be written. And this is from this, By the Waters of Manhattan. \n \nCharles Reznikoff\n00:04:47\nReads \"Salmon and Red Wine\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\n \nCharles Reznikoff\n00:05:39\nThat's the first in this. And the second, I did on the same theme, in a way. \n \nCharles Reznikoff\n00:05:47\nReads \"I have neither the time nor the weaving skill, perhaps\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\n\n \nCharles Reznikoff\n00:06:13\nNow, let me start with a group which I've written about the city I come from, New York, and its suburbs, and some of its residents, including myself.\n \nCharles Reznikoff\n00:06:27\nReads \"The winter afternoon darkens\" [from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:06:44\nAnd this I call \"The Scrubwoman\". \n \nCharles Reznikoff\n00:06:48\nReads \"The Scrubwoman\" [from Rhythms II and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:07:07\nReads \"The peddler who goes from shop to shop\". \n \nCharles Reznikoff\n00:07:27\nAnd this next. \n \nCharles Reznikoff\n00:07:31\nReads “The elevator man\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:07:54\nReads \"The shopgirls leave their work\" [from Five Groups of Verse, Rhythms, and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:08:16\nThis one I call \"Cooper Union Library\". I should add, it's no longer that way, this is the way it used to be.\n \nCharles Reznikoff\n00:08:23\nReads \"Cooper Union Library\" [from \"Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:08:42\nReads \"Showing a Torn Sleeve\" [from By the Waters of Manhattan: Selected Verse and published later in Poems 1918-1936: The Complete Poems of Charles Reznikoff]. \n\nCharles Reznikoff\n00:09:06\nReads \"Two girls of twelve or so at a table\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:09:54\nReads \"I am always surprised to meet\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:10:23\nReads \"Rails in the Subway\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse]. \n \nAudience\n00:10:35\nLaughter.\n \nCharles Reznikoff\n00:10:41\nReads \"This subway station, with its electric lights\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n \nAudience\n00:10:58\nLaughter.\n \nCharles Reznikoff\n00:11:06\nReads \"Among the heaps of brick and plaster lies\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:11:18\nReads \"The sky is blue\" [from Jerusalem is Golden].\n \nCharles Reznikoff\n00:11:42\nThis I call \"Suburban River, Winter\".\n \nCharles Reznikoff\n00:11:48\nReads \"Suburban River, Winter\" [from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:12:07\nAnd this too I call \"Suburban River,\" this is \"Summer\".\n \nCharles Reznikoff\n00:12:13\nReads \"Suburban River, Summer\" [from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:12:38\nThis I call \"Twilight\".\n \nCharles Reznikoff\n00:12:40\nReads \"Twilight\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975]. \n \nCharles Reznikoff\n00:12:56\nReads \"Fraser, I think, tells of a Roman\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse; audience laughter throughout].\n \nCharles Reznikoff\n00:13:21\nReads \"The dogs that walk with me” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:13:44\nThis I call a \"Fable\".\n \nCharles Reznikoff\n00:13:46\nReads \"Fable\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:14:15\nReads \"Scrap of paper\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].  \n \nCharles Reznikoff\n00:14:28\nReads \"One of my sentinels, a tree\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].   \n \nCharles Reznikoff\n00:14:45\nReads \"I have not even been in the fields\" [from Rhythms ll and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:15:01\nReads \"How grey you are! No, white!” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:15:25\nReads \"Blurred sight, and trembling fingers\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:15:47\nReads \"You were young and contemptuous\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:16:03\nThis I call \"Heart and Clock\", there's a series in here. \n \nCharles Reznikoff\n00:16:09\nReads \"Heart and Clock” [from Separate Way and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:16:51\nReads \"If my days were like the ant's\" [published as “Heart and Clock II” in By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:17:18\nReads \"Our nightingale, the clock\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].  \n \nCharles Reznikoff\n00:17:32\nReads \"The clock on the bookcase ticks\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n \nCharles Reznikoff\n00:17:47\nReads \"My hair was caught in the wheels of a clock\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].   \n\nCharles Reznikoff\n00:17:58\nReads \"Of course we must die\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:18:20\nReads \"Now it is cold\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\n\nCharles Reznikoff\n00:19:33\nReads \"It had been snowing at night\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n \nCharles Reznikoff\n00:19:54\nReads \"Hardly a breath of wind\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:20:14\nReads \"After I had worked all day\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:20:42\nNow I have a group that I will call 'religious,' for perhaps no better word, and this I call \"Meditations on the Fall and Winter Holidays\", and the first is “New Year's”. As many of you, or some of you may know, no doubt, the Jewish New Year's comes in the fall. This is based on it.\n \nCharles Reznikoff\n00:21:11\nReads \"Meditations on the Fall and Winter Holidays: New Year's\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:23:19\nAnd I call the next one \"The Day of Atonement\".\n \nCharles Reznikoff\n00:23:24\nReads \"The Day of Atonement\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:24:50\nAnd this I call \"Hanukkah\" which incidentally is a holiday that's just about to come, and it, as some of you may know, it represents the victory, a festival celebrating the victory of the Maccabees over the Syrians, about 150 B.C.E.\n \nCharles Reznikoff\n00:25:14\nReads \"Hanukkah\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:26:59\nI don't know why I should be having a cold on this occasion but, [laughter], these things [blows nose]. \n \nCharles Reznikoff\n00:27:18\nReads \"The lamps are burning in the synagogue\" [from Inscriptions: 1944-1956].\n \nCharles Reznikoff\n00:28:40\nThis one I call \"Samuel\". Samuel in the Bible, of course.\n \nCharles Reznikoff\n00:28:47\nReads \"Samuel\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:30:06\nThese are all from By the Waters of Manhattan, and I'm going to read you, if I may, something quite different, from the volume called Testimony, and which I call \"Recitative\".\n \nCharles Reznikoff\n00:30:27\nReads \"Recitative\" [from Testimony: the United States (1885-1890); Recitative].\n \nCharles Reznikoff\n00:31:15\nThat's the first. This, these, incidentally, I might say, are all based on law cases. Ah...I don't know what...whether that'll excuse their ferocity, but apparently something like that once happened. The names are different. The facts are the same.\n \nCharles Reznikoff\n00:31:39\nReads \"Tilda was just a child...” [from Testimony: the United States (1885-1890); Recitative].\n \nCharles Reznikoff\n00:32:49\nAnd this is the third in this. \n \nCharles Reznikoff\n00:32:53\nReads \"Years ago, a company procured a body of land...\" [from Testimony: the United States (1885-1890); Recitative].\n \nCharles Reznikoff\n00:33:44\nNow...let's see, if I may, the time...Here is a poem with which I generally end these readings but I don't intend to end this unless you wish me to because I have some other things to read. But I'll end it right here anyway and then we'll see how much time is left. I call this \"Kaddish\". Now, it's not the Kaddish for mourners that you might know about. It was written at the beginning of the rise of Hitler [https://www.wikidata.org/wiki/Q352]. I did it; I mean, I did the writing, not the Kaddish, which is very old. It was written at the beginning of the rise of Hitler and his influence, and before his extermination program was put into effect. It's really an ancient blessing in the Jewish ritual. And incidentally, I use that word \"Torah,\" and I doubt, it may be strange to many, but James Parks, I notice, in his History of the Jewish People, has defined it, correctly, I think, \"The word Torah,\" he says, \"has been defined as law, but is much wider in meaning. It applies a way of life\".  Now this is this \"Kaddish\".\n \nCharles Reznikoff\n00:35:09\nReads \"Kaddish\" [from Separate Way and from By the Waters of Manhattan: Selected Verse]].\n \nCharles Reznikoff\n00:36:43\nThis ends the, let's say the first part. And I'll continue, if you like, with some others, unless you're all...[inaudible]\n \nAudience\n00:36:51\nApplause.\n \nCharles Reznikoff\n00:37:04\nWell I, if, I shall continue, if you're not all exhausted. I have here, quite a few things that are not arranged in any way, so they're more or less haphazard. And...this is one. Let's see...well this one is “After Reading Translations of Ancient Texts on Stone and Clay”.\n \nCharles Reznikoff\n00:37:37\nReads “After Reading Translations of Ancient Texts on Stone and Clay”.\n \nCharles Reznikoff\n00:38:47\nNow, these, these are much less organized than that, haphazard, you'll have to take them as they come if we keep on. \n \nCharles Reznikoff\n00:39:00\nReads \"As I was wandering with my unhappy thoughts\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n\nCharles Reznikoff\n00:39:36\nReads \"The young fellow walks about with nothing to do\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \n \nCharles Reznikoff\n00:40:09\nReads “A well-phrased eulogy\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:40:44\nReads \"On a Sunday, when the place was closed\" [from Going To and Fro and Walking Up and Down].  \n \nCharles Reznikoff\n00:41:12\nNow here are two earlier testimony, two or more things based on a law case, which I call \"Testimony\", and these were included in that same By the Waters of Manhattan. \n \nBy the Waters of Manhattan. \n00:41:28\nReads \"The Company had advertised for men\" from By the Waters of Manhattan: Selected Verse. \n \nCharles Reznikoff\n00:43:13\nThat's the first, and this is the second.\n \nCharles Reznikoff \n00:43:16\nReads \"Amelia was just fourteen\" from By the Waters of Manhattan: Selected Verse.\n \nCharles Reznikoff\n00:44:33\nThat's the second. I have some more I'd like to get at before I close. Well, this I wrote for my wife. Pity she isn't here, but we'll read it in her absence.\n \nCharles Reznikoff\n00:44:55\nReads \"Malicious women greet you, saying...\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n\n Charles Reznikoff\n00:45:38\nNow, this, this is a kind of counterpiece to this I have just read. It was not written for my wife. [Laughter].\n \nCharles Reznikoff\n00:45:56\nReads \"He had with him a bag\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \n \nAudience\n00:46:38\nLaughter. \n \nCharles Reznikoff\n00:46:42\nI'm reading this 'cause...\"On a seat\"...maybe it would....I think this is rather appropriate in view of all the Hebrew things I read.\n \nCharles Reznikoff\n00:46:56\nReads \"On a seat in the subway\" [from Going To and Fro and Walking Up and Down].  \n\nCharles Reznikoff\n00:47:41\nReads \"Permit me to warn you\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\n \nAudience\n00:47:51\nLaughter.\n \nCharles Reznikoff\n00:47:59\nReads \"These days, the papers in the street\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\n \nCharles Reznikoff\n00:48:36\nLet me close, unless it...if I should...with something that I tried to do which may be something to close with. This is based on the Book of Ezra [https://www.wikidata.org/wiki/Q131635], and the Book of Ezra, according to my note, I've probably forgotten by this time, is, 'This is a rearrangement and a versification of parts of the Fourth Book of Ezra.' And that's what it's called in the appendix to the Vulgate [https://www.wikidata.org/wiki/Q131175], or two Esdras of the Protestant Apocrypha. And I based this upon a translation of this Book of Ezra from the Syriac by a friend of mine who taught, and I have their permission and all, but the original was probably, there's quite a discussion as to what the original was right, and some scholars believe that it was in Greek, and a Doctor Bocks, who was in, G.H. Bocks, thinks that it was in Hebrew, and Bloch, who was, they had in 42nd Street at the library, didn't think that it was in either Greek or Hebrew, but Aramaic. Anyway, excuse me just, [laughter], anyway, I will read it, and its adaptation of it, and see what one can do with things that you...clear up. \n \nCharles Reznikoff\n00:50:12\nReads “Because I saw the desolation of Zion\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems of Charles Reznikoff: 1918-1975]. \n \nCharles Reznikoff\n00:53:33\nAnd I think this is enough, perhaps, for a time. \n \nAudience\n00:53:36\nApplause.\n \nGeorge Bowering\n00:54:01\nWhat else, thank you very much, Mr. Reznikoff, and I'd just like to repeat that the next reading is at, two weeks from tonight, December the first, Daryl Hine, who's a graduate of the other university.\n \nEND\n00:54:21\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n \\nIn 1967, Reznikoff held several other readings, including one at the 92nd Street Y in New York City. The next year, 1968, Testimony: The United States (1891-1900): Recitative was published.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections to Sir George Williams University are known. However, Charles Reznikoff was an established and highly regarded poet from New York. Reznikoff was involved in the Objectivist movement and an important American poet during the 60’s and 70’s.\\n\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Heller, Michael. “Reznikoff, Charles\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967/\",\"citation\":\"Nemiroff, Michael. “Nemiroff on Reznikoff.” OP-ED. Montreal: Sir George Williams University, 28 November 1967, p. 7. \"},{\"url\":\"https://www.worldcat.org/title/history-of-the-jewish-people/oclc/32303940&referer=brief_results\",\"citation\":\"Parks, James Williams. A History of the Jewish People. London: Weidenfeld and Nicolson, 1952. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967/\",\"citation\":\"“Poetry: Bards Heard”. OP-ED. Montreal: Sir George Williams University, 14 November 1967, page 6. \"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967\",\"citation\":\"“Poetry Readings - Sir George Williams”. Montreal: Sir George Williams University, 1967. \"},{\"url\":\"https://library.ucsd.edu/speccoll/findingaids/mss0009.html\",\"citation\":\"“The Register of Charles Reznikoff Papers 1912-1976”. Mandeville Special Collections Library, Geisel Library, University of California, San Diego. \"},{\"url\":\"http://www.poets.org/poet.php/prmPID/694\",\"citation\":\"“Reznikoff, Charles”. Poets.org. The Academy of American Poets, 2007-2009. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Reznikoff, Charles\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press, 1995. \"},{\"url\":\"https://www.worldcat.org/title/concise-oxford-companion-to-american-literature/oclc/1146399202&referer=brief_results\",\"citation\":\"\\\"Reznikoff, Charles\\\". The Concise Oxford Companion to American Literature. James D. Hart (ed). Oxford University Press, 1986. \"},{\"url\":\"https://www.worldcat.org/title/by-the-waters-of-manhattan-selected-verse-introduction-by-cp-snow/oclc/503805384&referer=brief_results\",\"citation\":\"Reznikoff, Charles. By the Waters of Manhattan: Selected Verse. San Francisco: San Francisco Review, 1962. \"},{\"url\":\"https://www.worldcat.org/title/five-groups-of-verse-by-charles-reznikoff/oclc/457809461&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Five Groups of Verse. New York: Charles Reznikoff, 1927. \"},{\"url\":\"https://www.worldcat.org/title/going-to-and-fro-and-walking-up-and-down/oclc/644000166&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Going To and Fro and Walking Up and Down. New York: Futuro Press, 1941. \"},{\"url\":\"https://www.worldcat.org/title/inscriptions-1944-1956-by-charles-reznikoff/oclc/459778991&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Inscriptions: 1944-1956. New York: Shulsinger Brothers, 1959. \"},{\"url\":\"https://www.worldcat.org/title/jerusalem-the-golden-poems/oclc/503805492&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Jerusalem The Golden. New York: Objectivist Press, 1934. \"},{\"url\":\"https://www.worldcat.org/title/rhythms/oclc/11216921&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Rhythms. New York: Charles Reznikoff, 1918. \"},{\"url\":\"https://www.worldcat.org/title/rhythms-ii-poems/oclc/4400024&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Rhythms ll. New York: Charles Reznikoff, 1919. \"},{\"url\":\"https://www.worldcat.org/title/separate-way/oclc/2377996&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Separate Way. New York: Objectivist Press, 1936. \"},{\"url\":\"https://www.worldcat.org/title/testimony-the-united-states-1885-1890-recitative/oclc/1079271632&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Testimony: The United States (1885-1890); Recitative. New York: Charles Reznikoff, 1965. \"},{\"url\":\"https://www.worldcat.org/title/testimony-the-united-states-1891-1900-recitative/oclc/49565&referer=brief_results\",\"citation\":\"Reznikoff, Charles. Testimony: The United States (1891-1900); Recitative. New York: Charles Reznikoff, 1968.\"},{\"url\":\"https://www.worldcat.org/title/poems-1918-1975-the-complete-poems-of-charles-reznikoff-edited-by-seamus-cooney/oclc/1167716778&referer=brief_results\",\"citation\":\"Reznikoff, Charles. The Poems of Charles Reznikoff: 1918-1975. Los Angeles: Black Sparrow Press, 1989. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. The Gazette. 14 September 1967, page 15.\"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"},{\"url\":\"\",\"citation\":\"“Reznikoff, Charles, 1894-1976”. Literature Online Biography. Cambridge: Chadwyck-Healey, 2000. \"}]"],"_version_":1853670548825964544,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0153_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0153_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Reznikoff 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_0153_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0153_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Reznikoff 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_0153_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0153_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Reznikoff 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_0153_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0153_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Reznikoff 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/charles_reznikoff_i006-11-153.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"charles_reznikoff_i006-11-153.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:54:21\",\"precision\":\"\",\"size\":\"130.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nI'd like to welcome you all to our third reading, and announce just before I have to say what I say that the next reading will be with Daryl Hine [https://www.wikidata.org/wiki/Q5226186] on the first of December. Tonight's reading will be by, as you probably all know, Mr. Charles Reznikoff [https://www.wikidata.org/wiki/Q1065911], whom I'm very happy to have the job, the chore of introducing, because I've been interested in his work for many years. He was born in Brooklyn [https://www.wikidata.org/wiki/Q18419], 1894, and graduated from the law school of New York University [https://www.wikidata.org/wiki/Q49210], admitted to the bar of the state of New York [https://www.wikidata.org/wiki/Q60] but never practiced, however, the law experience has stood him in good stead for his later poetry. He's published a number of volumes of verse and several volumes of prose, but most to the point, books that you probably saw on the table outside, in print by New Directions [https://www.wikidata.org/wiki/Q27474] and the San Francisco Review [https://www.wikidata.org/wiki/Q17087510], By the Waters of Manhattan, which was this joint effort's first book in 1962, and in 1965, Testimony, which is the first volume in a projected series of volumes about the moral and legal history of the United States [https://www.wikidata.org/wiki/Q30]. The main--my--the reason I said that I'm very happy about Mr. Reznikoff is because when I was going to university I was very hard looking for an alternative to the kind of poetry that was in vogue, especially in the universities, that is, that which tended towards T.S. Eliot [https://www.wikidata.org/wiki/Q37767] and highly symbolic language, and Mr. Reznikoff was one of the first poets I found able to do that for me, and I found a short poem of his which I would like to be brash enough to read, as introduction. He said, \\\"Not because of victories I sing, having none, but for the common sunshine, the breeze, the largesse of spring. Not for victory, but for the day's work done, as well as I was able, not for a seat upon the dais, but at the common table.\\\"  So to this common table, rather than dais, I'd like to welcome Mr. Charles Reznikoff.  \\n \\nAudience\\n00:02:34\\nApplause.\\n \\nCharles Reznikoff\\n00:02:56\\nVery much obliged to the gentleman who introduced me, among other things, for reading something I did. Perhaps I should ask him to read all that I brought along. But to get down to what I have here, let me say, to begin with, a few days ago, I came across in a bookshop a collection of Chinese verse translated into English. At the beginning was the following, written a thousand years ago, and I was very much impressed with it, and permit me to read it to you as a sort of an introduction. This man who wrote in the 11th century, this Chinese, said this: \\\"Poetry presents the thing in order to convey the feeling.  It should be precise about the thing and reticent about the feeling.\\\" I thought that was...expressed exactly what I feel, and what I have tried to do, not always, not always, I'm afraid, as well as called for, but a recipe. Among other things, let me begin by reading a couple of things I did also on the way I think verse should be written. And this is from this, By the Waters of Manhattan. \\n \\nCharles Reznikoff\\n00:04:47\\nReads \\\"Salmon and Red Wine\\\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\\n \\nCharles Reznikoff\\n00:05:39\\nThat's the first in this. And the second, I did on the same theme, in a way. \\n \\nCharles Reznikoff\\n00:05:47\\nReads \\\"I have neither the time nor the weaving skill, perhaps\\\" from By the Waters of Manhattan: Selected Verse [also published in Inscriptions: 1944-1956].\\n\\n \\nCharles Reznikoff\\n00:06:13\\nNow, let me start with a group which I've written about the city I come from, New York, and its suburbs, and some of its residents, including myself.\\n \\nCharles Reznikoff\\n00:06:27\\nReads \\\"The winter afternoon darkens\\\" [from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:06:44\\nAnd this I call \\\"The Scrubwoman\\\". \\n \\nCharles Reznikoff\\n00:06:48\\nReads \\\"The Scrubwoman\\\" [from Rhythms II and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:07:07\\nReads \\\"The peddler who goes from shop to shop\\\". \\n \\nCharles Reznikoff\\n00:07:27\\nAnd this next. \\n \\nCharles Reznikoff\\n00:07:31\\nReads “The elevator man\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:07:54\\nReads \\\"The shopgirls leave their work\\\" [from Five Groups of Verse, Rhythms, and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:08:16\\nThis one I call \\\"Cooper Union Library\\\". I should add, it's no longer that way, this is the way it used to be.\\n \\nCharles Reznikoff\\n00:08:23\\nReads \\\"Cooper Union Library\\\" [from \\\"Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:08:42\\nReads \\\"Showing a Torn Sleeve\\\" [from By the Waters of Manhattan: Selected Verse and published later in Poems 1918-1936: The Complete Poems of Charles Reznikoff]. \\n\\nCharles Reznikoff\\n00:09:06\\nReads \\\"Two girls of twelve or so at a table\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:09:54\\nReads \\\"I am always surprised to meet\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:10:23\\nReads \\\"Rails in the Subway\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse]. \\n \\nAudience\\n00:10:35\\nLaughter.\\n \\nCharles Reznikoff\\n00:10:41\\nReads \\\"This subway station, with its electric lights\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n \\nAudience\\n00:10:58\\nLaughter.\\n \\nCharles Reznikoff\\n00:11:06\\nReads \\\"Among the heaps of brick and plaster lies\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:11:18\\nReads \\\"The sky is blue\\\" [from Jerusalem is Golden].\\n \\nCharles Reznikoff\\n00:11:42\\nThis I call \\\"Suburban River, Winter\\\".\\n \\nCharles Reznikoff\\n00:11:48\\nReads \\\"Suburban River, Winter\\\" [from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:12:07\\nAnd this too I call \\\"Suburban River,\\\" this is \\\"Summer\\\".\\n \\nCharles Reznikoff\\n00:12:13\\nReads \\\"Suburban River, Summer\\\" [from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:12:38\\nThis I call \\\"Twilight\\\".\\n \\nCharles Reznikoff\\n00:12:40\\nReads \\\"Twilight\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975]. \\n \\nCharles Reznikoff\\n00:12:56\\nReads \\\"Fraser, I think, tells of a Roman\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse; audience laughter throughout].\\n \\nCharles Reznikoff\\n00:13:21\\nReads \\\"The dogs that walk with me” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:13:44\\nThis I call a \\\"Fable\\\".\\n \\nCharles Reznikoff\\n00:13:46\\nReads \\\"Fable\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:14:15\\nReads \\\"Scrap of paper\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].  \\n \\nCharles Reznikoff\\n00:14:28\\nReads \\\"One of my sentinels, a tree\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].   \\n \\nCharles Reznikoff\\n00:14:45\\nReads \\\"I have not even been in the fields\\\" [from Rhythms ll and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:15:01\\nReads \\\"How grey you are! No, white!” [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:15:25\\nReads \\\"Blurred sight, and trembling fingers\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:15:47\\nReads \\\"You were young and contemptuous\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:16:03\\nThis I call \\\"Heart and Clock\\\", there's a series in here. \\n \\nCharles Reznikoff\\n00:16:09\\nReads \\\"Heart and Clock” [from Separate Way and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:16:51\\nReads \\\"If my days were like the ant's\\\" [published as “Heart and Clock II” in By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:17:18\\nReads \\\"Our nightingale, the clock\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].  \\n \\nCharles Reznikoff\\n00:17:32\\nReads \\\"The clock on the bookcase ticks\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n \\nCharles Reznikoff\\n00:17:47\\nReads \\\"My hair was caught in the wheels of a clock\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].   \\n\\nCharles Reznikoff\\n00:17:58\\nReads \\\"Of course we must die\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:18:20\\nReads \\\"Now it is cold\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse].\\n\\nCharles Reznikoff\\n00:19:33\\nReads \\\"It had been snowing at night\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n \\nCharles Reznikoff\\n00:19:54\\nReads \\\"Hardly a breath of wind\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:20:14\\nReads \\\"After I had worked all day\\\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:20:42\\nNow I have a group that I will call 'religious,' for perhaps no better word, and this I call \\\"Meditations on the Fall and Winter Holidays\\\", and the first is “New Year's”. As many of you, or some of you may know, no doubt, the Jewish New Year's comes in the fall. This is based on it.\\n \\nCharles Reznikoff\\n00:21:11\\nReads \\\"Meditations on the Fall and Winter Holidays: New Year's\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:23:19\\nAnd I call the next one \\\"The Day of Atonement\\\".\\n \\nCharles Reznikoff\\n00:23:24\\nReads \\\"The Day of Atonement\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:24:50\\nAnd this I call \\\"Hanukkah\\\" which incidentally is a holiday that's just about to come, and it, as some of you may know, it represents the victory, a festival celebrating the victory of the Maccabees over the Syrians, about 150 B.C.E.\\n \\nCharles Reznikoff\\n00:25:14\\nReads \\\"Hanukkah\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:26:59\\nI don't know why I should be having a cold on this occasion but, [laughter], these things [blows nose]. \\n \\nCharles Reznikoff\\n00:27:18\\nReads \\\"The lamps are burning in the synagogue\\\" [from Inscriptions: 1944-1956].\\n \\nCharles Reznikoff\\n00:28:40\\nThis one I call \\\"Samuel\\\". Samuel in the Bible, of course.\\n \\nCharles Reznikoff\\n00:28:47\\nReads \\\"Samuel\\\" [from Five Groups of Verse and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:30:06\\nThese are all from By the Waters of Manhattan, and I'm going to read you, if I may, something quite different, from the volume called Testimony, and which I call \\\"Recitative\\\".\\n \\nCharles Reznikoff\\n00:30:27\\nReads \\\"Recitative\\\" [from Testimony: the United States (1885-1890); Recitative].\\n \\nCharles Reznikoff\\n00:31:15\\nThat's the first. This, these, incidentally, I might say, are all based on law cases. Ah...I don't know what...whether that'll excuse their ferocity, but apparently something like that once happened. The names are different. The facts are the same.\\n \\nCharles Reznikoff\\n00:31:39\\nReads \\\"Tilda was just a child...” [from Testimony: the United States (1885-1890); Recitative].\\n \\nCharles Reznikoff\\n00:32:49\\nAnd this is the third in this. \\n \\nCharles Reznikoff\\n00:32:53\\nReads \\\"Years ago, a company procured a body of land...\\\" [from Testimony: the United States (1885-1890); Recitative].\\n \\nCharles Reznikoff\\n00:33:44\\nNow...let's see, if I may, the time...Here is a poem with which I generally end these readings but I don't intend to end this unless you wish me to because I have some other things to read. But I'll end it right here anyway and then we'll see how much time is left. I call this \\\"Kaddish\\\". Now, it's not the Kaddish for mourners that you might know about. It was written at the beginning of the rise of Hitler [https://www.wikidata.org/wiki/Q352]. I did it; I mean, I did the writing, not the Kaddish, which is very old. It was written at the beginning of the rise of Hitler and his influence, and before his extermination program was put into effect. It's really an ancient blessing in the Jewish ritual. And incidentally, I use that word \\\"Torah,\\\" and I doubt, it may be strange to many, but James Parks, I notice, in his History of the Jewish People, has defined it, correctly, I think, \\\"The word Torah,\\\" he says, \\\"has been defined as law, but is much wider in meaning. It applies a way of life\\\".  Now this is this \\\"Kaddish\\\".\\n \\nCharles Reznikoff\\n00:35:09\\nReads \\\"Kaddish\\\" [from Separate Way and from By the Waters of Manhattan: Selected Verse]].\\n \\nCharles Reznikoff\\n00:36:43\\nThis ends the, let's say the first part. And I'll continue, if you like, with some others, unless you're all...[inaudible]\\n \\nAudience\\n00:36:51\\nApplause.\\n \\nCharles Reznikoff\\n00:37:04\\nWell I, if, I shall continue, if you're not all exhausted. I have here, quite a few things that are not arranged in any way, so they're more or less haphazard. And...this is one. Let's see...well this one is “After Reading Translations of Ancient Texts on Stone and Clay”.\\n \\nCharles Reznikoff\\n00:37:37\\nReads “After Reading Translations of Ancient Texts on Stone and Clay”.\\n \\nCharles Reznikoff\\n00:38:47\\nNow, these, these are much less organized than that, haphazard, you'll have to take them as they come if we keep on. \\n \\nCharles Reznikoff\\n00:39:00\\nReads \\\"As I was wandering with my unhappy thoughts\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n\\nCharles Reznikoff\\n00:39:36\\nReads \\\"The young fellow walks about with nothing to do\\\" [from Going To and Fro and Walking Up and Down and from By the Waters of Manhattan: Selected Verse]. \\n \\nCharles Reznikoff\\n00:40:09\\nReads “A well-phrased eulogy\\\" [from Inscriptions: 1944-1956 and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:40:44\\nReads \\\"On a Sunday, when the place was closed\\\" [from Going To and Fro and Walking Up and Down].  \\n \\nCharles Reznikoff\\n00:41:12\\nNow here are two earlier testimony, two or more things based on a law case, which I call \\\"Testimony\\\", and these were included in that same By the Waters of Manhattan. \\n \\nBy the Waters of Manhattan. \\n00:41:28\\nReads \\\"The Company had advertised for men\\\" from By the Waters of Manhattan: Selected Verse. \\n \\nCharles Reznikoff\\n00:43:13\\nThat's the first, and this is the second.\\n \\nCharles Reznikoff \\n00:43:16\\nReads \\\"Amelia was just fourteen\\\" from By the Waters of Manhattan: Selected Verse.\\n \\nCharles Reznikoff\\n00:44:33\\nThat's the second. I have some more I'd like to get at before I close. Well, this I wrote for my wife. Pity she isn't here, but we'll read it in her absence.\\n \\nCharles Reznikoff\\n00:44:55\\nReads \\\"Malicious women greet you, saying...\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n\\n Charles Reznikoff\\n00:45:38\\nNow, this, this is a kind of counterpiece to this I have just read. It was not written for my wife. [Laughter].\\n \\nCharles Reznikoff\\n00:45:56\\nReads \\\"He had with him a bag\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems Of Charles Reznikoff 1918–1975].  \\n \\nAudience\\n00:46:38\\nLaughter. \\n \\nCharles Reznikoff\\n00:46:42\\nI'm reading this 'cause...\\\"On a seat\\\"...maybe it would....I think this is rather appropriate in view of all the Hebrew things I read.\\n \\nCharles Reznikoff\\n00:46:56\\nReads \\\"On a seat in the subway\\\" [from Going To and Fro and Walking Up and Down].  \\n\\nCharles Reznikoff\\n00:47:41\\nReads \\\"Permit me to warn you\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\\n \\nAudience\\n00:47:51\\nLaughter.\\n \\nCharles Reznikoff\\n00:47:59\\nReads \\\"These days, the papers in the street\\\" [from Jerusalem the Golden and from By the Waters of Manhattan: Selected Verse].\\n \\nCharles Reznikoff\\n00:48:36\\nLet me close, unless it...if I should...with something that I tried to do which may be something to close with. This is based on the Book of Ezra [https://www.wikidata.org/wiki/Q131635], and the Book of Ezra, according to my note, I've probably forgotten by this time, is, 'This is a rearrangement and a versification of parts of the Fourth Book of Ezra.' And that's what it's called in the appendix to the Vulgate [https://www.wikidata.org/wiki/Q131175], or two Esdras of the Protestant Apocrypha. And I based this upon a translation of this Book of Ezra from the Syriac by a friend of mine who taught, and I have their permission and all, but the original was probably, there's quite a discussion as to what the original was right, and some scholars believe that it was in Greek, and a Doctor Bocks, who was in, G.H. Bocks, thinks that it was in Hebrew, and Bloch, who was, they had in 42nd Street at the library, didn't think that it was in either Greek or Hebrew, but Aramaic. Anyway, excuse me just, [laughter], anyway, I will read it, and its adaptation of it, and see what one can do with things that you...clear up. \\n \\nCharles Reznikoff\\n00:50:12\\nReads “Because I saw the desolation of Zion\\\" [from By the Waters of Manhattan: Selected Verse and published later in The Poems of Charles Reznikoff: 1918-1975]. \\n \\nCharles Reznikoff\\n00:53:33\\nAnd I think this is enough, perhaps, for a time. \\n \\nAudience\\n00:53:36\\nApplause.\\n \\nGeorge Bowering\\n00:54:01\\nWhat else, thank you very much, Mr. Reznikoff, and I'd just like to repeat that the next reading is at, two weeks from tonight, December the first, Daryl Hine, who's a graduate of the other university.\\n \\nEND\\n00:54:21\\n\",\"notes\":\"Charles Reznikoff reads poems from several books, including Jerusalem the Golden (Objectivist Press, 1934), Inscriptions: 1944-1956 (Shulsinger Brothers, 1959), Going To and Fro and Walking Up and Down (Futuro Press, 1941), and By the Waters of Manhattan: Selected Verse (New Directions, 1962). Many of the poems were later re-organized, edited, and included in other publications, such as Poems 1918-1975:The Complete Poems of Charles Reznikoff (Black Sparrow, 1989). \\n\\n00:00- Unknown Introducer introduces Charles Reznikoff. [INDEX: Daryl Hine reading on December 1, 1967; born in Brooklyn in 1894, graduated from law school New York       University, state bar of NY, New Directions Press and the San Francisco Review, By the Waters of Manhattan (1962), Testimony (1965), moral and legal history of United States; Reznikoff as an alternative to popular poetry taught at universities; quote from “Te Deum” by Charles Reznikoff.]\\n02:56- Charles Reznikoff introduces “Salmon and Red Wine”. [INDEX: collection of Chinese verse translated in English, quotes from it as introduction, 11th century, \\\"Poetry presents the thing in order to convey the feeling.  It should be precise about the thing and reticent about the feeling\\\"; reading from By the Waters of Manhattan (New Directions, 1962).]\\n04:47- Reads first line “Salmon and red wine”. [INDEX: process, writing life, travel, Bible; found in By the Waters of Manhattan (New Directions, 1962).]\\n05:39- Introduces first line “I have neither the time nor the weaving skill, perhaps...”. [INDEX: second poem in the same theme; found in By the Waters of Manhattan (New    Directions, 1962).]\\n05:47- Reads first line “I have neither the time nor the weaving skill, perhaps...”. [INDEX: craft, descriptive.]\\n06:13- Introduces unknown poem, first line “The winter afternoon darkens...” [INDEX: group of poems about New York.]\\n06:27- Reads unknown poem, first line “The winter afternoon darkens...”. [INDEX: cities, New York, work.]\\n06:44- Introduces “The Scrubwoman”.\\n06:48- Reads “The Scrubwoman”. [INDEX: cities, New York, work, poverty.]\\n07:07- Reads unknown poem, first line “The peddler who goes from shop to shop...”. [INDEX: cities, New York, Work.]\\n07:31- Reads first line “The elevator man”. [INDEX: cities, New York, poverty, work; from the poem “Autobiography: New York” in By the Waters of Manhattan (New Directions, 1962).]\\n07:54- Reads unknown poem, first line “The shopgirls leave their work...”. [INDEX: cities, New York, work.]\\n08:16- Introduces “Cooper Union Library”.\\n08:23- Reads “Cooper Union Library”. [INDEX: cities, New York, reading, from the poem        “Autobiography: New York” in By the Waters of Manhattan (New Directions, 1962).]\\n08:42- Reads unknown poem, first line “Showing a torn sleeve...”. [INDEX: cities, New York, poverty, food, age.]\\n09:06- Reads “Two girls of twelve or so at a table”. [INDEX: cities, New York, poverty, food, age; from Inscriptions: 1944-1956.]\\n09:54- Reads first line “I am always surprised to meet...” [INDEX: cities, New York, death; from the poem “Autobiography: New York” in Going To and Fro and Walking Up and Down (1941).]\\n10:23- Reads unknown poem, first line “Rails in the subway”. [INDEX: cities, New York,         transportation, building.]\\n10:41- Reads unknown poem, first line “This subway station, with its electric lights”.   [INDEX: cities, New York, transportation, building, from the poem “Autobiography:      \\tNew York” in Going To and Fro and Walking Up and Down (1941).]\\n11:06- Reads unknown poem, first line “Among the heaps of brick and plaster lies...”. [INDEX: cities, New York, building.]\\n11:18- Reads unknown poem, first line “The sky is [a peculiar] blue...”. [INDEX: cities, New York, water, pollution; from “Sightseeing Tour: New York”, from Inscriptions:   1944-1956 (1959), By the Waters of Manhattan (1962).]\\n11:48- Reads “Suburban River, Winter”. [INDEX: cities, New York, water.]\\n12:13- Reads “Suburban River, Summer”. [INDEX: cities, New York, water, women.]\\n12:40- Reads “Twilight”. [INDEX: nature, sky, horse.]\\n13:16- Reads first line “Frasier, I think, tells of a Roman...”. [INDEX: nature, New York; from poem “Sightseeing Tour: New York” from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n13:31- Reads first line “The dogs that walk with me...”. [INDEX: time, nature, now, here, if; from By the Waters of Manhattan.]\\n13:46- Reads “Fable”. [INDEX: solitude, friendship, woods, song, joke, from By the Waters of Manhattan.]\\n14:15- Reads first line “Scrap of paper”. [INDEX: money, streets, from Inscriptions:  \\t1944-1956 (1959), By the Waters of Manhattan (1962).]\\n14:28- Reads first line “One of my sentinels, a tree...”. [INDEX: summer, seasons, time, nature, from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n14:45- Reads poem, first line “I have not even been in the fields...”. [INDEX: age, time,        seasons, wind.]\\n15:01- Reads poem, first line “How grey are you, no white...”. [INDEX: age, body, death,     friends, dog; from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n15:25- Reads poem, first line “Blurred sight, and trembling fingers...”. [INDEX: age; from  “Notes on the Spring Holiday” from Inscriptions: 1944-1956 (1959), By the Waters of  Manhattan (1962).]\\n16:03- Introduces “Hardened Clock”. [INDEX: series.]\\n16:09- Reads “Hardened Clock”. [INDEX: time, sun, cycles, clocks, stars.]\\n16:51- Reads poem, fist line “If my days were like the ant’s...”. [INDEX: time, ant, carpe diem; perhaps part of “Hardened Clock”.]\\n17:18- Reads poem, first line “Our nightingale, the clock...”. [INDEX: time, clocks, birds,        nightingale, nature; perhaps part of “Hardened Clock”.]\\n17:32- Reads poem, first line “The clock on the bookcase ticks...”. [INDEX: time, clocks,     insects, consumption; perhaps part of “Hardened Clock”.]\\n17:47- Reads poem, first line “My hair was caught in the wheels of a clock...”. [INDEX: age, clocks, time, baldness; perhaps part of “Hardened Clock”.]\\n17:58- Reads poem, first line “Of course we must die...”. [INDEX:  death, telephone numbers; perhaps from “Hardened Clock”, from By the Waters of Manhattan.]\\n18:20- Reads poem, first line “Now it is cold...”. [INDEX: age, winter, time, seasons, death, birds, sparrow, sun, tree, anger, statues, weather, Don Juan, St. Francis; perhaps part of “Hardened Clock”.]\\n19:33- Reads poem, first line “It had been snowing at night...”. [INDEX: winter, time, snow, weather, morning; perhaps part of “Hardened Clock”.]\\n19:54- Reads poem, first line “Hardly a breath of wind...”. [INDEX: wind, leaves, fate;        perhaps part of “Hardened Clock”.]\\n20:14- Reads poem, first line: “After I had worked all day...”. [INDEX: work, fatigue, strength, tide; perhaps part of “Hardened Clock”.]\\n20:42- Introduces group called ‘religious’, poem called “Meditations on the Fall and Winter Holidays”. [INDEX: religious, Jewish New Year's.]\\n21:11- Reads “New Year’s” from “Meditations on the Fall and Winter Holidays”. [INDEX:   religious, holiday, water, farewell, death, harvest, autumn, trees, beginning, God,  \\tholidays, seasons, Israel, Judaism, grief, peace, servants, inheritance, remembrance; from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n23:19- Introduces “Day of Atonement”. [INDEX: from “Meditations on the Fall and Winter         Holidays” from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan    \\t(1962).]\\n23:24- Reads “Day of Atonement”. [INDEX: time, religious holidays, Judaism, Yom Kippur, God, time, day, write, rabbi, creation, world, men.]\\n24:50- Introduces “Hanukah”. [INDEX: victory of Maccabees over Syrians in 150 BCE, festival celebration; from “Meditations on the Fall and Winter Holidays”, from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n25:14- Reads “Hanukah”. [INDEX: religious holiday, Judaism, death, water, songs,    \\tremembrance, power, God.]\\n27:18- Reads poem, first line, “The lamps are burning in the synagogue...” [INDEX: religious, Judaism, travel, tradition, remembrance, names, knowledge, ignorance, eternal life; from “Meditations on the Fall and Winter Holidays”, from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962).]\\n28:40- Introduces “Samuel”. [INDEX: Samuel in the Bible.]\\n28:47- Reads “Samuel”. [INDEX: religious, Judaism, Bible, tradition, spirit, fire, seasons,      waiting, service.]\\n30:06- Introduces “Recitative”. [INDEX: from Inscriptions: 1944-1956 (1959), By the Waters of Manhattan (1962), Testimony (1965-8).]\\n30:27- Reads “Recitative”. [INDEX: birth, water, fire, murder, death]\\n31:15- Introduces poem, first line “Tilda was just a child...”. [INDEX: Testimony about law cases, different names, facts same.]\\n31:59- Reads poem, first line “Tilda was just a child...”. [INDEX: adolescence, girl,   \\tmenstruation, work, rural, domestic; from “The North: Boys & Girls, 5.” from Testimony.]\\n32:53- Reads poem, first line, “Years ago, a company procured a body of land...”. [INDEX: company land, urban planning, city, Mississippi City, streets, railroad, depot, pier, bankruptcy; from “The South: Negroes, X” from Testimony.]          \\n33:44- Introduces “Kaddish”. [INDEX: mourning, written at the beginning of the rise of Hitler, extermination program, ancient blessing in the Jewish ritual, Torah, quote from James Parks’ History of the Jewish People; from Going To and Fro and Walking Up and Down (1941).]\\n35:09- Reads “Kaddish”. [INDEX: religious, Judaism, Kaddish, Torah, Israel, blessing.]\\n37:04- Introduces “After Reading Translations of Ancient Texts on Stone and Clay”. [INDEX: from Going To and Fro and Walking Up and Down (1941).]\\n37:37- Reads “After Reading Translations of Ancient Texts on Stone and Clay”. [INDEX: religious, Bible, Judaism, Moses, Israel, Pharaoh, Egypt, soldiers.]\\n38:47- Introduces “As I was wandering with my unhappy thoughts...”\\n39:00- Reads “As I was wandering with my unhappy thoughts...”. [INDEX: unhappiness, sun, wind, paradise, Adam.]\\n39:36- Reads “The young fellow walks about with nothing to do”. [INDEX: work,   \\tunemployment, cigarettes, youth, stranger.]\\n40:09- Reads “A well-phrased eulogy”. [INDEX: funeral, death, eulogy, politeness.]\\n40:44- Reads “On a Sunday, when the place was closed”. [INDEX: mouse, food, God, blessing.]\\n41:12- Introduces “Testimony”. [INDEX: earlier testimony, based on law case, included in By the Waters of Manhattan.]\\n41:28- Reads “The company had advertised for men...”. [INDEX: company, work, dock,   water, ice, river, death.]\\n43:13- Introduces “Amelia was just fourteen...”.\\n43:16- Reads “Amelia was just fourteen...” [INDEX: work, orphanage, youth, girl, books,   wound.]\\n44:33- Introduces “Malicious women greet you, saying...”. [INDEX: poem written for his wife, wife not in attendance.]\\n44:55- Reads “Malicious women greet you, saying...”.  [INDEX: love poem, women, beauty, timeless.]\\n45:38- Introduces “He had with him a bag”. [INDEX: counter-piece, not written for wife.]\\n45:56- Reads “He had with him a bag”. [INDEX: scolding, walking, wives, husbands,   marriage.]\\n46:38- Introduces “On a seat in the subway”. [INDEX: Hebrew.]\\n46:56- Reads “On a seat in the subway”. [INDEX: cities, subway, Judaism, work,      \\tdiscrimination, racial, sadness, Aryan.]\\n47:41- Reads “Permit me to warn you...”. [INDEX: car, accident.]\\n47:59- Reads “These days, the papers in the street...”. [INDEX: cities, streets, sun.]\\n48:36- Introduces “Because I saw the desolation of Zion...”. [INDEX: Book of Ezra, fourth book of Ezra, appendix to the Vulgate, Protestant Apocrypha, translation, Syriac, original, Greek, Doctor G.H. Bocks, Hebrew, Bloch, 42nd Street Library, Aramaic.]\\n50:12- Reads “Because I saw the desolation of Zion”. [INDEX: Bible, Judaism, Ezra, Zion, God, prayer, angel, heaven, hell, fire, wind, sea, dialogue, Israel, plants, seeds, earth.]\\n54:01- Unknown introducer thanks Charles Reznikoff, announces next reading: Daryl Hine on December 1st. [INDEX: Daryl Hine reading, December 1.]\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-reznikoff-at-sgwu-1967/\"}]"],"score":1.9290923},{"id":"1266","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Daryl Hine at Sir George Williams University, The Poetry Series, 1 December 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"DARYL HINES I006/SR158\" written on sticker on the spine of the tape's box. DARYL HINES refers to Daryl Hine; HINES is mispelled. \"I006-11-158\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Hine, Daryl"],"creator_names_search":["Hine, Daryl"],"creators":["[{\"url\":\"http://viaf.org/viaf/94517620\",\"name\":\"Hine, Daryl\",\"dates\":\"1936-2012\",\"notes\":\"Canadian-American poet, translator and editor Daryl Hine was born in Vancouver, British Columbia in 1936. His first poems were published when he was fifteen in Contemporary Verse. In 1954 he traveled to Montreal to study classics and philosophy at McGill University, and completed his B.A. by 1958. His first books of poetry published was Five Poems (Emblem Books, 1955), followed by The carnal and the crane (McGill Poetry Series by Contact Press, 1957). In 1968 Hine received a Canada Foundation-Rockefeller fellowship which he used to travel Europe and live in France. In 1962 he returned, and completed his M.A. and Ph.D. degrees at the University of Chicago in comparative literature by 1967. Hine then took on a position teaching English at the University of Chicago, and the next year edited the distinguished Poetry magazine until 1978. By this time Hine had already published The Devil’s Picture Book (Abelard, 1960), Heroics: Five Poems (Grosswiller, 1961), The Wooden Horse (Atheneum, 1965), Minutes (Atheneum, 1969), Resident Alien (Atheneum, 1975), privately printed In and Out in 1975 (reprinted in 1989 by Knopf) and Daylight Saving (Atheneum, 1978). Hine has also translated The Homeric Hymns and the Battle of the Frogs and Mice (Atheneum, 1972), Ovid’s Heroines: A Verse Translations of the Hero Heroides (Yale University Press, 1991) and Puerilities: Erotic Epigrams of The Greek Anthology (Princeton University Press, 2001), several radio and stage plays A Mutual Flame (BBC Radio, 1961), The Death of Seneca (Chicago, 1968) and Alecstis (BBC Radio, 1972). Hine has won several prestigious awards, including the Guggenheim Fellowship in 1980, an American Academy Award in 1982 and a MacArthur Foundation Fellowship in 1986. He has since published a novel, The Prince of Darkness & Co (Abelard-Schuman, 1961), and poetry collections, including Selected Poems (Oxford University Press, 1980), Academic Festival Overtures (Atheneum, 1985), Postscripts (Random House, 1990), Recollected poems: 1951-2004 (Fitzhenry & Whiteside, 2007) along with dozens of articles and poems in magazines and anthologies. Hine died in 2012. \",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Atwood, Margaret"],"contributors_names_search":["Atwood, Margaret"],"contributors":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"Presenter_name":["Atwood, Margaret"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:60:00\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 12 1\",\"type\":\"Performance Date\",\"notes\":\" \",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Previous researcher\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Daryl Hine reads from The Carnal and the Crane (McGill Poetry Series by Contact Press, 1957), The Devil’s Picture Book (Abelard, 1960), and The Wooden Horse (Atheneum, 1965), as well as poems published later in Minutes (Atheneum, 1968)."],"contents":["daryl_hine_i006-11-158.mp3\n\nUnknown\n00:00:00\nAmbient Sound [voices].\n\nMargaret Atwood\n00:00:12\nI first met Daryl Hine [https://www.wikidata.org/wiki/Q5226186] about six years ago in New York [https://www.wikidata.org/wiki/Q60], where he was living in the midst of a colony of cockroaches, and on that occasion, he drank me under the table with more ease and urbanity than anybody that's been able to manage since, which is actually a literary comment on the way he writes poetry. It's a pleasure to welcome him back to Montreal [https://www.wikidata.org/wiki/Q340], while attending the 'other' university here; before that he lived in Vancouver [https://www.wikidata.org/wiki/Q24639], where he was born in 1936, and where he began writing poetry at the age of twelve, and publishing it in such magazines as Northern Review [https://www.wikidata.org/wiki/Q15757902] and Contemporary Verse at the age of fifteen. His first book, Five Poems, was published when he was eighteen, and his next, The Carnal and the Crane, established him as an important poet at age 21, when most poets are still cutting their poetic teeth. Since then, his career, like his poetry, has been international, rather than national. After becoming a college dropout, he traveled widely in Europe [https://www.wikidata.org/wiki/Q46] and then in the United States [https://www.wikidata.org/wiki/Q30], producing, en route, four other books, The Devil's Picture Book and The Wooden Horse, both of which are poetry, The Prince of Darkness, a novel, and a travel book called Polish Subtitles.  He is currently awaiting the publication of his next book of poetry, to be called Minutes, while teaching in the English department at the University of Chicago [https://www.wikidata.org/wiki/Q131252]. He says that his plans for the future are vague, but he assures me that they include the evasion of Toronto [https://www.wikidata.org/wiki/Q172]. Ladies and gentlemen, Daryl Hine.\n \nAudience\n00:02:03\nApplause.\n \nDaryl Hine\n00:02:11\nI thought I'd begin by reading some poems that I wrote when I lived in Montreal...if I can find some fuel. Poems that are in my second book, which I tend to think of as my first book, The Carnal and the Crane. I'll read the third and fourth of four fabulary satires.\n \nDaryl Hine\n00:02:48\nReads “Four Fabulary Satires” part III from The Carnal and the Crane.\n \nDaryl Hine\n00:04:51\nAnd the fourth satire.\n \nDaryl Hine\n00:04:53\nReads “Four Fabulary Satires” part IV from The Carnal and the Crane.\n \nDaryl Hine\n00:06:56\nThe other poem that I'll read from The Carnal and the Crane is a one-sided dialogue called \"A Bewilderment at the Entrance of the Fat Boy into Eden\". It's in four fairly distinct parts. They're more distinct than the ordinary stanzas in a poem.\n \nDaryl Hine\n00:07:35\nReads \"A Bewilderment at the Entrance of the Fat Boy into Eden\" from The Carnal and the Crane.\n \nDaryl Hine\n00:10:52\nA number of the poems in my next book, The Devil's Picture Book, were also written in Montreal, although the book was published about two years after I left Montreal and went to Europe. I'm going to read one of the longest poems in this book, which is called \"The Double-Goer\".\n \nDaryl Hine\n00:11:41\nReads \"The Double-Goer\" from The Devil’s Picture Book.\n \nDaryl Hine\n00:16:31\nImmediately following that poem in The Devil's Picture Book, which I feel is very accurately titled, immediately after that poem is another much shorter, and...perhaps not really simpler poem on the same subject, the subject which seemed to preoccupy me a great deal at the time and I'm glad to say no longer does. This poem is a villanelle, and it's called \"The Black Swan\".\n \nDaryl Hine\n00:17:12\nReads \"The Black Swan\" from The Devil’s Picture Book.\n \nDaryl Hine\n00:18:38\nThere's a...poem in The Wooden Horse that deals also, perhaps, I think, with the same subject, but in a different way, and at a different stage. It's called \"The Ouija Board\".  It may be that some of you don't know what an ouija board is, in any case, this one wasn't a real ouija board. We made it up using a teacup, an inverted, as I remember, cracked, willow-patterned teacup, on a round circular table top. Four of us operated this by placing a single finger each on the teacup, and we cut out letters of the alphabet and placed them around the table. I did this in company with a friend of mine who's done it for many years, and has developed such perfect communication with the other side that instead of getting the usual scrambled answers that people get in these attempted communications, he gets extremely long, involved, and very literate answers, rather in the style of his own prose writing....[audience laughter] which all purport, or most of them purport to come from a Greek or Roman character called, in this poem Io, he's actually called Ephraim, although perhaps I shouldn't mention it. Anyway, this is about a session with the teacup.\n \nDaryl Hine\n00:20:15\nReads “The Ouija Board” from The Wooden Horse. \n \nDaryl Hine\n00:21:54\nPerhaps as an alternative to all of this tinkering with the other side, I'll read a poem that is, most of it, very much about this side, called \"Bluebeard's Wife\".\n \nDaryl Hine\n00:22:21\nReads \"Bluebeard's Wife\" from The Wooden Horse.\n \nDaryl Hine\n00:25:46\nThe last poem I'll read from The Wooden Horse is the last poem in The Wooden Horse, and I beg your indulgence, as it's a trifle long. It's called \"The Wave\".\n \nDaryl Hine\n00:26:17\nReads \"The Wave” from The Wooden Horse.\n \nDaryl Hine\n00:31:01\nFour years ago I came back to Montreal on my first visit since I left rather quietly in 1958, and spent the next year after this return visit, which was very pleasant, although very brief, struggling with a poem which I think perhaps is still not quite finished, but I think will go either in this form or some other form into the next book. It's a poem, of course, about the impossibility of writing an autobiographical poem. And it's called \"The Apology\".\n \nDaryl Hine\n00:31:56\nReads \"The Apology\" [published later in Minutes]. \n\nDaryl Hine\n00:35:53\nWell, I've returned to other places than Montreal [audience laughter], and two summers ago I went back just for the summer to Paris [https://www.wikidata.org/wiki/Q90], where I lived for something more than, between three and four years, and I didn't like it very much. And these are two poems from a series that I wrote about not liking it. This one is called \"The Marché aux Puces and the Jardin des Plantes\"- the Marché aux Puces is of course the flea market, and the Jardin des Plantes is the botanical and zoological gardens, where I spent, in one place or other I spent most of my afternoons, that rather boring summer in Paris. Having the habit of working in the morning.\n \nDaryl Hine\n00:36:53\nReads \"The Marché aux Puces and the Jardin des Plantes\" [published later in Minutes; audience laughter throughout]. \n \nDaryl Hine\n00:38:17\nWell, I think perhaps I'll read three of these [inaudible]. The next one will seem familiar to, I'm sure, many of you. I haven't quite decided on a title, it might be called \"Jardin des Gourmets\", or it might be called \"Rendez-vous des routiers\" or something like that, it's about a certain sort of French restaurant.\n \nDaryl Hine\n00:38:42\nReads \"Le Rendezvous des Gourmets\" [published later in Minutes; audience laughter throughout].\n \nDaryl Hine\n00:40:18\nAnd this poem isn't quite as funny [audience laughter], not that I really thought the last one was, but this one is really about Henry James' [https://www.wikidata.org/wiki/Q170509] novel, The Ambassadors [https://www.wikidata.org/wiki/Q650571]. It's also, of course, about being in any town in the off season, in this case, Paris, and of course, Paris in August is emptier than anywhere I've ever been. But, I imagine that other places in their off seasons are the same. It's called \"Clôture annuelle\".\n \nDaryl Hine\n00:40:57\nReads \"Clôture annuelle\" [published later in Minutes].\n\nDaryl Hine\n00:42:19\nI also, this year, or was it last, returned to my place of origin, British Columbia [https://www.wikidata.org/wiki/Q1974]. A [inaudible] which will be familiar to some of you as the site of the University of British Columbia [https://www.wikidata.org/wiki/Q391028], I don't mean the University by any of the architectural things I mention in this poem, but I'm talking about the beach, a very beautiful, barren Pacific beach that lies below Point Grey [https://www.wikidata.org/wiki/Q16898567]. \n \nDaryl Hine\n00:43:05\nBegins to read unnamed poem.\n \nDaryl Hine\n00:43:10\nWell...[shuffles paper] I'll read another version, I think. Excuse me. \n \nDaryl Hine\n00:43:18\nReads [“Point Grey”; published later in Minutes].\n \nDaryl Hine\n00:45:03\nReads unnamed poem.\n \nDaryl Hine\n00:46:12\nThe last poem I'll read, if I can find it...it is called...\"The Trout\".\n \nDaryl Hine\n00:46:50\nReads \"The Trout\" [published later in Minutes].\n \nAudience\n00:48:41\nApplause.\n \nAnnouncer\n00:48:59\nI want to thank Mr. Hine and also announce that the next reading is on January 26th, by the American poet John Logan [https://www.wikidata.org/wiki/Q6245151].\n \nEND\n00:49:12\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\n In 1969, Daryl Hine published Commonplaces (Unicorn Press), and had published Bluebeard’s wife (Pasdeloup Press) and Minutes: poems (Atheneum) and the play The Death of Seneca in 1968. Hines was working at the University of Chicago and was editing Poetry magazine.\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\n At different points in his career, Daryl Hine lived in Montreal, and studied at McGill University. He met Margaret Atwood (the event presenter) in 1963 in New York, and I assume that she offers the direct connection between Hine and Sir George Williams University. Regardless of this connection, Hine is an important and influential Canadian-American poet, editor, translator and writer.\\n\",\"type\":\"General\"},{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Gilbert, Roger. \\\"Hine, Daryl\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/minutes-poems/oclc/61503623&referer=brief_results\",\"citation\":\"Hine, Daryl. Minutes. New York: Atheneum, 1968. \"},{\"url\":\"https://www.worldcat.org/title/carnal-and-the-crane/oclc/460627893&referer=brief_results\",\"citation\":\"Hine, Daryl. The Carnal and the Crane. Montreal: McGill Poetry Series, 1957. \"},{\"url\":\"https://www.worldcat.org/title/devils-picture-book-poems/oclc/707438836&referer=brief_results\",\"citation\":\"Hine, Daryl. The Devil's Picture Book. Toronto: Abelard-Schuman, 1960.\"},{\"url\":\"https://www.worldcat.org/title/wooden-horse-poems/oclc/613046839&referer=brief_results\",\"citation\":\"Hine, Daryl. The Wooden Horse. New York: Atheneum, 1965. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Sullivan, Rosemary. \\\"Hine, Daryl\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"http://www.poetryfoundation.org/archive/poet.html?id=3167\",\"citation\":\"“Daryl Hine (1936-)”. The Poetry Foundation Website. Poetryfoundation.org, 2009. \"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. Montreal: The Gazette. 14 September 1967, page 15.\"},{\"url\":\"\",\"citation\":\"“Poetry: From the Archive”. Poetry Magazine Website. Poetrymagazine.org\"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548831207424,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0158_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0158_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0158_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0158_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0158_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Daryl Hine Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/daryl_hine_i006-11-158.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"daryl_hine_i006-11-158.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:49:12\",\"precision\":\"\",\"size\":\"118.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Unknown\\n00:00:00\\nAmbient Sound [voices].\\n\\nMargaret Atwood\\n00:00:12\\nI first met Daryl Hine [https://www.wikidata.org/wiki/Q5226186] about six years ago in New York [https://www.wikidata.org/wiki/Q60], where he was living in the midst of a colony of cockroaches, and on that occasion, he drank me under the table with more ease and urbanity than anybody that's been able to manage since, which is actually a literary comment on the way he writes poetry. It's a pleasure to welcome him back to Montreal [https://www.wikidata.org/wiki/Q340], while attending the 'other' university here; before that he lived in Vancouver [https://www.wikidata.org/wiki/Q24639], where he was born in 1936, and where he began writing poetry at the age of twelve, and publishing it in such magazines as Northern Review [https://www.wikidata.org/wiki/Q15757902] and Contemporary Verse at the age of fifteen. His first book, Five Poems, was published when he was eighteen, and his next, The Carnal and the Crane, established him as an important poet at age 21, when most poets are still cutting their poetic teeth. Since then, his career, like his poetry, has been international, rather than national. After becoming a college dropout, he traveled widely in Europe [https://www.wikidata.org/wiki/Q46] and then in the United States [https://www.wikidata.org/wiki/Q30], producing, en route, four other books, The Devil's Picture Book and The Wooden Horse, both of which are poetry, The Prince of Darkness, a novel, and a travel book called Polish Subtitles.  He is currently awaiting the publication of his next book of poetry, to be called Minutes, while teaching in the English department at the University of Chicago [https://www.wikidata.org/wiki/Q131252]. He says that his plans for the future are vague, but he assures me that they include the evasion of Toronto [https://www.wikidata.org/wiki/Q172]. Ladies and gentlemen, Daryl Hine.\\n \\nAudience\\n00:02:03\\nApplause.\\n \\nDaryl Hine\\n00:02:11\\nI thought I'd begin by reading some poems that I wrote when I lived in Montreal...if I can find some fuel. Poems that are in my second book, which I tend to think of as my first book, The Carnal and the Crane. I'll read the third and fourth of four fabulary satires.\\n \\nDaryl Hine\\n00:02:48\\nReads “Four Fabulary Satires” part III from The Carnal and the Crane.\\n \\nDaryl Hine\\n00:04:51\\nAnd the fourth satire.\\n \\nDaryl Hine\\n00:04:53\\nReads “Four Fabulary Satires” part IV from The Carnal and the Crane.\\n \\nDaryl Hine\\n00:06:56\\nThe other poem that I'll read from The Carnal and the Crane is a one-sided dialogue called \\\"A Bewilderment at the Entrance of the Fat Boy into Eden\\\". It's in four fairly distinct parts. They're more distinct than the ordinary stanzas in a poem.\\n \\nDaryl Hine\\n00:07:35\\nReads \\\"A Bewilderment at the Entrance of the Fat Boy into Eden\\\" from The Carnal and the Crane.\\n \\nDaryl Hine\\n00:10:52\\nA number of the poems in my next book, The Devil's Picture Book, were also written in Montreal, although the book was published about two years after I left Montreal and went to Europe. I'm going to read one of the longest poems in this book, which is called \\\"The Double-Goer\\\".\\n \\nDaryl Hine\\n00:11:41\\nReads \\\"The Double-Goer\\\" from The Devil’s Picture Book.\\n \\nDaryl Hine\\n00:16:31\\nImmediately following that poem in The Devil's Picture Book, which I feel is very accurately titled, immediately after that poem is another much shorter, and...perhaps not really simpler poem on the same subject, the subject which seemed to preoccupy me a great deal at the time and I'm glad to say no longer does. This poem is a villanelle, and it's called \\\"The Black Swan\\\".\\n \\nDaryl Hine\\n00:17:12\\nReads \\\"The Black Swan\\\" from The Devil’s Picture Book.\\n \\nDaryl Hine\\n00:18:38\\nThere's a...poem in The Wooden Horse that deals also, perhaps, I think, with the same subject, but in a different way, and at a different stage. It's called \\\"The Ouija Board\\\".  It may be that some of you don't know what an ouija board is, in any case, this one wasn't a real ouija board. We made it up using a teacup, an inverted, as I remember, cracked, willow-patterned teacup, on a round circular table top. Four of us operated this by placing a single finger each on the teacup, and we cut out letters of the alphabet and placed them around the table. I did this in company with a friend of mine who's done it for many years, and has developed such perfect communication with the other side that instead of getting the usual scrambled answers that people get in these attempted communications, he gets extremely long, involved, and very literate answers, rather in the style of his own prose writing....[audience laughter] which all purport, or most of them purport to come from a Greek or Roman character called, in this poem Io, he's actually called Ephraim, although perhaps I shouldn't mention it. Anyway, this is about a session with the teacup.\\n \\nDaryl Hine\\n00:20:15\\nReads “The Ouija Board” from The Wooden Horse. \\n \\nDaryl Hine\\n00:21:54\\nPerhaps as an alternative to all of this tinkering with the other side, I'll read a poem that is, most of it, very much about this side, called \\\"Bluebeard's Wife\\\".\\n \\nDaryl Hine\\n00:22:21\\nReads \\\"Bluebeard's Wife\\\" from The Wooden Horse.\\n \\nDaryl Hine\\n00:25:46\\nThe last poem I'll read from The Wooden Horse is the last poem in The Wooden Horse, and I beg your indulgence, as it's a trifle long. It's called \\\"The Wave\\\".\\n \\nDaryl Hine\\n00:26:17\\nReads \\\"The Wave” from The Wooden Horse.\\n \\nDaryl Hine\\n00:31:01\\nFour years ago I came back to Montreal on my first visit since I left rather quietly in 1958, and spent the next year after this return visit, which was very pleasant, although very brief, struggling with a poem which I think perhaps is still not quite finished, but I think will go either in this form or some other form into the next book. It's a poem, of course, about the impossibility of writing an autobiographical poem. And it's called \\\"The Apology\\\".\\n \\nDaryl Hine\\n00:31:56\\nReads \\\"The Apology\\\" [published later in Minutes]. \\n\\nDaryl Hine\\n00:35:53\\nWell, I've returned to other places than Montreal [audience laughter], and two summers ago I went back just for the summer to Paris [https://www.wikidata.org/wiki/Q90], where I lived for something more than, between three and four years, and I didn't like it very much. And these are two poems from a series that I wrote about not liking it. This one is called \\\"The Marché aux Puces and the Jardin des Plantes\\\"- the Marché aux Puces is of course the flea market, and the Jardin des Plantes is the botanical and zoological gardens, where I spent, in one place or other I spent most of my afternoons, that rather boring summer in Paris. Having the habit of working in the morning.\\n \\nDaryl Hine\\n00:36:53\\nReads \\\"The Marché aux Puces and the Jardin des Plantes\\\" [published later in Minutes; audience laughter throughout]. \\n \\nDaryl Hine\\n00:38:17\\nWell, I think perhaps I'll read three of these [inaudible]. The next one will seem familiar to, I'm sure, many of you. I haven't quite decided on a title, it might be called \\\"Jardin des Gourmets\\\", or it might be called \\\"Rendez-vous des routiers\\\" or something like that, it's about a certain sort of French restaurant.\\n \\nDaryl Hine\\n00:38:42\\nReads \\\"Le Rendezvous des Gourmets\\\" [published later in Minutes; audience laughter throughout].\\n \\nDaryl Hine\\n00:40:18\\nAnd this poem isn't quite as funny [audience laughter], not that I really thought the last one was, but this one is really about Henry James' [https://www.wikidata.org/wiki/Q170509] novel, The Ambassadors [https://www.wikidata.org/wiki/Q650571]. It's also, of course, about being in any town in the off season, in this case, Paris, and of course, Paris in August is emptier than anywhere I've ever been. But, I imagine that other places in their off seasons are the same. It's called \\\"Clôture annuelle\\\".\\n \\nDaryl Hine\\n00:40:57\\nReads \\\"Clôture annuelle\\\" [published later in Minutes].\\n\\nDaryl Hine\\n00:42:19\\nI also, this year, or was it last, returned to my place of origin, British Columbia [https://www.wikidata.org/wiki/Q1974]. A [inaudible] which will be familiar to some of you as the site of the University of British Columbia [https://www.wikidata.org/wiki/Q391028], I don't mean the University by any of the architectural things I mention in this poem, but I'm talking about the beach, a very beautiful, barren Pacific beach that lies below Point Grey [https://www.wikidata.org/wiki/Q16898567]. \\n \\nDaryl Hine\\n00:43:05\\nBegins to read unnamed poem.\\n \\nDaryl Hine\\n00:43:10\\nWell...[shuffles paper] I'll read another version, I think. Excuse me. \\n \\nDaryl Hine\\n00:43:18\\nReads [“Point Grey”; published later in Minutes].\\n \\nDaryl Hine\\n00:45:03\\nReads unnamed poem.\\n \\nDaryl Hine\\n00:46:12\\nThe last poem I'll read, if I can find it...it is called...\\\"The Trout\\\".\\n \\nDaryl Hine\\n00:46:50\\nReads \\\"The Trout\\\" [published later in Minutes].\\n \\nAudience\\n00:48:41\\nApplause.\\n \\nAnnouncer\\n00:48:59\\nI want to thank Mr. Hine and also announce that the next reading is on January 26th, by the American poet John Logan [https://www.wikidata.org/wiki/Q6245151].\\n \\nEND\\n00:49:12\\n\",\"notes\":\" Daryl Hine reads from The Carnal and the Crane (McGill Poetry Series by Contact Press, 1957), The Devil’s Picture Book (Abelard, 1960), and The Wooden Horse (Atheneum, 1965), as well as poems published later in Minutes (Atheneum, 1968).\\n\\n00:12- Unknown (female- perhaps Wynne Francis?) introduces Daryl Hine [INDEX: met in New York, McGill University, Vancouver (b. 1936), Northern Review, Contemporary Verse, books Five Poems (Emblem Books, 1955), The carnal and the crane (McGill Poetry Series by Contact Press, 1957), international career, traveling in Europe and the U.S., books The Devil’s Picture Book (Abelard, 1960), The Wooden Horse (Atheneum, 1965), The Prince of Darkness (Abelard-Schuman, 1961), Polish Subtitles (Abelard-Schuman,1962), next publication: Minutes (Atheneum, 1975), teaching at the University of Chicago, Toronto.]\\n02:11- Daryl Hine introduces “Four Fabulary Satires” part III. [INDEX: first line “Bee, at the end of your famous garden, admonished...”; poems written in Montreal, poems in “second” book (actually first); from The Carnal and the Crane (McGill Poetry Series,   \\t1957).]\\n02:48- Reads “Four Fabulary Satires” part III. [INDEX: garden, nature, bee, poppy,    hollyhock, time, rhetoric, language, orator, grasshopper, ant, grammar; Duration: 02:03.]\\n04:51- Introduces “Four Fabulary Satires” Part IV. [INDEX: fourth satire; from The Carnal and the Crane (McGill Poetry Series, 1957)]\\n04:53- Reads “Four Fabulary Satires” Part IV.\\n06:56- Introduces “A Bewilderment at the Entrance of the Fat Boy into Eden”. [INDEX:   one-sided dialogue, four parts, rather than stanzas; from The Carnal and the Crane    (McGill Poetry Series, 1957).]\\n07:35- Reads “A Bewilderment at the Entrance of the Fat Boy into Eden”. [INDEX: boy,   demons, paradise, money, angel, sleep, art, Hamlet, duality; duration: 03:17.]\\n10:52- Introduces “The Double-Goer”. [INDEX: number of poems in The Devil’s Picture Book (Abelard, 1960) written in Montreal, left Montreal for Europe, longest poem in the book.]\\n11:41- Reads “The Double-Goer”. [INDEX: lyric, error, crime, art, heart, half, double, heaven, earth, duality, day, single, sleeper, dream, sublime, careless; from The Devil’s Picture Book (Abelard, 1960), duration 04:50; Howard Fink list “The Double Door”.]\\n16:31- Introduces “The Black Swan”. [INDEX: title of The Devil’s Picture Book, poem following “The Double-goer” is shorter, subject matter, villanelle; from The Devil’s       \\tPicture Book (Abelard, 1960).]\\n17:12- Reads “The Black Swan”. [INDEX: nature, air, water, swan, villanelle, guilt, lover, fair, duality; from The Devil’s Picture Book (Abelard, 1960), duration 01:26.]\\n18:38- Introduces “The Ouija Board”. [INDEX: from The Wooden Horse (Atheneum, 1965), deals with similar subject to “The Black Swan” but at different stage, ouija board, self-made ouija board out of willow-patterned teacup, on table, four people operating it,   literate answers, prose writing, Greek or Roman character called Io or Ephraim.]\\n20:15- Reads “The Ouija Board”. [INDEX: ouija board, voices, spirit, questions, answers, dialogue, glass, grave, death, other side, other world, love; duration 01:38.]\\n21:54- Introduces “Bluebeard’s Wife”. [INDEX: about the other side; from The Wooden Horse (Atheneum, 1965)]\\n25:46- Reads “Bluebeard's Wife”. [INDEX: Bluebeard, myth, fairy tale, wife, objects, summer, nature, air, alone, artifice, rooms; from The Wooden Horse (Atheneum, 1965); duration 02:24.]\\n26:17- Reads “The Wave”. [INDEX: day, Sunday, sea, tide, beach, write, event, documentation, earthquake, death, flood, God; from unknown source; duration 03:45.]\\n31:01- Introduces “The Apology”. [INDEX: first trip to Montreal since 1958, came back with idea for this poem, not in finished form, about the impossibility of writing an      \\tautobiographical poem, published in next book of poetry; first published in Minutes         \\t(Atheneum, 1968). Note: possible differences in published version?]\\n31:56- Reads “The Apology”. [INDEX: apology, time machine, woman, school, poem,   machine, mechanical, reader, verse, silence, experience, meaning, poet; duration 03:57.]\\n35:53- Introduces “The Marche aux puces and the Jardin des Plantes”. [INDEX: return to Paris, lived there for 3-4 years, poem about not liking Paris, Marche aux puces is a flea   market, Jardin des Plantes is the botanical and zoological gardens, summer in Paris, working in the morning; from Minutes (Atheneum, 1968).]\\n36:53- Reads “The Marche aux Puces and the Jardins des Plantes”. [INDEX: art, beauty, zoo, flea market, metro, cities, Paris; duration 01:22.]\\n38:17- Introduces unknown poem, first line “The price is fixed...”. [INDEX: possible titles    “Jardin des Gourmets” or “Rendez-vous des routiers”, about French Restaurant;    published as “Le Rendezvous des Gourmets” in Minutes (Atheneum, 1968).]\\n38:42- Reads unknown poem, first line “The price is fixed...”. [INDEX: restaurant, food, soup, menu, bread, sacrament, Last Supper, remembrance; duration 01:34.]\\n40:18- Introduces “Clôture annuelle”. [INDEX: Henry James’ novel, The Ambassadors, being   in a town in the off-season, Paris in August; from Minutes (Atheneum, 1968).]\\n40:57- Reads “Clôture annuelle”. [INDEX: cities, Paris, August, emptiness, solitude, weather, summer, winter, stranger, life; duration 01:22.]\\n42:19- Introduces unknown poem, first line “Brought up as I was to judge the weather...”. [INDEX: returning to B.C., University of British Columbia, barren beach below Point Grey; published as “Point Grey” in Minutes (Atheneum, 1968).]\\n43:05- Begins to read “Brought up as I was to judge the weather...”.\\n43:10- Interrupts reading to read a different version.\\n43:18- Reads “Brought up as I was to ask of the weather...”. [INDEX: cities, Vancouver,    beach, water, mountains, rain, weather, concrete, guilt, waves, beauty.]\\n45:03- Reads “Antaeus, when once separated from the ground...”. [INDEX: myth, Antaeus, Hercules, gravity, love, suffering; from unknown source.]\\n46:12- Introduces “The Trout”. [INDEX: from Minutes (Atheneum, 1968).]\\n46:50- Reads “The Trout”. [INDEX: water, fish, prison, reality, music, cycles, death, pattern, paradise; duration 01:48.]\\n48:59- Unknown male announcer makes announcement of next reading [INDEX: January 26, American poet John Logan.]\\n\\nHoward Fink List: Print catalogue page from archives contains the following information:\\n\\nTitle: Daryl Hine reading his own poetry\\nDate: December 1, 1969\\nSource: one, two-track, 7” tape, 3 ¾, lasting 55 mins.\\n \\n1. Title:  \\n    First line: “Be, at the end of your famous garden…”\\n2. Title:              \\n    First line: “The fox and the crow…”\\n3. Title: A Bewilderment of the Entrance of the Fat Boy into Eden\\n    First line: “Not knowing…”\\n4. Title: The Double Door\\n    First line: “All that I do is…”\\n5. Title: The Black Swan\\n    First line: “Confused between the water and the air…”\\n6. Title: Ouija Board\\n    First line: “The wood that they prefer to walk…”\\n7. Title: Bluebeard’s Wife\\n    First line: “Impatiently she tampered with”\\n**Note inserted in archived print catalogue: -between poems #7 and #8; The Wave\\nFirst line: “Suddenly it was quiet as a Sunday”\\n8. Title: The Apology\\n    First line:“The time machine”\\n9. Title:              \\n    First line:“There are too many hours in a day”\\n10. Title:              \\n      First line: “The price is fixed…”\\n11. Title:              \\n      First line: “X, in August…”\\n12. Title:              \\n      First line: “Brought up as I was…”\\n13. Title: The Trout\\n      First line: “The water…”\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/daryl-hine-at-sgwu-1967/\"}]"],"score":1.9290923},{"id":"1302","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["George Bowering, Home Recording, 3 March 1967"],"item_title_source":["Cataloguer"],"item_title_note":["Title does not follow the typical formula for this collection, as this reading did not take place at Sir George Williams University, but rather in Bowering's home."],"item_language":["English"],"item_production_context":["Home recording"],"item_series_title":["The Poetry Series"],"item_identifiers":["[]"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"Poet, novelist, anthologist and critic George Bowering was born in Penticton, British Columbia in 1935. In 1954 he served in the Royal Canadian Air Force until 1957, when he pursued a Bachelor’s degree in 1960 and a Master’s degree in 1963 from the University of British Columbia. With fellow poets Frank Davey, David Dawson, James Reid, Fred Wah and critic Warren Tallman, he founded Tish in 1961, a poetry newsletter which had monumental reverberations across Canada. This magazine, influenced by styles of the Black Mountain Poets and of the East Coast poetry of Louis Dudek, Raymond Souster and Irving Layton, brought a “new wave” of poetry to Canada. Bowering’s first collection of poetry began with Sticks and Stones (Tishbooks, 1962) with a preface written by Robert Creeley, and was followed by Points on the Grid (Contact Press, 1964) and Man in Yellow Boots (El Corno Emplumado, 1965). Bowering also founded the magazine Imago (1964-1974), which featured critical essays and poetry, and he also contributed to Open Letter as an editor. Bowering then moved eastwards, teaching at the University of Calgary from 1963-1966, enrolled in the Ph.D. program at the University of Western Ontario. A year later, Bowering accepted a position as the writer-in-residence in 1967 at Sir George Williams University (now Concordia University) in Montreal, becoming a lecturer in 1967-1971. Bowering joined the Sir George Williams University Poetry Reading Series Committee in the fall of 1967, which was being run by Roy Kiyooka, Stanton Hoffman and Howard Fink. In 1972 he left Montreal and began a long career teaching at Simon Fraser University in British Columbia. He has published over fifty books of poetry, prose, short stories, essays, reviews, plays as well as pieces that combine and defy genres. A selection of his publications are as follows: Genève (Coach House Press, 1971), Autobiology (New Star Books, 1972), Curious (Coach House Press, 1973), In the Flesh (McClelland & Stewart, 1974), Allophanes (Coach House Press, 1976), Burning Water (Beaufort Books, 1980), Caprice (Penguin Books, 1988), Harry’s Fragments (Coach House Press, 1990), Rewriting my Grandfather (Nomados, 2005), Baseball Love (Talonbooks, 2006) and Shall I Compare: July 2006 (George Bowering, 2008). Bowering published his interview with Black Mountain poet Robert Duncan: An Interview, (Coach House Press, 1971), a book-length study on Canadian poet Al Purdy: Al Purdy (Copp Clark, 1970) along with editing several anthologies such as Vibrations: Poems from Youth (Cage, 1970), Fiction of Contemporary Canada (Coach House Press, 1980) and Likely Stories: A Postmodern Sampler (Coach House Oress, 1992). Bowering has won two Governor General Awards, for poetry in 1969 for Rocky Mountain Foot (McClelland & Stewart, 1968) and The Gangs Kosmos (Anasi, 1969); one for fiction in 1980 for Burning Water (Beaufort Books, 1980). George Bowering continues teaching, inspiring and writing at the Simon Fraser University in British Columbia.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 3 3\",\"type\":\"Performance Date\",\"notes\":\"Date reference in \\\"Howard Fink List\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"Bowering's home at the time\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["George Bowering reads from Points on the Grid (Contact, 1964), The Man in Yellow Boots (El Corno Emplumado, 1965) as well as one poem published later in Rocky Mountain Foot: a lyric, a memoir (1968). "],"contents":["George Bowering\n00:00:00\nFirst of all, my apologies for being so late with the tape, and a footnote that the noise in the background, if there is any, will be my wife making supper. \n\nUnknown\n00:00:12\nAmbient sound.\n\nGeorge Bowering\n00:00:17\nFirst I'll read, first I'll read from my first book, Points on the Grid.\n\nUnknown\n00:00:27\n[Cut in tape].\n\nGeorge Bowering\n00:00:32\nThis book published in 1964, by Contact Press. The first poem I'll read is the one called \"Trail\" [feedback sounds].\n\nGeorge Bowering\n00:00:49\nReads \"Trail\" from Points on the Grid.\n \nGeorge Bowering\n00:01:36\n\"Locus Solus\".\n \nGeorge Bowering\n00:01:40\nReads \"Locus Solus\" from Points on the Grid.\n \nGeorge Bowering\n00:02:42\nI might mention that the difference between this book and the other one is that more often you'll see on the page in this book that I've been working out certain ideas about poetics [https://www.wikidata.org/wiki/Q835023], certain ideas about syntax [https://www.wikidata.org/wiki/Q37437], ideas about how to get the page down on the poem, all the things the Tish poets [https://www.wikidata.org/wiki/Q2384384] were working out in the early 1960s. As an example, the poem, \"Walking Poem\".\n \nGeorge Bowering\n00:03:14\nReads \"Walking Poem\" from Points on the Grid.\n \nGeorge Bowering\n00:04:22\nI might mention, according to our poetics, or according to my poetics in that poem you'll see things operating such as a rhyme between the word 'shadow' and the word 'bashful'. \"Family\".\n \nGeorge Bowering\n00:04:39\nReads \"Family\" from Points on the Grid.\n \nGeorge Bowering\n00:05:33\nThe following is the poem that I think is the best in the book, and that I think most people whom I've talked to agree this is the best poem in the book. \"Grandfather\".\n \nGeorge Bowering\n00:05:47\nReads \"Grandfather\" from Points on the Grid.\n \nGeorge Bowering\n00:07:25\n\"For A.\".\n \nAnnotation\n00:07:28\nReads \"For A.\" from Points on the Grid.\n \nGeorge Bowering\n00:07:49\nOne thing that separates Western Canada [https://www.wikidata.org/wiki/Q1145847] from Eastern Canada [https://www.wikidata.org/wiki/Q795077] is the Spanish names of Western Canada and the Spaniards [https://www.wikidata.org/wiki/Q160894] left their names all the way up the coast, not only in California and Oregon. This poem, set partly in Vancouver [https://www.wikidata.org/wiki/Q24639] and partly on the rest of the B.C. coast is called \"Spanish B.C.\".\n\nGeorge Bowering\n00:08:11\nReads \"Spanish B.C\" from Points on the Grid.\n \nGeorge Bowering\n00:10:34\nI suppose I'd better read the title poem, \"Points on the Grid\".\n \nGeorge Bowering\n00:10:42\nReads \"Points on the Grid\" from Points on the Grid.\n \nGeorge Bowering\n00:12:10\nI might mention, just for the record, that many of the things that I learned and tried to practice in that first book, I learned originally from poets such as Robert Duncan [https://www.wikidata.org/wiki/Q964391], Robert Creeley [https://www.wikidata.org/wiki/Q918620], Charles Olson [https://www.wikidata.org/wiki/Q922978], all of whom visited Vancouver and helped the young poets in Vancouver out, very much, in learning about poetry. Now I plan to read from The Man in Yellow Boots, published this year, 1965, and in this book, I tend to move away from experimentation [https://www.wikidata.org/wiki/Q1384425], although I still retain many of the things that I tried to work out in the first book. In this book one of the things that I often do is turn to more social issues. First though, let me read the love poem that begins the book, this poem called \"To Cleave\".\n \nGeorge Bowering\n00:13:14\nReads \"To Cleave\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:13:43\nThis book is a bilingual book, unfortunately not with French [https://www.wikidata.org/wiki/Q150], but with Spanish [https://www.wikidata.org/wiki/Q1321] and just this once I'm going to see if I can read the Spanish version of the poem I just read. Spanish is called \"Penetrar\".\n \nGeorge Bowering\n00:13:58\nReads \"Penetrar\" from The Man in Yellow Boots in Spanish.\n \nGeorge Bowering\n00:14:39\nIncidentally as a poetic note, some of that scratching and scrabbling noise in the background is my two small dogs beating each other up. This poem called \"Moon Shadow\".\n \nGeorge Bowering\n00:14:54\nReads \"Moon Shadow\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:16:03\nThis then, is the other side of my poetry, this poem called \"Vox Crapulous\".\n \nGeorge Bowering\n00:16:09\nReads \"Vox Crapulous\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:17:31\nFurther in that vein, this poem’s written October 16, 1964: a momentous day. This poem is called \"The Day Before the Chinese A-Bomb\".\n \nGeorge Bowering\n00:17:46.49\nReads \"The Day Before the Chinese A-Bomb\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:18:29\nThis a longer poem, I think one of the two best poems in the book the other one being \"The Descent\", this poem's called \"For WCW\"\n \nGeorge Bowering\n00:18:39\nReads \"For WCW\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:21:16\nThis poem, written during our visit to Mexico [https://www.wikidata.org/wiki/Q96] in 1964, called \"Esta Muy Caliente\" and the reason it's not called \"Hace Mucho Calor\" is because of something inherent in the Spanish language that those that know will understand.\n \nGeorge Bowering\n00:21:35\nReads \"Esta Muy Caliente\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:23:09\nI think the following is the best poem in this book, it's called \"The Descent\", the title taken from a William Carlos Williams [https://www.wikidata.org/wiki/Q178106] poem of course.\n \nGeorge Bowering\n00:23:18.83\nReads \"The Descent\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:29:09\nAnd the last poem in the book, \"Breaking Up, Breaking Out\".\n \nGeorge Bowering\n00:29:14\nReads \"Breaking Up, Breaking Out\" from The Man in Yellow Boots.\n \nGeorge Bowering\n00:30:03\nNow, some newer poems, while there's time. This newest one called \"The Oil\", written after a drive to Edmonton [https://www.wikidata.org/wiki/Q2096] and back from Calgary [https://www.wikidata.org/wiki/Q36312].\n \nGeorge Bowering\n00:30:14\nReads \"The Oil\" [published later in Rocky Mountain Foot: a lyric, a memoir].\n \nGeorge Bowering\n00:32:03\nHere's a short poem called \"I Saw\".\n \nGeorge Bowering\n00:32:07\nReads \"I Saw\".\n \nGeorge Bowering\n00:32:20\nOkay, when I've just about come to the end of this side of the tape and I don't think I'll use the other side so that you can use it for somebody else, and once again I'm terribly sorry for being so late with this tape, and also if that does seem a loss, I'm sorry for not saying more things about poetry, I've been doing that less and less the further and further I've been getting away from Vancouver. So, Merry Christmas!\n \nEND\n00:32:58\n"],"Note":["[{\"note\":\"Year-specific Information:\\n\\nIn 1967, George Bowering had been hired at Sir George Williams University and was on the Reading Series Committee. Bowering was also editing his magazine Imago in Montreal.\",\"type\":\"General\"},{\"note\":\"Local connections:\\n\\nGeorge Bowering was very influential in promoting and enriching the Vancouver poetry scene in the early 1960s, through his magazines Tish and Imago as well as the hundreds of connections he made with other poets. His early connections with the Black Mountain Poets and the relationships he made with Canadian poets from Vancouver across Canada to Montreal  have been essential because he bridged the gap of distance and made new types of poetry available to young poets. Montrealer Louis Dudek wrote that Bowering’s “most important contribution to the new generation of Montreal poets was the institution of a series of readings at Sir George [Williams University] which exposed them to the diverse experimentation that was taking place across Canada and the U.S.”[1] . Bowering has anthologized many Canadian poets, as well as publishing over fifty books of his own writing, establishing himself as an important figure in Canadian poetry. \",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) & Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/rocky-mountain-foot-a-lyric-a-memoir/oclc/962929125&referer=brief_results\",\"citation\":\"Bowering, George. Rocky Mountain Foot: a lyric, a memoir. Toronto: McClelland & Stewart, 1968. \"},{\"url\":\"https://www.worldcat.org/title/concrete-island-montreal-poems-1967-1971/oclc/15849512&referer=brief_results\",\"citation\":\"Bowering, George. The Concrete Island: Montreal poems, 1967-1971. Montreal: Vehicule Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/points-on-the-grid/oclc/3391688&referer=brief_results\",\"citation\":\"Bowering, George. Points on the Grid. Toronto: Contact Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/802667762&referer=brief_results\",\"citation\":\"Bowering, George. (ed). The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://www.worldcat.org/title/montreal-english-poetry-of-the-seventies/oclc/757254674&referer=brief_results\",\"citation\":\"Farkas, Andre & Ken Norris, ed. Montreal English Poetry of the Seventies. Montreal: Vehicule Press, 1977.\"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970-edited-and-with-an-introduction-by-eli-mandel/oclc/1202953921&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-volume-1/oclc/636622714&referer=brief_results\",\"citation\":\"Miki, Roy. “Bowering, George (1935-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Ed. Benson, Eugene; Conolly, L.W. London: Routledge, 1994. \"},{\"url\":\"https://www.worldcat.org/title/record-of-writing-an-annotated-and-illustrated-bibliography-of-george-bowering/oclc/797558365&referer=brief_results\",\"citation\":\"Miki, Roy. A Record of Writing: an annotated and illustrated bibliography of George Bowering. Vancouver: Talonbooks, 1990. \"},{\"url\":\"https://www.worldcat.org/title/canadian-writers-since-1960-first-series/oclc/883361320&referer=brief_results\",\"citation\":\"Quartermain, Peter and Meredith. \\\"George Bowering.\\\" Canadian Writers Since 1960: \\nFirst Series. Ed. William H. New. Dictionary of Literary Biography, Vol. 53. Detroit: Gale Research, 1986. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960/oclc/962929534&referer=brief_results\",\"citation\":\"Davey, Frank. From There to Here: A Guide to English-Canadian Literature Since 1960. Ontario: Press Porcepic, 1974 .\"},{\"url\":\"https://www.worldcat.org/title/man-in-the-yellow-boots-el-hombre-de-las-botas-amarillas/oclc/1150284247&referer=brief_results\",\"citation\":\"Bowering, George and Sergio Mondragon. The Man in Yellow Boots. Mexico: El Corno Emplumado, 1965. \"}]"],"_version_":1853670548964376576,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:32:58\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nFirst of all, my apologies for being so late with the tape, and a footnote that the noise in the background, if there is any, will be my wife making supper. \\n\\nUnknown\\n00:00:12\\nAmbient sound.\\n\\nGeorge Bowering\\n00:00:17\\nFirst I'll read, first I'll read from my first book, Points on the Grid.\\n\\nUnknown\\n00:00:27\\n[Cut in tape].\\n\\nGeorge Bowering\\n00:00:32\\nThis book published in 1964, by Contact Press. The first poem I'll read is the one called \\\"Trail\\\" [feedback sounds].\\n\\nGeorge Bowering\\n00:00:49\\nReads \\\"Trail\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:01:36\\n\\\"Locus Solus\\\".\\n \\nGeorge Bowering\\n00:01:40\\nReads \\\"Locus Solus\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:02:42\\nI might mention that the difference between this book and the other one is that more often you'll see on the page in this book that I've been working out certain ideas about poetics [https://www.wikidata.org/wiki/Q835023], certain ideas about syntax [https://www.wikidata.org/wiki/Q37437], ideas about how to get the page down on the poem, all the things the Tish poets [https://www.wikidata.org/wiki/Q2384384] were working out in the early 1960s. As an example, the poem, \\\"Walking Poem\\\".\\n \\nGeorge Bowering\\n00:03:14\\nReads \\\"Walking Poem\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:04:22\\nI might mention, according to our poetics, or according to my poetics in that poem you'll see things operating such as a rhyme between the word 'shadow' and the word 'bashful'. \\\"Family\\\".\\n \\nGeorge Bowering\\n00:04:39\\nReads \\\"Family\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:05:33\\nThe following is the poem that I think is the best in the book, and that I think most people whom I've talked to agree this is the best poem in the book. \\\"Grandfather\\\".\\n \\nGeorge Bowering\\n00:05:47\\nReads \\\"Grandfather\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:07:25\\n\\\"For A.\\\".\\n \\nAnnotation\\n00:07:28\\nReads \\\"For A.\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:07:49\\nOne thing that separates Western Canada [https://www.wikidata.org/wiki/Q1145847] from Eastern Canada [https://www.wikidata.org/wiki/Q795077] is the Spanish names of Western Canada and the Spaniards [https://www.wikidata.org/wiki/Q160894] left their names all the way up the coast, not only in California and Oregon. This poem, set partly in Vancouver [https://www.wikidata.org/wiki/Q24639] and partly on the rest of the B.C. coast is called \\\"Spanish B.C.\\\".\\n\\nGeorge Bowering\\n00:08:11\\nReads \\\"Spanish B.C\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:10:34\\nI suppose I'd better read the title poem, \\\"Points on the Grid\\\".\\n \\nGeorge Bowering\\n00:10:42\\nReads \\\"Points on the Grid\\\" from Points on the Grid.\\n \\nGeorge Bowering\\n00:12:10\\nI might mention, just for the record, that many of the things that I learned and tried to practice in that first book, I learned originally from poets such as Robert Duncan [https://www.wikidata.org/wiki/Q964391], Robert Creeley [https://www.wikidata.org/wiki/Q918620], Charles Olson [https://www.wikidata.org/wiki/Q922978], all of whom visited Vancouver and helped the young poets in Vancouver out, very much, in learning about poetry. Now I plan to read from The Man in Yellow Boots, published this year, 1965, and in this book, I tend to move away from experimentation [https://www.wikidata.org/wiki/Q1384425], although I still retain many of the things that I tried to work out in the first book. In this book one of the things that I often do is turn to more social issues. First though, let me read the love poem that begins the book, this poem called \\\"To Cleave\\\".\\n \\nGeorge Bowering\\n00:13:14\\nReads \\\"To Cleave\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:13:43\\nThis book is a bilingual book, unfortunately not with French [https://www.wikidata.org/wiki/Q150], but with Spanish [https://www.wikidata.org/wiki/Q1321] and just this once I'm going to see if I can read the Spanish version of the poem I just read. Spanish is called \\\"Penetrar\\\".\\n \\nGeorge Bowering\\n00:13:58\\nReads \\\"Penetrar\\\" from The Man in Yellow Boots in Spanish.\\n \\nGeorge Bowering\\n00:14:39\\nIncidentally as a poetic note, some of that scratching and scrabbling noise in the background is my two small dogs beating each other up. This poem called \\\"Moon Shadow\\\".\\n \\nGeorge Bowering\\n00:14:54\\nReads \\\"Moon Shadow\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:16:03\\nThis then, is the other side of my poetry, this poem called \\\"Vox Crapulous\\\".\\n \\nGeorge Bowering\\n00:16:09\\nReads \\\"Vox Crapulous\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:17:31\\nFurther in that vein, this poem’s written October 16, 1964: a momentous day. This poem is called \\\"The Day Before the Chinese A-Bomb\\\".\\n \\nGeorge Bowering\\n00:17:46.49\\nReads \\\"The Day Before the Chinese A-Bomb\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:18:29\\nThis a longer poem, I think one of the two best poems in the book the other one being \\\"The Descent\\\", this poem's called \\\"For WCW\\\"\\n \\nGeorge Bowering\\n00:18:39\\nReads \\\"For WCW\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:21:16\\nThis poem, written during our visit to Mexico [https://www.wikidata.org/wiki/Q96] in 1964, called \\\"Esta Muy Caliente\\\" and the reason it's not called \\\"Hace Mucho Calor\\\" is because of something inherent in the Spanish language that those that know will understand.\\n \\nGeorge Bowering\\n00:21:35\\nReads \\\"Esta Muy Caliente\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:23:09\\nI think the following is the best poem in this book, it's called \\\"The Descent\\\", the title taken from a William Carlos Williams [https://www.wikidata.org/wiki/Q178106] poem of course.\\n \\nGeorge Bowering\\n00:23:18.83\\nReads \\\"The Descent\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:29:09\\nAnd the last poem in the book, \\\"Breaking Up, Breaking Out\\\".\\n \\nGeorge Bowering\\n00:29:14\\nReads \\\"Breaking Up, Breaking Out\\\" from The Man in Yellow Boots.\\n \\nGeorge Bowering\\n00:30:03\\nNow, some newer poems, while there's time. This newest one called \\\"The Oil\\\", written after a drive to Edmonton [https://www.wikidata.org/wiki/Q2096] and back from Calgary [https://www.wikidata.org/wiki/Q36312].\\n \\nGeorge Bowering\\n00:30:14\\nReads \\\"The Oil\\\" [published later in Rocky Mountain Foot: a lyric, a memoir].\\n \\nGeorge Bowering\\n00:32:03\\nHere's a short poem called \\\"I Saw\\\".\\n \\nGeorge Bowering\\n00:32:07\\nReads \\\"I Saw\\\".\\n \\nGeorge Bowering\\n00:32:20\\nOkay, when I've just about come to the end of this side of the tape and I don't think I'll use the other side so that you can use it for somebody else, and once again I'm terribly sorry for being so late with this tape, and also if that does seem a loss, I'm sorry for not saying more things about poetry, I've been doing that less and less the further and further I've been getting away from Vancouver. So, Merry Christmas!\\n \\nEND\\n00:32:58\\n\",\"notes\":\"George Bowering reads from Points on the Grid (Contact, 1964), The Man in Yellow Boots (El Corno Emplumado, 1965) as well as one poem published later in Rocky Mountain Foot: a lyric, a memoir (1968). \\n\\nList of Poems Read and Time Stamps:\\n00:00 - George Bowering introduces reading [INDEX: Points on the Grid ]\\n00:49 - Reads “Trail”\\n01:36 - Reads “Locus Solus” [INDEX: not on Howard Fink list of poems]\\n02:42 - Introduces “Walking Poem” [INDEX: Points on the Grid, Man in Yellow Boots, poetics, syntax, Tish poets in the early 1960’s]\\n03:14 - Reads “Walking Poem”\\n04:22 - Introduces “Family” [INDEX: poetics: rhyme]\\n04:39 - Reads “Family”\\n05:33 - Introduces “Grandfather”\\n05:47 - Reads “Grandfather”\\n07:25 - Reads “For A.”\\n07:49 - Introduces “Spanish B.C.” [INDEX: differences between Eastern and Western Canada, Spaniards on West Coast of North America, Vancouver]\\n08:11 - Reads “Spanish B.C.”\\n10:34 - Reads “Points on the Grid”\\n12:10 - Introduces “To Cleave” [INDEX: Robert Duncan, Robert Creeley, Charles Olson, young poets in Vancouver, The Man in Yellow Boots, experimentation in poetry]\\n13:14 - Reads “To Cleave”\\n13:43 - Introduces “Penetrar” [INDEX: not on Howard Fink List.]\\n13:58 - Reads “Penetrar”\\n14:39 - Introduces “Moon Shadow”\\n14:54 - Reads “Moon Shadow”\\n16:03 - Introduces “Vox Crappulous”\\n16:09 - Reads “Vox Crappulous”\\n17:31 - Introduces “The Day Before the Chinese A-Bomb” [INDEX: October 16, 1964]\\n17:46 - Reads “The Day Before the Chinese A-Bomb”\\n18:29 - Introduces “For W.C.W.” [INDEX: “The Descent”, William Carlos Williams]\\n18:39 - Reads “For W.C.W.”\\n21:16 - Introduces “Esta Muy Caliente” [INDEX: written during trip to Mexico in 1964, Spanish language]\\n23:09 - Reads “Esta Muy Caliente”\\n23:09 - Introduces “The Descent” [INDEX: William Carlos Williams poem]\\n23:18 - Reads “The Descent”\\n29:09 - Introduces “Breaking Up, Breaking Out”\\n29:14 - Reads “Breaking Up, Breaking Out”\\n30:03 - Introduces “The Oil” [INDEX: drive from Edmonton to Calgary, poem from \\nunknown source]\\n32:03 - Reads “The Oil”\\n32:03 - Reads “I Saw” [INDEX: poem from unknown source]\\n32:20 - George Bowering closes the reading [INDEX: talking about poetry, being away from Vancouver, Merry Christmas!]\\n\\nHoward Fink List of Poems:\\n“George Bowering” reading his own poetry\\nMarch 3, 1967\\nreel info: one, 5” tape, 3 3/4 ips, mono, one track, lasting 25 mins.\\n*note: some poems are missing from this list*\\n“Steps of love” is noted as being between “Walking Poem” and “Family”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0006_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"George Bowering Tape Box 1 - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0006_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"George Bowering Tape Box 1 - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0006_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"George Bowering Tape Box 1 - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0006_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"George Bowering Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"score":1.9290923}]