[{"id":"1253","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 Atwood at Sir George Williams University, The Poetry Series, 18 October 1974"],"item_title_source":["Cataloguer"],"item_title_note":["\"MARGARET ATWOOD\" written on the spine of the tape's box. \"I006-11-008\" written on sticker on the reel. \"MARGARET ATWOOD 5780 H. FINK ENGLISH 18-10-74 Weisman Gallery OP-Gvadnay?\" written on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_identifiers":["[]"],"access":["Closed"],"creator_names":["Atwood, Margaret"],"creator_names_search":["Atwood, Margaret"],"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 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\",\"Speaker\"]}]"],"contributors_names":["Beissel, Henry, 1929-","Francis, Wynne","Fink, Howard,"],"contributors_names_search":["Beissel, Henry, 1929-","Francis, Wynne","Fink, Howard,"],"contributors":["[{\"url\":\"http://viaf.org/viaf/5489879/#Beissel,_Henry\",\"name\":\"Beissel, Henry, 1929-\",\"dates\":\"1929-\",\"notes\":\"Identity of this speaker confirmed in oral history interviews by Jason Camlot with Henry Beissel (over zoom), conducted on 2020-03-27 and 2020-05-05.\",\"nation\":[],\"role\":[\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/77926194\",\"name\":\"Francis, Wynne\",\"dates\":\"1918-2000\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/6332801\",\"name\":\"Fink, Howard, \",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\"]}]"],"Presenter_name":["Beissel, Henry, 1929-","Francis, Wynne"],"Series_organizer_name":["Francis, Wynne","Fink, Howard, "],"Speaker_name":["Fink, Howard, "],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"Notes on tape box include: CENTRE FOR INSTRUCTIONAL TECHNOLOGY; Prod. No: 5789; Professor/Initiator H. Fink; DEPT. English; venue noted is Weisman Gallery; Op. [operator or recordist] G Uadnay [?]; check box indicates this is MASTER of the recording (not a copy); \",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"Cardboard tape box\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1974 10 18\",\"type\":\"Performance Date\",\"notes\":\"Date written on the front of the tape's box. This date was confirmed in. the Oct 18, 1974 issue of The Georgian.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Weismann Art Gallery\",\"notes\":\"Location written on the front of the tape's box indicates the venue was the Weisman Gallery.\",\"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":["Weismann Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Margaret Atwood reads from You Are Happy (Oxford University Press, 1974) and Power Politics (Anansi, 1971). Atwood also answers audience questions about her work. "],"contents":["margaret_atwood_i006-11-008.mp3\n\nHenry Beissel\n00:00:00\nOne moment... problem that we have here at Sir George [https://www.wikidata.org/wiki/Q326342]. We did try to get a larger hall but it was impossible. To accommodate the overflow, we have set up loudspeakers in the little gallery here, Howard, and in the other one too?\n \nHoward Fink\n00:00:21\nOutside.\n \nHenry Beissel\n00:00:22\nOutside, there are loudspeakers. So please don't all crowd into the room. If you are going to lean against the paintings, we shall never be able to get this room again for poetry readings. Because this, this is a gallery which belongs to the Fine Arts department, we had great difficulty getting it, these paintings are very precious, particularly to the artists themselves [audience laughter]. I would ask you please to stay away from the paintings. That must have been the artist [audience laughter]. We are also waiting for the arrival of someone else, so please be patient. Howard--[audience laughter] can you ask the security people to turn on the cooling system, the hall is going to be too hot.\n \nUnknown\n00:01:22\nAmbient Sound [voices].\n \nHenry Beissel\n00:01:25\nWe may get 927.\n \nMargaret Atwood\n00:01:30\nWhat do you mean, we may, I think they're also--okay. What would you like to do? Let us stay here or move?\n \nAudience\n00:01:41\nStay here.\n \nMargaret Atwood\n00:01:44\nOkay, with the people, there are some people who are at the back of the door, there is some space up here at the front if you'd like to come up.\n \nHenry Beissel\n00:01:54\nNo more than ten.\n \nMargaret Atwood\n00:01:58\nAbout ten. It'll make more room at the back too...If everybody on the chairs would shift over this way, um, and sit on, sort of as if it were a bench, then some more people can sit on the edges there. Or just move the chairs all that way. Move the rows forward. They're all shifting over anyway. Could you all move your chairs forward to make the rows as close together as possible. Okay, it's alright. \n\nUnknown\n00:03:17\nAmbient Sound [voices].\n\nMargaret Atwood\n00:04:41\nThere are these uhh--woohoo--there are these speakers outside and you might be more comfortable if you went out and listened over the speakers, some of the people are really jammed in there. I don't see any reason why this thing should resemble a steam bath, for all of us. If you're--what? what?...I don't think I can, what is it that they do? [Audience laughter].\n \nWynne Francis\n00:05:19\n[Laughter]. Miss Atwood [https://www.wikidata.org/wiki/Q183492] has just upstaged the introducer. Good evening ladies and gentlemen. It's not often that an artist excels in two medium such as poetry and fiction as our guest tonight does. Miss Atwood's reputation as a superior poet was established in the 60's with her first collections, The Circle Game [https://www.wikidata.org/wiki/Q7723073] and The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]. And while continuing to write fine poetry, six major collections to date, she's given us two novels in the last five years, The Edible Woman [https://www.wikidata.org/wiki/Q7731579] and Surfacing. With the second novel, published late in 1972, within a few months of a controversial work of criticism, Margaret Atwood became one of Canada's [https://www.wikidata.org/wiki/Q16] best known literary artists. The hypothesis of Survival, a study of patterns in Canadian lit is that Canadians see themselves as victims. I was remind of Survival recently when I came across a nineteenth-century curiosity written by one John McTaggart [https://www.wikidata.org/wiki/Q463553]. It was a book published in London [https://www.wikidata.org/wiki/Q84] in 19-- excuse me--1829. McTaggart wrote \"There's a melancholy which is peculiar to Canadians which must be combatted. People who labor under it must be encouraged, the soothing language, good treatment and now and then as circumstances require, a little assistance gratis as a stimulant.\" McTaggart's third point about the helpful effects of a little assistance as a recent theory has been taken up by the Canada Council [https://www.wikidata.org/wiki/Q2993809], to whom we are in part indebted for her appearance tonight. Margaret Atwood's work constitutes an exploration of what it means to be a Canadian, to be a woman and to be a human being. She writes about our totems, our tapestry of manners, our progressive insanities. She taught at Sir George in 67-68, and it's a great pleasure to have her return to us tonight. After her reading, she'll be open to questions from the audience. Ladies and gentlemen, Margaret Atwood.\n\nAudience\n00:07:27\nApplause [cuts out briefly].\n\nMargaret Atwood\n00:07:38\nLet's see now, if the mic starts to get funny, let me know...Too loud?...Not too loud, I'm afraid it isn't a very good mic and also I'm afraid I'm going to have to hold it the whole time which is a bore...I don't think it'll work very well, is that better? Does that work? Higher? Lower? Okay, how's that? Okay, I'm going to read entirely from my new book which is called \"This is\"--oh, what is it called? [audience laughter]. It's called You Are Happy. Somebody who has been photographing me says that a friend of hers was in a bookstore and picked out this book and thought at first that this was one of these \"I'm Okay, You're Okay\" books. Until I saw who wrote it. [Audience laughter]. But it has a happy ending, you'll be pleased to know. And I'm going to begin at the beginning and end at the end. Skipping portions along the way. I'm also going to make this reading fairly short because we are all in this rather constricted situation. I used to tell people when people in the States [https://www.wikidata.org/wiki/Q30] used to ask me “do you live in an igloo” and other questions like that, I used to think to myself that being a Canadian was sort of like living in a chicken coop in the middle of the desert. That everybody was all together in one place but there are these huge spaces around. I wish that we had been provided with one of them. [Audience laughter]. I have a chicken coop, and you're nicer. But there are more of you. I think we will all have to be very, very patient, unlike the chickens. I'm going to begin by reading a poem called \"Newsreel: Man and Firing Squad\".\n \nMargaret Atwood\n00:10:04\nReads \"Newsreel: Man and Firing Squad\" from You Are Happy.\n \nMargaret Atwood\n00:11:42\nReads \"Useless\" from You Are Happy.\n \nMargaret Atwood\n00:12:35\nThis is--the image in this next poem comes from, begins with the fact that I have a sheep and one of them died. The poem is called \"November\".\n \nMargaret Atwood\n00:12:48\nReads \"November\" from You Are Happy.\n \nMargaret Atwood\n00:13:52\nReads \"Repent\" from You Are Happy.\n \nMargaret Atwood\n00:14:47\n\"Tricks with Mirrors\". How are you doing? Is it hot and steamy? Has anybody died yet?\n \nMargaret Atwood\n00:15:05\nReads \"Tricks with Mirrors\" from You Are Happy.\n \nMargaret Atwood\n00:17:45\nThis is the title poem, \"You Are Happy\".\n \nMargaret Atwood\n00:17:50\nReads \"You are Happy\" from You Are Happy.\n \nMargaret Atwood\n00:18:48\nReads \"First Prayer\" from You Are Happy.\n \nMargaret Atwood\n00:20:25\n\"Is / Not: 1\". Oh boy, is it ever hot in here. I can't stand it. Light. I wonder if we could--well, then I can't see, you see. I wonder if we could turn off--would it be better if we turn off those lights that are grilling you over there...I could what?...Where's the light switch anyway? Howard, turn off the lights?...Well, maybe in a few minutes the lights will go off. Where did…\n\nUnknown\n00:21:36\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n\nMargaret Atwood\n00:21:37\nHooray, wonderful. Actually, there's a light under here. It's like the Saturday movies [audience laughter]. No, I can read with this, yeah. Maybe I'll just read a little something else here, because it's the Saturday Movies.\n \nMargaret Atwood\n00:22:18\nReads [\"You take my hand\" from Power Politics; audience laughter throughout].\n \nMargaret Atwood\n00:23:13\nAnd since we were talking about the war between Superman [https://www.wikidata.org/wiki/Q79015] and Captain Marvel [https://www.wikidata.org/wiki/Q534153] at dinner, my favourite was Plastic Man [https://www.wikidata.org/wiki/Q746838], but that was an esoteric taste. I'll read this one.\n \nMargaret Atwood\n00:23:28\nReads \"They Eat Out\" [from Power Politics].\n \nMargaret Atwood\n00:24:44\nI go to--I can't resist this. This is from the new book, it's called \"Siren Song\". Students of Seventeenth Century Literature are always asking themselves and each other, what song the sirens sang, and this is the ultimate answer.\n \nMargaret Atwood\n00:25:06\nReads \"Siren Song\" from You Are Happy.\n \nMargaret Atwood\n00:26:12\nThe imminent critic, Allen Pearson, who was once known when he lived in Montreal [https://www.wikidata.org/wiki/Q340] as the Montreal Poet, now that he lives in Toronto [https://www.wikidata.org/wiki/Q172], he's probably known as the Toronto Poet, says the following: \"Siren Song tells how boring it is for a woman to be obliged to attract men by appealing to them for help\". [Audience laughter]. Um, since I'm on the subject of people in capes and costumes, I'll read...\n \nUnknown\n00:26:56\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nAnnotation\n00:26:57\nReads [untitled poem from the “Circle/Mud Poems” section in You Are Happy].\n \nMargaret Atwood\n00:28:20\nReads \"Is / Not\" from You Are Happy.\n \nMargaret Atwood\n00:30:37\nI think I'd better read just three more poems, before we all die. The first one is called \"There is Only One of Everything\".\n \nMargaret Atwood\n00:30:54\nReads \"There is Only One of Everything\" from You Are Happy.\n \nMargaret Atwood\n00:32:30\nReads \"Late August\" from You Are Happy.\n \nMargaret Atwood\n00:33:26\nThis is the last poem, called \"Book of Ancestors\".\n \nMargaret Atwood\n00:33:33\nReads \"Book of Ancestors\" from You Are Happy. \n \nAudience\n00:36:31\nApplause [cuts out briefly].\n\nWynne Francis\n00:36:47\nThank you, it's really not so hot if you sit still. Miss Atwood is prepared to discuss, for a little while.\n \nMargaret Atwood\n00:37:04\nIf you would like to, uh, I can't see a thing of course, I can sort of see hands if you stick them up and wave them around. Would that be better than turning back on the lights which I'd prefer not to do?\n \nWynne Francis\n00:37:22\nThere's no way we can get mics in the audience, so please speak loudly.\n \nMargaret Atwood\n00:37:23\nI see a hand.\n \nAudience Member 1\n00:37:28\nHow did your nickname of a witch get originated?\n \nMargaret Atwood\n00:37:30\nHow did my nickname of a witch? Are you referring to the speech I gave the other night at Loyola? Oh, it's, I was talking about a couple of reviews, that seemed to credit me with having these supernatural powers, you know, the ability to hypnotize my readers and things like that, and what I was saying was that in fact I don't in fact possess the powers of hypnotism or I'd use them on my bank manager and be quite rich. Um, I was talking about a pattern that seems to crop up from time to time in a certain kind of review usually written by men. [Audience laughter]. I heard that there were a couple of people in the audience at Loyola who before the speech, were convinced that I was a witch and that I was going to talk about witchcraft, and when I said that I wasn't one, they left. [Audience laughter]. You see, if I were a witch, I wouldn't be able to wear the cross. So that's how you can tell I'm not. Wards off vampires. Um, yes?\n \nAudience Member 2\n00:38:54\nUm, [unintelligible] and as well as the Edible Woman, I seem to get this idea of an emergence from greyness, or darkness and I was wondering if it's through this emergence from greyness that you have any reference to Blake [https://www.wikidata.org/wiki/Q41513] in his emergence from chaos.\n \nMargaret Atwood\n00:39:17\nI'll be very flattered, if I did. I'm afraid I suffer by the comparison. I think that you're right in spotting it, I think I would say that it's more like this, that if you want to think in terms of colour, that you start with a grey, and then you go down. Down into, well, it depends on the poem or the book or whatever of what's happening in your life. And, but you have to go down before you come up again otherwise you stay just in the grey part. If you want a real pattern for this, it's Dante's [https://www.wikidata.org/wiki/Q1067] Inferno [https://www.wikidata.org/wiki/Q4509219], where the man starts in a wandering wood, you know he starts in a kind of state of being lost, and then he goes down into hell. The further down he goes the more tortured souls he sees, but when he gets right to the bottom he finds that he's going up again. And then he comes out the other side.\n \nAudience Member 2\n00:40:19\nYeah, but, in this other side-ness in the Edible Woman you come up through colours, a very [unintelligible] of colours and I was wondering if this is the complete emergence of man?\n \nMargaret Atwood\n00:40:29\nNot complete--I would say no, no beginning.\n \nAudience Member 2\n00:40:32\n[Unintelligible] complete--into his universal aspect, but into an emergence of man. Into the colours of life.\n \nMargaret Atwood\n00:40:39\nYour choice of the word 'man' is interesting. Since the heroine is a woman. [Audience laughter and applause]. Um, I think you have the pattern right. I wouldn't like to attach any sort of universal meaning to it.\n \nAudience Member 2\n00:40:56\nNo I'm not attaching a universal meaning, I'm attaching more or less a universal meaning to the colour of darkness or greyness.\n \nMargaret Atwood\n00:41:04\nNo, that's right, you're correct. Yes.\n \nAudience Member 2\n00:41:07\nI'm not trying to express a universal meaning into these colours, this is where you're taking it wrong.\n \nMargaret Atwood\n00:41:14\nWell, I'm not too sure what we're talking about to tell you the truth. You've spotted a correct pattern and I'm not too sure how one interprets it because I don't like to be the critic of my own work in a way if you know what I mean. Yes.\n \nAudience Member 3\n00:41:34\nI know you're writing a screenplay for [unintelligible]. Will it ever become a film?\n \nMargaret Atwood\n00:41:39\nWill it ever? Let's see now, I finished it at the end of July. Now, what is--the stages of making a film are these: first somebody takes out an option on it, which means they pay you X dollars to have the sole right to try to make the movie for a certain period of time. If they fail to make it to renew the option or to require the rights at the end of that period, you get it back and you can then sell it to anybody else or back to them if you want. That's different from buying the rights which means they've got it. And you can't get it back. An option has been taken out, a script has been written. They are now doing whatever it is they do, who knows. To try to put together what is called a package, that is, they try to interest a director or they pick out a director and they try to put a director together with a script together with some money. And that's all going on, I don't know what's happening with it because they don't tell. Yes.\n \nAudience Member 4\n00:42:42\nAre those people American or Canadian?\n \nMargaret Atwood\n00:42:47\nThese people are. [Audience laughter]. Once upon a time there was an English Canadian film industry. Not very hard. I mean it's trying very hard but not many results are being had. And I wanted very much to make Surfacing in Canada with Canadian everything, but I was about two years too late. And also Canadians are quite timmerus about this book because they said “well, it'll never be able to sell a film in the States” because of all that strange American symbolism in it. They--the two people I'm working with are two American independent producers, not to be confused with MGM [https://www.wikidata.org/wiki/Q179200], who want to make the book as it is, that is, they like the book, they want to be faithful to it, they don't want to transport it to Maine [https://www.wikidata.org/wiki/Q724] or wherever and make it into an American film, which of course you couldn't do without ruining the symbolic pattern. They want to make it in Canada, they want to put in all that stuff because they say “wow, dynamite”. [Audience laughter]. They're not worried about selling it in the States. So that's how we're proceeding right now and we have not yet had a falling out on any of the crucial matters such as what's in the screenplay. And so that's been fine. They would like to make it here. And what stage they're at right now I don't know. Now if they don't put it together, then I get it back and then I have another go. And I'll try it ‘round Canada again, once more, and I'll probably with the same results--\n \nAudience Member 4\n00:44:26\nYou have tried?\n \nMargaret Atwood\n00:44:30\nOh yes, everybody tries. I've written four or five screenplays, none of them have been made. They've all been for Canadians. One thing has happened, I got one television play done, but of course everything you do for the CBC [https://www.wikidata.org/wiki/Q461761] pretty well gets done. [Audience laughter]. As you know. I wrote a screenplay for Edible Woman that didn't get done. I wrote one for Marie-Claire Blais [https://www.wikidata.org/wiki/Q298358], Mad Shadows, we had high hopes for that, that was a Canadian director, Canadian producer all the rest of it. No deal. Film development corporations said it wasn't commercial enough. I mean, you don't go outside before you've been through it for a while. It's a problem that novelists used to face when trying to get their novels published here.\n \nWynne Francis\n00:45:22\nI'd like to ask a question, and I can't see what competition I've got, I can't see anything out there. On Wednesday at Loyola, you gave comic tags to some of your critical opponents taken from Koestler [https://www.wikidata.org/wiki/Q78494], Yogis and Komisars are critics that are formalists and culturally and politically aware and I wondered, do you see the ideal critic or type of criticism as combining these two?\n \nMargaret Atwood\n00:45:51\nWell, I think that people have certain talents, you know, and they should exercise what talents they have, and that all kinds of criticism should be available to the reader. I don't think that every critic has to do everything, I think that would be asking a singer to be a dancer. \n \nWynne Francis\n00:46:08\nI remember you saying it was good to have both kinds, I wondered if you think they could be combined?\n \nAudience Member 5\n00:46:16\nIs it possible that the body of knowledge turns into the knowing body?\n \nMargaret Atwood\n00:46:20\nIs it possible that the body of knowledge turns into the knowing body? Um, I'll let you answer that. If such a person could do it, I'd like to see it, I've never seen anybody who could do both at the same time. Frye [https://www.wikidata.org/wiki/Q354256], for instance, does one kind in one book and then another kind in another book, but he usually doesn't usually do them both in the same book. I would say that Yogi-ism is necessary to be able to read a poem, just period pure and simple. To see what is happening in it. But Komasarism is necessary to place it in a larger context. Why not do both? Yes, I see. Back there, you\n \nAudience Member 6\n00:47:08\nDo you think that Quebec [https://www.wikidata.org/wiki/Q176] is a part of Canada?\n \nMargaret Atwood\n00:47:09\nOh that's such a good question.\n \nAudience Member 6\n00:47:11\nDo you think that a Quebecois is a Canadian?\n \nMargaret Atwood\n00:47:15\nI think I'll leave that to the Quebecois to decide for themselves. They're the people concerned. [Audience applause]. I was talking with one not so long ago, Marie-Claire Blais, and I asked her that question. I said, “well, what do you think of yourself as? Do you think of yourself as a Quebecoise? or a Canadian? or a North-American, or part of Western European culture or a universalist?” And she said, “I am from Quebec”. [Audience laughter]. Does that answer your question? Yes.\n \nAudience Member 7\n00:47:58\nWhat is your opinion of the introductions in the New Canadian Library [https://www.wikidata.org/wiki/Q16998703] Series?\n \nMargaret Atwood\n00:48:03\nWell, they vary. [Audience laughter]. Do you mean the one? Well, I thought that it was, it was like a, well, the only thing I can think of is something fairly vulgar, um, but I don't mean that I think it was bad. I mean that I think it was quite a ponderous organization, being brought to bear on what I consider to be a fairly light piece of writing. That is, at the front of my book, I have a quotation from the Joy of Cooking which tells how to make puff pastry. And then I have you know, critical sort of, really big critical apparatus coming in and talking about the symbolic structuring and the this and the that, and I think it's nice, I'm glad to know about those things, but [audience laughter] it's somehow, I thought my novel was a bit more comic than that. If you know what I mean.\n \nAudience Member 8\n00:49:09\nYeah, I wanted to ask a question. Yeah, I was wondering to what degree you consider yourself to be an ironist because you're talking about [unintelligible] irony, it seems to me that irony is the point I’m most attracted to in your work anyway.\n \nMargaret Atwood\n00:49:22\nYeah, well, you can have both of course, as a matter of fact you usually do.\n \nAudience Member 8\n00:49:31\nYou were talking about anger, and \"permit me the present tense\" kind of thing, seems to me that that was ironic.\n \nMargaret Atwood\n00:49:41\nAmbigu--it has a double meaning. But that's not always irony, I think irony has been...Well, somebody defined irony as a kind of literature in which the reader knows more about what's going on with the character than the character knows himself, shall we say. So, yes, of course, I think that happens in an awful lot of modern literature. Yes.\n \nAudience Member 9\n00:50:14\nI understand you're working on Survival Two?\n \nMargaret Atwood\n00:50:16\nNot working, exactly.\n \nAudience Member 9\n00:50:22\nI was wondering whether you could, or would like to elaborate on that.\n \nMargaret Atwood\n00:50:25\nYeah, okay. There was to have been something called Survival Two, which was to have been this really dynamite anthology. Which would have incorporated many of the short pieces mentioned in Survival, plus other ones that were appropriate and we did assemble this and then we had it priced as to how much it would cost for permissions and how much it would cost us to print it and it was just astronomically expensive. So we had to shelf that, and that was what Survival Two was to have been. Now I'll probably publish the proposed table of contents sometime and you can see what would have been in it. [Audience laughter]. You know, but a small publisher cannot afford to do this kind of thing. However, I am, I won't say working on because I'm working on it in the same sense that I'm working on my Ph.D. thesis, what I'm really doing is writing a novel. But I will, should I live that long, write a second edition of Survival, in which I hope to have five new chapters and additions to the ones that already exist. I think the thing about Survival that sometimes gets forgotten was that it was based on what was available in paperback at the time. A lot more things are available in paperback now, we have General Publishing coming on the scene, with Paper Jacks, and New Canadian Library expanding itself and Macmillan's [https://www.wikidata.org/wiki/Q2108217] paperbacks expanding. So there's just a lot more around that you can put in and also new books have been published that I would like to talk about and I've discovered older ones that I didn't know about before. So, all of these things, plus a new introduction and maybe a few things at the back, I would like to do. However, I'm not quite ready to do it yet. I took a kind of holiday after I finished Survival One, and I'm still in that, it's a holiday devoted to writing other things. Yes,\n \nAudience Member 10\n00:52:30\nWho are your favourite poets?\n \nMargaret Atwood\n00:52:33\nI tend to have favourite poems, rather than favourite poets, but I can tell you the names of some people who've written some of my favourite poems. One of them is Margaret Avison [https://www.wikidata.org/wiki/Q6759152], one of them is P.K. Page [https://www.wikidata.org/wiki/Q2755960], they're poems by all kinds of people that I really like, for instance, I really like some of A.M. Klein's [https://www.wikidata.org/wiki/Q2778027] poems. I think they're just super. And more modern people, for instance, Michael Ondaatje [https://www.wikidata.org/wiki/Q313593], I like his work, Al Purdy [https://www.wikidata.org/wiki/Q4704621] I was reading in the early to middle Sixties, Doug Jones [https://www.wikidata.org/wiki/Q5203595] at that time. It covers a very wide range. I'm a kind of omnivorous reader, I'll read anything, including the backs of Cornflake boxes, so that you just never know, and it also changes, you know, because you read somebody for a while and then you've done that so you go and read somebody else.\n\nAudience Member 10\n00:53:31\n[Unintelligible].\n\nMargaret Atwood\n00:53:33\nOh yeah, I get various little magazines come floating in through the mail to me, for some reason. And right now, for instance, I'm reading a lot of Adrienne Rich [https://www.wikidata.org/wiki/Q270705], because I'm about to write a review of her latest book. This kind of thing, I mean it varies from month to month. If you ask me the same question in January the question would be different...Yeah.\n \nAudience Member 11\n00:54:02\n[Unintelligible] Is Surfacing more than vaguely autobiographical?\n \nMargaret Atwood\n00:54:11\nIt's vaguely, if you're talking about the plot--no. The setting, yes, and this is generally true of fiction, that people write from a setting that they know. They generally create characters out of some people that they've known plus they throw things in and invent them and make mosaics out of various things and the characters are fictional. The plot is usually a total invention. I mean, my parents are still alive and well, all of that. No, I have never been a paranoid schizophrenic with amnesia. [Audience laughter]. And as for the Edible Woman, I've never gone off food, but all kinds of other people have. You know, they come up to me and say, “Gee, how did you know the story of my life” and “that's happened to me and let me tell you it was awful, I used to throw up on busses”. I was kind of shocked, actually, I thought it was all a big comic invention of my own. I see one waving at the back.\n \nAudience Member 12\n00:55:20\nUm, excuse me, would you say that you base your characters on some type of psychological background?\n \nMargaret Atwood\n00:55:25\nUm, I try to make them believable insofar as it will fit the plot. That is, I try to make what they do believable to myself, but they have to do what they do if you see what I mean. Yes.\n \nAudience Member 13\n00:55:46\nWould you say the Edible Woman is a comical invention of your own?\n \nMargaret Atwood\n00:55:49\nI said I thought it was, yeah.\n \nAudience Member 13\n00:55:51\nWell, how would you define that, as a comedy?\n \nMargaret Atwood\n00:55:54\nOh, okay, if you wanna be technical. Um, the Edible Woman is actually an anti-comedy. Because a comedy is a form in which usually a young couple goes through a series of misadventures and blokings and gets married at the end. Now in the Edible Woman, a young couple goes through a series of misadventures and blokings and somebody else gets married at the end. [Audience laughter]. Yes. \n \nAudience Member 14\n00:56:24\nCould you tell us anything about the novel you're writing now?\n \nMargaret Atwood\n00:56:26\nNot a thing, that's my one superstition--well, it's one of my superstitions. I can't talk about work that I'm doing, it uses up the energy. It's true. Yeah.\n \nAudience Member 15\n00:56:41\nI read the Edible Woman right after reading a book by Robertson Davies [https://www.wikidata.org/wiki/Q545375], about [unintelligible].\n \nMargaret Atwood\n00:56:49\nOkay, the question is I read the Edible Woman right after reading a book by Robertson Davies, Fifth Business [https://www.wikidata.org/wiki/Q5447489]?\n \nAudience Member 15\n00:56:58\nNo, an earlier book.\n \nMargaret Atwood\n00:57:00\nManticore [https://www.wikidata.org/wiki/Q7750230]?\n \nAudience Member 15\n00:57:00\nIt was a comedy\n \nMargaret Atwood\n00:57:01\nOh, okay.\n \nAudience Member 15\n00:57:02\nAbout a couple in a town [unintelligible] resolve it and they get married. And I wondered why he wasn't mentioned in Survival at all.\n \nMargaret Atwood\n00:57:15\nWell, I think probably because I wasn't doing humour and I wasn't doing magic. But since I am doing humour and magic in the next two chapters, then he will be in those. Samuel Marchbanks [https://www.wikidata.org/wiki/Q7412104] will be in under humour and Fifth Business and Manticore will be in under magic. I find the magician figure in Fifth Business very interesting from this particular advantage point. Why do Canadian magicians have to disguise themselves as foreigners in order to be thought of as magic. [Audience laughter.] You find this in Gwen MacEwen [https://www.wikidata.org/wiki/Q4276487] too. Specifically in the book called No Man.\n \nAudience Member 16\n00:58:04\nIs that a novel?\n \nMargaret Atwood\n00:58:04\nIt is a series of short stories, but there's sort of a central one in which you have the same pattern. Okay, let's have one more if there is one more. There isn't one more, there's one more.\n \nAudience Member 17\n00:58:22\nUm, the poems that you read tonight, would you consider those the best or the most significant ones from your collection, and if neither of those things, why did you select the ones that you read? The reason that I've asked that is because I've read your latest book quite carefully and I think that you read the, some of the best poems from it. I was wondering if you thought they were some of the best poems.\n \nMargaret Atwood\n00:58:45\nYeah. I think that one of the best things in it is section number three, but that consists of twenty four poems, which seem to me to be too long. I read some of them that I like quite a lot, yes, this is true, but I left out some others that I also like quite a lot because it seemed to me that they were too long and at this particular night anyway I felt that I should get through as quickly as possible because we were all stifling to death. Um, and with that I think that I will now end the question period and we can all go out and have a drink of water. \n\nAudience\n00:59:24\nApplause [cuts out briefly].\n \nWynne Francis\n00:59:38\nI'd just like to thank Margaret Atwood very much for being with us tonight--\n\nAudience\n00:59:40\nLaughter.\n \nEND\n00:59:46\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1974, Atwood was living in Alliston, Ontario and had finished a year as the writer-in-residence at the University of Toronto. You Are Happy came out in 1974, and she was working on collecting her Selected Poems which were published in 1976.\",\"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. \",\"type\":\"General\"},{\"note\":\"Additional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://margaretatwood.ca/index.php>\",\"citation\":\"Atwood, Margaret. Margaret Atwood Website. June 29, 2010. \\n\"},{\"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/selected-poems-1965-1975/oclc/455883593&referer=brief_results\",\"citation\":\"Atwood, Margaret. Selected poems, 1965-1975. Toronto: Oxford University Press, 1976. \"},{\"url\":\"https://www.worldcat.org/title/the-circle-game/oclc/1007821877&referer=brief_results\",\"citation\":\"Atwood, Margaret. The Circle Game. Toronto: House of Anansi, 1966. \"},{\"url\":\"https://www.worldcat.org/title/power-politics/oclc/1043970047&referer=brief_results\",\"citation\":\"Atwood, Margaret. Power Politics. Toronto: Anansi, 1971. \"},{\"url\":\"https://www.worldcat.org/title/you-are-happy/oclc/878900780&referer=brief_results\",\"citation\":\"Atwood, Margaret. You are Happy. Toronto: Oxford University Press, 1974.\"},{\"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/encyclopedia-of-post-colonial-literatures-in-english-volume-1/oclc/636622714&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/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1988.\"},{\"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-the-novel/oclc/807436716&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=waYtAAAAIBAJ&sjid=u58FAAAAIBAJ&pg=7250,4345207&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"Stephens, Anna. “Poetry- Anywhere, Anytime”. Montreal: The Gazette. 20 October 1967, page 10. \"},{\"url\":\"\",\"citation\":\"Kibble, Matthew. “Atwood, Margaret Eleanor, 1939-”. Literature Online biography. Proquest Information and Learning Company, H.W. Wilson Company, 2006. \"}]"],"_version_":1853670548644560896,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0008_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006-11-0008_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Atwood Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0008_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006-11-0008_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"notes\":\"\",\"title\":\"Margaret Atwood 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/I0006-11-0008_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006-11-0008_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Atwood Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/margaret_atwood_i006-11-008.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"margaret_atwood_i006-11-008.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:59:46\",\"precision\":\"\",\"size\":\"143.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"margaret_atwood_i006-11-008.mp3\\n\\nHenry Beissel\\n00:00:00\\nOne moment... problem that we have here at Sir George [https://www.wikidata.org/wiki/Q326342]. We did try to get a larger hall but it was impossible. To accommodate the overflow, we have set up loudspeakers in the little gallery here, Howard, and in the other one too?\\n \\nHoward Fink\\n00:00:21\\nOutside.\\n \\nHenry Beissel\\n00:00:22\\nOutside, there are loudspeakers. So please don't all crowd into the room. If you are going to lean against the paintings, we shall never be able to get this room again for poetry readings. Because this, this is a gallery which belongs to the Fine Arts department, we had great difficulty getting it, these paintings are very precious, particularly to the artists themselves [audience laughter]. I would ask you please to stay away from the paintings. That must have been the artist [audience laughter]. We are also waiting for the arrival of someone else, so please be patient. Howard--[audience laughter] can you ask the security people to turn on the cooling system, the hall is going to be too hot.\\n \\nUnknown\\n00:01:22\\nAmbient Sound [voices].\\n \\nHenry Beissel\\n00:01:25\\nWe may get 927.\\n \\nMargaret Atwood\\n00:01:30\\nWhat do you mean, we may, I think they're also--okay. What would you like to do? Let us stay here or move?\\n \\nAudience\\n00:01:41\\nStay here.\\n \\nMargaret Atwood\\n00:01:44\\nOkay, with the people, there are some people who are at the back of the door, there is some space up here at the front if you'd like to come up.\\n \\nHenry Beissel\\n00:01:54\\nNo more than ten.\\n \\nMargaret Atwood\\n00:01:58\\nAbout ten. It'll make more room at the back too...If everybody on the chairs would shift over this way, um, and sit on, sort of as if it were a bench, then some more people can sit on the edges there. Or just move the chairs all that way. Move the rows forward. They're all shifting over anyway. Could you all move your chairs forward to make the rows as close together as possible. Okay, it's alright. \\n\\nUnknown\\n00:03:17\\nAmbient Sound [voices].\\n\\nMargaret Atwood\\n00:04:41\\nThere are these uhh--woohoo--there are these speakers outside and you might be more comfortable if you went out and listened over the speakers, some of the people are really jammed in there. I don't see any reason why this thing should resemble a steam bath, for all of us. If you're--what? what?...I don't think I can, what is it that they do? [Audience laughter].\\n \\nWynne Francis\\n00:05:19\\n[Laughter]. Miss Atwood [https://www.wikidata.org/wiki/Q183492] has just upstaged the introducer. Good evening ladies and gentlemen. It's not often that an artist excels in two medium such as poetry and fiction as our guest tonight does. Miss Atwood's reputation as a superior poet was established in the 60's with her first collections, The Circle Game [https://www.wikidata.org/wiki/Q7723073] and The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]. And while continuing to write fine poetry, six major collections to date, she's given us two novels in the last five years, The Edible Woman [https://www.wikidata.org/wiki/Q7731579] and Surfacing. With the second novel, published late in 1972, within a few months of a controversial work of criticism, Margaret Atwood became one of Canada's [https://www.wikidata.org/wiki/Q16] best known literary artists. The hypothesis of Survival, a study of patterns in Canadian lit is that Canadians see themselves as victims. I was remind of Survival recently when I came across a nineteenth-century curiosity written by one John McTaggart [https://www.wikidata.org/wiki/Q463553]. It was a book published in London [https://www.wikidata.org/wiki/Q84] in 19-- excuse me--1829. McTaggart wrote \\\"There's a melancholy which is peculiar to Canadians which must be combatted. People who labor under it must be encouraged, the soothing language, good treatment and now and then as circumstances require, a little assistance gratis as a stimulant.\\\" McTaggart's third point about the helpful effects of a little assistance as a recent theory has been taken up by the Canada Council [https://www.wikidata.org/wiki/Q2993809], to whom we are in part indebted for her appearance tonight. Margaret Atwood's work constitutes an exploration of what it means to be a Canadian, to be a woman and to be a human being. She writes about our totems, our tapestry of manners, our progressive insanities. She taught at Sir George in 67-68, and it's a great pleasure to have her return to us tonight. After her reading, she'll be open to questions from the audience. Ladies and gentlemen, Margaret Atwood.\\n\\nAudience\\n00:07:27\\nApplause [cuts out briefly].\\n\\nMargaret Atwood\\n00:07:38\\nLet's see now, if the mic starts to get funny, let me know...Too loud?...Not too loud, I'm afraid it isn't a very good mic and also I'm afraid I'm going to have to hold it the whole time which is a bore...I don't think it'll work very well, is that better? Does that work? Higher? Lower? Okay, how's that? Okay, I'm going to read entirely from my new book which is called \\\"This is\\\"--oh, what is it called? [audience laughter]. It's called You Are Happy. Somebody who has been photographing me says that a friend of hers was in a bookstore and picked out this book and thought at first that this was one of these \\\"I'm Okay, You're Okay\\\" books. Until I saw who wrote it. [Audience laughter]. But it has a happy ending, you'll be pleased to know. And I'm going to begin at the beginning and end at the end. Skipping portions along the way. I'm also going to make this reading fairly short because we are all in this rather constricted situation. I used to tell people when people in the States [https://www.wikidata.org/wiki/Q30] used to ask me “do you live in an igloo” and other questions like that, I used to think to myself that being a Canadian was sort of like living in a chicken coop in the middle of the desert. That everybody was all together in one place but there are these huge spaces around. I wish that we had been provided with one of them. [Audience laughter]. I have a chicken coop, and you're nicer. But there are more of you. I think we will all have to be very, very patient, unlike the chickens. I'm going to begin by reading a poem called \\\"Newsreel: Man and Firing Squad\\\".\\n \\nMargaret Atwood\\n00:10:04\\nReads \\\"Newsreel: Man and Firing Squad\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:11:42\\nReads \\\"Useless\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:12:35\\nThis is--the image in this next poem comes from, begins with the fact that I have a sheep and one of them died. The poem is called \\\"November\\\".\\n \\nMargaret Atwood\\n00:12:48\\nReads \\\"November\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:13:52\\nReads \\\"Repent\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:14:47\\n\\\"Tricks with Mirrors\\\". How are you doing? Is it hot and steamy? Has anybody died yet?\\n \\nMargaret Atwood\\n00:15:05\\nReads \\\"Tricks with Mirrors\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:17:45\\nThis is the title poem, \\\"You Are Happy\\\".\\n \\nMargaret Atwood\\n00:17:50\\nReads \\\"You are Happy\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:18:48\\nReads \\\"First Prayer\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:20:25\\n\\\"Is / Not: 1\\\". Oh boy, is it ever hot in here. I can't stand it. Light. I wonder if we could--well, then I can't see, you see. I wonder if we could turn off--would it be better if we turn off those lights that are grilling you over there...I could what?...Where's the light switch anyway? Howard, turn off the lights?...Well, maybe in a few minutes the lights will go off. Where did…\\n\\nUnknown\\n00:21:36\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n\\nMargaret Atwood\\n00:21:37\\nHooray, wonderful. Actually, there's a light under here. It's like the Saturday movies [audience laughter]. No, I can read with this, yeah. Maybe I'll just read a little something else here, because it's the Saturday Movies.\\n \\nMargaret Atwood\\n00:22:18\\nReads [\\\"You take my hand\\\" from Power Politics; audience laughter throughout].\\n \\nMargaret Atwood\\n00:23:13\\nAnd since we were talking about the war between Superman [https://www.wikidata.org/wiki/Q79015] and Captain Marvel [https://www.wikidata.org/wiki/Q534153] at dinner, my favourite was Plastic Man [https://www.wikidata.org/wiki/Q746838], but that was an esoteric taste. I'll read this one.\\n \\nMargaret Atwood\\n00:23:28\\nReads \\\"They Eat Out\\\" [from Power Politics].\\n \\nMargaret Atwood\\n00:24:44\\nI go to--I can't resist this. This is from the new book, it's called \\\"Siren Song\\\". Students of Seventeenth Century Literature are always asking themselves and each other, what song the sirens sang, and this is the ultimate answer.\\n \\nMargaret Atwood\\n00:25:06\\nReads \\\"Siren Song\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:26:12\\nThe imminent critic, Allen Pearson, who was once known when he lived in Montreal [https://www.wikidata.org/wiki/Q340] as the Montreal Poet, now that he lives in Toronto [https://www.wikidata.org/wiki/Q172], he's probably known as the Toronto Poet, says the following: \\\"Siren Song tells how boring it is for a woman to be obliged to attract men by appealing to them for help\\\". [Audience laughter]. Um, since I'm on the subject of people in capes and costumes, I'll read...\\n \\nUnknown\\n00:26:56\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nAnnotation\\n00:26:57\\nReads [untitled poem from the “Circle/Mud Poems” section in You Are Happy].\\n \\nMargaret Atwood\\n00:28:20\\nReads \\\"Is / Not\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:30:37\\nI think I'd better read just three more poems, before we all die. The first one is called \\\"There is Only One of Everything\\\".\\n \\nMargaret Atwood\\n00:30:54\\nReads \\\"There is Only One of Everything\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:32:30\\nReads \\\"Late August\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:33:26\\nThis is the last poem, called \\\"Book of Ancestors\\\".\\n \\nMargaret Atwood\\n00:33:33\\nReads \\\"Book of Ancestors\\\" from You Are Happy. \\n \\nAudience\\n00:36:31\\nApplause [cuts out briefly].\\n\\nWynne Francis\\n00:36:47\\nThank you, it's really not so hot if you sit still. Miss Atwood is prepared to discuss, for a little while.\\n \\nMargaret Atwood\\n00:37:04\\nIf you would like to, uh, I can't see a thing of course, I can sort of see hands if you stick them up and wave them around. Would that be better than turning back on the lights which I'd prefer not to do?\\n \\nWynne Francis\\n00:37:22\\nThere's no way we can get mics in the audience, so please speak loudly.\\n \\nMargaret Atwood\\n00:37:23\\nI see a hand.\\n \\nAudience Member 1\\n00:37:28\\nHow did your nickname of a witch get originated?\\n \\nMargaret Atwood\\n00:37:30\\nHow did my nickname of a witch? Are you referring to the speech I gave the other night at Loyola? Oh, it's, I was talking about a couple of reviews, that seemed to credit me with having these supernatural powers, you know, the ability to hypnotize my readers and things like that, and what I was saying was that in fact I don't in fact possess the powers of hypnotism or I'd use them on my bank manager and be quite rich. Um, I was talking about a pattern that seems to crop up from time to time in a certain kind of review usually written by men. [Audience laughter]. I heard that there were a couple of people in the audience at Loyola who before the speech, were convinced that I was a witch and that I was going to talk about witchcraft, and when I said that I wasn't one, they left. [Audience laughter]. You see, if I were a witch, I wouldn't be able to wear the cross. So that's how you can tell I'm not. Wards off vampires. Um, yes?\\n \\nAudience Member 2\\n00:38:54\\nUm, [unintelligible] and as well as the Edible Woman, I seem to get this idea of an emergence from greyness, or darkness and I was wondering if it's through this emergence from greyness that you have any reference to Blake [https://www.wikidata.org/wiki/Q41513] in his emergence from chaos.\\n \\nMargaret Atwood\\n00:39:17\\nI'll be very flattered, if I did. I'm afraid I suffer by the comparison. I think that you're right in spotting it, I think I would say that it's more like this, that if you want to think in terms of colour, that you start with a grey, and then you go down. Down into, well, it depends on the poem or the book or whatever of what's happening in your life. And, but you have to go down before you come up again otherwise you stay just in the grey part. If you want a real pattern for this, it's Dante's [https://www.wikidata.org/wiki/Q1067] Inferno [https://www.wikidata.org/wiki/Q4509219], where the man starts in a wandering wood, you know he starts in a kind of state of being lost, and then he goes down into hell. The further down he goes the more tortured souls he sees, but when he gets right to the bottom he finds that he's going up again. And then he comes out the other side.\\n \\nAudience Member 2\\n00:40:19\\nYeah, but, in this other side-ness in the Edible Woman you come up through colours, a very [unintelligible] of colours and I was wondering if this is the complete emergence of man?\\n \\nMargaret Atwood\\n00:40:29\\nNot complete--I would say no, no beginning.\\n \\nAudience Member 2\\n00:40:32\\n[Unintelligible] complete--into his universal aspect, but into an emergence of man. Into the colours of life.\\n \\nMargaret Atwood\\n00:40:39\\nYour choice of the word 'man' is interesting. Since the heroine is a woman. [Audience laughter and applause]. Um, I think you have the pattern right. I wouldn't like to attach any sort of universal meaning to it.\\n \\nAudience Member 2\\n00:40:56\\nNo I'm not attaching a universal meaning, I'm attaching more or less a universal meaning to the colour of darkness or greyness.\\n \\nMargaret Atwood\\n00:41:04\\nNo, that's right, you're correct. Yes.\\n \\nAudience Member 2\\n00:41:07\\nI'm not trying to express a universal meaning into these colours, this is where you're taking it wrong.\\n \\nMargaret Atwood\\n00:41:14\\nWell, I'm not too sure what we're talking about to tell you the truth. You've spotted a correct pattern and I'm not too sure how one interprets it because I don't like to be the critic of my own work in a way if you know what I mean. Yes.\\n \\nAudience Member 3\\n00:41:34\\nI know you're writing a screenplay for [unintelligible]. Will it ever become a film?\\n \\nMargaret Atwood\\n00:41:39\\nWill it ever? Let's see now, I finished it at the end of July. Now, what is--the stages of making a film are these: first somebody takes out an option on it, which means they pay you X dollars to have the sole right to try to make the movie for a certain period of time. If they fail to make it to renew the option or to require the rights at the end of that period, you get it back and you can then sell it to anybody else or back to them if you want. That's different from buying the rights which means they've got it. And you can't get it back. An option has been taken out, a script has been written. They are now doing whatever it is they do, who knows. To try to put together what is called a package, that is, they try to interest a director or they pick out a director and they try to put a director together with a script together with some money. And that's all going on, I don't know what's happening with it because they don't tell. Yes.\\n \\nAudience Member 4\\n00:42:42\\nAre those people American or Canadian?\\n \\nMargaret Atwood\\n00:42:47\\nThese people are. [Audience laughter]. Once upon a time there was an English Canadian film industry. Not very hard. I mean it's trying very hard but not many results are being had. And I wanted very much to make Surfacing in Canada with Canadian everything, but I was about two years too late. And also Canadians are quite timmerus about this book because they said “well, it'll never be able to sell a film in the States” because of all that strange American symbolism in it. They--the two people I'm working with are two American independent producers, not to be confused with MGM [https://www.wikidata.org/wiki/Q179200], who want to make the book as it is, that is, they like the book, they want to be faithful to it, they don't want to transport it to Maine [https://www.wikidata.org/wiki/Q724] or wherever and make it into an American film, which of course you couldn't do without ruining the symbolic pattern. They want to make it in Canada, they want to put in all that stuff because they say “wow, dynamite”. [Audience laughter]. They're not worried about selling it in the States. So that's how we're proceeding right now and we have not yet had a falling out on any of the crucial matters such as what's in the screenplay. And so that's been fine. They would like to make it here. And what stage they're at right now I don't know. Now if they don't put it together, then I get it back and then I have another go. And I'll try it ‘round Canada again, once more, and I'll probably with the same results--\\n \\nAudience Member 4\\n00:44:26\\nYou have tried?\\n \\nMargaret Atwood\\n00:44:30\\nOh yes, everybody tries. I've written four or five screenplays, none of them have been made. They've all been for Canadians. One thing has happened, I got one television play done, but of course everything you do for the CBC [https://www.wikidata.org/wiki/Q461761] pretty well gets done. [Audience laughter]. As you know. I wrote a screenplay for Edible Woman that didn't get done. I wrote one for Marie-Claire Blais [https://www.wikidata.org/wiki/Q298358], Mad Shadows, we had high hopes for that, that was a Canadian director, Canadian producer all the rest of it. No deal. Film development corporations said it wasn't commercial enough. I mean, you don't go outside before you've been through it for a while. It's a problem that novelists used to face when trying to get their novels published here.\\n \\nWynne Francis\\n00:45:22\\nI'd like to ask a question, and I can't see what competition I've got, I can't see anything out there. On Wednesday at Loyola, you gave comic tags to some of your critical opponents taken from Koestler [https://www.wikidata.org/wiki/Q78494], Yogis and Komisars are critics that are formalists and culturally and politically aware and I wondered, do you see the ideal critic or type of criticism as combining these two?\\n \\nMargaret Atwood\\n00:45:51\\nWell, I think that people have certain talents, you know, and they should exercise what talents they have, and that all kinds of criticism should be available to the reader. I don't think that every critic has to do everything, I think that would be asking a singer to be a dancer. \\n \\nWynne Francis\\n00:46:08\\nI remember you saying it was good to have both kinds, I wondered if you think they could be combined?\\n \\nAudience Member 5\\n00:46:16\\nIs it possible that the body of knowledge turns into the knowing body?\\n \\nMargaret Atwood\\n00:46:20\\nIs it possible that the body of knowledge turns into the knowing body? Um, I'll let you answer that. If such a person could do it, I'd like to see it, I've never seen anybody who could do both at the same time. Frye [https://www.wikidata.org/wiki/Q354256], for instance, does one kind in one book and then another kind in another book, but he usually doesn't usually do them both in the same book. I would say that Yogi-ism is necessary to be able to read a poem, just period pure and simple. To see what is happening in it. But Komasarism is necessary to place it in a larger context. Why not do both? Yes, I see. Back there, you\\n \\nAudience Member 6\\n00:47:08\\nDo you think that Quebec [https://www.wikidata.org/wiki/Q176] is a part of Canada?\\n \\nMargaret Atwood\\n00:47:09\\nOh that's such a good question.\\n \\nAudience Member 6\\n00:47:11\\nDo you think that a Quebecois is a Canadian?\\n \\nMargaret Atwood\\n00:47:15\\nI think I'll leave that to the Quebecois to decide for themselves. They're the people concerned. [Audience applause]. I was talking with one not so long ago, Marie-Claire Blais, and I asked her that question. I said, “well, what do you think of yourself as? Do you think of yourself as a Quebecoise? or a Canadian? or a North-American, or part of Western European culture or a universalist?” And she said, “I am from Quebec”. [Audience laughter]. Does that answer your question? Yes.\\n \\nAudience Member 7\\n00:47:58\\nWhat is your opinion of the introductions in the New Canadian Library [https://www.wikidata.org/wiki/Q16998703] Series?\\n \\nMargaret Atwood\\n00:48:03\\nWell, they vary. [Audience laughter]. Do you mean the one? Well, I thought that it was, it was like a, well, the only thing I can think of is something fairly vulgar, um, but I don't mean that I think it was bad. I mean that I think it was quite a ponderous organization, being brought to bear on what I consider to be a fairly light piece of writing. That is, at the front of my book, I have a quotation from the Joy of Cooking which tells how to make puff pastry. And then I have you know, critical sort of, really big critical apparatus coming in and talking about the symbolic structuring and the this and the that, and I think it's nice, I'm glad to know about those things, but [audience laughter] it's somehow, I thought my novel was a bit more comic than that. If you know what I mean.\\n \\nAudience Member 8\\n00:49:09\\nYeah, I wanted to ask a question. Yeah, I was wondering to what degree you consider yourself to be an ironist because you're talking about [unintelligible] irony, it seems to me that irony is the point I’m most attracted to in your work anyway.\\n \\nMargaret Atwood\\n00:49:22\\nYeah, well, you can have both of course, as a matter of fact you usually do.\\n \\nAudience Member 8\\n00:49:31\\nYou were talking about anger, and \\\"permit me the present tense\\\" kind of thing, seems to me that that was ironic.\\n \\nMargaret Atwood\\n00:49:41\\nAmbigu--it has a double meaning. But that's not always irony, I think irony has been...Well, somebody defined irony as a kind of literature in which the reader knows more about what's going on with the character than the character knows himself, shall we say. So, yes, of course, I think that happens in an awful lot of modern literature. Yes.\\n \\nAudience Member 9\\n00:50:14\\nI understand you're working on Survival Two?\\n \\nMargaret Atwood\\n00:50:16\\nNot working, exactly.\\n \\nAudience Member 9\\n00:50:22\\nI was wondering whether you could, or would like to elaborate on that.\\n \\nMargaret Atwood\\n00:50:25\\nYeah, okay. There was to have been something called Survival Two, which was to have been this really dynamite anthology. Which would have incorporated many of the short pieces mentioned in Survival, plus other ones that were appropriate and we did assemble this and then we had it priced as to how much it would cost for permissions and how much it would cost us to print it and it was just astronomically expensive. So we had to shelf that, and that was what Survival Two was to have been. Now I'll probably publish the proposed table of contents sometime and you can see what would have been in it. [Audience laughter]. You know, but a small publisher cannot afford to do this kind of thing. However, I am, I won't say working on because I'm working on it in the same sense that I'm working on my Ph.D. thesis, what I'm really doing is writing a novel. But I will, should I live that long, write a second edition of Survival, in which I hope to have five new chapters and additions to the ones that already exist. I think the thing about Survival that sometimes gets forgotten was that it was based on what was available in paperback at the time. A lot more things are available in paperback now, we have General Publishing coming on the scene, with Paper Jacks, and New Canadian Library expanding itself and Macmillan's [https://www.wikidata.org/wiki/Q2108217] paperbacks expanding. So there's just a lot more around that you can put in and also new books have been published that I would like to talk about and I've discovered older ones that I didn't know about before. So, all of these things, plus a new introduction and maybe a few things at the back, I would like to do. However, I'm not quite ready to do it yet. I took a kind of holiday after I finished Survival One, and I'm still in that, it's a holiday devoted to writing other things. Yes,\\n \\nAudience Member 10\\n00:52:30\\nWho are your favourite poets?\\n \\nMargaret Atwood\\n00:52:33\\nI tend to have favourite poems, rather than favourite poets, but I can tell you the names of some people who've written some of my favourite poems. One of them is Margaret Avison [https://www.wikidata.org/wiki/Q6759152], one of them is P.K. Page [https://www.wikidata.org/wiki/Q2755960], they're poems by all kinds of people that I really like, for instance, I really like some of A.M. Klein's [https://www.wikidata.org/wiki/Q2778027] poems. I think they're just super. And more modern people, for instance, Michael Ondaatje [https://www.wikidata.org/wiki/Q313593], I like his work, Al Purdy [https://www.wikidata.org/wiki/Q4704621] I was reading in the early to middle Sixties, Doug Jones [https://www.wikidata.org/wiki/Q5203595] at that time. It covers a very wide range. I'm a kind of omnivorous reader, I'll read anything, including the backs of Cornflake boxes, so that you just never know, and it also changes, you know, because you read somebody for a while and then you've done that so you go and read somebody else.\\n\\nAudience Member 10\\n00:53:31\\n[Unintelligible].\\n\\nMargaret Atwood\\n00:53:33\\nOh yeah, I get various little magazines come floating in through the mail to me, for some reason. And right now, for instance, I'm reading a lot of Adrienne Rich [https://www.wikidata.org/wiki/Q270705], because I'm about to write a review of her latest book. This kind of thing, I mean it varies from month to month. If you ask me the same question in January the question would be different...Yeah.\\n \\nAudience Member 11\\n00:54:02\\n[Unintelligible] Is Surfacing more than vaguely autobiographical?\\n \\nMargaret Atwood\\n00:54:11\\nIt's vaguely, if you're talking about the plot--no. The setting, yes, and this is generally true of fiction, that people write from a setting that they know. They generally create characters out of some people that they've known plus they throw things in and invent them and make mosaics out of various things and the characters are fictional. The plot is usually a total invention. I mean, my parents are still alive and well, all of that. No, I have never been a paranoid schizophrenic with amnesia. [Audience laughter]. And as for the Edible Woman, I've never gone off food, but all kinds of other people have. You know, they come up to me and say, “Gee, how did you know the story of my life” and “that's happened to me and let me tell you it was awful, I used to throw up on busses”. I was kind of shocked, actually, I thought it was all a big comic invention of my own. I see one waving at the back.\\n \\nAudience Member 12\\n00:55:20\\nUm, excuse me, would you say that you base your characters on some type of psychological background?\\n \\nMargaret Atwood\\n00:55:25\\nUm, I try to make them believable insofar as it will fit the plot. That is, I try to make what they do believable to myself, but they have to do what they do if you see what I mean. Yes.\\n \\nAudience Member 13\\n00:55:46\\nWould you say the Edible Woman is a comical invention of your own?\\n \\nMargaret Atwood\\n00:55:49\\nI said I thought it was, yeah.\\n \\nAudience Member 13\\n00:55:51\\nWell, how would you define that, as a comedy?\\n \\nMargaret Atwood\\n00:55:54\\nOh, okay, if you wanna be technical. Um, the Edible Woman is actually an anti-comedy. Because a comedy is a form in which usually a young couple goes through a series of misadventures and blokings and gets married at the end. Now in the Edible Woman, a young couple goes through a series of misadventures and blokings and somebody else gets married at the end. [Audience laughter]. Yes. \\n \\nAudience Member 14\\n00:56:24\\nCould you tell us anything about the novel you're writing now?\\n \\nMargaret Atwood\\n00:56:26\\nNot a thing, that's my one superstition--well, it's one of my superstitions. I can't talk about work that I'm doing, it uses up the energy. It's true. Yeah.\\n \\nAudience Member 15\\n00:56:41\\nI read the Edible Woman right after reading a book by Robertson Davies [https://www.wikidata.org/wiki/Q545375], about [unintelligible].\\n \\nMargaret Atwood\\n00:56:49\\nOkay, the question is I read the Edible Woman right after reading a book by Robertson Davies, Fifth Business [https://www.wikidata.org/wiki/Q5447489]?\\n \\nAudience Member 15\\n00:56:58\\nNo, an earlier book.\\n \\nMargaret Atwood\\n00:57:00\\nManticore [https://www.wikidata.org/wiki/Q7750230]?\\n \\nAudience Member 15\\n00:57:00\\nIt was a comedy\\n \\nMargaret Atwood\\n00:57:01\\nOh, okay.\\n \\nAudience Member 15\\n00:57:02\\nAbout a couple in a town [unintelligible] resolve it and they get married. And I wondered why he wasn't mentioned in Survival at all.\\n \\nMargaret Atwood\\n00:57:15\\nWell, I think probably because I wasn't doing humour and I wasn't doing magic. But since I am doing humour and magic in the next two chapters, then he will be in those. Samuel Marchbanks [https://www.wikidata.org/wiki/Q7412104] will be in under humour and Fifth Business and Manticore will be in under magic. I find the magician figure in Fifth Business very interesting from this particular advantage point. Why do Canadian magicians have to disguise themselves as foreigners in order to be thought of as magic. [Audience laughter.] You find this in Gwen MacEwen [https://www.wikidata.org/wiki/Q4276487] too. Specifically in the book called No Man.\\n \\nAudience Member 16\\n00:58:04\\nIs that a novel?\\n \\nMargaret Atwood\\n00:58:04\\nIt is a series of short stories, but there's sort of a central one in which you have the same pattern. Okay, let's have one more if there is one more. There isn't one more, there's one more.\\n \\nAudience Member 17\\n00:58:22\\nUm, the poems that you read tonight, would you consider those the best or the most significant ones from your collection, and if neither of those things, why did you select the ones that you read? The reason that I've asked that is because I've read your latest book quite carefully and I think that you read the, some of the best poems from it. I was wondering if you thought they were some of the best poems.\\n \\nMargaret Atwood\\n00:58:45\\nYeah. I think that one of the best things in it is section number three, but that consists of twenty four poems, which seem to me to be too long. I read some of them that I like quite a lot, yes, this is true, but I left out some others that I also like quite a lot because it seemed to me that they were too long and at this particular night anyway I felt that I should get through as quickly as possible because we were all stifling to death. Um, and with that I think that I will now end the question period and we can all go out and have a drink of water. \\n\\nAudience\\n00:59:24\\nApplause [cuts out briefly].\\n \\nWynne Francis\\n00:59:38\\nI'd just like to thank Margaret Atwood very much for being with us tonight--\\n\\nAudience\\n00:59:40\\nLaughter.\\n \\nEND\\n00:59:46\\n\",\"notes\":\"Margaret Atwood reads from You Are Happy (Oxford University Press, 1974) and Power Politics (Anansi, 1971). Atwood also answers audience questions about her work. \\n \\n00:00- Unknown introducer makes an announcement about the room. [INDEX: Sir George Williams University, larger hall, gallery, Howard Fink.]\\n00:21- Howard Fink answers question.\\n00:22- Unknown introducer continues to make announcements. [INDEX: loud speakers outside, paintings, Fine Arts Department, artists, Howard Fink, air conditioning.]\\n01:22- Audience talking\\n01:30- Margaret Atwood talks about room set up, it is recorded by the mic [INDEX: room change.]\\n01:41- Audience responds, says they want to stay in the same room.\\n01:44- Margaret Atwood tries to arrange people in the room. [INDEX: chairs, bench, people, rows, room.]\\n04:41- Margaret Atwood continues to arrange audience.\\n05:19- Wynne Francis introduces Margaret Atwood. [INDEX: poetry, fiction, poet, 1960’s, The Circle Game (Anansi, 1966), The Animals in that Country (Oxford University Press, 1968), Edible Woman (McClelland and Stewart, 1973), Surfacing (Anansi, 1971), 1972, controversial work of criticism, patterns in Canadian literature, nineteenth-century curiosity, John McTaggart quote, book published in London in 1829, victim, Canada Council, woman, human being, totems, manners, insanities, taught at Sir George Williams University between 1967-68, audience questions.]\\n07:38- Margaret Atwood introduces “Newsreel, Man and Firing Squad”. [INDEX: \\tmicrophone, reading entirely from You are Happy (Harper & Row, 1974), photographer, bookstore, order of reading, United States, what it’s like to live in Canada; from You Are Happy (Oxford University Press, 1974).]\\n10:04- Reads “Newsreel, Man and Firing Squad”.\\n11:42- Reads “Useless”. [INDEX: from You Are Happy (Oxford University Press, 1974).]\\n12:35- Introduces “November”. [INDEX: image, sheep that died; from You Are Happy (Oxford University Press, 1974)]\\n12:48- Reads “November”.\\n13:52- Reads “Repent”. [INDEX: from You Are Happy (Oxford University Press, 1974).]\\n14:47- Introduces “Tricks with Mirrors”. [INDEX: from You Are Happy (Oxford University \\tPress, 1974).]\\n15:05- Reads “Tricks with Mirrors”.\\n17:45- Reads “You are Happy”. [INDEX: from You Are Happy (Oxford University Press, 1974).]\\n18:48- Reads “First Prayer”. [INDEX: from You Are Happy (Oxford University Press, 1974).]\\n20:25- Introduces “Is/Not” (but does not read it). [INDEX: hot in rom, Howard Fink. light, Saturday movies; from You Are Happy (Oxford University Press, 1974).]\\n22:18- Reads unknown poem, first line “You take my hand and I’m suddenly in a bad movie...”.\\n23:13- Introduces “They Eat Out”. [INDEX: war between Superman and Captain Marvel, dinner, Plastic Man, esoteric taste; from Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n23:28- Reads “They Eat Out”.\\n24:44- Introduces “Siren Song”. [INDEX: new book, students of seventeenth-century literature, answer; from Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n25:06- Reads “Siren Song”.\\n26:12- Introduces “Circe/Mud Poems”, which is cut mid-sentence “The heads of eagles no longer interest me...”[INDEX: critic Allen Pearson, Montreal, Montreal Poet, Toronto, Toronto Poet, “Siren Song”, woman, attract men, capes, costumes; from Selected poems, 1965-1975 (Oxford University Press, 1976)]\\n26:57- Recording is CUT, repeats, begins mid-sentence reading unknown poem, which is cut mid-sentence “The heads of eagles no longer interest me...”, last line “They would rather be trees”.\\n28:20- Reads “It is Not”. [INDEX: perhaps “IS/Not”; from You are Happy (Oxford University Press, 1974) and Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n30:37- Introduces “There is Only One of Everything”. [INDEX: three last poems, heat; from You are Happy (Oxford University Press, 1974) and Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n30:54- Reads “There is Only One of Everything”.\\n32:20- Reads “Late August”. [INDEX: from You are Happy (Oxford University Press, 1974) \\tand Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n33:26- Introduces “Book of Ancestors”. [INDEX: last poem of the night; from You are Happy (Oxford University Press, 1974) and Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n33:33- Reads “Book of Ancestors”.\\n36:47- Wynne Francis thanks Margaret Atwood and opens the floor to discussion.\\n37:04- Atwood asks for questions.\\n37:28- Audience #1 (female) asks first question about Atwood’s nickname ‘witch’. [INDEX: nickname “witch”]\\n37:30- Atwood answers question. [INDEX: speech given recently at Loyola, reviews, \\tsupernatural powers, hypnotize readers, reviews written by men, witchcraft, cross, \\tvampires.]\\n38:54- Audience #2 (male) asks question about the Edible Woman’s symbology of colours. [INDEX: Edible Woman, grayness, William Blake reference, emergence from chaos.]\\n39:17- Margaret Atwood answers question. [INDEX: comparison, colour, descending, poem, book, life, grey, pattern, Dante’s Inferno, wood, state of being lost, hell, tortured souls.]\\n40:19- Audience #2 (male) asks another question. [INDEX: Edible Woman, colours, complete emergence of man.]\\n40:29- Margaret Atwood responds. [INDEX: not complete, beginning.]\\n40:32- Audience #2 (male) responds. [INDEX: complete, universal aspect, emergence of man, colours, life.]\\n40:39- Margaret Atwood responds. [INDEX: man, female heroine, pattern, universal meaning.]\\n40:56- Audience #2 (male) responds. [INDEX: universal meaning, colour of darkness, greyness.]\\n41:04- Margaret Atwood responds. [INDEX: correct.]\\n41:07- Audience #2 (male) responds. [INDEX: universal meaning, colours, wrong.]\\n41:14- Margaret Atwood responds. [INDEX: truth, correct pattern, critic of her own work, interpretation.]\\n41:34- Audience #3 (male) asks question about a screenplay. [INDEX: screen play, film.]\\n41:39- Margaret Atwood responds [INDEX: finished in July, stages of making films, taking out an auction [option?], payment, movie, rights, sell, script, written, package, director, money.]\\n42:42- Audience #4 (female) asks question about film producers’ nationalities. [INDEX: American or Canadian]\\n42:46- Margaret Atwood responds to question. [INDEX: English Canadian film industry, struggle, book, American symbolism, American independent producers, not MGM, \\tfaithful to the book, Maine, American film, ruining the symbolic pattern, Canada.]\\n44:26- Audience #4 (female) asks another question. [INDEX: attempt to sell script in Canada.]\\n44:30- Margaret Atwood responds to question. [INDEX: four or five screen plays which haven’t been made, Canadian, television play, CBC, screenplay for Edible Woman, Marie Clarie Blais, “Mad Shadows”, Canadian director and producer, film development corporations, commercial, novelists, publishing.]\\n45:22- Wynne Francis asks a question about criticism. [INDEX: question, competition, speech on Wednesday at Loyola, comic tags, critical opponents, Koestler, Yogi [?], Komisars [?], literary critics, formalism, cultural and political awareness, ideal critic or ideal type of criticism.]\\n45:51- Margaret Atwood responds. [INDEX: talents, criticism available to the reader, singer, dancer]\\n46:08- Wynne Francis asks another question. [INDEX: combined talents, formal or cultural criticism]\\n46:16- Audience Member #5 (male) asks question about body and knowledge. [INDEX: body of knowledge]\\n46:20- Margaret Atwood answers question. [INDEX: body of knowledge, [Northrop] Frye, books, Yogi-ism [sp?], reading poetry, Komasar-isim [sp?], context of a poem]\\n47:02- Margaret Atwood calls on audience member to ask question.\\n47:08- Audience #6 (male) asks question about Quebec’s relation to Canada. [INDEX: Quebec, Canada]\\n47:09- Margaret Atwood responds.\\n47:11- Audience #6 (male) asks question about Quebecer’s relation to Canada. [INDEX: Quebecois, Canadian]\\n47:15- Margaret Atwood responds. [INDEX: Quebecois, Marie Claire Blais, identity, Canadian, North-American, Western European culture, universalist]\\n47:58- Audience #7 (female) asks question about the New Canadian Library Series. [INDEX: opinion of the New Canadian Library Series introductions]\\n48:03- Margaret Atwood answers. [INDEX: quotation from the Joy of Cooking, puff pastry, critical apparatus, symbolic structuring, novel, comic]\\n49:09- Audience #8 (female) asks question about irony. [INDEX: ironist, irony]\\n49:22- Margaret Atwood answers question.\\n49:31- Audience #8 (female) asks question about one line of Atwood’s poem. [INDEX: anger, ironic]\\n49:41- Margaret Atwood answers question. [INDEX: double meaning, irony, definition of irony, character, modern literature]\\n50:14- Audience #9 (female) asks question about a second Survival book. [INDEX: Survival 2.]\\n50:16- Margaret Atwood answers question.\\n50:22- Audience #9 (female) asks Atwood to elaborate.\\n50:25- Margaret Atwood answers question. [INDEX: Survival 2, anthology, short pieces, permissions, expensive to produce, publish proposed table of contents, Ph.D. thesis, novel, second edition of Survival, paperback, General Publishing, Paper Jacks [?], New Canadian Library, McMillan’s, publishing industry in Canada, new introduction]\\n52:30- Audience #10 (male) asks question about favourite poets. [INDEX: favourite poet]\\n52:33- Margaret Atwood answers question. [INDEX: favourite poet, favourite poems, Margaret Avison, P.K. Page, A.M. Klein, Michael Ondaatje, Al Purdy, mid-Sixties, Doug [Gordon] Jones, Cornflake boxes]\\n53:31- Margaret Atwood responds to inaudible question. [INDEX: little magazines, Adrienne Rich, January.]\\n54:02- Audience #11 (female) asks question about Surfacing being autobiographical. [INDEX: Surfacing, autobiographical.]\\n54:11- Margaret Atwood responds. [INDEX: vaguely, plot, fiction, setting, characters, invent part of characters, parents, paranoid schizophrenic, amnesia, Edible Woman, food, reader’s reactions, comic invention.]\\n55:20- Audience #12 (female) asks question about characters. [INDEX: psychological \\tbackground, characters.]\\n55:25- Margaret Atwood responds to question. [INDEX: believable, plot.]\\n55:46- Audience #13 (male) asks question about Edible Woman. [INDEX: comical invention, Edible Woman.]\\n55:49- Margaret Atwood responds to question.\\n55:51- Audience #13 (male) asks question about the definition of comedy. [INDEX: definition of comedy.]\\n55:54- Margaret Atwood responds to question. [INDEX: technical, Edible Woman, anti-comedy, form, young couple, series of misadventures, marriage, ending.]\\n56:24- Audience #14 (male) asks question about latest writing. [INDEX: novel being written]\\n56:24- Margaret Atwood responds to question. [INDEX: superstition, work in progress.]\\n56:41- Audience #15 (female) asks question about Edible Woman [INDEX: Robinson Davies book.]\\n56:49-57:01- Margaret Atwood and audience try to figure out which book was written by Robinson Davies. [INDEX: Fifth Busienss, Nanticore, comedy.]\\n57:02- Audience #15 (female) asks about selections in Survival. [INDEX: couple, town, married, Survival.]\\n57:15- Margaret Atwood responds to question. [INDEX: humour, magic, next two chapters of Survival 2, Samuel Marchbanks, Fifth Business, Nanticore, magician figure, Canadian magicians, foreigners, Gwen[dolyn] MacEwen’s book No Man.]\\n58:04- Audience #16 (female) asks question about No Man by Gwendolyn MacEwen. [INDEX: Novel.]\\n58:04- Margaret Atwood responds to question. [INDEX: series of short stories, central story, pattern.]\\n58:22- Audience #17 (male) asks question about selections made in Atwood’s reading [INDEX: poems read, best, most significant from the collection, selection choices.]\\n58:45- Margaret Atwood responds to question. [INDEX: section #3, consists of 24 poems, too long, time constraints.]\\n59:380 Wynne Francis thanks Margaret Atwood.\\n59:46.85- END OF RECORDING.\",\"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":1.0},{"id":"1284","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Robert Creeley at Sir George Williams University, The Poetry Series, 1 January 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"ROBERT CREELEY Recorded March 6, 1970 3.75 ips, 1/2 track on 1 mil. tape\" written on sticker on the back of the tape's box. \"ROBERT CREELEY I006/SR89.2\" written on sticker on the spine of the tape's box. \"I006-11-089.2\" written on sticker on the reel\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Creeley, Robert"],"creator_names_search":["Creeley, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"American poet and essayist Robert Creeley was born in 1926 in Arlington, Massachusetts. His early life was marred by tragedy, as he lost his left eye in an accident and suffered the death of his father when he was four years old. Creeley then grew up on a farm, and felt repressed by his traditional Puritanical New England upbringing. After a year of Harvard University, Creeley joined the US Field Service in India and Burma. Returning again to Harvard, he married his first wife Ann MacKinnon, with whom he had three children, only to leave Harvard in his final semester. From 1948 to 1950, Creeley and his family moved to several locations including Provincetown, New Hampshire; Provenance, France; and Mallorca, Spain. Once in Mallorca, he set up The Divers Press with poet Denise Levertov. Creeley thus began correspondence with Charles Olson, and Olson offered Creeley a teaching position at the Black Mountain College in North Carolina, as well as a Bachelor’s degree in 1954. During his short time at Black Mountain, Creely edited Black Mountain Review, a journal known for its experimental writing. As well as many publications in poetry magazines, he published his first collection of short stories in The Gold Diggers in 1954 (Divers Press). After his marriage dissolved, Creeley headed West to San Francisco, meeting with Allen Ginsberg, Gary Snyder, and Kenneth Rexroth, as well as other Beat poets during the San Francisco Poetry Renaissance. Creeley then moved to Albuquerque, New Mexico, completed his M.A., and then took a position as professor of English. There, he met and married Bobbie Louise Hall, with whom he had two daughters and for whom he wrote most of his love poetry. His first major collection of poetry was For Love: Poems 1950-1960, published in 1962 (Scribner Press). Creeley subsequently published his novel, The Island (Scribner Press, 1963), and other poetry collections including Words (Scribner), The Charm: Early and Uncollected Poems (Perishable Press, 1967), and Pieces (Scribner, 1969). His essays and prose publications include A Quick Graph: Collected Notes and Essays (Four Seasons Foundation, 1970), A Sense of Measure (Calder and Boyars, 1973), and Was That a Real Poem and Other Essays (Four Seasons Foundation, 1979). His marriage with Bobbie ended in the late 70’s, and he married his third wife, Penelope Highton. Creeley continued to publish his poetry in collections such as Later (New Directions, 1979), Mirrors (New Directions, 1983), Windows (New Directions, 1990), Echoes (New Directions, 1994), Life and Death (New Directions, 1998), and If I Were Writing This (New Directions, 2003). He has won a number of awards and honors, including the New York State Poet Laureate from 1989-91. He was elected a Chancellor of the Academy of American Poets in 1999, received the Lannan Lifetime Achievement Award, the Bollingen Prize, the Shelley Memorial Award, a Rockefeller Grant and two Guggenheim Fellowships. Robert Creeley died in 2005, but his poetry has been published posthumously in On Earth: Last Poems and an Essay (University of California Press, 2009), The Collected Poems of Robert Creeley, 1975-2005 (University of California Press, 2006) and Robert Creeley: Selected Poems, 1945-2005 (University of California Press, 2008).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 3 6\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box (March 6, 1970)\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Robert Creeley reads from Pieces (Scribner, 1969), In London (Angel Hair Books, 1970), and from other unknown sources."],"contents":["robert_creeley_i006-11-089-2_1970.mp3\n\nUnknown\n00:00:00.00\n...thing which is regularly said when introducing Robert Creeley [https://www.wikidata.org/wiki/Q918620] would be that he is a, a Black Mountain Poet [https://www.wikidata.org/wiki/Q2905420], and a colleague of Robert Duncan's [https://www.wikidata.org/wiki/Q57421163], and the late Charles Olson's [https://www.wikidata.org/wiki/Q922978]. What has really introduced Robert Creeley to me however, was something I heard him say back in 1963, to the effect that when a man begins to love himself, love himself, to be in the world as he is in it, then things begin to happen to him that are interesting. Now, this is a statement, which is enigmatic in its syntax and yet still spells out what I think you will find interesting about Robert Creeley tonight, that is that he's a man whose poems are close to the process of living. He will be able to give you information in his poems about this process. His poems are about someone who, no matter how difficult this process has become, has loved that particular moment of it. Now that Robert is supplied with cigarettes for the evening, he may as well begin.\n \nAudience\n00:01:43\nApplause [cut off].\n\nRobert Creeley\n00:01:48\nLet me. \"On Vacation\".\n \nRobert Creeley\n00:02:35\nReads \"On Vacation\".\n \nRobert Creeley\n00:02:55\nI'll read one more poem, I made it up all by myself, that's the only thing... \"Do You Think\".\n \nRobert Creeley\n00:03:03\nReads \"Do You Think...\" [published later in A Day Book].\n \nRobert Creeley\n00:04:51\nIt's like a Latter Day [https://www.wikidata.org/wiki/Q42504]quote, no it's like a--I've got a noun [unintelligible].\n\nAudience \n00:05:01\nLaughter. \n\nRobert Creeley\n00:05:03\nThis has nothing in the glasses, nothing in the glass, that's the problem. I want to read, frankly an old and dear friend Robin Blaser [https://www.wikidata.org/wiki/Q2115003], an old and dear friend, a man I much respect and care for just happens to be in the room, I haven't seen him since, like, almost, it feels like 20 minutes ago. But I want therefore to read a few poems that are more recent in composition. \"The Act of Love\".\n\nRobert Creeley\n00:05:50\nReads \"The Act of Love\".\n \nRobert Creeley\n00:07:55\nThen I'd like to read another poem because frankly Robin is a very particular friend, and not will know simply the information I'm trying to get clear, but will know the, you know, you like to read for people, shit, you know. \"The Birds\".\n \nRobert Creeley\n00:08:19\nReads \"The Birds\".\n \nRobert Creeley\n00:09:58\nThen that--\"things seem empty on vacation, if the labors have not been physical, then, some awful grating sound as if some monstrous nose were being blown...\" [begins to read “On Vacation”]--no I've read that once, I won't read it again. But I wanted to read the most recent--I used to have, not an ambition, but I had a lovely sense of Allen Ginsberg's [https://www.wikidata.org/wiki/Q6711] freedom in writing, happily, he's been here not too long ago. And I mean, Allen is a true contemporary, simply that we were born within say, what he's born--his birthday is June 3rd and mine's May 23rd of 1926 and we're, you know, we're very close in time and space. I used to have a sense of not Allen's permission in writing, I mean that permission doesn't exist. I mean, you write what you are given thus to write, nobody designs this occasion, nobody has the authority of it, and I did in a weird way, I envied Allen's ability to be where that situation might occur, you know. Like he could really write any moment, any place, anywhere, and so recently flying. In fact, last week, flying out to Los Angeles, not to Los Angeles, to San Francisco, I'd been awfully harassed in particular dilemmas of responsibility and suddenly sitting on the plane. There was this delicious space, you know, made peace with the plane by drinking everything they would give you instantly and having entered with some. I remember watching Warren, an old, dear friend get on a plane with like, four double vodkas. You know, I said \"Warren, you're going to get drunk\". He said, “No I'm flying back to Vancouver”. Like you mistaked the occasion, you know. And so, I get on the plane, and I thought, “well I can do this too”. And I wrote, my Bobbie who is a friend indeed of Robin's and myself. I'm literally her husband and Robin is a friend in that, what am I? I'm not going to propose that we're--no, but I think it's true. It has nothing to do with fucking. It has to do with the ambiance and reality of another human being. I think we share that reality in her. And she had gotten ill, unhappily and in some unexpected manner and then happily is now okay, but it was a crazy moment of dilemma. \"An Illness\".\n \nRobert Creeley\n00:12:52\nReads \"An Illness\". \n \nRobert Creeley\n00:15:55\nAnd I'm going to read a few more for Robin, and then, \"The Problem\".\n \nRobert Creeley\n00:16:06\nReads \"The Problem\".\n \nRobert Creeley\n00:16:44\nReads \"The Tiger\".\n \nRobert Creeley\n00:17:09\nWhat is reality--this is crossed out--[Reads excerpted material from “The Tiger”]. “What is reality we thought, who is here, we could smell the freshness of the jungle growth and would have been eaten by the tiger were it hungry” [audience laughter]. It's all crossed out. I'll read, this is--\n \nRobert Creeley\n00:17:38\nReads unnamed poem.\n \nRobert Creeley\n00:18:33\n\"Not Being Dumb\"--this is, these are three things together.\n \nRobert Creeley\n00:18:36\nReads \"Not Being Dumb”.\n \nRobert Creeley\n00:19:38\nReads [\"Harry\"].\n \nRobert Creeley\n00:19:46\nLet me just, may I just read around, because these are, like, poems of like the last few months. This was a poem that is variously titled \"Sweet Dreams, Good Harbor Beach\". This is a place in Gloucester [https://www.wikidata.org/wiki/Q49156]. It therefore has a physical location.\n \nRobert Creeley\n00:20:04\nReads \"Sweet Dreams, Good Harbor Beach\".\n \nRobert Creeley\n00:21:15\nI want to read one sequence of, a cluster of particular writing, I won't even have the arrogance to say these are necessarily poems. But the, because I don't in that sense, these are a sequence called \"In London\". And I had, I'll tell you, physically, the circumstance was that I was in London [https://www.wikidata.org/wiki/Q84?wprov=srpw1_0] for five days last summer for a particular activity and I have happily a number of friends in London. Therefore, generously and, actually my time is really filled with seeing particular friends or else having particular business to conduct, and that's one, frankly, one of the satisfactions of one sense of what my life has to do with its own occasion, to have use and to have place. Not to say, “Gee, you're back again. We've kept the table. We've kept the seat for you”. But to have an occasion that actually gives you place in the world is always a delight. And so therefore, I was there briefly and this particular morning, there was to have been a, actually, a recording and it turned out the circumstances of the recording hadn't worked out. So the people involved did not come and so there was a space of three hours in which I was staying at this friend's apartment in London on Wimpole Street, 76 Wimpole Street, just around Oxford Street. You know the neighborhood possibly. And it's a dazzling part of London for an American. Particularly, I mean, it's like Barrets and Wimpole Street and the whole bit, Paul McCartney [https://www.wikidata.org/wiki/Q2599?wprov=srpw1_0] had a place, like two blocks--did have a place two blocks--and the whole bit. You know, and it's very dazzling, and I was in this apartment and I was sleeping actually on the couch of this particular friend, and there were other beds available, but I did not manage. I was not aggressive, so therefore I slept on the couch. It was a heavy time for everybody, and I was thinking of Jim dying, you know whose “A Retrospective of the Whitney” has just opened. And I was staying, actually, with the wife of a publisher who happily I have in London, John Calder [https://www.wikidata.org/wiki/Q6224786] and Marion Boyars [https://www.wikidata.org/wiki/Q18674153]. I was thinking of John Calder's apartment and John and his wife unhappily were having a, I mean, it's ridiculous, I'm not going to rehearse the whole situation of their lives, man. Like we've got enough to enter my own in that way, but the point is that I was sleeping on their couch, right? Everybody had left for their various activities and I was to meet these people to come in and set up this recording equipment and have this scene, and they didn't show up. And I had literally like two or three hours just in that apartment. I was padding around the place in my jammies, feeling beautifully luxurious and relaxed in London, you know, like digging out the window. I'd been the night previous reading at an International Festival of Poetry on a beautiful occasion, and I'd gone over. Jim Dine [https://www.wikidata.org/wiki/Q531234] is frankly a friend from the States and I'd called him up, he's living in, where the hell does he live, Grosvenor square [https://www.wikidata.org/wiki/Q932992], he's like in that district. He's living next to the Uruguay Embassy, like it's a very- he's running a house that somebody is trying to sell, but they can't find an appropriate buyer. Mick Jagger [https://www.wikidata.org/wiki/Q128121] wanted to buy the house, but they didn't want a rock singer, and then the Nigerian Embassy wanted to buy the house but they didn't want to sell, you know. It was a whole trip. So Jim Dine has maintained the premises. So I go there and say \"Terrific\" and \"Wow\". We do the whole American bit, which is frankly to get over excited instantly, and to eat, drink, and be merry with an absolute insistence. And we're now driving over to make the Royal Festival Arts blah, blah, blah scene. And for an American it's a heady trip. I'm going to read now in company with the company of four other people, as part of the International Festival of Poetry and they're having this scene at a place, those of you who know London, they're having a scene at the Queen Elizabeth Hall [https://www.wikidata.org/wiki/Q1622428], that's part of the festival, you know like, complexes across the Thames [https://www.wikidata.org/wiki/Q19686] from the Parliamentary buildings, Tower of London [https://www.wikidata.org/wiki/Q62378], all that. So we're driving through late London afternoon in July, delicious, I mean, the sun is fading in over those buildings the whole, oh wow, you know, just blow your mind. It's just fantastically tender and real, and that's where Raleigh [https://www.wikidata.org/wiki/Q189144] was imprisoned in the Tower, and that's you know, fantastic. We arrive in absolutely pristine condition, and it took about two minutes to 'x' it all out. So the first two poems--it says “Festival Hall London”, like a note to myself on the side, and the first two poems--like the unrelieved tedium of the evening was just fantastic. I talked to a reporter of like a red rag, a socialist paper in London later. He said, “I don't see any reason why you should show up, Mr. Creeley, before you're required, your presence is literally required”. You know, so I said, “Do you really think that's possible? Do you think I really could do that?”. He said “I don't see any reason why your condition and duty doesn't permit that kind of occasion”, and I said “The hardest thing man is to sit there for like, it isn't the tedium of the people, it's the tedium of the occasion, it's like all these people. I have to have a rock in my pants that I thought it was hashish but it's actually three million, billion years old, it's a worm. We've got time, right?”. So he said “You don't have to”--what was your experience--he's trying to get some, you know he's trying to get some sense of the work as we're not permitted into the reading or something [audience laughter] and I quote the work as we're like generously absent from the reading, like you don't have to do that too, there's going to be a condition of that experience. \"In London\"\n \nRobert Creeley\n00:28:30\nReads \"In London\" [from In London]. \n\nRobert Creeley\n00:28:39\nThis was, like in this absolutely [unintelligible] environment you suddenly look around and see this exit, exit, exit sign red, exit, exit, exit, exit. There was a titter that ran through the audience and then there was nothing more. \"Cards\". This is now back in the apartment.\n \nRobert Creeley\n00:28:58\nResumes reading \"In London\" [from In London]. \n \nRobert Creeley\n00:30:03\nNow, I'll read the crossed out portions. \"There are people in the sky, now you see them, now you don't, won't you take me to my home, and let me play among the stars. The final fears of all the years are met in you tonight.\" This is, this flows out on vague rhythms. “12:30” written as Arabic numerals, read as 12:30 words.\n \nRobert Creeley \n00:30:30.\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:30:36\n[Interrupts reading]. You know that scene when you're in a city and know one or two people, keep calling up, \"Well, Ted is sober\", [unintelligible] [audience laughter] and I said \"Man, I was there, I know how tired he is, I'm awake\".\n \nRobert Creeley\n00:30:50\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:30:59\n[Interrupts reading]. This was a girl who played the lead in The Beard, actually, in the initial San Francisco [https://www.wikidata.org/wiki/Q62] production who was now working in London playing the same part. Lovely young woman, Billy, trying to remember her last name, very soft and pleasant...\n \nRobert Creeley\n00:31:15\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:31:20\n[Interrupts reading]. Let me interpolate, Chamberlain [https://www.wikidata.org/wiki/Q468760] at one point had a weird erotic scene where they were making love by telephone. Have you ever tried that number? So John was was making things like sperm omelet, like he really, somehow it arrived in his madness of mid age, and decided that he was really going to go for broke in terms of sexual possibility. You ever see a man from Indiana take off on the possibilities of sexual endeavor? It's like- so John, Ultra Violet was the perfect foil for this condition. Ultra Violet [https://www.wikidata.org/wiki/Q272994], if you've seen, you must have seen her on the Merv Griffin Show [https://www.wikidata.org/wiki/Q3404046], Ultra Violet like is like the most humorless, John had a tape of her singing \"The Fool on the Hill'' [https://www.wikidata.org/wiki/Q1920202] that went on for weeks. It was like years would pass by. “Ze fool on ze hill”, you know. With this incredibly corny french accent. \"Ze fool on ze hill\" I remember, and he had a scene where they would make love like- I remember one time, the only, the first time I met- oh christ, I'm suddenly flipped out in my own mind, oh hell. It's ridiculous. Well, see, John had a studio on 13th Street and First Avenue, and Larry Rubens had a studio also, and a Japanese girl had a studio, and upstairs was like, directly over John's studio was, oh hell, who's the obvious sculpture, someone supply me with a name, it's ridiculous, the greatest imagination in the arts today in terms of this environment, [audience suggests name] Pardon? No, not Segal [https://www.wikidata.org/wiki/Q703624]. Like Oldenburg [https://www.wikidata.org/wiki/Q156731], Claes Oldenburg. Claes Oldenburg lived upstairs and then he was still with his wife, his crazy factory, the industry, like making the ghosts, I mean they were making the mock-ups of the particular sculptures he was involved in and John, for example, would like wake up, you'd hear like- I spent nights in John's place and you'd hear the radio would turn on, in the morning, like to station k-whatever it was and then you'd hear them moving around getting breakfast and then hear the sewing machine start and the day would begin and Claes Oldenburg has a crazy serious humorous, like the peculiar to my- I was talking to someone about being, you know, coming from Nova Scotia [https://www.wikidata.org/wiki/Q1952], or New Brunswick [https://www.wikidata.org/wiki/Q1965] or St. John's [https://www.wikidata.org/wiki/Q2082] I mean like the [unintelligible] scene is very displaced by that Scandinavian economy, you know, of experience. So John was- do things like one night for an example, he and Ultra Violet had this thing going with the telephone and she called him and he happened to be out and she just let the phone ring. The phone rang from 11:00 to 7 in the morning [laughter.] Like it just keeps ringing. I remember I met Claes Oldenburg that morning, he said \"John, someone was trying to call you last night\" [laughter] and John says \"Yeah, I know.\" It was lovely, yeah. “I got the message”. And that was all either one of them said.\n \nRobert Creeley\n00:35:21\nResumes reading \"In London” [from In London].\n \nRobert Creeley\n00:37:41\n[Interrupts reading]. Then in the actual text there's a point that it's been in print actually for fifteen years in paperback. Somehow, nobody, the friends that we had didn't curiously notice. His reminiscences of Tolstoy [https://www.wikidata.org/wiki/Q7243] in London [https://www.wikidata.org/wiki/Q84], for example. Have you ever read Gorky's [https://www.wikidata.org/wiki/Q12706] Reminiscences of Tolstoy? Fantastic book. \"Wish I were home\"...doesn't just turn you on informationally, it turns you on to conditions of experience, I hope.\n \nRobert Creeley\n00:38:08\nResumes reading “In London” [from In London].\n \nRobert Creeley\n00:39:30\nI wonder what this is, \"Aside, aside\", [unintelligible], February, Spring day, it's from California [https://www.wikidata.org/wiki/Q99].\n \nRobert Creeley\n00:39:46\nReads [“That Day” from In London].\n \nRobert Creeley\n00:39:51\n[Interrupts reading]. See, I love that \"And that day, in an oak tree, falls way, comes here\", I love that “interup-tions”.\n\nRobert Creeley\n00:40:00\nResumes reading [“That Day” from In London].\n \nRobert Creeley\n00:40:04\n[Interrupts reading]. I love that play of language.\n \nRobert Creeley\n00:40:07\nResumes reading [“That Day” from In London].\n \nRobert Creeley\n00:40:54\nThat I, this was a--one time back in the earlier part of the 60's, Ginsberg [https://www.wikidata.org/wiki/Q6711] was given a tape recorder by Bob Dylan [https://www.wikidata.org/wiki/Q392] and when they were both in San Francisco [https://www.wikidata.org/wiki/Q62]. Dylan gave Allen a Uher tape recorder and they had been in San Francisco, now Allen went down to Los Angeles [https://www.wikidata.org/wiki/Q65] and he talked to people like Gerald Heard [https://www.wikidata.org/wiki/Q1606714], he had long conversations with Lenny Bruce [https://www.wikidata.org/wiki/Q460876], and he also went to see Maria Huxley, and he was particularly interested as to what were Huxley's, not merely, he knew what Huxley died of, Huxley died of cancer in a factual and actual manner. But he was very interested into what was Huxley's not state, like he didn't want to hear his last words in some awful sense, but he wanted to know what kind of experience of death Huxley had had. And if this particular experience of death had been in any way informed by the circumstance of experience that Huxley had begun to be more and more involved with as he grew older, namely acid and the transformation, not the transformation but the particularization of experience that he found in the psychedelic so-called drugs. And so he asked Maria Huxley the very obvious question, “was Huxley on acid when he died? Did he take acid previous to his death?” And she said, “well, he had asked that when he was thus conscious. I mean he did go into a coma. He did have a float, physically, and he asked that he have acid available. I mean that the cap of acid be place conveniently by the bed, and that he would obviously determine when and as and if he wanted to take it. It would be there. It would be like an aspirin, like a glass of water,” and she said that roughly half an hour previous to his physical death, he took acid. And then Allen asked the other obvious question, did he say anything? Did he say anything of the experience of the circumstance? She said, no he didn't, he said nothing. But this is a woman who'd lived obviously with this man for a particular length of time and had information specifically, she said no, but there was this beatific smile, he was attending his own, you know, like he was attending, not the apocalypse, but the phenomenality of his own dispersion into you know other states of being, with the agency that's created.\n \nRobert Creeley\n00:43:49\nReads [section of “Little Time--And Place” from In London]. \n \nRobert Creeley\n00:44:05\nI want to read one last poem from this text, and then I'll go back to books you may know. \"A Wall\".\n \nRobert Creeley\n00:44:15\nReads \"A Wall\".\n \nUnknown\n00:45:20\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRobert Creeley\n00:45:22\n..simply identifies the title of the book that you're referring to and the name of the man who wrote it. \n\nUnknown\n00:45:25\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRobert Creeley\n00:45:26\n...he didn't want to make it hard for anybody, certainly didn't want to make it thus easy. But, particular information was always of that nature, you couldn't describe it, you certainly couldn't make it a convenience, so that the actuation of it for you always had to be the particular resource and fact of your own--I mean, it had to be that you did know it. It wasn't like one-upping, \"Gee, you don't know the name of the capital of Madagascar\" [https://www.wikidata.org/wiki/Q1019?wprov=srpw1_0], like I don't know the name of the capital of Madagascar, is there a capital of Madagascar? I guess, you couldn't. That wasn't the condition, but if something was there to be known, that was of some particular interest to him, he gave you the fact of that interest and the substance of that interest, but he didn't give you the convenience of that interest, you had not merely to track his experience into it, but you had to get there, like you had to get there by your own agency. But I think I could--someone said, like man, like the dots in this particular book, pieces, and there's a lovely remark by Ed Dorn [https://www.wikidata.org/wiki/Q5334756] whom I dearly love, he said you know, that sense of the pieces of the definition, [unintelligible] of the parts of some of the imagined whole, which these pieces are then the fragments or the parts of, then he says, he effectually suggests, think of a situation where the pieces do not compose that possible containment, the parts that do not necessarily relate and or have the substance of the whole thus to inform them. Like now, you're really in a hole, dig. And his definition of tradition: that which someone comes carrying the information of, literally, he got there, with the news. So the dots in this book, the three dots, those of you who are interested in these explications of text, these three dots simply indicate the intervals of a particular sitting, or a particular, you know literally, you see how this is written, it's like in a notebook, well what was written on a particular day would be separated in this text by three dots, you know, like usually the particular things written would be separated by one dot then when another day occurred there'd be three dots, I mean it's a very rudimentary division.\n \nRobert Creeley\n00:47:53\nReads \"The which it was\" [from Pieces].\n \nRobert Creeley\n00:49:15\n\"Re Bob's Film (CUT)\", this was a movie done, friend--this is not even interesting, this is an 8 mm film called \"Cut\".\n \nRobert Creeley\n00:49:23\nReads \"Re Bob's Film (CUT)\" [from Pieces].\n \nRobert Creeley\n00:51:53\nI want to skip, like I want to skip to the end of this book and read frankly, if I may for a close, let me read a sequence called \"Mazatlan: Sea\" which comes together as a close to this particular book and is writing of the same order.\n \nRobert Creeley\n00:52:15\nReads \"Mazatlan: Sea\" [from Pieces].\n \nEND\n01:07:47\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nRobert Creeley tenured as a full professor at SUNY Buffalo in 1967, edited The New Writing in the USA with Don Allen, and published Words and The Charm: Early and Uncollected Poems. Creeley attended the London International Poetry Festival in July of 1967\",\"type\":\"General\"},{\"note\":\"Local Connections: \\n\\nCreeley had ties with Irving Layton through the Black Mountain Review in the 50’s. Creeley moved to Vancouver to work at the University of British Columbia in 1960-61. He had contacts with Phyllis Webb and Irving Layton. Creeley was George Bowering’s Master's thesis advisor at University of British Columbia until 1963, and wrote introductions for Bowering’s poetry. He came to visit Montreal and Sir George Williams University the same year Layton was poet in residence, after years of correspondence.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Sarah McDonnell and Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/collected-poems-of-robert-creeley/oclc/1151730303&referer=brief_results\",\"citation\":\"Creeley, Robert, and Penelope Creeley. The Collected Poems of Robert Creeley: 1945-1975. University of California Press, 2006. \"},{\"url\":\"https://www.worldcat.org/title/was-that-a-real-poem-other-essays/oclc/247870873&referer=brief_results#reviews\",\"citation\":\"Creeley, Robert; Allen, Donald; Novik, Mary. Was That a Real Poem and Other Essays. Four Seasons Foundation, 1979.\"},{\"url\":\"https://www.worldcat.org/title/in-london/oclc/970961442?referer=di&ht=edition\",\"citation\":\"Creeley Robert. In London. Bolinas: Angel Hair Books, 1970.\"},{\"url\":\"https://www.worldcat.org/title/words-poems/oclc/421895361?referer=di&ht=edition\",\"citation\":\"Creeley, Robert. Words: poems. New York: Scribner, 1967. \"},{\"url\":\"https://www.worldcat.org/title/sense-of-measure/oclc/718716260&referer=brief_results\",\"citation\":\"Creeley, Robert. A Sense of Measure. Calder and Boyars, 1973. \"},{\"url\":\"https://www.worldcat.org/title/some-echoes/oclc/1167543687&referer=brief_results\",\"citation\":\"Creeley, Robert. Echoes. New Directions, 1994.\"},{\"url\":\"https://www.worldcat.org/title/for-love-poems-1950-1960/oclc/268031?referer=di&ht=edition\",\"citation\":\"Creeley, Robert. For Love: Poems Poems 1950-1960. New York: Scribner, 1962. \"},{\"url\":\"https://www.worldcat.org/title/if-i-were-writing-this/oclc/181140062&referer=brief_results\",\"citation\":\"Creeley, Robert. If I Were Writing This. New Directions, 2008. \"},{\"url\":\"https://www.worldcat.org/title/later/oclc/470953767&referer=brief_results\",\"citation\":\"Creeley, Robert. Later. New Directions, 1980.\"},{\"url\":\"https://www.worldcat.org/title/life-death/oclc/694895837&referer=brief_results\",\"citation\":\"Creeley, Robert. Life and Death. New Directions, 2000. \"},{\"url\":\"https://www.worldcat.org/title/mirrors/oclc/239774564&referer=brief_results\",\"citation\":\"Creeley, Robert. Mirrors. New Directions, 1983.\"},{\"url\":\"https://www.worldcat.org/title/on-earth-last-poems-and-an-essay/oclc/264039622&referer=brief_results\",\"citation\":\"Creeley, Robert. On Earth: Last Poems and an Essay. University of California Press, 2009. \"},{\"url\":\"https://www.worldcat.org/title/pieces/oclc/729928833&referer=brief_results\",\"citation\":\"Creeley, Robert. Pieces. New York: Scribner, 1969. \"},{\"url\":\"https://www.worldcat.org/title/charm/oclc/9997283&referer=brief_results\",\"citation\":\"Creeley, Robert. The Charm: Early and Uncollected Poems. Book People & Mudra, 1971. \"},{\"url\":\"https://www.worldcat.org/title/gold-diggers-and-other-stories/oclc/10263594&referer=brief_results\",\"citation\":\"Creeley, Robert. The Gold Diggers. Divers Press, 1954. \"},{\"url\":\"https://www.worldcat.org/title/island/oclc/6464917&referer=brief_results\",\"citation\":\"Creeley, Robert. The Island. New York: Scribner, 1970. \"},{\"url\":\"https://www.worldcat.org/title/windows/oclc/797857141&referer=brief_results\",\"citation\":\"Creeley, Robert. Windows. Boyars, 1991.\"},{\"url\":\"https://www.worldcat.org/title/robert-creeley-a-biography/oclc/951202214&referer=brief_results\",\"citation\":\"Fass, Ekbert. Robert Creeley: A Biography. Montreal: McGill-Queen’s University Press, 2001.\"},{\"url\":\"http://news.google.com/newspapers?id=O5UtAAAAIBAJ&sjid=4p8FAAAAIBAJ&pg=3951,6182119&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“Poetry Series Coming Up At University”. Montreal: The Gazette. 31 December 1966, page 39. \\n\"},{\"url\":\"\",\"citation\":\"O’Reilly, Elizabeth. “Creeley, Robert, 1926-”. Literature Online Biography. Proquest, 2008. \"}]"],"_version_":1853670548903559168,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-2_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-2_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-2_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0089-2_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0089-2_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Creeley Tape Box 2 - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/robert_creeley_i006-11-089-2_1970.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_creeley_i006-11-089-2_1970.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:07:47\",\"precision\":\"\",\"size\":\"162.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Unknown\\n00:00:00.00\\n...thing which is regularly said when introducing Robert Creeley [https://www.wikidata.org/wiki/Q918620] would be that he is a, a Black Mountain Poet [https://www.wikidata.org/wiki/Q2905420], and a colleague of Robert Duncan's [https://www.wikidata.org/wiki/Q57421163], and the late Charles Olson's [https://www.wikidata.org/wiki/Q922978]. What has really introduced Robert Creeley to me however, was something I heard him say back in 1963, to the effect that when a man begins to love himself, love himself, to be in the world as he is in it, then things begin to happen to him that are interesting. Now, this is a statement, which is enigmatic in its syntax and yet still spells out what I think you will find interesting about Robert Creeley tonight, that is that he's a man whose poems are close to the process of living. He will be able to give you information in his poems about this process. His poems are about someone who, no matter how difficult this process has become, has loved that particular moment of it. Now that Robert is supplied with cigarettes for the evening, he may as well begin.\\n \\nAudience\\n00:01:43\\nApplause [cut off].\\n\\nRobert Creeley\\n00:01:48\\nLet me. \\\"On Vacation\\\".\\n \\nRobert Creeley\\n00:02:35\\nReads \\\"On Vacation\\\".\\n \\nRobert Creeley\\n00:02:55\\nI'll read one more poem, I made it up all by myself, that's the only thing... \\\"Do You Think\\\".\\n \\nRobert Creeley\\n00:03:03\\nReads \\\"Do You Think...\\\" [published later in A Day Book].\\n \\nRobert Creeley\\n00:04:51\\nIt's like a Latter Day [https://www.wikidata.org/wiki/Q42504]quote, no it's like a--I've got a noun [unintelligible].\\n\\nAudience \\n00:05:01\\nLaughter. \\n\\nRobert Creeley\\n00:05:03\\nThis has nothing in the glasses, nothing in the glass, that's the problem. I want to read, frankly an old and dear friend Robin Blaser [https://www.wikidata.org/wiki/Q2115003], an old and dear friend, a man I much respect and care for just happens to be in the room, I haven't seen him since, like, almost, it feels like 20 minutes ago. But I want therefore to read a few poems that are more recent in composition. \\\"The Act of Love\\\".\\n\\nRobert Creeley\\n00:05:50\\nReads \\\"The Act of Love\\\".\\n \\nRobert Creeley\\n00:07:55\\nThen I'd like to read another poem because frankly Robin is a very particular friend, and not will know simply the information I'm trying to get clear, but will know the, you know, you like to read for people, shit, you know. \\\"The Birds\\\".\\n \\nRobert Creeley\\n00:08:19\\nReads \\\"The Birds\\\".\\n \\nRobert Creeley\\n00:09:58\\nThen that--\\\"things seem empty on vacation, if the labors have not been physical, then, some awful grating sound as if some monstrous nose were being blown...\\\" [begins to read “On Vacation”]--no I've read that once, I won't read it again. But I wanted to read the most recent--I used to have, not an ambition, but I had a lovely sense of Allen Ginsberg's [https://www.wikidata.org/wiki/Q6711] freedom in writing, happily, he's been here not too long ago. And I mean, Allen is a true contemporary, simply that we were born within say, what he's born--his birthday is June 3rd and mine's May 23rd of 1926 and we're, you know, we're very close in time and space. I used to have a sense of not Allen's permission in writing, I mean that permission doesn't exist. I mean, you write what you are given thus to write, nobody designs this occasion, nobody has the authority of it, and I did in a weird way, I envied Allen's ability to be where that situation might occur, you know. Like he could really write any moment, any place, anywhere, and so recently flying. In fact, last week, flying out to Los Angeles, not to Los Angeles, to San Francisco, I'd been awfully harassed in particular dilemmas of responsibility and suddenly sitting on the plane. There was this delicious space, you know, made peace with the plane by drinking everything they would give you instantly and having entered with some. I remember watching Warren, an old, dear friend get on a plane with like, four double vodkas. You know, I said \\\"Warren, you're going to get drunk\\\". He said, “No I'm flying back to Vancouver”. Like you mistaked the occasion, you know. And so, I get on the plane, and I thought, “well I can do this too”. And I wrote, my Bobbie who is a friend indeed of Robin's and myself. I'm literally her husband and Robin is a friend in that, what am I? I'm not going to propose that we're--no, but I think it's true. It has nothing to do with fucking. It has to do with the ambiance and reality of another human being. I think we share that reality in her. And she had gotten ill, unhappily and in some unexpected manner and then happily is now okay, but it was a crazy moment of dilemma. \\\"An Illness\\\".\\n \\nRobert Creeley\\n00:12:52\\nReads \\\"An Illness\\\". \\n \\nRobert Creeley\\n00:15:55\\nAnd I'm going to read a few more for Robin, and then, \\\"The Problem\\\".\\n \\nRobert Creeley\\n00:16:06\\nReads \\\"The Problem\\\".\\n \\nRobert Creeley\\n00:16:44\\nReads \\\"The Tiger\\\".\\n \\nRobert Creeley\\n00:17:09\\nWhat is reality--this is crossed out--[Reads excerpted material from “The Tiger”]. “What is reality we thought, who is here, we could smell the freshness of the jungle growth and would have been eaten by the tiger were it hungry” [audience laughter]. It's all crossed out. I'll read, this is--\\n \\nRobert Creeley\\n00:17:38\\nReads unnamed poem.\\n \\nRobert Creeley\\n00:18:33\\n\\\"Not Being Dumb\\\"--this is, these are three things together.\\n \\nRobert Creeley\\n00:18:36\\nReads \\\"Not Being Dumb”.\\n \\nRobert Creeley\\n00:19:38\\nReads [\\\"Harry\\\"].\\n \\nRobert Creeley\\n00:19:46\\nLet me just, may I just read around, because these are, like, poems of like the last few months. This was a poem that is variously titled \\\"Sweet Dreams, Good Harbor Beach\\\". This is a place in Gloucester [https://www.wikidata.org/wiki/Q49156]. It therefore has a physical location.\\n \\nRobert Creeley\\n00:20:04\\nReads \\\"Sweet Dreams, Good Harbor Beach\\\".\\n \\nRobert Creeley\\n00:21:15\\nI want to read one sequence of, a cluster of particular writing, I won't even have the arrogance to say these are necessarily poems. But the, because I don't in that sense, these are a sequence called \\\"In London\\\". And I had, I'll tell you, physically, the circumstance was that I was in London [https://www.wikidata.org/wiki/Q84?wprov=srpw1_0] for five days last summer for a particular activity and I have happily a number of friends in London. Therefore, generously and, actually my time is really filled with seeing particular friends or else having particular business to conduct, and that's one, frankly, one of the satisfactions of one sense of what my life has to do with its own occasion, to have use and to have place. Not to say, “Gee, you're back again. We've kept the table. We've kept the seat for you”. But to have an occasion that actually gives you place in the world is always a delight. And so therefore, I was there briefly and this particular morning, there was to have been a, actually, a recording and it turned out the circumstances of the recording hadn't worked out. So the people involved did not come and so there was a space of three hours in which I was staying at this friend's apartment in London on Wimpole Street, 76 Wimpole Street, just around Oxford Street. You know the neighborhood possibly. And it's a dazzling part of London for an American. Particularly, I mean, it's like Barrets and Wimpole Street and the whole bit, Paul McCartney [https://www.wikidata.org/wiki/Q2599?wprov=srpw1_0] had a place, like two blocks--did have a place two blocks--and the whole bit. You know, and it's very dazzling, and I was in this apartment and I was sleeping actually on the couch of this particular friend, and there were other beds available, but I did not manage. I was not aggressive, so therefore I slept on the couch. It was a heavy time for everybody, and I was thinking of Jim dying, you know whose “A Retrospective of the Whitney” has just opened. And I was staying, actually, with the wife of a publisher who happily I have in London, John Calder [https://www.wikidata.org/wiki/Q6224786] and Marion Boyars [https://www.wikidata.org/wiki/Q18674153]. I was thinking of John Calder's apartment and John and his wife unhappily were having a, I mean, it's ridiculous, I'm not going to rehearse the whole situation of their lives, man. Like we've got enough to enter my own in that way, but the point is that I was sleeping on their couch, right? Everybody had left for their various activities and I was to meet these people to come in and set up this recording equipment and have this scene, and they didn't show up. And I had literally like two or three hours just in that apartment. I was padding around the place in my jammies, feeling beautifully luxurious and relaxed in London, you know, like digging out the window. I'd been the night previous reading at an International Festival of Poetry on a beautiful occasion, and I'd gone over. Jim Dine [https://www.wikidata.org/wiki/Q531234] is frankly a friend from the States and I'd called him up, he's living in, where the hell does he live, Grosvenor square [https://www.wikidata.org/wiki/Q932992], he's like in that district. He's living next to the Uruguay Embassy, like it's a very- he's running a house that somebody is trying to sell, but they can't find an appropriate buyer. Mick Jagger [https://www.wikidata.org/wiki/Q128121] wanted to buy the house, but they didn't want a rock singer, and then the Nigerian Embassy wanted to buy the house but they didn't want to sell, you know. It was a whole trip. So Jim Dine has maintained the premises. So I go there and say \\\"Terrific\\\" and \\\"Wow\\\". We do the whole American bit, which is frankly to get over excited instantly, and to eat, drink, and be merry with an absolute insistence. And we're now driving over to make the Royal Festival Arts blah, blah, blah scene. And for an American it's a heady trip. I'm going to read now in company with the company of four other people, as part of the International Festival of Poetry and they're having this scene at a place, those of you who know London, they're having a scene at the Queen Elizabeth Hall [https://www.wikidata.org/wiki/Q1622428], that's part of the festival, you know like, complexes across the Thames [https://www.wikidata.org/wiki/Q19686] from the Parliamentary buildings, Tower of London [https://www.wikidata.org/wiki/Q62378], all that. So we're driving through late London afternoon in July, delicious, I mean, the sun is fading in over those buildings the whole, oh wow, you know, just blow your mind. It's just fantastically tender and real, and that's where Raleigh [https://www.wikidata.org/wiki/Q189144] was imprisoned in the Tower, and that's you know, fantastic. We arrive in absolutely pristine condition, and it took about two minutes to 'x' it all out. So the first two poems--it says “Festival Hall London”, like a note to myself on the side, and the first two poems--like the unrelieved tedium of the evening was just fantastic. I talked to a reporter of like a red rag, a socialist paper in London later. He said, “I don't see any reason why you should show up, Mr. Creeley, before you're required, your presence is literally required”. You know, so I said, “Do you really think that's possible? Do you think I really could do that?”. He said “I don't see any reason why your condition and duty doesn't permit that kind of occasion”, and I said “The hardest thing man is to sit there for like, it isn't the tedium of the people, it's the tedium of the occasion, it's like all these people. I have to have a rock in my pants that I thought it was hashish but it's actually three million, billion years old, it's a worm. We've got time, right?”. So he said “You don't have to”--what was your experience--he's trying to get some, you know he's trying to get some sense of the work as we're not permitted into the reading or something [audience laughter] and I quote the work as we're like generously absent from the reading, like you don't have to do that too, there's going to be a condition of that experience. \\\"In London\\\"\\n \\nRobert Creeley\\n00:28:30\\nReads \\\"In London\\\" [from In London]. \\n\\nRobert Creeley\\n00:28:39\\nThis was, like in this absolutely [unintelligible] environment you suddenly look around and see this exit, exit, exit sign red, exit, exit, exit, exit. There was a titter that ran through the audience and then there was nothing more. \\\"Cards\\\". This is now back in the apartment.\\n \\nRobert Creeley\\n00:28:58\\nResumes reading \\\"In London\\\" [from In London]. \\n \\nRobert Creeley\\n00:30:03\\nNow, I'll read the crossed out portions. \\\"There are people in the sky, now you see them, now you don't, won't you take me to my home, and let me play among the stars. The final fears of all the years are met in you tonight.\\\" This is, this flows out on vague rhythms. “12:30” written as Arabic numerals, read as 12:30 words.\\n \\nRobert Creeley \\n00:30:30.\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:30:36\\n[Interrupts reading]. You know that scene when you're in a city and know one or two people, keep calling up, \\\"Well, Ted is sober\\\", [unintelligible] [audience laughter] and I said \\\"Man, I was there, I know how tired he is, I'm awake\\\".\\n \\nRobert Creeley\\n00:30:50\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:30:59\\n[Interrupts reading]. This was a girl who played the lead in The Beard, actually, in the initial San Francisco [https://www.wikidata.org/wiki/Q62] production who was now working in London playing the same part. Lovely young woman, Billy, trying to remember her last name, very soft and pleasant...\\n \\nRobert Creeley\\n00:31:15\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:31:20\\n[Interrupts reading]. Let me interpolate, Chamberlain [https://www.wikidata.org/wiki/Q468760] at one point had a weird erotic scene where they were making love by telephone. Have you ever tried that number? So John was was making things like sperm omelet, like he really, somehow it arrived in his madness of mid age, and decided that he was really going to go for broke in terms of sexual possibility. You ever see a man from Indiana take off on the possibilities of sexual endeavor? It's like- so John, Ultra Violet was the perfect foil for this condition. Ultra Violet [https://www.wikidata.org/wiki/Q272994], if you've seen, you must have seen her on the Merv Griffin Show [https://www.wikidata.org/wiki/Q3404046], Ultra Violet like is like the most humorless, John had a tape of her singing \\\"The Fool on the Hill'' [https://www.wikidata.org/wiki/Q1920202] that went on for weeks. It was like years would pass by. “Ze fool on ze hill”, you know. With this incredibly corny french accent. \\\"Ze fool on ze hill\\\" I remember, and he had a scene where they would make love like- I remember one time, the only, the first time I met- oh christ, I'm suddenly flipped out in my own mind, oh hell. It's ridiculous. Well, see, John had a studio on 13th Street and First Avenue, and Larry Rubens had a studio also, and a Japanese girl had a studio, and upstairs was like, directly over John's studio was, oh hell, who's the obvious sculpture, someone supply me with a name, it's ridiculous, the greatest imagination in the arts today in terms of this environment, [audience suggests name] Pardon? No, not Segal [https://www.wikidata.org/wiki/Q703624]. Like Oldenburg [https://www.wikidata.org/wiki/Q156731], Claes Oldenburg. Claes Oldenburg lived upstairs and then he was still with his wife, his crazy factory, the industry, like making the ghosts, I mean they were making the mock-ups of the particular sculptures he was involved in and John, for example, would like wake up, you'd hear like- I spent nights in John's place and you'd hear the radio would turn on, in the morning, like to station k-whatever it was and then you'd hear them moving around getting breakfast and then hear the sewing machine start and the day would begin and Claes Oldenburg has a crazy serious humorous, like the peculiar to my- I was talking to someone about being, you know, coming from Nova Scotia [https://www.wikidata.org/wiki/Q1952], or New Brunswick [https://www.wikidata.org/wiki/Q1965] or St. John's [https://www.wikidata.org/wiki/Q2082] I mean like the [unintelligible] scene is very displaced by that Scandinavian economy, you know, of experience. So John was- do things like one night for an example, he and Ultra Violet had this thing going with the telephone and she called him and he happened to be out and she just let the phone ring. The phone rang from 11:00 to 7 in the morning [laughter.] Like it just keeps ringing. I remember I met Claes Oldenburg that morning, he said \\\"John, someone was trying to call you last night\\\" [laughter] and John says \\\"Yeah, I know.\\\" It was lovely, yeah. “I got the message”. And that was all either one of them said.\\n \\nRobert Creeley\\n00:35:21\\nResumes reading \\\"In London” [from In London].\\n \\nRobert Creeley\\n00:37:41\\n[Interrupts reading]. Then in the actual text there's a point that it's been in print actually for fifteen years in paperback. Somehow, nobody, the friends that we had didn't curiously notice. His reminiscences of Tolstoy [https://www.wikidata.org/wiki/Q7243] in London [https://www.wikidata.org/wiki/Q84], for example. Have you ever read Gorky's [https://www.wikidata.org/wiki/Q12706] Reminiscences of Tolstoy? Fantastic book. \\\"Wish I were home\\\"...doesn't just turn you on informationally, it turns you on to conditions of experience, I hope.\\n \\nRobert Creeley\\n00:38:08\\nResumes reading “In London” [from In London].\\n \\nRobert Creeley\\n00:39:30\\nI wonder what this is, \\\"Aside, aside\\\", [unintelligible], February, Spring day, it's from California [https://www.wikidata.org/wiki/Q99].\\n \\nRobert Creeley\\n00:39:46\\nReads [“That Day” from In London].\\n \\nRobert Creeley\\n00:39:51\\n[Interrupts reading]. See, I love that \\\"And that day, in an oak tree, falls way, comes here\\\", I love that “interup-tions”.\\n\\nRobert Creeley\\n00:40:00\\nResumes reading [“That Day” from In London].\\n \\nRobert Creeley\\n00:40:04\\n[Interrupts reading]. I love that play of language.\\n \\nRobert Creeley\\n00:40:07\\nResumes reading [“That Day” from In London].\\n \\nRobert Creeley\\n00:40:54\\nThat I, this was a--one time back in the earlier part of the 60's, Ginsberg [https://www.wikidata.org/wiki/Q6711] was given a tape recorder by Bob Dylan [https://www.wikidata.org/wiki/Q392] and when they were both in San Francisco [https://www.wikidata.org/wiki/Q62]. Dylan gave Allen a Uher tape recorder and they had been in San Francisco, now Allen went down to Los Angeles [https://www.wikidata.org/wiki/Q65] and he talked to people like Gerald Heard [https://www.wikidata.org/wiki/Q1606714], he had long conversations with Lenny Bruce [https://www.wikidata.org/wiki/Q460876], and he also went to see Maria Huxley, and he was particularly interested as to what were Huxley's, not merely, he knew what Huxley died of, Huxley died of cancer in a factual and actual manner. But he was very interested into what was Huxley's not state, like he didn't want to hear his last words in some awful sense, but he wanted to know what kind of experience of death Huxley had had. And if this particular experience of death had been in any way informed by the circumstance of experience that Huxley had begun to be more and more involved with as he grew older, namely acid and the transformation, not the transformation but the particularization of experience that he found in the psychedelic so-called drugs. And so he asked Maria Huxley the very obvious question, “was Huxley on acid when he died? Did he take acid previous to his death?” And she said, “well, he had asked that when he was thus conscious. I mean he did go into a coma. He did have a float, physically, and he asked that he have acid available. I mean that the cap of acid be place conveniently by the bed, and that he would obviously determine when and as and if he wanted to take it. It would be there. It would be like an aspirin, like a glass of water,” and she said that roughly half an hour previous to his physical death, he took acid. And then Allen asked the other obvious question, did he say anything? Did he say anything of the experience of the circumstance? She said, no he didn't, he said nothing. But this is a woman who'd lived obviously with this man for a particular length of time and had information specifically, she said no, but there was this beatific smile, he was attending his own, you know, like he was attending, not the apocalypse, but the phenomenality of his own dispersion into you know other states of being, with the agency that's created.\\n \\nRobert Creeley\\n00:43:49\\nReads [section of “Little Time--And Place” from In London]. \\n \\nRobert Creeley\\n00:44:05\\nI want to read one last poem from this text, and then I'll go back to books you may know. \\\"A Wall\\\".\\n \\nRobert Creeley\\n00:44:15\\nReads \\\"A Wall\\\".\\n \\nUnknown\\n00:45:20\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRobert Creeley\\n00:45:22\\n..simply identifies the title of the book that you're referring to and the name of the man who wrote it. \\n\\nUnknown\\n00:45:25\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRobert Creeley\\n00:45:26\\n...he didn't want to make it hard for anybody, certainly didn't want to make it thus easy. But, particular information was always of that nature, you couldn't describe it, you certainly couldn't make it a convenience, so that the actuation of it for you always had to be the particular resource and fact of your own--I mean, it had to be that you did know it. It wasn't like one-upping, \\\"Gee, you don't know the name of the capital of Madagascar\\\" [https://www.wikidata.org/wiki/Q1019?wprov=srpw1_0], like I don't know the name of the capital of Madagascar, is there a capital of Madagascar? I guess, you couldn't. That wasn't the condition, but if something was there to be known, that was of some particular interest to him, he gave you the fact of that interest and the substance of that interest, but he didn't give you the convenience of that interest, you had not merely to track his experience into it, but you had to get there, like you had to get there by your own agency. But I think I could--someone said, like man, like the dots in this particular book, pieces, and there's a lovely remark by Ed Dorn [https://www.wikidata.org/wiki/Q5334756] whom I dearly love, he said you know, that sense of the pieces of the definition, [unintelligible] of the parts of some of the imagined whole, which these pieces are then the fragments or the parts of, then he says, he effectually suggests, think of a situation where the pieces do not compose that possible containment, the parts that do not necessarily relate and or have the substance of the whole thus to inform them. Like now, you're really in a hole, dig. And his definition of tradition: that which someone comes carrying the information of, literally, he got there, with the news. So the dots in this book, the three dots, those of you who are interested in these explications of text, these three dots simply indicate the intervals of a particular sitting, or a particular, you know literally, you see how this is written, it's like in a notebook, well what was written on a particular day would be separated in this text by three dots, you know, like usually the particular things written would be separated by one dot then when another day occurred there'd be three dots, I mean it's a very rudimentary division.\\n \\nRobert Creeley\\n00:47:53\\nReads \\\"The which it was\\\" [from Pieces].\\n \\nRobert Creeley\\n00:49:15\\n\\\"Re Bob's Film (CUT)\\\", this was a movie done, friend--this is not even interesting, this is an 8 mm film called \\\"Cut\\\".\\n \\nRobert Creeley\\n00:49:23\\nReads \\\"Re Bob's Film (CUT)\\\" [from Pieces].\\n \\nRobert Creeley\\n00:51:53\\nI want to skip, like I want to skip to the end of this book and read frankly, if I may for a close, let me read a sequence called \\\"Mazatlan: Sea\\\" which comes together as a close to this particular book and is writing of the same order.\\n \\nRobert Creeley\\n00:52:15\\nReads \\\"Mazatlan: Sea\\\" [from Pieces].\\n \\nEND\\n01:07:47\\n\",\"notes\":\"Robert Creeley reads from Pieces (Scribner, 1969), In London (Angel Hair Books, 1970), and from other unknown sources.\\n\\n00:00- Unknown male introduces Robert Creeley. [INDEX: Black Mountain Poet, Robert \\tDuncan, Charles Olson]\\n02:35- Reads “On Vacation”\\n02:55- Introduces “Do You Think”\\n03:03- Reads “Do You Think”\\n04:51- Introduces “The Act of Love” [INDEX: Robin Blaser]\\n05:50- Reads “The Act of Love”\\n07:55- Introduces “The Birds” [INDEX: Robin Blaser]\\n08:19- Reads “The Birds”\\n09:58- Introduces “An Illness” [INDEX: Allen Ginsberg, San Francisco, Warren [unknown last name], Bobby Louise Hall, Robin Blaser]\\n12:52- Reads “An Illness”\\n15:55- Introduces “The Problem” [INDEX: Robin Blaser]\\n16:06- Reads “The Problem”\\n16:44- Reads “The Tiger”\\n17:09- Reads deleted material from “The Tiger”\\n17:38- Reads first line “We resolved to think of ourselves...”\\n18:33- Introduces “Not Being Dumb”\\n18:36- Reads “Not Being Dumb”\\n19:38- Reads “Harry”\\n19:46- Introduces “Sweet Dreams, Good Harbor Beach”\\n20:04- Reads “Sweet Dreams, Good Harbor Beach”\\n21:15- Introduces “In London” [INDEX: London, 76 Wimphole Street, Oxford Street, Barrets Street, Paul McCartney, Whitney Museum of American Art, Publisher John Calder, \\tMaron Boyars, International Festival of Poetry in London, Jim Dine, Grosvenor Square, Uruguay Embassy, Mic Jagger, Nigerian Embassy, Royal Festival of Arts, Queen \\tElizabeth Hall, Raleigh imprisoned in the London Tower, socialist paper journalist]\\n28:25- Reads “In London” [with interruptions during poem]\\n28:55- Introduces “Cards”\\n28:58- Reads “Cards”\\n29:14- Reads “Small Dreams”\\n29:53- Reads “Homesick, Etc”\\n30:03- Reads deleted section from “Homesick, Etc” and Introduces “This Flows Out On Vague Rhythms”\\n30:30- Reads “This Flows Out On Vague Rhythms”\\n30:36- Interrupts poem with explanation\\n30:50- Continues reading\\n30:59- Interrupts poem with explanation\\n31:15- Continues reading\\n31:20- Interrupts poem with explanation [INDEX: John Chamberlain, Ultra Violet, Merv Griffons Show, Chamberlain’s studio on 13th Street and 1st Avenue New York City, Larry \\tRubens [sp?], Sculptor Claes Oldenburg]\\n35:21- Continues reading [line “Thinking of Chamberlain and Ultra Violet talking the night \\taway”...]\\n37:41- Interrupts poem with explanation [INDEX: Maxin Gorky’s Reminiscences of Tolstoy]\\n38:08- Reads “Wish I Were Home”\\n39:30- Introduces “Aside, Aside”\\n39:46- Reads “Aside, Aside”\\n38:51- Interrupts poem with explanation\\n40:00- Continues reading\\n40:04- Interrupts poem with explanation\\n40:07- Continues reading\\n40:54- Introduces poem, first line “Fine manners, weathers, cars and people...” [INDEX: \\tAllen Ginsberg, Bob Dylan, San Francisco, Uher tape, Los Angeles, Gerald Heard, Lenny \\tBruce, Maria Huxley, Aldous Huxley’s death, experiences on acid]\\n43:49- Reads first line “Fine manners, weathers, cars and people...”\\n44:05- Introduces “A Wall”\\n44:15- Reads “A Wall”\\n45:14- Cut in tape, explains parts of his book, A Wall [INDEX: Ed Dorn, A Wall]\\n47:53- Reads first line “The which it was form seen there...”\\n49:15- Introduces “Ray Bob’s Film Cut”\\n49:23- Reads “Ray Bob’s Film Cut”\\n51:53- Introduces “Mazatlan: Sea”\\n52:15- Reads “Mazatlan: Sea”\\n1:07:47.09- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-creeley-at-sgwu-1970/\"}]"],"score":1.0},{"id":"1285","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Diane Wakoski at Sir George Williams University, The Poetry Series, 23 January 1970\n"],"item_title_source":["Cataloguer"],"item_title_note":["\"DIANE WAKOSKI Recorded January 23, 1970 3.75 ips, 1/2 track on 1 mil. tape\" written on sticker on the back of the tape's box. \"DIANE WAKOSKI I006/SR49\" written on sticker on the spine of the tape's box. \"I006-11-049\" written on sticker on the reel\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Wakoski, Diane"],"creator_names_search":["Wakoski, Diane"],"creators":["[{\"url\":\"http://viaf.org/viaf/79051243\",\"name\":\"Wakoski, Diane\",\"dates\":\"1937-\",\"notes\":\"American Poet Diane Wakoski was born August 3rd, 1937 in Whittier, California. She earned her B.A. from University of California, Berkeley, where she began to publish her poetry. She read at the San Francisco Poetry Center in 1959. Her first collection, Coins & Coffins (Doubleday) was published in 1962, and her other collections include Discrepancies and Apparitions (Doubleday, 1966), The George Washington Poems (Riverrun Press, 1967), Inside the Blood Factory (Doubleday, 1968), The Magellanic Clouds (Black Sparrow Press, 1970) and Motorcycle Betrayal Poems (Simon and Schuster, 1971). Diane Wakoski attended a summer program at SUNY Buffalo where she met Robert Creeley and other Black Mountain Poets in 1964. She taught English in a Manhattan junior high from 1963 to 1966 and was involved with the New York poetry scene. Diane Wakoski gave poetry readings and workshops to support herself, as well as holding many positions at universities as visiting professor and visiting writer. She was friends with several other poets, namely LaMonte Young, Robert Kelly, LeRoi Jones, Robert Creeley, Charles Olson, Ed Dorn. Wakoski was granted the Guggenheim fellowship in 1972. Since her first publication, she has published over 60 volumes of poetry, including Waiting for the King of Spain (Black Sparrow Press, 1976), The Collected Greed: Parts 1-13 (Black Sparrow Press, 1984) which contains a poetry sequence begun in the 1960’s, Emerald Ice: Selected Poems 1962-1987 (Black Sparrow Press, 1988) and Medea the Sorceress (Black Sparrow Press, 1991).\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 1 23\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Diane Wakoski reads the title poem from The Magellanic Clouds (Black Sparrow Press, 1970) and from Discrepancies and Apparitions (Doubleday, 1966), The George Washington Poems (Riverrun Press, 1967), and Inside The Blood Factory (Doubleday, 1968)."],"contents":["diane_wakoski_i006-11-049.mp3\n\nIntroducer\n00:00:00\nOur poet this evening, Diane Wakoski [https://www.wikidata.org/wiki/Q1209000], by birth and education a Californian, has been a central figure on the New York [https://www.wikidata.org/wiki/Q60] scene, poetry scene, since 1961 or 62. She first came to attention outside New York City, with the publication of the small, but now somewhat legendary anthology Four Young Lady Poets. Since then, she has published nine volumes of poems, including Coins and Coffins, Discrepancies and Apparitions, The George Washington Poems, Inside the Blood Factory, Greed, and The Magellanic Clouds which I believe is to come out this year. I understand that some critics have tended to assign some of her recent work to so-called confessional school, which in her case means very little except that she writes about her own pictures of herself. Contrary to what one associates with the term confessional, Miss Wakoski writes a poetry that is syntactically direct and undeceiving. Yet, it is at the same time openly adventurous in its vocabulary, full of excitement and risk. It is thus a poetry that may perplex you, not because you do not understand it however, but because you do. And it's certainly one that you will enjoy hearing. Miss Wakoski, Diane!\n \nDiane Wakoski\n00:01:45\nI wanted to know what that tower was doing, but it's locating the clouds.\n \nIntroducer\n00:01:56\nYeah, I believe there is a meteorological interest...\n \nDiane Wakoski\n00:02:00\nWill you fall asleep if we don't have more lights on? I fall asleep in very dark rooms, I'm very loath to let the audience fall asleep, at least just for lights. If you can't hear me, I think there are more seats up here. This first poem I'm going to read is a poem that I wrote to a young poet a few years ago, I guess he's not so young anymore, but he was young when I wrote it, and he came to visit me in New York City to show me his poems, which were very nice poems, but he had been studying with Robert Creeley [https://www.wikidata.org/wiki/Q918620], whom I very much admire, but who sort of has the kiss of death for any sensitive young man who studies with him, because they all come away looking like Robert Creeley, sounding like Robert Creeley and writing exactly like Robert Creeley. And I'm not exactly known for my tact, so when he asked me about his poems, I said I thought they were very nice Robert Creeley imitations. And he walked away in a huff, and I realized what a message that is constantly being communicated to women in our culture that even though we are asked to be able to think and act intelligently, when it really comes down to the nitty gritty, we are expected to compliment men and not to tell them what we really think. So I wrote him an apology. I'm not really apologizing for what I said, I'm apologizing for being a graceful enough woman in that situation. And this poem, I think, says very much what I would like to say to all of you who wrote poetry who are young, or who do anything else. \"An Apology\".\n \nDiane Wakoski\n00:04:20\nReads \"An Apology\" [from Inside The Blood Factory].\n \nDiane Wakoski\n00:06:15\nI don't really believe that, as I say. But I do believe in the necessity of having to say it. This next poem I'd like to read is a poem in which, again, I ask a kind of rhetorical question that is a very meaningful one for all women in our culture. I think, by the way, that in spite of the fact that I constantly talk about what problems women do have in a contemporary society that at last has freed them from the burden of constant babysitting and washing and ironing and so forth, that the whole mix up of what roles are about makes the life of a woman very hard, but I think that really, it's probably a man's role, it's harder to play the woman and my experience has been most of the time when women are punished in our society or have real problems with being women it's because they are getting the feedback from how complicated and impossible the demands on men have been and the men are feeding it back to them and if maybe we could ever solve that real dilemma of what the complete man is allowed to be, then women wouldn't suffer. I don't really think that anything women can do will do any good until the man's world is a more possible one to live in. At any rate, this poem asks a question that I constantly ask, why is it when a woman who shows strength, strength is something that we should all be honoured for having and being able to live with in our life, why should a woman be punished for her strength? As strong women often are. It's called \"Slicing Oranges for Jeremiah\".\n \nDiane Wakoski\n00:08:19\nReads \"Slicing Oranges for Jeremiah\" [from Inside The Blood Factory].\n \nDiane Wakoski\n00:12:58\nI'm very interested in, well, actually, something that all poets are involved in, and that is trying to use the mythology of their culture to somehow be able to talk about their own personal realities and still be able to communicate with other people in terms of kind of common cultural experience. And I've been writing a series of poems that I call the \"George Washington [https://www.wikidata.org/wiki/Q23] Poems\" to help me do this and every once in a while I will pick up on other things also and something that's always fascinated me, being from California [https://www.wikidata.org/wiki/Q99], are the legends of the Wild West [https://www.wikidata.org/wiki/Q190267] and the way people still sort of look at Americans as pioneers and cowboys and in a way how we like to flatter ourselves, all of us that we have a certain kind of ruggedness because of this pioneer tradition. But one of the confusions that has grown up out of that cultural image is again, something that concerns me very much, as women, we've all been brainwashed to fall in love with men who have this very rugged image who are able to do tough rugged things, and unfortunately, reality doesn't always live up to those images that are presented to us so we're falling madly in love with these men who turn out to often not like women, because that whole western life was geared for men, and not for women. So in this poem I'm lodging my protest officially. It's called \"Follow that Stagecoach\".\n \nDiane Wakoski\n00:14:55\nReads \"Follow that Stagecoach\" [from Discrepancies and Apparitions].\n \nDiane Wakoski\n00:19:57\nDo you think you need the mic in the back? What do you think? I'm going to move up? ...Is this an amplifying mic? ....Can you hear me now any better back there? I'm going to read a few \"George Washington\" poems. Are you getting clicky sound? Maybe if I turn it away, it'll amplify...This poem is called \"Patriotic Poem\" and I always dedicate it to J. Edgar Hoover [https://www.wikidata.org/wiki/Q210435] when I read. This is in hopes that someday I'll be considered a great American Patriot.\n \nDiane Wakoski\n00:21:53\nReads \"Patriotic Poem\" [from The George Washington Poems].\n \nDiane Wakoski\n00:25:09\nThe next poem is called \"George Washington Writes Home about Harvesting his Hemp\". All plantations, I guess, in those days had large hemp crops on them because they had to make their own rope.\n \nDiane Wakoski\n00:25:35\nReads \"George Washington Writes Home about Harvesting his Hemp\" [from The George Washington Poems].\n \nDiane Wakoski\n00:27:07\nI understand you had a writer in this series named Gladys Hindmarch, so I'll read you a poem called \"George Washington and the Dream of Gladys Hindmarch\".\n \nDiane Wakoski\n00:27:22\nReads \"George Washington and the Dream of Gladys Hindmarch\" [from The George Washington Poems].\n \nDiane Wakoski\n00:31:15\nThis next poem is about an idiosyncrasy that I have, I can't stand men who wear rings on their little fingers. and I wrote this poem, oh, a few years ago when I went to the Guggenheim [https://www.wikidata.org/wiki/Q201469] in New York City to hear a poet that I admire a lot, Gary Snyder [https://www.wikidata.org/wiki/Q315963], I like that whole, very masculine image he presents, some guy in the woods chopping down trees, working in a lumber mill and things like that. So, it was really a very great shock to see him appear on stage with his lumber boots, his blue jeans, his work shirt, his tweed jacket with a leather patch and a ring on his little finger. So I went home and wrote this poem. It's called \"Ringless\".\n \nDiane Wakoski\n00:32:17\nReads \"Ringless\" [from Inside The Blood Factory].\n \nDiane Wakoski\n00:35:41\nAnother one of my heroes is Beethoven [https://www.wikidata.org/wiki/Q255], this is Beethoven's two-hundred centennial by the way. I like Beethoven for a lot of reasons, but I suppose why I pick on him to talk about is that Beethoven stands for the ability to use anger and make it into something very beautiful and powerful. Again, we live in a culture that makes life very difficult for us and one of the things we're taught as children is that to express anger is a bad thing, not that it's a natural, healthy thing and that in fact until the anger is expressed, the love can't exist. So I'm going to read this poem which is called \"In Gratitude to Beethoven\".\n \nDiane Wakoski\n00:36:49\nReads \"In Gratitude to Beethoven\" [from Inside The Blood Factory].\n\nUnknown\n00:41:58\n[Cut or edit in tape].\n \nDiane Wakoski\n00:42:01\nResumes reading of “In Gratitude to Beethoven”.\n \nUnknown\n00:43:08\n[Cut or edit in tape].\n \nDiane Wakoski\n00:43:10\n...poets in the world I assume. I wrote a poem about landing on the moon. The moon traditionally is poet's subject and I suppose I feel even more involved, since my name is Diane and I've always felt that either the moon belonged to me, or that I was the moon, so having it landed on gave me a lot of complicated feelings. And I wrote this poem called \"The Ten Dollar Cab Ride\", which is dedicated to Robert Duncan [https://www.wikidata.org/wiki/Q964391], because he once told this story, some of you must know this, I don't think he wrote it in any of his poems, I once heard him tell the story but it could easily be in one of his poems. It was about a number of years ago when he was much, much younger and his life was much more difficult than it is right now and I guess one of his problems was money and money tends to get people very depressed at times, and he was depressed about everything else and he also didn't have any money so he decided he was going to kill himself, and he didn't really want to do it right that minute. But he wanted to do it, and all he had was ten dollars and so he decided he would take a cab ride and when the ten dollars was up, he'd get out and kill himself. But he made the fatal mistake, or I should say the life-giving mistake, of going for a cab ride in Golden Gate Park [https://www.wikidata.org/wiki/Q635559] in San Francisco [https://www.wikidata.org/wiki/Q62] which is very, very beautiful and by the end of his ten dollars, he felt so good that he had to get out and walk home. I always thought that was a hopeful story for any of us. Anyway, \"The Ten Dollar Cab Ride\" for Robert Duncan.\n \nDiane Wakoski\n00:45:06\nReads \"The Ten Dollar Cab Ride\".\n \nUnknown\n00:47:22\n[Cut or edit in tape].\n \nDiane Wakoski\n00:47:43\nResumes reading “The Ten Dollar Cab Ride”.\n \nDiane Wakoski\n00:50:15\nI'm going to read one last poem which is the title poem of a book, it's called the \"Magellanic Clouds\". And those of you who took Astronomy 1 and have your own telescopes and have ever been to the southern latitudes, you know that the Magellanic Clouds are probably another galaxy, and they appear as a cloudy spot in the sky on a clear night in the southern hemisphere, and they were named by Magellan [https://www.wikidata.org/wiki/Q1496], for himself, of course, when he first saw them.\n \nAnnotation\n00:51:00\nReads \"The Magellanic Clouds\" [published later in The Magellanic Clouds].\n \nEND\n00:56:00\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn the fall of 1969, Diane Wakoski was working as a visiting writer in Deia Majorca sponsored by Dowling College of Long Island. The Magellanic Clouds was published in 1970.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nWakoski’s direct connection to Montreal or Sir George Williams University is unknown, however she was an influential American poet associated with the New York school of poetry, and was close with members of the Black Mountain group. As illustrated in her poem dedicated to Gladys Hindmarch, she was also friendly with the Canadian poet.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Butscher, Edward. \\\"Wakoski, Diane\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Wakoski, Diane\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press, 1995.\"},{\"url\":\"https://www.worldcat.org/title/merriam-websters-encyclopedia-of-literature/oclc/31434511\",\"citation\":\"\\\"Wakoski, Diane.\\\" Merriam Webster's Encyclopedia of Literature. Springfield, MA: Merriam-Webster, 1995. \"},{\"url\":\"https://www.worldcat.org/title/discrepancies-and-apparitions/oclc/1434566&referer=brief_results\",\"citation\":\"Wakoski, Diane. Discrepancies and Apparitions. New York: Doubleday, 1966.\"},{\"url\":\"https://www.worldcat.org/title/inside-the-blood-factory/oclc/469771668&referer=brief_results\",\"citation\":\"Wakoski, Diane. Inside The Blood Factory. New York: Doubleday, 1968. \\n\"},{\"url\":\"https://www.worldcat.org/title/george-washington-poems/oclc/753478760&referer=brief_results\",\"citation\":\"Wakoski, Diane. The George Washington Poems. New York: Riverrun Press, 1967.\"},{\"url\":\"https://www.worldcat.org/title/magellanic-clouds/oclc/5032677&referer=brief_results\",\"citation\":\"Wakoski, Diane. The Magellanic Clouds. Santa Barbara: Black Sparrow Press: 1970. \"},{\"url\":\"\",\"citation\":\"“Wakoski, Diane”. Literature Online Biography. Cambridge: Chadwyck-Healey, 1998. \"}]"],"_version_":1853670548915093505,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_049_back.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_049_front.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_049_side.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_049_tape.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_049_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Diane Wakoski Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/diane_wakowski_i006-11-049.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"diane_wakoski_i006-11-049.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:56:00\",\"precision\":\"\",\"size\":\"134.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nOur poet this evening, Diane Wakoski [https://www.wikidata.org/wiki/Q1209000], by birth and education a Californian, has been a central figure on the New York [https://www.wikidata.org/wiki/Q60] scene, poetry scene, since 1961 or 62. She first came to attention outside New York City, with the publication of the small, but now somewhat legendary anthology Four Young Lady Poets. Since then, she has published nine volumes of poems, including Coins and Coffins, Discrepancies and Apparitions, The George Washington Poems, Inside the Blood Factory, Greed, and The Magellanic Clouds which I believe is to come out this year. I understand that some critics have tended to assign some of her recent work to so-called confessional school, which in her case means very little except that she writes about her own pictures of herself. Contrary to what one associates with the term confessional, Miss Wakoski writes a poetry that is syntactically direct and undeceiving. Yet, it is at the same time openly adventurous in its vocabulary, full of excitement and risk. It is thus a poetry that may perplex you, not because you do not understand it however, but because you do. And it's certainly one that you will enjoy hearing. Miss Wakoski, Diane!\\n \\nDiane Wakoski\\n00:01:45\\nI wanted to know what that tower was doing, but it's locating the clouds.\\n \\nIntroducer\\n00:01:56\\nYeah, I believe there is a meteorological interest...\\n \\nDiane Wakoski\\n00:02:00\\nWill you fall asleep if we don't have more lights on? I fall asleep in very dark rooms, I'm very loath to let the audience fall asleep, at least just for lights. If you can't hear me, I think there are more seats up here. This first poem I'm going to read is a poem that I wrote to a young poet a few years ago, I guess he's not so young anymore, but he was young when I wrote it, and he came to visit me in New York City to show me his poems, which were very nice poems, but he had been studying with Robert Creeley [https://www.wikidata.org/wiki/Q918620], whom I very much admire, but who sort of has the kiss of death for any sensitive young man who studies with him, because they all come away looking like Robert Creeley, sounding like Robert Creeley and writing exactly like Robert Creeley. And I'm not exactly known for my tact, so when he asked me about his poems, I said I thought they were very nice Robert Creeley imitations. And he walked away in a huff, and I realized what a message that is constantly being communicated to women in our culture that even though we are asked to be able to think and act intelligently, when it really comes down to the nitty gritty, we are expected to compliment men and not to tell them what we really think. So I wrote him an apology. I'm not really apologizing for what I said, I'm apologizing for being a graceful enough woman in that situation. And this poem, I think, says very much what I would like to say to all of you who wrote poetry who are young, or who do anything else. \\\"An Apology\\\".\\n \\nDiane Wakoski\\n00:04:20\\nReads \\\"An Apology\\\" [from Inside The Blood Factory].\\n \\nDiane Wakoski\\n00:06:15\\nI don't really believe that, as I say. But I do believe in the necessity of having to say it. This next poem I'd like to read is a poem in which, again, I ask a kind of rhetorical question that is a very meaningful one for all women in our culture. I think, by the way, that in spite of the fact that I constantly talk about what problems women do have in a contemporary society that at last has freed them from the burden of constant babysitting and washing and ironing and so forth, that the whole mix up of what roles are about makes the life of a woman very hard, but I think that really, it's probably a man's role, it's harder to play the woman and my experience has been most of the time when women are punished in our society or have real problems with being women it's because they are getting the feedback from how complicated and impossible the demands on men have been and the men are feeding it back to them and if maybe we could ever solve that real dilemma of what the complete man is allowed to be, then women wouldn't suffer. I don't really think that anything women can do will do any good until the man's world is a more possible one to live in. At any rate, this poem asks a question that I constantly ask, why is it when a woman who shows strength, strength is something that we should all be honoured for having and being able to live with in our life, why should a woman be punished for her strength? As strong women often are. It's called \\\"Slicing Oranges for Jeremiah\\\".\\n \\nDiane Wakoski\\n00:08:19\\nReads \\\"Slicing Oranges for Jeremiah\\\" [from Inside The Blood Factory].\\n \\nDiane Wakoski\\n00:12:58\\nI'm very interested in, well, actually, something that all poets are involved in, and that is trying to use the mythology of their culture to somehow be able to talk about their own personal realities and still be able to communicate with other people in terms of kind of common cultural experience. And I've been writing a series of poems that I call the \\\"George Washington [https://www.wikidata.org/wiki/Q23] Poems\\\" to help me do this and every once in a while I will pick up on other things also and something that's always fascinated me, being from California [https://www.wikidata.org/wiki/Q99], are the legends of the Wild West [https://www.wikidata.org/wiki/Q190267] and the way people still sort of look at Americans as pioneers and cowboys and in a way how we like to flatter ourselves, all of us that we have a certain kind of ruggedness because of this pioneer tradition. But one of the confusions that has grown up out of that cultural image is again, something that concerns me very much, as women, we've all been brainwashed to fall in love with men who have this very rugged image who are able to do tough rugged things, and unfortunately, reality doesn't always live up to those images that are presented to us so we're falling madly in love with these men who turn out to often not like women, because that whole western life was geared for men, and not for women. So in this poem I'm lodging my protest officially. It's called \\\"Follow that Stagecoach\\\".\\n \\nDiane Wakoski\\n00:14:55\\nReads \\\"Follow that Stagecoach\\\" [from Discrepancies and Apparitions].\\n \\nDiane Wakoski\\n00:19:57\\nDo you think you need the mic in the back? What do you think? I'm going to move up? ...Is this an amplifying mic? ....Can you hear me now any better back there? I'm going to read a few \\\"George Washington\\\" poems. Are you getting clicky sound? Maybe if I turn it away, it'll amplify...This poem is called \\\"Patriotic Poem\\\" and I always dedicate it to J. Edgar Hoover [https://www.wikidata.org/wiki/Q210435] when I read. This is in hopes that someday I'll be considered a great American Patriot.\\n \\nDiane Wakoski\\n00:21:53\\nReads \\\"Patriotic Poem\\\" [from The George Washington Poems].\\n \\nDiane Wakoski\\n00:25:09\\nThe next poem is called \\\"George Washington Writes Home about Harvesting his Hemp\\\". All plantations, I guess, in those days had large hemp crops on them because they had to make their own rope.\\n \\nDiane Wakoski\\n00:25:35\\nReads \\\"George Washington Writes Home about Harvesting his Hemp\\\" [from The George Washington Poems].\\n \\nDiane Wakoski\\n00:27:07\\nI understand you had a writer in this series named Gladys Hindmarch, so I'll read you a poem called \\\"George Washington and the Dream of Gladys Hindmarch\\\".\\n \\nDiane Wakoski\\n00:27:22\\nReads \\\"George Washington and the Dream of Gladys Hindmarch\\\" [from The George Washington Poems].\\n \\nDiane Wakoski\\n00:31:15\\nThis next poem is about an idiosyncrasy that I have, I can't stand men who wear rings on their little fingers. and I wrote this poem, oh, a few years ago when I went to the Guggenheim [https://www.wikidata.org/wiki/Q201469] in New York City to hear a poet that I admire a lot, Gary Snyder [https://www.wikidata.org/wiki/Q315963], I like that whole, very masculine image he presents, some guy in the woods chopping down trees, working in a lumber mill and things like that. So, it was really a very great shock to see him appear on stage with his lumber boots, his blue jeans, his work shirt, his tweed jacket with a leather patch and a ring on his little finger. So I went home and wrote this poem. It's called \\\"Ringless\\\".\\n \\nDiane Wakoski\\n00:32:17\\nReads \\\"Ringless\\\" [from Inside The Blood Factory].\\n \\nDiane Wakoski\\n00:35:41\\nAnother one of my heroes is Beethoven [https://www.wikidata.org/wiki/Q255], this is Beethoven's two-hundred centennial by the way. I like Beethoven for a lot of reasons, but I suppose why I pick on him to talk about is that Beethoven stands for the ability to use anger and make it into something very beautiful and powerful. Again, we live in a culture that makes life very difficult for us and one of the things we're taught as children is that to express anger is a bad thing, not that it's a natural, healthy thing and that in fact until the anger is expressed, the love can't exist. So I'm going to read this poem which is called \\\"In Gratitude to Beethoven\\\".\\n \\nDiane Wakoski\\n00:36:49\\nReads \\\"In Gratitude to Beethoven\\\" [from Inside The Blood Factory].\\n\\nUnknown\\n00:41:58\\n[Cut or edit in tape].\\n \\nDiane Wakoski\\n00:42:01\\nResumes reading of “In Gratitude to Beethoven”.\\n \\nUnknown\\n00:43:08\\n[Cut or edit in tape].\\n \\nDiane Wakoski\\n00:43:10\\n...poets in the world I assume. I wrote a poem about landing on the moon. The moon traditionally is poet's subject and I suppose I feel even more involved, since my name is Diane and I've always felt that either the moon belonged to me, or that I was the moon, so having it landed on gave me a lot of complicated feelings. And I wrote this poem called \\\"The Ten Dollar Cab Ride\\\", which is dedicated to Robert Duncan [https://www.wikidata.org/wiki/Q964391], because he once told this story, some of you must know this, I don't think he wrote it in any of his poems, I once heard him tell the story but it could easily be in one of his poems. It was about a number of years ago when he was much, much younger and his life was much more difficult than it is right now and I guess one of his problems was money and money tends to get people very depressed at times, and he was depressed about everything else and he also didn't have any money so he decided he was going to kill himself, and he didn't really want to do it right that minute. But he wanted to do it, and all he had was ten dollars and so he decided he would take a cab ride and when the ten dollars was up, he'd get out and kill himself. But he made the fatal mistake, or I should say the life-giving mistake, of going for a cab ride in Golden Gate Park [https://www.wikidata.org/wiki/Q635559] in San Francisco [https://www.wikidata.org/wiki/Q62] which is very, very beautiful and by the end of his ten dollars, he felt so good that he had to get out and walk home. I always thought that was a hopeful story for any of us. Anyway, \\\"The Ten Dollar Cab Ride\\\" for Robert Duncan.\\n \\nDiane Wakoski\\n00:45:06\\nReads \\\"The Ten Dollar Cab Ride\\\".\\n \\nUnknown\\n00:47:22\\n[Cut or edit in tape].\\n \\nDiane Wakoski\\n00:47:43\\nResumes reading “The Ten Dollar Cab Ride”.\\n \\nDiane Wakoski\\n00:50:15\\nI'm going to read one last poem which is the title poem of a book, it's called the \\\"Magellanic Clouds\\\". And those of you who took Astronomy 1 and have your own telescopes and have ever been to the southern latitudes, you know that the Magellanic Clouds are probably another galaxy, and they appear as a cloudy spot in the sky on a clear night in the southern hemisphere, and they were named by Magellan [https://www.wikidata.org/wiki/Q1496], for himself, of course, when he first saw them.\\n \\nAnnotation\\n00:51:00\\nReads \\\"The Magellanic Clouds\\\" [published later in The Magellanic Clouds].\\n \\nEND\\n00:56:00\\n\",\"notes\":\"Diane Wakoski reads the title poem from The Magellanic Clouds (Black Sparrow Press, 1970) and from Discrepancies and Apparitions (Doubleday, 1966), The George Washington Poems (Riverrun Press, 1967), and Inside The Blood Factory (Doubleday, 1968).\\n\\n00:00- Unknown male introduces Diane Wakoski [INDEX: Californian, New York Poetry scene in 1961, Four Young Lady Poets Anthology, Coins and Coffins, Discrepancies and Apparitions, The George Washington Poem, Inside the Blood Factory, Greed, The \\tMagellanic Clouds by Diane Wakoski, Confessional school of poetry]\\n01:45- Diane Wakoski introduces “An Apology” [INDEX: advice to a young poet, Robert Creeley, gender roles]\\n04:20- Reads “An Apology”\\n06:15- Introduces “Slicing Oranges” [INDEX: Gender roles, strong women]\\n08:19- Reads “Slicing Oranges”\\n12:58- Introduces “Follow that Stagecoach” [INDEX: Mythology of one’s culture, series of poems called “The George Washington Poems”, legends of the Wild West]\\n14:55- Reads “Follow that Stagecoach”\\n19:57- Introduces “Patriotic Poem” [INDEX: J. Edgar Hoover]\\n21:53- Reads “Patriotic Poem”\\n25:09- Introduces “George Washington Writes Home About Harvesting his Hemp”\\n25:25- Reads “George Washington Writes Home About Harvesting his Hemp”\\n27:07- Introduces “George Washington and the Dream of Gladys Hindmarch”\\n27:22- Reads “George Washington and the Dream of Gladys Hindmarch”\\n31:15- Introduces “Ringless” [INDEX: reading by Gary Snyder at the Guggenheim in New York City]\\n32:17- Reads “Ringless”\\n35:41- Introduces “Ingratitude to Beethoven” [INDEX: Beethoven, 200 Centennial]\\n36:49- Reads “Ingratitude to Beethoven”\\n43:10- Introduces “The Ten Dollar Cab Ride” [INDEX: moon as poet’s subject, Robert Duncan, suicide, Golden Gate Park in San Francisco]\\n45:06- Reads “The Ten Dollar Cab Ride”\\n50:15- Introduces “Magellanic Clouds” [INDEX: Astronomy, Magellan]\\n51:00- Reads “Magellanic Clouds”\\n56:00.27- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/diane-wakoski-at-sgwu-1970/\"}]"],"score":1.0},{"id":"1290","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Daphne Marlatt at Sir George Williams University, The Poetry Series, 3 November 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"DAPHE MARLATT Recorded November 6, 1970 3.75 ips on 1 mil tape 1/2 track\" written on sticker on the back of the tape's box. \"DAPHNE MARLATT I086-11-035\" written on sticker on the spine of the tape's box. \"I086-11-035\" written on sticker on the reel. \"RT 549\" written on sticker on the front of the tape's box and on the back of the box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Marlatt, Daphne"],"creator_names_search":["Marlatt, Daphne"],"creators":["[{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"Daphne (nee Buckle) Marlatt was born in Melbourne, Australia in 1942. She lived in Penang, Malaysia before immigrating to Vancouver in 1951. There, Marlatt was the editor of tish magazine in 1963 and graduated from the University of British Columbia with a B.A. in 1964. Marlatt then moved to Indiana with her husband to complete an M.A. in comparative literature in 1968. During that time, her novella Sea Haven was published in Modern Canadian stories (Ryerson Press, 1966), followed by fifteen poems in Raymond Souster’s New wave Canada (Contact Press) also in 1966, her long poems Frames of a story (Ryerson Press, 1968) and leaf/leaf/s (Black Sparrow Press, 1969). She returned in 1970 to Vancouver at the ending of her marriage. Marlatt continued to publish her poems in the collections Rings (York Street Commune, 1971), Vancouver poems (Coach House Press, 1972), Our lives (Truck Press, 1975), Zocalo (Coach House Press, 1977) and What matters (Coach House Press, 1980). She was the editor of The Capilano Review from 1977 to 1981, and co-edited Periodics. Marlatt also collaborated on several aural history projects, Steveston Recollected: A Japanese-Canadian History (Talon Books, 1974), Opening Doors: Vancouver’s East End (Aural History Program, 1979/80), and her ‘autobiographical fiction’ Ana Historic (Coach House Press, 1988). In 1981, Daphne Marlatt collaborated with Barbara Godard, Kathy Mezei and Gail Scott to found Tessera, an Anglo-Quebec feminist journal, and published several other long poems and collections of poetry, including How hug a stone (Turnstone Press, 1983), Touch to my tongue (Longspoon Press, 1984), Double negative (Gynergy Press, 1988) with Betsy Warland, Salvage (Red Deer College Press, 1991), and a release of Ghost works (NeWest, 1993) which recasts her earlier poetry. She currently lives in and writes from Victoria, B.C. Marlatt was awarded the Order of Canada for lifetime achievement in 2006.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:60:00\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 11 3\",\"type\":\"Performance Date\",\"notes\":\"Previous researcher specifies date as November 3, 1970. Date written on sticker on the back of the tape's box is Novermber 6, 1970. Newspaper clipping references that Marlatt was intended to read with David Bromige on November 13, but no other supporting evidence has been found.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building\",\"notes\":\"Exact venue location unknown\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building"],"City":["Montreal, Quebec"],"content_notes":["Daphne Marlatt reads poems published later in books like Vancouver Poems (Coach House Press, 1972) and What Matters: Writing 1968-1970 (Coach House Press, 1980), as well as several poems from unknown sources."],"contents":["daphne_marlatt_i086-11-035.mp3\n \nDaphne Marlatt\n00:00:00\nI thought that what I'd do first is read to you from the Vancouver Poems, which won't be published with a 'the', I hope. I guess I'll just try and explain allusions as I go along for those people who have never been to Vancouver [https://www.wikidata.org/wiki/Q24639] or know it because the poems tend to be pretty local, as they were intended to be, and I'll read you two quotes that I have at the beginning because they might help to explain certain concerns in the poem. The first one's from Rimbaud [https://www.wikidata.org/wiki/Q493], it's from a letter of his in which he was talking about his new conception of the poet and how the poet writes, and he said simply \"Je est une autre.\" The second quote is from a record recently released by Randy Newman [https://www.wikidata.org/wiki/Q318475], this is from one of his songs: \"She say I talk to strangers if I want to, 'coz I'm a stranger too\". These are all prose poems. Lagoon is Lost Lagoon, it's supposed to be lost because it was cut off from the sea by man-made walk, and there's a sort of local myth among the kids growing up there that Lost Lagoon is lost too, because it has no bottom, nobody has ever found the bottom. \"Lagoon\".\n \nDaphne Marlatt\n00:01:42\nReads \"Lagoon\" [published later in Vancouver Poems].\n \nDaphne Marlatt\n00:03:40\nThe first poem in the book is sort of a, an entranceway to the book as a whole, it in some ways it sets up my method, I originally had, I'd been reading a lot about Japanese Noh plays, and I'd especially been interested in the Spirit Plays and my original figure in here was a Shite, who is the doer, the central figure in the Noh, who performs the dance and who the particular Noh is about. He usually first appears in the spirit plays as an old man, an old fisherman, or salt-gatherer, some kind of beat down, destitute person, an anonymous person, and the Waki comes along and somehow starts up a conversation and begins to wonder about this man, and usually asks him to tell him the story of the place where he is, assuming that this is some sort of historical shrine, which it often is, and the Waki has come specifically to see this place and as the old man begins to tell the story, he, well, there's actually a scene change, an act change, he reappears in all his glory as the original person whose life was lived out, usually tragically and very dramatically, often in a battle, who died in this place and whose spirit consequently haunts the area. Then I started reading about the Kwakiutl who are a tribe of the Indians somewhat to the north of Vancouver, about the furthest south they reach is the Campbell River [https://www.wikidata.org/wiki/Q270481] on Vancouver Island [https://www.wikidata.org/wiki/Q170479] which is, I don't know how many miles north of Vancouver, 100? 80, about 80. But I always figured that there must have been some sort of interchange between the Kwakiutl and the Salish, the particular tribe around the Fraser Delta [https://www.wikidata.org/wiki/Q269710] in Vancouver. The thing that interested me the most about the Kwakiutl were one particular secret society called the \"Hamatsa\" and in the Hamatsa it writes, one goes into a sort of frenzy and is possessed by the original spirit, who then passed on the rituals, and the frenzy denotes the acquirement of a certain kind of power. I guess the Salish have something a little corresponding to that in that they have, I don't know what you call them, they're certain kinds of dances which are meant to perform the meeting between the individual who dances, the initiate, and the spirit of the particular place whom he encounters and who gives them, in result of this dance, particular powers. \"Wet fur wavers\", this is a Spanish Banks [https://www.wikidata.org/wiki/Q7573148] poem, about a walk, a Sunday walk along the Spanish Banks.\n \nDaphne Marlatt\n00:06:56\nReads \"Wet fur wavers\" [published later in Vancouver Poems].\n \nDaphne Marlatt\n00:08:16.15\nAnd straight from that to another one that's somewhat linked up to that in terms of its content. This is about the public library, the old Carnegie Library [https://www.wikidata.org/wiki/Q1376408], which is, has since been closed down because the library rebuilt in an up-town area, the old Carnegie Library is located in the heart of skid row and used to be frequented mainly by old men reading who were reading newspapers who were trying to escape from the eternal rain and the cold.\n\nDaphne Marlatt\n00:08:54\nReads \"Go on\".\n \nDaphne Marlatt\n00:10:34\nThe next one which is also linked, I should have mentioned before the last one that the White Lunch--it must be a Vancouver phenomenon because I don't think I've seen it anywhere else. It's a chain of self-serve cafes, restaurants, and they're inexpensive of course, and their symbol outside is a huge white teacup and saucer, with these little coloured stooped figures running, eternally running around the saucer. This next poem is about a woman whose name I didn't know, I attributed a name to her, Emma. She could be seen, often around Berrard and Granville streets, and instead of going into the White Lunch, she used to go into the Bay, Hudson's Bay [https://www.wikidata.org/wiki/Q641129], and sit on the benches outside the elevator, and wait to warm up, I guess. Often, she seemed to me to be just to be interested in watching the weird kind of people who used to shop at the Bay, all those people with money. \"Razor Back Woman\" is taken from a John Stewart [https://www.wikidata.org/wiki/Q1393453] album, lyric of his.\n \nDaphne Marlatt\n00:12:05\nReads \"razorbackt woman\".\n \nDaphne Marlatt\n00:13:56\nOne last one that connects with the Kwakiutl Hamatsa society, this is going to need some explanation. Baxbakwalanuksiwe’, is--and I'm not responsible for my pronunciation for any people here who know how Kwakiutl sounds, because I don't--I'm just picking it up from various spellings and he was the original spirit who informed the Hamatsas, who gave them their cannibal right because an Indian managed to overcome him, through a trick.\n\nAudience Member 1\n00:14:48\nWhich one is that? Which name?\n\nDaphne Marlatt\n00:14:50\nHamatsa--Baxbakwalanuksiwe’. He was supposed to have been the first man, the first one to eat man at the mouth of the river, that's a quote. He was a sort of bird-like, obviously inhuman creature whose body was covered all over with mouths and he used to have various attendants around, and one of whom was a woman who was rooted to the floor of his cabin and she was very beautiful, and she used to lure people in who then became his victims. But in this particular occasion, these three Indian brothers somehow won her sympathy or something, but she told them, Baxbakwalanuksiwe’ was out at the moment, she told him that he would be expected back and that they were supposed to be his victims, and that the only way to overcome this was to build, to dig a deep pit in the floor, cover it over with boughs and then and have a trap that he could spring, that could release the boughs, and then when he did his dance, prior to killing and eating his victims, they would just pull the string or whatever it was and he would then fall into the pit. And then they could set fire to him. Qominaga is the woman, and I don't know if I should explain the B.C. [https://www.wikidata.org/wiki/Q1974] liquor laws or not. [Audience laughter]. Well, for those of you who don't know B.C., up until not so very long ago, what, five? No, must be longer than that, maybe ten years, the beer parlors used to be segregated, and men, alone, sat on one side, and women, alone, and women would be the escorts sat on the other side and you had to enter the beer parlor from different doors, one of which was marked \"Men\", and the other was \"Ladies and Escorts\". The men's side also used to have, in some of the beer parlors, used to have a wooden floor covered with sawdust, which was simply easier to keep clean because of course when expected, there were constant brawls on the men's side and a lot of broken glass and spilled beer, I suppose that was the rationale. This is dedicated to the Alcazar, Cecil, Belmont, [New Fountain (?)] [audience laughter].\n \nDaphne Marlatt\n00:17:33\nReads unnamed poem “names stations of the way to\".\n \nDaphne Marlatt\n00:20:33\nLittle poems, for my niece who has, or had, she's probably over it by now, a thing about bugs. That bugs are horrible--any bug, no matter what. So I wrote these four poems to try and explain to her what it was like to be a bug, although it's very human, called \"Bugs in the Heart\", for Karen.\n \nDaphne Marlatt\n00:20:57\nReads \"Bugs in the Heart\" [published later in What Matters: Writing 1968-1970].\n \nDaphne Marlatt\n00:22:00\nThese are all fairly recent poems. \"Agenda\".\n \nDaphne Marlatt\n00:22:06\nReads \"Agenda\".\n \nDaphne Marlatt\n00:22:24\nLast Easter, we were in [Tousse (?)], took our swimsuits, expected to come back with a tan. Snowed every night, it was beautiful in the morning. \n \nDaphne Marlatt\n00:22:37\nReads unnamed poem. \"Points west, or south-west, wet downpour...\"\n \nDaphne Marlatt\n00:23:00\nWe're living on a farm and this is a poem, for practically the first time in our lives, this is a poem that I wrote last year, Phil's our landlord and he's always coming up with useful bits of information about, speaking of David, books, about what birds are what.\n \nDaphne Marlatt\n00:23:29\nReads unnamed poem. \"Depressed area space, lived in...\".\n \nDaphne Marlatt\n00:24:42\nThis is a poem that I wrote when I was about, oh I don't know, seven or eight months pregnant. \"Bird of Passage\", I wrote it in Vancouver. Spring time again.\n \nDaphne Marlatt\n00:25:02\nReads \"Bird of Passage\" [published later in What Matters: Writing 1968-1970]. \n \nDaphne Marlatt\n00:27:38\nOne of the in fact, the original Vancouver poem which was written in Bloomington [https://www.wikidata.org/wiki/Q490385], Indiana [https://www.wikidata.org/wiki/Q1415], probably out of a sense of nostalgia, it's about the man who used to collect the rents on the house that I lived in on Comox Street, and he had a little room up in the attic and he was kind of old, he was also the man who I met at the door when I first came to inquire about their rooms.\n \nDaphne Marlatt\n00:28:09\nReads unnamed poem. \"Old Bird, he...\"\n \nDaphne Marlatt\n00:29:31\nAbout Vancouver's fire, in 1868? 1886. There are a lot of quotes in here, and I think all of them, yes all of them are taken from a historical journal put out by the city archives and the body of it is concerned with W.H. Gallagher's eye-witness account. He was in a little office and had control of payroll for men who were working for the CPR clearing the land, the fire was caused by the clearing of the land, because the trees were knocked down bowling-pin method, that is a tree, a very large tree was chosen and then cut so that it would bring down a pile of trees as it fell and then the stuff was left because they didn't get around to burning it. And it was left over the summer, and got as dry as tinder. Not only that, but they were using gunpowder to blow up stumps. \n \nDaphne Marlatt\n00:30:46\nReads \"Our city is ashes\".\n \nDaphne Marlatt\n00:33:45\nThis is \"Bowen Island\".\n \nDaphne Marlatt\n00:33:50\nReads \"Bowen Island\" [published later as “Bowen” in Vancouver Poems].\n \nDaphne Marlatt\n00:35:48\nI know that there was a bridge in Vancouver with a jack-knife span that opened like London Bridge [https://www.wikidata.org/wiki/Q130206]. And I asked everyone I knew…What?\n\nAudience Member 2\n00:36:03\nMarple.\nDaphne Marlatt\n00:36:04\nMarple! Was that Marple? Because no one seemed to know, I even went down to the library to ask them. Well, I've got a footnote in my book that it wasn't true. So anyway, it began to be confused in my mind with the old Second Narrows Bridge [https://www.wikidata.org/wiki/Q643658], which at that time was being torn down. And so it's compounded with memories of old Second Narrows Bridge, which has a lift-span that rises and all kinds of warning signs--it used to be that when you were learning to drive you went down to Second Narrows Bridge and boy if you made that bridge, you could pass the test.\n\nDaphne Marlatt\n00:36:41\nReads \"Your\".\n \nDaphne Marlatt\n00:39:15\nThis is also a skid row poem, it's a combination of present and past, Water Street, which is a block below Cordova, where there used to be a couple of very popular beer parlours, before they were closed down, Water, the other side of Water, used to be the shore line, that is, the harbour came right up to Water street, and houses, the first houses were built on the southern side of Water. That's where Gassy Jack Deighton [https://www.wikidata.org/wiki/Q720322] built his saloon, the first saloon in Vancouver. That's how Vancouver got its original name, Gastown [https://www.wikidata.org/wiki/Q1495636], because this man was an eternal talker apparently. I use a word that's very foreign to me here, Leman, which means like his woman, and is a word that Alan Morley uses in his book about Vancouver and which I think captures the feeling of Gastown with all its small town morality and prudery. \n \nDaphne Marlatt\n00:40:32\nReads \"Trails\".\n \nEND\n00:42:24\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Daphne Marlatt had returned from Indiana, and was working on both Rings (1971), and Vancouver Poems (1972).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMarlatt is an important figure in Canadian poetry, living and writing for most of her life in Vancouver. She writes about Japanese Canadian immigrants and other Canadian minority groups, and was a founding member of Tessera, a bilingual feminist journal in Quebec. Marlatt has worked on many Canadian little magazines, and continues to teach at Canadian universities. Her direct connection to Sir George Williams is unknown.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/476332314&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984.\"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol2/oclc/1156824609&referer=brief_results\",\"citation\":\"Carr, Brenda. “Marlatt, Daphne (1942-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Benson, Eugene and Conolly, L.W. (eds). London: Routledge, 1994. 2 vols. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. “Marlatt, Daphne”. The Oxford Companion to Canadian Literature. Benson, Eugene and Toye, William (eds). Oxford University Press, 2001.\"},{\"url\":\"https://www.worldcat.org/title/vancouver-poems/oclc/992191542&referer=brief_results\",\"citation\":\"Marlatt, Daphne. Vancouver Poems. Toronto: Coach House Press, 1972. \"},{\"url\":\"https://www.worldcat.org/title/what-matters-writing-1968-1970/oclc/7285228&referer=brief_results\",\"citation\":\"Marlatt, Daphne. What Matters: Writing 1968-1970. Toronto: Coach House Press, 1980. \"}]"],"_version_":1853670548917190656,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/daphne_marlatt_i086-11-035.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"daphne_marlatt_i086-11-035.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:42:24\",\"precision\":\"\",\"size\":\"101.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Daphne Marlatt\\n00:00:00\\nI thought that what I'd do first is read to you from the Vancouver Poems, which won't be published with a 'the', I hope. I guess I'll just try and explain allusions as I go along for those people who have never been to Vancouver [https://www.wikidata.org/wiki/Q24639] or know it because the poems tend to be pretty local, as they were intended to be, and I'll read you two quotes that I have at the beginning because they might help to explain certain concerns in the poem. The first one's from Rimbaud [https://www.wikidata.org/wiki/Q493], it's from a letter of his in which he was talking about his new conception of the poet and how the poet writes, and he said simply \\\"Je est une autre.\\\" The second quote is from a record recently released by Randy Newman [https://www.wikidata.org/wiki/Q318475], this is from one of his songs: \\\"She say I talk to strangers if I want to, 'coz I'm a stranger too\\\". These are all prose poems. Lagoon is Lost Lagoon, it's supposed to be lost because it was cut off from the sea by man-made walk, and there's a sort of local myth among the kids growing up there that Lost Lagoon is lost too, because it has no bottom, nobody has ever found the bottom. \\\"Lagoon\\\".\\n \\nDaphne Marlatt\\n00:01:42\\nReads \\\"Lagoon\\\" [published later in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:03:40\\nThe first poem in the book is sort of a, an entranceway to the book as a whole, it in some ways it sets up my method, I originally had, I'd been reading a lot about Japanese Noh plays, and I'd especially been interested in the Spirit Plays and my original figure in here was a Shite, who is the doer, the central figure in the Noh, who performs the dance and who the particular Noh is about. He usually first appears in the spirit plays as an old man, an old fisherman, or salt-gatherer, some kind of beat down, destitute person, an anonymous person, and the Waki comes along and somehow starts up a conversation and begins to wonder about this man, and usually asks him to tell him the story of the place where he is, assuming that this is some sort of historical shrine, which it often is, and the Waki has come specifically to see this place and as the old man begins to tell the story, he, well, there's actually a scene change, an act change, he reappears in all his glory as the original person whose life was lived out, usually tragically and very dramatically, often in a battle, who died in this place and whose spirit consequently haunts the area. Then I started reading about the Kwakiutl who are a tribe of the Indians somewhat to the north of Vancouver, about the furthest south they reach is the Campbell River [https://www.wikidata.org/wiki/Q270481] on Vancouver Island [https://www.wikidata.org/wiki/Q170479] which is, I don't know how many miles north of Vancouver, 100? 80, about 80. But I always figured that there must have been some sort of interchange between the Kwakiutl and the Salish, the particular tribe around the Fraser Delta [https://www.wikidata.org/wiki/Q269710] in Vancouver. The thing that interested me the most about the Kwakiutl were one particular secret society called the \\\"Hamatsa\\\" and in the Hamatsa it writes, one goes into a sort of frenzy and is possessed by the original spirit, who then passed on the rituals, and the frenzy denotes the acquirement of a certain kind of power. I guess the Salish have something a little corresponding to that in that they have, I don't know what you call them, they're certain kinds of dances which are meant to perform the meeting between the individual who dances, the initiate, and the spirit of the particular place whom he encounters and who gives them, in result of this dance, particular powers. \\\"Wet fur wavers\\\", this is a Spanish Banks [https://www.wikidata.org/wiki/Q7573148] poem, about a walk, a Sunday walk along the Spanish Banks.\\n \\nDaphne Marlatt\\n00:06:56\\nReads \\\"Wet fur wavers\\\" [published later in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:08:16.15\\nAnd straight from that to another one that's somewhat linked up to that in terms of its content. This is about the public library, the old Carnegie Library [https://www.wikidata.org/wiki/Q1376408], which is, has since been closed down because the library rebuilt in an up-town area, the old Carnegie Library is located in the heart of skid row and used to be frequented mainly by old men reading who were reading newspapers who were trying to escape from the eternal rain and the cold.\\n\\nDaphne Marlatt\\n00:08:54\\nReads \\\"Go on\\\".\\n \\nDaphne Marlatt\\n00:10:34\\nThe next one which is also linked, I should have mentioned before the last one that the White Lunch--it must be a Vancouver phenomenon because I don't think I've seen it anywhere else. It's a chain of self-serve cafes, restaurants, and they're inexpensive of course, and their symbol outside is a huge white teacup and saucer, with these little coloured stooped figures running, eternally running around the saucer. This next poem is about a woman whose name I didn't know, I attributed a name to her, Emma. She could be seen, often around Berrard and Granville streets, and instead of going into the White Lunch, she used to go into the Bay, Hudson's Bay [https://www.wikidata.org/wiki/Q641129], and sit on the benches outside the elevator, and wait to warm up, I guess. Often, she seemed to me to be just to be interested in watching the weird kind of people who used to shop at the Bay, all those people with money. \\\"Razor Back Woman\\\" is taken from a John Stewart [https://www.wikidata.org/wiki/Q1393453] album, lyric of his.\\n \\nDaphne Marlatt\\n00:12:05\\nReads \\\"razorbackt woman\\\".\\n \\nDaphne Marlatt\\n00:13:56\\nOne last one that connects with the Kwakiutl Hamatsa society, this is going to need some explanation. Baxbakwalanuksiwe’, is--and I'm not responsible for my pronunciation for any people here who know how Kwakiutl sounds, because I don't--I'm just picking it up from various spellings and he was the original spirit who informed the Hamatsas, who gave them their cannibal right because an Indian managed to overcome him, through a trick.\\n\\nAudience Member 1\\n00:14:48\\nWhich one is that? Which name?\\n\\nDaphne Marlatt\\n00:14:50\\nHamatsa--Baxbakwalanuksiwe’. He was supposed to have been the first man, the first one to eat man at the mouth of the river, that's a quote. He was a sort of bird-like, obviously inhuman creature whose body was covered all over with mouths and he used to have various attendants around, and one of whom was a woman who was rooted to the floor of his cabin and she was very beautiful, and she used to lure people in who then became his victims. But in this particular occasion, these three Indian brothers somehow won her sympathy or something, but she told them, Baxbakwalanuksiwe’ was out at the moment, she told him that he would be expected back and that they were supposed to be his victims, and that the only way to overcome this was to build, to dig a deep pit in the floor, cover it over with boughs and then and have a trap that he could spring, that could release the boughs, and then when he did his dance, prior to killing and eating his victims, they would just pull the string or whatever it was and he would then fall into the pit. And then they could set fire to him. Qominaga is the woman, and I don't know if I should explain the B.C. [https://www.wikidata.org/wiki/Q1974] liquor laws or not. [Audience laughter]. Well, for those of you who don't know B.C., up until not so very long ago, what, five? No, must be longer than that, maybe ten years, the beer parlors used to be segregated, and men, alone, sat on one side, and women, alone, and women would be the escorts sat on the other side and you had to enter the beer parlor from different doors, one of which was marked \\\"Men\\\", and the other was \\\"Ladies and Escorts\\\". The men's side also used to have, in some of the beer parlors, used to have a wooden floor covered with sawdust, which was simply easier to keep clean because of course when expected, there were constant brawls on the men's side and a lot of broken glass and spilled beer, I suppose that was the rationale. This is dedicated to the Alcazar, Cecil, Belmont, [New Fountain (?)] [audience laughter].\\n \\nDaphne Marlatt\\n00:17:33\\nReads unnamed poem “names stations of the way to\\\".\\n \\nDaphne Marlatt\\n00:20:33\\nLittle poems, for my niece who has, or had, she's probably over it by now, a thing about bugs. That bugs are horrible--any bug, no matter what. So I wrote these four poems to try and explain to her what it was like to be a bug, although it's very human, called \\\"Bugs in the Heart\\\", for Karen.\\n \\nDaphne Marlatt\\n00:20:57\\nReads \\\"Bugs in the Heart\\\" [published later in What Matters: Writing 1968-1970].\\n \\nDaphne Marlatt\\n00:22:00\\nThese are all fairly recent poems. \\\"Agenda\\\".\\n \\nDaphne Marlatt\\n00:22:06\\nReads \\\"Agenda\\\".\\n \\nDaphne Marlatt\\n00:22:24\\nLast Easter, we were in [Tousse (?)], took our swimsuits, expected to come back with a tan. Snowed every night, it was beautiful in the morning. \\n \\nDaphne Marlatt\\n00:22:37\\nReads unnamed poem. \\\"Points west, or south-west, wet downpour...\\\"\\n \\nDaphne Marlatt\\n00:23:00\\nWe're living on a farm and this is a poem, for practically the first time in our lives, this is a poem that I wrote last year, Phil's our landlord and he's always coming up with useful bits of information about, speaking of David, books, about what birds are what.\\n \\nDaphne Marlatt\\n00:23:29\\nReads unnamed poem. \\\"Depressed area space, lived in...\\\".\\n \\nDaphne Marlatt\\n00:24:42\\nThis is a poem that I wrote when I was about, oh I don't know, seven or eight months pregnant. \\\"Bird of Passage\\\", I wrote it in Vancouver. Spring time again.\\n \\nDaphne Marlatt\\n00:25:02\\nReads \\\"Bird of Passage\\\" [published later in What Matters: Writing 1968-1970]. \\n \\nDaphne Marlatt\\n00:27:38\\nOne of the in fact, the original Vancouver poem which was written in Bloomington [https://www.wikidata.org/wiki/Q490385], Indiana [https://www.wikidata.org/wiki/Q1415], probably out of a sense of nostalgia, it's about the man who used to collect the rents on the house that I lived in on Comox Street, and he had a little room up in the attic and he was kind of old, he was also the man who I met at the door when I first came to inquire about their rooms.\\n \\nDaphne Marlatt\\n00:28:09\\nReads unnamed poem. \\\"Old Bird, he...\\\"\\n \\nDaphne Marlatt\\n00:29:31\\nAbout Vancouver's fire, in 1868? 1886. There are a lot of quotes in here, and I think all of them, yes all of them are taken from a historical journal put out by the city archives and the body of it is concerned with W.H. Gallagher's eye-witness account. He was in a little office and had control of payroll for men who were working for the CPR clearing the land, the fire was caused by the clearing of the land, because the trees were knocked down bowling-pin method, that is a tree, a very large tree was chosen and then cut so that it would bring down a pile of trees as it fell and then the stuff was left because they didn't get around to burning it. And it was left over the summer, and got as dry as tinder. Not only that, but they were using gunpowder to blow up stumps. \\n \\nDaphne Marlatt\\n00:30:46\\nReads \\\"Our city is ashes\\\".\\n \\nDaphne Marlatt\\n00:33:45\\nThis is \\\"Bowen Island\\\".\\n \\nDaphne Marlatt\\n00:33:50\\nReads \\\"Bowen Island\\\" [published later as “Bowen” in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:35:48\\nI know that there was a bridge in Vancouver with a jack-knife span that opened like London Bridge [https://www.wikidata.org/wiki/Q130206]. And I asked everyone I knew…What?\\n\\nAudience Member 2\\n00:36:03\\nMarple.\\nDaphne Marlatt\\n00:36:04\\nMarple! Was that Marple? Because no one seemed to know, I even went down to the library to ask them. Well, I've got a footnote in my book that it wasn't true. So anyway, it began to be confused in my mind with the old Second Narrows Bridge [https://www.wikidata.org/wiki/Q643658], which at that time was being torn down. And so it's compounded with memories of old Second Narrows Bridge, which has a lift-span that rises and all kinds of warning signs--it used to be that when you were learning to drive you went down to Second Narrows Bridge and boy if you made that bridge, you could pass the test.\\n\\nDaphne Marlatt\\n00:36:41\\nReads \\\"Your\\\".\\n \\nDaphne Marlatt\\n00:39:15\\nThis is also a skid row poem, it's a combination of present and past, Water Street, which is a block below Cordova, where there used to be a couple of very popular beer parlours, before they were closed down, Water, the other side of Water, used to be the shore line, that is, the harbour came right up to Water street, and houses, the first houses were built on the southern side of Water. That's where Gassy Jack Deighton [https://www.wikidata.org/wiki/Q720322] built his saloon, the first saloon in Vancouver. That's how Vancouver got its original name, Gastown [https://www.wikidata.org/wiki/Q1495636], because this man was an eternal talker apparently. I use a word that's very foreign to me here, Leman, which means like his woman, and is a word that Alan Morley uses in his book about Vancouver and which I think captures the feeling of Gastown with all its small town morality and prudery. \\n \\nDaphne Marlatt\\n00:40:32\\nReads \\\"Trails\\\".\\n \\nEND\\n00:42:24\\n\",\"notes\":\"Daphne Marlatt reads poems published later in books like Vancouver Poems (Coach House Press, 1972) and What Matters: Writing 1968-1970 (Coach House Press, 1980), as well as several poems from unknown sources.\\n\\n00:00- Daphne Marlatt Introduces “Lagoon” [INDEX: Vancouver Poems, local myth of the lost lagoon, prose poems, French poet Rimbaud, Randy Newman lyrics]\\n01:42- Reads “Lagoon”\\n03:40- Introduces “Wet fur wavers” [INDEX: Vancouver Poems, Japanese Noh plays: Waki, Spirit plays, Kwakiutl Native American Indians: Hamatsa Secret Society, Campbell River, B.C., Salish Native Americans of the Frasier Delta, Spanish Banks, B.C.]\\n06:56- Reads “Wet fur wavers”\\n08:16- Introduces “Go on” [INDEX: Vancouver Poems, Old Carnegie Library, Vancouver; Howard Fink list “Old Carnegie Library”]\\n08:54- Reads “Go on”\\n10:34- Introduces “razorbackt woman” [INDEX: Vancouver Poems, White Lunch restaurant, The Hudson Bay’s Company, skid row, John Stewart lyrics]\\n12:05- Reads “razorbackt woman”\\n13:56- Introduces “Alcazar, Cecil, Belmont, New Fountain, names stations of the way, to” [INDEX: Vancouver Poems, BaxwbakwAllenuksiwe, Coleman Okwas, Alcohol laws \\tof B.C.]\\n17:33- Reads “Alcazar, Cecil, Belmont, New Fountain, names stations of the way, to”\\n20:33- Introduces “Bugs in the Heart”\\n20:57- Reads “Bugs in the Heart”\\n22:00- Reads “Agenda”\\n22:24- Introduces first line “Points west or south west, wet downpour...”\\n22:37- Reads first line “Points west or south west, wet downpour...”\\n23:00- Introduces first line “Depressed area space, lived in...” [INDEX: living on a farm; Howard Fink List “Older, heart...”]\\n23:29- Reads first line “Depressed area space, lived in...”\\n24:42- Introduces “Bird of Passage”\\n25:02- Reads “Bird of Passage”\\n27:38- Introduces “Old bird, he” [INDEX: Vancouver Poems, Bloomington, Indiana, Comox Street Vancouver, Vancouver fire of 1886, W.H. Gallagher’s [Unknown A1] eyewitness account, City Archives Historical Journal, Second Narrows Bridge, Marple Bridge]\\n28:09- Reads first line “Old bird, he turned up this this time...”\\n29:31- Introduces “Our city is ashes” [INDEX: Vancouver Poems]\\n30:46- Reads “Our city is ashes”\\n33:45- Reads “Bowen” [INDEX: Howard Fink List “Bowen Island”.]\\n35:48- Introduces “Your” [INDEX: Vancouver Poems]\\n36:41- Reads first line “Your grey-green fathoms unfathomed...”\\n39:15- Introduces “Trails” [INDEX: Vancouver Poems, Bowen Island, Burrard and Granville Streets, Alan Morley's book on Vancouver, Gassy Jack Deighton of Vancouver]\\n40:32- Reads “Trails”\\n42:24.72- END OF RECORDING\\n \\nFrom the Howard Fink list of poems:\\nNovember 6, 1970\\n \\n1. “Lagoon”\\n2. “Wet For A Wavers” (Spanish Banks)\\n3. “Old Carnegie Library”\\n4. “Razor-backed Woman”\\n5. “The Alcazar Cecil Belmont Newfoundland”\\n6. “Bugs In The Heart”\\n7. “Agenda”\\n8. [blank]\\n9. First line (?)“Older heart...”\\n10. “Bird of Passage”\\n11. (Vancouver Poem) first line (?) “Old Bird...”\\n12. First line (?) “Our City Is Ashes”\\n13. “Bohen Island”\\n14. “Ridge Pole (Second Narrows Bridge)”\\n15. “Trails”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/daphne-marlatt-at-sgwu-1970/\"}]"],"score":1.0},{"id":"1291","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Ted Berrigan Reading at Sir George Williams University, The Poetry Series, 4 December 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"RT 551 TED BERRIGAN Recorded December 4, 1970 at Sir George Williams University 3.75 ips on 1. mil tape, 1/2 track\" written on sticker on the back of the tape box. \"RT 551\" written on sticker on the front of the tape box. \"TED BERRIGAN I086-11-004\" written on spine of the tape box. \"TED BERRIGAN I086-11-004\" and \"RT 551\" written on stickers on the reel.\n\nWrong tape and information photographed ??"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Berrigan, Ted"],"creator_names_search":["Berrigan, Ted"],"creators":["[{\"url\":\"http://viaf.org/viaf/64027570\",\"name\":\"Berrigan, Ted\",\"dates\":\"1934-1983\",\"notes\":\"Poet and editor Ted Berrigan was born in Providence, Rhode Island on November 15, 1934. He studied briefly at Providence College until 1954 when he joined the US army, which he served three years, an eighteen months of which were spent in the Korean War. Berrigan returned to the US and completed a Bachelor’s degree in English literature at the University of Tulsa, Oklahoma in 1595. It was there that he met Ron Padgett and Joe Brainard. Berrigan completed his MA in 1962, and soon after, with a number of friends from Tulsa, went north to the Lower East Side of New York City. By 1963, Berrigan had established C: A Journal of Poetry, which published not only the work of his friends, but the poetry of the older generation of New York poets and artists like Andy Warhol. In 1964, Berrigan published his most accomplished collection of poems, The Sonnets (Lorenz & Ellen Gude, 1964). Berrigan also taught at the St. Mark’s Poetry Project at its conception by Paul Blackburn, helping to shape the project and its programmes in its early days. He also lectured at the State University of Michigan, University of Iowa, Yale University, the University of Michigan, and at the Jack Kerouac School of Disembodied Poetics at Naropa Institute in Boulder, Colorado. A selection of his publications include A Lily for My Love (Self published, 1959), In the Early Morning Rain (Cape Goliard Press, 1970), Red Wagon (Yellow Press, 1976), Galileo; or Finksville a play (1964) and Bean Spasms (Kulchur Press, 1967) written with Ron Padgett. Ted Berrigan died on July 4, 1983. The most comprehensive collection of his poetry can be found in So Going Around Cities: New and Selected Poems 1958-1979 (Blue Wind Press, 1980).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 12 4\",\"type\":\"Performance Date\",\"notes\":\"Date reference on tape box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Ted Berrigan reads from In the Early Morning Rain (Cape Goliard, 1970), The Sonnets (Grove Press, 1964), Many Happy Returns (Corinth, 1969) and poems later collected in So Going Around Cities (Berkley, 1980) as well as a few unknown poems."],"contents":["ted_berrigan_i086-11-004.mp3\n\nGeorge Bowering\n00:00:00\nWelcome to at last the second reading in the series, for this year. As you probably know, the series that we have, it might be loosely called a kind of an avant-garde series, and in the, this is our fifth year, and this is the first time we've ever had anybody from the New York School [https://www.wikidata.org/wiki/Q1972942]--it's not going to be the last time, we're going to have Kenneth Koch [https://www.wikidata.org/wiki/Q2708628] in the spring, and we're looking for Tom Clarke [https://www.wikidata.org/wiki/Q7815337] next fall. Berrigan [https://www.wikidata.org/wiki/Q2399732] is I guess now, one of the, say the halfback, I supposed, or quarterback of the New York School. Many of you have probably seen...[laughter] yeah, linebacker! When you ask when you're a little thin... And most of you have probably seen the propaganda sheet that's been around, downstairs and so on, and so you've heard the words that some of his confreres have said about him. I'd just like to add a little bit, in addition to those earlier books such as The Sonnets, and Bean Spasms, there's a couple of new books that have just appeared, one's called In the Early Morning Rain, which will be available here because it's a Cape Goliard book, and it's distributed in Canada [https://www.wikidata.org/wiki/Q16] by one of the big Toronto [https://www.wikidata.org/wiki/Q172] publishers, and another one with a Kraut title that I can't read that's bilingual, half-German and half-English that I'm sure we'll hear some from....\n \nTed Berrigan\n00:01:31\nThe title's [unintelligible] Guillaume Apollinaire [https://www.wikidata.org/wiki/Q133855] ist ...\n \nGeorge Bowering\n00:01:34\nOh I see, yeah right.\n \nTed Berrigan\n00:01:35\nHowever I don't have any available, only in Berlin [https://www.wikidata.org/wiki/Q64].\n \nGeorge Bowering\n00:01:38\nRight, so if you happen to be in Berlin, snap up a copy of Guillaume Apollinaire ist tot und Anders. So I'd like to mention that Ted Berrigan is going to read one set, and then he wants to stop for a very short intermission, say like a five-minute intermission, and then haul you back in again and do a second set. So ladies and gentlemen, etcetera, Ted Berrigan.\n \nAudience\n00:02:05\nApplause. \n \nUnknown\n00:02:07\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nTed Berrigan\n00:02:08\nIn the first set I'm going to read mostly poems I've written over the last four or five years. Actually, longer than that, some going back to 1962, or '61. I don't know how long this set'll be. It'll, should be less than a half-hour. In the second set I'll read poems I've written over the last year or two. However I want to start with a poem that I wrote about two years ago. It's called \"Heroin\" I read this in high schools in Ann Arbor [https://www.wikidata.org/wiki/Q485172] which I went to read in a program called Poetry Ann Arbor, and I wanted, I read the title and then I wanted to, I read the title and then I wanted to, I found it real funny because it was called \"Heroin,\" and I wanted to disclaim that it was a pro-heroin poem. So I said, this poem is not a pro-heroin poem.Then I realized there wasn't an anti-heroin poem either. So I ended them, it was just sort of an on-heroin poem. [Audience laughter]. All my poems are pretty much alike, and this is fairly typical of what you'll be hearing the rest of the evening. \n \nTed Berrigan\n00:03:19\nReads \"Heroin\".\n \nTed Berrigan\n00:04:22\nThis poem is called \"Frank O'Hara's Question\". Frank O'Hara [https://www.wikidata.org/wiki/Q951010] is a poet from New York [https://www.wikidata.org/wiki/Q60], who's dead, he died when he was forty years old a couple of years ago in an automobile accident. The title doesn't have too much to do with the poem, except that it sort of states something that Frank O'Hara evidently had to say, and so it says something that I have to say too in my own way, not that I have to say it the same way that Frank did. \n \nTed Berrigan\n00:04:56\nReads \"Frank O’Hara’s Question\".\n \nTed Berrigan\n00:05:42\nThis is a poem I wrote in 1962. It's called \"Words for Love\". It's a bit rhetorical, but it's the best I could do in 1962, and I still like it a lot, albeit I wonder at some of it. \"Words for Love\". It was written, actually, at a very difficult time in my life, and I guess I felt the need to make some sort of statement.\n \nTed Berrigan\n00:06:09\nReads \"Words for Love\".\n \nTed Berrigan\n00:08:07\nReads [\"I wake up 11:30, back aching\"].\n \nTed Berrigan\n00:09:23\nReads “Personal Poem #7. \n \nTed Berrigan\n00:10:23\nReads “Personal Poem”.\n \nAudience\n00:11:08\nApplause.\n\nTed Berrigan\n00:11:10\nThank you. Charlie Stanton liked that one too. [Audience laughter]. This is the last one of those kind of poems [audience laughter]. \n \nTed Berrigan\n00:11:21\nReads “Personal Poem #9”.\n\nTed Berrigan\n00:12:32\nI've always liked that poem. [Laughter]. All of those are written around 1962, 61 and 62. I want to skip up to around 1967. I wrote this poem called \"Things to do in New York City\". I was leaving New York, and this poem, like many of my poems, was written for a specific occasion. It was for someone's birthday. And the poem, it's just my poem, it's not about the other person's birthday, it's just a present for him on his birthday. \n \nTed Berrigan\n00:13:24\nReads \"Things to do in New York City\".\n \nTed Berrigan\n00:14:20\nThis poem is called \"Ten Things I do Every Day,\" which is...it's true, as a matter of fact, in a way. In a manner of speaking. But it's not true that it's ten things. Alas. But that was just the title, like the ten greatest movies of the year. \n \nTed Berrigan\n00:14:40\nReads \"Ten Things I do Every Day\".\n\nAudience\n00:15:16\nLaughter.\n \nTed Berrigan\n00:15:21\nThat's what you do in New York. [Audience laughter]. I'll read this poem called \"Resolution\". \n \nTed Berrigan\n00:15:35\nReads \"Resolution”.\n \nTed Berrigan\n00:15:58\nI don't know what I'll do about it if you do, but...something. All those dramatic poems. \n \nTed Berrigan\n00:16:06\nReads “Sonnet XXXVII”.\n \nTed Berrigan\n00:17:08\nI want to move around a little and not do exactly what I said. This is a poem I wrote last summer in London [https://www.wikidata.org/wiki/Q84], it's dedicated to the poet Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and his wife. They lived in Colchester [https://www.wikidata.org/wiki/Q184163], which is an hour or two train-ride from London, and I was supposed to go down and see them, and I didn't go. And by way of apologies, I wrote this poem to Tom and to his wife, Val.\n \nTed Berrigan\n00:17:33\nReads \"Apologies to Val and Tom\".\n \nTed Berrigan\n00:19:05\nI'll read this one for George Bowering's old lady, [audience laughter] Mrs. Angela Bowering. It's called \"Things to do on Speed\". [Audience laughter].\n \nTed Berrigan\n00:19:19\nReads \"Things to do on Speed\" [audience laughter throughout].\n \nTed Berrigan\n00:20:58 [Laughter] I forgot about that one. \n\nAudience \n00:21:01\nLaughter.\n \nTed Berrigan\n00:21:03\nResumes reading \"Things to do on Speed\".\n \nTed Berrigan\n00:22:21\nI wrote that one courtesy of The New York Times [https://www.wikidata.org/wiki/Q9684]. Okay, one more this set. This is called, \"Things to do in Providence\". [Audience laughter]. Which is, Providence [https://www.wikidata.org/wiki/Q18383], Rhode Island [https://www.wikidata.org/wiki/Q1387], or whatever else you can make of it.\n \nTed Berrigan\n00:22:50\nReads \"Things to do in Providence\".\n \nAudience\n00:26:23\nLaughter.\n \nTed Berrigan\n00:26:29\nResumes reading \"Things to do in Providence\".\n \nAudience\n00:27:46\nApplause.\n \nTed Berrigan\n00:27:52\n[Unintelligible].\n \nUnknown\n00:27:55\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nGeorge Bowering\n00:27:55\nHere he is again, terrible Ted Berrigan. \n \nTed Berrigan\n00:28:01\nAll the poems I'm going to read in this set are from my book, In the Early Morning Rain. The title of this book I got from Gordon Lightfoot [https://www.wikidata.org/wiki/Q359552], the Canadian folk singer-songwriter, and I didn't know, I made, I decided to use that title before Bobby Dylan's [https://www.wikidata.org/wiki/Q392] album Self-Portrait [https://www.wikidata.org/wiki/Q634569] came out, so I didn't know that Bobby was going to record this song. I would have used it anyway, I'm sure. But, I mean if Dylan can steal it, I can steal it. And this book is a collection of poems of mine from over the last ten years, and I'm just going to read around in it. I wrote a lot of different kind of poems. I don't very often try for...I mean, I just take my poems where they come. This poem is called \"Hello\". \n \nTed Berrigan\n00:28:51\nReads \"Hello\" from In the Early Morning Rain.\n \nTed Berrigan\n00:29:06\nNow I'm going to read two or three poems that are from a section of this book called \"Life of a Man\". \"Life of a Man\" is a book of poems in Italian by an Italian poet, a very great Italian poet who died not too long ago called Giuseppe Ungaretti [https://www.wikidata.org/wiki/Q311802]. There's a little story behind these. A lady poet named Barbara Guest [https://www.wikidata.org/wiki/Q807448] once asked my friend Ron Patchett and I, would we translate some of Ungaretti's poems, because Ungaretti was coming to America [https://www.wikidata.org/wiki/Q30]. And she thought it would be nice if we would translate them as a sort of homage to him. And so I told her, I said, “Barbara, but we don't understand Italian,” and she said, “Oh, I'm sure you can do it, you two are marvelous”. And she said, “Just get a dictionary, and you can look up the words”. So I looked at Ron and he looked at me, and we said, yeah, we can translate 'em, sure, but we don't want to get any dictionaries. So we just translated 'em without any dictionaries. [Audience laughter]. And we never showed them to Ungaretti but we showed them to Barbara Guest and she had the horrors. The first one is called \"Matinee\". \n \nTed Berrigan\n00:30:16\nReads \"Matinee\" from In the Early Morning Rain [audience laughter throughout].\n\nTed Berrigan\n00:30:26\nThe next one is called \"December\" [audience laughter].\n \nTed Berrigan\n00:30:30\nReads \"December\" from In the Early Morning Rain [audience laughter throughout].\n \nTed Berrigan\n00:30:38\nAnd this one is called \"The Reply to the Fragile.\" \n \nTed Berrigan\n00:30:42\nReads \"The Reply to the Fragile\" from In the Early Morning Rain.\n \nTed Berrigan\n00:30:53\nThat one's a little, that's rated X. [Audience laughter]. And this is the last one, it's called “Corporal Pellegrini”. If any of you know Italian, you can understand where all these words came from [audience laughter].\n \nTed Berrigan\n00:31:09\nReads \"Corporal Pellegrini\" from In the Early Morning Rain.\n \nTed Berrigan\n00:31:38\nI think Ungaretti would've liked them. [Audience laughter]. He probably would have retranslated them and gotten some new ones. This next work is a translation too and it's a translation I did from French, which I understand some. And so this time I only had to leave certain words. This time I translated a lot of it accurately. But it's called \"Life among the woods\". And it's a translation of a page from a grammar book, some kind of book written in the French language. After I'd gotten this much done I decided it was over. Anyway, it's called \"Life Among the Woods\".\n \nTed Berrigan\n00:32:20\nReads \"Life Among the Woods\" from In the Early Morning Rain.\n \nTed Berrigan\n00:34:30.58\nPretty interesting family. This is a poem called \"In Four Parts.\"\n \nTed Berrigan\n00:34:40.14\nReads \"In Four Parts\" from In the Early Morning Rain.\n \nTed Berrigan\n00:35:22\nThat was four sentences from the New York Times. They had this secret continuity. [Laughter]. This is a poem called \"March 17th, 1970\".\n \nTed Berrigan\n00:35:35\nReads \"March 17th, 1970\" from In the Early Morning Rain.\n \nTed Berrigan\n00:36:03\nAnd you'd better believe it. Only not right now, right then. I don't know if I can subject you to this poem. I guess I will anyway. This is called \"The Ten Greatest Books of the Year, 1968\".\n \nTed Berrigan\n00:36:28\nReads \"The Ten Greatest Books of the Year, 1968\" from In the Early Morning Rain [audience laughter throughout].\n \nTed Berrigan\n00:38:02\nYou people that are laughing are getting it.\n\nTed Berrigan\n00:38:04\nResumes reading \"The Ten Greatest Books of the Year, 1968\" from In the Early Morning Rain. \n\nAudience\n00:38:14\nLaughter.\n\nTed Berrigan\n00:38:17\nThis is a poem called \"Thirty\".\n \nTed Berrigan\n00:38:18\nReads \"Thirty\" from In the Early Morning Rain\n \nTed Berrigan\n00:38:24\nThat's for all of you guys that did thirty. This poem is called \"Things to do in Anne's Room\".\n \nTed Berrigan\n00:38:34\nReads \"Things to do in Anne's Room\" from In the Early Morning Rain\n \nTed Berrigan\n00:39:42\nThis is called \"The Great Genius\".\n \nTed Berrigan\n00:39:45\nReads \"The Great Genius\" from In the Early Morning Rain.\n \nTed Berrigan\n00:39:56\nThis is called \"Anti-War Poem\". It's another New Year's poem, actually.\n \nTed Berrigan\n00:40:03\nReads \"Anti-War Poem\" from In the Early Morning Rain.\n \nTed Berrigan\n00:40:41\nAnd this poem is called \"Tough Brown Coat\".\n \nTed Berrigan\n00:40:43\nReads \"Tough Brown Coat\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:04\nThis poem is called \"Babe Rainbow\".\n \nTed Berrigan\n00:41:08\nReads \"Babe Rainbow\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:25\nAnd this is called \"In My Room\".\n \nTed Berrigan\n00:41:30\nReads \"In My Room\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:54\nThis is called \"Ann Arbor Elegy\". It was written for a girl who was killed in an automobile accident. September 27th, 1969. The funny thing about this poem is it was written before she was killed. And when I looked at it after she was dead, I saw that I didn't have to write an elegy for her, that somehow I'd written one already. \n \nTed Berrigan\n00:42:17\nReads \"Ann Arbor Elegy - For Franny Winston\" from In the Early Morning Rain.\n \nTed Berrigan\n00:43:13\nAnd this is a sort of berserk work, which I wrote called \"Wake Up,\" which is about all it says, really.\n \nTed Berrigan\n00:43:23\nReads \"Wake up\" from In the Early Morning Rain.\n \nTed Berrigan\n00:44:18\nI have another poem which I'd like to read but I won't, but it's a series of aphorisms from the works of Francis Picabia [https://www.wikidata.org/wiki/Q157321], the French poet and painter. And this friend Jim Carroll [https://www.wikidata.org/wiki/Q444806] and I translated these from French. I'll read you my favourite one, in any case, which Jim Carroll translated. It says, \"Spinoza [https://www.wikidata.org/wiki/Q35802] is the one who threw a pass to move Spinoza.\" I really...in this book I put some poems by some of my friends so I wouldn't have to read all my works. Though when I read I never read theirs, I notice. This poem is called \"In Bed\".\n \nTed Berrigan\n00:44:56\nReads \"In Bed\" from In the Early Morning Rain.\n \nTed Berrigan\n00:45:12\nThat's an example of saying nothing. [Audience laughter]. This poem is called \"Easy Living\". It's dedicated to a boy named David Henderson, a poet who was a friend of mine, whom I once took a trip to Pittsburgh [https://www.wikidata.org/wiki/Q1342] with. Had a very nice time. \n \nTed Berrigan\n00:45:33\nReads \"Easy Living\" from In the Early Morning Rain.\n \nTed Berrigan\n00:46:25\nThis is a poem I wrote, it's called \"Like Poem\". A friend of mine wrote a love poem to this girl, and I thought I should do that too. But I only wanted to write a like poem to her, because I don't want to have any obligations. [Audience laughter]. No, that isn't the reason why, but that's what came out. This is called \"Like Poem,\" it's to Joan Fagan, who's the wife of my friend Larry Fagan [https://www.wikidata.org/wiki/Q95906997], the poet. \n \nTed Berrigan\n00:46:50\nReads \"Like Poem\" from In the Early Morning Rain.\n \nTed Berrigan\n00:47:06\nThis poem is called \"Ann Arbor Song\". This poem I actually tried to write a poem out of a very corny feeling that I'd had, which nevertheless is very genuine. It starts at a poetry reading in Ann Arbor, but it's really about being in Ann Arbor and realizing I was leaving soon, and thinking about all the things that wouldn't happen to me again, because this trip was going to be over. Even though, I'm--it's not all that sentimental, I mean I knew I might go to Ann Arbor again and all that, it was just that this particular trip was going to be over. I also wrote it with the idea in mind of reading it at a poetry reading too. \"Ann Arbor Song\".\n \nTed Berrigan\n00:47:45\nReads \"Ann Arbor Song\" from In the Early Morning Rain.\n \nTed Berrigan\n00:49:22\nI'm going to read two more. First one's called \"Peace\".\n \nTed Berrigan\n00:49:29 \nReads \"Peace\" from In the Early Morning Rain.\n\nTed Berrigan\n00:50:37\nAlright, and this is the last poem. I hate to end heavy, but there's no place to read this poem but at the end. This poem is called \"People Who Died\". It's just a list. \"People Who Died\".\n \nTed Berrigan\n00:50:55\nReads \"People Who Died\" from In the Early Morning Rain.\n \nAudience\n00:52:48\nApplause.\n \nTed Berrigan\n00:52:53\nNot the most, uh...[laughter].\n \nEND\n00:52:59\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Ted Berrigan published In the Early Morning Rain (Cape Goliard Press), and also privately published Scorpion, Eagle & Dove.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nTed Berrigan’s connection to Sir George Williams University is unclear at the moment, but Berrigan was part of the so called ‘Second Beat’ movement, as well as part of the ‘New York School’ of poetry. In this recording, he dedicates a poem to Angela Bowering, (George Bowering’s wife) so he either had met her before this reading or because of the occasion.\",\"type\":\"General\"},{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/in-the-early-morning-rain/oclc/563054848&referer=brief_results\",\"citation\":\"Berrigan, Ted. In the Early Morning Rain. London: Cape Goliard, 1970. \"},{\"url\":\"https://www.worldcat.org/title/sonnets/oclc/934480499&referer=brief_results\",\"citation\":\"Berrigan, Ted. The Sonnets. New York: Grove Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/many-happy-returns-poems/oclc/564000383&referer=brief_results\",\"citation\":\"Berrigan, Ted. Many Happy Returns. New York: Corinth Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/so-going-around-cities-new-and-selected-poems-1958-1979/oclc/255865532&referer=brief_results\",\"citation\":\"Berrigan, Ted. So Going Around Cities. Los Angeles: Berkley Press, 1980. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/937869379&referer=brief_results\",\"citation\":\"Horning, Ron. \\\"Berrigan, Ted\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ed. Ian Hamilton. Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Berrigan, Ted (Edmund J.M. Berrigan, Jr.)\\\". The Oxford Companion to American Literature. James D. Hart, ed., rev. Phillip W. Leininger. Oxford University Press 1995. \"},{\"url\":\"\",\"citation\":\"Pursglove, Glyn. “Berrigan, Ted”. Literature Online Biography. ProQuest LLC, 2009. \"}]"],"_version_":1853670548921384960,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0004_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Ted Berrigan Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/ted_berrigan_i086-11-004.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"ted_berrigan_i086-11-004.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"127.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nWelcome to at last the second reading in the series, for this year. As you probably know, the series that we have, it might be loosely called a kind of an avant-garde series, and in the, this is our fifth year, and this is the first time we've ever had anybody from the New York School [https://www.wikidata.org/wiki/Q1972942]--it's not going to be the last time, we're going to have Kenneth Koch [https://www.wikidata.org/wiki/Q2708628] in the spring, and we're looking for Tom Clarke [https://www.wikidata.org/wiki/Q7815337] next fall. Berrigan [https://www.wikidata.org/wiki/Q2399732] is I guess now, one of the, say the halfback, I supposed, or quarterback of the New York School. Many of you have probably seen...[laughter] yeah, linebacker! When you ask when you're a little thin... And most of you have probably seen the propaganda sheet that's been around, downstairs and so on, and so you've heard the words that some of his confreres have said about him. I'd just like to add a little bit, in addition to those earlier books such as The Sonnets, and Bean Spasms, there's a couple of new books that have just appeared, one's called In the Early Morning Rain, which will be available here because it's a Cape Goliard book, and it's distributed in Canada [https://www.wikidata.org/wiki/Q16] by one of the big Toronto [https://www.wikidata.org/wiki/Q172] publishers, and another one with a Kraut title that I can't read that's bilingual, half-German and half-English that I'm sure we'll hear some from....\\n \\nTed Berrigan\\n00:01:31\\nThe title's [unintelligible] Guillaume Apollinaire [https://www.wikidata.org/wiki/Q133855] ist ...\\n \\nGeorge Bowering\\n00:01:34\\nOh I see, yeah right.\\n \\nTed Berrigan\\n00:01:35\\nHowever I don't have any available, only in Berlin [https://www.wikidata.org/wiki/Q64].\\n \\nGeorge Bowering\\n00:01:38\\nRight, so if you happen to be in Berlin, snap up a copy of Guillaume Apollinaire ist tot und Anders. So I'd like to mention that Ted Berrigan is going to read one set, and then he wants to stop for a very short intermission, say like a five-minute intermission, and then haul you back in again and do a second set. So ladies and gentlemen, etcetera, Ted Berrigan.\\n \\nAudience\\n00:02:05\\nApplause. \\n \\nUnknown\\n00:02:07\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nTed Berrigan\\n00:02:08\\nIn the first set I'm going to read mostly poems I've written over the last four or five years. Actually, longer than that, some going back to 1962, or '61. I don't know how long this set'll be. It'll, should be less than a half-hour. In the second set I'll read poems I've written over the last year or two. However I want to start with a poem that I wrote about two years ago. It's called \\\"Heroin\\\" I read this in high schools in Ann Arbor [https://www.wikidata.org/wiki/Q485172] which I went to read in a program called Poetry Ann Arbor, and I wanted, I read the title and then I wanted to, I read the title and then I wanted to, I found it real funny because it was called \\\"Heroin,\\\" and I wanted to disclaim that it was a pro-heroin poem. So I said, this poem is not a pro-heroin poem.Then I realized there wasn't an anti-heroin poem either. So I ended them, it was just sort of an on-heroin poem. [Audience laughter]. All my poems are pretty much alike, and this is fairly typical of what you'll be hearing the rest of the evening. \\n \\nTed Berrigan\\n00:03:19\\nReads \\\"Heroin\\\".\\n \\nTed Berrigan\\n00:04:22\\nThis poem is called \\\"Frank O'Hara's Question\\\". Frank O'Hara [https://www.wikidata.org/wiki/Q951010] is a poet from New York [https://www.wikidata.org/wiki/Q60], who's dead, he died when he was forty years old a couple of years ago in an automobile accident. The title doesn't have too much to do with the poem, except that it sort of states something that Frank O'Hara evidently had to say, and so it says something that I have to say too in my own way, not that I have to say it the same way that Frank did. \\n \\nTed Berrigan\\n00:04:56\\nReads \\\"Frank O’Hara’s Question\\\".\\n \\nTed Berrigan\\n00:05:42\\nThis is a poem I wrote in 1962. It's called \\\"Words for Love\\\". It's a bit rhetorical, but it's the best I could do in 1962, and I still like it a lot, albeit I wonder at some of it. \\\"Words for Love\\\". It was written, actually, at a very difficult time in my life, and I guess I felt the need to make some sort of statement.\\n \\nTed Berrigan\\n00:06:09\\nReads \\\"Words for Love\\\".\\n \\nTed Berrigan\\n00:08:07\\nReads [\\\"I wake up 11:30, back aching\\\"].\\n \\nTed Berrigan\\n00:09:23\\nReads “Personal Poem #7. \\n \\nTed Berrigan\\n00:10:23\\nReads “Personal Poem”.\\n \\nAudience\\n00:11:08\\nApplause.\\n\\nTed Berrigan\\n00:11:10\\nThank you. Charlie Stanton liked that one too. [Audience laughter]. This is the last one of those kind of poems [audience laughter]. \\n \\nTed Berrigan\\n00:11:21\\nReads “Personal Poem #9”.\\n\\nTed Berrigan\\n00:12:32\\nI've always liked that poem. [Laughter]. All of those are written around 1962, 61 and 62. I want to skip up to around 1967. I wrote this poem called \\\"Things to do in New York City\\\". I was leaving New York, and this poem, like many of my poems, was written for a specific occasion. It was for someone's birthday. And the poem, it's just my poem, it's not about the other person's birthday, it's just a present for him on his birthday. \\n \\nTed Berrigan\\n00:13:24\\nReads \\\"Things to do in New York City\\\".\\n \\nTed Berrigan\\n00:14:20\\nThis poem is called \\\"Ten Things I do Every Day,\\\" which is...it's true, as a matter of fact, in a way. In a manner of speaking. But it's not true that it's ten things. Alas. But that was just the title, like the ten greatest movies of the year. \\n \\nTed Berrigan\\n00:14:40\\nReads \\\"Ten Things I do Every Day\\\".\\n\\nAudience\\n00:15:16\\nLaughter.\\n \\nTed Berrigan\\n00:15:21\\nThat's what you do in New York. [Audience laughter]. I'll read this poem called \\\"Resolution\\\". \\n \\nTed Berrigan\\n00:15:35\\nReads \\\"Resolution”.\\n \\nTed Berrigan\\n00:15:58\\nI don't know what I'll do about it if you do, but...something. All those dramatic poems. \\n \\nTed Berrigan\\n00:16:06\\nReads “Sonnet XXXVII”.\\n \\nTed Berrigan\\n00:17:08\\nI want to move around a little and not do exactly what I said. This is a poem I wrote last summer in London [https://www.wikidata.org/wiki/Q84], it's dedicated to the poet Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and his wife. They lived in Colchester [https://www.wikidata.org/wiki/Q184163], which is an hour or two train-ride from London, and I was supposed to go down and see them, and I didn't go. And by way of apologies, I wrote this poem to Tom and to his wife, Val.\\n \\nTed Berrigan\\n00:17:33\\nReads \\\"Apologies to Val and Tom\\\".\\n \\nTed Berrigan\\n00:19:05\\nI'll read this one for George Bowering's old lady, [audience laughter] Mrs. Angela Bowering. It's called \\\"Things to do on Speed\\\". [Audience laughter].\\n \\nTed Berrigan\\n00:19:19\\nReads \\\"Things to do on Speed\\\" [audience laughter throughout].\\n \\nTed Berrigan\\n00:20:58 [Laughter] I forgot about that one. \\n\\nAudience \\n00:21:01\\nLaughter.\\n \\nTed Berrigan\\n00:21:03\\nResumes reading \\\"Things to do on Speed\\\".\\n \\nTed Berrigan\\n00:22:21\\nI wrote that one courtesy of The New York Times [https://www.wikidata.org/wiki/Q9684]. Okay, one more this set. This is called, \\\"Things to do in Providence\\\". [Audience laughter]. Which is, Providence [https://www.wikidata.org/wiki/Q18383], Rhode Island [https://www.wikidata.org/wiki/Q1387], or whatever else you can make of it.\\n \\nTed Berrigan\\n00:22:50\\nReads \\\"Things to do in Providence\\\".\\n \\nAudience\\n00:26:23\\nLaughter.\\n \\nTed Berrigan\\n00:26:29\\nResumes reading \\\"Things to do in Providence\\\".\\n \\nAudience\\n00:27:46\\nApplause.\\n \\nTed Berrigan\\n00:27:52\\n[Unintelligible].\\n \\nUnknown\\n00:27:55\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nGeorge Bowering\\n00:27:55\\nHere he is again, terrible Ted Berrigan. \\n \\nTed Berrigan\\n00:28:01\\nAll the poems I'm going to read in this set are from my book, In the Early Morning Rain. The title of this book I got from Gordon Lightfoot [https://www.wikidata.org/wiki/Q359552], the Canadian folk singer-songwriter, and I didn't know, I made, I decided to use that title before Bobby Dylan's [https://www.wikidata.org/wiki/Q392] album Self-Portrait [https://www.wikidata.org/wiki/Q634569] came out, so I didn't know that Bobby was going to record this song. I would have used it anyway, I'm sure. But, I mean if Dylan can steal it, I can steal it. And this book is a collection of poems of mine from over the last ten years, and I'm just going to read around in it. I wrote a lot of different kind of poems. I don't very often try for...I mean, I just take my poems where they come. This poem is called \\\"Hello\\\". \\n \\nTed Berrigan\\n00:28:51\\nReads \\\"Hello\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:29:06\\nNow I'm going to read two or three poems that are from a section of this book called \\\"Life of a Man\\\". \\\"Life of a Man\\\" is a book of poems in Italian by an Italian poet, a very great Italian poet who died not too long ago called Giuseppe Ungaretti [https://www.wikidata.org/wiki/Q311802]. There's a little story behind these. A lady poet named Barbara Guest [https://www.wikidata.org/wiki/Q807448] once asked my friend Ron Patchett and I, would we translate some of Ungaretti's poems, because Ungaretti was coming to America [https://www.wikidata.org/wiki/Q30]. And she thought it would be nice if we would translate them as a sort of homage to him. And so I told her, I said, “Barbara, but we don't understand Italian,” and she said, “Oh, I'm sure you can do it, you two are marvelous”. And she said, “Just get a dictionary, and you can look up the words”. So I looked at Ron and he looked at me, and we said, yeah, we can translate 'em, sure, but we don't want to get any dictionaries. So we just translated 'em without any dictionaries. [Audience laughter]. And we never showed them to Ungaretti but we showed them to Barbara Guest and she had the horrors. The first one is called \\\"Matinee\\\". \\n \\nTed Berrigan\\n00:30:16\\nReads \\\"Matinee\\\" from In the Early Morning Rain [audience laughter throughout].\\n\\nTed Berrigan\\n00:30:26\\nThe next one is called \\\"December\\\" [audience laughter].\\n \\nTed Berrigan\\n00:30:30\\nReads \\\"December\\\" from In the Early Morning Rain [audience laughter throughout].\\n \\nTed Berrigan\\n00:30:38\\nAnd this one is called \\\"The Reply to the Fragile.\\\" \\n \\nTed Berrigan\\n00:30:42\\nReads \\\"The Reply to the Fragile\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:30:53\\nThat one's a little, that's rated X. [Audience laughter]. And this is the last one, it's called “Corporal Pellegrini”. If any of you know Italian, you can understand where all these words came from [audience laughter].\\n \\nTed Berrigan\\n00:31:09\\nReads \\\"Corporal Pellegrini\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:31:38\\nI think Ungaretti would've liked them. [Audience laughter]. He probably would have retranslated them and gotten some new ones. This next work is a translation too and it's a translation I did from French, which I understand some. And so this time I only had to leave certain words. This time I translated a lot of it accurately. But it's called \\\"Life among the woods\\\". And it's a translation of a page from a grammar book, some kind of book written in the French language. After I'd gotten this much done I decided it was over. Anyway, it's called \\\"Life Among the Woods\\\".\\n \\nTed Berrigan\\n00:32:20\\nReads \\\"Life Among the Woods\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:34:30.58\\nPretty interesting family. This is a poem called \\\"In Four Parts.\\\"\\n \\nTed Berrigan\\n00:34:40.14\\nReads \\\"In Four Parts\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:35:22\\nThat was four sentences from the New York Times. They had this secret continuity. [Laughter]. This is a poem called \\\"March 17th, 1970\\\".\\n \\nTed Berrigan\\n00:35:35\\nReads \\\"March 17th, 1970\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:36:03\\nAnd you'd better believe it. Only not right now, right then. I don't know if I can subject you to this poem. I guess I will anyway. This is called \\\"The Ten Greatest Books of the Year, 1968\\\".\\n \\nTed Berrigan\\n00:36:28\\nReads \\\"The Ten Greatest Books of the Year, 1968\\\" from In the Early Morning Rain [audience laughter throughout].\\n \\nTed Berrigan\\n00:38:02\\nYou people that are laughing are getting it.\\n\\nTed Berrigan\\n00:38:04\\nResumes reading \\\"The Ten Greatest Books of the Year, 1968\\\" from In the Early Morning Rain. \\n\\nAudience\\n00:38:14\\nLaughter.\\n\\nTed Berrigan\\n00:38:17\\nThis is a poem called \\\"Thirty\\\".\\n \\nTed Berrigan\\n00:38:18\\nReads \\\"Thirty\\\" from In the Early Morning Rain\\n \\nTed Berrigan\\n00:38:24\\nThat's for all of you guys that did thirty. This poem is called \\\"Things to do in Anne's Room\\\".\\n \\nTed Berrigan\\n00:38:34\\nReads \\\"Things to do in Anne's Room\\\" from In the Early Morning Rain\\n \\nTed Berrigan\\n00:39:42\\nThis is called \\\"The Great Genius\\\".\\n \\nTed Berrigan\\n00:39:45\\nReads \\\"The Great Genius\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:39:56\\nThis is called \\\"Anti-War Poem\\\". It's another New Year's poem, actually.\\n \\nTed Berrigan\\n00:40:03\\nReads \\\"Anti-War Poem\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:40:41\\nAnd this poem is called \\\"Tough Brown Coat\\\".\\n \\nTed Berrigan\\n00:40:43\\nReads \\\"Tough Brown Coat\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:04\\nThis poem is called \\\"Babe Rainbow\\\".\\n \\nTed Berrigan\\n00:41:08\\nReads \\\"Babe Rainbow\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:25\\nAnd this is called \\\"In My Room\\\".\\n \\nTed Berrigan\\n00:41:30\\nReads \\\"In My Room\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:54\\nThis is called \\\"Ann Arbor Elegy\\\". It was written for a girl who was killed in an automobile accident. September 27th, 1969. The funny thing about this poem is it was written before she was killed. And when I looked at it after she was dead, I saw that I didn't have to write an elegy for her, that somehow I'd written one already. \\n \\nTed Berrigan\\n00:42:17\\nReads \\\"Ann Arbor Elegy - For Franny Winston\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:43:13\\nAnd this is a sort of berserk work, which I wrote called \\\"Wake Up,\\\" which is about all it says, really.\\n \\nTed Berrigan\\n00:43:23\\nReads \\\"Wake up\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:44:18\\nI have another poem which I'd like to read but I won't, but it's a series of aphorisms from the works of Francis Picabia [https://www.wikidata.org/wiki/Q157321], the French poet and painter. And this friend Jim Carroll [https://www.wikidata.org/wiki/Q444806] and I translated these from French. I'll read you my favourite one, in any case, which Jim Carroll translated. It says, \\\"Spinoza [https://www.wikidata.org/wiki/Q35802] is the one who threw a pass to move Spinoza.\\\" I really...in this book I put some poems by some of my friends so I wouldn't have to read all my works. Though when I read I never read theirs, I notice. This poem is called \\\"In Bed\\\".\\n \\nTed Berrigan\\n00:44:56\\nReads \\\"In Bed\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:45:12\\nThat's an example of saying nothing. [Audience laughter]. This poem is called \\\"Easy Living\\\". It's dedicated to a boy named David Henderson, a poet who was a friend of mine, whom I once took a trip to Pittsburgh [https://www.wikidata.org/wiki/Q1342] with. Had a very nice time. \\n \\nTed Berrigan\\n00:45:33\\nReads \\\"Easy Living\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:46:25\\nThis is a poem I wrote, it's called \\\"Like Poem\\\". A friend of mine wrote a love poem to this girl, and I thought I should do that too. But I only wanted to write a like poem to her, because I don't want to have any obligations. [Audience laughter]. No, that isn't the reason why, but that's what came out. This is called \\\"Like Poem,\\\" it's to Joan Fagan, who's the wife of my friend Larry Fagan [https://www.wikidata.org/wiki/Q95906997], the poet. \\n \\nTed Berrigan\\n00:46:50\\nReads \\\"Like Poem\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:47:06\\nThis poem is called \\\"Ann Arbor Song\\\". This poem I actually tried to write a poem out of a very corny feeling that I'd had, which nevertheless is very genuine. It starts at a poetry reading in Ann Arbor, but it's really about being in Ann Arbor and realizing I was leaving soon, and thinking about all the things that wouldn't happen to me again, because this trip was going to be over. Even though, I'm--it's not all that sentimental, I mean I knew I might go to Ann Arbor again and all that, it was just that this particular trip was going to be over. I also wrote it with the idea in mind of reading it at a poetry reading too. \\\"Ann Arbor Song\\\".\\n \\nTed Berrigan\\n00:47:45\\nReads \\\"Ann Arbor Song\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:49:22\\nI'm going to read two more. First one's called \\\"Peace\\\".\\n \\nTed Berrigan\\n00:49:29 \\nReads \\\"Peace\\\" from In the Early Morning Rain.\\n\\nTed Berrigan\\n00:50:37\\nAlright, and this is the last poem. I hate to end heavy, but there's no place to read this poem but at the end. This poem is called \\\"People Who Died\\\". It's just a list. \\\"People Who Died\\\".\\n \\nTed Berrigan\\n00:50:55\\nReads \\\"People Who Died\\\" from In the Early Morning Rain.\\n \\nAudience\\n00:52:48\\nApplause.\\n \\nTed Berrigan\\n00:52:53\\nNot the most, uh...[laughter].\\n \\nEND\\n00:52:59\\n\",\"notes\":\"Ted Berrigan reads from In the Early Morning Rain (Cape Goliard, 1970), The Sonnets (Grove Press, 1964), Many Happy Returns (Corinth, 1969) and poems later collected in So Going Around Cities (Berkley, 1980) as well as a few unknown poems.\\n\\n(Rachel has indexed individual poems)\\n00:00- George Bowering introduces Ted Berrigan. [INDEX: second reading in the series in 1970, series called ‘avant-garde series’, fifth year, first reader from the ‘New York School’, Kenneth Coke, Tom Clarke, quarterback of the school, ‘propaganda’ (advertisement) paper of reading, The Sonnets (1967), Bean Spasms (Kulchur Press, 1967, In the Early Morning Rain (Cape Goliard, 1970), Cape Goliard, distributed by big Toronto publisher, ‘Kraut’ title, half German, half English, Guillaume Apollinaire ist tot und Anders (sp?), Berlin.]\\n02:08- Ted Berrigan introduces “Heroin”. [INDEX: poems read from last 4-5 years, in first set some read from 1961-62, in second set poems read from year or two before, poem read in high schools in Ann Arbour, program called Poetry Ann Arbour, not a pro-heroin poem, not anti-heroin poem either, ‘on-heroin poem’; from In the Early Morning Rain (Cape Goliard, 1970).]\\n03:19- Reads “Heroin”. [INDEX: list, heroin, photograph, Kerouac, Anne, heart, light, streets.]\\n04:22- Introduces “Frank O’Hara’s Question”. [INDEX: O’Hara: dead poet from new York, car accident, significance of title; from In the Early Mornin Rain (Cape Goliard, 1970).]\\n04:56- Reads “Frank O’Hara’s Question”. [INDEX: Frank O'Hara, list, sky, letter, Isaac Dennison, high, happy, long poem, art, guard, mess, message.]\\n05:42- Introduces “Words for Love”. [INDEX: written in 1962, rhetorical; from Many Happy Returns (Corinth, 1969).]\\n06:09- Reads “Words for Love”. [INDEX: winter, snow, read, poetry, weakness, obsession, Jackson Pollock, Rilke, Benedict Arnold, psyche, high, drugs, poems, list, words, time, lady of the lake, God, heart]\\n08:07- Reads first line “I wake up at 11:30, back aching...”. [INDEX: confessional, New York, Pat, Ron, birthday, Pepsi, high, class, book, Juan Gris, poems, ballad, sonnet, Shakespeare, Auden, Spenser, Stevens, Pound, Frank O'Hara, Jan, Helen, Babe, David, ego, self, wonder, toilet paper; poem not indicated on Howard Fink Poem List.]\\n09:23- Reads “Personal Poem #7”. [INDEX: confessional, New York, drugs, sex, John Ashbery, food, write, stealing; from Many Happy Returns (Corinth, 1969); poems not \\tindicated on Howard Fink Poem List.]\\n10:23- Reads “Personal Poem #8”. [INDEX: confessional, diary, journal, love, Ray Joss, New York, court, wife, police, John Stanton; from Many Happy Returns (Corinth, 1969); poems not indicated on Howard Fink Poem List.]\\n11:07- Introduces first line “Personal Poem #9”. [INDEX: Charlie Stanton; from Many Happy Returns (Corinth, 1969); poems not indicated on Howard Fink Poem List.]\\n11:21- Reads first line “Personal Poem #9”. [INDEX: confessional, journal, diary, \\tBrooklyn, New York, Pepsi, food, memory, book.]\\n12:32- Explains last selection of poems, introduces “Things to do in New York City”. [INDEX: selection written in 1961-2, “Things to do in New York City” written around 1967, leaving New York, written for a birthday present.]\\n13:24- Reads “Things to do in New York City”. [INDEX: confessional, occasional poem, city, New York, By the Waters of Manhattan, drugs, cigarette, read, break, girls, love, death, birth, friends, departure; from Many Happy Returns (Corinth, 1969).]\\n14:20- Introduces “Ten Things I do Every Day”. [INDEX: title; from Many Happy \\tReturns (Corinth, 1969).]\\n14:40- Reads “Ten Things I do Every Day”. [INDEX: New York, waking, smoking, pot, love, eating, food, cat, sound, song, streets, read, children, friends, Pepsi.]\\n15:21- Introduces “Resolution”. [INDEX: New York City; from Many Happy \\tReturns (Corinth, 1969).]\\n15:35- Reads “Resolution”. [INDEX: city, New York, snow, winter, New Year's, driving]\\n15:58- Introduces “Sonnet XXXVII”. [INDEX: from The Sonnets (Grove Press, 1964).] \\n16:06- Reads “Sonnet XXXVII”. [INDEX: night, sleep, Guillaume Apollinaire, poem, dream, crying, song, library, tear, light]\\n17:08- Introduces “Apologies to Val and Tom”. [INDEX: written last summer in London, dedicated to poet Tom Raworth and his wife, Colchester, London, apology; from unknown source.]\\n17:33- Reads “Apologies to Val and Tom”. [INDEX: place, London, apology, night, city, memory, remembrance, New York, friend, poem, visit.]\\n19:05- Introduces “Things to do on Speed”. [INDEX: for Angela Bowering, George Bowering; from the section “How We Live in the Jungle 1969-1970 in So Going Around Cities (Berkley, 1980).]\\n19:19- Reads “Things to do on Speed”. [INDEX: list, typewriter, mind, writing, book, desk, Pepsi, sleep, dream, paper, song, sickness, drugs, imperative, talking, New York, city, work, hallucination, high, sex, heroin, speed]\\n22:21- Explains “Things to do on Speed” and introduces “Things to do in Providence. [INDEX: New York Times, Providence, Rhode Island.]\\n22:50- Reads “Things to do in Providence”. [INDEX: confessional, place, Providence, Rhode Island, city, drugs, imperative, list, food, TV, war, Texas, movie, Western, tear, cowboy, New York, drunk, children, phone, talk, family, mother, birth, work, cigarette, hippie, teenager, home, car, death, grandmother, heart, stranger, sleep; from the section “Buffalo Days: Summer 1970 in So Going Around Cities (Berkley, 1980).]\\n27:55- After a break (cut in recording), George Bowering introduces Ted Berrigan again.\\n28:01- Ted Berrigan introduces “Hello”. [INDEX: poems read from In the Early Morning Rain, title from Gordon Lightfoot: Canadian Folk singer-songwriter, Bob Dylan’s Self Portrait Album, stealing titles, collection from last ten years; from In the Early Mornin Rain (Cape Goliard, 1970).] \\n28:51- Reads “Hello”. [INDEX: hello, etymology, health.]\\n29:06- Introduces section of book, “Life of a Man”, and poem “Matinee”. [INDEX: Italian poet Giuseppe Ungaretti, poet Barbara Guest, Ron Patchett, translate Ungaretti’s poems, translation without dictionary; from In the Early Mornin Rain (Cape Goliard, 1970).] \\n30:16- Reads “Matinee”. [INDEX: translation, morning.]\\n30:26- Reads “December” [INDEX: translation, farewell, mother, brother, sister, sex, heart; from In the Early Morning Rain (Cape Goliard, 1970).]\\n30:38- Reads “Reply to the Fragile”. [INDEX: translation, bite, pain, sex, breasts; from In the Early Morning Rain (Cape Goliard, 1970).]\\n30:53- Introduces “Corporal Pellegrini”. [INDEX: Italian; from In the Early Mornin Rain (Cape Goliard, 1970).]\\n31:09- Reads “Corporal Pellegrini”. [INDEX: translation, corporal, sex, horse, soldier, death.]\\n31:38- Introduces “Life Among the Woods”. [INDEX: Ungaretti, retranslated to make new poems, translation from French, from grammar book; from In the Early Mornin Rain (Cape Goliard, 1970).] \\n32:20- Reads “Life Among the Woods”. [INDEX: translation, Paris, boat, woods, family, children, rich, house, garden, cooking, list.]\\n34:30- Reads “In Four Parts”. [INDEX: beach, Israel, Mayor Frank X. Graves, Allen Ginsberg, marijuana, news, William Carlos Williams, poet, American, New York Times; \\tfrom In the Early Mornin Rain (Cape Goliard, 1970).]\\n35:22- Explains “In Four Parts”, introduces “March 17th, 1970”. [INDEX: sentences from the New York Times, secret continuity.] \\n35:35- Reads “March 17th, 1970”. [INDEX: love, like, phone, wire, listening, kill.]\\n36:03- Introduces “The Ten Greatest Books of the Year, 1968”.\\n36:28- Reads “The Ten Greatest Books of the Year, 1968”. [INDEX: book, list, William Carlos Williams, Charles Olson, Chicago Review, dictionary, Aristotle, language, Frank O'Hara, Ralph Conners, zodiac, consciousness, names, rank, sonnet; from In the Early Mornin Rain (Cape Goliard, 1970).]\\n38:13- Introduces “30”. [INDEX: from In the Early Morning Rain (Cape Goliard, 1970).]\\n38:18- Reads “30”.\\n38:34- Introduces “Things to do in Anne’s Room”.\\n38:34- Reads “Things to do in Anne’s Room”. [INDEX: room, house, place, imperative, list, sex, couple, book, Moby Dick, Planet of the Apes, clothes, bed, alone, death; from In the Early Morning Rain (Cape Goliard, 1970).]\\n39:42- Reads “The Great Genius”. [INDEX: man, crazy; from In the Early Morning Rain (Cape Goliard, 1970).]\\n39:56- Introduces “Anti-War Poem”. [INDEX: New Year’s poem; from In the Early Morning Rain (Cape Goliard, 1970)\\n40:03- Reads “Anti-War Poem”. [INDEX: peace, war, resolution, New Year's Eve, 1968, Iowa City, city, memory, remembrance, death.]\\n40:41- Reads “Tough Brown Coat”. [INDEX: coat, description, clothes, death; from In the Early Morning Rain (Cape Goliard, 1970).]\\n41:04- Reads “Babe Rainbow”. [INDEX: smoke, cigarette, burn, bed, read; from In the Early Morning Rain (Cape Goliard, 1970)\\n41:25- Reads “In My Room”. [INDEX: place, house, room, list, Thanksgiving.]\\n42:17- Introduces “Ann Arbor Elegy”. [INDEX: girl killed in automobile accident on \\tSeptember 27, 1969, written before her accident; from In the Early Morning Rain (Cape Goliard, 1970).]\\n42:17- Reads “Ann Arbor Elegy”. [INDEX: for Franny Winston, party, night, drinking, alcohol, high, girl, place, Ann Arbor, death, morning, sky, food, news.]\\n43:13- Reads “Wake Up”. [INDEX: morning, wake, bed, girl, work, Jim Dine, day, list, imperative; from In the Early Morning Rain (Cape Goliard, 1970).]\\n44:15- Introduces “In Bed”. [INDEX: series of aphorisms, Francis Picabia French poet and painter, Jim Carroll, translation from French, placing other poet’s work in his books; from In the Early Morning Rain (Cape Goliard, 1970).] \\n44:56- Reads “In Bed”. [INDEX: girl, bed, sex.]\\n45:12- Introduces “Easy Living”. [INDEX: dedicated to boy named David Henderson, Pittsburgh; from In the Early Morning Rain (Cape Goliard, 1970).] \\n45:33- Reads “Easy Living”. [INDEX: travel, Africa, time, rain, heat, weather, David Henderson, Pittsburgh.]\\n46:25- Introduces “Like Poem”. [INDEX: friend wrote love poem, to Joan Fagan, wife of poet Larry Fagan; in the section “In the Wheel: Winter 1969” in So Going Around Cities (Berkley, 1980).]\\n46:50- Reads “Like Poem”. [INDEX: couple, drugs, Joan Fagan, like.]\\n47:06- Introduces “Ann Arbor Song”. [INDEX: feeling, poetry reading in Ann Arbor, trip.]\\n47:45- Reads “Ann Arbor Song”. [INDEX: place, Ann Arbor, poetry, poetry reading, poem, boredom, Jack, Anne, high, drugs, friends, time, memory, remembrance.]\\n49:22- Reads “Peace”. [INDEX: heart, day, east, west, peace, couple, love, woman; unknown source.]\\n50:53- Introduces “People Who Died”. [INDEX: heavy poem, end of reading, list; from In the Early Morning Rain (Cape Goliard, 1970).]\\n50:55- Reads “People Who Died”. [INDEX: death, list, dates, friends, accidents, cancer, suicide, Neal Cassidy, Frank O'Hara, Ann Kepler, Franny Winston, Jack Kerouac.]\\n52:59.60- END OF RECORDING.\\n \\nPoems with Time Stamps and Duration \\tTime \\tDuration (mins.)\\n“Heroin” \\t00:03:19 \\t01:02 \\n“Frank O’Hara’s Question” \\t \\t 00:04:56 \\t00:44\\n“Words For Love” \\t00:06:09 \\t01:57\\n[“I wake up 11:30, back aching”] \\t00:08:07 \\t01:13\\n“Personal Poem #7 \\t00:09:23 \\t00:58\\n“Personal Poem” (#8?) \\t00:10:23 \\t00:42\\n“Personal Poem #9 \\t00:11:21 \\t01:08\\n“Things To Do in New York City” \\t \\t00:13:24 \\t00:55\\n“Ten Things I Do Every Day” 00:14:40 \\t00:35\\n“Resolution” \\t00:15:35 \\t00:17\\n“Sonnet XXXVII” \\t \\t \\t00:16:06 \\t01:01\\n“Apologies to Val And Tom” \\t00:17:33 \\t01:31\\n“Things To Do On Speed” \\t00:19:19 \\t02:58\\n“Things To Do In Providence” \\t00:22:50 \\t04:55\\n“Hello” \\t00:28:51 \\t00:15\\n“Matinee” \\t00:30:16 \\t00:09\\n“December” \\t00:30:30 \\t00:07\\n“Reply to the Fragile” \\t00:30:42 \\t00:10\\n“Corporal Pelegrini” \\t00:31:09 \\t00:28\\n“Life Among the Woods” \\t00:32:20 \\t02:09\\n“In Four Parts” \\t00:34:40 \\t00:40\\n“March 17, 1970” \\t00:35:35 \\t00:28\\n“The Ten Greatest Books of the Year – 1968” \\t00:36:28 \\t01:45\\n“Thirty” \\t00:38:18 \\t00:06\\n“Things To Do In Anne’s Room” \\t00:38:34 \\t01:09\\n“The Great Genius” \\t00:39:45 \\t00:10\\n“Anti-War Poem” \\t00:40:03 \\t00:37 \\n“Tough Brown Coat” \\t00:40:43 \\t00:20\\n“Babe Rainbow” \\t00:41:08 \\t00:16\\n“In My Room” \\t00:41:30 \\t00:23\\n“Ann Arbor Elegy” \\t00:42:17 \\t00:57\\n“Wake Up” \\t00:43:23 \\t00:56\\n “In Bed” \\t00:44:56 \\t00:15\\n“Easy Living” \\t00:45:33 \\t00:50\\n“Like Poem” \\t \\t00:46:50 \\t00:16\\n“Ann Arbor Song” \\t00:47:45 \\t01:46\\n“Peace” \\t00:49:29 \\t01:07\\n“People Who Died” \\t00:50:55 \\t01:51\\n \\nHoward Fink List of Poems:\\n“Ted Berrigan”\\nIntroduction by George Bowering\\nRecorded December 4, 1970\\nNote: “Personal Poems” do not appear on this list, and an extra first line in between “Wake Up” and “In Bed” reads “Spinoza is the one who threw a pass...”.\\npg. 66\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/ted-berrigan-at-sgwu-1970/\"}]"],"score":1.0},{"id":"1292","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Dorothy Livesay at Sir George Williams University, The Poetry Series, 14 January 1972\n"],"item_title_source":["Cataloguer"],"item_title_note":["\"DORTHY LIVESAY POETRY (1 OF 2) 3 3/4 IPS 1/2 TR. (COPY)\" written on the back of the tape's box. DORTHY LIVESAY refers to Dorothy Livesay. DORTHY is mispelled. \"D. LIVESAY I086-11-032.1\" written on on the spine of the tape's box. \"D. LIVESAY 1/2 1-72-012-5\" and \"reel 1 I086-11-032.1\" written on stickers on the reel. \"D. LIVESAY 1/2 I086-11-032.1\" written on the front of the tape's box. \"Reel 1: Contents.- Edmonton Street.-The operation-The women syndrome.-Other.-Bartok and the geranium.-Later day Eve.\" written on sticker on the front of the tape's box\n\n\"DORTHY LIVESAY POETRY (2 OF 2) 3 3/4 IPS 1/2 TR. (COPY)\" written on the back of the tape's box. DORTHY LIVESAY refers to Dorothy Livesay. DORTHY is mispelled. \"D. LIVESAY I086-11-032.2\" written on on the spine of the tape's box. \"I086-11-032.2\" written on sticker on the reel. \"2/2 D. LIVESAY 1/2 1-72-012-5\" written on the front of the tape's box. \"Reel 2: Contents.-Day and night.-Lorea.-Weapons.-Alienation.-Climax.-Blindness.-Song for Solomon.-Poem.-Four Songs.-The taming.-Give us our trespasses.-The notations of love.-Moving out.- At dawn.\" written on sticker on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[I086-11-032.1, I086-11-032.2]"],"creator_names":["Livesay, Dorothy"],"creator_names_search":["Livesay, Dorothy"],"creators":["[{\"url\":\"http://viaf.org/viaf/116854541\",\"name\":\"Livesay, Dorothy\",\"dates\":\"1909-1996\",\"notes\":\"Poet Dorothy Livesay was born in Winnipeg in 1909, and moved to Toronto in 1920, when her father managed the Canadian Press. In the fall of 1926 she started studying at Trinity College, University of Toronto, where she was influenced by ideas of socialism and women’s rights. She published her first collection of poetry, Green pitcher (Macmillan, 1928) when she was only eighteen. Livesay then went to the south of France to study for one year, and after her graduation in 1931 (B.A.) she studied at the Sorbonne in Paris where she received a Diplôme d'études supérieures, in 1932. Influenced and affected by the Depression, she began studies at University of Toronto’s School of Social Work, joining the Communist Party. The same year, 1932, she published her second book, Signpost (Macmillan). She then moved to Montreal from 1933-1934, and to Englewood, New Jersey from 1934-1935, working with the unemployed as a social worker. During this time she also wrote for the Marxist news magazine New Frontier, Canadian Poetry Magazine and The Canadian Forum. Dorothy Livesay’s political poetry includes Day and Night (Ryerson Press, 1944) and Poems for the People (Ryerson Press, 1947), both of which won the Governor General’s Award. Married in 1937 to Duncan Macnair, Livesay raised two children in Vancouver. In 1960, when her husband had died and her children began their own lives, Dorothy Livesay moved to Zambia, where she taught English for UNESCO for three years. Returning to Vancouver, she earned a M.E.D. (1966) from University of British Columbia. She became involved in the Vancouver poetry scene and she experienced a change of style and content in her writing. She published The Unquiet Bed, illustrated by Roy Kiyooka (Ryerson Press, 1967), and Plainsongs (Fiddlehead Poetry Books, 1971), which both focused on aspects of femaleness. Livesay founded an important poetry magazine CV/II in 1975 and edited the anthology, Forty Women Poets of Canada in 1971 (Ingluvin Press). Dorothy Livesay also published several long poems, The Documentaries (Ryerson Press, 1968), Nine Poems of Farewell (Black Moss Press, 1973), The Raw Edges: Voices From Our Time (Turnstone Press, 1981), Phases of Love (Coach House Press, 1983), Feeling Worlds (Goose Lane/Fiddlehead,1984) and The Self-completing Tree (Porcepic Press, 1986). She also wrote several works of prose, including A Winnipeg Childhood (Peguis, 1973) and Beginnings (Newpress, 1988). She was appointed an Officer of the Order of Canada in 1987 and was the writer-in-residence and professor of English at many Canadian Universities. Livesay died in 1996.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1972 1 14\",\"type\":\"Performance Date\",\"notes\":\"Date specified in written announcement \\\"Georgian Happenings\\\"\\n\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Dorothy Livesay reads poems from numerous sources, including Signpost (Macmillan, 1932), Day and Night (Ryerson Press, 1944), New Poems (Emblem Press, 1955), The Selected Poems 1926-1956 (Ryerson Press, 1957), The Unquiet Bed (Ryerson, 1967), Forty Women Poets of Canada (Ingluvin Publications, 1971), and Plainsongs (Fiddlehead Poetry Books, 1971)."],"contents":["dorothy_livesay_i086-11-032-1.mp3 [File 1 of 2]\n \nIntroducer\n00:00:02\nI was going to talk on about Dorothy Livesay's [https://www.wikidata.org/wiki/Q1250325] distinguished career, as a poet, and a critic and a teacher, but after what she told me tonight, I'm not sure if distinguished is exactly the right word, she says that at the age of nineteen, she snubbed the Prince of Wales [https://www.wikidata.org/wiki/Q590227]. Nevertheless, two books should be mentioned, her selected and uncollected poems to appear this September and a book which was called 39 Women Poets which has gained another poet and another title at the last moment and as 40 Women Poets of Canada [https://www.wikidata.org/wiki/Q16] is now on sale outside, as you may have seen as you came in. Back in 1965, I guess it was, Wynne Francis managed to catch Dorothy Livesay as she was passing through Montreal [https://www.wikidata.org/wiki/Q340], and Dorothy gave a really private reading in Wynne's office. Ever since then, we have been trying to convince her to come back and read to us all in the series. I'm extremely happy this year that we have been successful and that I can present to you Dorothy Livesay.\n \nDorothy Livesay\n00:01:58\nI think I might get hung up on this, I had quite a disastrous time getting here. I arrived with a new poem of seven, whose title is \"Disasters of the Sun\", and my first disaster was on the train, sitting on top of my glasses, which are now somewhat myopic, and second disaster going to Sherbrooke [https://www.wikidata.org/wiki/Q139473], the bus rolled right into an oil tanker, which somehow or other didn't blow up, but gashed my thumb, and at Bishop's [https://www.wikidata.org/wiki/Q3551383] I had only begun to read when a fire alarm started [laughter], and rang for ten minutes before they silenced it. So I have a feeling that somehow or other, there are more disasters ahead tonight. However, I'm supposed to read a while and then call an intermission I think. Mostly I like to sort of go back over the years and trace the different things, especially love poems from early times on, but I'm going to skip about a bit. Recently in Edmonton [https://www.wikidata.org/wiki/Q2096] I edited the fourth issue of a quarterly magazine, White Pelican. Which Sheila Watson [https://www.wikidata.org/wiki/Q7493167] edits but she gave this particular issue to me, and I chose the theme of North. Feeling perhaps that we are still trying to find our identity, whether we're English Canadians or French Canadians, and that perhaps the north has some element of it in it which helps us to find that. I discovered though, in collecting material, stories, poems, plays about the north, that it was the Native Indian people who have a different view altogether of the north than we do. At the same time, you find many young Canadian poets identifying with Native culture, and almost feeling that they must become Native, and become Indian to be real, to know who they are. I wrote at the beginning of this issue this little note I'll just read. “North is from wherever you are looking.” It's starting...[laughter]. “For those living below the 49th parallel, Canada itself is North. In a sense, we're all here as explorers without a home. Our great guilt at having ousted the Native peoples from their land is now seeking expression in an attempt to re-create the Indian and Eskimo past, and every month brings forth books of poetry, fiction and history which seek to come to terms with pre-history, with myth, or with the way the Inuit live in harmony with nature. In ironic contrast, the Native artists and writers are expressing their concern, not with their past, but with possible ways of accommodation to the present, the white man's world. Thus, the three British Columbia [https://www.wikidata.org/wiki/Q1974] Indian poets here represented, Skyros Bruce, Gordy Williams and Eleanor Crow are bitter, ironic and contemporary. Not for them the nostalgic recreation of the Indian myth, or even not for them the vigorous folk humor of life in the north which you find in [unintelligible] and in later writers.” While I think it's worthwhile thinking about that because you do have a lot of young poets now seeping themselves in Indian or Eskimo culture, and feeling as if they must become that in order to be themselves. None of us can quite escape from this, and I have a poem or two that I'll begin with, which I suppose are my expression of coming to terms with the North, or the somewhat southernly north, Edmonton. I'll begin with a kind of collage poem where I put bits of history, bits of visual imagery and bits of surrealism together, called \"Edmonton Sweet\".\n \nDorothy Livesay\n00:06:56\nReads \"Edmonton Sweet\" [from Plainsongs].\n \nDorothy Livesay\n00:10:19\nQuite a different poem about going North is called \"The Operation\", and that is the poem which is in this anthology, just out today, 40 Women Poets. I didn't intend to put myself in, but the other editors suggested it was the only 'done' thing to put one or two poems of my own in it. So here's the one called \"The Operation\". It's a kind of three-way poem where the woman is addressing the doctor and her lover, alternately, and then perhaps herself.\n \nDorothy Livesay\n00:11:10\nReads \"The Operation\" [from Plainsongs and collected in 40 Women Poets] .\n \nDorothy Livesay\n00:15:36\nSince this anthology will probably be called a women's lib., even though it isn't, because none of the poets in it are consciously trying to be anything but their individual selves, nonetheless, I think there are poems by every woman which do express that individual point of view, that differentness, I have never been able, though perhaps I was a women's lib. creature in the thirties, I have never been able to feel that men and women are the same, and so I have poems, right through the years which illustrate that point of view. Here's a very recent one called \"The Woman Syndrome\".\n \nDorothy Livesay\n00:16:26\nReads \"The Woman Syndrome\" [published later in Archive For Our Times].\n \nDorothy Livesay\n00:17:05\nAnd a much earlier poem, written when I had a family and young children and I suppose frustrated and not getting out into the world. It's called \"Other\", it's in The Selected Poems of 1957.\n \nDorothy Livesay\n00:17:34\nReads \"Other\" from Selected Poems, 1926-1956.\n \nDorothy Livesay\n00:19:11\nAnd in a different vein altogether, the poem I suppose that's been the most anthologized of any of mine, which to me is a rather traditional way I suppose of seeing the male and female element. It's called \"Bartok and the Geranium\". The poem simply began because I was teaching an evening class of housewives the art of creative writing, and I gave them an assignment to write an imagistic or perhaps haiku-type poem, when they got home, to look at two objects, utterly different and disparate, and just see they could link these objects in a tension which would create a poem. Well the next day, I had sent the children to school after lunch and was sitting in the dining room listening to a CBC [https://www.wikidata.org/wiki/Q461761] concert, and heard music that I hadn't heard before at all, a violin concerto it seemed to be, and in the window as I was listening was this red geranium. So I thought to myself, well I've given my class an assignment, I wonder if I could do the same thing. And at the end of the concert they announced that it was Bela Bartok [https://www.wikidata.org/wiki/Q83326], violin concerto. So suddenly, the two elements, the music and the geranium, did seem to link in my mind and immediately I wrote the poem which I think I've never revised. I'll tell you afterwards about what some of the professors have said about the meaning of the poem.\n \nDorothy Livesay\n00:21:00\nReads \"Bartok and Geranium\" [from New Poems].\n \nDorothy Livesay\n00:22:10\nWell, a few years later, Dr. Roy Daniels was giving a course in Canadian Literature, which I was a member, and one day he asked me if I would not come to class, so I divined he was going to deal with my poems, and I asked a fellow student to please take notes. So this was one of the poems he dealt with, and he informed the class that this poem represented the conflict between nature and art. While at first I was a bit dumbfounded, you know now about how the whole thing began and then what I felt about the he and she of it. But perhaps upon meditation, that this could be another meaning in the poem which I as poet, wasn't aware of but which was still perhaps there. But still another example of the different interpretations which people take to themselves and perhaps get great pleasure from, was, happened in U.N.B. [https://www.wikidata.org/wiki/Q1112515] when Fred Cogswell [https://www.wikidata.org/wiki/Q5494855] put this poem on a sight examination for a first year Canadian lit. class, and one of the students who I'm afraid failed his year, wrote on the paper, and on seeing this poem decided that it was written by a man, and he said it was about this guy Bartok who walked along the street and saw a whore leaning out of the window. Well on the same, and finally, this last one on the same kind of he and she of it, a poem written about a year ago, right out of a dream, I mean I dreamed this poem. It's called \"Latter Day Eve\".\n \nDorothy Livesay\n00:24:18\nReads \"Latter Day Eve\" [from Plainsongs].\n \nDorothy Livesay\n00:25:34\nWell I'd like to jump back a bit, quite a long way back now, not to lyrical poems, which were the ones I really started out doing, but two poems from the thirties...\n\nEND\n00:25:51\n[Unknown amount of time elapsed between tapes].\n\ndorothy_livesay_i086-11-032-2.mp3 [File 2 of 2]\n\nDorothy Livesay\n00:00:00\n...Polish immigrant who came back to the same house to pick up his belongings, and not knowing what was happening, entered the house, and police shot him in the back and killed him. This happened in Montreal in 1934 or 5. So out of all those experiences, through the thirties, and out of another year I had in New Jersey [https://www.wikidata.org/wiki/Q1408], living amongst the Negro, very, very discriminated against people in Englewood [https://www.wikidata.org/wiki/Q986210], New Jersey. I, my whole poetry changed from being lyrical and personal to being social and yet I always, never felt it was something outside myself because I felt very powerfully the identification to what was happening to people. I returned from New Jersey about '36 and I wrote this poem which E.J. Pratt [https://www.wikidata.org/wiki/Q3045744] published in the first issue of the Canadian Poetry Magazine in ‘36. I guess I wrote it in about 1935. In it, there are various themes, the whole poem seemed to start from Cole Porter's [https://www.wikidata.org/wiki/Q215120] lines, the song we were all singing then, \"Night and Day\" [https://www.wikidata.org/wiki/Q1477068]. “Night and day, you are the one…” And then also there's a theme from Lennon [https://www.wikidata.org/wiki/Q1203], who said \"In order to make two steps forward you may have to go one step back\". And this poem reverses that idea, in looking at industrial capitalist society. The other theme is that of the Negro and that of his exploitation and also of his release in song, and in Negro spiritual, because I did know them very well that year.\n \nDorothy Livesay\n00:02:16\nReads \"Day and Night\" from Day and Night.\n \nDorothy Livesay\n00:07:57\nI might read one more poem from that period, \"Lorca\", and then perhaps you'd like a break. This is a little later, of course, this is about 1937-8, when the Spanish Civil War [https://www.wikidata.org/wiki/Q10859] was raging and haunted us very much in this country, many friends we knew joined the MacKenzie-Papineau Battalion [https://www.wikidata.org/wiki/Q1668887], and went to fight for Spain [https://www.wikidata.org/wiki/Q29]. At that time, we believed that the Spanish Court, Garcia Lorca [https://www.wikidata.org/wiki/Q41408], had been killed by Franco's [https://www.wikidata.org/wiki/Q29179] men. I believe that, well in fact, Jack Spicer [https://www.wikidata.org/wiki/Q3805658] taught me that there's another version of his killing, that of a love triangle, but it didn't matter, the point was that many poets were fighting for Spain, and many were killed. So I'll just read \"Lorca\" if I can find it. Yes.\n \nDorothy Livesay\n00:09:15\nReads \"Lorca\" [from Day and Night].\n \nDorothy Livesay\n00:11:29\nI'll pause now for a break. \n\nUnknown\n00:11:32\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nDorothy Livesay\n00:11:33\nAnd though I don't want to appear to suit every taste, quite a lot of my poetry has been personal love poetry, beginning with the earliest days, my teenage, and I thought I would read a few very early love poems and then you could, you might be interested to compare them with those written within the last five or six years. These were from a book published in 1932, Signpost. And you'll notice that they're pretty well structured, and in a sense quite conventional, but perhaps they have a kind of feeling in them. \"Weapons\".\n \nDorothy Livesay\n00:12:25\nReads \"Weapons\" from Signpost.\n \nDorothy Livesay\n00:12:54\nReads \"Alienation\" [from Signpost].\n \nDorothy Livesay\n00:13:26\nReads \"Climax\" [from Signpost].\n \nDorothy Livesay\n00:13:47\nReads \"Blindness\" [from Signpost].\n \nDorothy Livesay\n00:14:11\nAnd a very short lyric, \"Song for Solomon\".\n \nDorothy Livesay\n00:14:17\nReads \"Song for Solomon\" [from Signpost].\n \nDorothy Livesay\n00:14:36\nAnd now, recent poems from the 1967 book, The Unquiet Bed. I'll read a little ballad that is the title poem, which one of my students set to music at one point. \"The Unquiet Bed\".\n \nDorothy Livesay\n00:14:56\nReads \"The Unquiet Bed\" from The Unquiet Bed.\n \nDorothy Livesay\n00:15:25\nAnd \"Four Songs\".\n \nDorothy Livesay\n00:15:32\nReads \"Four Songs\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:16:41\nAnd a poem which certainly wouldn't be acceptable to women's lib., yet it's an experience probably all women have had. It's called \"The Taming\".\n \nDorothy Livesay\n00:16:52\nReads \"The Taming\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:17:34\nAnd \"The Touching\".\n \nDorothy Livesay\n00:17:39\nReads \"The Touching\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:18:49\nAnd a little poem called \"Give Us Our Trespasses\", which was an attempt to do what Jack Spicer had advised us at some of his sessions, to completely wipe out all sensation, all the senses and see what happened when the words came out of this void, out of this [unintelligible] and I did one poem about dreams dedicated to him, and then a little later, this other one came. One would listen in the dark for the words, but not expecting or unexpecting, you understand, but they would certainly arrive and I would turn on the light and write them down. And then turn off the light, turn to sleep again, but again, more words came, and so this series has about seven of these little interludes in it.\n \nDorothy Livesay\n00:19:52\nReads \"And Give Us Our Trespasses\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:21:08\nAnd two more from that book, one has five sections--six sections in it, it's called \"The Notations of Love\".\n \nDorothy Livesay\n00:21:22\nReads \"The Notations of Love\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:23:27\nAnd a last one from there, \"Moving Out\".\n \nDorothy Livesay\n00:23:33\nReads \"Moving Out\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:24:07\nWell, I have a few more recent poems, dealing a little differently perhaps with love. This is in the little book Plainsongs, which is still in print. \"At Dawn\".\n \nDorothy Livesay\n00:24:30\nReads \"At Dawn\" from Plainsongs.\n \nDorothy Livesay\n00:24:58\nAnd \"Dream\".\n \nDorothy Livesay\n00:25:03\nReads \"Dream\" [from Plainsongs].\n \nDorothy Livesay\n00:25:30\nAnd this one \"The Uninvited\", the river in this is the St. John [https://www.wikidata.org/wiki/Q607546] in New Brunswick [https://www.wikidata.org/wiki/Q1965] and it's a theme that reoccurs a lot, whether one is a man or a woman, the feeling that even though one is walking with one's loved one, there is another lover who one also remembers, or who perhaps is coming, one fears.\n \nDorothy Livesay\n00:26:09\nReads \"The Uninvited\" [from Plainsongs].\n \nDorothy Livesay\n00:27:08\nAnd perhaps just this last one, \"Another Journey\".\n \nDorothy Livesay\n00:27:17\nReads \"Another Journey\" [from Plainsongs].\n \nDorothy Livesay\n00:28:08\nI'd like to read a poem about the West Coast. It was written summer before last, in Victoria [https://www.wikidata.org/wiki/Q2132], where one was, I suppose, feeling one's age, and yet observing the eternal pattern of the young. And perhaps relating it to our own history in this country. It's a more, I suppose, didactic poem. \"The Artefacts, West Coast\".\n \nDorothy Livesay\n00:28:51\nReads \"The Artefacts, West Coast\" [from Plainsongs; cut off].\n \nEND\n00:32:14\n"],"Note":["[{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Year-Specific Information:\\n\\nForty Women Poets of Canada was published the same year, 1971, as was an extended and revised edition of Plainsongs.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDorothy Livesay has contributed considerably to the cannon of Canadian poetry, writing about national issues and extending the Canadian long poem. Her anthology, Forty Women Poets of Canada (1971) promoted other Canadian women and their work. Livesay’s writing was published by Canadian publishing houses, and she contributed to and edited Canadian journals and magazines of poetry and criticism. Wynne Francis, who was a professor at Sir George Williams University, met Livesay in 1965.\",\"type\":\"General\"},{\"note\":\"2 reel-to-reel tapes>CD>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. “Livesay, Dorothy”. 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-x2/oclc/40224711&referer=brief_results\",\"citation\":\"Geddes, Gary. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#1\",\"citation\":\"“Georgian Happenings”. The Georgian. Montreal: Sir George Williams University, 11 January 1972. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Gnarowski, Michael. “Livesay, Dorothy”. The Oxford Companion to Twentieth-Century Poetry in English. Hamilton, Ian (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/archive-for-our-times-previously-uncollected-and-unpublished-poems-of-dorothy-livesay/oclc/409003526&referer=brief_results\",\"citation\":\"Livesay, Dorothy and Dean J. Irvine. Archive for our Times: Previously Uncollected and Unpublished Poems of Dorothy Livesay. Vancouver: Arsenal Pulp Press, 1998. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems-of-dorothy-livesay-1926-1956/oclc/867932457&referer=brief_results\",\"citation\":\"Livesay, Dorothy. The Selected Poems, 1926-1956. Toronto: Ryerson Press, 1957. \"},{\"url\":\"https://www.worldcat.org/title/40-women-poets-of-canada/oclc/855266796&referer=brief_results\",\"citation\":\"Livesay, Dorothy and Seymour Mayne. Forty Women Poets of Canada. Montreal : Ingluvin Publications, 1971.\"},{\"url\":\"https://www.worldcat.org/title/day-and-night-poems/oclc/729783190?referer=di&ht=edition\",\"citation\":\"Livesay, Dorothy. Day and Night. Toronto: Ryerson Press, 1944. \"},{\"url\":\"https://www.worldcat.org/title/new-poems/oclc/933132856&referer=brief_results\",\"citation\":\"Livesay, Dorothy. New Poems. Toronto: Emblem Books, 1955. \"},{\"url\":\"https://www.worldcat.org/title/signpost/oclc/317413427&referer=brief_results\",\"citation\":\"Livesay, Dorothy. Signpost. Toronto: Macmillan, 1932. \"},{\"url\":\"https://www.worldcat.org/title/unquiet-bed/oclc/493383805&referer=brief_results\",\"citation\":\"Livesay, Dorothy. The Unquiet Bed. Toronto: Ryerson Press, 1967. \"},{\"url\":\"https://www.worldcat.org/title/plainsongs/oclc/1015379630&referer=brief_results\",\"citation\":\"Livesay, Dorothy. Plainsongs. Fredericton: Fiddlehead Poetry Books, 1971.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#1\",\"citation\":\"Stromberg, Paula. “The Gentle Poetry of Dorothy Livesay”. The Georgian. Montreal: Sir George Williams University, 25 January 1972. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-history/oclc/990614829&referer=brief_results\",\"citation\":\"Strong-Boag, Veronica. “Livesay, Dorothy”. The Oxford Companion to Canadian History. Hallowell, Gerald (ed). Oxford University Press, 2004. \"}]"],"_version_":1853670548925579264,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0032-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0032-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Dorothy Livesay Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0032-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0032-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Dorothy Livesay Tape Box 1 - 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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_0032-2_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0032-2_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Dorothy Livesay Tape Box 2 - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0032-2_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0032-2_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Dorothy Livesay Tape Box 2 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/dorothy_livesay_i086-11-032-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"dorothy_livesay_i086-11-032-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:32:14\",\"precision\":\"\",\"size\":\"77.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"dorothy_livesay_i086-11-032-2.mp3 [File 2 of 2]\\n\\nDorothy Livesay\\n00:00:00\\n...Polish immigrant who came back to the same house to pick up his belongings, and not knowing what was happening, entered the house, and police shot him in the back and killed him. This happened in Montreal in 1934 or 5. So out of all those experiences, through the thirties, and out of another year I had in New Jersey [https://www.wikidata.org/wiki/Q1408], living amongst the Negro, very, very discriminated against people in Englewood [https://www.wikidata.org/wiki/Q986210], New Jersey. I, my whole poetry changed from being lyrical and personal to being social and yet I always, never felt it was something outside myself because I felt very powerfully the identification to what was happening to people. I returned from New Jersey about '36 and I wrote this poem which E.J. Pratt [https://www.wikidata.org/wiki/Q3045744] published in the first issue of the Canadian Poetry Magazine in ‘36. I guess I wrote it in about 1935. In it, there are various themes, the whole poem seemed to start from Cole Porter's [https://www.wikidata.org/wiki/Q215120] lines, the song we were all singing then, \\\"Night and Day\\\" [https://www.wikidata.org/wiki/Q1477068]. “Night and day, you are the one…” And then also there's a theme from Lennon [https://www.wikidata.org/wiki/Q1203], who said \\\"In order to make two steps forward you may have to go one step back\\\". And this poem reverses that idea, in looking at industrial capitalist society. The other theme is that of the Negro and that of his exploitation and also of his release in song, and in Negro spiritual, because I did know them very well that year.\\n \\nDorothy Livesay\\n00:02:16\\nReads \\\"Day and Night\\\" from Day and Night.\\n \\nDorothy Livesay\\n00:07:57\\nI might read one more poem from that period, \\\"Lorca\\\", and then perhaps you'd like a break. This is a little later, of course, this is about 1937-8, when the Spanish Civil War [https://www.wikidata.org/wiki/Q10859] was raging and haunted us very much in this country, many friends we knew joined the MacKenzie-Papineau Battalion [https://www.wikidata.org/wiki/Q1668887], and went to fight for Spain [https://www.wikidata.org/wiki/Q29]. At that time, we believed that the Spanish Court, Garcia Lorca [https://www.wikidata.org/wiki/Q41408], had been killed by Franco's [https://www.wikidata.org/wiki/Q29179] men. I believe that, well in fact, Jack Spicer [https://www.wikidata.org/wiki/Q3805658] taught me that there's another version of his killing, that of a love triangle, but it didn't matter, the point was that many poets were fighting for Spain, and many were killed. So I'll just read \\\"Lorca\\\" if I can find it. Yes.\\n \\nDorothy Livesay\\n00:09:15\\nReads \\\"Lorca\\\" [from Day and Night].\\n \\nDorothy Livesay\\n00:11:29\\nI'll pause now for a break. \\n\\nUnknown\\n00:11:32\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nDorothy Livesay\\n00:11:33\\nAnd though I don't want to appear to suit every taste, quite a lot of my poetry has been personal love poetry, beginning with the earliest days, my teenage, and I thought I would read a few very early love poems and then you could, you might be interested to compare them with those written within the last five or six years. These were from a book published in 1932, Signpost. And you'll notice that they're pretty well structured, and in a sense quite conventional, but perhaps they have a kind of feeling in them. \\\"Weapons\\\".\\n \\nDorothy Livesay\\n00:12:25\\nReads \\\"Weapons\\\" from Signpost.\\n \\nDorothy Livesay\\n00:12:54\\nReads \\\"Alienation\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:13:26\\nReads \\\"Climax\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:13:47\\nReads \\\"Blindness\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:14:11\\nAnd a very short lyric, \\\"Song for Solomon\\\".\\n \\nDorothy Livesay\\n00:14:17\\nReads \\\"Song for Solomon\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:14:36\\nAnd now, recent poems from the 1967 book, The Unquiet Bed. I'll read a little ballad that is the title poem, which one of my students set to music at one point. \\\"The Unquiet Bed\\\".\\n \\nDorothy Livesay\\n00:14:56\\nReads \\\"The Unquiet Bed\\\" from The Unquiet Bed.\\n \\nDorothy Livesay\\n00:15:25\\nAnd \\\"Four Songs\\\".\\n \\nDorothy Livesay\\n00:15:32\\nReads \\\"Four Songs\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:16:41\\nAnd a poem which certainly wouldn't be acceptable to women's lib., yet it's an experience probably all women have had. It's called \\\"The Taming\\\".\\n \\nDorothy Livesay\\n00:16:52\\nReads \\\"The Taming\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:17:34\\nAnd \\\"The Touching\\\".\\n \\nDorothy Livesay\\n00:17:39\\nReads \\\"The Touching\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:18:49\\nAnd a little poem called \\\"Give Us Our Trespasses\\\", which was an attempt to do what Jack Spicer had advised us at some of his sessions, to completely wipe out all sensation, all the senses and see what happened when the words came out of this void, out of this [unintelligible] and I did one poem about dreams dedicated to him, and then a little later, this other one came. One would listen in the dark for the words, but not expecting or unexpecting, you understand, but they would certainly arrive and I would turn on the light and write them down. And then turn off the light, turn to sleep again, but again, more words came, and so this series has about seven of these little interludes in it.\\n \\nDorothy Livesay\\n00:19:52\\nReads \\\"And Give Us Our Trespasses\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:21:08\\nAnd two more from that book, one has five sections--six sections in it, it's called \\\"The Notations of Love\\\".\\n \\nDorothy Livesay\\n00:21:22\\nReads \\\"The Notations of Love\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:23:27\\nAnd a last one from there, \\\"Moving Out\\\".\\n \\nDorothy Livesay\\n00:23:33\\nReads \\\"Moving Out\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:24:07\\nWell, I have a few more recent poems, dealing a little differently perhaps with love. This is in the little book Plainsongs, which is still in print. \\\"At Dawn\\\".\\n \\nDorothy Livesay\\n00:24:30\\nReads \\\"At Dawn\\\" from Plainsongs.\\n \\nDorothy Livesay\\n00:24:58\\nAnd \\\"Dream\\\".\\n \\nDorothy Livesay\\n00:25:03\\nReads \\\"Dream\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:25:30\\nAnd this one \\\"The Uninvited\\\", the river in this is the St. John [https://www.wikidata.org/wiki/Q607546] in New Brunswick [https://www.wikidata.org/wiki/Q1965] and it's a theme that reoccurs a lot, whether one is a man or a woman, the feeling that even though one is walking with one's loved one, there is another lover who one also remembers, or who perhaps is coming, one fears.\\n \\nDorothy Livesay\\n00:26:09\\nReads \\\"The Uninvited\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:27:08\\nAnd perhaps just this last one, \\\"Another Journey\\\".\\n \\nDorothy Livesay\\n00:27:17\\nReads \\\"Another Journey\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:28:08\\nI'd like to read a poem about the West Coast. It was written summer before last, in Victoria [https://www.wikidata.org/wiki/Q2132], where one was, I suppose, feeling one's age, and yet observing the eternal pattern of the young. And perhaps relating it to our own history in this country. It's a more, I suppose, didactic poem. \\\"The Artefacts, West Coast\\\".\\n \\nDorothy Livesay\\n00:28:51\\nReads \\\"The Artefacts, West Coast\\\" [from Plainsongs; cut off].\\n \\nEND\\n00:32:14\\n\",\"notes\":\"Dorothy Livesay reads poems from numerous sources, including Signpost (Macmillan, 1932), Day and Night (Ryerson Press, 1944), New Poems (Emblem Press, 1955), The Selected Poems 1926-1956 (Ryerson Press, 1957), The Unquiet Bed (Ryerson, 1967), Forty Women Poets of Canada (Ingluvin Publications, 1971), and Plainsongs (Fiddlehead Poetry Books, 1971).\\n\\n00:02- Unknown male introduces Dorothy Livesay [INDEX: Prince of Wales, Forty Women Poets, Wynne Francis, Montreal]\\n01:58- Dorothy Livesay introduces reading and “Edmonton Sweet” [INDEX: new poem: “Disasters of the Sun”, love poems, Edmonton, White Pelican Magazine edited by Sheila Watson, Dorothy Guest edited “North” edition: contains three B.C. Native poets: Skyros Bruce, Gordy Williams, Eleanor Crow, Canadian Identity and Native American Identity, young poets searching for it]\\n06:56- Reads “Edmonton Sweet”\\n10:19- Introduces “The Operation” [INDEX: 40 Women Poets: Anthology edited by Dorothy Livesay]\\n11:10- Reads “The Operation”\\n15:36- Introduces “The Woman Syndrome” [INDEX: Women’s Liberation Movement]\\n16:26- Reads “The Woman Syndrome”\\n17:05- Introduces “Other” [INDEX: from The Selected Poems of 1957]\\n17:34- Reads “Other”\\n19:110 Introduces “Bartok and Geranium” [INDEX: teaching creative writing to housewives, CBC radio- Violin concerto by Bela Bartok, most anthologized poem: “Bartok and Geranium”]\\n21:00- Reads “Bartok and Geranium”\\n22:10- Continues to explain “Bartok and Geranium”, also introduces “Latter Day \\tEve” [INDEX: Dr. Roy Daniels, teaching Canadian Literature, Interpretations of her \\tpoetry, University of New Brunswick, Professor Fred Cogswell]\\n24:18- Reads “Latter Day Eve”\\n25:34- Introduces “Day and Night” [INDEX: Day and Night, 1934/5 Montreal: shooting of a Polish man in his own home, Englewood, New Jersey, Discrimination against African \\tAmericans, E.J. Pratt’s first issue of Canadian Poetry Magazine in 1936, Cole Porter’s song “Night and Day”, John Lennon quote: “In order to make two steps forward, you \\tmay have to go one step back”, Negro spiritual songs]\\n28:07- Reads “Day and Night”\\n33:48- Introduces “Lorca” [INDEX: Spanish Civil War: Lorca and Franco, and the poets that were soldiers for Lorca, Jack Spicer, MacKenzie-Papineau Batallion]\\n35:06- Reads “Lorca”\\n37:20- Introduces “Weapons” [INDEX: Love poetry, 1932 Songpost by Dorothy Livesay]\\n38:16- Reads “Weapons”\\n38:45- Reads “An Alienation”\\n39:17- Reads “Climax”\\n39:38- Reads “Blindness”\\n40:02- Reads “Song for Solomon”\\n40:27- Introduces “The Unquiet Bed” [INDEX: 1967 The Unquiet Bed by Dorothy Livesay]\\n40:47- Reads “The Unquiet Bed”\\n41:16- Reads “Four Songs”\\n42:32- Introduces “The Taming”\\n42:43- Reads “The Taming”\\n43:25- Reads “The Touching”\\n44:40- Introduces “Give Us Our Trespasses” [INDEX: Jack Spicer]\\n45:43- Reads “Give Us Our Trespasses”\\n46:59- Introduces “The Notations of Love”\\n47:13- Reads “The Notations of Love”\\n49:18- Reads “Moving Out”\\n49:58- Introduces “At Dawn” [INDEX: 1968 Plainsongs by Dorothy Livesay]\\n50:21- Reads “At Dawn”\\n50:49- Reads “Dream”\\n51:21- Introduces “The Uninvited” [INDEX: St John River, New Brunswick]\\n52:00- Reads \\\"The Uninvited\\\".\\n52:59- Reads “Another Journey”\\n53:08- Introduces “The Artifacts, West Coast” [INDEX: West Coast, Victoria]\\n54:42- Reads “The Artifacts, West Coast”\\n58:05.94- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#2\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/dorothy_livesay_i086-11-032-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"dorothy_livesay_i086-11-032-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:25:51\",\"precision\":\"\",\"size\":\"62.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"dorothy_livesay_i086-11-032-1.mp3 [File 1 of 2]\\n \\nIntroducer\\n00:00:02\\nI was going to talk on about Dorothy Livesay's [https://www.wikidata.org/wiki/Q1250325] distinguished career, as a poet, and a critic and a teacher, but after what she told me tonight, I'm not sure if distinguished is exactly the right word, she says that at the age of nineteen, she snubbed the Prince of Wales [https://www.wikidata.org/wiki/Q590227]. Nevertheless, two books should be mentioned, her selected and uncollected poems to appear this September and a book which was called 39 Women Poets which has gained another poet and another title at the last moment and as 40 Women Poets of Canada [https://www.wikidata.org/wiki/Q16] is now on sale outside, as you may have seen as you came in. Back in 1965, I guess it was, Wynne Francis managed to catch Dorothy Livesay as she was passing through Montreal [https://www.wikidata.org/wiki/Q340], and Dorothy gave a really private reading in Wynne's office. Ever since then, we have been trying to convince her to come back and read to us all in the series. I'm extremely happy this year that we have been successful and that I can present to you Dorothy Livesay.\\n \\nDorothy Livesay\\n00:01:58\\nI think I might get hung up on this, I had quite a disastrous time getting here. I arrived with a new poem of seven, whose title is \\\"Disasters of the Sun\\\", and my first disaster was on the train, sitting on top of my glasses, which are now somewhat myopic, and second disaster going to Sherbrooke [https://www.wikidata.org/wiki/Q139473], the bus rolled right into an oil tanker, which somehow or other didn't blow up, but gashed my thumb, and at Bishop's [https://www.wikidata.org/wiki/Q3551383] I had only begun to read when a fire alarm started [laughter], and rang for ten minutes before they silenced it. So I have a feeling that somehow or other, there are more disasters ahead tonight. However, I'm supposed to read a while and then call an intermission I think. Mostly I like to sort of go back over the years and trace the different things, especially love poems from early times on, but I'm going to skip about a bit. Recently in Edmonton [https://www.wikidata.org/wiki/Q2096] I edited the fourth issue of a quarterly magazine, White Pelican. Which Sheila Watson [https://www.wikidata.org/wiki/Q7493167] edits but she gave this particular issue to me, and I chose the theme of North. Feeling perhaps that we are still trying to find our identity, whether we're English Canadians or French Canadians, and that perhaps the north has some element of it in it which helps us to find that. I discovered though, in collecting material, stories, poems, plays about the north, that it was the Native Indian people who have a different view altogether of the north than we do. At the same time, you find many young Canadian poets identifying with Native culture, and almost feeling that they must become Native, and become Indian to be real, to know who they are. I wrote at the beginning of this issue this little note I'll just read. “North is from wherever you are looking.” It's starting...[laughter]. “For those living below the 49th parallel, Canada itself is North. In a sense, we're all here as explorers without a home. Our great guilt at having ousted the Native peoples from their land is now seeking expression in an attempt to re-create the Indian and Eskimo past, and every month brings forth books of poetry, fiction and history which seek to come to terms with pre-history, with myth, or with the way the Inuit live in harmony with nature. In ironic contrast, the Native artists and writers are expressing their concern, not with their past, but with possible ways of accommodation to the present, the white man's world. Thus, the three British Columbia [https://www.wikidata.org/wiki/Q1974] Indian poets here represented, Skyros Bruce, Gordy Williams and Eleanor Crow are bitter, ironic and contemporary. Not for them the nostalgic recreation of the Indian myth, or even not for them the vigorous folk humor of life in the north which you find in [unintelligible] and in later writers.” While I think it's worthwhile thinking about that because you do have a lot of young poets now seeping themselves in Indian or Eskimo culture, and feeling as if they must become that in order to be themselves. None of us can quite escape from this, and I have a poem or two that I'll begin with, which I suppose are my expression of coming to terms with the North, or the somewhat southernly north, Edmonton. I'll begin with a kind of collage poem where I put bits of history, bits of visual imagery and bits of surrealism together, called \\\"Edmonton Sweet\\\".\\n \\nDorothy Livesay\\n00:06:56\\nReads \\\"Edmonton Sweet\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:10:19\\nQuite a different poem about going North is called \\\"The Operation\\\", and that is the poem which is in this anthology, just out today, 40 Women Poets. I didn't intend to put myself in, but the other editors suggested it was the only 'done' thing to put one or two poems of my own in it. So here's the one called \\\"The Operation\\\". It's a kind of three-way poem where the woman is addressing the doctor and her lover, alternately, and then perhaps herself.\\n \\nDorothy Livesay\\n00:11:10\\nReads \\\"The Operation\\\" [from Plainsongs and collected in 40 Women Poets] .\\n \\nDorothy Livesay\\n00:15:36\\nSince this anthology will probably be called a women's lib., even though it isn't, because none of the poets in it are consciously trying to be anything but their individual selves, nonetheless, I think there are poems by every woman which do express that individual point of view, that differentness, I have never been able, though perhaps I was a women's lib. creature in the thirties, I have never been able to feel that men and women are the same, and so I have poems, right through the years which illustrate that point of view. Here's a very recent one called \\\"The Woman Syndrome\\\".\\n \\nDorothy Livesay\\n00:16:26\\nReads \\\"The Woman Syndrome\\\" [published later in Archive For Our Times].\\n \\nDorothy Livesay\\n00:17:05\\nAnd a much earlier poem, written when I had a family and young children and I suppose frustrated and not getting out into the world. It's called \\\"Other\\\", it's in The Selected Poems of 1957.\\n \\nDorothy Livesay\\n00:17:34\\nReads \\\"Other\\\" from Selected Poems, 1926-1956.\\n \\nDorothy Livesay\\n00:19:11\\nAnd in a different vein altogether, the poem I suppose that's been the most anthologized of any of mine, which to me is a rather traditional way I suppose of seeing the male and female element. It's called \\\"Bartok and the Geranium\\\". The poem simply began because I was teaching an evening class of housewives the art of creative writing, and I gave them an assignment to write an imagistic or perhaps haiku-type poem, when they got home, to look at two objects, utterly different and disparate, and just see they could link these objects in a tension which would create a poem. Well the next day, I had sent the children to school after lunch and was sitting in the dining room listening to a CBC [https://www.wikidata.org/wiki/Q461761] concert, and heard music that I hadn't heard before at all, a violin concerto it seemed to be, and in the window as I was listening was this red geranium. So I thought to myself, well I've given my class an assignment, I wonder if I could do the same thing. And at the end of the concert they announced that it was Bela Bartok [https://www.wikidata.org/wiki/Q83326], violin concerto. So suddenly, the two elements, the music and the geranium, did seem to link in my mind and immediately I wrote the poem which I think I've never revised. I'll tell you afterwards about what some of the professors have said about the meaning of the poem.\\n \\nDorothy Livesay\\n00:21:00\\nReads \\\"Bartok and Geranium\\\" [from New Poems].\\n \\nDorothy Livesay\\n00:22:10\\nWell, a few years later, Dr. Roy Daniels was giving a course in Canadian Literature, which I was a member, and one day he asked me if I would not come to class, so I divined he was going to deal with my poems, and I asked a fellow student to please take notes. So this was one of the poems he dealt with, and he informed the class that this poem represented the conflict between nature and art. While at first I was a bit dumbfounded, you know now about how the whole thing began and then what I felt about the he and she of it. But perhaps upon meditation, that this could be another meaning in the poem which I as poet, wasn't aware of but which was still perhaps there. But still another example of the different interpretations which people take to themselves and perhaps get great pleasure from, was, happened in U.N.B. [https://www.wikidata.org/wiki/Q1112515] when Fred Cogswell [https://www.wikidata.org/wiki/Q5494855] put this poem on a sight examination for a first year Canadian lit. class, and one of the students who I'm afraid failed his year, wrote on the paper, and on seeing this poem decided that it was written by a man, and he said it was about this guy Bartok who walked along the street and saw a whore leaning out of the window. Well on the same, and finally, this last one on the same kind of he and she of it, a poem written about a year ago, right out of a dream, I mean I dreamed this poem. It's called \\\"Latter Day Eve\\\".\\n \\nDorothy Livesay\\n00:24:18\\nReads \\\"Latter Day Eve\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:25:34\\nWell I'd like to jump back a bit, quite a long way back now, not to lyrical poems, which were the ones I really started out doing, but two poems from the thirties...\\n\\nEND\\n00:25:51\\n[Unknown amount of time elapsed between tapes].\",\"notes\":\"Dorothy Livesay reads poems from numerous sources, including Signpost (Macmillan, 1932), Day and Night (Ryerson Press, 1944), New Poems (Emblem Press, 1955), The Selected Poems 1926-1956 (Ryerson Press, 1957), The Unquiet Bed (Ryerson, 1967), Forty Women Poets of Canada (Ingluvin Publications, 1971), and Plainsongs (Fiddlehead Poetry Books, 1971).\\n\\n00:02- Unknown male introduces Dorothy Livesay [INDEX: Prince of Wales, Forty Women Poets, Wynne Francis, Montreal]\\n01:58- Dorothy Livesay introduces reading and “Edmonton Sweet” [INDEX: new poem: “Disasters of the Sun”, love poems, Edmonton, White Pelican Magazine edited by Sheila Watson, Dorothy Guest edited “North” edition: contains three B.C. Native poets: Skyros Bruce, Gordy Williams, Eleanor Crow, Canadian Identity and Native American Identity, young poets searching for it]\\n06:56- Reads “Edmonton Sweet”\\n10:19- Introduces “The Operation” [INDEX: 40 Women Poets: Anthology edited by Dorothy Livesay]\\n11:10- Reads “The Operation”\\n15:36- Introduces “The Woman Syndrome” [INDEX: Women’s Liberation Movement]\\n16:26- Reads “The Woman Syndrome”\\n17:05- Introduces “Other” [INDEX: from The Selected Poems of 1957]\\n17:34- Reads “Other”\\n19:110 Introduces “Bartok and Geranium” [INDEX: teaching creative writing to housewives, CBC radio- Violin concerto by Bela Bartok, most anthologized poem: “Bartok and Geranium”]\\n21:00- Reads “Bartok and Geranium”\\n22:10- Continues to explain “Bartok and Geranium”, also introduces “Latter Day \\tEve” [INDEX: Dr. Roy Daniels, teaching Canadian Literature, Interpretations of her \\tpoetry, University of New Brunswick, Professor Fred Cogswell]\\n24:18- Reads “Latter Day Eve”\\n25:34- Introduces “Day and Night” [INDEX: Day and Night, 1934/5 Montreal: shooting of a Polish man in his own home, Englewood, New Jersey, Discrimination against African \\tAmericans, E.J. Pratt’s first issue of Canadian Poetry Magazine in 1936, Cole Porter’s song “Night and Day”, John Lennon quote: “In order to make two steps forward, you \\tmay have to go one step back”, Negro spiritual songs]\\n28:07- Reads “Day and Night”\\n33:48- Introduces “Lorca” [INDEX: Spanish Civil War: Lorca and Franco, and the poets that were soldiers for Lorca, Jack Spicer, MacKenzie-Papineau Batallion]\\n35:06- Reads “Lorca”\\n37:20- Introduces “Weapons” [INDEX: Love poetry, 1932 Songpost by Dorothy Livesay]\\n38:16- Reads “Weapons”\\n38:45- Reads “An Alienation”\\n39:17- Reads “Climax”\\n39:38- Reads “Blindness”\\n40:02- Reads “Song for Solomon”\\n40:27- Introduces “The Unquiet Bed” [INDEX: 1967 The Unquiet Bed by Dorothy Livesay]\\n40:47- Reads “The Unquiet Bed”\\n41:16- Reads “Four Songs”\\n42:32- Introduces “The Taming”\\n42:43- Reads “The Taming”\\n43:25- Reads “The Touching”\\n44:40- Introduces “Give Us Our Trespasses” [INDEX: Jack Spicer]\\n45:43- Reads “Give Us Our Trespasses”\\n46:59- Introduces “The Notations of Love”\\n47:13- Reads “The Notations of Love”\\n49:18- Reads “Moving Out”\\n49:58- Introduces “At Dawn” [INDEX: 1968 Plainsongs by Dorothy Livesay]\\n50:21- Reads “At Dawn”\\n50:49- Reads “Dream”\\n51:21- Introduces “The Uninvited” [INDEX: St John River, New Brunswick]\\n52:00- Reads \\\"The Uninvited\\\".\\n52:59- Reads “Another Journey”\\n53:08- Introduces “The Artifacts, West Coast” [INDEX: West Coast, Victoria]\\n54:42- Reads “The Artifacts, West Coast”\\n58:05.94- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#1\"}]"],"score":1.0},{"id":"1293","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["David McFadden and Gerry Gilbert at Sir George Williams University, The Poetry Series, 15 January 1971"],"item_title_source":["Cataloguer"],"item_title_note":["\"DAVID McFADDEN AND GERRY GILBERT Recorded January 15, 1971 3.75 ips on 1 mil. tape, 1/2 track Quality: Fair to poor. Poems read alternately\" written on sticker on the back of the tape's box. \"DAVID McFADDEN GERRY GILBERT I006/SR19\" written on sticker on the spine of the tape's box. \"I006-11-019\" written on sticker on the reel.\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["McFadden, David","Gilbert, Gerry"],"creator_names_search":["McFadden, David","Gilbert, Gerry"],"creators":["[{\"url\":\"http://viaf.org/viaf/7405434\",\"name\":\"McFadden, David\",\"dates\":\"1940-2018\",\"notes\":\"Writer David McFadden was born in 1940, in Hamilton, Ontario, where he spent his first thirty-nine years. He started Mountain, a mimeographed magazine in 1962, and his early work appeared in tish, Is, Evidence, Weed, and Talon. He became a proofreader for the Hamilton Spectator in 1962 and a reporter for the same in 1970. David McFadden’s first collections of poems were published in Letters from the earth to the earth in 1968 (Coach House Press), Poems worth knowing in 1971 (Coach House Press) and Intense pleasure in 1972 (McClelland and Stewart). His first novel was The great Canadian sonnet, published in 1970 (Coach House Press). In 1976 he resigned from the Hamilton Spectator to focus on freelance writing and editing. McFadden continued to publish his poems in A knight in dried plums in 1975 (McClelland and Stewart), and On the road again in 1978 (McClelland and Stewart). His short stories and novels include three from the ‘Great Lakes Series’, published from 1980 to 1988 (Coach House Press), and Animal spirits: stories to live by in 1983 (Coach House Press). McFadden has published over fifteen other novels and collections of poems from 1967 to 1995, which include My Body was Eaten by Dogs (McClelland and Stewart, 1981), selected poems edited and introduced by George Bowering, and The Art of Darkness (McClelland Stewart, 1984). Be Calm Honey (Mansfield Press, 2008) was a finalist for the 2009 Governor General’s Award and his final published book, What's the Score? (Mansfield Press, 2012) won the 2013 Canadian Griffin Poetry Prize. McFadden died in 2018.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/13554305\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"Canadian poet and photographer Gerry Gilbert, born in 1936, was one of the most experimental writers from Vancouver in the 60’s. He started as a television cameraman, and then concentrated on writing poetry. Gilbert founded and edited The B.C. Monthly, which published literary and political criticism. He was also the editor of Radio Free Rain Forest, published out of Vancouver. Gilbert’s publications are numerous, and include artful self-published books of poetry. White lunch: poems was published by Periwinkle Press in 1964, followed by The milk (Minimedia, 1967), Quote, New York, July 1965 (Ganglia Press, 1969), Phone book (Weed/Flower, 1969), On my face (G.Gilbert, 1970), The (Probable Latitude 76 ̊15' Longitude 113 ̊10'E, London, 1970), a film Doi,ngng (NFB, Ottawa, 1970), And a place in mind... (Hesheitworks, 1971), Apr. 35, 1978 (Hesheitworks, 1971), And (Blewointmentpress, 1971), Money (York Street Commune, 1971), Lease (Coach House Press, 1971), Journal to the East (Blewointmentpress, 1974), Bicycle (Caledonia Writing Series, 1977), New and used poems (G.Gilbert, 1980), Moby Jane (Coach House Press, 1987), The 1/2 of it (Wave 7 Press, 1989), Azure blues (Talon Books, 1991), Year off (BC Monthly, 2001), and Poetrees (BC Monthly, 2006). Gilbert died in Vancouver in 2009.\",\"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":[1971],"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\":\"Poor\",\"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\":\"1971 1 15\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["David McFadden reads from The Great Canadian Sonnet (Coach House Press, 1970), as well as poems published later in Poems Worth Knowing (Coach House Press, 1971) and Intense Pleasure (McClelland and Stewart, 1972). Gerry Gilbert reads from Money (York Street Commune, 1971) and Phone Book (Weed/Flower, 1969) and And (Blewointmentpress, 1971) as well as some poems from unknown sources."],"contents":["david_mcfadden_gerry_gilbert_i006-11-019.mp3\n\nGeorge Bowering\n00:00:08\nWe have two readers tonight, both Canadian poets, as you know, and, but in most cases when we have two poets as we did last time, we generally have one poet read for a while, then have a break, and then have the other poet read for a while, but we're not going to do it that way tonight. We're just going to throw the thing open to both David McFadden [https://www.wikidata.org/wiki/Q5237344] and Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] and they will work it out as it seems to work out for them. This makes a lot of sense, although they've never read together before, they're both published by the same publishing house, and published in the same magazines and know each other as they used to say in the old days in the ivy league by reputation. Gerry Gilbert is, as a lot of people we've had this year, is from the West Coast and has been involved for quite a while with an outfit in the coast that gobbles up your tax money called Intermedia [https://www.wikidata.org/wiki/Q39079179], that's why the screen is there, something might happen there occasionally. Gerry was at one time the editor of a seminal West Coast publishing venture called Radio Free Rain Forest, and is the author of a series of books and things that are like books, as for instance, White Lunch which came out several years ago in Vancouver [https://www.wikidata.org/wiki/Q24639] and Telephone Book which is published by Coach House Press, I think, no, Weed/Flower, sorry. David's also been published by Weed/Flower and the Coach House Press, and his forthcoming book is the second volume of the Big/Little Book novel, called The Great Canadian Sonnet with illustrations by a little-known London [https://www.wikidata.org/wiki/Q92561] artist named Greg Curnoe [https://www.wikidata.org/wiki/Q5605459]. His next book is going to be called Poems Worth Knowing, a title that anyone from Ontario [https://www.wikidata.org/wiki/Q1904] or British Columbia [https://www.wikidata.org/wiki/Q1974] will know. What we're going to do is they're going to operate for a little while, and then when they feel the need for a break there will be a short intermission, like about ten minutes, then we'll proceed again with what, as they say, the second set. So I'm not going to be able to say that somebody's reading first and somebody's reading second but what I will be able to say is that the readers will be David McFadden and Gerry Gilbert.\n \nUnknown\n00:02:39\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nDavid McFadden\n00:02:40\nReads unnamed poem. \n\nUnknown\n00:06:02\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nGerry Gilbert\n00:06:03\nReads \"Her white face where I have seen Her ride the last bus, before\" [from Money].\n \nGerry Gilbert\n00:07:14\nReads \"A moving picture moves, it's the truth about movies\" [from Money].\n \nDavid McFadden\n00:07:33\nReads unnamed poem. \n \nGerry Gilbert\n00:08:20\nReads \"I REMEMBER TOOTSIE ROLLS when they were only in American comic books\" [from Money].\n \nDavid McFadden\n00:09:46\nReads [“The Slippery Wig” published later in Intense Pleasure and collected in Why Are You So Sad?]. \n \nGerry Gilbert\n00:10:38\nReads \"London 1964\" [from Money]\n \nDavid McFadden\n00:12:28\nReads unnamed poem. \n \nGerry Gilbert\n00:13:37\nReads \"waitress calls the man in the corner, HARRY” [from Money].\n \nDavid McFadden\n00:14:30\nReads unnamed poem. \n \nGerry Gilbert\n00:14:53\nReads \"the pleasure. I said” [from Money].\n \nDavid McFadden\n00:16:14\nReads [“Titles I Have Heard Of But Not Read” published later in Intense Pleasure and collected in Why Are You So Sad?].\n \nGerry Gilbert\n00:18:26\nReads [\"Single Mens Unit\" from Money].\n \nDavid McFadden\n00:19:05\nReads unnamed poem. \n \nDavid McFadden\n00:21:03\nReads unnamed poem.\n \nGerry Gilbert\n00:23:13\nReads \"Goodness and mercy are following me across the lake\" [from Money].\n\nGerry Gilbert\n00:24:10\nReads \"Bicycle\" [from Money].\n \nGerry Gilbert\n00:24:55\nReads \"on the bed” [from Money].\n \nDavid McFadden\n00:25:32\nReads unnamed poem. \n \nDavid McFadden\n00:26:05\nReads unnamed poem.\n \nDavid McFadden\n00:26:18\nReads unnamed poem.\n \nGerry Gilbert\n00:26:49\nReads unnamed poem.\n \nGerry Gilbert\n00:28:03\nReads \"bone ring on my finger\" [from Money].\n \nDavid McFadden\n00:28:34\nReads unnamed poem. \n \nDavid McFadden\n00:31:05\nReads unnamed poem.\n \nGerry Gilbert\n00:32:10\nWe're reading Canadian history. A few of the poems from Phone Book.\n \nGerry Gilbert\n00:32:28\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:33:05\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:33:42\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:34:31\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:35:25\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:36:37\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:36:58\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:37:29\nThis poem's called \"Garden\".\n \nGerry Gilbert \n00:37:35\nReads \"Garden\" [from Money].\n \nDavid McFadden\n00:38:38\nReads [“Journey To Love” published later in Poems Worth Knowing].\n \nDavid McFadden\n00:39:21\nReads [“A Poem Without A Title Is Like A Letter Without A Stamp” published later in Poems Worth Knowing].\n \nGerry Gilbert\n00:39:50\nReads \"find your birds\" [from Money].\n \nDavid McFadden\n00:41:32\nReads [“Art’s Variety” published later in Poems Worth Knowing].\n \nGerry Gilbert\n00:42:04\nReads \"sometimes I miss\" [from Money].\n \nDavid McFadden\n00:42:18\nReads [“Another Revolution” published later in Poems Worth Knowing].\n \nDavid McFadden\n00:42:57\nReads [“Chapter One” from The Great Canadian Sonnet].\n \nGerry Gilbert\n00:47:06\nDid I hear you say 'boiled skunks'? This is a little tale. \n\nGerry Gilbert\n00:49:24\nReads unnamed poem. \n\nGerry Gilbert\n00:49:45\nReads unnamed poem. \n \nGerry Gilbert\n00:51:42\nReads unnamed poem.\n \nDavid McFadden\n00:53:02\nReads \"Vital Statistics: Distances from Hamilton To...\" [from The Great Canadian Sonnet]. \n \nGerry Gilbert\n00:54:52\nReads unnamed poem.\n \nDavid McFadden\n00:54:52\nReads unnamed poem. \n \nDavid McFadden\n00:55:52\nReads unnamed poem [audience laughter throughout]. \n \nGerry Gilbert\n00:56:52\nReads [“SQUEEZE THRU THE TUBE” from And].\n\nGerry Gilbert\n00:57:08\nReads [“24.11.70. TORONTO” from And].\n\nGerry Gilbert\n00:57:59\nThe following is a Rochdale College [https://www.wikidata.org/wiki/Q14875408] council meeting. 23rd of November, 1970.\n\nGerry Gilbert\n00:58:08\nReads [“ROCHDALE COUNCIL MEETING 23.11.70” and other untitled sections from And].\n \nDavid McFadden\n01:01:24\nReads unnamed poem. \n \nDavid McFadden\n01:01:39\nReads unnamed poem. \n\nUnknown\n01:09:59\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nGerry Gilbert\n01:10:01\nReads [“QUIET” from And].\n\nGerry Gilbert\n01:10:28\nReads untitled poem [from And].\n\nGerry Gilbert\n01:10:41\nReads [“THE WEST IS ALONE SEA” from And].\n\nGerry Gilbert\n01:10:57\nReads “TICKET” [from And].\n\nGerry Gilbert\n01:11:33\nReads [“2.1.71” from And]. \n\nGerry Gilbert\n01:12:44\nReads [“49th week 1970” from And].\n\nGerry Gilbert\n01:12:49\nReads “FRIED EGG SANDWICH ON BROWN” [from And].\n\nDavid McFadden\n01:13:54\nReads unnamed poem. \n \nGerry Gilbert\n01:23:26\nReads [first section of “Babyland Blues” from Money]. \n \nGerry Gilbert\n01:27:05\nReads unnamed poem. \n \nGerry Gilbert\n01:27:52\nReads [section of “Babybland Blues from Money].\n \nGerry Gilbert\n01:28:44\nReads unnamed poem.\n \nGerry Gilbert\n01:29:04\nReads [final section of “Babyland Blues from Money].\n \nEND\n01:29:19\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1971, at the time of the reading, David McFadden was a reporter for the Hamilton Spectator, and his collection of poems, Poems Worth Knowing was to be published the same year. His novel, The Great Canadian Sonnet was published the year before, in 1970.\\n\\nIn 1971, Gerry Gilbert published And a place in mind... (Hesheitworks, 1971), Apr. 35, 1978 (Hesheitworks, 1971), And (Blewointmentpress, 1971), Money (York Street Commune, 1971), and Lease (Coach House Press, 1971).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMcFadden was heavily invested in Canadian writing, and lived his whole life in Ontario and British Columbia. He had connections with George Bowering, as Bowering published an interview with McFadden in 1971. McFadden and Bowering had met while Bowering was at the University of Western Ontario, between 1966 and 1967.\\n\\nGerry Gilbert was an important avant-garde poet and publisher in Vancouver in the 60’s through to today. His press, Blewointmentpress published poetry by other Canadian poets such as Maxine Gadd, bill bissett and bp Nichol. His direct connections to Sir George Williams University are unknown, however George Bowering or Roy Kiyooka might have known Gilbert from the Vancouver scene.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/476332314&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/1229534811&referer=brief_results\",\"citation\":\"Berry, Reg. \\\"McFadden, David\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton. Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/858858596&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"McFadden, David\\\", The Oxford Companion to Canadian Literature. Eugene Benson and William Toye. 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. “Gerry Gilbert”. 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/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. “David McFadden”. From There to Here: A Guide to English-Canadian Literature Since 1960, Our Nature-Our Voices II. Erin, Ontario: Press Porcepic, 1974.\\n\"},{\"url\":\"https://www.worldcat.org/title/money/oclc/427223207&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Money. Vancouver: York Street Commune Press, 1971.\"},{\"url\":\"https://www.worldcat.org/title/phone-book/oclc/92241&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Phone Book. Toronto: Weed/Flower Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/white-lunch-poems/oclc/869020598&referer=brief_results\",\"citation\":\"Gilbert, Gerry. White Lunch, Poems. Vancouver: Periwinkle Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/grounds-poems/oclc/1087483441&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Grounds. Vancouver: Talonbooks, 1976. \"},{\"url\":\"https://www.worldcat.org/title/lease/oclc/729960668?referer=di&ht=edition\",\"citation\":\"Gilbert, Gerry. Lease. Toronto: Coach House Press, 1972. \"},{\"url\":\"https://www.worldcat.org/title/and/oclc/1005955202&referer=brief_results\",\"citation\":\"Gilbert, Gerry. And. Vancouver: Blewointmentpress, 1971.\"},{\"url\":\"https://www.worldcat.org/title/great-canadian-sonnet/oclc/301438651&referer=brief_results\",\"citation\":\"McFadden, David. The Great Canadian Sonnet. Toronto: Coach House Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/great-canadian-sonnet-the-great-canadian-sonnet/oclc/15750598&referer=brief_results\",\"citation\":\"McFadden, David. The Great Canadian Sonnet. Toronto: Coach House Press, 1974. \"},{\"url\":\"https://www.worldcat.org/title/great-lakes-suite/oclc/37490622?referer=di&ht=edition\",\"citation\":\"McFadden, David. Great Lakes Suite. Vancouver, Talonbooks, 1997. \"},{\"url\":\"https://www.worldcat.org/title/intense-pleasure/oclc/421732872&referer=brief_results\",\"citation\":\"McFadden, David. Intense Pleasure. Toronto: McClelland and Stewart, 1972. \\n\"},{\"url\":\"https://www.worldcat.org/title/poems-worth-knowing/oclc/422697370&referer=brief_results\",\"citation\":\"McFadden, David. Poems Worth Knowing. Toronto: Coach House Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/why-are-you-so-sad/oclc/899150333&referer=brief_results\",\"citation\":\"McFadden, David. Why Are You So Sad? Toronto: Insomniac Press, 2007. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548930822144,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert 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_0019_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert 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_0019_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/david_mcfadden_gerry_gilbert_i006-11-019.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\" david_mcfadden_gerry_gilbert_i006-11-019.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:29:19\",\"precision\":\"\",\"size\":\"214.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:08\\nWe have two readers tonight, both Canadian poets, as you know, and, but in most cases when we have two poets as we did last time, we generally have one poet read for a while, then have a break, and then have the other poet read for a while, but we're not going to do it that way tonight. We're just going to throw the thing open to both David McFadden [https://www.wikidata.org/wiki/Q5237344] and Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] and they will work it out as it seems to work out for them. This makes a lot of sense, although they've never read together before, they're both published by the same publishing house, and published in the same magazines and know each other as they used to say in the old days in the ivy league by reputation. Gerry Gilbert is, as a lot of people we've had this year, is from the West Coast and has been involved for quite a while with an outfit in the coast that gobbles up your tax money called Intermedia [https://www.wikidata.org/wiki/Q39079179], that's why the screen is there, something might happen there occasionally. Gerry was at one time the editor of a seminal West Coast publishing venture called Radio Free Rain Forest, and is the author of a series of books and things that are like books, as for instance, White Lunch which came out several years ago in Vancouver [https://www.wikidata.org/wiki/Q24639] and Telephone Book which is published by Coach House Press, I think, no, Weed/Flower, sorry. David's also been published by Weed/Flower and the Coach House Press, and his forthcoming book is the second volume of the Big/Little Book novel, called The Great Canadian Sonnet with illustrations by a little-known London [https://www.wikidata.org/wiki/Q92561] artist named Greg Curnoe [https://www.wikidata.org/wiki/Q5605459]. His next book is going to be called Poems Worth Knowing, a title that anyone from Ontario [https://www.wikidata.org/wiki/Q1904] or British Columbia [https://www.wikidata.org/wiki/Q1974] will know. What we're going to do is they're going to operate for a little while, and then when they feel the need for a break there will be a short intermission, like about ten minutes, then we'll proceed again with what, as they say, the second set. So I'm not going to be able to say that somebody's reading first and somebody's reading second but what I will be able to say is that the readers will be David McFadden and Gerry Gilbert.\\n \\nUnknown\\n00:02:39\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nDavid McFadden\\n00:02:40\\nReads unnamed poem. \\n\\nUnknown\\n00:06:02\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nGerry Gilbert\\n00:06:03\\nReads \\\"Her white face where I have seen Her ride the last bus, before\\\" [from Money].\\n \\nGerry Gilbert\\n00:07:14\\nReads \\\"A moving picture moves, it's the truth about movies\\\" [from Money].\\n \\nDavid McFadden\\n00:07:33\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:08:20\\nReads \\\"I REMEMBER TOOTSIE ROLLS when they were only in American comic books\\\" [from Money].\\n \\nDavid McFadden\\n00:09:46\\nReads [“The Slippery Wig” published later in Intense Pleasure and collected in Why Are You So Sad?]. \\n \\nGerry Gilbert\\n00:10:38\\nReads \\\"London 1964\\\" [from Money]\\n \\nDavid McFadden\\n00:12:28\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:13:37\\nReads \\\"waitress calls the man in the corner, HARRY” [from Money].\\n \\nDavid McFadden\\n00:14:30\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:14:53\\nReads \\\"the pleasure. I said” [from Money].\\n \\nDavid McFadden\\n00:16:14\\nReads [“Titles I Have Heard Of But Not Read” published later in Intense Pleasure and collected in Why Are You So Sad?].\\n \\nGerry Gilbert\\n00:18:26\\nReads [\\\"Single Mens Unit\\\" from Money].\\n \\nDavid McFadden\\n00:19:05\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:21:03\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:23:13\\nReads \\\"Goodness and mercy are following me across the lake\\\" [from Money].\\n\\nGerry Gilbert\\n00:24:10\\nReads \\\"Bicycle\\\" [from Money].\\n \\nGerry Gilbert\\n00:24:55\\nReads \\\"on the bed” [from Money].\\n \\nDavid McFadden\\n00:25:32\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:26:05\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:26:18\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:26:49\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:28:03\\nReads \\\"bone ring on my finger\\\" [from Money].\\n \\nDavid McFadden\\n00:28:34\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:31:05\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:32:10\\nWe're reading Canadian history. A few of the poems from Phone Book.\\n \\nGerry Gilbert\\n00:32:28\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:33:05\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:33:42\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:34:31\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:35:25\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:36:37\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:36:58\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:37:29\\nThis poem's called \\\"Garden\\\".\\n \\nGerry Gilbert \\n00:37:35\\nReads \\\"Garden\\\" [from Money].\\n \\nDavid McFadden\\n00:38:38\\nReads [“Journey To Love” published later in Poems Worth Knowing].\\n \\nDavid McFadden\\n00:39:21\\nReads [“A Poem Without A Title Is Like A Letter Without A Stamp” published later in Poems Worth Knowing].\\n \\nGerry Gilbert\\n00:39:50\\nReads \\\"find your birds\\\" [from Money].\\n \\nDavid McFadden\\n00:41:32\\nReads [“Art’s Variety” published later in Poems Worth Knowing].\\n \\nGerry Gilbert\\n00:42:04\\nReads \\\"sometimes I miss\\\" [from Money].\\n \\nDavid McFadden\\n00:42:18\\nReads [“Another Revolution” published later in Poems Worth Knowing].\\n \\nDavid McFadden\\n00:42:57\\nReads [“Chapter One” from The Great Canadian Sonnet].\\n \\nGerry Gilbert\\n00:47:06\\nDid I hear you say 'boiled skunks'? This is a little tale. \\n\\nGerry Gilbert\\n00:49:24\\nReads unnamed poem. \\n\\nGerry Gilbert\\n00:49:45\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:51:42\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:53:02\\nReads \\\"Vital Statistics: Distances from Hamilton To...\\\" [from The Great Canadian Sonnet]. \\n \\nGerry Gilbert\\n00:54:52\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:54:52\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:55:52\\nReads unnamed poem [audience laughter throughout]. \\n \\nGerry Gilbert\\n00:56:52\\nReads [“SQUEEZE THRU THE TUBE” from And].\\n\\nGerry Gilbert\\n00:57:08\\nReads [“24.11.70. TORONTO” from And].\\n\\nGerry Gilbert\\n00:57:59\\nThe following is a Rochdale College [https://www.wikidata.org/wiki/Q14875408] council meeting. 23rd of November, 1970.\\n\\nGerry Gilbert\\n00:58:08\\nReads [“ROCHDALE COUNCIL MEETING 23.11.70” and other untitled sections from And].\\n \\nDavid McFadden\\n01:01:24\\nReads unnamed poem. \\n \\nDavid McFadden\\n01:01:39\\nReads unnamed poem. \\n\\nUnknown\\n01:09:59\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nGerry Gilbert\\n01:10:01\\nReads [“QUIET” from And].\\n\\nGerry Gilbert\\n01:10:28\\nReads untitled poem [from And].\\n\\nGerry Gilbert\\n01:10:41\\nReads [“THE WEST IS ALONE SEA” from And].\\n\\nGerry Gilbert\\n01:10:57\\nReads “TICKET” [from And].\\n\\nGerry Gilbert\\n01:11:33\\nReads [“2.1.71” from And]. \\n\\nGerry Gilbert\\n01:12:44\\nReads [“49th week 1970” from And].\\n\\nGerry Gilbert\\n01:12:49\\nReads “FRIED EGG SANDWICH ON BROWN” [from And].\\n\\nDavid McFadden\\n01:13:54\\nReads unnamed poem. \\n \\nGerry Gilbert\\n01:23:26\\nReads [first section of “Babyland Blues” from Money]. \\n \\nGerry Gilbert\\n01:27:05\\nReads unnamed poem. \\n \\nGerry Gilbert\\n01:27:52\\nReads [section of “Babybland Blues from Money].\\n \\nGerry Gilbert\\n01:28:44\\nReads unnamed poem.\\n \\nGerry Gilbert\\n01:29:04\\nReads [final section of “Babyland Blues from Money].\\n \\nEND\\n01:29:19\\n\",\"notes\":\"David McFadden reads from The Great Canadian Sonnet (Coach House Press, 1970), as well as poems published later in Poems Worth Knowing (Coach House Press, 1971) and Intense Pleasure (McClelland and Stewart, 1972). Gerry Gilbert reads from Money (York Street Commune, 1971) and Phone Book (Weed/Flower, 1969) and And (Blewointmentpress, 1971) as well as some poems from unknown sources.\\n00:00- Unknown Male introduces David McFadden and Gerry Gilbert [INDEX: Gerry Gilbert: West Coast, radiofreerainforest, Intermedia, White Lunch, Vancouver, Phone Book published by Weed/Flower Press. David McFadden: Coach House Press, Weed/Flower Press, Big Little Book novel, The Great Canadian Sonnet with illustrations by Greg Curnoe, Poems Worth Knowing, Ontario, British Columbia]\\n02:40- David McFadden reads first line “They try to teach you things so fast in school...”\\n06:03- Gerry Gilbert reads first line “Her right face, where I have seen her ride the last bus before...”\\n07:14- Gerry Gilbert reads first line “A moving picture moves...” [INDEX: in the section “For Crying Out Loud” in Money]\\n07:33- David McFadden reads first line “At the vending machine, Garfield got a bag of...”\\n08:20- Gerry Gilbert reads first line “I remember tootsie rolls were only in American comic books...” [INDEX: in the section “For Crying Out Loud” in Money]\\n09:46- David McFadden reads first line “I sat next to her on the bus. She kept adjusting her black wig...”\\n10:38- Gerry Gilbert reads “London 1964” [INDEX: in the section “For Crying Out Loud”, in Money]\\n12:28- David McFadden reads “Received your postcard today and dropped it...”\\n13:37- Gerry Gilbert reads “The waitress calls the man in the corner Harry...” [INDEX: in the section “For Crying Out Loud” in Money]\\n14:30- David McFadden reads first line “Nine inches from navel to vulva...”\\n14:53- Gerry Gilbert reads first line “The pleasure, I said, I dreamed I was in Vietnam...” [INDEX: in the section “For Crying Out Loud” in Money]\\n16:14- David McFadden reads first line “Dreams have become so full of intricate detail...”\\n18:26- Gerry Gilbert reads “Single Mens Unit” [INDEX: in Money]\\n19:05- David McFadden reads first line “The Bursby Police are a fine group of men...”\\n21:03- David McFadden reads first line “Napanee home for the aged Japanese Canadians...”\\n23:13- Gerry Gilbert reads first line “Goodness and Mercy are following me...” [INDEX: in the section “For Crying Out Loud” in Money]\\n24:10- Gerry Gilbert reads “Bicycle” [INDEX: in Money]\\n24:55- Gerry Gilbert reads first line “On the bed, we held, two hands a pot...”\\n25:32- David McFadden reads first line “The successful young alderman of ambition...”\\n26:05- David McFadden reads first line “The tub was dirty so I washed it out...”\\n26:18- David McFadden reads first line “I’m leaving on Saturday, Harry the sweeper talking...”\\n26:49- Gerry Gilbert reads first line “Blow by blow, solid, solid, short...”\\n28:03- Gerry Gilbert reads first line “Bone, ring on my finger, bell...” [INDEX: in section “For Crying Out Loud” in Money]\\n28:34- David McFadden reads first line “Spitting out the used up toothpaste...”\\n31:05- David McFadden reads first line “If you’re lucky enough to be there when your name is called...”\\n32:28- Gerry Gilbert reads first line “Mirror, mirror from Middle English...” [INDEX: in \\tPhone Book]\\n33:05- Gerry Gilbert reads first line “Stabit, she’s big, her mom sed...” [INDEX: in Phone Book]\\n33:42- Gerry Gilbert reads first line “Conductor, CN Conductor...” [INDEX: in Phone Book]\\n35:25- Gerry Gilbert reads first line “It began to rain, we sat on the hill...” [INDEX: in Phone Book]\\n36:37- Gerry Gilbert reads first line “The killer is at the top window...” [INDEX: in Phone Book]\\n36:58- Gerry Gilbert reads first line “Can’t see the key, you have to reach...” [INDEX: in Phone Book]\\n37:29- Gerry Gilbert reads “Garden” [INDEX: in Money]\\n38:38- David McFadden reads first line “No one knows his own potential for evil...”\\n39:21- David McFadden reads first line “I made a left turn from Houston onto King...”\\n39:50- Gerry Gilbert reads first line “Find your birds, ladies and gentlemen...” [INDEX: in the section “For Crying Out Loud” in Money]\\n41:32- David McFadden reads first line “She was small and pretty, my heart broke...”\\n42:04- Gerry Gilbert reads first line “Sometimes I miss the times I miss...” [INDEX: in the section “For Crying Out Loud” in Money] \\n42:18- David McFadden reads first line “Elege [sp?] expands to fill the vacuum left by loss of spirit...”\\n42:57- David McFadden reads first line “I’m Alabama-bound, my brain is firming round...”\\n47:24- END OF RECORDING\\n\\n00:02- Gerry Gilbert reads first line “I rolled down the slime trail after slug...”\\n01:59- Gerry Gilbert reads first line “Semitic origin, these etymological discussions...”\\n02:21- Gerry Gilbert reads “Spadina Salvation Army, December 1969”\\n04:27- David McFadden reads first line “Vital statistics, distances from Hamilton to \\tBoston...”\\n05:38- Gerry Gilbert reads first line “A place in mind clicks, switch...”\\n07:27- David McFadden reads first line “Joan was telling me how she was driving...”\\n08:28- David McFadden reads first line “The dog across the street is a little Pekinese...”\\n09:28- Gerry Gilbert reads series of poems starting with first lines “I was in Ottawa...” and “Matches, I never saw Eddie...”\\n10:09- Gerry Gilbert reads series of poems starting with first lines “I can’t find the sky...” and “I see you and baby...” and “9 or 10 council men and women...”\\n14:00- David McFadden reads first line “Collier's Encyclopedia says...”\\n14:15- David McFadden reads first line “Joan said she was miserable that day...”\\n22:35- Gerry Gilbert reads of series of short poems with first lines “Buddha, somebody stole...”, “I jacked-off..”, “We’ve been having technical...”, “Go sooner than you expect...”. “If you like lots of food...”, “Ticket, way West...”, “Pictures of windows...”, “Pencil, don’t dry out...”, “Each a life, eat your wife...”, “Fried egg sandwich...”, “The world is so young...”, “Your own, a better night...”, “She loved me...”, “Hair, hooked behind my ears...”, “Your first is something nobody...”\\n26:29- David McFadden reads first line “The car was running very well...”\\n36:01- Gerry Gilbert reads first line “I know what I’m doing...”\\n39:40- Gerry Gilbert reads first line “Eagle, hear me coming...”\\n40:28- Gerry Gilbert reads first line “Water the garden after...”\\n41:19- Gerry Gilbert reads first line “Each size, big places...”\\n41:40- Gerry Gilbert reads first line “Sweet, sweet babyland bird...”\\n41:55.46- END OF RECORDING\\n \\n*Note about Transcript: because both readers read their work without any extra-poetic speech, there are no ‘annotated’ notes. The text that is spoken by the poets is marked by quotation marks. Poem titles are indicated, when available, in the [Indexed] sections. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/david-mcfadden-and-gerry-gilbert-at-sgwu-1971/\"}]"],"score":1.0},{"id":"1294","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Kenneth Koch at Sir George Williams University, The Poetry Series, 19 February 1971"],"item_title_source":["Cataloguer "],"item_title_note":["\"KENNETH KOCH Recorded February 19, 1971 3.75 ips on 1 mil. tape, 1/2 track Fair quality\" written on sticker on the back of the tape's box. KENNETH KOCH I006/SR39 written on sticker on the spine of the tape's box. I006-11-039 written on sticker on the reel.\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Koch, Kenneth"],"creator_names_search":["Koch, Kenneth"],"creators":["[{\"url\":\"http://viaf.org/viaf/110467351\",\"name\":\"Koch, Kenneth\",\"dates\":\"1925-2002\",\"notes\":\"Poet, playwright, author and teacher Kenneth Koch was born on February 27, 1925 in Cincinnati, Ohio. In 1943, after completing high school, Koch served in the United States Army until 1945. He then enrolled at Harvard University, and received his B.A. degree in 1948 in English literature and writing. Koch then entered the Ph.D. program at Columbia University in New York City, through which he traveled on a Fulbright scholarship to France to study avant-garde poetry. In New York, he met poets John Ashbery and Frank O’Hara, the three of whom would be coined the New York School of Poets. Koch published his first collection of poetry, Poems (Tibor de Nagy Gallery, 1953), and wrote a play, Little Red Riding Hood (1953), followed by Ko; or, A Season on Earth (Grove Press, 1959). During this time Koch taught at Rutgers and Brooklyn Colleges before he completed his Ph.D. in 1959. Koch’s second play, Bertha, debuted in 1960, along with a third collection of poetry, Permanently (Tiber Press, 1960). In the early 60’s, Koch published plays, including George Washington Crossing the Delaware, The Construction of Boston (both in 1962), Guinevere; or, The Death of the Kangaroo, (1964). Koch was also a brilliant teacher, creating poetry and reading programs for grade school students in New York City public schools, which he won a Harbison Award for teaching. He published his experiences in Wishes, Lies and Dreams: Teaching Children to Write Poetry (Chelsea House, 1970) and Rose, Where Did You Get That Red?: Teaching Great Poetry to Children (Random House, 1973), which won a Ohioana Book Award and a Christopher Book Award. He also launched a similar program for the elderly, as described in I Never Told Anybody: Teaching Poetry Writing in a Nursing Home (Random House, 1977). During this time Koch published numerous books of verse, namely The Pleasures of Peace and Other Poems (Grove Press, 1969), When the Sun Tries to Go On (Black Sparrow, 1969), Sleeping with Women (Black Sparrow Press, 1969), the highly praised The Art of Love (Random House, 1975) which won the National Institute of Arts and Letters award in 1976, The Burning Mystery of Anna in 1951 (Random House, 1979). A prolific writer, Koch wrote over forty books and plays, including Days and Nights (Random House, 1982), On the Edge (Alfred A. Knopf, 1986) which won an Award of Merit for Poetry from the American Academy and Institute of Arts and Letters, Selected Poems, 1950-1982 (Random House, 1985), a book of short dramatic selections One Thousand Avant-garde Plays (Knopf, 1988) won a National Book Critic’s Circle nomination, Selected Poems, (Carcanet, 1991), On the Great Atlantic Rainway: Selected Poems, 1950-1988 (Knopf, 1994) and his last book, New Addresses (Knopf, 2000). 1995 was a big year for Koch, as he was awarded the Bollingen Prize for a lifetime achievement to poetry, and was elected to the American Academy of Arts and Letters. Subsequently, Koch received the Rebekah Johnson Bobbitt National Prize for Poetry in 1996, the Chevalier de l’ordre des arts et des lettres in France in 1999, and the Phi Beta Kappa Poetry Award. Kenneth Koch died of leukemia on July 6, 2002 in New York City.\",\"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":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1971 2 19\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement \\\"What Goes On!\\\"\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Kenneth Koch reads from Thank You and Other Poems (Grove Press, 1962), The Pleasures of Peace and Other Poems (Grove Press, 1969), works published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973) and from other unknown sources."],"contents":["kenneth_koch_i006-11-039.mp3\n\nGeorge Bowering\n00:00:00\nMost people will have seen, probably, the little promo sheet that went out about Kenneth [https://www.wikidata.org/wiki/Q2708628] talking about all his various books et cetera, so I'll keep this very short. Those that have been involved in reading American poetry over the past few years will naturally know who Kenneth Koch is, that he along with Frank O'Hara [https://www.wikidata.org/wiki/Q951010] probably invented modern American poetry in New York City [https://www.wikidata.org/wiki/Q60], and it's, and he's also been in the news lately in the various, Slick magazine in the United States [https://www.wikidata.org/wiki/Q30] as a teacher of poetry, a very important teacher of poetry to kids in schools. And he's the only man I know who's been able to write what I think is probably an epic in the American language. So I'd like to make this as fast as I can and introduce Mr. Kenneth Koch.\n \nAudience\n00:00:58\nApplause.\n \nUnknown\n00:01:03\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nKenneth Koch\n00:01:04\nThe first poem I'll read is called \"Spring\". \n \nKenneth Koch\n00:01:08\nReads \"Spring\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:02:36\nThe next poem I want to read is called \"Variations on a Theme by William Carlos Williams\". I love Williams' [https://www.wikidata.org/wiki/Q178106] work, and I usually only write parodies of people whose work I like a lot. This parody is based on a poem of Williams, well, actually, on a certain characteristic I saw in Williams' work for a long time which I like, which is sort of, the idea that if you really like something enough and if you want to do it enough, it's okay to do it. And I saw certain insane possibilities of this viewpoint. This is specifically a parody of a poem which goes, \"This is just to say I've eaten the plums in the icebox and which you were probably saving for breakfast. Forgive me, they were so cold and so delicious\". It's really a nice poem, but it seemed to me there was a little streak of insanity running through it. It's called, \"Variations on a Theme by William Carlos Williams\".\n \nKenneth Koch\n00:03:28\nReads \"Variations on a Theme by William Carlos Williams\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:04:33\nI'd like to read another short poem, this is called \"You Were Wearing\".\n \nKenneth Koch\n00:04:38\nReads \"You Were Wearing\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:06:37\nI'm trying to find the ideal lights still, it’s--okay, I think that's probably a bit better. The next thing that I want to read is a play called \"E.KOLOGY\". It's...E.KOLOGY is the name of the hero, it's like capital \"E,\" period, capital \"KOLOGY.\" I'd like to say something about this play. I read it at the University of Chicago [https://www.wikidata.org/wiki/Q131252] last year, and some students thought that I was making fun of the ecology movement. I'm not, and I would see to it that if it were produced that that was not the case. It just seemed to me that the ecology movement was such a, like a natural cause for pleasure that it wouldn't really do to be totally solemn about it. The, I wrote this to be performed on Earth Day [https://www.wikidata.org/wiki/Q124473], in New York last year in April, but they were supposed to have all these things in Union Square [https://www.wikidata.org/wiki/Q110007] and it just ended up being a lot of light shows and speeches, I think, because they couldn't get the actors together and the lights and the stage and everything. It was done in Philadelphia [https://www.wikidata.org/wiki/Q1345], did anyone see it, by any chance? Probably not. I didn't see it. I didn't even know it was done. In any case. E.KOLOGY. \n \nKenneth Koch\n00:07:44\nReads E.KOLOGY - Act One, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:09:38\nReads E.KOLOGY - Act One, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:11:19\nReads E.KOLOGY - Act One, Scene Three [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:12:06\nReads E.KOLOGY - Act Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:13:54\nReads E.KOLOGY - Act Three, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:14:24\nReads E.KOLGOY - Act Three, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:16:04\nReads E.KOLOGY - Act Four [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:17:30\nReads E.KOLOGY - Act Five [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nAudience\n00:19:34\nApplause.\n \nKenneth Koch\n00:19:44\nWhile you're in the mood for theatre, I'll read a film script I wrote which I'd be delighted if someone would do. No one's ever done it. Apparently it would cost a great deal to do this, although it's very simple. It's called “Youth”.\n \nKenneth Koch\n00:19:57\nReads \"Youth\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:21:36\nI don't hear any takers unless...Let's see. This is a very short poem called, \"Poem\".\n \nKenneth Koch\n00:21:53\nReads \"Poem\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n00:22:11\nThis, this poem is called \"Ma Provence\", and my interest in writing it was the different way that French and English sound to me. \"Ma Provence\".\n \nKenneth Koch\n00:22:23\nReads \"Ma Provence\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n00:22:52\nI usually translate the French, but I guess here I don't really have to. I'll read a...the French is very banal, it means, \"In my Provence the wheat is always green, the girls are pretty, they love me madly, they never die in my Provence\". This poem is called \"Great Beauty\". \n \nKenneth Koch\n00:23:14\nReads \"Great Beauty\".\n \nKenneth Koch\n00:23:31\nThis poem is called \"Little Known Historical Fact\".\n \nKenneth Koch\n00:23:35\nReads \"Little Known Historical Fact\".\n \nKenneth Koch\n00:23:48\nCharlemagne [https://www.wikidata.org/wiki/Q3044] is an Italian. [Audience laughter]. This is called...\"Getting Back on Land\".\n \nKenneth Koch\n00:24:06\nReads \"Getting Back on Land\".\n \nAudience\n00:24:22\nLaughter. \n \nKenneth Koch\n00:24:29\nThis, the next thing I want to read is part of a long poem I've been writing in the last year. George [https://www.wikidata.org/wiki/Q1239280] mentioned an epic poem I wrote called “Ko”, which I wrote about, oh twelve or fourteen years ago, and it's a poem...that's “Ko”, there it is, and it's about a hundred and twenty pages, it's in ottava rima, which is a stanza that Ariosto [https://www.wikidata.org/wiki/Q48900] used in Orlando Furioso [https://www.wikidata.org/wiki/Q48922] and it's also the stanza that Byron [https://www.wikidata.org/wiki/Q5679] used in Don Juan [https://www.wikidata.org/wiki/Q1245187]. It rhymes ABABABCC. And...I really like “Ko” a lot. It's a poem about a, the main character is a Japanese baseball player, a pitcher, who throws the ball so hard he knocks the grandstand down with every pitch. And there are a lot of other characters in it. When I wrote the poem I really was very happy, I was living in Florence [https://www.wikidata.org/wiki/Q2044], in a villino, and, sort of outside of town on the Viale Michelangelo, and what I tried to do in “Ko” is like to put in every pleasant thing I'd ever experienced in my life, and the poem is kind of happy and optimistic. And I always wanted to continue it, because I liked writing that way. And I never could, because the continuation was always sort of in the style of “Ko” exactly and not as good. It sort of lost that particular feeling. Then I finally was able to start doing it again, recently, but I noticed as I went on writing the poem that it had changed a good deal, that my idea about life and the world was not quite the same, naturally, partly because it changes in me, and partly because it changes in the world, but I don't want to get into metaphysical questions. In any case, the first thing I want to read from this poem is the, like the “Prologue”, which explains my problems in continuing this very happy poem fourteen years afterwards. The only, I think the only thing that needs explaining that I haven't explained is that “Ko” ends with the line, \"Huddle, meanwhile, was flaking at the knees.\" Now Huddle is a, like an Englishman in “Ko” who dies of mold fever in Rome [https://www.wikidata.org/wiki/Q220], and when he dies he turns into a statue which is set up near the Villa Giulia [https://www.wikidata.org/wiki/Q964499] in Rome. And all of the other characters that have been killed sort of turn into statues and start coming back to life, and this is a sign that Huddle is coming back to life but he's flaking at the knees. In any case, that's referred to at the beginning of the “Prologue”.\n \nKenneth Koch\n00:27:00\nReads \"Prologue\".\n \nKenneth Koch\n00:34:08\nThat's the end of the “Prologue”. I want to read the first episode in the poem, now. I realize there was another, perhaps incomprehensible thing in the “Prologue”. Pana Grady...Pana Grady's apartment was a place on...Central Park West [https://www.wikidata.org/wiki/Q2738041] where a lot of parties were held for Upper and Lower Bohemia in the days...well, it was about five or six years ago. Anyway. That's the end of the “Prologue”, which I'm not sure I'm finally going to attach to the poem, since I usually eliminate prologues. And this is the beginning of the poem. \n \nKenneth Koch\n00:34:55\nReads [\"Episode I”].\n \nKenneth Koch\n00:41:07\nThat's the end of the first part. To tell you what happens in this poem would take as long as reading the whole poem, which I don't have time to do. I think I'd like to read some brief, improvisational plays. I wrote these plays to be done at The Living Theatre [https://www.wikidata.org/wiki/Q1202416], though I knew they wouldn't do them. Somebody asked me to write some improvisational plays, it's really, it's really great, you know, writes it with some actors that want to do it, and I'd, I'd seen some improvisational plays and it seemed to me that the only emotions that actors could improvise were...let's see, passion, nostalgia, self-hatred, anxiety, and then make narcissism and then make topical references, and I decide to really throw sort of a curve at actors and give them something that would really be hard to improvise. My penalty has been that these plays have never been done. The first one I'd like to read...I'd be very glad if they were, could be given a premiere here in Canada [https://www.wikidata.org/wiki/Q16]. \"Mexico City\".\n \nKenneth Koch\n00:42:18\nReads \"Mexico City\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:43:13\nThe next one is called \"The Lost Feed\".\n \nKenneth Koch\n00:43:16\nReads \"The Lost Feed\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:44:12\nThe next play is called \"Coil Supreme\".\n \nKenneth Koch\n00:44:17\nReads \"Coil Supreme\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:44:48\nThe last improvisational play I'll read is the one that has always moved me the most at the thought of production. It's called \"The Gold Standard\".\n \nKenneth Koch\n00:44:57\nReads \"The Gold Standard\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:45:54\nI think I'd like to read a rather long poem called...my present plan, which--I don't want to really ruin people's evening, since I didn't start until 9:30, I think the poems that I would like to read will last until 11. So, it's twenty-five after ten now, I don't want to keep anybody up to late or anything. [Audience laughter]. If...Don't feel bad about leaving if you have to go, I want to read these two rather long poems. This is called \"The Pleasures of Peace\". I should say something about this poem, I wrote it...I started to write it, oh, three years ago, or whenever it was, maybe it was four years ago, but it took me a long time to write it. I guess about three years ago I started. It was at the moment of the, when there really was a lot of happiness in the peace movement in the United States. And it was like the first Peace Marches on Fifth Avenue, and people were jumping up and down for peace, and dancing for peace, and it really seemed as though what people were doing was going to do some good. And I remember feeling very excited in the first set of mass peace activities I was in because, being a poet, and having been brought up in America and everything and like almost all the other poets and artists I knew I sort of felt like a social outcast a little bit. And then I found, in the midst of the peace movement, like there were hundreds of thousands of people who sort of felt the same way about a lot of things, it was nice. And there was something very sort of grand and exciting about the peace movement which does not have anything to do with the issues at all, it was just a lot of fun. In a way it was sort of...it was very pleasant. There were a few other things that motivated this poem. One was I was very annoyed at a lot of my fellow-poets who were going around, giving, in groups to colleges, giving poetry readings for peace. Now there were two things about this that annoyed me, three things. One was that I wasn't doing it. But that, I think, was a minor thing A second thing was that...who did they really think they were trying to convert, like college students who came to poetry readings? I mean, college students who come to poetry readings are not usually in favour of war. And in the second-place, all the poems they read for peace were the sort of things that would make you want to go out and kill people, like \"Lyndon Johnson [https://www.wikidata.org/wiki/Q9640], you, fuck the pregnant woman who's lying with her guts streaming out,\" [audience laughter] and they weren't, they didn't really...they didn't really seem like peace poems to me. It...And I felt it was sort of exploitative on their part to do that. So I wanted to write a--I'd never written a political poem and I wanted very much to write a poem, I had very strong feelings about the Vietnam War [https://www.wikidata.org/wiki/Q8740], and I wanted to write a poem against the war but which really, was really a poem, a positive poem about peace. I found it terribly hard to do, and I never worked so long on any poem. The fact that I worked so long on it does not mean that it's any better than anything else I ever wrote, but it was just hard, because I kept trying to put in sort of, things about suffering and so on, and they would jump out of the poem the way an artificial heart, I mean the way a transferred heart is sometimes rejected by the body. And I realized I was sort of stuck with writing a poem that was, like, one of my poems, it was really sort of a positive poem about peace. Another problem is that if you write a poem about the pleasures of peace it means you're writing a poem about the pleasures of life. And it's endless, in any case. That's about enough of that for now. It took me over a year to write, it was mainly the last part I couldn't write, since I didn't want to have sort of a literary copout at the end, and I didn't want to sort of end up, oh well, anyway. It's just a poem. The only thing--I got varied reactions to the poem. One...some dopey poet friend of mine came over and said, \"Boy, you really put the peace movement down\". And I haven't spoken to him very much since then. But then, a better reaction was that I got, some guy called me up and asked me if he could use this poem as his draft resistance statement. And I said you're going to languish in prison for a long time because, you know, judges don't like poetry. But anyway. Now just forget everything I've said [audience laughter] and I'll read this poem. And there's a pause. \"The Pleasures of Peace\". Oh! Another thing. [Audience laughter]. I read this poem in London [https://www.wikidata.org/wiki/Q84] last year, and I got this dopey review in the Times [https://www.wikidata.org/wiki/Q50008] by, who was it....I'm not sure. And he said, \"Kenneth Koch's 'Pleasures of Peace' is a very interesting poem but since he mentions the name of all his friends which we can't be expected to know”--like about 90% of the people in this poem are imaginary. They, they're not my friends. [Audience laughter]. Okay. Like Georgio Finogo is not a real person, okay?. \"The Pleasures of Peace\".\n \nKenneth Koch\n00:51:15\nReads \"The Pleasures of Peace\" [from The Pleasures of Peace and Other Poems].\n \nAudience\n01:11:09\nApplause. \n \nKenneth Koch\n01:11:15\nThank you. \n \nKenneth Koch\n01:11:22\nI want to read another poem which will take about seven minutes, but just to rest up I'll read a short poem...I can't find one short enough...Oh, this is called \"An X-Ray of Utah\".\n \nKenneth Koch\n01:12:00\nReads \"An X-Ray of Utah\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n01:12:08\nWell that's the shortest poem I ever wrote. [Audience laughter]. Except, there's one that's not in any of my books which is called \"Tennis\", which is the same length. \n \nKenneth Koch\n01:12:19\nReads \"Tennis\".\n \nKenneth Koch\n01:12:29\nOh, I think I'll read a few movie scripts. I'll just read a few. This is really for, this is from something called \"Ten Films\", but I'll just read a few of them, which are my favourites. One of the films is called \"Sheep Harbour\".\n \nKenneth Koch\n01:12:44\nReads \"Sheep Harbour\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:12:57\nLike, the camera could sort of show this for a long time.\n \nKenneth Koch\n01:13:03\nReads \"Oval Gold\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:13:19\nI'll just read one more of these films. This is called \"The Cemetery\".\n \nKenneth Koch\n01:13:24\nReads \"The Cemetery\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:13:49\nI'll read this one last poem which is called \"Sleeping with Women”. \"Sleeping with Women\".\n \nKenneth Koch\n01:13:54\nReads \"Sleeping with Women\" [from The Pleasures of Peace and Other Poems].\n\nEND\n01:22:37\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nDuring this time, Koch published Wishes, Lies and Dreams: Teaching Children to Write Poetry (Chelsea House, 1970) and Rose, Where Did You Get That Red?: Teaching Great Poetry to Children (Random House, 1973), recounting his teaching experiences.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connections to Kenneth Koch and Sir George Williams University are unknown, but Koch was an important and influential New York poet and educator.\",\"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>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/change-of-hearts-plays-films-and-other-dramatic-works/oclc/469682283&referer=brief_results\",\"citation\":\"Koch, Kenneth. A Change of Hearts: Plays, Films and Other Dramatic Works, 1951-1971. New York: Random House, 1973. \"},{\"url\":\"https://www.worldcat.org/title/pleasures-of-peace-and-other-poems/oclc/256034641&referer=brief_results\",\"citation\":\"Koch, Kenneth. The Pleasures of Peace and Other Poems. New York: Grove Press, Inc, 1969. \"},{\"url\":\"https://www.worldcat.org/title/thank-you-and-other-poems/oclc/256035573&referer=brief_results\",\"citation\":\"Koch, Kenneth. Thank You and Other Poems. New York: Grove Press, Inc, 1962. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Koch, Kenneth [Jay]\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev.). Oxford University Press 1995.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/kenneth-koch-at-sgwu-1971/\",\"citation\":\"“What Goes On!”. The Georgian. Montreal: Sir George Williams University, 18 February 1971.\"},{\"url\":\"\",\"citation\":\"“Koch, Kenneth, 1925-”. Literature Online Biography. Cambridge: Chadwyck-Healey, Proquest, 2005.\"}]"],"_version_":1853670548932919296,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch 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_0039_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch 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_0039_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/kenneth_koch_i006-11-039.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"kenneth_koch_i006-11-039.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:22:37\",\"precision\":\"\",\"size\":\"103.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nMost people will have seen, probably, the little promo sheet that went out about Kenneth [https://www.wikidata.org/wiki/Q2708628] talking about all his various books et cetera, so I'll keep this very short. Those that have been involved in reading American poetry over the past few years will naturally know who Kenneth Koch is, that he along with Frank O'Hara [https://www.wikidata.org/wiki/Q951010] probably invented modern American poetry in New York City [https://www.wikidata.org/wiki/Q60], and it's, and he's also been in the news lately in the various, Slick magazine in the United States [https://www.wikidata.org/wiki/Q30] as a teacher of poetry, a very important teacher of poetry to kids in schools. And he's the only man I know who's been able to write what I think is probably an epic in the American language. So I'd like to make this as fast as I can and introduce Mr. Kenneth Koch.\\n \\nAudience\\n00:00:58\\nApplause.\\n \\nUnknown\\n00:01:03\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nKenneth Koch\\n00:01:04\\nThe first poem I'll read is called \\\"Spring\\\". \\n \\nKenneth Koch\\n00:01:08\\nReads \\\"Spring\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:02:36\\nThe next poem I want to read is called \\\"Variations on a Theme by William Carlos Williams\\\". I love Williams' [https://www.wikidata.org/wiki/Q178106] work, and I usually only write parodies of people whose work I like a lot. This parody is based on a poem of Williams, well, actually, on a certain characteristic I saw in Williams' work for a long time which I like, which is sort of, the idea that if you really like something enough and if you want to do it enough, it's okay to do it. And I saw certain insane possibilities of this viewpoint. This is specifically a parody of a poem which goes, \\\"This is just to say I've eaten the plums in the icebox and which you were probably saving for breakfast. Forgive me, they were so cold and so delicious\\\". It's really a nice poem, but it seemed to me there was a little streak of insanity running through it. It's called, \\\"Variations on a Theme by William Carlos Williams\\\".\\n \\nKenneth Koch\\n00:03:28\\nReads \\\"Variations on a Theme by William Carlos Williams\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:04:33\\nI'd like to read another short poem, this is called \\\"You Were Wearing\\\".\\n \\nKenneth Koch\\n00:04:38\\nReads \\\"You Were Wearing\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:06:37\\nI'm trying to find the ideal lights still, it’s--okay, I think that's probably a bit better. The next thing that I want to read is a play called \\\"E.KOLOGY\\\". It's...E.KOLOGY is the name of the hero, it's like capital \\\"E,\\\" period, capital \\\"KOLOGY.\\\" I'd like to say something about this play. I read it at the University of Chicago [https://www.wikidata.org/wiki/Q131252] last year, and some students thought that I was making fun of the ecology movement. I'm not, and I would see to it that if it were produced that that was not the case. It just seemed to me that the ecology movement was such a, like a natural cause for pleasure that it wouldn't really do to be totally solemn about it. The, I wrote this to be performed on Earth Day [https://www.wikidata.org/wiki/Q124473], in New York last year in April, but they were supposed to have all these things in Union Square [https://www.wikidata.org/wiki/Q110007] and it just ended up being a lot of light shows and speeches, I think, because they couldn't get the actors together and the lights and the stage and everything. It was done in Philadelphia [https://www.wikidata.org/wiki/Q1345], did anyone see it, by any chance? Probably not. I didn't see it. I didn't even know it was done. In any case. E.KOLOGY. \\n \\nKenneth Koch\\n00:07:44\\nReads E.KOLOGY - Act One, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:09:38\\nReads E.KOLOGY - Act One, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:11:19\\nReads E.KOLOGY - Act One, Scene Three [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:12:06\\nReads E.KOLOGY - Act Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:13:54\\nReads E.KOLOGY - Act Three, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:14:24\\nReads E.KOLGOY - Act Three, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:16:04\\nReads E.KOLOGY - Act Four [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:17:30\\nReads E.KOLOGY - Act Five [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nAudience\\n00:19:34\\nApplause.\\n \\nKenneth Koch\\n00:19:44\\nWhile you're in the mood for theatre, I'll read a film script I wrote which I'd be delighted if someone would do. No one's ever done it. Apparently it would cost a great deal to do this, although it's very simple. It's called “Youth”.\\n \\nKenneth Koch\\n00:19:57\\nReads \\\"Youth\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:21:36\\nI don't hear any takers unless...Let's see. This is a very short poem called, \\\"Poem\\\".\\n \\nKenneth Koch\\n00:21:53\\nReads \\\"Poem\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n00:22:11\\nThis, this poem is called \\\"Ma Provence\\\", and my interest in writing it was the different way that French and English sound to me. \\\"Ma Provence\\\".\\n \\nKenneth Koch\\n00:22:23\\nReads \\\"Ma Provence\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n00:22:52\\nI usually translate the French, but I guess here I don't really have to. I'll read a...the French is very banal, it means, \\\"In my Provence the wheat is always green, the girls are pretty, they love me madly, they never die in my Provence\\\". This poem is called \\\"Great Beauty\\\". \\n \\nKenneth Koch\\n00:23:14\\nReads \\\"Great Beauty\\\".\\n \\nKenneth Koch\\n00:23:31\\nThis poem is called \\\"Little Known Historical Fact\\\".\\n \\nKenneth Koch\\n00:23:35\\nReads \\\"Little Known Historical Fact\\\".\\n \\nKenneth Koch\\n00:23:48\\nCharlemagne [https://www.wikidata.org/wiki/Q3044] is an Italian. [Audience laughter]. This is called...\\\"Getting Back on Land\\\".\\n \\nKenneth Koch\\n00:24:06\\nReads \\\"Getting Back on Land\\\".\\n \\nAudience\\n00:24:22\\nLaughter. \\n \\nKenneth Koch\\n00:24:29\\nThis, the next thing I want to read is part of a long poem I've been writing in the last year. George [https://www.wikidata.org/wiki/Q1239280] mentioned an epic poem I wrote called “Ko”, which I wrote about, oh twelve or fourteen years ago, and it's a poem...that's “Ko”, there it is, and it's about a hundred and twenty pages, it's in ottava rima, which is a stanza that Ariosto [https://www.wikidata.org/wiki/Q48900] used in Orlando Furioso [https://www.wikidata.org/wiki/Q48922] and it's also the stanza that Byron [https://www.wikidata.org/wiki/Q5679] used in Don Juan [https://www.wikidata.org/wiki/Q1245187]. It rhymes ABABABCC. And...I really like “Ko” a lot. It's a poem about a, the main character is a Japanese baseball player, a pitcher, who throws the ball so hard he knocks the grandstand down with every pitch. And there are a lot of other characters in it. When I wrote the poem I really was very happy, I was living in Florence [https://www.wikidata.org/wiki/Q2044], in a villino, and, sort of outside of town on the Viale Michelangelo, and what I tried to do in “Ko” is like to put in every pleasant thing I'd ever experienced in my life, and the poem is kind of happy and optimistic. And I always wanted to continue it, because I liked writing that way. And I never could, because the continuation was always sort of in the style of “Ko” exactly and not as good. It sort of lost that particular feeling. Then I finally was able to start doing it again, recently, but I noticed as I went on writing the poem that it had changed a good deal, that my idea about life and the world was not quite the same, naturally, partly because it changes in me, and partly because it changes in the world, but I don't want to get into metaphysical questions. In any case, the first thing I want to read from this poem is the, like the “Prologue”, which explains my problems in continuing this very happy poem fourteen years afterwards. The only, I think the only thing that needs explaining that I haven't explained is that “Ko” ends with the line, \\\"Huddle, meanwhile, was flaking at the knees.\\\" Now Huddle is a, like an Englishman in “Ko” who dies of mold fever in Rome [https://www.wikidata.org/wiki/Q220], and when he dies he turns into a statue which is set up near the Villa Giulia [https://www.wikidata.org/wiki/Q964499] in Rome. And all of the other characters that have been killed sort of turn into statues and start coming back to life, and this is a sign that Huddle is coming back to life but he's flaking at the knees. In any case, that's referred to at the beginning of the “Prologue”.\\n \\nKenneth Koch\\n00:27:00\\nReads \\\"Prologue\\\".\\n \\nKenneth Koch\\n00:34:08\\nThat's the end of the “Prologue”. I want to read the first episode in the poem, now. I realize there was another, perhaps incomprehensible thing in the “Prologue”. Pana Grady...Pana Grady's apartment was a place on...Central Park West [https://www.wikidata.org/wiki/Q2738041] where a lot of parties were held for Upper and Lower Bohemia in the days...well, it was about five or six years ago. Anyway. That's the end of the “Prologue”, which I'm not sure I'm finally going to attach to the poem, since I usually eliminate prologues. And this is the beginning of the poem. \\n \\nKenneth Koch\\n00:34:55\\nReads [\\\"Episode I”].\\n \\nKenneth Koch\\n00:41:07\\nThat's the end of the first part. To tell you what happens in this poem would take as long as reading the whole poem, which I don't have time to do. I think I'd like to read some brief, improvisational plays. I wrote these plays to be done at The Living Theatre [https://www.wikidata.org/wiki/Q1202416], though I knew they wouldn't do them. Somebody asked me to write some improvisational plays, it's really, it's really great, you know, writes it with some actors that want to do it, and I'd, I'd seen some improvisational plays and it seemed to me that the only emotions that actors could improvise were...let's see, passion, nostalgia, self-hatred, anxiety, and then make narcissism and then make topical references, and I decide to really throw sort of a curve at actors and give them something that would really be hard to improvise. My penalty has been that these plays have never been done. The first one I'd like to read...I'd be very glad if they were, could be given a premiere here in Canada [https://www.wikidata.org/wiki/Q16]. \\\"Mexico City\\\".\\n \\nKenneth Koch\\n00:42:18\\nReads \\\"Mexico City\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:43:13\\nThe next one is called \\\"The Lost Feed\\\".\\n \\nKenneth Koch\\n00:43:16\\nReads \\\"The Lost Feed\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:44:12\\nThe next play is called \\\"Coil Supreme\\\".\\n \\nKenneth Koch\\n00:44:17\\nReads \\\"Coil Supreme\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:44:48\\nThe last improvisational play I'll read is the one that has always moved me the most at the thought of production. It's called \\\"The Gold Standard\\\".\\n \\nKenneth Koch\\n00:44:57\\nReads \\\"The Gold Standard\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:45:54\\nI think I'd like to read a rather long poem called...my present plan, which--I don't want to really ruin people's evening, since I didn't start until 9:30, I think the poems that I would like to read will last until 11. So, it's twenty-five after ten now, I don't want to keep anybody up to late or anything. [Audience laughter]. If...Don't feel bad about leaving if you have to go, I want to read these two rather long poems. This is called \\\"The Pleasures of Peace\\\". I should say something about this poem, I wrote it...I started to write it, oh, three years ago, or whenever it was, maybe it was four years ago, but it took me a long time to write it. I guess about three years ago I started. It was at the moment of the, when there really was a lot of happiness in the peace movement in the United States. And it was like the first Peace Marches on Fifth Avenue, and people were jumping up and down for peace, and dancing for peace, and it really seemed as though what people were doing was going to do some good. And I remember feeling very excited in the first set of mass peace activities I was in because, being a poet, and having been brought up in America and everything and like almost all the other poets and artists I knew I sort of felt like a social outcast a little bit. And then I found, in the midst of the peace movement, like there were hundreds of thousands of people who sort of felt the same way about a lot of things, it was nice. And there was something very sort of grand and exciting about the peace movement which does not have anything to do with the issues at all, it was just a lot of fun. In a way it was sort of...it was very pleasant. There were a few other things that motivated this poem. One was I was very annoyed at a lot of my fellow-poets who were going around, giving, in groups to colleges, giving poetry readings for peace. Now there were two things about this that annoyed me, three things. One was that I wasn't doing it. But that, I think, was a minor thing A second thing was that...who did they really think they were trying to convert, like college students who came to poetry readings? I mean, college students who come to poetry readings are not usually in favour of war. And in the second-place, all the poems they read for peace were the sort of things that would make you want to go out and kill people, like \\\"Lyndon Johnson [https://www.wikidata.org/wiki/Q9640], you, fuck the pregnant woman who's lying with her guts streaming out,\\\" [audience laughter] and they weren't, they didn't really...they didn't really seem like peace poems to me. It...And I felt it was sort of exploitative on their part to do that. So I wanted to write a--I'd never written a political poem and I wanted very much to write a poem, I had very strong feelings about the Vietnam War [https://www.wikidata.org/wiki/Q8740], and I wanted to write a poem against the war but which really, was really a poem, a positive poem about peace. I found it terribly hard to do, and I never worked so long on any poem. The fact that I worked so long on it does not mean that it's any better than anything else I ever wrote, but it was just hard, because I kept trying to put in sort of, things about suffering and so on, and they would jump out of the poem the way an artificial heart, I mean the way a transferred heart is sometimes rejected by the body. And I realized I was sort of stuck with writing a poem that was, like, one of my poems, it was really sort of a positive poem about peace. Another problem is that if you write a poem about the pleasures of peace it means you're writing a poem about the pleasures of life. And it's endless, in any case. That's about enough of that for now. It took me over a year to write, it was mainly the last part I couldn't write, since I didn't want to have sort of a literary copout at the end, and I didn't want to sort of end up, oh well, anyway. It's just a poem. The only thing--I got varied reactions to the poem. One...some dopey poet friend of mine came over and said, \\\"Boy, you really put the peace movement down\\\". And I haven't spoken to him very much since then. But then, a better reaction was that I got, some guy called me up and asked me if he could use this poem as his draft resistance statement. And I said you're going to languish in prison for a long time because, you know, judges don't like poetry. But anyway. Now just forget everything I've said [audience laughter] and I'll read this poem. And there's a pause. \\\"The Pleasures of Peace\\\". Oh! Another thing. [Audience laughter]. I read this poem in London [https://www.wikidata.org/wiki/Q84] last year, and I got this dopey review in the Times [https://www.wikidata.org/wiki/Q50008] by, who was it....I'm not sure. And he said, \\\"Kenneth Koch's 'Pleasures of Peace' is a very interesting poem but since he mentions the name of all his friends which we can't be expected to know”--like about 90% of the people in this poem are imaginary. They, they're not my friends. [Audience laughter]. Okay. Like Georgio Finogo is not a real person, okay?. \\\"The Pleasures of Peace\\\".\\n \\nKenneth Koch\\n00:51:15\\nReads \\\"The Pleasures of Peace\\\" [from The Pleasures of Peace and Other Poems].\\n \\nAudience\\n01:11:09\\nApplause. \\n \\nKenneth Koch\\n01:11:15\\nThank you. \\n \\nKenneth Koch\\n01:11:22\\nI want to read another poem which will take about seven minutes, but just to rest up I'll read a short poem...I can't find one short enough...Oh, this is called \\\"An X-Ray of Utah\\\".\\n \\nKenneth Koch\\n01:12:00\\nReads \\\"An X-Ray of Utah\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n01:12:08\\nWell that's the shortest poem I ever wrote. [Audience laughter]. Except, there's one that's not in any of my books which is called \\\"Tennis\\\", which is the same length. \\n \\nKenneth Koch\\n01:12:19\\nReads \\\"Tennis\\\".\\n \\nKenneth Koch\\n01:12:29\\nOh, I think I'll read a few movie scripts. I'll just read a few. This is really for, this is from something called \\\"Ten Films\\\", but I'll just read a few of them, which are my favourites. One of the films is called \\\"Sheep Harbour\\\".\\n \\nKenneth Koch\\n01:12:44\\nReads \\\"Sheep Harbour\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:12:57\\nLike, the camera could sort of show this for a long time.\\n \\nKenneth Koch\\n01:13:03\\nReads \\\"Oval Gold\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:13:19\\nI'll just read one more of these films. This is called \\\"The Cemetery\\\".\\n \\nKenneth Koch\\n01:13:24\\nReads \\\"The Cemetery\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:13:49\\nI'll read this one last poem which is called \\\"Sleeping with Women”. \\\"Sleeping with Women\\\".\\n \\nKenneth Koch\\n01:13:54\\nReads \\\"Sleeping with Women\\\" [from The Pleasures of Peace and Other Poems].\\n\\nEND\\n01:22:37\\n\",\"notes\":\"Kenneth Koch reads from Thank You and Other Poems (Grove Press, 1962), The Pleasures of Peace and Other Poems (Grove Press, 1969), works published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973) and from other unknown sources.\\n\\n00:00- George Bowering introduces Kenneth Koch. [INDEX: ‘promo sheet’, American poetry, Frank O’Hara, modern American poetry in New York City, Slick magazine, teacher of poetry, epic in the American Language.]\\n01:04- Kenneth Koch introduces “Spring”. [INDEX: from Thank You and Other Poems (Grove Press, 1962).]\\n01:08- Reads “Spring”.\\n02:36- Introduces “Variations on a Theme by William Carlos Williams”. [INDEX: parodies, Williams poem “This is Just to Say”, insanity; from Thank You and Other Poems (Grove Press, 1962).]\\n03:28- Reads “Variations on a Theme by William Carlos Williams”.\\n04:33- Introduces “You Were Wearing”. [INDEX: short poem from Thank You and Other Poems (Grove Press, 1962).]\\n04:38- Reads “You Were Wearing”.\\n06:37- Introduces “E. KOLOGY”. [INDEX: play, hero, capital letters, read at the University of Chicago, ecology movement, performed on Earth Day in New York in April, Union Square, Philadelphia; from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n07:44- Reads “E.KOLOGY”- Act 1 Scene 1.\\n09:38- Reads “E.KOLOGY”- Act 1 Scene 2.\\n11:19- Reads “E.KOLOGY”- Act 1 Scene 3.\\n12:06 -Reads “E.KOLOGY”- Act 2.\\n13:54- Reads “E.KOLOGY”- Act 3 Scene 1.\\n14:24- Reads “E.KOLOGY”- Act 3 Scene 2.\\n16:04- Reads “E.KOLOGY”- Act 4.\\n17:30- Reads “E.KOLOGY”- Act 5.\\n19:44- Introduces “Youth”. [INDEX: theatre, film script, costly to produce; from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n19:57- Reads “Youth”.\\n21:36- Introduces “Poem”. [INDEX: short poem; perhaps from The Pleasures of Peace and Other Poems (Grove Press, 1969)]\\n21:53- Reads “Poem”.\\n22:11- Introduces “Ma Provence”. [INDEX: interest in writing, English and French sound; from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n22:23- Reads “Ma Provence”.\\n22:52- Explains “Ma Provence”, introduces “Great Beauty”. [INDEX: translate to english, here he reads in french; from unknown source.]\\n23:14- Reads “Great Beauty”.\\n23:31- Introduces “Little Known Historical Fact”. [INDEX: from unknown source]\\n23:35- Reads “Little Known Historical Fact”.\\n23:48- Explains “Little Known Historical Fact”, introduces “Getting Back on Land”. [INDEX: Charlemagne, Italian, from unknown source.] \\n24:06- Reads “Getting Back on Land”.\\n24:29- Introduces “Prologue”. [INDEX: George Bowering, epic poem “Ko”, written 12-14 years before, 120 pages, ottava rima: stanza Ariosto used in Orlando Furioso, Byron’s Don Juan, rhyme scheme ABABABCC, main character Japanese baseball player, pitcher, ball, grandstand, pitch, characters, happy, living in Florence, villino, town outside the Viale Michelangelo, happy and optimistic poem, continuation, change, life, end lie of “Ko”: “Huddle, meanwhile, was flaking at the knees”, Englishman, mold fever, Rome, killed, statues; from unknown source.]\\n27:00- Reads “Prologue”.\\n34:08- Explains “Prologue”, introduces beginning of “Long poem, episode 1”. [INDEX: Pana Grady’s apartment on Central Park West, parties for Upper and Lower Bohemia, \\tuncertainty about publishing “Prologue”; from unknown source.]\\n34:55- Reads “Long Poem, Episode 1”.\\n41:07- Introduces “Mexico City”. [INDEX: long poem, improvisational plays, Living Theatre, actors, emotions, passion, nostalgia, self-hatred, anxiety, narcissism, penalty, premiere in Canada; from “Six Inspirational Plays” in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n42:18- Reads “Mexico City”.\\n43:13.69- END OF RECORDING.\\n\\n00:00- Kenneth Koch introduces “The Lost Feed”. [INDEX: play; in “Six Improvisational Plays”, from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 \\t(Random House, 1973).]\\n00:03- Reads “The Lost Feed”.\\n00:59- Introduces “Coil Supreme”. [INDEX: play; in “Six Improvisational Plays”, from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973.]\\n01:03- Reads “Coil Supreme”.\\n01:34- Introduces “The Gold Standard”. [INDEX: improvisational play, production; in “Six Improvisational Plays” from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n01:43- Reads selection from “The Gold Standard”.\\n02:41- Introduces “The Pleasures of Peace”. [INDEX: reading started at 9:30, reading last until 11pm, started writing 3 or 4 years ago, peace movement in the United States, Peach Marches on Fifth Avenue, social outcast, fun, poetry readings for peace, college students, poems read like “Lyndon Johnson, you, fuck the pregnant woman who’s lying with her guts streaming out”, peace poems, exploitative, political poem, Vietnam War, positive poem about peace, working hard and long on a poem, suffering, artificial heart, rejected by the body, pleasures of life, literary copout, varied reactions, draft resistance statement, prison, London, review in the Times, made up names, Georgia Finogo; from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n08:01- Reads “The Pleasures of Peace”.\\n28:09- Introduces “An X-Ray of Utah”. [INDEX: short poem; from the poem “Three Short Poems” in The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n28:46- Reads “An X-Ray of Utah”.\\n28:55- Explains “An X-Ray of Utah” introduces “Tennis”. [INDEX: shortest poem, “Tennis” not in any books.]\\n29:05- Reads “Tennis”.\\n29:15- Introduces “Sheep Harbor”. [INDEX: movie script, reads favourites; from “Ten Films” in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n29:30- Reads “Sheep Harbour”. [INDEX: from “Ten Films” in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n29:49- Reads “Oval Gold”. [INDEX: from “Ten Films” in A Change of Hearts: Plays, Films, \\tand Other Dramatic Works 1951-1971 (Random House, 1973).]\\n30:10- Reads “The Cemetery”. [INDEX: from “Ten Films” in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n30:40- Reads “Sleeping with Women” [INDEX: from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n39:23.67- END OF RECORDING.\\n \\nHoward Fink List of Poems\\n“Kenneth Koch”\\nIntroduction by George Bowering\\nRecorded February 19, 1971.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/kenneth-koch-at-sgwu-1971/\"}]"],"score":1.0},{"id":"1296","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":["Jackson Mac Low at Sir George Williams University, The Poetry Series, 26 March 1971"],"item_title_source":["Cataloguer"],"item_title_note":["\"JACKSON MacLOW experiential poetry Recorded March 26, 1971 3.75 ips, 1/2 track 1 mil. tape Poorish technical quality\" written on sticker on the back of the tape's box. \"JACKSON MacLOW -1 I006/SR31.1\" written on sticker on the spine of the tape's box. \"Side 1 I006-11-031.1\" written on sticker on the reel.\n\n\"JACKSON MacLOW experiential poetry Recorded March 26, 1971 3.75 ips, 1/2 track 1 mil. tape Poorish technical quality\" written on sticker on the back of the tape's box. \"JACKSON MacLOW -2 I006/SR31.2\" written on sticker on the spine of the tape's box. \"I006-11-031.2\" written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[I006-11-031.1, I006-11-031.2]"],"creator_names":["Mac Low, Jackson"],"creator_names_search":["Mac Low, Jackson"],"creators":["[{\"url\":\"http://viaf.org/viaf/80245668\",\"name\":\"Mac Low, Jackson\",\"dates\":\"1922-2004\",\"notes\":\"Jackson Mac Low was born on September 12, 1922 in Chicago, Illinois, and became not only a poet, but a playwright, an editor, a literary critic, a translator, a teacher, a composer and a performer of verbal and theatrical works. As a child, he studied music and poetry. Studying for an Associate in Arts degree in philosophy, poetics and literature at the University of Chicago from 1939 to 1943, Mac Low enrolled in Brooklyn College (now the City of University of New York) to pursue an A. B. degree in Greek, graduating cum laude. Jackson Mac Low was the poetry editor of Why? from 1950-1954. After holding a job as an editorial assistant at Funk & Wagnalls from 1957-1958, and again from 1961-1962, he taught at New York University for seven years. Mac Low married painter Iris Lezak in 1962 and had two children with her, however they divorced by 1978. Mac Low put on three plays, The Marrying Maiden: a play of changes from 1960-61, Verdurous Sanguinaria, 1961, and Questions & Answers...A Topical Play in 1963. He published his first set of plays The Twin Plays: Port-au-Prince & Adams County Illinois in 1963 (Something Else Press). The Pronouns- A Collection of 40 Dances-For the Dancers was first self-published in 1964, but was re-published numerous times in later years. Mac Low published a series of Light Poems, August Light Poems in 1967 (s.n. press), 22 Light Poems in 1968 (Black Sparrow Press), 23rd Light Poem: for Larry Eigner in 1969 (Tetrad Press), 38th Light Poem: In Memoriam Buster Keaton in 1975 (Permanent Press) and 54th Light Poem: For Ian Tyson in 1978 (Membrane Press). Stanzas for Iris Lezak, though written in 1968 was only published in 1972 (Something Else Press). Publishing over twenty other books and performance pieces, Mac Low’s most noted works include Asymmetries 1-260: The First Section of a Series of 501 Performance Poems (Printed Editions, 1976), Antic Quatrains (Toothpaste Press for Bookslinger, 1980), Representative Works, 1938-1985 (Roof Books,1996) and Barnesbook: Four Poems Derived from Sentences by Djuna Barnes (Sun & Moon Press, 1996). Mac Low has won many awards, notably the American Academy of Arts and Sciences grant (1971), Creative Arts Public fellowship in multimedia (1973-1974) and in poetry (1976-77), Madeline Sadin Award in 1974, PEN American Center grant 1974, National Endowment for the Arts fellowship (1979) and the Tanning Prize (1999). In 1990, he married the visual artist, poet and composer Anne Tardos. He then taught creative writing at numerous universities worldwide. Jackson Mac Low died of complications from a stroke on December 8, 2004.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Duplicate\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1971 3 26\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement \\\"SIR GEORGE WILLIAMS UNIVERSITY POETRY 5\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"What Goes On!\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. "],"contents":["jackson_maclow_i006-11-031-1.mp3 [File 1 of 2]\n \nUnknown\n00:00:02\nAmbient Sound [music; wood flute].\n \nJackson Mac Low\n00:00:36\nReads \"Glass Buildings\" accompanied by music. \n \nJackson Mac Low\n00:01:28\nReads “5.2.3.6.5., the 3rd biblical poem” [accompanied by music and other voices]. \n\nJackson Mac Low\n00:05:27\nFrom “Judges 6:4 to First Samuel 1:10”, written Saturday, 1st January 1955.\n \nJackson Mac Low\n00:05:40\nReads [“On the Glorious Burning of the Stars and Stripes in the Sheep Meadow in Central Park around about Noon on April 15, 1967 1967 May”].\n \nJackson Mac Low\n00:07:20\nNext is a “Word event for George Brecht” on the words 'anti-personnel bombs', this is a kind of poem that can be done on any words. I did it first on these words at a reading in New York [https://www.wikidata.org/wiki/Q60] where the Russian poet Voznesensky [https://www.wikidata.org/wiki/Q236619] joined some American poets in an anti-war reading.\n\nUnknown\n00:07:42\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n\nJackson Mac Low\n00:07:43\nPerforms “Word event for George Brecht” accompanied by recording.\n \nJackson Mac Low\n00:21:12\nAll the people who are going to read the \"Number to Symmetries\" please come up for the microphone...These were a group of a hundred poems, of the form that has holes in it, that is the format of the poems are used to indicate silences, where there's white space on the page, they're silences. Some of the phonemes on the ends of words are prolonged, and others are stuttered. I'm not sure that any of them that are stuttered are in this particular batch. I wrote about 500 of these in late 1961, early--late, let's see, late ‘60 and early ‘61. I wish you'd say your own names, because I didn't get all your names down in the book, be sure to write your names in my book when you leave. Would the people participating just tell their names to the audience because I don't know all of them?\n \nAudience Participants\n00:22:47\nPeter Boxer, [unintelligible], Walter Katjetski, Robert Graham, Jenny Burn, [unintelligible], Ivan [Lourd (?)].\n \nJackson Mac Low\n00:22:59\nRemember when you get to the end of one, then the next person will take the mic.\n\nAudience Member 1\n00:23:03\nDo we circulate while we’re off mic?\n\nJackson Mac Low\n00:23:06\nYeah, if you want. Yeah, that would be very nice.\n\nUnknown\n00:23:26\nAmbient Sound [voices].\n\nJackson Mac Low\n00:23:40\nYeah, just go after...Would you rather have these than the book? Would you rather have papers or the book? Probably easier for you to just put the book down and say “I’m here.”...No, I’m just going to do these. Alright, does anybody have a lot of short ones? I have a few more...So, you prolong those phonemes and [unintelligible] repeated this one...Yeah...Do you need any...Anybody have lots of short ones? Alright. [Unintelligible]. Okay, I would say move a little bit that way. Now those without mics, I think you might be picked up by the mics of those who have them to at least to get on the tape. Okay.\n \nJackson Mac Low\n00:25:23\nPerforms \"Number to Symmetries\" accompanied by audience members. \n \nJackson Mac Low\n00:41:01\nIn 1960, just before I wrote this group, I wrote a group of poems called the...Stanzas for Iris Lezak, they're--this is the summer of ‘60, they're presently being published this year by the Something Else Press [https://www.wikidata.org/wiki/Q2299703], which is nominally in New York and really in Newhall [https://www.wikidata.org/wiki/Q7018086], California [https://www.wikidata.org/wiki/Q99], at the centre of the earthquake. I'll first read a short group, solo, and then read one in a duet with the--of the earlier performance of it. \"Poe and Psychoanalysis\".\n \nJackson Mac Low\n00:42:30\nReads \"Poe and Psychoanalysis\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:42:57\nReads \"Marseille\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:11\nReads \"London\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:48\nReads \"Sydney\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:58\nReads \"Berlin\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:45:12\nReads \"Madrid\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:45:21\nReads \"Rome\" from Stanzas for Iris Lezak.\n\nUnknown\n00:45:59\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nUnknown\n00:46:00\nAmbient sound [music and voices].\n \nJackson Mac Low\n00:47:37\nI'll explain a bit, I took these from whatever I was reading from about April to October of 1960, the group of place-name poems were from scatter paper called The National Enquirer [https://www.wikidata.org/wiki/Q1814777]. This is from the, an article in the Scientific American [https://www.wikidata.org/wiki/Q39379]...\n\nUnknown\n00:48:05\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nJackson Mac Low\n00:48:06\nReads [“Asymmetry from Scientific American” from Stanzas for Iris Lezak]. \n\nAudience\n00:55:20\nApplause. \n\nJackson Mac Low\n00:55:27\nThis is a, a number of these are collages of various times and places, as well as spontaneity in this room here, on two of these tapes, you will hear a lady's voice along with my own. I did a concert of my works along with Jim Tenney [https://www.wikidata.org/wiki/Q715379] and Max Neuhaus [https://www.wikidata.org/wiki/Q2182711], in town hall, New York in September of 1966, and still earlier Max Neuhaus had realized this particular piece which is a piece produced by subjecting the electric typewriter keyboard to randomization by random numbers, so it looks like a lot of different characters from the electric typewriter, Neuhaus recorded it at the University of Illinois [https://www.wikidata.org/wiki/Q1145814] laboratory, I guess some time earlier in ‘66 or maybe ‘65 and then put it down four octaves. He and another guy were reading from--the readers read from this in any way they wish, now I'll have the live readers to come up here...So then in... in this ‘66 concert, I did it as a duet, reading through the negatives from which this was printed, the blinking light, and a Jeanne Lee [https://www.wikidata.org/wiki/Q274580], a very fine blues singer was in the various works that were performed in that concert, and she's on the duet that you hear, that you will hear. A year ago, or a little more, I guess in April of last year I performed this in a class at NYU [https://www.wikidata.org/wiki/Q49210] along with the-oh and the Neuhaus tape was along with that performance in NYU, then the town hall performance and the Neuhaus tape--all three were in the NYU performance along with the NYU performance, so now you'll hear it at least four different times, plus the present, something like that.\n \nJackson Mac Low\n00:58:23\nPerforms unnamed piece accompanied by recording. \n \nJackson Mac Low\n01:06:11\nI'll do a piece called \"Fifth Gatha'', which is another group piece, uh, the readers who learned it, please come up with copies, and I'll have to toss around tapes for a few minutes here. I might explain that this particular piece is one of a series I call \"Gathas\" that are written on graphed paper, they by chance operations. I take the mantra of one religion or another, this happens to be the great prajnaparamita mantra, which is basic to Northern Buddhism and Zen Buddhism, and it's arranged by the method so that it falls over an axis of 'a's, 'u's and 'm's that is the word 'aum', wherever a's, u's and m's appear in the mantra they may cross the mantra, there aren't many u's in this particular one, so there isn't any--nothing crossing the u-line, you may be able to see the empty gap there. The mantra in question is \"Gone, gone to the other shore, quite gone over the other shore, boldly, wisdom, spaha, pray. Guthe, guthe, paraguthe [unintelligible]...\" you may, those of you who know zen may be more familiar with it in its Japanese version, which is sort of a Japanization of the Sanskrit. The group version of it was done in the Chelsea Hotel [https://www.wikidata.org/wiki/Q240711], I think in '67, but the German editor and producer, Carl Weissner [https://www.wikidata.org/wiki/Q1040995], the whisper version you hear, I did at home, earlier, maybe in ‘66, ‘65, ‘66. \n \nJackson Mac Low\n01:09:35\nPerforms \"Fifth Gatha\" accompanied by audience members and recording.\n \nJackson Mac Low\n01:26:20\nThe last poem I read was also from Stanzas for Iris Lezak. It's based on the Tibetan prayer to the gurus and it's translated by W.Y. Evans-Wentz [https://www.wikidata.org/wiki/Q456451]. The next piece is all about bluebirds. It’s again--it uses the form of...In recent years I've gone back to writing poems in the form of the asymmetries that I wrote in ‘60 and ‘61, but these tended to cluster around one subject matter. There's one in the current Aspen Magazine [https://www.wikidata.org/wiki/Q4807826] about young turtles, no one really knows where they go once they've hatched, and they know when they come back, but they don't really know what they do in between hatching and there is a natural history magazine, there was a caption to a picture, and so there was a record in the current Aspen, that's of that group. This is the first one of this type that I did on bluebirds, was for a group event that a number of us, let’s see, Iris Lezak, Emmett Williams [https://www.wikidata.org/wiki/Q719185], Carol [Bouget (?)] and [Jet Yalka (?)] and I did a collective event for the University of Syracuse [https://www.wikidata.org/wiki/Q617433] at Utica [https://www.wikidata.org/wiki/Q2495519], which we called, which Emmett named for us [\"Jack-a-Jurismatics (?)”] and so one of the pieces I wrote for that was this bluebirds piece. Emmett Williams has a beautiful work that has bluebirds in it, it's a permutation poem that also appears in this anthology, although this is an anthology that La Monte Young [https://www.wikidata.org/wiki/Q432822] got together in ‘60 and we--‘60 and ‘61 I guess, and he had many difficulties between the time that it was designed and the time it was printed and finally got it out at first in 1963, it's called An Anthology of--well, various things--Chance Operations, and well I don't know what, concept art, anti-art, indeterminacy improvisation, meaningless work, natural disasters and so on. And well, just recently, our first edition is now a sort of a collector's item, sells around a hundred, but recently a German publisher re-published it for us and the current, the new editions is going for $8.50, so if anyone is--I don't have copies here but I'll be happy to send any to anybody. Contains work mostly, a lot of it is music, musical scores, there's some other poetry, including the Emmett Williams mention. The Emmett Williams poem does all the variations, does all the permutations of one group of things, \"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\", each of those is considered a run unit, and all the possible permutations of them are written out \"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\". I'd love to read it, but it's very long. Usually we read it with five different voices, each taking the unit and once in a while, people get through it without breaking down laughing. [Unintelligible]. This was taken from, the bluebird asymmetries were from two...were from two encyclopedia articles on bluebirds, one I think the Audubon Encyclopedia, and I've forgotten what the other one was. They're very complimentary. The voices you hear are, you heard in another performance of Leslie [Sixfin (?)], Amy [Spurling (?)] and Harvey [Lesain (?)], along with four of my students at the Mannes School of Music [https://www.wikidata.org/wiki/Q1519151] and about done in 1966, or 1967, I think it was May of 1967 that this was done. There's a specially gifted group I felt that I happened to get together in that class, just towards the end we were doing mostly, we were just doing ordinary grammar English, I'm an English teacher, for my bread.\n \nEND\n01:32:11\n\n\njackson_maclow_i006-11-031-2.mp3 [File 2 of 2]\n\nUnknown Speaker\n00:00:00\nThis is the one you wanted some light percussive stuff?\n\nJackson Mac Low\n00:00:04\nYeah, but very easy on it, not very, you know, keep the amplitude down to, no higher than mezzo piano. Did someone take one from here? I'm supposed to have one and ten. Try to start with the earlier ones and then go into the later ones if possible. Those with the first, the earlier numbers should be on mic first. Those with numbers between two and five I guess you would have. So that the [unintelligible] will hear the earlier ones more than the later ones. You can prolong any of the phonemes at the ends of lines. This is another piece called [unintelligible].\n \nUnknown\n00:01:49\nAmbient Sound [recorded performance plays; title uncertain].\n \nJackson Mac Low\n00:03:00\nPerforms \"Bluebird Asymmetries\" accompanied by audience members and recording.\n \nJackson Mac Low\n00:12:35\nI have one last one that none of these people have yet seen, and so this one has no rules, that is, the others have some rules for how you put in silences, these will, these...In the summer of ‘69 I did a project for the Los Angeles Museum of Art [https://www.wikidata.org/wiki/Q1641836], an art technology show that's going to open this May. Unfortunately, my machine was bombed out, the corporation seems to be on the rocks, they're not providing the machine, but luckily I had poems that appeared on cathode ray tubes or something called a programmable film reader, and the words appear at the same time we sent the same impulses through an audio system and they turned out to be, well the oboe family, everything down from sopranino oboe to double, double, double bass oboe according to how long the lines were and so I did quite a few poems, this particular one is \"The\", and it's the last one I did, and tried to grab I guess three pages each, just use whatever discretion you want to, and listen, listen, listen. Earlier I had very strict rules governed by chance operations and so on, in reading these, well, in reading these kind of simultaneous works, and more and more I came to the, well I always had the principal of the most important things was to listen hard to everything that was happening, including whatever was happening in the room, whatever’s happening outside and so on, but more and more I relied on the readers to judge when to come in, and in--perform--these I found, this is one very long print-out of this particular poem. I don't want to--I think in, I don't remember, someplace there's a description of the idea of how they were made and all that, but what I got was a number of messages that, of which the units were permuted, the earliest form of my program was simply permuting the words in each, single words in each message. Later on I was able to get carriage returns and things like that so that in this, each message is a group of short sentences, usually about the same thing, and you'll, so that on the page each message looks like a sort of a stanza or strophe, and the groups of sentences--any number of the groups of sentences from any one of these strophe units may appear at any time according to way the thing is programmed. Does everybody have about three pages? Let's just make it...\n \nJackson Mac Low\n00:16:24\nPerforms \"The\" accompanied by audience members.\n \nJackson Mac Low\n00:27:57\nThank you.\n \nEND\n00:27:57\n[Cut off abruptly].\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nJackson Mac Low was in the process of writing “Odes for Iris”, written after the breakup of his first marriage. He won the American Academy of Arts and Sciences grant, and The Pronouns was republished in 1971. Mac Low was the editor of WIN Magazine and an instructor at New York University at the American Language Institute.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMac Low’s direct connection to Sir George Williams University is unknown, however, Mac Low was an important American avant-garde poet, playwright and professor.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>3 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://www.jacksonmaclow.com/\",\"citation\":\"“Jackson Mac Low: Ten-Page Biography with Detailed Log of Activites 1985-1999”. Jackson Mac Low. Anne Tardos, 2009. \"},{\"url\":\"https://www.worldcat.org/title/stanzas-for-iris-lezak/oclc/795313792?referer=di&ht=edition\",\"citation\":\"Mac Low, Jackson. Stanzas For Iris Lezak. New York: Something Else Press, 1971. \"},{\"url\":\"\",\"citation\":\"Campbell, Bruce. \\\"Jackson Mac Low.\\\" American Poets Since World War II: Sixth Series. Joseph Mark Conte (ed). Dictionary of Literary Biography, Vol. 193. Detroit: Gale Research, 1998. \"},{\"url\":\"\",\"citation\":\"\\\"Jackson Mac Low.\\\" Contemporary Authors Online. Detroit: Gale, 2005.\"}]"],"_version_":1853670548943405056,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0031-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0031-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jackson Mac Low Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0031-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0031-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jackson Mac Low Tape Box 1 - 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I did it first on these words at a reading in New York [https://www.wikidata.org/wiki/Q60] where the Russian poet Voznesensky [https://www.wikidata.org/wiki/Q236619] joined some American poets in an anti-war reading.\\n\\nUnknown\\n00:07:42\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n\\nJackson Mac Low\\n00:07:43\\nPerforms “Word event for George Brecht” accompanied by recording.\\n \\nJackson Mac Low\\n00:21:12\\nAll the people who are going to read the \\\"Number to Symmetries\\\" please come up for the microphone...These were a group of a hundred poems, of the form that has holes in it, that is the format of the poems are used to indicate silences, where there's white space on the page, they're silences. Some of the phonemes on the ends of words are prolonged, and others are stuttered. I'm not sure that any of them that are stuttered are in this particular batch. I wrote about 500 of these in late 1961, early--late, let's see, late ‘60 and early ‘61. I wish you'd say your own names, because I didn't get all your names down in the book, be sure to write your names in my book when you leave. Would the people participating just tell their names to the audience because I don't know all of them?\\n \\nAudience Participants\\n00:22:47\\nPeter Boxer, [unintelligible], Walter Katjetski, Robert Graham, Jenny Burn, [unintelligible], Ivan [Lourd (?)].\\n \\nJackson Mac Low\\n00:22:59\\nRemember when you get to the end of one, then the next person will take the mic.\\n\\nAudience Member 1\\n00:23:03\\nDo we circulate while we’re off mic?\\n\\nJackson Mac Low\\n00:23:06\\nYeah, if you want. Yeah, that would be very nice.\\n\\nUnknown\\n00:23:26\\nAmbient Sound [voices].\\n\\nJackson Mac Low\\n00:23:40\\nYeah, just go after...Would you rather have these than the book? Would you rather have papers or the book? Probably easier for you to just put the book down and say “I’m here.”...No, I’m just going to do these. Alright, does anybody have a lot of short ones? I have a few more...So, you prolong those phonemes and [unintelligible] repeated this one...Yeah...Do you need any...Anybody have lots of short ones? Alright. [Unintelligible]. Okay, I would say move a little bit that way. Now those without mics, I think you might be picked up by the mics of those who have them to at least to get on the tape. Okay.\\n \\nJackson Mac Low\\n00:25:23\\nPerforms \\\"Number to Symmetries\\\" accompanied by audience members. \\n \\nJackson Mac Low\\n00:41:01\\nIn 1960, just before I wrote this group, I wrote a group of poems called the...Stanzas for Iris Lezak, they're--this is the summer of ‘60, they're presently being published this year by the Something Else Press [https://www.wikidata.org/wiki/Q2299703], which is nominally in New York and really in Newhall [https://www.wikidata.org/wiki/Q7018086], California [https://www.wikidata.org/wiki/Q99], at the centre of the earthquake. I'll first read a short group, solo, and then read one in a duet with the--of the earlier performance of it. \\\"Poe and Psychoanalysis\\\".\\n \\nJackson Mac Low\\n00:42:30\\nReads \\\"Poe and Psychoanalysis\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:42:57\\nReads \\\"Marseille\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:11\\nReads \\\"London\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:48\\nReads \\\"Sydney\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:58\\nReads \\\"Berlin\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:45:12\\nReads \\\"Madrid\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:45:21\\nReads \\\"Rome\\\" from Stanzas for Iris Lezak.\\n\\nUnknown\\n00:45:59\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nUnknown\\n00:46:00\\nAmbient sound [music and voices].\\n \\nJackson Mac Low\\n00:47:37\\nI'll explain a bit, I took these from whatever I was reading from about April to October of 1960, the group of place-name poems were from scatter paper called The National Enquirer [https://www.wikidata.org/wiki/Q1814777]. This is from the, an article in the Scientific American [https://www.wikidata.org/wiki/Q39379]...\\n\\nUnknown\\n00:48:05\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nJackson Mac Low\\n00:48:06\\nReads [“Asymmetry from Scientific American” from Stanzas for Iris Lezak]. \\n\\nAudience\\n00:55:20\\nApplause. \\n\\nJackson Mac Low\\n00:55:27\\nThis is a, a number of these are collages of various times and places, as well as spontaneity in this room here, on two of these tapes, you will hear a lady's voice along with my own. I did a concert of my works along with Jim Tenney [https://www.wikidata.org/wiki/Q715379] and Max Neuhaus [https://www.wikidata.org/wiki/Q2182711], in town hall, New York in September of 1966, and still earlier Max Neuhaus had realized this particular piece which is a piece produced by subjecting the electric typewriter keyboard to randomization by random numbers, so it looks like a lot of different characters from the electric typewriter, Neuhaus recorded it at the University of Illinois [https://www.wikidata.org/wiki/Q1145814] laboratory, I guess some time earlier in ‘66 or maybe ‘65 and then put it down four octaves. He and another guy were reading from--the readers read from this in any way they wish, now I'll have the live readers to come up here...So then in... in this ‘66 concert, I did it as a duet, reading through the negatives from which this was printed, the blinking light, and a Jeanne Lee [https://www.wikidata.org/wiki/Q274580], a very fine blues singer was in the various works that were performed in that concert, and she's on the duet that you hear, that you will hear. A year ago, or a little more, I guess in April of last year I performed this in a class at NYU [https://www.wikidata.org/wiki/Q49210] along with the-oh and the Neuhaus tape was along with that performance in NYU, then the town hall performance and the Neuhaus tape--all three were in the NYU performance along with the NYU performance, so now you'll hear it at least four different times, plus the present, something like that.\\n \\nJackson Mac Low\\n00:58:23\\nPerforms unnamed piece accompanied by recording. \\n \\nJackson Mac Low\\n01:06:11\\nI'll do a piece called \\\"Fifth Gatha'', which is another group piece, uh, the readers who learned it, please come up with copies, and I'll have to toss around tapes for a few minutes here. I might explain that this particular piece is one of a series I call \\\"Gathas\\\" that are written on graphed paper, they by chance operations. I take the mantra of one religion or another, this happens to be the great prajnaparamita mantra, which is basic to Northern Buddhism and Zen Buddhism, and it's arranged by the method so that it falls over an axis of 'a's, 'u's and 'm's that is the word 'aum', wherever a's, u's and m's appear in the mantra they may cross the mantra, there aren't many u's in this particular one, so there isn't any--nothing crossing the u-line, you may be able to see the empty gap there. The mantra in question is \\\"Gone, gone to the other shore, quite gone over the other shore, boldly, wisdom, spaha, pray. Guthe, guthe, paraguthe [unintelligible]...\\\" you may, those of you who know zen may be more familiar with it in its Japanese version, which is sort of a Japanization of the Sanskrit. The group version of it was done in the Chelsea Hotel [https://www.wikidata.org/wiki/Q240711], I think in '67, but the German editor and producer, Carl Weissner [https://www.wikidata.org/wiki/Q1040995], the whisper version you hear, I did at home, earlier, maybe in ‘66, ‘65, ‘66. \\n \\nJackson Mac Low\\n01:09:35\\nPerforms \\\"Fifth Gatha\\\" accompanied by audience members and recording.\\n \\nJackson Mac Low\\n01:26:20\\nThe last poem I read was also from Stanzas for Iris Lezak. It's based on the Tibetan prayer to the gurus and it's translated by W.Y. Evans-Wentz [https://www.wikidata.org/wiki/Q456451]. The next piece is all about bluebirds. It’s again--it uses the form of...In recent years I've gone back to writing poems in the form of the asymmetries that I wrote in ‘60 and ‘61, but these tended to cluster around one subject matter. There's one in the current Aspen Magazine [https://www.wikidata.org/wiki/Q4807826] about young turtles, no one really knows where they go once they've hatched, and they know when they come back, but they don't really know what they do in between hatching and there is a natural history magazine, there was a caption to a picture, and so there was a record in the current Aspen, that's of that group. This is the first one of this type that I did on bluebirds, was for a group event that a number of us, let’s see, Iris Lezak, Emmett Williams [https://www.wikidata.org/wiki/Q719185], Carol [Bouget (?)] and [Jet Yalka (?)] and I did a collective event for the University of Syracuse [https://www.wikidata.org/wiki/Q617433] at Utica [https://www.wikidata.org/wiki/Q2495519], which we called, which Emmett named for us [\\\"Jack-a-Jurismatics (?)”] and so one of the pieces I wrote for that was this bluebirds piece. Emmett Williams has a beautiful work that has bluebirds in it, it's a permutation poem that also appears in this anthology, although this is an anthology that La Monte Young [https://www.wikidata.org/wiki/Q432822] got together in ‘60 and we--‘60 and ‘61 I guess, and he had many difficulties between the time that it was designed and the time it was printed and finally got it out at first in 1963, it's called An Anthology of--well, various things--Chance Operations, and well I don't know what, concept art, anti-art, indeterminacy improvisation, meaningless work, natural disasters and so on. And well, just recently, our first edition is now a sort of a collector's item, sells around a hundred, but recently a German publisher re-published it for us and the current, the new editions is going for $8.50, so if anyone is--I don't have copies here but I'll be happy to send any to anybody. Contains work mostly, a lot of it is music, musical scores, there's some other poetry, including the Emmett Williams mention. The Emmett Williams poem does all the variations, does all the permutations of one group of things, \\\"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\\\", each of those is considered a run unit, and all the possible permutations of them are written out \\\"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\\\". I'd love to read it, but it's very long. Usually we read it with five different voices, each taking the unit and once in a while, people get through it without breaking down laughing. [Unintelligible]. This was taken from, the bluebird asymmetries were from two...were from two encyclopedia articles on bluebirds, one I think the Audubon Encyclopedia, and I've forgotten what the other one was. They're very complimentary. The voices you hear are, you heard in another performance of Leslie [Sixfin (?)], Amy [Spurling (?)] and Harvey [Lesain (?)], along with four of my students at the Mannes School of Music [https://www.wikidata.org/wiki/Q1519151] and about done in 1966, or 1967, I think it was May of 1967 that this was done. There's a specially gifted group I felt that I happened to get together in that class, just towards the end we were doing mostly, we were just doing ordinary grammar English, I'm an English teacher, for my bread.\\n \\nEND\\n01:32:11\\n\",\"notes\":\"Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. \\n\\n00:00- Flute is being played, Jackson Mac Low speaks [inaudible]\\n00:36- Jackson Mac Low performs “Last Buildings” first line “When fiery water...”\\n01:28- Performs unknown poem first line “Sustenance...52365 the first biblical poem...”\\n05:27- Performs unknown poem first line “From Judges 6:4 to first Samuel 1:10...”\\n05:40- Performs unknown poem first line “And the glorious burning of the stars and stripes...”\\n07:20- Introduces “Word event for George Brecht” using the words “anti-personnel \\tbomb” [INDEX: George Brecht, word event on ‘anti-personnel bombs’, New York City, \\tRussian poet Voznesensky, anti-war reading]\\n07:43- Performs “Word event for George Brecht”.\\n21:12- Introduces “Number to Symmetries” [INDEX: Audience participation readings, intentional/quasi-intentional/non-intentional methods, chance methods of composing \\tpoetry]\\n25:23- Performs “Number to Symmetries”\\n41:13.73- END OF RECORDING\\n\\n00:00- Introduces “Poem Psychoanalysis” [INDEX: Stanzas for Iris Lezak, Something Else Press, Newhall, California]\\n01:16- Reads “Poem Psychoanalysis”\\n01:44- Reads “Marseille”\\n02:57- Reads “London”\\n03:35- Reads “Sydney”\\n03:45- Reads “Berlin”\\n03:58- Reads “Madrid”\\n04:08- Reads “Rome”\\n06:23- Explains the last set of place-name poems, Introduces “Scientific American” poems [INDEX: National Enquirer Magazine, Scientific American Magazine]\\n06:52- Reads “Scientific American” poems\\n14:13- Introduces unknown performance [INDEX: NYU and Town Hall recordings]\\n17:09- Performs unknown performance [random numbers and letters] [INDEX: Jim (James) Newhouse, New York City Town Hall, University of Illinois, Jeanne Lee (Blues Singer), New York University]\\n24:57- Introduces “Fifth Gata” [INDEX: Zen Mantras, Recording at the Chelsea Hotel, Karl Wiesner]\\n28:21- Performs “Fifth Gata”\\n44:48- Introduces unknown poem from Stanzas for Iris Lezak [INDEX: W.Y. Evan-Wentz, Tibetan Prayer, Aspen Magazine, Turtles, blue birds, reading by Emmett Williams, Carl Bouget, Jet Yalka [sp?] at the University of Syracuse Utica called “Jack-a- Jurismatics” [sp?], permutation of poetry, Anthology of Chance Operations by La Monte Young, concept art, anti-art, meaningless work, natural disasters, Emmett William’s \\tbluebird permutation poems, Audubon Encyclopedia of Birds, Amy Sixfan, Amy \\tSpurling, Harvey Lessah [sp?], Manne’s School of Music]\\n50:58.11- END OF RECORDING.\\n\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/jackson_maclow_i006-11-031-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"jackson_maclow_i006-11-031-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:27:57\",\"precision\":\"\",\"size\":\"67.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"jackson_maclow_i006-11-031-2.mp3 [File 2 of 2]\\n\\nUnknown Speaker\\n00:00:00\\nThis is the one you wanted some light percussive stuff?\\n\\nJackson Mac Low\\n00:00:04\\nYeah, but very easy on it, not very, you know, keep the amplitude down to, no higher than mezzo piano. Did someone take one from here? I'm supposed to have one and ten. Try to start with the earlier ones and then go into the later ones if possible. Those with the first, the earlier numbers should be on mic first. Those with numbers between two and five I guess you would have. So that the [unintelligible] will hear the earlier ones more than the later ones. You can prolong any of the phonemes at the ends of lines. This is another piece called [unintelligible].\\n \\nUnknown\\n00:01:49\\nAmbient Sound [recorded performance plays; title uncertain].\\n \\nJackson Mac Low\\n00:03:00\\nPerforms \\\"Bluebird Asymmetries\\\" accompanied by audience members and recording.\\n \\nJackson Mac Low\\n00:12:35\\nI have one last one that none of these people have yet seen, and so this one has no rules, that is, the others have some rules for how you put in silences, these will, these...In the summer of ‘69 I did a project for the Los Angeles Museum of Art [https://www.wikidata.org/wiki/Q1641836], an art technology show that's going to open this May. Unfortunately, my machine was bombed out, the corporation seems to be on the rocks, they're not providing the machine, but luckily I had poems that appeared on cathode ray tubes or something called a programmable film reader, and the words appear at the same time we sent the same impulses through an audio system and they turned out to be, well the oboe family, everything down from sopranino oboe to double, double, double bass oboe according to how long the lines were and so I did quite a few poems, this particular one is \\\"The\\\", and it's the last one I did, and tried to grab I guess three pages each, just use whatever discretion you want to, and listen, listen, listen. Earlier I had very strict rules governed by chance operations and so on, in reading these, well, in reading these kind of simultaneous works, and more and more I came to the, well I always had the principal of the most important things was to listen hard to everything that was happening, including whatever was happening in the room, whatever’s happening outside and so on, but more and more I relied on the readers to judge when to come in, and in--perform--these I found, this is one very long print-out of this particular poem. I don't want to--I think in, I don't remember, someplace there's a description of the idea of how they were made and all that, but what I got was a number of messages that, of which the units were permuted, the earliest form of my program was simply permuting the words in each, single words in each message. Later on I was able to get carriage returns and things like that so that in this, each message is a group of short sentences, usually about the same thing, and you'll, so that on the page each message looks like a sort of a stanza or strophe, and the groups of sentences--any number of the groups of sentences from any one of these strophe units may appear at any time according to way the thing is programmed. Does everybody have about three pages? Let's just make it...\\n \\nJackson Mac Low\\n00:16:24\\nPerforms \\\"The\\\" accompanied by audience members.\\n \\nJackson Mac Low\\n00:27:57\\nThank you.\\n \\nEND\\n00:27:57\\n[Cut off abruptly].\",\"notes\":\"Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. \\n\\n\\n00:00- Jackson Mac Low introduces poem “[inaudible word] and Ladders”\\n01:49- Performs “[inaudible word] and Ladders”\\n03:00- Performs “Blue Bird Asymmetries” [INDEX: from 21 Matched Asymmetries: The 10 Bluebird Asymmetries]\\n12:35- Introduces “The” [INDEX: Los Angeles Museum of Art project: Art and Technology program, 1969, reading permutations, chance operations, principals of Mac Low’s poetry \\treading techniques]\\n16:24- Performs “The”\\n27:57- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#2\"}]"],"score":1.0},{"id":"1297","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 Simic at Sir George Williams University, The Poetry Series, 19 November 1971"],"item_title_source":["Cataloguer"],"item_title_note":["\"POETRY READING CHARLES SIMAC #1 I006/SR115.1\" written on sticker on the spine of the tape's box. CHARLES SIMAC refers to Charles Simic. SIMAC is misspelled. |I006-11-115.1\" written on sticker on the reel.\n\n\"POETRY READING CHARLES SIMAC #2 I006/SR115.2\" written on sticker on the spine of the tape's box. CHARLES SIMAC refers to Charles Simic. SIMAC is misspelled. \"I006-11-115.2\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[I006-11-115.1, I006-11-115.2]"],"creator_names":["Simic, Charles"],"creator_names_search":["Simic, Charles"],"creators":["[{\"url\":\"http://viaf.org/viaf/22044\",\"name\":\"Simic, Charles\",\"dates\":\" 1938-\",\"notes\":\"Poet, essayist and teacher Charles Simic was born in Belgrade, Yugoslavia on May 9, 1938 to Serbian parents. During his childhood, Simic witnessed both the military occupation by the Nazis during the Second World War, and then by the Soviet Union. His family left Yugoslavia for Paris in 1953, and then to Chicago in 1954. His first poem was published in the Chicago Review in 1959 when Simic was 19 years old. In 1961, Simic was enlisted in the US Army, and served until 1963 when he moved to New York City and enrolled in New York University. Simic met his future wife, designer Helene Dubin, with whom he had two children. Upon graduation with a B.A. in Russian in 1966, he worked as an editorial assistant for Aperture, a photography magazine. Simic’s first collection of poems, What the Grass Says (Kayak) was published in 1967 and was followed in 1969 with Somewhere Among Us a Stone Is Taking Notes (Kayak), and a number of anthologies, including Young American Poets (Follett Publishing Co, 1968), Contemporary American Poets (World Publishing Company, 1969), and Major Young American Poets (World Publishing Co, 1971). In 1970, Simic began teaching English at the University of California at Hayward, and earned a PEN International Award for his translation of Fire Gardens (New Rivers Press), written by Ivan V. Lalic. At that time, Simic also published an anthology of translations Four Modern Yugoslav Poets: Ivan V. Lalic, Branko Miljkovic, Milorad Pavic, Ljubomir Simovic, translations of Vasko Popa’s The Little Box (Charioteer Press, 1970) and his own collection of poetry, Dismantling the Silence (G. Braziller, 1971). Simic then received a fellowship from the Guggenheim Foundation, published White (New Rivers Press, 1972) and took a position of associate professor at the University of New Hampshire in 1973, which he would hold for over thirty years. A wildly prolific writer, Simic published poetry, translations and non-fiction, including Charon’s Cosmology (G. Braziller, 1977) which won the National Book Award, School for Dark Thoughts (Banyan Press, 1978), Classic Ballroom Dances (G. Braziller, 1980) which won both the Harriet Monroe Poetry Award and the Di Castagnola Award, Austerities (G. Braziller, 1982), Weather Forecast for Utopia and Vicinity (Station Hill Press, 1983), Unending Blues (Harcourt Brace Jovanovich, 1986), Brooms: Selected Poems (Edge, 1978), Selected Poems 1963-1983 (G. Braziller, 1985), The World Doesn’t End (Harcourt Brace Jovanovich, 1989) which won the Pulitzer Prize for Poetry in 1990, The Book of Gods and Devils (Harcourt Brace, 1990) and Hotel Insomnia (Harcourt, 1992). The 1990s saw Simic publishing numerous translations from Yugoslavian poets. Collections of Simic’s essays and memoirs include The Unemployed Fortune-Teller (Michigan Press, 1994), Orphan Factory (University of Michigan, 1997), Walking the Black Cat (Harcourt Brace & Co, 1996) and his more recent poetry collection The Voice at 3:00 am: Selected Late and New Poems (A.W. Ellsworth, 2003). In 2007, Simic was appointed U.S. Poet Laureate. Simic resides in Strafford, New Hampshire.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1971 11 19\",\"type\":\"Performance Date\",\"notes\":\"Date specified by Richard Somner in I006-11-106.4\",\"source\":\"Previous recording \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Previous researcher\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Charles Simic reads mostly from Dismantling the Silence (G. Braziller, 1971) as well as a selection of, at the time, new and unpublished poems from a notebook that would later be published in Return to a Place Lit by a Glass of Milk (G. Braziller, 1974) and Selected Early Poems (G. Braziller, 1999)."],"contents":["charles_simic_i006-11-115-1.mp3 [File 1 of 2]\n\nIntroducer\n00:00:05\nA short quotation which appears in the Contributors' Notes to Paul Carroll's [https://www.wikidata.org/wiki/Q15459057] anthology The Young American Poets. Quote: “As far back as I can remember there was a kind of dumbness within me, a need that sought expression. How it eventually materialized in the act of writing a poem belongs to a biography which I have only been able to recount in a few successful poems. As for the finished product, the poem, my need requires it to be of, as Whitman [https://www.wikidata.org/wiki/Q81438] said, the thoughts of all men in all ages and lands, and further, if they are not yours as much as mine, they are nothing, or next to nothing. On a subjective level, I write to give being to that vibration which is my life, and to survive in a hard time”. Charles Simic [https://www.wikidata.org/wiki/Q722555].\n \nCharles Simic\n00:00:57\nThank you. Is this mic also for the audience or just for the tape? Oh it is, okay. I'll be reading mostly from my third book, including also some more recent poems. And I'll start off with a very recent poem which is called \"Breasts\".\n \nCharles Simic\n00:02:07\nReads \"Breasts\" from Dismantling the Silence.\n \nCharles Simic\n00:05:05\nThis is not from the book. A series of poems really dealing with inanimate objects. And the first poem in the series is called \"Table\".\n \nCharles Simic\n00:05:27\nReads \"Table\" from Dismantling the Silence.\n \nCharles Simic\n00:06:55\nReads \"Stone\" from Dismantling the Silence.\n \nCharles Simic\n00:08:14\nThere's a poem about a fork, and also a poem about a spoon and knife, and I'll read \"The Fork\".\n \nCharles Simic\n00:08:26\nReads \"The Fork\" Dismantling the Silence.\n\nCharles Simic\n00:09:12\nReads \"My Shoes\" from Dismantling the Silence.\n \nCharles Simic\n00:10:42\nThe last one of these has not been included in the book. I only discovered it about a year ago, in a notebook, but it was written around the same time, and I've sort of been fooling around with it. It's called \"Brooms\". There's five parts. I'll just make a little pause within each part.\n \nCharles Simic\n00:11:13\nReads \"Brooms\", Part I [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:11:43\nReads \"Brooms\", Part II [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:12:41\nReads \"Brooms\", Part III [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:13:24\nReads \"Brooms\", Part IV [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:14:06\nReads \"Brooms\", Part V [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:14:55\nI'll read you the last poem of, in the book of this particular series, which really has nothing to do with objects, but it's a poem in which I imagine what would happen if someone really penetrated one of these inanimate objects, like his pores, kind of a Christopher Columbus [https://www.wikidata.org/wiki/Q7322] of entering an ashtray or something. It's called \"Explorers\".\n \nCharles Simic\n00:15:33\nReads \"Explorers\" from Dismantling the Silence.\n \nCharles Simic\n00:17:13\nLet's see. This is, this is called \"The Inner Man\".\n \nCharles Simic\n00:17:40\nReads \"The Inner Man\" from Dismantling the Silence.\n\nCharles Simic\n00:19:06\nThis poem, this next poem is called \"The Animals\". I wrote it in New York City [https://www.wikidata.org/wiki/Q60], after living in New York City for about five-six years, and lamenting the pastoral quality of my first book, and my inability to return to that kind of nature poetry. I realized that I hadn't seen a tree or an animal in about three or four years, and yet at the same time writing, you know, occasionally about some cows, or, you know, and I was saying, what are these animals, you know, these shadowy animals. Anyway, here's the poem. \"The Animals\".\n \nCharles Simic\n00:19:46\nReads \"The Animals\" from Dismantling the Silence.\n \nCharles Simic\n00:21:07\nLet's see. Sort of change to some different kinds of poems. Here's a poem about Chicago [https://www.wikidata.org/wiki/Q1297]. Going back to Chicago. And, to see my mother. And...it's all there anyway. Hopefully. There's seven parts.\n \nCharles Simic\n00:22:03\nReads \"Chicago\", Part I.\n \nCharles Simic\n00:22:43\nReads \"Chicago\", Part II.\n\nCharles Simic\n00:23:17\nReads \"Chicago\", Part III.\n \nCharles Simic\n00:23:57\nReads \"Chicago\", Part IV.\n \nCharles Simic\n00:24:35\nReads \"Chicago\", Part V.\n \nCharles Simic\n00:25:06\nReads \"Chicago\", Part VI.\n \nCharles Simic\n00:25:33\nReads \"Chicago\", Part VII.\n \nCharles Simic\n00:26:39\nLet's see. I can't find it. Maybe it's not written yet. Oh here it is, yeah. \n \nCharles Simic\n00:27:01\nReads \"Tapestry\" from Dismantling the Silence.\n \nCharles Simic\n00:28:15\nThis is a very different kind of poem. The material for the the poem is, are, cliches, working with, with awful cliches, things which were totally beaten to death and, you know, can't be used anymore. Or proverbs, popular wisdom, and I'm twisting it all around, trying to reverse the kind of universe that is implied by, by let's say proverbs, if you get up in the morning and such and such a thing happens. There is something very deterministic about it, and to reverse that, to give it a little fresh air, I'll turn it around. And so I have a sequence of six poems which are entirely made up of these things, and they're called, the common title is \"Concerning my Neighbors, the Hittites\", and the...why the Hittites [https://www.wikidata.org/wiki/Q5406]...why not? [Laughter]. Hittites were simply something that I had not the slightest idea about and I sort of saw ourselves one day becoming the Hittites, you know, somebody sitting one day in some future century and, our century being, sort of the Hittites, you know. And so there are six poems, and, I guess that's about all to be said.\n \nCharles Simic\n00:29:58\nReads \"Concerning My Neighbors, the Hittites\", Part I [published later in Selected Early Poems].\n \nCharles Simic\n00:31:21\nReads \"Concerning My Neighbors, the Hittites\", Part II [published later in Selected Early Poems].\n \nUnknown\n00:32:09\nSilence [pause].\n \nCharles Simic\n00:33:20\nReads \"Concerning My Neighbors, the Hittites\", Part III [published later in Selected Early Poems].\n \nCharles Simic\n00:34:20\nReads \"Concerning My Neighbors, the Hittites\", Part IV [ [published later in Selected Early Poems; includes extra stanzas not included in the published version of the poem].\n \nCharles Simic\n00:35:12\nReads \"Concerning My Neighbors, the Hittites\", Part V [published later in Selected Early Poems].\n \nCharles Simic\n00:36:14\nReads \"Concerning My Neighbors, the Hittites\", Part VI [published later in Selected Early Poems].\n\nCharles Simic\n00:36:23\nDo you, we need a break? Should we take a break? Huh? No, yes. No. Take a break. Yeah, let's take a ten-minute break. \n\nAudience\n00:36:30\nApplause [cut off].\n \nEND\n00:36:39\n\n\ncharles_simic_i006-11-115-2.mp3 [File 2 of 2]\n\nCharles Simic\n00:00:00\nI was asking [Ksemi Rothers (?)] about, you know, who are my great grand-uncles, and great-grandfathers and so on, and I found out that they all were killed or disappeared in some completely forgotten nineteenth-century Balkan wars which no one knows anymore the cause or the reason or why they were started. And so this poem kind of happened out of that. It's called \"Marching\". \n \nCharles Simic \n00:00:47\nReads \"Marching\" from Dismantling the Silence.\n \nCharles Simic\n00:03:28\nThis is a kind of a, you could say that it's sort of an elegy for my father, in seven parts.\n \nCharles Simic\n00:03:47\nReads “George Simic” [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:07:44\nThis is a love poem. I have a series of love poems in the new book but this is one of them. And I might use the title of this poem as the title of the new book. The title is \"Return to a place lit by a glass of milk\".\n \nCharles Simic\n00:08:08\nReads \"Return to a place lit by a glass of milk\" [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:09:20\nI want to read a couple more poems now. \"Dismantling the Silence\".\n \nCharles Simicn\n00:09:54\nReads \"Dismantling the Silence\" from Dismantling the Silence.\n \nCharles Simic\n00:11:17\nThe last poem in this book is called \"Errata\" for the good reason that after I finished the book I felt again, you know, a sense of frustration. I didn't say everything. And so each of the lines in this particular poem are really, refer to actual lines in the book. I'm kind of correcting myself. \"Errata\".\n \nCharles Simic\n00:11:53\nReads \"Errata\" from Dismantling the Silence.\n \nCharles Simic\n00:13:20\nThank you. \n\nAudience\n00:13:23\nApplause.\n \nIntroducer\n00:13:35\nThe next reading will be on January 14th. Dorothy Livesay [https://www.wikidata.org/wiki/Q1250325] will read that night.\n \nEND\n00:13:44\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1971, Simic was teaching at the University of California at Hayward, and had published his third book, Dismantling the Silence (G. Braziller, 1971).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAny specific connections Simic had with Montreal or Sir George Williams University are unknown at this point, but Simic was an important and influential figure in American poetry, which no doubt had an impact on Canadian writers.\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones \\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>CD>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/young-american-poets/oclc/1071394844&referer=brief_results\",\"citation\":\"Carroll, Paul. The Young American Poets. Chicago: Big Table Publishing, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"Hart, Henry. \\\"Simic, Charles\\\". The Oxford Encyclopedia of American Literature. Jay Parini (ed). Oxford University Press, 2004. \"},{\"url\":\"http://news.google.com/newspapers?id=H0EjAAAAIBAJ&sjid=36EFAAAAIBAJ&pg=6219,3330526&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“General: Poetry Reading”. The Gazette. 19 November 1971. \"},{\"url\":\"https://www.worldcat.org/title/concise-oxford-companion-to-english-literature/oclc/869601178&referer=brief_results\",\"citation\":\"\\\"Simic, Charles\\\". The Concise Oxford Companion to English Literature. Margaret Drabble and Jenny Stringer (eds). Oxford University Press, 2007. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/750769493&referer=brief_results\",\"citation\":\"\\\"Simic, 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/oxford-companion-to-english-literature/oclc/937869384&referer=brief_results\",\"citation\":\"\\\"Simic, Charles”. The Oxford Companion to English Literature. Dinah Birch (ed). Oxford University Press, 2009. \"},{\"url\":\"https://www.worldcat.org/title/dismantling-the-silence/oclc/1154942465&referer=brief_results\",\"citation\":\"Simic, Charles. Dismantling the Silence. New York: Braziller, 1971. \"},{\"url\":\"https://www.worldcat.org/title/return-to-a-place-lit-by-a-glass-of-milk/oclc/1154834086&referer=brief_results\",\"citation\":\"Simic, Charles. Return to a place lit by a glass of milk. New York: Braziller, 1974. \"},{\"url\":\"https://www.worldcat.org/title/charles-simic-selected-early-poems/oclc/1101269207&referer=brief_results\",\"citation\":\"Simic, Charles. Selected Early Poems. New York: Braziller, 1999. \"},{\"url\":\"\",\"citation\":\"“Simic, Charles, 1938-”. Literature Online Bibliography. Cambridge, UK: Proquest LLC, 2008.\"}]"],"_version_":1853670548945502208,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0115-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0115-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Simic Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0115-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0115-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Simic Tape Box 1 - 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Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/charles_simic_i006-11-115-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"charles_simic_i006-11-115-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:36:39\",\"precision\":\"\",\"size\":\"88 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"charles_simic_i006-11-115-1.mp3 [File 1 of 2]\\n\\nIntroducer\\n00:00:05\\nA short quotation which appears in the Contributors' Notes to Paul Carroll's [https://www.wikidata.org/wiki/Q15459057] anthology The Young American Poets. Quote: “As far back as I can remember there was a kind of dumbness within me, a need that sought expression. How it eventually materialized in the act of writing a poem belongs to a biography which I have only been able to recount in a few successful poems. As for the finished product, the poem, my need requires it to be of, as Whitman [https://www.wikidata.org/wiki/Q81438] said, the thoughts of all men in all ages and lands, and further, if they are not yours as much as mine, they are nothing, or next to nothing. On a subjective level, I write to give being to that vibration which is my life, and to survive in a hard time”. Charles Simic [https://www.wikidata.org/wiki/Q722555].\\n \\nCharles Simic\\n00:00:57\\nThank you. Is this mic also for the audience or just for the tape? Oh it is, okay. I'll be reading mostly from my third book, including also some more recent poems. And I'll start off with a very recent poem which is called \\\"Breasts\\\".\\n \\nCharles Simic\\n00:02:07\\nReads \\\"Breasts\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:05:05\\nThis is not from the book. A series of poems really dealing with inanimate objects. And the first poem in the series is called \\\"Table\\\".\\n \\nCharles Simic\\n00:05:27\\nReads \\\"Table\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:06:55\\nReads \\\"Stone\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:08:14\\nThere's a poem about a fork, and also a poem about a spoon and knife, and I'll read \\\"The Fork\\\".\\n \\nCharles Simic\\n00:08:26\\nReads \\\"The Fork\\\" Dismantling the Silence.\\n\\nCharles Simic\\n00:09:12\\nReads \\\"My Shoes\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:10:42\\nThe last one of these has not been included in the book. I only discovered it about a year ago, in a notebook, but it was written around the same time, and I've sort of been fooling around with it. It's called \\\"Brooms\\\". There's five parts. I'll just make a little pause within each part.\\n \\nCharles Simic\\n00:11:13\\nReads \\\"Brooms\\\", Part I [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:11:43\\nReads \\\"Brooms\\\", Part II [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:12:41\\nReads \\\"Brooms\\\", Part III [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:13:24\\nReads \\\"Brooms\\\", Part IV [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:14:06\\nReads \\\"Brooms\\\", Part V [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:14:55\\nI'll read you the last poem of, in the book of this particular series, which really has nothing to do with objects, but it's a poem in which I imagine what would happen if someone really penetrated one of these inanimate objects, like his pores, kind of a Christopher Columbus [https://www.wikidata.org/wiki/Q7322] of entering an ashtray or something. It's called \\\"Explorers\\\".\\n \\nCharles Simic\\n00:15:33\\nReads \\\"Explorers\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:17:13\\nLet's see. This is, this is called \\\"The Inner Man\\\".\\n \\nCharles Simic\\n00:17:40\\nReads \\\"The Inner Man\\\" from Dismantling the Silence.\\n\\nCharles Simic\\n00:19:06\\nThis poem, this next poem is called \\\"The Animals\\\". I wrote it in New York City [https://www.wikidata.org/wiki/Q60], after living in New York City for about five-six years, and lamenting the pastoral quality of my first book, and my inability to return to that kind of nature poetry. I realized that I hadn't seen a tree or an animal in about three or four years, and yet at the same time writing, you know, occasionally about some cows, or, you know, and I was saying, what are these animals, you know, these shadowy animals. Anyway, here's the poem. \\\"The Animals\\\".\\n \\nCharles Simic\\n00:19:46\\nReads \\\"The Animals\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:21:07\\nLet's see. Sort of change to some different kinds of poems. Here's a poem about Chicago [https://www.wikidata.org/wiki/Q1297]. Going back to Chicago. And, to see my mother. And...it's all there anyway. Hopefully. There's seven parts.\\n \\nCharles Simic\\n00:22:03\\nReads \\\"Chicago\\\", Part I.\\n \\nCharles Simic\\n00:22:43\\nReads \\\"Chicago\\\", Part II.\\n\\nCharles Simic\\n00:23:17\\nReads \\\"Chicago\\\", Part III.\\n \\nCharles Simic\\n00:23:57\\nReads \\\"Chicago\\\", Part IV.\\n \\nCharles Simic\\n00:24:35\\nReads \\\"Chicago\\\", Part V.\\n \\nCharles Simic\\n00:25:06\\nReads \\\"Chicago\\\", Part VI.\\n \\nCharles Simic\\n00:25:33\\nReads \\\"Chicago\\\", Part VII.\\n \\nCharles Simic\\n00:26:39\\nLet's see. I can't find it. Maybe it's not written yet. Oh here it is, yeah. \\n \\nCharles Simic\\n00:27:01\\nReads \\\"Tapestry\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:28:15\\nThis is a very different kind of poem. The material for the the poem is, are, cliches, working with, with awful cliches, things which were totally beaten to death and, you know, can't be used anymore. Or proverbs, popular wisdom, and I'm twisting it all around, trying to reverse the kind of universe that is implied by, by let's say proverbs, if you get up in the morning and such and such a thing happens. There is something very deterministic about it, and to reverse that, to give it a little fresh air, I'll turn it around. And so I have a sequence of six poems which are entirely made up of these things, and they're called, the common title is \\\"Concerning my Neighbors, the Hittites\\\", and the...why the Hittites [https://www.wikidata.org/wiki/Q5406]...why not? [Laughter]. Hittites were simply something that I had not the slightest idea about and I sort of saw ourselves one day becoming the Hittites, you know, somebody sitting one day in some future century and, our century being, sort of the Hittites, you know. And so there are six poems, and, I guess that's about all to be said.\\n \\nCharles Simic\\n00:29:58\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part I [published later in Selected Early Poems].\\n \\nCharles Simic\\n00:31:21\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part II [published later in Selected Early Poems].\\n \\nUnknown\\n00:32:09\\nSilence [pause].\\n \\nCharles Simic\\n00:33:20\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part III [published later in Selected Early Poems].\\n \\nCharles Simic\\n00:34:20\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part IV [ [published later in Selected Early Poems; includes extra stanzas not included in the published version of the poem].\\n \\nCharles Simic\\n00:35:12\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part V [published later in Selected Early Poems].\\n \\nCharles Simic\\n00:36:14\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part VI [published later in Selected Early Poems].\\n\\nCharles Simic\\n00:36:23\\nDo you, we need a break? Should we take a break? Huh? No, yes. No. Take a break. Yeah, let's take a ten-minute break. \\n\\nAudience\\n00:36:30\\nApplause [cut off].\\n \\nEND\\n00:36:39\\n\",\"notes\":\"Charles Simic reads mostly from Dismantling the Silence (G. Braziller, 1971) as well as a selection of, at the time, new and unpublished poems from a notebook that would later be published in Return to a Place Lit by a Glass of Milk (G. Braziller, 1974) and Selected Early Poems (G. Braziller, 1999). \\n\\n00:00- Unknown introducer introduces Charles Simic. [INDEX: quotation from the Contributor's notes to Paul Carroll’s anthology, The Young American Poets, Walt Whitman.]\\n00:57- Charles Simic introduces reading, and “Breasts”. [INDEX: reading from his third book (Dismantling the Silence (G. Braziller, 1971)), as well as recent poems; this poem published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974).] \\n02:07- Reads “Breasts”.\\n05:05- Introduces “Table”. [INDEX: not from the book Dismantling the Silence, dealing with inanimate objects.]\\n05:27- Reads “Table”.\\n06:55- Reads “Stone”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n08:14- Introduces “The Fork”. [INDEX: poem about a spoon and a knife]\\n08:26- Reads “The Fork”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n09:12- Reads “My Shoes”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n10:42- Introduces “Brooms”, parts I-V. [INDEX: written in a notebook, not included in published book with others; published in 1974 in Return to a place lit by a glass of milk \\t(G. Braziller, 1974).]\\n11:13- Reads “Brooms” Part I.\\n11:43- Reads “Brooms” Part II.\\n12:41- Reads “Brooms” Part III.\\n13:24- Reads “Brooms” Part IV.\\n14:06- Reads “Brooms” Part V.\\n14:55- Introduces “Explorers” [INDEX: last poem in book of particular series, Christopher Columbus entering an ashtray.] \\n15:33- Reads “Explorers”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n17:13- Reads “The Inner Man”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n19:06- Introduces “The Animals”. [INDEX: written in NYC, pastoral quality of first book, inability to return to nature poetry, pastoral animals.]\\n19:46- Reads “The Animals”. [INDEX: in Dismantling the Silence (G. Braziller, 1971).]\\n21:07- Introduces “Chicago”, parts I-VII. [INDEX: about going back to Chicago, Simic’s mother, perhaps not in Dismantling the Silence (G. Braziller, 1971).]\\n22:03- Reads “Chicago” Part I.\\n22:43- Reads “Chicago” Part II.\\n23:17- Reads “Chicago” Part III.\\n23:57- Reads “Chicago” Part IV.\\n24:35- Reads “Chicago” Part V.\\n25:06- Reads “Chicago” Part VI.\\n25:33- Reads “Chicago” Part VII.\\n27:01- Reads “Tapestry”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n28:15- Introduces “Concerning My Neighbors, the Hittites”, Parts I-VI. [INDEX: writing with cliches, proverbs, popular wisdom to twist them around, Hittites.]\\n29:58- Reads “Concerning My Neighbors, the Hittites” Part I.\\n31:21- Reads “Concerning My Neighbors, the Hittites” Part II.\\n33:20- Reading interrupted by pause, either Part II is continued or part III begins. [INDEX: discrepancies between published versions and the reading are noted here.]\\n34:20- Reads “Concerning my Neighbors, the Hittites” Part IV.\\n35:12- Reads “Concerning my Neighbors, the Hittites” Part V.\\n36:14- Reads “Concerning my Neighbors, the Hittites” Part VI.\\n36:39- Introduces “Marching”. [INDEX: Ksemi Rothers, Simic’s ancestors, Balkan wars, most likely in Dismantling the Silence (G. Braziller, 1971).]\\n37:27- Reads “Marching”.\\n40:08- Introduces “Elegy for my father” [INDEX: elegy for Simic’s father, seven parts; published in 1974 as “George Simic” in Return to a place lit by a glass of milk (G. \\tBraziller, 1974).]\\n40:27- Reads “Elegy for my father”.\\n44:24- Introduces “Return to a place lit by a glass of milk”. [INDEX: love poem, might use title for title of new book.]\\n44:47- Reads “Return to a place lit by a glass of milk”. [INDEX: published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974)]\\n46:34- Reads “Dismantling the Silence”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n47:57- Introduces “Errata”. [INDEX: after finishing a book felt a sense of frustration of not being able to say everything, each line refers to actual lines in the book.]\\n48:33- Reads “Errata”.\\n50:15- Unknown speaker announces next reading [Dorothy Livesay on January 14.]\\n50:24.10- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-simic-at-sgwu-1971/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/charles_simic_i006-11-115-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"charles_simic_i006-11-115-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:13:44\",\"precision\":\"\",\"size\":\"33 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"charles_simic_i006-11-115-2.mp3 [File 2 of 2]\\n\\nCharles Simic\\n00:00:00\\nI was asking [Ksemi Rothers (?)] about, you know, who are my great grand-uncles, and great-grandfathers and so on, and I found out that they all were killed or disappeared in some completely forgotten nineteenth-century Balkan wars which no one knows anymore the cause or the reason or why they were started. And so this poem kind of happened out of that. It's called \\\"Marching\\\". \\n \\nCharles Simic \\n00:00:47\\nReads \\\"Marching\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:03:28\\nThis is a kind of a, you could say that it's sort of an elegy for my father, in seven parts.\\n \\nCharles Simic\\n00:03:47\\nReads “George Simic” [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:07:44\\nThis is a love poem. I have a series of love poems in the new book but this is one of them. And I might use the title of this poem as the title of the new book. The title is \\\"Return to a place lit by a glass of milk\\\".\\n \\nCharles Simic\\n00:08:08\\nReads \\\"Return to a place lit by a glass of milk\\\" [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:09:20\\nI want to read a couple more poems now. \\\"Dismantling the Silence\\\".\\n \\nCharles Simicn\\n00:09:54\\nReads \\\"Dismantling the Silence\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:11:17\\nThe last poem in this book is called \\\"Errata\\\" for the good reason that after I finished the book I felt again, you know, a sense of frustration. I didn't say everything. And so each of the lines in this particular poem are really, refer to actual lines in the book. I'm kind of correcting myself. \\\"Errata\\\".\\n \\nCharles Simic\\n00:11:53\\nReads \\\"Errata\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:13:20\\nThank you. \\n\\nAudience\\n00:13:23\\nApplause.\\n \\nIntroducer\\n00:13:35\\nThe next reading will be on January 14th. Dorothy Livesay [https://www.wikidata.org/wiki/Q1250325] will read that night.\\n \\nEND\\n00:13:44\\n\",\"notes\":\"Charles Simic reads mostly from Dismantling the Silence (G. Braziller, 1971) as well as a selection of, at the time, new and unpublished poems from a notebook that would later be published in Return to a Place Lit by a Glass of Milk (G. Braziller, 1974) and Selected Early Poems (G. Braziller, 1999). \\n\\n00:00- Unknown introducer introduces Charles Simic. [INDEX: quotation from the Contributor's notes to Paul Carroll’s anthology, The Young American Poets, Walt Whitman.]\\n00:57- Charles Simic introduces reading, and “Breasts”. [INDEX: reading from his third book (Dismantling the Silence (G. Braziller, 1971)), as well as recent poems; this poem published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974).] \\n02:07- Reads “Breasts”.\\n05:05- Introduces “Table”. [INDEX: not from the book Dismantling the Silence, dealing with inanimate objects.]\\n05:27- Reads “Table”.\\n06:55- Reads “Stone”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n08:14- Introduces “The Fork”. [INDEX: poem about a spoon and a knife]\\n08:26- Reads “The Fork”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n09:12- Reads “My Shoes”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n10:42- Introduces “Brooms”, parts I-V. [INDEX: written in a notebook, not included in published book with others; published in 1974 in Return to a place lit by a glass of milk \\t(G. Braziller, 1974).]\\n11:13- Reads “Brooms” Part I.\\n11:43- Reads “Brooms” Part II.\\n12:41- Reads “Brooms” Part III.\\n13:24- Reads “Brooms” Part IV.\\n14:06- Reads “Brooms” Part V.\\n14:55- Introduces “Explorers” [INDEX: last poem in book of particular series, Christopher Columbus entering an ashtray.] \\n15:33- Reads “Explorers”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n17:13- Reads “The Inner Man”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n19:06- Introduces “The Animals”. [INDEX: written in NYC, pastoral quality of first book, inability to return to nature poetry, pastoral animals.]\\n19:46- Reads “The Animals”. [INDEX: in Dismantling the Silence (G. Braziller, 1971).]\\n21:07- Introduces “Chicago”, parts I-VII. [INDEX: about going back to Chicago, Simic’s mother, perhaps not in Dismantling the Silence (G. Braziller, 1971).]\\n22:03- Reads “Chicago” Part I.\\n22:43- Reads “Chicago” Part II.\\n23:17- Reads “Chicago” Part III.\\n23:57- Reads “Chicago” Part IV.\\n24:35- Reads “Chicago” Part V.\\n25:06- Reads “Chicago” Part VI.\\n25:33- Reads “Chicago” Part VII.\\n27:01- Reads “Tapestry”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n28:15- Introduces “Concerning My Neighbors, the Hittites”, Parts I-VI. [INDEX: writing with cliches, proverbs, popular wisdom to twist them around, Hittites.]\\n29:58- Reads “Concerning My Neighbors, the Hittites” Part I.\\n31:21- Reads “Concerning My Neighbors, the Hittites” Part II.\\n33:20- Reading interrupted by pause, either Part II is continued or part III begins. [INDEX: discrepancies between published versions and the reading are noted here.]\\n34:20- Reads “Concerning my Neighbors, the Hittites” Part IV.\\n35:12- Reads “Concerning my Neighbors, the Hittites” Part V.\\n36:14- Reads “Concerning my Neighbors, the Hittites” Part VI.\\n36:39- Introduces “Marching”. [INDEX: Ksemi Rothers, Simic’s ancestors, Balkan wars, most likely in Dismantling the Silence (G. Braziller, 1971).]\\n37:27- Reads “Marching”.\\n40:08- Introduces “Elegy for my father” [INDEX: elegy for Simic’s father, seven parts; published in 1974 as “George Simic” in Return to a place lit by a glass of milk (G. \\tBraziller, 1974).]\\n40:27- Reads “Elegy for my father”.\\n44:24- Introduces “Return to a place lit by a glass of milk”. [INDEX: love poem, might use title for title of new book.]\\n44:47- Reads “Return to a place lit by a glass of milk”. [INDEX: published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974)]\\n46:34- Reads “Dismantling the Silence”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n47:57- Introduces “Errata”. [INDEX: after finishing a book felt a sense of frustration of not being able to say everything, each line refers to actual lines in the book.]\\n48:33- Reads “Errata”.\\n50:15- Unknown speaker announces next reading [Dorothy Livesay on January 14.]\\n50:24.10- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-simic-at-sgwu-1971/#2\"}]"],"score":1.0},{"id":"1298","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":["Maxine Gadd and Andreas Schroeder at Sir George Williams University, The Poetry Series, 18 February 1972"],"item_title_source":["Cataloguer"],"item_title_note":["\"SCHROEDER & GADD 1/4 I006-11-109.1\" written on the spine of the tape's box. SCHROEDER & GADD refers to Andreas Schroeder and Maxine Gadd. \"I006-11-109.1\" written on sticker on the reel. \"POETRY 6 TAPE #1 OF 4 SCHROEDER & GADD 2-72-012-6 3 3/4 ips MASTER\" written on the front of the tape's box.\n\n\"SCHROEDER & GADD 2/4 I006-11-109.2\" written on the spine of the tape's box. SCHROEDER & GADD refers to Andreas Schroeder and Maxine Gadd. \"I006-11-109.2\" written on sticker on the reel. \"POETRY 6 TAPE #2 OF 4 SCHROEDER & GADD 2-72-012-6 3 3/4 ips MASTER #2\" written on the front of the tape's box.\n\n'SCHROEDER & GADD 3/4 I006-11-109.3\" written on sticker on the spine of the tape's box. SCHROEDER & GADD refers to Andreas Schroeder and Maxine Gadd. \"I006-11-109.3\" written on sticker on the reel. \"POETRY 6 TAPE #3 OF 4 SCHROEDER & GADD 2-72-012-6 3 3/4 ips MASTER #3\" written on the front of the tape's box.\n\n\"SCHROEDER & GADD 4/4 I006-11-109.4\" written on sticker on the spine of the tape's box. SCHROEDER & GADD refers to Andreas Schroeder and Maxine Gadd. \"I006-11-109.4\" written on sticker on the reel. \"POETRY 6 TAPE #4 OF 4 SCHROEDER & GADD 2-72-012-6 3 3/4 ips MASTER #4\" written on the front of the tape's box."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[I006-11-109.1, I006-11-109.2, I006-11-109.3, I006-11-109.4]"],"creator_names":["Gadd, Maxine","Schroeder, Andreas"],"creator_names_search":["Gadd, Maxine","Schroeder, Andreas"],"creators":["[{\"url\":\"http://viaf.org/viaf/75225856\",\"name\":\"Gadd, Maxine\",\"dates\":\"1940-\",\"notes\":\"Canadian poet Maxine Gadd was born in London, England in 1940, but moved to the West Coast as a young child in 1946. Gadd attended the University of British Columbia and published her poetry with the UBC journal The Raven. Gadd was married and had a baby by the time she graduated with her B.A. She spent some time in California with her child, then she returned to Vancouver. Gadd reunited with the poetry scene and met bill bissett. Her first collection of poetry, Guns of the West was published by bill bissett’s blewointment press in 1967, and was followed by Practical Knowledge (Intermedia, 1969). Gadd was a founding member of Vancouver’s Intermedia as well as being involved with the Poetry Front. She then published a series of chapbooks, hochelaga (blewointment press, 1970), air two (Air Press, 1971), Westerns (Air Press, 1975), and Fire in the Cove (mother tongue Press, 2001). Gadd lived in a commune on Galiano Island until 1984, when she moved back to Vancouver and was associated with the Kootenay School of Writing. In 1982, Daphne Marlatt and Ingrid Klassen published through Coach House Press Gadd’s Lost language: selected poems. Most recently, Gadd published Backup to Babylon: poems, 1972-1987 (New Star Books, 2006), which was nominated by the BC Book Prize and Subway Under Byzantium: Poems, 1988-1996 (New Star Books, 2008). An excerpt from “Mazine Meets Proteus in Gastown” from Backup to Babylon was part of Vancouver’s ‘Poetry in Transit’ project in 2007, and was shown on Vancouver busses.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/57773869\",\"name\":\"Schroeder, Andreas\",\"dates\":\"1946-\",\"notes\":\"Andreas Schroeder was born in 1946 in Hoheneggelsen, Germany before his family immigrated to Canada in 1951. Schroeder grew up on a farm in the Fraser Valley in B.C., until he was fifteen when his family moved to Vancouver. He enrolled in the University of British Columbia’s creative writing program where he studied under Michael Bullock and J. Michael Yates and received his B.A. in 1969. He founded and edited The Journal of Contemporary Literature in Translation (1968-80) and worked as a columnist for the Vancouver Province (1968-73). Schroeder’s first collections of poetry were The ozone minotaur (Sono Nis Press, 1969) and File of uncertainties (Sono Nis Press, 1971), a collection of concrete poetry UNIverse (MassAge Press, 1971) and a collection of short stories, The late man (Sono Nis Press, 1972). Schroeder completed his M.A. in 1972 from the University of British Columbia, and began teaching creative writing at the University of Victoria from 1974-1975. Schroeder was the chair of the Writer’s Union of Canada between 1976-1977. His most popular book was Shaking it rough (Doubleday, 1976), and he has published over twenty books in poetry, fiction, non-fiction, radio drama, journalism, translation and criticism. Schroeder then taught at the University of British Columbia (1985-7) and at Simon Fraser University (1989-90), publishing The Mennonites: a pictorial history of their lives in Canada (Douglas & McIntyre, 1990), Carved from wood: Mission, B.C. 1891-1992 (Mission Foundation, 1991) and Scams, scandals and scullduggery (M & S, 1996). Schroeder worked as the “resident crookologist” or “resident Scam-meister” on the CBC Radio show Basic Black, which produced a few collections of history’s greatest scams, including a children’s book, Scams! (Annick Press, 2004). His most recent publication is Renovating Heaven (Ooolichan, 2008), and he continues to teach and write in B.C.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Sommer, Richard"],"contributors_names_search":["Sommer, Richard"],"contributors":["[{\"url\":\"\",\"name\":\"Sommer, Richard\",\"dates\":\"1934-2012\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Sommer, Richard"],"Series_organizer_name":["Sommer, Richard"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel","Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape","Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue","Analogue","Analogue"],"AV_type":["Audio","Audio","Audio","Audio"],"playback_mode":["Mono","Mono","Mono","Mono"],"Dates":["[{\"date\":\"1972 2 18\",\"type\":\"Performance Date\",\"notes\":\"Date specified in written announcement \\\"Georgian Happenings\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Georgian Happenings\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Maxine Gadd reads several poems that were later collected in Lost Language (Coach House Press, 1982), one poem from air two (Air, 1971), but it is likely that many other poems went unpublished. Andreas Schroeder reads from The Late Man (SonoNis Press, 1971), The Ozone Minotaur (SoNoNis Press, 1969) and File of Uncertainties (SoNoNis Press, 1971)."],"contents":["maxine_gadd_i006-11-109-1.mp3 [File 1 of 4]\n \nRichard (Dick) Sommer\n00:00:00\nI'd like to introduce you to two poets who are Vancouver [https://www.wikidata.org/wiki/Q24639] friends of mine. Their poetry is quite different, as you'll discover. But from my own point of view, they...I owe both of them a debt that is similar in both cases though neither probably knows it. They've made me, in their own ways, rethink my own feelings about what ought to constitute poetry and poems. And in the case of Maxine Gadd, this thinking went into a review which was then sent to the Firepoint which then folded. So you may never see that. And in the case of Andy Schroeder [https://www.wikidata.org/wiki/Q4755619], found its way into a long tape harangue between the two of us on the subject of form in poetry. Which I think is now in the Sir George Williams Library [https://www.wikidata.org/wiki/Q5159005], where any of you can endure it if you wish to. At any rate, the first of these poets to read will be Maxine Gadd. There will be a fifteen minute break, and then Andreas Schroeder will read. Maxine. \n \nAudience\n00:01:32\nApplause. \n \nRichard (Dick) Sommer\n00:02:01\nYou're plugged in. \n \nMaxine Gadd\n00:02:03\nOh boy. Can you hear me? I don't know how much projection to do. I don't know how much to talk about the poetry. My connection is very loose to the mainstream I guess, because, I don't know, I'm just not socially related to what's going on maybe in the poetry reading. I guess my identifications with words are somewhat with a West Coast hippie trip. And between the country and the city, the first feeling being, you know, the desire for purity, you know when you're seventeen or eighteen years old and you've figured the country life is it. And later coming to realize the necessity of the communal life and the city. So I think that's a task I'm going to try to set myself right here. I...this...I'm going to read first of all the second \"well\" poem, which I did, experienced in the country, living in the country. I remember the first \"well\" poem, I don't remember where it's gone, because it didn't get published. I disregarded its importance, you know. I tended to take the judgment of editors, and you know, people that set themselves up as authorities, and that's why I'm here, you know. I've kept close enough to them, I guess. I remember the first one went something like, \"Wanting pure water I went to the well/too wonderful\"...and there was something about the oracle as the bucket clacked. This is the “Second Well Poem”. \n \nMaxine Gadd\n00:03:57\nReads \"Second Well Poem\" [published later as “Well poem” in Lost Language].\n\nMaxine Gadd\n00:04:41\nWhich is about where I feel right now. But that's about where my connection to poetry is right now. I wonder if that...I wonder if that one's around. I don't think it is. I guess I'll just take it as it comes. There's some scheme in this. I guess, I got published by a cat, by bill bissett [https://www.wikidata.org/wiki/Q4911496] you might have heard, who did the thing, did the guru thing, the super-energy thing of getting a lot of work done, and getting a lot of people's work out, and a lot of his work out, a lot of it was real shit but he got it out, you know, and some of it worked and some of it didn't, but there was so much of it, you know...I'd like to have had that confidence, you know, I guess almost, most people write poetry, they've got it all in their trunk, you know, they don't get it out. But I guess that's what it takes. This is from one of his first, really cheap magazines. He put, he...it's typed, you know. Pretty good typing. His typing got worse, I get very angry, he makes lots of mistakes. But he did a lot of drawings and things, if anybody wants to look at it, you know. I mean, he did it minimum, you know, he was living really poor. And a lot of people still read his stuff, so, I mean, to me he was a folk poet in that sense, a lot of people still read his stuff because he got the stuff out cheap, you know. \"Trip\".\n \nMaxine Gadd\n00:06:05\nReads \"Trip\".\n \nMaxine Gadd\n00:07:47\nI'm going to go over there. This one is to a poet who is in the, is in another world, okay? He looks like a silver lizard, and he's very beautiful, and he knows all about the Greek trip, and Eleusis, which is one's talking about in the first poem, okay, the oracles from under the ground, that belief you must start out with. It's called...and it's admiration, as well as a bit of terror.\n \nMaxine Gadd\n00:08:22\nReads unnamed poem. \n \nMaxine Gadd\n00:10:19\nLeary, I should have mentioned, was Timothy Leary. Oh, I should have explained that before, yeah. Oh yeah, this is where I met...now I don't like it okay? And it's probably not a good poem. But that's, that's...you know, that's...the kind of art form I'd like to have seen as a collective art form, was what I yearned and hoped for. Poetry is what people write in rooms alone, and I don't like...I don't, you know, that's what I was stuck with. And I worked for a while with a group in Vancouver called, named, we called it \"Intermedia\". And I had the experience of working with a group, at one point there were five of us poets, you know, or what we called poets. And we'd go around to various places, we went to Edmonton [https://www.wikidata.org/wiki/Q2096] one time, and we tried things, we tried chanting and wailing, like, was it...who was that crazy old lady. Sitwell, Edith Sitwell [https://www.wikidata.org/wiki/Q259921], remember her? And if you ever heard the sort of sing, the song, sing sing she used to do, you know, we tried that. And it really worked, you know, but you'd go around and you'd say, \"Do you dig the poems?\" and they'd say, \"I can't hear them, but we really like your voice.\" You know. [Audience laughter]. So, you know, left that, you got an ache in the gut or something. \n \nMaxine Gadd\n00:11:37\nReads \"Ratio\".\n \nMaxine Gadd\n00:12:48\nI don't like it. I don't want to be there. Here's one from last year. I got into printing stuff myself, you know, and I do that--I wish, oh, you can't see it, can you? It was mimeograph, it was real cheap, you know? And you could take images, you could take newspaper articles, you could take scraps of anything you saw that you dug, you know, put 'em together, and to me that was a, that was a form of concrete poetry. Can't, of course, I don't know, you couldn't really say that one or any number of them. This one is half-said, okay. Behind it I put a map, I found a map of B.C. [https://www.wikidata.org/wiki/Q1974]and Minster Island [https://www.wikidata.org/wiki/Q21906024] was a map, was an island I found once when I was working on a ship as a mess girl, on a freighter. \n \nMaxine Gadd\n00:13:46\nReads unnamed poem.\n \nMaxine Gadd\n00:15:33\nAnd where that ended up was just over the name Bella Coola [https://www.wikidata.org/wiki/Q815765], which is sort of where they do, can fish. There's no escape, though, you know? And...so then I want to read about Kitsilano [https://www.wikidata.org/wiki/Q4179275], where most of...I happened, you know, I grew up. Kitsilano's a sort of slum district of Vancouver. And it's disintegrating, and you probably all experienced this, you know, being city people, you know, they're bulldozing the places, there's no more cheap places to live, and so your friends, you know, you can't live there anymore, your friends can't live there anymore, so whatever you had, which was sometimes very heavy, you know, community's really beautiful, you know? I used to go over and play music with my friends. We had to move out, you know, because the city's being destroyed, and only the people who are well-to-do, who have some sort of stake in the city, you know, who are supporting the structure can stay. And this poem is about somebody who I met one day on the street, you know, and her story, she's sort of sick, just on the street, everything's falling to pieces. \n \nMaxine Gadd\n00:16:55\nReads “bee-people on 4th avenue” [published later in Lost Language].\n\nMaxine Gadd\n00:18:32\nWho's singing out there? But here, on the next street, you know, I ran into a friend of mine. Her name's Martina. And, you know, we're about the same age, and we've been through a lot of things, and, we've been through some bad things, you know, lots of rejections and refusal, no, there's no food now, you can't have any, go away, you know, fighting over somebody or other. \n \nMaxine Gadd\n00:18:58\nReads “4th ave” [published later in Lost Language].\n \nMaxine Gadd\n00:20:49\nUs old ladies. Okay, but that's not entirely true. I got involved into all that magic stuff, you know, the Sufis, and into politics, and like this summer I hope I'm going to start some sort of woman's centre, back where I live, you know. \n \nEND\n00:21:09\n[Unknown amount of time elapsed before start of next recording].\n\nmaxine_gadd_i006-11-109-2.mp3 [File 2 of 4]\n\nMaxine Gadd\n00:00:00\nReads unnamed poem [recording begins abruptly].\n \nMaxine Gadd\n00:02:20\nReads unnamed poem.\n \nMaxine Gadd\n00:11:10\nThis is the thing that the guy that held onto the raft for fourteen days knew. This is what Armstrong [https://www.wikidata.org/wiki/Q1615], Collins [https://www.wikidata.org/wiki/Q104859] and Reilley [https://www.wikidata.org/wiki/Q739214] out there, those astronauts, this is what they saved up for. It had to be good. \n \nMaxine Gadd\n00:11:29\nReads unnamed poem.\n \nMaxine Gadd\n00:23:31\nThat's the end of that one. \n \nAudience\n00:23:33\nApplause.\n \nMaxine Gadd\n00:23:40\nI think I made enough noise for a while, huh? My voice is getting sort of sore, or, you know, like that was a trip, so. I got a lot of poems, but...Did you feel like reading now or should we have a break or what? Do you think...do you think we should read some more or what? I got...You want to read some more? \n \nUnknown\n00:23:59\nAmbient Sound [voices].\n\nRichard (Dick) Sommer\n00:24:03\nDo you want to read some more? \n \nMaxine Gadd\n00:24:04\nI don't know. I've not nothing in particular form, just bits, that's the problem. \n \nRichard (Dick) Sommer\n00:24:12\nYou can't do the one on the Goat-god....\n \nMaxine Gadd\n00:24:13\nOkay, I'll do the Goat-god. Well okay, do you want to try improvising to a trip that's here? I'll let you read it. \n \nRichard (Dick) Sommer\n00:24:22\nSeriously, I'll do that? \n \nMaxine Gadd\n00:24:23\nYeah. It's just going to be some sounds. \n \nRichard (Dick) Sommer\n00:24:24\nOkay. I don't know if I can…[unintelligible].\n \nMaxine Gadd\n00:24:27\nI gotta find it first. What's that? Are we on? Oh, sorry. God. \n \nUnknown\n00:24:38\nAmbient Sound [voices].\n \nMaxine Gadd\n00:24:39\nWhat? The flute? I think it's over there. For fun...the same message...I'm asking...Richard's going to make some noise with my flute. \n \nRichard (Dick) Sommer\n00:24:55\nI'll make some noise if you'll give me a microphone. \n \nMaxine Gadd\n00:24:57\nOkay. Which one do you want? Let's share it. \n \nRichard (Dick) Sommer\n00:25:01\nGive me the [unintelligible].\n \nMaxine Gadd\n00:25:02\nIt goes with the poem. \n \nRichard (Dick) Sommer\n00:25:05\nWhen'd you do that? \n \nMaxine Gadd\n00:25:06\nWhat?\n \nRichard (Dick) Sommer\n00:25:07\nThis, this knot. \n \nMaxine Gadd\n00:25:08\nI tied myself into it. \n \nRichard (Dick) Sommer\n00:25:11\nOh, here we go. \n \nMaxine Gadd\n00:25:12\nI don't even know if I can find it. All these little pieces, pieces, pieces. Oh, here it is. Now how it goes, you have to keep quiet until...let's see now. He's never done this before. \n \nRichard (Dick) Sommer\n00:25:40\nWhat did, yeah, what do you want me to do with it? \n \nMaxine Gadd\n00:25:42\nOkay, this is called \"Shore Animals\" and it's a speech piece with flute, and the flute has to listen. It can speak too. [Laughter]. You have to listen to it. You never heard it\n \nRichard (Dick) Sommer\n00:25:57\nI think it's learning how to speak. \n \nMaxine Gadd\n00:26:01\nIt's called \"Shore Animals,\" it's a speech piece with flute. \n \nMaxine Gadd\n00:26:07\nReads \"Shore Animals\" accompanied by Richard Sommer on flute.\n \nAudience\n00:30:13\nAudience.\n\nMaxine Gadd\n00:30:15\nMaybe I'll try to try that one…[audience applause continues throughout].\n\nRichard (Dick) Sommer\n00:30:24\nI'll give you your microphone back. \n \nMaxine Gadd\n00:30:25\nYes. How many minutes we got? \n \nRichard (Dick) Sommer\n00:30:29\nI don't know. [Unintelligible]. \n \nMaxine Gadd\n00:30:35\nOkay, I'm going to read, I'm going to do, this one's totally mindless, okay? It's dedicated to my friend Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] who used to like to do those trips. And you can go to sleep or something, because that's what I want you to do. \n \nMaxine Gadd\n00:30:51\nReads \"Cantaloup, 29 cents\".\n \nAudience\n00:38:33\nApplause. \n \nEND\n00:38:37\n[Unknown amount of time elapsed before start of next recording].\n\nandreas_schroeder_i006-11-109-3.mp3 [File 3 of 4]\n \nRichard (Dick) Sommer\n00:00:01\nOkay, we won't be using a flute this time, I think it's a bass trombone but I'm not sure. It'll be up to Andy. I'd like to introduce to you Andy Schroeder.\n \nAudience\n00:00:15\nApplause.\n \nAndreas Schroeder\n00:00:40\nRight. Normally they hang you after a reading. Jesus. I'm going to read from, oh, just kind of a merry jaunt through various books. I think what I'll do is I'll read some of the, some poetry first, and then I'll slip over into fiction. I've just, two days ago, published a book called The Late Man of short fictions and extended prose poems and so on. The work that I've done is gone cyclic in terms of form. I started out with prose poems and went into much more of a linear poetry, and then went back to a fiction which was kind of a half prose poem, half short story, half God knows, film script. And right now I'm working hard at both styles. First book I published was called The Ozone Minotaur, and it was more surreal than anything I'm doing now. I really get very excited about illusions, and I guess that's probably what most of my work is all about. At first I was very interested in surreal illusions; now I'm very interested in real illusions, and I'm not sure there's any difference. Here's a prose poem from way back called \"Introduction\".\n \nAndreas Schroeder\n00:02:10\nReads \"Introduction\" from The Ozone Minotaur.\n \nAndreas Schroeder\n00:03:15\nAfter I found out that you couldn't live by writing poetry, I took a job with CPAir [https://www.wikidata.org/wiki/Q986941]. That doesn't really sound like a very logical progression, but anyway, it was a teletype machine that they put me on, I think I lasted about four days, but I got a poem out of it, and it's entitled \"Cables\".\n \nAndreas Schroeder\n00:03:35\nReads \"Cables\" [from The Ozone Minotaur].\n \nAndreas Schroeder\n00:05:29\nThis next book, File of Uncertainties, I supposed was kind of created when I woke up one morning and was overwhelmed with my own ignorance, so I decided to write a book about it. [Audience laughter]. And then I figured the best way to do it was to go up north and I did that, and I spent a winter up in Alaska [https://www.wikidata.org/wiki/Q797]. And that was where I really got into this illusion thing, because, you know, all the different, very very strange things that happen there, like white-outs, which you probably are familiar with here, as well, where a man suddenly loses all sense of up and down and forward and backward. They have better ones than that, though. They have, until the snowmobile rolls around, when people used to mush with dogs, they'd continually have this happening: a man would set off from one village for another, with his dogs, and he'd be perfectly well-dressed and perfectly well-fed, and apparently perfectly sane, and the dogs would arrive, and the sled would arrive but the man wouldn't, and they possibly found him and possibly not. But no one could ever understand what would make a man suddenly step off his sleigh and walk off in an entirely different direction to die. When he certainly didn't have it on his list of things to do when he left. They still haven't figured that out. Maybe it has something to do with the fact that man's body is made up of such an incredible percentage of water, and very strange things happen to water up there. [Audience laughter]. Anyway, I almost got caught by an avalanche, so I thought I'd check into it and I'd find out what you do if you do get caught by one, cause I figured by that time that survival was probably a good thing. So, they said, one of the things you do is, if you get caught by an avalanche, you make swimming motions with your hands. I guess the idea is that kind of tends to keep you close to the surface, which is a good place to be. Now...[audience laughter] the lovely illusion part, which really intrigued me, was that a man can survive under the snow up to a depth of approximately six feet, but only for a certain period of time, and apparently the closer you are to the surface, the better your chances are, and the way they dig for, well, it's not necessarily logical up there, at least it didn't seem like it, but the way they dig for a man like this is they use sounding rods, and these are very sensitive rods, like, almost like tuning forks, and they walk along, in a very definite rhythm, it's almost like a musical score, and they ram these poles in, one foot deep, about a foot at a time, and attempt to hit somebody that's buried underneath it. And then they go back again and they do it at two feet, and then at three feet and four feet to six feet, they don't go any deeper. Now the peculiar part of it is that they of course can't hear anyone, but the poor bugger that's under the snow can hear very, very clearly. And, you know, and he'll hear people saying, like I wonder where, I think there's a place he might be, and he'll be shouting in there, saying, \"I'm here,\" you know, \"I'm here!\" and they can't hear him, and it's really quite terrifying. Sound only travels one way through an avalanche, I don't...[Audience laughter]. Anyway, I'll, let me read some poems about it, I'll...File of Uncertainties was written in a very short time and mostly about the same thing, and you'll find recurring images all the way through, stylistic things that are similar all the way through, and the poems, because they match together fairly tightly, I didn't even bother naming them, I just numbered them, because they're all part of the same sequence. This is number four. \n \nAndreas Schroeder\n00:09:27\nReads \"File of Uncertainties: #4\" from File of Uncertainties.\n \nAndreas Schroeder\n00:10:25\nReads \"File of Uncertainties: #3\" from File of Uncertainties.\n\nAndreas Schroeder\n00:12:13\nReads \"File of Uncertainties: #5\" from File of Uncertainties.\n \nAndreas Schroeder\n00:12:54\nReads \"File of Uncertainties: #8\" from File of Uncertainties.\n \nAndreas Schroeder\n00:13:50\nI took up sky-diving after I came back and, because...yeah, believe it or not, it had very similar illusions going for it again. When...it's much like the white-out. When you jump off an aircraft, and it banks away, generally to your left, then you suddenly lose all points of reference. And because the earth below you is much too far away to really mean anything, and your parachute is still on your back, in other words not opened, so you can't, you haven't got anything above you either, you suddenly get hit with this incredibly stony silence, and absolutely nothing happens. I mean, you don't fall, you're not moving, you're not even really thinking because it's so suddenly quiet. It seems like everything just freezes. And in fact you're falling at about three hundred feet a second, but you have no sense of it whatsoever. And you just stand there in the sky, and kind of look around, and nothing is going on. Which is why you're not supposed to be stoned when you skydive because, [audience laughter] sometimes people tend to forget, you know. So I wrote a poem about it, and, actually it's not...well anything. It's “#9”, is what it is. \n \nAndreas Schroeder\n00:15:18\nReads \"#9\" [from File of Uncertainties].\n \nAndreas Schroeder\n00:17:31\nAlright, here's another poem from the north--\"#12\".\n \nAndreas Schroeder\n00:17:38\nReads \"# 12\".\n \nAndreas Schroeder\n00:18:29\nI think I'll just let that go for a minute there and go into some prose and then I'll just read some unpublished poems. This first story that I'm going to read is entitled \"The Tree\", and I wrote it after I met a very lovely old man down in Australia [https://www.wikidata.org/wiki/Q408]. Very old. He was an aborigine, and we tried to communicate; he didn't know my language and I didn't know his, which is maybe why we got along so well, but anyway, I built a story up on him. This was on a coral island...of course all islands down there are coral islands. \n \nAnnotationAndreas Schroeder\n00:19:19\nReads \"The Tree\" [from The Late Man].\n \nAudience\n00:25:45\nApplause.\n \nAndreas Schroeder\n00:25:54\nHere's another short one, entitled \"The Pub\", sort of a frenzied affair. They don't--it's sort of illegal to have fights in pubs, and in Vancouver I was the very happy observer of one, finally. Pub fights have sort of a beautiful ritualistic thing as long as you're not involved, like if you're just kind of watching, and the Cecil Hotel staged one one night and after that I wrote this, although it has nothing to do with that. \n \nAndreas Schroeder\n00:26:23\nReads \"The Pub\" [from The Late Man].\n \nAudience\n00:31:28\nApplause.\n \nEND\n00:31:32\n[Unknown amount of time elapsed before start of next recording].\n\nandreas_schroeder_i006-11-109-4.mp3 [File 4 of 4]\n \nAndreas Schroeder\n00:00:00\nReads [“The Theft” from The Late Man]. \n \nAudience\n00:05:03\nApplause.\n \nAndreas Schroeder\n00:05:09\nRight, just one more. This one is, is quite different. Quite different. In fact, if there is such a thing as a manifesto, I guess that's what it is. Or let's say it's a map or something about roughly where I'm at. It's called \"The Cage\".\n \nAndreas Schroeder\n00:05:32\nReads \"The Cage\" [from The Late Man]. \n \nAndreas Schroeder\n00:15:11\nThat's all. \n \nAudience\n00:15:12\nApplause.\n \nAndreas Schroeder\n00:15:19\nI don't know how to get that off. \n \nEND\n00:15:24"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nMaxine Gadd had published air two the previous year (1971), and was living in a commune on Galiano Island. Backup to Babylon: poems 1972-1987 collects poems Gadd wrote in 1972.\\n\\nIn 1972, Schroeder had just finished publishing The late man and File of Uncertainties, was editing The Journal of Contemporary Literature in Translation, writing for the Vancouver Province, and was completing his M.A. from UBC.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nWhile shying away from mainstream poetic circles and public life, Gadd’s work and life has been deeply rooted in Canadian artistic discourse, creating a community and social activism. A Vancouver poet, Gadd was associated with other writers like Gerry Gilbert, Roy Kiyooka, bill bissett, and Daphne Marlatt. She met George Bowering, David Bromige and Lionel Kearns in Earle Birney’s UBC creative writing classes in the early 60’s.\\n\\nAlso a Vancouver writer, Schroeder has contributed over a dozen publications to Canadian literature, in poetry, prose, non-fiction, fiction, young adult non-fiction as well as contributing to CBC radio shows and Vancouver newspapers. A professor in Creative Non-fiction at the University of British Columbia, Schroeder has also represented writers in political positions and unions.\",\"type\":\"General\"},{\"note\":\"4 reel-to-reel tapes>4 CDs>4 digital files\",\"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\":\"http://www.thinkcity.ca/node/133\",\"citation\":\"“Andreas Schroeder”. Story Tellers. Think City: Ideas for the 21st Century Vancouver. Think City Society, Vancouver, B.C. \"},{\"url\":\"https://www.annickpress.com/Contributors/S/Schroeder-Andreas\",\"citation\":\"“Andreas Schroder”. Authors. Annick Press: Excellence & Innovation in Children’s Literature. \"},{\"url\":\"https://www.writersunion.ca/member/andreas-schroeder\",\"citation\":\"“Andreas Schroeder”. Members’ Pages. The Writers’ Union of Canada. 2009. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"Schroeder, Andreas\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press 2001. \"},{\"url\":\"https://www.worldcat.org/title/air-two/oclc/53868052&referer=brief_results\",\"citation\":\"Gadd, Maxine. air two. Vancouver: Air, 1971. \"},{\"url\":\"https://www.worldcat.org/title/lost-language-selected-poems/oclc/8919395&referer=brief_results\",\"citation\":\"Gadd, Maxine. Lost Language: Selected Poems. Daphne Marlatt and Ingrid Klassen (eds). Toronto: Coach House Press, 1982. \"},{\"url\":\"http://intermedia.vancouverartinthesixties.com/voices/012\",\"citation\":\"“Intermedia”. The Intermedia Catalogue. The Michael de Courcy Archive, 2009. \"},{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/gadd_maxine.html\",\"citation\":\"(Maxine Gadd) “Maxine Gadd”. One Zero Zero: A Virtual Library of English Canadian Small Presses 1945-2044. Centre for Contemporary Canadian Art: York University, Toronto, 1997. \"},{\"url\":\"http:// www.newstarbooks.com/author.php?author_id=3119\",\"citation\":\"“Maxine Gadd”. New Star Books website. Vancouver, British Columbia. \"},{\"url\":\"http://12or20questions.blogspot.com/2008/01/12-or-20-questions-with-maxine-gadd.html\",\"citation\":\"McLennan, Rob. “12 or 20 Questions: with Maxine Gadd”. Rob McLennan’s Blog. January 11, 2008.\"},{\"url\":\"http://www.vancouverartinthesixties.com/people/31\",\"citation\":\"“People: Maxine Gadd”. Ruins in Process: Vancouver Art in the Sixties. Digital Archive of Artwork, Ephemera and Film.\"},{\"url\":\"https://www.worldcat.org/title/ozone-minotaur/oclc/806554234&referer=brief_results\",\"citation\":\"Schroeder, Andreas. The Ozone Minotaur. Vancouver: Sono Nis Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/file-of-uncertainties-poems/oclc/421970309&referer=brief_results\",\"citation\":\"Schroeder, Andreas. File of Uncertainties: Poems. Vancouver: Sono Nis Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/late-man/oclc/654160621&referer=brief_results\",\"citation\":\"Schroeder, Andreas. The Late Man. Vancouver: Sono Nis Press, 1972. \"}]"],"_version_":1853670548949696512,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\" https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0109-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0109-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Gadd and Schroeder Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2015/01/I0006_11_0109-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0109-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Gadd and Schroeder Tape Box 1 - 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It'll be up to Andy. I'd like to introduce to you Andy Schroeder.\\n \\nAudience\\n00:00:15\\nApplause.\\n \\nAndreas Schroeder\\n00:00:40\\nRight. Normally they hang you after a reading. Jesus. I'm going to read from, oh, just kind of a merry jaunt through various books. I think what I'll do is I'll read some of the, some poetry first, and then I'll slip over into fiction. I've just, two days ago, published a book called The Late Man of short fictions and extended prose poems and so on. The work that I've done is gone cyclic in terms of form. I started out with prose poems and went into much more of a linear poetry, and then went back to a fiction which was kind of a half prose poem, half short story, half God knows, film script. And right now I'm working hard at both styles. First book I published was called The Ozone Minotaur, and it was more surreal than anything I'm doing now. I really get very excited about illusions, and I guess that's probably what most of my work is all about. At first I was very interested in surreal illusions; now I'm very interested in real illusions, and I'm not sure there's any difference. Here's a prose poem from way back called \\\"Introduction\\\".\\n \\nAndreas Schroeder\\n00:02:10\\nReads \\\"Introduction\\\" from The Ozone Minotaur.\\n \\nAndreas Schroeder\\n00:03:15\\nAfter I found out that you couldn't live by writing poetry, I took a job with CPAir [https://www.wikidata.org/wiki/Q986941]. That doesn't really sound like a very logical progression, but anyway, it was a teletype machine that they put me on, I think I lasted about four days, but I got a poem out of it, and it's entitled \\\"Cables\\\".\\n \\nAndreas Schroeder\\n00:03:35\\nReads \\\"Cables\\\" [from The Ozone Minotaur].\\n \\nAndreas Schroeder\\n00:05:29\\nThis next book, File of Uncertainties, I supposed was kind of created when I woke up one morning and was overwhelmed with my own ignorance, so I decided to write a book about it. [Audience laughter]. And then I figured the best way to do it was to go up north and I did that, and I spent a winter up in Alaska [https://www.wikidata.org/wiki/Q797]. And that was where I really got into this illusion thing, because, you know, all the different, very very strange things that happen there, like white-outs, which you probably are familiar with here, as well, where a man suddenly loses all sense of up and down and forward and backward. They have better ones than that, though. They have, until the snowmobile rolls around, when people used to mush with dogs, they'd continually have this happening: a man would set off from one village for another, with his dogs, and he'd be perfectly well-dressed and perfectly well-fed, and apparently perfectly sane, and the dogs would arrive, and the sled would arrive but the man wouldn't, and they possibly found him and possibly not. But no one could ever understand what would make a man suddenly step off his sleigh and walk off in an entirely different direction to die. When he certainly didn't have it on his list of things to do when he left. They still haven't figured that out. Maybe it has something to do with the fact that man's body is made up of such an incredible percentage of water, and very strange things happen to water up there. [Audience laughter]. Anyway, I almost got caught by an avalanche, so I thought I'd check into it and I'd find out what you do if you do get caught by one, cause I figured by that time that survival was probably a good thing. So, they said, one of the things you do is, if you get caught by an avalanche, you make swimming motions with your hands. I guess the idea is that kind of tends to keep you close to the surface, which is a good place to be. Now...[audience laughter] the lovely illusion part, which really intrigued me, was that a man can survive under the snow up to a depth of approximately six feet, but only for a certain period of time, and apparently the closer you are to the surface, the better your chances are, and the way they dig for, well, it's not necessarily logical up there, at least it didn't seem like it, but the way they dig for a man like this is they use sounding rods, and these are very sensitive rods, like, almost like tuning forks, and they walk along, in a very definite rhythm, it's almost like a musical score, and they ram these poles in, one foot deep, about a foot at a time, and attempt to hit somebody that's buried underneath it. And then they go back again and they do it at two feet, and then at three feet and four feet to six feet, they don't go any deeper. Now the peculiar part of it is that they of course can't hear anyone, but the poor bugger that's under the snow can hear very, very clearly. And, you know, and he'll hear people saying, like I wonder where, I think there's a place he might be, and he'll be shouting in there, saying, \\\"I'm here,\\\" you know, \\\"I'm here!\\\" and they can't hear him, and it's really quite terrifying. Sound only travels one way through an avalanche, I don't...[Audience laughter]. Anyway, I'll, let me read some poems about it, I'll...File of Uncertainties was written in a very short time and mostly about the same thing, and you'll find recurring images all the way through, stylistic things that are similar all the way through, and the poems, because they match together fairly tightly, I didn't even bother naming them, I just numbered them, because they're all part of the same sequence. This is number four. \\n \\nAndreas Schroeder\\n00:09:27\\nReads \\\"File of Uncertainties: #4\\\" from File of Uncertainties.\\n \\nAndreas Schroeder\\n00:10:25\\nReads \\\"File of Uncertainties: #3\\\" from File of Uncertainties.\\n\\nAndreas Schroeder\\n00:12:13\\nReads \\\"File of Uncertainties: #5\\\" from File of Uncertainties.\\n \\nAndreas Schroeder\\n00:12:54\\nReads \\\"File of Uncertainties: #8\\\" from File of Uncertainties.\\n \\nAndreas Schroeder\\n00:13:50\\nI took up sky-diving after I came back and, because...yeah, believe it or not, it had very similar illusions going for it again. When...it's much like the white-out. When you jump off an aircraft, and it banks away, generally to your left, then you suddenly lose all points of reference. And because the earth below you is much too far away to really mean anything, and your parachute is still on your back, in other words not opened, so you can't, you haven't got anything above you either, you suddenly get hit with this incredibly stony silence, and absolutely nothing happens. I mean, you don't fall, you're not moving, you're not even really thinking because it's so suddenly quiet. It seems like everything just freezes. And in fact you're falling at about three hundred feet a second, but you have no sense of it whatsoever. And you just stand there in the sky, and kind of look around, and nothing is going on. Which is why you're not supposed to be stoned when you skydive because, [audience laughter] sometimes people tend to forget, you know. So I wrote a poem about it, and, actually it's not...well anything. It's “#9”, is what it is. \\n \\nAndreas Schroeder\\n00:15:18\\nReads \\\"#9\\\" [from File of Uncertainties].\\n \\nAndreas Schroeder\\n00:17:31\\nAlright, here's another poem from the north--\\\"#12\\\".\\n \\nAndreas Schroeder\\n00:17:38\\nReads \\\"# 12\\\".\\n \\nAndreas Schroeder\\n00:18:29\\nI think I'll just let that go for a minute there and go into some prose and then I'll just read some unpublished poems. This first story that I'm going to read is entitled \\\"The Tree\\\", and I wrote it after I met a very lovely old man down in Australia [https://www.wikidata.org/wiki/Q408]. Very old. He was an aborigine, and we tried to communicate; he didn't know my language and I didn't know his, which is maybe why we got along so well, but anyway, I built a story up on him. This was on a coral island...of course all islands down there are coral islands. \\n \\nAnnotationAndreas Schroeder\\n00:19:19\\nReads \\\"The Tree\\\" [from The Late Man].\\n \\nAudience\\n00:25:45\\nApplause.\\n \\nAndreas Schroeder\\n00:25:54\\nHere's another short one, entitled \\\"The Pub\\\", sort of a frenzied affair. They don't--it's sort of illegal to have fights in pubs, and in Vancouver I was the very happy observer of one, finally. Pub fights have sort of a beautiful ritualistic thing as long as you're not involved, like if you're just kind of watching, and the Cecil Hotel staged one one night and after that I wrote this, although it has nothing to do with that. \\n \\nAndreas Schroeder\\n00:26:23\\nReads \\\"The Pub\\\" [from The Late Man].\\n \\nAudience\\n00:31:28\\nApplause.\\n \\nEND\\n00:31:32\\n[Unknown amount of time elapsed before start of next recording].\",\"notes\":\"Andreas Schroeder reads from The Late Man (SonoNis Press, 1971), The Ozone Minotaur (SoNoNis Press, 1969) and File of Uncertainties (SoNoNis Press, 1971).\\n\\n00:01- Introducer (George Bowering?) introduces Andreas Schroeder. (As Andy).\\n00:40- Andreas Schroeder introduces reading and “Introduction”. [INDEX: The Late Man, prose poetry, form, short fiction, linear poetry, film script (genres melding together), first book The Ozone Minotaur, surreal illusions; from The Ozone Minotaur (SoNoNis Press, 1969).]\\n02:10- Reads “Introduction”.\\n03:15- Introduces “Cables”. [INDEX: CPAir job, teletype machine; from The Ozone Minotaur (SoNoNis Press, 1969).]\\n03:35- Reads “Cables”.\\n05:29- Introduces “File of Uncertainties: IV” and his next book, File of Uncertainties (SoNoNis Press, 1971). [INDEX: creation of File of Uncertainties, ignorance, spent a \\twinter in Alaska, illusions, avalanche, survival of man in an avalanche, sounding rods; from File of Uncertainties, (SoNoNis Press, 1971).]\\n09:27- Reads “File of Uncertainties: IV”.\\n10:25- Reads “File of Uncertainties: III”.\\n12:13- Reads “File of Uncertainties: V”.\\n12:54- Reads “File of Uncertainties: VIII”.\\n13:50- Introduces “Number IX”. [INDEX: Sky-diving experiences.]\\n15:18- Reads “Number IX”.\\n17:42- Introduces “Number XII”. [INDEX: poem from the North.]\\n17:38- Reads “Number XII”.\\n18:29- Introduces “The Tree”. [INDEX: prose, Australia, aborigine, coral island; from The Late Man (SoNoNis Press, 1971).]\\n19:19- Reads “The Tree”.\\n25:54- Introduces “The Pub”. [INDEX: Vancouver: illegal pub fights, Cecil Hotel; from The Late Man (SoNoNis Press, 1971).]\\n26:23- Reads “The Pub”.\\n31:32.07- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/andreas-schroeder-at-sgwu-1972/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/andreas_schroeder_2_i006-11-109-4.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"andreas_schroeder_i006-11-109-4.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:15:24\",\"precision\":\"\",\"size\":\"37 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"andreas_schroeder_i006-11-109-4.mp3 [File 4 of 4]\\n \\nAndreas Schroeder\\n00:00:00\\nReads [“The Theft” from The Late Man]. \\n \\nAudience\\n00:05:03\\nApplause.\\n \\nAndreas Schroeder\\n00:05:09\\nRight, just one more. This one is, is quite different. Quite different. In fact, if there is such a thing as a manifesto, I guess that's what it is. Or let's say it's a map or something about roughly where I'm at. It's called \\\"The Cage\\\".\\n \\nAndreas Schroeder\\n00:05:32\\nReads \\\"The Cage\\\" [from The Late Man]. \\n \\nAndreas Schroeder\\n00:15:11\\nThat's all. \\n \\nAudience\\n00:15:12\\nApplause.\\n \\nAndreas Schroeder\\n00:15:19\\nI don't know how to get that off. \\n \\nEND\\n00:15:24\",\"notes\":\"Andreas Schroeder reads from The Late Man (SonoNis Press, 1971), The Ozone Minotaur (SoNoNis Press, 1969) and File of Uncertainties (SoNoNis Press, 1971).\\n\\n00:00- Recording begins suddenly with Andreas Schroeder, potential first line “The living room was littered with papers, pens, bottles...” (short story). \\n05:09- Introduces “The Cage”. [INDEX: manifesto, map.]\\n05:32- Reads “The Cage”.\\n15:24.10- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/andreas-schroeder-at-sgwu-1972/#2\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/maxine_gadd_i006-11-109-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"maxine_gadd_i006-11-109-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:38:37\",\"precision\":\"\",\"size\":\"92.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"maxine_gadd_i006-11-109-2.mp3 [File 2 of 4]\\n\\nMaxine Gadd\\n00:00:00\\nReads unnamed poem [recording begins abruptly].\\n \\nMaxine Gadd\\n00:02:20\\nReads unnamed poem.\\n \\nMaxine Gadd\\n00:11:10\\nThis is the thing that the guy that held onto the raft for fourteen days knew. This is what Armstrong [https://www.wikidata.org/wiki/Q1615], Collins [https://www.wikidata.org/wiki/Q104859] and Reilley [https://www.wikidata.org/wiki/Q739214] out there, those astronauts, this is what they saved up for. It had to be good. \\n \\nMaxine Gadd\\n00:11:29\\nReads unnamed poem.\\n \\nMaxine Gadd\\n00:23:31\\nThat's the end of that one. \\n \\nAudience\\n00:23:33\\nApplause.\\n \\nMaxine Gadd\\n00:23:40\\nI think I made enough noise for a while, huh? My voice is getting sort of sore, or, you know, like that was a trip, so. I got a lot of poems, but...Did you feel like reading now or should we have a break or what? Do you think...do you think we should read some more or what? I got...You want to read some more? \\n \\nUnknown\\n00:23:59\\nAmbient Sound [voices].\\n\\nRichard (Dick) Sommer\\n00:24:03\\nDo you want to read some more? \\n \\nMaxine Gadd\\n00:24:04\\nI don't know. I've not nothing in particular form, just bits, that's the problem. \\n \\nRichard (Dick) Sommer\\n00:24:12\\nYou can't do the one on the Goat-god....\\n \\nMaxine Gadd\\n00:24:13\\nOkay, I'll do the Goat-god. Well okay, do you want to try improvising to a trip that's here? I'll let you read it. \\n \\nRichard (Dick) Sommer\\n00:24:22\\nSeriously, I'll do that? \\n \\nMaxine Gadd\\n00:24:23\\nYeah. It's just going to be some sounds. \\n \\nRichard (Dick) Sommer\\n00:24:24\\nOkay. I don't know if I can…[unintelligible].\\n \\nMaxine Gadd\\n00:24:27\\nI gotta find it first. What's that? Are we on? Oh, sorry. God. \\n \\nUnknown\\n00:24:38\\nAmbient Sound [voices].\\n \\nMaxine Gadd\\n00:24:39\\nWhat? The flute? I think it's over there. For fun...the same message...I'm asking...Richard's going to make some noise with my flute. \\n \\nRichard (Dick) Sommer\\n00:24:55\\nI'll make some noise if you'll give me a microphone. \\n \\nMaxine Gadd\\n00:24:57\\nOkay. Which one do you want? Let's share it. \\n \\nRichard (Dick) Sommer\\n00:25:01\\nGive me the [unintelligible].\\n \\nMaxine Gadd\\n00:25:02\\nIt goes with the poem. \\n \\nRichard (Dick) Sommer\\n00:25:05\\nWhen'd you do that? \\n \\nMaxine Gadd\\n00:25:06\\nWhat?\\n \\nRichard (Dick) Sommer\\n00:25:07\\nThis, this knot. \\n \\nMaxine Gadd\\n00:25:08\\nI tied myself into it. \\n \\nRichard (Dick) Sommer\\n00:25:11\\nOh, here we go. \\n \\nMaxine Gadd\\n00:25:12\\nI don't even know if I can find it. All these little pieces, pieces, pieces. Oh, here it is. Now how it goes, you have to keep quiet until...let's see now. He's never done this before. \\n \\nRichard (Dick) Sommer\\n00:25:40\\nWhat did, yeah, what do you want me to do with it? \\n \\nMaxine Gadd\\n00:25:42\\nOkay, this is called \\\"Shore Animals\\\" and it's a speech piece with flute, and the flute has to listen. It can speak too. [Laughter]. You have to listen to it. You never heard it\\n \\nRichard (Dick) Sommer\\n00:25:57\\nI think it's learning how to speak. \\n \\nMaxine Gadd\\n00:26:01\\nIt's called \\\"Shore Animals,\\\" it's a speech piece with flute. \\n \\nMaxine Gadd\\n00:26:07\\nReads \\\"Shore Animals\\\" accompanied by Richard Sommer on flute.\\n \\nAudience\\n00:30:13\\nAudience.\\n\\nMaxine Gadd\\n00:30:15\\nMaybe I'll try to try that one…[audience applause continues throughout].\\n\\nRichard (Dick) Sommer\\n00:30:24\\nI'll give you your microphone back. \\n \\nMaxine Gadd\\n00:30:25\\nYes. How many minutes we got? \\n \\nRichard (Dick) Sommer\\n00:30:29\\nI don't know. [Unintelligible]. \\n \\nMaxine Gadd\\n00:30:35\\nOkay, I'm going to read, I'm going to do, this one's totally mindless, okay? It's dedicated to my friend Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] who used to like to do those trips. And you can go to sleep or something, because that's what I want you to do. \\n \\nMaxine Gadd\\n00:30:51\\nReads \\\"Cantaloup, 29 cents\\\".\\n \\nAudience\\n00:38:33\\nApplause. \\n \\nEND\\n00:38:37\\n[Unknown amount of time elapsed before start of next recording].\",\"notes\":\"Maxine Gadd reads several poems that were later collected in Lost Language (Coach House Press, 1982), one poem from air two (Air, 1971), but it is likely that many other poems went unpublished.\\n\\n00:00- Maxine Gadd reads, recording starts immediately, possible first line “Big there lady all come together...” [INDEX: from unknown source.]\\n02:20- Potential first line or continuation of last poem: “I promised to Hackett, though the memory’s gone, of all I thought worthy to tell you, the person”.\\n02:29- Reads unknown poem, first line “The glistening tower in the ozone...”\\n11:10- Introduces unknown poem, first line “I am obedient to every sign...” [INDEX: Armstrong, Collins, Riley, astronauts; from unknown source.]\\n11:29- Reads first line “I am obedient to every sign...”\\n15:48- Continues with “At this point there’s a maniac treading the stairs above my head...”\\n19:49- Continues with “No burn- the doctor promised this won’t hurt...”\\n24:12- Richard (Sommer?) asks for poem to be read, they sort out a collaboration with Richard and a flute [INDEX: God-goat poem, improvisation: music and poetry]\\n25:42- Gadd introduces “Shore Animals” [INDEX: from unknown source]\\n26:07- Reads “Shore Animals”, flute played by Richard\\n30:13- Sorting out of microphones, etc.\\n30:35- Introduces “Cantaloup, 29 cents” [INDEX: Gerry Gilbert; from unknown source]\\n30:51- Reads “Cantaloup, 29 cents”\\n38:37.60- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/maxine-gadd-at-sgwu-1972/#2\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/maxine_gadd_i006-11-109-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"maxine_gadd_i006-11-109-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:21:09\",\"precision\":\"\",\"size\":\"50.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"maxine_gadd_i006-11-109-1.mp3 [File 1 of 4]\\n \\nRichard (Dick) Sommer\\n00:00:00\\nI'd like to introduce you to two poets who are Vancouver [https://www.wikidata.org/wiki/Q24639] friends of mine. Their poetry is quite different, as you'll discover. But from my own point of view, they...I owe both of them a debt that is similar in both cases though neither probably knows it. They've made me, in their own ways, rethink my own feelings about what ought to constitute poetry and poems. And in the case of Maxine Gadd, this thinking went into a review which was then sent to the Firepoint which then folded. So you may never see that. And in the case of Andy Schroeder [https://www.wikidata.org/wiki/Q4755619], found its way into a long tape harangue between the two of us on the subject of form in poetry. Which I think is now in the Sir George Williams Library [https://www.wikidata.org/wiki/Q5159005], where any of you can endure it if you wish to. At any rate, the first of these poets to read will be Maxine Gadd. There will be a fifteen minute break, and then Andreas Schroeder will read. Maxine. \\n \\nAudience\\n00:01:32\\nApplause. \\n \\nRichard (Dick) Sommer\\n00:02:01\\nYou're plugged in. \\n \\nMaxine Gadd\\n00:02:03\\nOh boy. Can you hear me? I don't know how much projection to do. I don't know how much to talk about the poetry. My connection is very loose to the mainstream I guess, because, I don't know, I'm just not socially related to what's going on maybe in the poetry reading. I guess my identifications with words are somewhat with a West Coast hippie trip. And between the country and the city, the first feeling being, you know, the desire for purity, you know when you're seventeen or eighteen years old and you've figured the country life is it. And later coming to realize the necessity of the communal life and the city. So I think that's a task I'm going to try to set myself right here. I...this...I'm going to read first of all the second \\\"well\\\" poem, which I did, experienced in the country, living in the country. I remember the first \\\"well\\\" poem, I don't remember where it's gone, because it didn't get published. I disregarded its importance, you know. I tended to take the judgment of editors, and you know, people that set themselves up as authorities, and that's why I'm here, you know. I've kept close enough to them, I guess. I remember the first one went something like, \\\"Wanting pure water I went to the well/too wonderful\\\"...and there was something about the oracle as the bucket clacked. This is the “Second Well Poem”. \\n \\nMaxine Gadd\\n00:03:57\\nReads \\\"Second Well Poem\\\" [published later as “Well poem” in Lost Language].\\n\\nMaxine Gadd\\n00:04:41\\nWhich is about where I feel right now. But that's about where my connection to poetry is right now. I wonder if that...I wonder if that one's around. I don't think it is. I guess I'll just take it as it comes. There's some scheme in this. I guess, I got published by a cat, by bill bissett [https://www.wikidata.org/wiki/Q4911496] you might have heard, who did the thing, did the guru thing, the super-energy thing of getting a lot of work done, and getting a lot of people's work out, and a lot of his work out, a lot of it was real shit but he got it out, you know, and some of it worked and some of it didn't, but there was so much of it, you know...I'd like to have had that confidence, you know, I guess almost, most people write poetry, they've got it all in their trunk, you know, they don't get it out. But I guess that's what it takes. This is from one of his first, really cheap magazines. He put, he...it's typed, you know. Pretty good typing. His typing got worse, I get very angry, he makes lots of mistakes. But he did a lot of drawings and things, if anybody wants to look at it, you know. I mean, he did it minimum, you know, he was living really poor. And a lot of people still read his stuff, so, I mean, to me he was a folk poet in that sense, a lot of people still read his stuff because he got the stuff out cheap, you know. \\\"Trip\\\".\\n \\nMaxine Gadd\\n00:06:05\\nReads \\\"Trip\\\".\\n \\nMaxine Gadd\\n00:07:47\\nI'm going to go over there. This one is to a poet who is in the, is in another world, okay? He looks like a silver lizard, and he's very beautiful, and he knows all about the Greek trip, and Eleusis, which is one's talking about in the first poem, okay, the oracles from under the ground, that belief you must start out with. It's called...and it's admiration, as well as a bit of terror.\\n \\nMaxine Gadd\\n00:08:22\\nReads unnamed poem. \\n \\nMaxine Gadd\\n00:10:19\\nLeary, I should have mentioned, was Timothy Leary. Oh, I should have explained that before, yeah. Oh yeah, this is where I met...now I don't like it okay? And it's probably not a good poem. But that's, that's...you know, that's...the kind of art form I'd like to have seen as a collective art form, was what I yearned and hoped for. Poetry is what people write in rooms alone, and I don't like...I don't, you know, that's what I was stuck with. And I worked for a while with a group in Vancouver called, named, we called it \\\"Intermedia\\\". And I had the experience of working with a group, at one point there were five of us poets, you know, or what we called poets. And we'd go around to various places, we went to Edmonton [https://www.wikidata.org/wiki/Q2096] one time, and we tried things, we tried chanting and wailing, like, was it...who was that crazy old lady. Sitwell, Edith Sitwell [https://www.wikidata.org/wiki/Q259921], remember her? And if you ever heard the sort of sing, the song, sing sing she used to do, you know, we tried that. And it really worked, you know, but you'd go around and you'd say, \\\"Do you dig the poems?\\\" and they'd say, \\\"I can't hear them, but we really like your voice.\\\" You know. [Audience laughter]. So, you know, left that, you got an ache in the gut or something. \\n \\nMaxine Gadd\\n00:11:37\\nReads \\\"Ratio\\\".\\n \\nMaxine Gadd\\n00:12:48\\nI don't like it. I don't want to be there. Here's one from last year. I got into printing stuff myself, you know, and I do that--I wish, oh, you can't see it, can you? It was mimeograph, it was real cheap, you know? And you could take images, you could take newspaper articles, you could take scraps of anything you saw that you dug, you know, put 'em together, and to me that was a, that was a form of concrete poetry. Can't, of course, I don't know, you couldn't really say that one or any number of them. This one is half-said, okay. Behind it I put a map, I found a map of B.C. [https://www.wikidata.org/wiki/Q1974]and Minster Island [https://www.wikidata.org/wiki/Q21906024] was a map, was an island I found once when I was working on a ship as a mess girl, on a freighter. \\n \\nMaxine Gadd\\n00:13:46\\nReads unnamed poem.\\n \\nMaxine Gadd\\n00:15:33\\nAnd where that ended up was just over the name Bella Coola [https://www.wikidata.org/wiki/Q815765], which is sort of where they do, can fish. There's no escape, though, you know? And...so then I want to read about Kitsilano [https://www.wikidata.org/wiki/Q4179275], where most of...I happened, you know, I grew up. Kitsilano's a sort of slum district of Vancouver. And it's disintegrating, and you probably all experienced this, you know, being city people, you know, they're bulldozing the places, there's no more cheap places to live, and so your friends, you know, you can't live there anymore, your friends can't live there anymore, so whatever you had, which was sometimes very heavy, you know, community's really beautiful, you know? I used to go over and play music with my friends. We had to move out, you know, because the city's being destroyed, and only the people who are well-to-do, who have some sort of stake in the city, you know, who are supporting the structure can stay. And this poem is about somebody who I met one day on the street, you know, and her story, she's sort of sick, just on the street, everything's falling to pieces. \\n \\nMaxine Gadd\\n00:16:55\\nReads “bee-people on 4th avenue” [published later in Lost Language].\\n\\nMaxine Gadd\\n00:18:32\\nWho's singing out there? But here, on the next street, you know, I ran into a friend of mine. Her name's Martina. And, you know, we're about the same age, and we've been through a lot of things, and, we've been through some bad things, you know, lots of rejections and refusal, no, there's no food now, you can't have any, go away, you know, fighting over somebody or other. \\n \\nMaxine Gadd\\n00:18:58\\nReads “4th ave” [published later in Lost Language].\\n \\nMaxine Gadd\\n00:20:49\\nUs old ladies. Okay, but that's not entirely true. I got involved into all that magic stuff, you know, the Sufis, and into politics, and like this summer I hope I'm going to start some sort of woman's centre, back where I live, you know. \\n \\nEND\\n00:21:09\\n[Unknown amount of time elapsed before start of next recording].\",\"notes\":\"Maxine Gadd reads several poems that were later collected in Lost Language (Coach House Press, 1982), one poem from air two (Air, 1971), but it is likely that many other poems went unpublished. \\n\\n00:00- Unknown Introducer (George Bowering?) introduces Andreas Schroeder and Maxine Gadd [INDEX: Vancouver poets, Firepoint magazine, tape interview between Schroeder and Introducer found in the Sir George Williams Library (not there anymore).]\\n02:03- Maxine Gadd introduces “The Second Well Poem”. [INDEX: mainstream poetry, poetry scene (being outside of), country vs. city life, role of editors; perhaps published as “Well Poem” in Lost Language (1982).]\\n03:57- Reads “The Second Well Poem”.\\n04:41- Introduces “Trip”. [INDEX: Gadd’s connection to poetry, bill bissett publishing her book, publishing poetry; from unknown source.]\\n06:05- Reads “Trip”.\\n07:47- Introduces unknown poem, first line “Robin has the horse in hand...”. [INDEX: Greek trip, Eleusis, oracles; from unknown source.]\\n08:22- Reads unknown poem, first line “Robin has the horse in hand...”.\\n10:19- Introduces “Ratio”. [INDEX: explains “Leary” from previous poem is Timothy Leary, \\tcollective art forms, working with Intermedia in Vancouver, poetry group traveled to Edmonton, Edith Sitwell.]\\n11:37- Reads “Ratio”.\\n12:48- Introduces unknown poem, first line “Heading up to Minster Island”. [INDEX: self publishing poems, collages, form of concrete poetry, map of B.C., worked as a mess girl on a freighter.]\\n13:46- Reads unknown poem, first line “Heading up to Minster Island”.\\n15:33- Introduces “bee-people on 4th avenue”. [INDEX: Bella Coola, fishing, Kitsilano where she grew up, poverty and destruction of Vancouver; from Lost Language]\\n16:55- Reads “bee-people on 4th avenue”. \\n18:32- Introduces “4th ave.” [INDEX: friend of Gadd’s named Martina; from air two and Lost Language.]\\n18:58- Reads “4th ave.”\\n20:49- Begins to introduce another poem, unknown. [INDEX: Sufism, politics, hopes to start a women’s centre.]\\n21:09.94- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/maxine-gadd-at-sgwu-1972/#1\"}]"],"score":1.0},{"id":"1300","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":[" L.E. Sissman at Sir George Williams University, The Poetry Series, 7 April 1972"],"item_title_source":["Cataloguer"],"item_title_note":["\"TAPE #1 OF 1 L.E. SISSMAN MASTER I006/SR110\" written on the spine of the tape's box. \"I006-11-110\" written on sticker on the reel. \"L.E. SISSMAN APRIL 6/72 TAPE #1 OF 1 4-72--012-8 MASTER 3 3/4 ips 1/2 track\" written on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[]"],"creator_names":["Sissman, Louis Edward"],"creator_names_search":["Sissman, Louis Edward"],"creators":["[{\"url\":\"http://viaf.org/viaf/65248808\",\"name\":\"Sissman, Louis Edward\",\"dates\":\"1928-1976 \",\"notes\":\"Born on New Year’s Day of 1928, poet Louis Edward (L.E.) Sissman grew up in Detroit, Michigan. At the age of thirteen, Sissman won the National Spelling Bee in Washington and was aired on national radio as a Quiz Kid. He entered Harvard at the young age of sixteen in 1944. In 1946, however, he was dismissed, got a job as a stack boy in the Boston Public Library, and began writing poetry. Sissman and a few of his classmates founded a literary magazine, Halcyon, which only ran for two issues, but nevertheless received contributions from e.e. cummings and Wallace Stevens. Sissman was readmitted to Harvard in 1948 and received Harvard’s Garrison Poetry Prize. He graduated cum laude in 1949, elected class poet. He then moved to New York and worked as a copy editor, until returning to Boston in 1952. By this time, he had stopped writing poetry. Sissman worked as an aide to John F. Kennedy’s first Senate campaign as well as various smaller jobs. In 1956 he was hired as a copywriter for the advertising firm of Kenyon and Eckhardt. By 1969, he was the vice president and creative director of the same firm. In 1963, he started to write poetry again. Sissman was diagnosed with the then-incurable Hodgkin’s disease in 1965, encouraging him to write more and more verse. He was awarded the Guggenheim fellowship in 1968, a grant from the National Institute of Arts and Letters in 1969. Sissman published his first book of poetry in 1968, Dying: An Introduction (Little, Brown and Company), and Pursuit of Honor in 1971 (Little, Brown and Company). He began writing reviews for the New Yorker, and in 1975 Innocent Bystander: The Scene from the 70’s was published (Vanguard Press). L.E. Sissman wrote up until his death in 1976. His unpublished poems were collected with previously published poems in Hello, Darkness: The Collected Poems of L.E. Sissman (Little, Brown and Company) in 1978.\\n\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Hoffman, Stanton"],"contributors_names_search":["Hoffman, Stanton"],"contributors":["[{\"url\":\"\",\"name\":\"Hoffman, Stanton\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Hoffman, Stanton"],"Series_organizer_name":["Hoffman, Stanton"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"01:30:00\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1972 4 7\",\"type\":\"Performance Date\",\"notes\":\"Date written on the front of the tape's box and in written announcement \\\"Georgian Happenings\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Georgian Happenings\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["L.E. Sissman reads from his first three books, Dying: An Introduction (Little, Brown 1968), Scattered Returns (Little, Brown 1969), and Pursuit of Honor (Little, Brown 1971), as well as poems that were new at the time and published posthumously in Hello, Darkness: The Collected Poems of L.E. Sissman (Little, Brown 1978)."],"contents":["le_sissman_i006-11-110.mp3\n\nStanton Hoffman\n00:00:00\nL.E. Sissman's three books of poems are Dying: An Introduction, Scattered Returns and Pursuit of Honor. The poet James Atlas made the following observation about Scattered Returns that it \"engages a voice so casual, so tuneless that the depression which pervades each page is in danger of being overlooked. Not the shrill agony of despair, but the flat surfaces of the unfulfilled or what characterizes his diction\". But also I'd like to take a line from a Sissman poem out of context, \"evidently, even desperation leads a charmed life\". Ladies and gentleman, L.E. Sissman.\n \nL.E. Sissman\n00:00:45\nThank you. Well let me begin by refuting one of those statements that Stanley just made, Stanton, I'm sorry, just made. I was not a singing vacuum cleaner salesman, that was a canard that was incorporated into my vita by my publisher, who misread a biographical note I wrote. I once worked for a vacuum cleaner company that made its salesmen sing pep songs before they went out to tackle the ladies in the neighbourhood, so we'd get up in the morning and sing all these ridiculous songs and then go out and try to sell vacuum cleaners but the two were not really related, it was just hyping oneself up for the gritty day of trying to sell these poor ladies on a vacuum cleaner. Now I've seen you've kindly reproduced, and incidentally you've been most kind here in Montreal, I've been received royally, more so than any place I've been lately to read poetry and I greatly appreciated, I feel it's kind of a homecoming since my mother is a Canadian, from Ontario [https://www.wikidata.org/wiki/Q1904], not Quebec [https://www.wikidata.org/wiki/Q176], but I've been in Montreal [https://www.wikidata.org/wiki/Q34] many times before and I'm very fond of this city and if I finally lose patience with the U. S. and A. [https://www.wikidata.org/wiki/Q30] as Walt Kelly [https://www.wikidata.org/wiki/Q933892] says in Pogo [https://www.wikidata.org/wiki/Q2100584] I'll migrate up here, I feel it an eminently sensible thing to do. So it's nice to have a pleasant reception here. And since you've kindly reproduced one of the poems from a group called \"Mouth Organ Tunes: the American Lost-and-Found\" on your mimeographed sheet, I thought I'd start off by reading that poem. I'm going to say a few words at the risk of being dull about what each one of these poems I'm going to read is for, what I meant it to mean. This particular one is talking about the well, kind of what James Atlas was talking about in his comment on my second book, this is in my third book, the terminal flatness and greyness of American life, United States life, and the attempts to alleviate this barrenness by all sorts of temporizing accommodations, going to Howard Johnson's [https://www.wikidata.org/wiki/Q5919997] on a Sunday, or having a kinky party in New York [https://www.wikidata.org/wiki/Q60] to show off one's new paintings or celebrating the death of a genuine antique American and New Englander and looking at the house that he lived in and so on. Anyway the tune is called, the poem is called \"Mouth Organ Tunes\", and I use the mouth organ as an instrument here to suggest the, well the mouth organ is something that can be played in a band, but is better not, it's a very solitary instrument and to me it always conveys the loneliness of an individual against insurmountable odds. The poem is called \"Mouth Organ Tunes: The American Lost-and-Found\" and the first section is called, as promised, \"In a Ho-Jo's by the River\".\n \nL.E. Sissman\n00:04:20\nReads \"Mouth Organ Tunes: The American Lost-and-Found, part 1: In a Ho-Jo's by the River\" from Pursuit of Honor. \n \nL.E. Sissman\n00:10:02\nLet me contrast that with a poem about Middle America in the best sense. The old Middle America of people who knew their own way and found their own way in the land, and lost their own way in recent years because of encroachments on the land. The poem is called \"The Big Rock Candy Mountain\" and it's dedicated to the memory of my half-brother, Winfield Shannon, itinerant farm worker, 1909-1969. And it has an epigraph by Basil Bunting [https://www.wikidata.org/wiki/Q2886803] which goes \"a mason times his mallet to a lark's twitter, ‘til the stone spells the name, naming none, a man abolished\".\n\nL.E. Sissman\n00:11:04\nReads \"The Big Rock Candy Mountain\", parts 1-5 [from Pursuit of Honor].\n \nL.E. Sissman\n00:21:25\nLet me change to a slightly lighter vein, and read a poem that is a joke, essentially. It's called \"The Birdman of Cambridge, Mass.\" It's about a man I once roomed with in college, who was an Audobonophile, or whatever the word is, a bird nut and has since become a bird expert. Anyway, this is how the poem goes, it's called \"The Birdman of Cambridge, Mass.\".\n \nL.E. Sissman\n00:22:05\nReads \"The Birdman of Cambridge, Mass.\" [from Dying: An Introduction].\n \nL.E. Sissman\n00:22:55\nThat is also a description I should say, of the Least Bittern. This is another poem about being in college...good lord, twenty seven years ago, I can't believe this, 1945, yeah that is damn near twenty seven years ago. It's called \"A College Room, Lowell R-34\", a building at Harvard [https://www.wikidata.org/wiki/Q13371], 1945.\n \nL.E. Sissman\n00:23:26\nReads \"A College Room, Lowell R-34, 1945\" [from Dying: An Introduction].\n \nL.E. Sissman\n00:25:12\nAnd there's a footnote to this poem, dedicated to the maid, good lord, this is a long time ago, we had maids in those rooms. It was a very capable lady named Mrs. Circassian. And it's called \"Footnote, Mrs. Circassian\".\n \nL.E. Sissman\n00:25:28\nReads \"Footnote, Mrs. Circassian\" [from Dying: An Introduction].\n\nAudience\n00:26:07\nLaughter.\n\nL.E. Sissman\n00:26:10\nThank you, she was a very nice lady, and deserved a much less ironic tribute than that, she was a home away from home herself. Let's see now, I've got all sorts of possible choices here. Why don't I read a poem about a shattering experience I had which I think maybe all of you may have had at one time or another, going back to a place where you had lived as a kid, and finding how puny it was and how destroyed it was by the passage of time. This is a poem about a place in Detroit where I had lived in the 30's and went back to in 1964 when the poem was written. It's called \"East Congress and McDougall Streets, Detroit, May 25\".\n \nL.E. Sissman\n00:27:03\nReads \"East Congress and McDougall Streets, Detroit, May 25\" [from Dying: An Introduction].\n \nL.E. Sissman\n00:29:30\nAnd finally, one more poem from this rue, if I can find it, called \"The Museum of Comparative Zoology\" and it is about indeed falling in love with an old beat up museum of Comparative Zoology, and finding one's place in the philia.\n \nL.E. Sissman\n00:29:56\nReads \"The Museum of Comparative Zoology\" [from Dying: An Introduction].\n \nL.E. Sissman\n00:32:19\nLet me get onto a poem that is now again a little bit more serious, although not ultimately so, I hope. It's about being very sick at the hospital and knowing one is in good hands. It's called \"A Deathplace\".\n \nL.E. Sissman\n00:32:41\nReads \"A Death Place\" [from Scattered Returns].\n \nUnknown\n00:35:27\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nL.E. Sissman\n00:35:28\nReads “Small Space” [from Scattered Returns].\n \nL.E. Sissman\n00:36:12\nNot entirely and seriously...I think this might be time to call a five minute break during which I will smoke a cigarette and get my wind back and then we will proceed. Ok? \n[Audience applause]. Thank you. I won't take all this junk off, if I do I'll be in serious trouble.\n\nUnknown\n00:36:46\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nL.E. Sissman\n00:36:48\nThis is a poem about the same thing the last poem was about, called \"Getting On\", and I'll read only one part of it since that's all I've written so far. It's called \"Grave Expectations\".\n \nL.E. Sissman\n00:37:04\nReads \"Getting On: Grave Expectations\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\n \nL.E. Sissman\n00:39:15\nAnd this is a poem that is sort of mysterious and I'm not sure that I understand it either but I'll read it, called, if I can find the end of it, yeah. \"On Meeting No One in New York\". This is about doing a very daring thing in middle age, not taking a girl up on it. \"On Meeting No One in New York\".\n \nL.E. Sissman\n00:39:45\nReads \"The Mid-Forties: On Meeting No One in New York\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\n \nL.E. Sissman\n00:41:46\nAnd finally, not finally, there are two more I think. One is a true story, the other is a dream, but they are both nice to end on April 7th, even though there still may be snow on the ground, with a note of spring. This really happened to a friend of mine in Berlin [https://www.wikidata.org/wiki/Q64] in 1945 in April, and it's called \"A Comedy in Ruins\".\n \nL.E. Sissman\n00:42:24\nReads \"A Comedy in Ruins\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\n \nL.E. Sissman\n00:45:39\nAnd finally, an all nice sweet, pleasant poem, except for the passage of time which none of us can do anything about, based on a dream. It's called \"Cockaigne: A Dream\".\n \nL.E. Sissman\n00:45:56\nReads \"Cockaigne: A Dream\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\n\nL.E. Sissman\n00:50:38\nThank you.\n\nAudience\n00:50:39\nApplause [cut off].\n\nEND\n00:50:52\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nSissman’s second book of verse, Pursuit of Honor was published in 1971; he was writing reviews for The New Yorker and The Atlantic Monthly.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections known between L.E. Sissman and Sir George Williams University, however Sissman was an important and influential poet in the 1960’s and 1970’s.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/l-e-sissman-at-sgwu-1972-stanton-hoffman/\",\"citation\":\"“Georgian Happenings”. The Georgian. Montreal: Sir George Williams University, 14 January 1972. \"},{\"url\":\"https://www.worldcat.org/title/american-poets-since-world-war-ii/oclc/489670821&referer=brief_results\",\"citation\":\"Mann, James. “L(ouis) E(dward) Sissman”. American Poets Since World War II. Donald J. Greiner (ed). Dictionary of Literary Biography. Vol 5. Detroit: Gale Research, 1980. \"},{\"url\":\"https://www.worldcat.org/title/dying-an-introduction/oclc/741688820&referer=brief_results\",\"citation\":\"Sissman, L.E.. Dying: An Introduction. Boston: Little, Brown and Company, 1968. \"},{\"url\":\"https://www.worldcat.org/title/hello-darkness-the-collected-poems-of-lf-sissman/oclc/468986004&referer=brief_results\",\"citation\":\"Sissman, L.E.. Hello, Darkness: The Collected Poems of L.E. Sissman, Peter Davison (ed.). Boston: Little, Brown and Company, 1978. \"},{\"url\":\"https://www.worldcat.org/title/pursuit-of-honor-poems/oclc/136810&referer=brief_results\",\"citation\":\"Sissman, L.E.. Pursuit of Honor. Boston: Little, Brown and Company, 1971.\"},{\"url\":\"https://www.worldcat.org/title/scattered-returns-poems/oclc/59073716&referer=brief_results\",\"citation\":\"Sissman, L.E.. Scattered Returns. Boston: Little, Brown and Company, 1969. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Symons, Julian. \\\"Sissman, L(ouis) E(dward)\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996.\"},{\"url\":\"\",\"citation\":\"“L.E. Sissman”. Poets of Cambridge, U.S.A.. Harvard Square Library, 2006.\"},{\"url\":\"\",\"citation\":\"“Poetry 6: Sir George Williams Poetry Series, Fifth Reading, L.E. Sissman”. Montreal: Sir George Williams University, 1972. Found in “The Stephen Morrissey Papers, 1963 - 1998”, McGill McLennan Library, Special Collections and Rare Books, Montreal, Quebec, Canada.\"}]"],"_version_":1853670548958085120,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0110_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0110_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"L.E. 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Sissman Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/le_sissman_i006-11-110.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"le_sissman_i006-11-110.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:50:52\",\"precision\":\"\",\"size\":\"122.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Stanton Hoffman\\n00:00:00\\nL.E. Sissman's three books of poems are Dying: An Introduction, Scattered Returns and Pursuit of Honor. The poet James Atlas made the following observation about Scattered Returns that it \\\"engages a voice so casual, so tuneless that the depression which pervades each page is in danger of being overlooked. Not the shrill agony of despair, but the flat surfaces of the unfulfilled or what characterizes his diction\\\". But also I'd like to take a line from a Sissman poem out of context, \\\"evidently, even desperation leads a charmed life\\\". Ladies and gentleman, L.E. Sissman.\\n \\nL.E. Sissman\\n00:00:45\\nThank you. Well let me begin by refuting one of those statements that Stanley just made, Stanton, I'm sorry, just made. I was not a singing vacuum cleaner salesman, that was a canard that was incorporated into my vita by my publisher, who misread a biographical note I wrote. I once worked for a vacuum cleaner company that made its salesmen sing pep songs before they went out to tackle the ladies in the neighbourhood, so we'd get up in the morning and sing all these ridiculous songs and then go out and try to sell vacuum cleaners but the two were not really related, it was just hyping oneself up for the gritty day of trying to sell these poor ladies on a vacuum cleaner. Now I've seen you've kindly reproduced, and incidentally you've been most kind here in Montreal, I've been received royally, more so than any place I've been lately to read poetry and I greatly appreciated, I feel it's kind of a homecoming since my mother is a Canadian, from Ontario [https://www.wikidata.org/wiki/Q1904], not Quebec [https://www.wikidata.org/wiki/Q176], but I've been in Montreal [https://www.wikidata.org/wiki/Q34] many times before and I'm very fond of this city and if I finally lose patience with the U. S. and A. [https://www.wikidata.org/wiki/Q30] as Walt Kelly [https://www.wikidata.org/wiki/Q933892] says in Pogo [https://www.wikidata.org/wiki/Q2100584] I'll migrate up here, I feel it an eminently sensible thing to do. So it's nice to have a pleasant reception here. And since you've kindly reproduced one of the poems from a group called \\\"Mouth Organ Tunes: the American Lost-and-Found\\\" on your mimeographed sheet, I thought I'd start off by reading that poem. I'm going to say a few words at the risk of being dull about what each one of these poems I'm going to read is for, what I meant it to mean. This particular one is talking about the well, kind of what James Atlas was talking about in his comment on my second book, this is in my third book, the terminal flatness and greyness of American life, United States life, and the attempts to alleviate this barrenness by all sorts of temporizing accommodations, going to Howard Johnson's [https://www.wikidata.org/wiki/Q5919997] on a Sunday, or having a kinky party in New York [https://www.wikidata.org/wiki/Q60] to show off one's new paintings or celebrating the death of a genuine antique American and New Englander and looking at the house that he lived in and so on. Anyway the tune is called, the poem is called \\\"Mouth Organ Tunes\\\", and I use the mouth organ as an instrument here to suggest the, well the mouth organ is something that can be played in a band, but is better not, it's a very solitary instrument and to me it always conveys the loneliness of an individual against insurmountable odds. The poem is called \\\"Mouth Organ Tunes: The American Lost-and-Found\\\" and the first section is called, as promised, \\\"In a Ho-Jo's by the River\\\".\\n \\nL.E. Sissman\\n00:04:20\\nReads \\\"Mouth Organ Tunes: The American Lost-and-Found, part 1: In a Ho-Jo's by the River\\\" from Pursuit of Honor. \\n \\nL.E. Sissman\\n00:10:02\\nLet me contrast that with a poem about Middle America in the best sense. The old Middle America of people who knew their own way and found their own way in the land, and lost their own way in recent years because of encroachments on the land. The poem is called \\\"The Big Rock Candy Mountain\\\" and it's dedicated to the memory of my half-brother, Winfield Shannon, itinerant farm worker, 1909-1969. And it has an epigraph by Basil Bunting [https://www.wikidata.org/wiki/Q2886803] which goes \\\"a mason times his mallet to a lark's twitter, ‘til the stone spells the name, naming none, a man abolished\\\".\\n\\nL.E. Sissman\\n00:11:04\\nReads \\\"The Big Rock Candy Mountain\\\", parts 1-5 [from Pursuit of Honor].\\n \\nL.E. Sissman\\n00:21:25\\nLet me change to a slightly lighter vein, and read a poem that is a joke, essentially. It's called \\\"The Birdman of Cambridge, Mass.\\\" It's about a man I once roomed with in college, who was an Audobonophile, or whatever the word is, a bird nut and has since become a bird expert. Anyway, this is how the poem goes, it's called \\\"The Birdman of Cambridge, Mass.\\\".\\n \\nL.E. Sissman\\n00:22:05\\nReads \\\"The Birdman of Cambridge, Mass.\\\" [from Dying: An Introduction].\\n \\nL.E. Sissman\\n00:22:55\\nThat is also a description I should say, of the Least Bittern. This is another poem about being in college...good lord, twenty seven years ago, I can't believe this, 1945, yeah that is damn near twenty seven years ago. It's called \\\"A College Room, Lowell R-34\\\", a building at Harvard [https://www.wikidata.org/wiki/Q13371], 1945.\\n \\nL.E. Sissman\\n00:23:26\\nReads \\\"A College Room, Lowell R-34, 1945\\\" [from Dying: An Introduction].\\n \\nL.E. Sissman\\n00:25:12\\nAnd there's a footnote to this poem, dedicated to the maid, good lord, this is a long time ago, we had maids in those rooms. It was a very capable lady named Mrs. Circassian. And it's called \\\"Footnote, Mrs. Circassian\\\".\\n \\nL.E. Sissman\\n00:25:28\\nReads \\\"Footnote, Mrs. Circassian\\\" [from Dying: An Introduction].\\n\\nAudience\\n00:26:07\\nLaughter.\\n\\nL.E. Sissman\\n00:26:10\\nThank you, she was a very nice lady, and deserved a much less ironic tribute than that, she was a home away from home herself. Let's see now, I've got all sorts of possible choices here. Why don't I read a poem about a shattering experience I had which I think maybe all of you may have had at one time or another, going back to a place where you had lived as a kid, and finding how puny it was and how destroyed it was by the passage of time. This is a poem about a place in Detroit where I had lived in the 30's and went back to in 1964 when the poem was written. It's called \\\"East Congress and McDougall Streets, Detroit, May 25\\\".\\n \\nL.E. Sissman\\n00:27:03\\nReads \\\"East Congress and McDougall Streets, Detroit, May 25\\\" [from Dying: An Introduction].\\n \\nL.E. Sissman\\n00:29:30\\nAnd finally, one more poem from this rue, if I can find it, called \\\"The Museum of Comparative Zoology\\\" and it is about indeed falling in love with an old beat up museum of Comparative Zoology, and finding one's place in the philia.\\n \\nL.E. Sissman\\n00:29:56\\nReads \\\"The Museum of Comparative Zoology\\\" [from Dying: An Introduction].\\n \\nL.E. Sissman\\n00:32:19\\nLet me get onto a poem that is now again a little bit more serious, although not ultimately so, I hope. It's about being very sick at the hospital and knowing one is in good hands. It's called \\\"A Deathplace\\\".\\n \\nL.E. Sissman\\n00:32:41\\nReads \\\"A Death Place\\\" [from Scattered Returns].\\n \\nUnknown\\n00:35:27\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nL.E. Sissman\\n00:35:28\\nReads “Small Space” [from Scattered Returns].\\n \\nL.E. Sissman\\n00:36:12\\nNot entirely and seriously...I think this might be time to call a five minute break during which I will smoke a cigarette and get my wind back and then we will proceed. Ok? \\n[Audience applause]. Thank you. I won't take all this junk off, if I do I'll be in serious trouble.\\n\\nUnknown\\n00:36:46\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nL.E. Sissman\\n00:36:48\\nThis is a poem about the same thing the last poem was about, called \\\"Getting On\\\", and I'll read only one part of it since that's all I've written so far. It's called \\\"Grave Expectations\\\".\\n \\nL.E. Sissman\\n00:37:04\\nReads \\\"Getting On: Grave Expectations\\\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\\n \\nL.E. Sissman\\n00:39:15\\nAnd this is a poem that is sort of mysterious and I'm not sure that I understand it either but I'll read it, called, if I can find the end of it, yeah. \\\"On Meeting No One in New York\\\". This is about doing a very daring thing in middle age, not taking a girl up on it. \\\"On Meeting No One in New York\\\".\\n \\nL.E. Sissman\\n00:39:45\\nReads \\\"The Mid-Forties: On Meeting No One in New York\\\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\\n \\nL.E. Sissman\\n00:41:46\\nAnd finally, not finally, there are two more I think. One is a true story, the other is a dream, but they are both nice to end on April 7th, even though there still may be snow on the ground, with a note of spring. This really happened to a friend of mine in Berlin [https://www.wikidata.org/wiki/Q64] in 1945 in April, and it's called \\\"A Comedy in Ruins\\\".\\n \\nL.E. Sissman\\n00:42:24\\nReads \\\"A Comedy in Ruins\\\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\\n \\nL.E. Sissman\\n00:45:39\\nAnd finally, an all nice sweet, pleasant poem, except for the passage of time which none of us can do anything about, based on a dream. It's called \\\"Cockaigne: A Dream\\\".\\n \\nL.E. Sissman\\n00:45:56\\nReads \\\"Cockaigne: A Dream\\\" [published later in Hello, Darkness: The Collected Poems of L.E. Sissman].\\n\\nL.E. Sissman\\n00:50:38\\nThank you.\\n\\nAudience\\n00:50:39\\nApplause [cut off].\\n\\nEND\\n00:50:52\\n\",\"notes\":\"L.E. Sissman reads from his first three books, Dying: An Introduction (Little, Brown 1968), Scattered Returns (Little, Brown 1969), and Pursuit of Honor (Little, Brown 1971), as well as poems that were new at the time and published posthumously in Hello, Darkness: The Collected Poems of L.E. Sissman (Little, Brown 1978).\\n\\n00:00- Introduction by Stanton Hoffman [INDEX: Dying: An Introduction, Scattered Ruins,Pursuit of Honor, Poet James Atlas]\\n00:45- Introduction by L.E. Sissman of “In A Ho-Jo’s by the River” [INDEX: Sissman’s mother from Ontario, Walt Kelly: Pogo, “Mouth Organ Tunes: The American Lost and Found”, American Life, Howard Johnson Restaurant and Hotel Chain]\\n04:20- Reads “In A Ho-Jo’s by the River”\\n10:02- Introduces “The Big Rock Candy Mountain” [INDEX: Middle America, Winfield Shannon: Itinerant farm worker, Poet Basil Bunting]\\n11:04- Reads “The Big Rock Candy Mountain”\\n21:25- Introduces “The Bird-man of Cambridge, Mass.” [INDEX: Bird life, Cambridge Massachusetts]\\n22:05- Reads “The Bird-man of Cambridge, Mass.”\\n22:55- Introduces “A College Room, Lowell R-34” [INDEX: Least Bittern Bird, Harvard 1945]\\n23:26- Reads “A College Room, Lowell R-34”\\n25:12- Introduces “Footnote, Mrs. Circassian”\\n25:28- Reads “Footnote, Mrs. Circassian”\\n26:10- Introduces “East Congress and McDougal Streets, Detroit, May 25”[INDEX: Detroit in 1920’s and 1930’s]\\n29:30- Reads “East Congress and McDougal Streets, Detroit, May 25”\\n29:30- Introduces “The Museum of Comparative Zoology” [INDEX: Museum of Comparative Zoology at Harvard]\\n29:56- Reads “The Museum of Comparative Zoology”\\n32:19- Introduces “A Death Place”\\n32:41- Reads “A Death Place”\\n35:28- Reads “Small Space”\\n36:48- Introduces “Grave Expectations”\\n37:04- Reads “Grave Expectations”\\n39:15- Introduces “On Meeting No One in New York”\\n39:45- Reads “On Meeting No One in New York”\\n41:46- Introduces “A Comedy in Ruins” [Berlin, 1945]\\n42:24- Reads “A Comedy in Ruins”\\n45:39- Introduces “Cockaigne: A Dream”\\n45:56- Reads “Cockaigne: A Dream”\\n50:52.51- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/l-e-sissman-at-sgwu-1972-stanton-hoffman/\"}]"],"score":1.0},{"id":"1301","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":["George Bowering at Sir George Williams University, The Poetry Series, 25 January 1974"],"item_title_source":["Cataloguer"],"item_title_note":["\"ENGLISH I006/SR34\" written on the spine of the tape's box. \"I006-11-034\" written on sticker on the reel. \"POETRY RM 435 JAN. 25/74 POETRY READING 8856 H. FINK ENGLISH 25-1-74\" written on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"access":["Streaming"],"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 Press, 1992). Bowering has won two Governor General's Awards for poetry, for Rocky Mountain Foot (McClelland & Stewart, 1968) and The Gangs Kosmos (House of Anansi, 1969), and one for fiction in 1980 for Burning Water (Beaufort Books, 1980). George Bowering continues teaching, inspiring and writing at Simon Fraser University in British Columbia.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1301/I0006_11_0034_front-300x300.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1974 1 25\",\"type\":\"Performance Date\",\"notes\":\"Date written on the front of the tape's box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-435\",\"notes\":\"Location specified in written announcement \\\"Bowering Back At SGWU\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-435"],"City":["Montreal, Quebec"],"content_notes":["George Bowering reads from Autobiology (New Star Books, 1972) and Curious (Coach House Press, 1973), as well as a few poems from unknown sources."],"contents":["george_bowering_i006-11-034.mp3 \n\nIntroducer\n00:00:00\nAmbient Sound.\n \nGeorge Bowering\n00:01:54\nOh I just did a review of Al Purdy's [https://www.wikidata.org/wiki/Q4704621] new book of poems so maybe I'll just start off reading that. [Audience laughter]. I said I liked it Al. [Audience laughter]. I'm related to practically everybody here. I'll turn this off now. [Audience laughter].\n \nIntroducer\n00:04:12\n...I think that George Bowering [https://www.wikidata.org/wiki/Q1239280] has read or done— or not done, or not written. On the back of [that book (?)], it says that he has two new books, one called Curious from Coach House Press [https://www.wikidata.org/wiki/Q5137585], and another In the Flesh, coming out with McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. The one thing I can add to that is— has to do with baseball [https://www.wikidata.org/wiki/Q5369], about which I know much less than George. You still have your team?\n \nGeorge Bowering\n00:04:51\nYes.\n \nIntroducer\n00:04:54\nOkay, it's occurred to me that George understands one thing that is rather important to understand that is that the difference between stepping up to the plate and hitting the ball out of the park, and going [unintelligible], on the one hand, and on the other, stepping up to the plate and being there when the bat does what it's supposed to do and the ball takes itself out of the park. And this applies to baseball, and it also applies to poems. And that's what George understands.\n \nGeorge Bowering\n00:05:48\nFor those that live in California [https://www.wikidata.org/wiki/Q99], that's what Suzuki Roshi [https://www.wikidata.org/wiki/Q572599] calls Zen Baseball. I'm really excited to be back here, this is really a burn for me, because, can you hear me if I talk at this level? I'm hearing an echo, but I— can you hear me? [Audience laughter]. I'm reading for the next three weeks back and forth but this is the first one so I haven't got stale with any of this stuff yet in the east. And I'm going to come back in a few minutes to Autobiology, because I've never read it in the east although I started writing it in Montreal [https://www.wikidata.org/wiki/Q340] and finished it in Vancouver [https://www.wikidata.org/wiki/Q24639], but before I do I'm going to read a piece that is sort of representative of what I've been doing lately in Vancouver, called \"Desert Elm\", the desert being the Okanagan [https://www.wikidata.org/wiki/Q1812222] in this instance and the elm being the kind of tree that people planted there that wasn't there before and grew— they tried a lot of other ones and they didn't work. And it's a poem about my father and it deals with— it was begun with his heart attack he had in August and what happened after that, to me.\n \nGeorge Bowering\n00:07:22\nReads \"Desert Elm\".\n \nGeorge Bowering\n00:20:04\nThat's the longest one I'll read I think. I was going to go into Autobiology, but I'm just going to jump right now into one section of Curious, I'm going to read the Jack Spicer [https://www.wikidata.org/wiki/Q3805658] part for Artie [https://www.wikidata.org/wiki/Q4800979], and then I'll [unintelligible] Curious is a-—that's one of the books that's coming out this week, it's about, it's a book about poets, sort of, and this one's about Jack Spicer, who, Artie digs.\n \nGeorge Bowering\n00:20:43\nReads \"Jack Spicer\" from Curious.\n \nGeorge Bowering\n00:22:10\nHe was supposed to be moving— that was in the summer of '65, he was up in Vancouver and just decided to move up there so he wouldn't die, and because he would die if he stayed in San Francisco [https://www.wikidata.org/wiki/Q62], and then he said, well just before that I'll go down to the San Francisco Poetry Festival, and when that's over in three weeks I'll come up to Vancouver, and he died during the second week. Okay, this is— Autobiology is a book that came out, two years ago this month, actually, 72, yeah. And I started writing it in Westmount [https://www.wikidata.org/wiki/Q139497] as they say and finished it in Kitsilano [https://www.wikidata.org/wiki/Q4179275]. I started writing it in an expensive flat in Westmount, and finished it in a commune on the edge of the water in Vancouver and it's a story about, as it suggests, it's a story, it's a book, it's poetry, it's prose, it's something about things that have changed me in terms of my head but first in terms of chemicals and physiologically, changed my body literally and so on. So I'll just, I'll read portions of it. I toyed with the idea of reading the whole book, it's the sort of thing we do in Vancouver, like we sit down and read the whole book, and this was published the same day as Stan Persky's [https://www.wikidata.org/wiki/Q2330087] The Day, a book called The Day, and it's the same length, about a hundred pages, and he read The Day and we took a break, and I read Autobiology and then we took a break of a couple of hours and he read The Day again. But that's sort of— that happens a little— it's a little easier to take when everybody is kind of a volunteer anyway, when everybody in the audience has known all the time that this was being written and that it was going to be read, the whole book. So I'll just read parts of it so you get a taste of it. Each section is about one and a quarter foolscap pages when it's handwritten, long, approximately so it turns out to be about two of these pages. \"Chapter One\"— there's forty-eight chapters. \"Chapter One: The Raspberries\".\n \nGeorge Bowering\n00:24:41 \nReads \"Chapter One: The Raspberries\" from Autobiology.\n \nGeorge Bowering\n00:26:06 \nDid that ever happen to--I'm sure these kinds of things must have happened to--the way I was telling [unintelligible] this afternoon that the way this book is written was I knew the general frame was things that changed me that way, from things put in my body, generally, or pieces of my body taken off, or whatever. Or pieces of my body going out into someone else's body or whatever. And I'd go home in my house in Westmount, from here, and I'd say 'I got it! Today I'm going to do the broken tool part' and I'd run home and I'd start controlling the thing and I'd throw it away, so all the pieces that are in here are the pieces that are not thrown away, the ones where I didn't know what I was going to write when I started writing. I have the sense that I tried to describe that afternoon as being simply equal to what was coming in the story. This is \"Chapter 2\", I'll read \"Chapter 1\" and 2 and 3 and 4 and then I'll skip. This is \"The Teeter Totter\".\n \nGeorge Bowering\n00:27:05\nReads \"Chapter 2: The Teeter Totter\" from Autobiology.\n \nGeorge Bowering\n00:28:22\nReads \"Chapter 3: The Pollywogs\" from Autobiology.\n \nGeorge Bowering\n00:29:31\n\"The Flying Dream\". This is the origin of why I decided to write poetry I think, or at least I've always made that connection. \"The Flying Dream\".\n \nGeorge Bowering\n00:29:40\nReads \"Chapter 4: The Flying Dream\" from Autobiology.\n \nGeorge Bowering\n00:30:54\nIt's the basis of that West Coast [https://www.wikidata.org/wiki/Q1974] elitism, Al. I— after I'd done this whole book I found out there's two chapters called \"The Breaks\", I'd totally forgotten that this chapter had written me this time. So this is the first chapter on “The Breaks”.\n \nGeorge Bowering\n00:31:15\nReads \"Chapter 8: The Breaks\" from Autobiology [audience laughter throughout].\n \nGeorge Bowering\n00:32:34\nGee, there's one I've never read before, I mean, out loud [audience laughter]. I'm not going to anyway, heck with it. Oh, here's one that every once in a while there's, it comes to, the thing comes to writing itself or talking about the writing of itself, so here's one called \"Composition\", for those that are worried about the problem it'll be totally clear. I think. It defines composition. \"Composition\".\n \nGeorge Bowering\n00:33:02\nReads \"Chapter 14: Composition\" from Autobiology.\n \nGeorge Bowering\n00:34:32\nHere's the other one called \"The Breaks\".\n \nGeorge Bowering \n00:34:35.49\nReads \"Chapter 20: The Breaks\" from Autobiology.\n \nGeorge Bowering\n00:35:53\nReads [“Chapter 21: Come’ from Autobiology].\n \nGeorge Bowering\n00:37:13\nThis is one that, this is a favourite amongst the [serifs (?)] in Vancouver. The— I live in a community now as different from the community I lived in a couple of years ago of all https://www.wikidata.org/wiki/Q5882404], Esalen [https://www.wikidata.org/wiki/Q5882404], encounters all the time and they're always talking about shrinkage and they're always telling me why don't you take shrinkage, and I say 'I don't feel like I need shrinkage' and they said 'that proves you need shrinkage'. Can't get out of it, you know, that's your problem— you don't think you need... So this one is sort of a reply to that, it's called \"The Childhood\".\n \nGeorge Bowering\n00:37:56\nReads \"Chapter 26: The Childhood\" from Autobiology.\n \nGeorge Bowering\n00:39:05\nThis one's about the literary world, it's called \"St. Louis\", where, St. Louis is where William Burroughs [https://www.wikidata.org/wiki/Q38022] and an earlier poet came from. T.S. Sandburn [https://www.wikidata.org/wiki/Q37767], I think his name was. [audience laughter.]\n \nGeorge Bowering\n00:39:21\nReads \"Chapter 27: St. Louis\" from Autobiology.\n \nGeorge Bowering\n00:40:49\nThen there's a whole series of pieces on towns that I lived in which I'll skip over. Skip that one, skip that one, get to these ones at the end. Here's one called \"The Flesh\", which I guess was involved with at the time, writing a book of poems about the flesh.\n \nGeorge Bowering\n00:41:23\nReads \"Chapter 43: The Flesh\" from Autobiology.\n \nGeorge Bowering\n00:42:43\nI think I'll read the last couple in this one, and then see what time it is. \"The Operations\" everybody is my chance, right? Every vessel, living in a house with my mother talking about operations the last couple of weeks and she couldn't really do it. So I get my chance now, ‘cause I don't really get the chance— that's my mother on the cover of the book by the way, that's my mother and that's me. There she is.\n \nGeorge Bowering\n00:43:14\nReads \"Chapter 45: The Operations\" from Autobiology.\n \nGeorge Bowering\n00:44:53\nAnd the last two, this is \"The Scars\".\n \nGeorge Bowering\n00:44:56\nReads \"Chapter 47: The Scars\" from Autobiology.\n \nGeorge Bowering\n00:46:24\nAnd the last one is called naturally, \"The Body\", Chapter 48.\n \nGeorge Bowering\n00:46:32\nReads \"Chapter 48: The Body\" from Autobiology.\n \nGeorge Bowering\n00:47:48\nThat was Autobiology, it's actually, can you imagine, a tetralogy. And the first volume was called Geneve and it was based on a found thing with the tarot pack [https://www.wikidata.org/wiki/Q583269] and with the Geneva version of the French pack, Marseilles pack. The second one was Autobiology and the third one was Curious and the fourth one is— Dwight Gardiner wrote it, in a book called the Book of the Occasional. I was going to write it but he wrote it, so I didn't have to. It's just absolutely beautiful and if you see a Book of the Occasional, you'll see what I mean. It's just a gorgeous, gorgeous book. Oh, gee, I'd love to read— how long can I have now?\n \nUnknown\n00:48:45\n[Cut or edit made in tape].\n \nGeorge Bowering\n00:48:46\n...Because I just suddenly remembered I'd love to read a piece I have called The Big Leagues. But then I also have a book called At War with the U.S. that I— was the first book of poems I've written in years, but maybe I'll just read The Big Leagues, that will probably take— and then maybe I'll read one or two pieces from Curious. This is a book—a thing called The Big Leagues and it's in a few- in five sections and maybe I'll get tired before I get to the fifth one, but I'll just see how— the first one is called \"The Detroit Tigers\" [https://www.wikidata.org/wiki/Q650855].\n \nGeorge Bowering\n00:49:21\nReads \"The Detroit Tigers\".\n \nGeorge Bowering\n00:51:57\nThat was written in South Slocan, B.C. [https://www.wikidata.org/wiki/Q18379776] I think this is my favourite one, it's called \"The Dallas Cowboys\" [https://www.wikidata.org/wiki/Q204862].\n \nGeorge Bowering\n00:52:09\nReads \"The Dallas Cowboys\".\n \nGeorge Bowering\n00:54:57\nThe next one's called \"The San Diego Padres\" [https://www.wikidata.org/wiki/Q721134] but I'm going to skip that one because it's about getting dope [https://www.wikidata.org/wiki/Q60168] into— what happens is that Chance is coming back, he's now wearing the uniform that Slim Chance had before he died, a U.S. Army uniform that says \"Chance\" on it and \"U.S. Army\" and they're sneaking some dope into San Diego and it has to do with some Padres whose clothes are taken off so they can use them to hide the dope and everything. The next one's called \"The Buffalo Sabres\" [https://www.wikidata.org/wiki/Q131206].\n \nGeorge Bowering\n00:55:32\nBegins reading \"The Buffalo Sabres\". \n\nGeorge Bowering\n00:55:37\nOh, by the way what happens is that I took four quotations from poetry, and three of them are taken from the normal Ohio academic American Poetry Anthology and one of them is taken from Robert Creeley [https://www.wikidata.org/wiki/Q918620] at the end, and you can tell. I can't even remember what poets I took from, like all those guys sorta have the same thing, you know, Donald Hall [https://www.wikidata.org/wiki/Q976924] Anthology Poets if you know what I mean.\n \nGeorge Bowering\n00:56:05\nResumes reading \"The Buffalo Sabres\".\n \nGeorge Bowering\n00:59:06\nAnd this one is for a lot of friends of mine, it's called \"The Minnesota Twins\" [https://www.wikidata.org/wiki/Q604879] and he's going on, he's leaving Buffalo [https://www.wikidata.org/wiki/Q40435] and going to— has anyone here been to— has anyone here been to Bemidji, Minnesota [https://www.wikidata.org/wiki/Q730430]? You know what they got there right? That great big, blue Ox and the great big Paul Bunyan [https://www.wikidata.org/wiki/Q7149597] carved about 30 feet high or something like that. And other than that, it's a beautiful town, you know, it has the— it looks like the underground of another town turn upside-down, so the bottom is up above the ground, right? \"The Minnesota Twins\".\n \nAnnotation\n00:59:39\nReads \"The Minnesota Twins\".\n \nGeorge Bowering\n01:02:26\nI think I'll read like for ten minutes and that'll be for a total of an hour, five minutes or something like that. I'll just, I'll pick, this is Curious, which is a— that other book's coming out, it's called In the Flesh and it's maybe the last book of occasional, magazine book verse poetry I ever do. It deals with the experience of being in your 30s and finding out that the world isn't round after all and how sad you can be and how strong emotions can be. It has an introduction called \"I Never Felt Such Love\". But it's mainly lyric poetry, and I just, I've read so much of that that it's got to be too easy to read and write and everything. So I'll read a few of these. The poets who are mentioned in Curious, it happens that there are a lot of my friends who aren't in the book. Because, again, I wrote it that way, if you know, if that person did not come up, excuse me, from the other side of the page or however that feeling is to be described, if the voice wasn't there or something, for instance I really wanted to do a Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] poem, and you know, I just couldn't and it didn't come and I had wanted to but if I had tried that it just would have been screwed up. Some of these are American, some are Canadians, a couple are English and maybe one or two other things. And the first one is, naturally, Charles Olson [https://www.wikidata.org/wiki/Q922978]. Olson, as you probably know, was about 6 ft 10 and weighed about 300 pounds. And I first met him— I was standing at the bottom of a flight of stairs and he was coming down them. So I said 'hello' to the knees of his sear-sucker suit.\n \nGeorge Bowering\n01:04:19\nReads \"Charles Olson\" from Curious.\n \nGeorge Bowering\n01:05:57\nI'll get some Canadians in here. Margaret Atwood [https://www.wikidata.org/wiki/Q183492], she's the first Canadian to appear in here.\n \nGeorge Bowering\n01:06:16\nReads \"Margaret Atwood\" from Curious.\n \nGeorge Bowering\n01:07:36\nThere are some poets in here that you won't know that are more specifically Vancouver-oriented poets perhaps that aren't as well known out here so I'll skip those. This is \"bp Nichol\". Everybody knows bpNichol [https://www.wikidata.org/wiki/Q4953105], or everybody is bpNichol.\n \nGeorge Bowering\n01:07:57\nReads \"bp Nichol\" from Curious.\n \nGeorge Bowering\n01:09:40\n\"Stephen Spender\" [https://www.wikidata.org/wiki/Q448764]. I was going to skip this one, but it has a few moments in it.\n \nGeorge Bowering\n01:09:53\nReads \"Stephen Spender\" from Curious.\n \nGeorge Bowering\n01:11:18\nThat's, boy, that's— like you're out on the West Coast where you've never seen a poet before in your life and the first one they bring you is this guy you've been reading in books and he's a white-haired— it's unbelievable. You know, John Newlove's [https://www.wikidata.org/wiki/Q6250356]? John Newlove, for those who know John Newlove.\n \nGeorge Bowering\n01:11:36\nReads \"John Newlove\" from Curious.\n \nGeorge Bowering\n01:13:08\nThat last part is from a title of one of his books. David McFadden [https://www.wikidata.org/wiki/Q5237344] is, this is the David McFadden piece and maybe I'll read it and a couple more. It's not my favourite but it's one that I like reading. David McFadden— well, it tells you what he's like, but David McFadden is a— he scared the hell out of Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] because he writes really funny poems, like he literally has things, like he walks out into the backyard and sees the Archangel Gabriel [https://www.wikidata.org/wiki/Q81989] or a space man and just talks to it and talks about it in the story of the poem a paragraph after he's talked about going out and buying some cigarettes or something like that and Ginsberg thought, wow, what a weird spaced out guy, so Victor Coleman [https://www.wikidata.org/wiki/Q23882910] took him down to Hamilton [https://www.wikidata.org/wiki/Q133116] to see David, David— he's got, as he said in the note of one of his books, \"I was born in 1940 and I comb my hair straight back\", and in his house, he's got an electric pendulum clock and you know that sort of thing. And Ginsberg took one look and said [inaudible ‘scared’ sound], and ran away. Just couldn't believe it, you know, it's unbelievable. So, David McFadden.\n \nGeorge Bowering\n01:14:30\nReads \"David McFadden\" from Curious.\n \nGeorge Bowering\n01:16:24\nThere wasn't a comma in there, that was the Indian food coming back. Now let's see…\n\nAudience Member 1\n01:16:31\nAddresses George Bowering [unintelligible; requests poem].\n\nGeorge Bowering\n01:16:33\nNo, he didn't get in there either, and I'm very sad about that, just people that got in that I wish didn't get in and there's people that didn't get in that I wish did get in. \n\nAudience Member 2\n01:16:44\n[Unintelligible]...Raymond Souster [https://www.wikidata.org/wiki/Q304129].\n\nGeorge Bowering\n01:16:46\nYeah, I think I might have skipped over Raymond Souster, the Raymond Souster one is, as you might imagine the shortest one in the book.\n \nGeorge Bowering\n01:16:58\nReads \"Raymond Souster\" from Curious.\n \nGeorge Bowering\n01:17:59\nI got a Purdy one too, but Al weighs 210 pounds. No, I've always made it a policy not to read the ones of somebody that's there. I don't know if there are any other ones that I'm going to read.\n\nAudience Member 3\n01:18:25\nAddresses George Bowering [unintelligible; requests poem].\n\nGeorge Bowering\n01:18:26\nYeah, I don't know where the hell it is. I like the Lionel Kearns [https://www.wikidata.org/wiki/Q6555690] one actually...Oh I don't know what's happened to the Lionel Kearns one, it's one of my very favourites too. I think maybe, I'll see if I can find the Lionel one in a second then I'll read it and I'll finish off with the bill bissett [https://www.wikidata.org/wiki/Q4911496] one. If I just had the book with me it'd be a hell of a lot easier. I don't think I'm going to find the Kearns one. I can't find the Kearns one, it's all about how he can't find anything. This is the bissett one and then I'll finish off with that.\n \nGeorge Bowering\n01:19:30\nReads bill bissett\" from Curious.\n\nGeorge Bowering\n01:21:16\nThank you.\n\nAudience\n01:21:17\nApplause. \n\nEND\n01:21:29\n"],"Note":["[{\"note\":\"Year-specific Information:\\n\\nIn 1974, George Bowering had published At War with the U.S. (Talonbooks, 1974), Flycatcher & Other Stories (Oberon, 1974), In the Flesh (McClelland & Stewart, 1974) and the last issue of Imago: 20 (Talonbooks, 1974) and was teaching at Simon Fraser University.\",\"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.”\",\"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\"}]"],"Related_works":["[{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/george-bowering-at-sgwu-1974/\",\"citation\":\"“Bowering Back at SGWU”. The Georgian. Montreal: Sir George Williams University, 25 January 1974. \"},{\"url\":\"https://www.worldcat.org/title/autobiology/oclc/729975561&referer=brief_results\",\"citation\":\"Bowering, George. Autobiology. Vancouver: New Star Books, 1972. \"},{\"url\":\"https://www.worldcat.org/title/curious/oclc/912490228&referer=brief_results\",\"citation\":\"Bowering, George. Curious. Toronto: Coach House Press, 1973. \"},{\"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/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. \\nOntario: Press Porcepic, 1974.\"},{\"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, \\n1994. \"},{\"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. \\nDetroit: Gale Research, 1986. \"}]"],"_version_":1853670548960182272,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0034_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering Tape Box 2 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0034_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering Tape Box 2 - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0034_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering Tape Box 2 - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0034_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering Tape Box 2 - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/george_bowering_i006-11-034.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"george_bowering_i006-11-034.mp3 \",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:21:29\",\"precision\":\"\",\"size\":\"195.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nAmbient Sound.\\n \\nGeorge Bowering\\n00:01:54\\nOh I just did a review of Al Purdy's [https://www.wikidata.org/wiki/Q4704621] new book of poems so maybe I'll just start off reading that. [Audience laughter]. I said I liked it Al. [Audience laughter]. I'm related to practically everybody here. I'll turn this off now. [Audience laughter].\\n \\nIntroducer\\n00:04:12\\n...I think that George Bowering [https://www.wikidata.org/wiki/Q1239280] has read or done— or not done, or not written. On the back of [that book (?)], it says that he has two new books, one called Curious from Coach House Press [https://www.wikidata.org/wiki/Q5137585], and another In the Flesh, coming out with McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. The one thing I can add to that is— has to do with baseball [https://www.wikidata.org/wiki/Q5369], about which I know much less than George. You still have your team?\\n \\nGeorge Bowering\\n00:04:51\\nYes.\\n \\nIntroducer\\n00:04:54\\nOkay, it's occurred to me that George understands one thing that is rather important to understand that is that the difference between stepping up to the plate and hitting the ball out of the park, and going [unintelligible], on the one hand, and on the other, stepping up to the plate and being there when the bat does what it's supposed to do and the ball takes itself out of the park. And this applies to baseball, and it also applies to poems. And that's what George understands.\\n \\nGeorge Bowering\\n00:05:48\\nFor those that live in California [https://www.wikidata.org/wiki/Q99], that's what Suzuki Roshi [https://www.wikidata.org/wiki/Q572599] calls Zen Baseball. I'm really excited to be back here, this is really a burn for me, because, can you hear me if I talk at this level? I'm hearing an echo, but I— can you hear me? [Audience laughter]. I'm reading for the next three weeks back and forth but this is the first one so I haven't got stale with any of this stuff yet in the east. And I'm going to come back in a few minutes to Autobiology, because I've never read it in the east although I started writing it in Montreal [https://www.wikidata.org/wiki/Q340] and finished it in Vancouver [https://www.wikidata.org/wiki/Q24639], but before I do I'm going to read a piece that is sort of representative of what I've been doing lately in Vancouver, called \\\"Desert Elm\\\", the desert being the Okanagan [https://www.wikidata.org/wiki/Q1812222] in this instance and the elm being the kind of tree that people planted there that wasn't there before and grew— they tried a lot of other ones and they didn't work. And it's a poem about my father and it deals with— it was begun with his heart attack he had in August and what happened after that, to me.\\n \\nGeorge Bowering\\n00:07:22\\nReads \\\"Desert Elm\\\".\\n \\nGeorge Bowering\\n00:20:04\\nThat's the longest one I'll read I think. I was going to go into Autobiology, but I'm just going to jump right now into one section of Curious, I'm going to read the Jack Spicer [https://www.wikidata.org/wiki/Q3805658] part for Artie [https://www.wikidata.org/wiki/Q4800979], and then I'll [unintelligible] Curious is a-—that's one of the books that's coming out this week, it's about, it's a book about poets, sort of, and this one's about Jack Spicer, who, Artie digs.\\n \\nGeorge Bowering\\n00:20:43\\nReads \\\"Jack Spicer\\\" from Curious.\\n \\nGeorge Bowering\\n00:22:10\\nHe was supposed to be moving— that was in the summer of '65, he was up in Vancouver and just decided to move up there so he wouldn't die, and because he would die if he stayed in San Francisco [https://www.wikidata.org/wiki/Q62], and then he said, well just before that I'll go down to the San Francisco Poetry Festival, and when that's over in three weeks I'll come up to Vancouver, and he died during the second week. Okay, this is— Autobiology is a book that came out, two years ago this month, actually, 72, yeah. And I started writing it in Westmount [https://www.wikidata.org/wiki/Q139497] as they say and finished it in Kitsilano [https://www.wikidata.org/wiki/Q4179275]. I started writing it in an expensive flat in Westmount, and finished it in a commune on the edge of the water in Vancouver and it's a story about, as it suggests, it's a story, it's a book, it's poetry, it's prose, it's something about things that have changed me in terms of my head but first in terms of chemicals and physiologically, changed my body literally and so on. So I'll just, I'll read portions of it. I toyed with the idea of reading the whole book, it's the sort of thing we do in Vancouver, like we sit down and read the whole book, and this was published the same day as Stan Persky's [https://www.wikidata.org/wiki/Q2330087] The Day, a book called The Day, and it's the same length, about a hundred pages, and he read The Day and we took a break, and I read Autobiology and then we took a break of a couple of hours and he read The Day again. But that's sort of— that happens a little— it's a little easier to take when everybody is kind of a volunteer anyway, when everybody in the audience has known all the time that this was being written and that it was going to be read, the whole book. So I'll just read parts of it so you get a taste of it. Each section is about one and a quarter foolscap pages when it's handwritten, long, approximately so it turns out to be about two of these pages. \\\"Chapter One\\\"— there's forty-eight chapters. \\\"Chapter One: The Raspberries\\\".\\n \\nGeorge Bowering\\n00:24:41 \\nReads \\\"Chapter One: The Raspberries\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:26:06 \\nDid that ever happen to--I'm sure these kinds of things must have happened to--the way I was telling [unintelligible] this afternoon that the way this book is written was I knew the general frame was things that changed me that way, from things put in my body, generally, or pieces of my body taken off, or whatever. Or pieces of my body going out into someone else's body or whatever. And I'd go home in my house in Westmount, from here, and I'd say 'I got it! Today I'm going to do the broken tool part' and I'd run home and I'd start controlling the thing and I'd throw it away, so all the pieces that are in here are the pieces that are not thrown away, the ones where I didn't know what I was going to write when I started writing. I have the sense that I tried to describe that afternoon as being simply equal to what was coming in the story. This is \\\"Chapter 2\\\", I'll read \\\"Chapter 1\\\" and 2 and 3 and 4 and then I'll skip. This is \\\"The Teeter Totter\\\".\\n \\nGeorge Bowering\\n00:27:05\\nReads \\\"Chapter 2: The Teeter Totter\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:28:22\\nReads \\\"Chapter 3: The Pollywogs\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:29:31\\n\\\"The Flying Dream\\\". This is the origin of why I decided to write poetry I think, or at least I've always made that connection. \\\"The Flying Dream\\\".\\n \\nGeorge Bowering\\n00:29:40\\nReads \\\"Chapter 4: The Flying Dream\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:30:54\\nIt's the basis of that West Coast [https://www.wikidata.org/wiki/Q1974] elitism, Al. I— after I'd done this whole book I found out there's two chapters called \\\"The Breaks\\\", I'd totally forgotten that this chapter had written me this time. So this is the first chapter on “The Breaks”.\\n \\nGeorge Bowering\\n00:31:15\\nReads \\\"Chapter 8: The Breaks\\\" from Autobiology [audience laughter throughout].\\n \\nGeorge Bowering\\n00:32:34\\nGee, there's one I've never read before, I mean, out loud [audience laughter]. I'm not going to anyway, heck with it. Oh, here's one that every once in a while there's, it comes to, the thing comes to writing itself or talking about the writing of itself, so here's one called \\\"Composition\\\", for those that are worried about the problem it'll be totally clear. I think. It defines composition. \\\"Composition\\\".\\n \\nGeorge Bowering\\n00:33:02\\nReads \\\"Chapter 14: Composition\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:34:32\\nHere's the other one called \\\"The Breaks\\\".\\n \\nGeorge Bowering \\n00:34:35.49\\nReads \\\"Chapter 20: The Breaks\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:35:53\\nReads [“Chapter 21: Come’ from Autobiology].\\n \\nGeorge Bowering\\n00:37:13\\nThis is one that, this is a favourite amongst the [serifs (?)] in Vancouver. The— I live in a community now as different from the community I lived in a couple of years ago of all https://www.wikidata.org/wiki/Q5882404], Esalen [https://www.wikidata.org/wiki/Q5882404], encounters all the time and they're always talking about shrinkage and they're always telling me why don't you take shrinkage, and I say 'I don't feel like I need shrinkage' and they said 'that proves you need shrinkage'. Can't get out of it, you know, that's your problem— you don't think you need... So this one is sort of a reply to that, it's called \\\"The Childhood\\\".\\n \\nGeorge Bowering\\n00:37:56\\nReads \\\"Chapter 26: The Childhood\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:39:05\\nThis one's about the literary world, it's called \\\"St. Louis\\\", where, St. Louis is where William Burroughs [https://www.wikidata.org/wiki/Q38022] and an earlier poet came from. T.S. Sandburn [https://www.wikidata.org/wiki/Q37767], I think his name was. [audience laughter.]\\n \\nGeorge Bowering\\n00:39:21\\nReads \\\"Chapter 27: St. Louis\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:40:49\\nThen there's a whole series of pieces on towns that I lived in which I'll skip over. Skip that one, skip that one, get to these ones at the end. Here's one called \\\"The Flesh\\\", which I guess was involved with at the time, writing a book of poems about the flesh.\\n \\nGeorge Bowering\\n00:41:23\\nReads \\\"Chapter 43: The Flesh\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:42:43\\nI think I'll read the last couple in this one, and then see what time it is. \\\"The Operations\\\" everybody is my chance, right? Every vessel, living in a house with my mother talking about operations the last couple of weeks and she couldn't really do it. So I get my chance now, ‘cause I don't really get the chance— that's my mother on the cover of the book by the way, that's my mother and that's me. There she is.\\n \\nGeorge Bowering\\n00:43:14\\nReads \\\"Chapter 45: The Operations\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:44:53\\nAnd the last two, this is \\\"The Scars\\\".\\n \\nGeorge Bowering\\n00:44:56\\nReads \\\"Chapter 47: The Scars\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:46:24\\nAnd the last one is called naturally, \\\"The Body\\\", Chapter 48.\\n \\nGeorge Bowering\\n00:46:32\\nReads \\\"Chapter 48: The Body\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:47:48\\nThat was Autobiology, it's actually, can you imagine, a tetralogy. And the first volume was called Geneve and it was based on a found thing with the tarot pack [https://www.wikidata.org/wiki/Q583269] and with the Geneva version of the French pack, Marseilles pack. The second one was Autobiology and the third one was Curious and the fourth one is— Dwight Gardiner wrote it, in a book called the Book of the Occasional. I was going to write it but he wrote it, so I didn't have to. It's just absolutely beautiful and if you see a Book of the Occasional, you'll see what I mean. It's just a gorgeous, gorgeous book. Oh, gee, I'd love to read— how long can I have now?\\n \\nUnknown\\n00:48:45\\n[Cut or edit made in tape].\\n \\nGeorge Bowering\\n00:48:46\\n...Because I just suddenly remembered I'd love to read a piece I have called The Big Leagues. But then I also have a book called At War with the U.S. that I— was the first book of poems I've written in years, but maybe I'll just read The Big Leagues, that will probably take— and then maybe I'll read one or two pieces from Curious. This is a book—a thing called The Big Leagues and it's in a few- in five sections and maybe I'll get tired before I get to the fifth one, but I'll just see how— the first one is called \\\"The Detroit Tigers\\\" [https://www.wikidata.org/wiki/Q650855].\\n \\nGeorge Bowering\\n00:49:21\\nReads \\\"The Detroit Tigers\\\".\\n \\nGeorge Bowering\\n00:51:57\\nThat was written in South Slocan, B.C. [https://www.wikidata.org/wiki/Q18379776] I think this is my favourite one, it's called \\\"The Dallas Cowboys\\\" [https://www.wikidata.org/wiki/Q204862].\\n \\nGeorge Bowering\\n00:52:09\\nReads \\\"The Dallas Cowboys\\\".\\n \\nGeorge Bowering\\n00:54:57\\nThe next one's called \\\"The San Diego Padres\\\" [https://www.wikidata.org/wiki/Q721134] but I'm going to skip that one because it's about getting dope [https://www.wikidata.org/wiki/Q60168] into— what happens is that Chance is coming back, he's now wearing the uniform that Slim Chance had before he died, a U.S. Army uniform that says \\\"Chance\\\" on it and \\\"U.S. Army\\\" and they're sneaking some dope into San Diego and it has to do with some Padres whose clothes are taken off so they can use them to hide the dope and everything. The next one's called \\\"The Buffalo Sabres\\\" [https://www.wikidata.org/wiki/Q131206].\\n \\nGeorge Bowering\\n00:55:32\\nBegins reading \\\"The Buffalo Sabres\\\". \\n\\nGeorge Bowering\\n00:55:37\\nOh, by the way what happens is that I took four quotations from poetry, and three of them are taken from the normal Ohio academic American Poetry Anthology and one of them is taken from Robert Creeley [https://www.wikidata.org/wiki/Q918620] at the end, and you can tell. I can't even remember what poets I took from, like all those guys sorta have the same thing, you know, Donald Hall [https://www.wikidata.org/wiki/Q976924] Anthology Poets if you know what I mean.\\n \\nGeorge Bowering\\n00:56:05\\nResumes reading \\\"The Buffalo Sabres\\\".\\n \\nGeorge Bowering\\n00:59:06\\nAnd this one is for a lot of friends of mine, it's called \\\"The Minnesota Twins\\\" [https://www.wikidata.org/wiki/Q604879] and he's going on, he's leaving Buffalo [https://www.wikidata.org/wiki/Q40435] and going to— has anyone here been to— has anyone here been to Bemidji, Minnesota [https://www.wikidata.org/wiki/Q730430]? You know what they got there right? That great big, blue Ox and the great big Paul Bunyan [https://www.wikidata.org/wiki/Q7149597] carved about 30 feet high or something like that. And other than that, it's a beautiful town, you know, it has the— it looks like the underground of another town turn upside-down, so the bottom is up above the ground, right? \\\"The Minnesota Twins\\\".\\n \\nAnnotation\\n00:59:39\\nReads \\\"The Minnesota Twins\\\".\\n \\nGeorge Bowering\\n01:02:26\\nI think I'll read like for ten minutes and that'll be for a total of an hour, five minutes or something like that. I'll just, I'll pick, this is Curious, which is a— that other book's coming out, it's called In the Flesh and it's maybe the last book of occasional, magazine book verse poetry I ever do. It deals with the experience of being in your 30s and finding out that the world isn't round after all and how sad you can be and how strong emotions can be. It has an introduction called \\\"I Never Felt Such Love\\\". But it's mainly lyric poetry, and I just, I've read so much of that that it's got to be too easy to read and write and everything. So I'll read a few of these. The poets who are mentioned in Curious, it happens that there are a lot of my friends who aren't in the book. Because, again, I wrote it that way, if you know, if that person did not come up, excuse me, from the other side of the page or however that feeling is to be described, if the voice wasn't there or something, for instance I really wanted to do a Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] poem, and you know, I just couldn't and it didn't come and I had wanted to but if I had tried that it just would have been screwed up. Some of these are American, some are Canadians, a couple are English and maybe one or two other things. And the first one is, naturally, Charles Olson [https://www.wikidata.org/wiki/Q922978]. Olson, as you probably know, was about 6 ft 10 and weighed about 300 pounds. And I first met him— I was standing at the bottom of a flight of stairs and he was coming down them. So I said 'hello' to the knees of his sear-sucker suit.\\n \\nGeorge Bowering\\n01:04:19\\nReads \\\"Charles Olson\\\" from Curious.\\n \\nGeorge Bowering\\n01:05:57\\nI'll get some Canadians in here. Margaret Atwood [https://www.wikidata.org/wiki/Q183492], she's the first Canadian to appear in here.\\n \\nGeorge Bowering\\n01:06:16\\nReads \\\"Margaret Atwood\\\" from Curious.\\n \\nGeorge Bowering\\n01:07:36\\nThere are some poets in here that you won't know that are more specifically Vancouver-oriented poets perhaps that aren't as well known out here so I'll skip those. This is \\\"bp Nichol\\\". Everybody knows bpNichol [https://www.wikidata.org/wiki/Q4953105], or everybody is bpNichol.\\n \\nGeorge Bowering\\n01:07:57\\nReads \\\"bp Nichol\\\" from Curious.\\n \\nGeorge Bowering\\n01:09:40\\n\\\"Stephen Spender\\\" [https://www.wikidata.org/wiki/Q448764]. I was going to skip this one, but it has a few moments in it.\\n \\nGeorge Bowering\\n01:09:53\\nReads \\\"Stephen Spender\\\" from Curious.\\n \\nGeorge Bowering\\n01:11:18\\nThat's, boy, that's— like you're out on the West Coast where you've never seen a poet before in your life and the first one they bring you is this guy you've been reading in books and he's a white-haired— it's unbelievable. You know, John Newlove's [https://www.wikidata.org/wiki/Q6250356]? John Newlove, for those who know John Newlove.\\n \\nGeorge Bowering\\n01:11:36\\nReads \\\"John Newlove\\\" from Curious.\\n \\nGeorge Bowering\\n01:13:08\\nThat last part is from a title of one of his books. David McFadden [https://www.wikidata.org/wiki/Q5237344] is, this is the David McFadden piece and maybe I'll read it and a couple more. It's not my favourite but it's one that I like reading. David McFadden— well, it tells you what he's like, but David McFadden is a— he scared the hell out of Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] because he writes really funny poems, like he literally has things, like he walks out into the backyard and sees the Archangel Gabriel [https://www.wikidata.org/wiki/Q81989] or a space man and just talks to it and talks about it in the story of the poem a paragraph after he's talked about going out and buying some cigarettes or something like that and Ginsberg thought, wow, what a weird spaced out guy, so Victor Coleman [https://www.wikidata.org/wiki/Q23882910] took him down to Hamilton [https://www.wikidata.org/wiki/Q133116] to see David, David— he's got, as he said in the note of one of his books, \\\"I was born in 1940 and I comb my hair straight back\\\", and in his house, he's got an electric pendulum clock and you know that sort of thing. And Ginsberg took one look and said [inaudible ‘scared’ sound], and ran away. Just couldn't believe it, you know, it's unbelievable. So, David McFadden.\\n \\nGeorge Bowering\\n01:14:30\\nReads \\\"David McFadden\\\" from Curious.\\n \\nGeorge Bowering\\n01:16:24\\nThere wasn't a comma in there, that was the Indian food coming back. Now let's see…\\n\\nAudience Member 1\\n01:16:31\\nAddresses George Bowering [unintelligible; requests poem].\\n\\nGeorge Bowering\\n01:16:33\\nNo, he didn't get in there either, and I'm very sad about that, just people that got in that I wish didn't get in and there's people that didn't get in that I wish did get in. \\n\\nAudience Member 2\\n01:16:44\\n[Unintelligible]...Raymond Souster [https://www.wikidata.org/wiki/Q304129].\\n\\nGeorge Bowering\\n01:16:46\\nYeah, I think I might have skipped over Raymond Souster, the Raymond Souster one is, as you might imagine the shortest one in the book.\\n \\nGeorge Bowering\\n01:16:58\\nReads \\\"Raymond Souster\\\" from Curious.\\n \\nGeorge Bowering\\n01:17:59\\nI got a Purdy one too, but Al weighs 210 pounds. No, I've always made it a policy not to read the ones of somebody that's there. I don't know if there are any other ones that I'm going to read.\\n\\nAudience Member 3\\n01:18:25\\nAddresses George Bowering [unintelligible; requests poem].\\n\\nGeorge Bowering\\n01:18:26\\nYeah, I don't know where the hell it is. I like the Lionel Kearns [https://www.wikidata.org/wiki/Q6555690] one actually...Oh I don't know what's happened to the Lionel Kearns one, it's one of my very favourites too. I think maybe, I'll see if I can find the Lionel one in a second then I'll read it and I'll finish off with the bill bissett [https://www.wikidata.org/wiki/Q4911496] one. If I just had the book with me it'd be a hell of a lot easier. I don't think I'm going to find the Kearns one. I can't find the Kearns one, it's all about how he can't find anything. This is the bissett one and then I'll finish off with that.\\n \\nGeorge Bowering\\n01:19:30\\nReads bill bissett\\\" from Curious.\\n\\nGeorge Bowering\\n01:21:16\\nThank you.\\n\\nAudience\\n01:21:17\\nApplause. \\n\\nEND\\n01:21:29\\n\",\"notes\":\"George Bowering reads from Autobiology (New Star Books, 1972) and Curious (Coach House Press, 1973), as well as a few poems from unknown sources.\\n\\nList of Poems Read and Time Stamps:\\nPart 1\\n00:00 - Background noise, setting up microphone\\n01:54 - George Bowering introduces reading [INDEX: Al Purdy, review of his book of poems, Al Purdy in the audience]\\n04:12 - Unknown male introduces Bowering [INDEX: Curious published by Coach House Press; In the Flesh; baseball]\\n05:48 - George Bowering introduces “Desert Elm” [INDEX: California, Suzuki Roshi ‘Zen Baseball’; reading tour, Autobiology: written in Montreal, finished in Vancouver; Okanagan region in B.C., elm tree; father’s heart attack]\\n07:22 - Reads “Desert Elm”\\n20:04 - Introduces “Jack Spicer” from Curious [INDEX: Autobiology; reading from Curious, reading for Artie Gold, book about poets]\\n20:43 - Reads “Jack Spicer”\\n22:10 - Explains “Jack Spicer” and introduces “Chapter One: The Raspberries” from Autobiology. [INDEX: Jack Spicer, Summer of 1965, moving to Vancouver, San \\tFrancisco Poetry Festival, Spicer’s death; Autobiology (about it), writing started in \\tWestmount (Montreal) and finished in Kitsolano (Vancouver), published the same \\nday as Stan Perksy’s The Day, readings in Vancouver; handwritten page length of Autobiology]\\n24:41 - Reads “Chapter One: The Raspberries”\\n26:06 - Introduces “Chapter Two: The Teeter Totter” [INDEX: artistic process of writing Autobiology; Westmount]\\n27:05 - Reads “Chapter Two: The Teeter Totter”\\n28:22 - Reads “Chapter Three: The Pollywogs”\\n29:31 - Introduces “ Chapter Four: The Flying Dream” [INDEX: reason he started writing poetry]\\n29:40 - Reads “Chapter Four: The Flying Dream”\\n30:54 - Introduces “Chapter Eight: The Breaks” [INDEX: Two sections called “The Breaks”; West-Coast elitism]\\n31:15 - Reads “Chapter Eight: The Breaks”\\n32:24 - Introduces “Chapter Fourteen: Composition”\\n33:02 - Reads “Chapter Fourteen: Composition”\\n34:32 - Reads “Chapter Twenty: The Breaks” [First line “I broke my nose on a girl’s heel...”]\\n35:53 - Reads “Chapter Twenty-One: Come”\\n37:13 - Introduces “Chapter Twenty-Six: The Childhood” [INDEX: Vancouver, community living, Cold Mountain, Esalen, [?] shrinkage]\\n37:56 - Reads “Chapter Twenty-Six: The Childhood”\\n39:05 - Introduces “Chapter Twenty-Seven: St Louis” [INDEX: William Burroughs, T.S. Eliot]\\n39:21 - Reads “Chapter Twenty-Seven: St Louis”\\n40:49 - Introduces “Chapter Forty-Three: The Flesh” [INDEX: series of poems about towns \\tGeorge Bowering lived in]\\n41:23 - Reads “Chapter Forty-Three: The Flesh”\\n42:43 - Introduces “The Operations” [INDEX: Operations, chance, living with his mother; cover of the book is a photo of George and his mother]\\n43:14 - Reads “Chapter Forty-Five: The Operations”\\n44:53 - Reads “Chapter Forty-Seven: The Scars”\\n46:24 - Reads “Chapter Forty-Eight: The Body”\\n47:48 - Talks about Autobiology [INDEX: Tetrology: 1st volume: Geneve: based on a found poem in the Geneve version of the tarot card pack, 2nd volume: Autobiology, 3rd volume: written by Dwight Gardener Book of the Occasional]\\n48:45.59 - END OF RECORDING.\\n\\nPart 2\\n00:00 - George Bowering introduces “The Detroit Tigers” [INDEX: wants to read “The Big Leagues”, book At War with the U.S.; book Curious]\\n00:35 - Reads “The Detroit Tigers”\\n03:11 - Introduces “The Dallas Cowboys” [INDEX: “The Detroit Tigers” written in South Slocan, B.C.]\\n03:23 - Reads “The Dallas Cowboys”\\n06:11 - Introduces “The Buffalo Sabers” [INDEX: “The San Diego Padres” about smuggling dope into San Diego, Slim Chance (Character), U.S. Army uniform]\\n06:46 - Reads “The Buffalo Sabers”\\n06:52 - Interrupts reading with explanation [INDEX: quotations taken from anthologies of American poetry, Ohio, Great Anthology: New Poets of England and America edited by Donald Hall; Robert Creeley]\\n07:19 - Resumes reading “The Buffalo Sabers”.\\n10:21 - Introduces “The Minnesota Twins” [INDEX: leaving Buffalo going to Bemidji, Minnesota; Blue Ox and Paul Bunyan statues]\\n10:54 - Reads “The Minnesota Twins”\\n13:40 - Introduces “Charles Olson” from Curious. [INDEX: In the Flesh, Curious: book of the occasional, magazine verse, how strong emotions can be, Introduction: “I Never Felt Such Love”, about poets, how he chose what poets to put in the book, Roy Kiyooka, American, Canadian and British poets; Charles Olson and his first meeting with]\\n15:33 - Reads “Charles Olson”\\n17:11 - Introduces “Margaret Atwood” [INDEX: introduced as “Peggy Has”, Margaret Atwood]\\n17:31 - Reads “Margaret Atwood”\\n18:50 - Introduces “bp Nichol” [INDEX: Vancouver-oriented poets]\\n19:11 - Reads “bp Nichol”\\n20:55 - Introduces “Stephen Spender”\\n21:07 - Reads “Stephen Spender”\\n22:32 - Introduces “John Newlove” [INDEX: explains his first meeting with Stephen Spender]\\n24:23 - Reads “John Newlove”\\n24:23 - Introduces “David McFadden” [INDEX: tells story about how McFadden scared Allen Ginsberg, Victor Coleman]\\n25:44 - Reads “David McFadden”\\n27:28 - Introduces “Raymond Souster”\\n28:13 - Reads “Raymond Souster”\\n29:13 - Introduces “Bill Bissett” [INDEX: Al Purdy poem, Lionel Kearns]\\n30:44 - Reads “Bill Bissett”.\\n32:43.73 - END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/george-bowering-at-sgwu-1974/\"}]"],"score":1.0},{"id":"1304","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Ron Loewinsohn and Robert Hogg at Sir George Williams University, The Poetry Series, 20 February 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"RON LOEWINSOHN I086-11-033\" written on stickers on the spine of the tape box and on the reel. \"RT 526\" written on the back and on sticker on the front of the tape box.\n\n\"ROBERT HOGG I086-11-023\" written on stickers on the spine of the tape box and on the reel. \"RT 534\" written on the back and on sticker on the front of the tape box."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[I086-11-033, I086-11-023]"],"creator_names":["Loewinsohn, Ron","Hogg, Robert"],"creator_names_search":["Loewinsohn, Ron","Hogg, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/85836314\",\"name\":\"Loewinsohn, Ron\",\"dates\":\"1937-2014\",\"notes\":\"Ron Loewinsohn was born in Iloilo, Philippines on December 15, 1937. His family moved to California in 1945, and he graduated from Abraham Lincoln High School in 1955 in San Francisco. Loewinsohn spent two years traveling the United States before marrying in 1957 and taking up a position as a lithographer that he held for the next twelve years. He completed an M.A. in 1967 at the University of California, Berkeley, and then an M.A. (1969) and Ph.D. (1971) from Harvard University, completing his doctoral dissertation on William Carlos Williams. He edited Sum magazine in 1974 with Canadian poet Fred Wah. Ron Loewinsohn became close friends with poets Robert Duncan, Jack Spicer, Philip Whalen, Gary Snyder, Robert Creeley, Denise Levertov and Charles Olson. His first collection of poems, Watermelons (Totem Press) was published in 1959 with an introduction by Allen Ginsberg, and a prefatory letter by Williams himself. The New American Poetry, 1945-1960 (Grove Press, 1960) anthologized Loewinsohn’s poetry and propelled him into popularity. His next collections, The World of the Lie (Change Press, 1963) which won a Poets Foundation Award, Against the Silences to Come (Four Seasons Foundation, 1965) and L’Autre (Black Sparrow Press, 1967) placed him securely in the Beat poetry movement. Loewinsohn published two collections of poetry in 1967, Lying Together, Turning the Head and Shifting the Weight, The Produce District and Other Places, Moving: A Spring Poem (Black Sparrow Press) and Three Backyard Dramas with Mamas (Unicorn Press), followed by The Sea, Around Us, and The Step in 1968 (both Black Sparrow Press). He collaborated with Diane Wakoski and Robert Kelly in 1968, publishing These Worlds Have Always Moved in Harmony (Black Sparrow Press). He won an Irving Stone Award from the Academy of American Poets in 1966, the University of California Scholar Award in 1967, a Woodrow Wilson Foundation graduate fellowship from 1967-8, a Harvard University fellowship from 1967-70, a National Education Association Fellowship in 1979 and 1986, and a Guggenheim Fellowship from 1984-5. Ron Loewinsohn began a career in teaching that spanned for more than thirty years at the University of California, Berkeley in 1970. His later works include Meat Air 1957-69 (Harcourt, Brace & World, 1970), followed by The Leaves (Black Sparrow Press, 1973) and Eight Fairy Tales (Black Sparrow Press, 1975) and his last volume of poetry, Goat Dances: Poems and Prose (Black Sparrow Press, 1976). Loewinsohn’s work has beeny anthologized in dozens of publications, including The Post Moderns: A New American Poetry Revised (1982), and published in periodicals including Poetry, Tri-Quarterly, Chicago Review and Occident. Loewinsohn authored two novels, Magnetic Fields (Knopf, 1983), and Where All the Ladders Start (Atlantic Monthly Press, 1987). Ron Loewinsohn retired from the University of California, Berkeley as professor emeritus in 2005. Loewinsohn died in 2014 at the age of 76.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/91752751\",\"name\":\"Hogg, Robert\",\"dates\":\"1942-\",\"notes\":\"Robert Hogg was born in Edmonton, Alberta in 1942. His father was an accountant and his mother founded the Canadian Health League in 1948, and opened the first health food store in the Fraser Valley. After hearing Robert Duncan read from The Opening of the Field, in Vancouver with Frank Davey, he completed a BA at the University of British Columbia. There, he met the members of the newly formed Tish group, and became an integral part of the movement. George Bowering and Hogg published Robert Duncan: An Interview by George Bowering and Robert Hogg (Coach House Press, 1971), which was conducted in 1969. Hogg then went on to complete a Ph.D. from SUNY Buffalo in American Literature. Hogg and his family moved to Ottawa and bought a farm in Mountain Township and began organic farming. In 1968 Hogg began teaching Modern Poetry at Carleton University in Ottawa until he retired in 2005. Hogg’s published works include The connexions (Oyez Press, 1966), Standing back (Coach House Press, 1971), Of light (Coach House Press, 1978), Heat lightning (Black Moss Press, 1986), There is no falling (ECW Press, 1993) and most recently Hogg edited An English Canadian poetics (Talon Books, 2009) which he won a Marston Lafrance Research Fellowship award to write.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1970 2 20\",\"type\":\"Performance Date\",\"notes\":\"Date reference in \\\"Howard Fink List\\\"\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Mixed Lounge (H-651)\",\"notes\":\"Location referenced by previous researcher\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Mixed Lounge (H-651)"],"City":["Montreal, Quebec"],"content_notes":["Ron Loewinsohn reads from Meat Air: Poems 1957-1969 (Harcourt, Brace & World, 1970). Robert Hogg reads from The Connexions (Oyez Press, 1966), as well as poems later published in Standing Back (Coach House Press, 1972), and others from unknown sources."],"contents":["ron_loewinsohn-i086-11-033.mp3 [File 1 of 2]\n \nRon Loewinsohn\n00:00:00\nI do want to try to read as much as I can from the more recent material, the book is called Meat Air, and the last section which is the collection of new stuff is called “Book of Ayres”. Let me start out with, let me start out with one called \"His Music's Like His 20 Children\".\n \nRon Loewinsohn\n00:00:30\nReads \"His Music's Like His 20 Children\" from Meat Air: Poems 1957-1969.\n \nRon Loewinsohn\n00:01:54\nReads [\"It Is to Be Bathed in Light\" from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:04:25\nThis is called \"Song\".\n \nRon Loewinsohn\n00:04:30\nReads \"Song\" [from Meat Air: Poems 1957-1969, section “L’autre 1967”].\n \nRon Loewinsohn\n00:05:10\nAnd this one called, \"The Rain, The Rain\".\n \nRon Loewinsohn\n00:05:17\nReads \"The Rain, The Rain\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:06:20\nLet me, let me do one called \"Fuck You With Your Home Run Title\". That title had to be changed, it was originally \"Fuck You Roger Maris [https://www.wikidata.org/wiki/Q741023]\", but Harcourt Brace [https://www.wikidata.org/wiki/Q5654997] didn't want to be sued. It's not as if I can't afford it, it's just that it wouldn't do anybody any good. So this is \"Fuck You With Your Home Run Title\".\n \nRon Loewinsohn\n00:07:04\nReads \"Fuck You With Your Home Run Title\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:07:41\nThe quote \"thoughts of the party were in my head\" is from the World Champion Weight Lifter, who is a Communist Chinese, and after he had pressed some 5,000 lbs or something they said, you know \"You're fantastic, how did you do it?\". And he said \"Thoughts of the party were in my head\". This is called \"Vision of Childhood''.\n \nRon Loewinsohn\n00:08:15\nReads \"Vision of Childhood\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:10:33\nThis is called \"Lots of Lakes\".\n \nRon Loewinsohn\n00:10:37\nReads \"Lots of Lakes\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:12:03\nThis is called \"The Sea, Around Us\".\n \nRon Loewinsohn\n00:12:17\nReads \"The Sea, Around Us\" [from The Sea, Around Us].\n \nRon Loewinsohn\n00:15:59\nI want to read some, most of the poems from this section called \"Book of Ayres\", and I want to explain just a little bit about it if I can, I guess the most important thing to say is that they declared themselves as a book of poems, in the middle of a final exam, I was taking an exam and one of the things that we had to deal with was a poem by Emily Dickinson [https://www.wikidata.org/wiki/Q4441], which I will read to you, it's a marvelous poem, I'd never seen it before. And it's so clearly tied all of the poems I'd been working on for the past year or so together, into a bundle, into a package. Let me read to you the, this little statement which I'd written for the publication of the book, and I, simply to insist that they are before anything else, religious poems, and I, as prepossessing as I am about them now, because I think that I may have occasion later on in the reading to call that, or you may have occasion to call that to mind. That they take, as their focus, the making, the finding of the flesh in the word, that is that the word is flesh and it has to be found as such. But let me just read this statement and then I'll read you the Emily Dickinson poem, we'll go right into the “Book of Ayres”. I hope that they're, also, that they're fun, and then you say 'religion', people say, 'uh-oh', this is going to be very grim and very heavy, and in the old sense of heavy. But I hope we can have fun with them, but simply, let me do this. All the poems in the “Book of Ayres” section Meat Air, were written with the intention, though not entirely conscious ‘til rather late in the series, of making the word flesh. That is, when the poet speaks, his words are physically only air, yet they can afford us the most sensorially tangible of experiences. Further, the poem, though merely air, is what sustains us, what the soul feeds on. The poet speaks to keep the soul of man alive, that's Yeats [https://www.wikidata.org/wiki/Q40213] in “John Kinsella's Lament for Mrs. Mary Moore”, it's interesting that as I was grabbing for something to, for support, picked that line, because the line continues, or rather the whole passage goes \"And oh, but she had stories, though not for the priest's ear, to keep the soul of man alive, to banish age and care, and being old, she put a skin on everything she said.\" Or as Williams [https://www.wikidata.org/wiki/Q178106] puts it, \"It is difficult, to get the news from poems, yet we die, every day, for lack of what is found there.\" Yet if the word seeks to take on the actuality of flesh, of substance, substance itself, as the poet apprehends it, in the merest of tales of his life, from day to day, seeks to take on the resonating actuality of speech, to realize itself in the actuality of the word. Love itself is both a word and a continuing act or process, both an idea and a tension in the chest, viscera and genitals, a pressure toward articulation so complex that it often stifles speech. About halfway through “The Book of Ayres”, I realized that many of the poems I'd written over the past twelve years or so, had been attempting with various degrees of success to effect these transubstantiations and so, this collection. \"The Dickinson Poem\", which if you want to take a look at it is in Thomas Johnson's editions, it's number “1651”.\n \nRon Loewinsohn\n00:20:02 \nReads \"Poem 1651\" by Emily Dickinson.\n \nRon Loewinsohn\n00:20:49\nAnd one last note before starting in the book has an epigraph from Jim St. Jim. \"I need to take a new tack, and sit on it.\" The first poem's called \"’These Worlds Have Always Moved in Harmony’\".\n \nRon Loewinsohn\n00:21:11\nReads \"’These Worlds Have Always Moved in Harmony’\" [from Meat Air: Poems 1957-1969].\n \nUnknown\n00:21:20\nAmbient Sound [bell].\n\nRon Loewinsohn\n00:21:22\nWhat the hell is that? I have this terrible recollection of this story I heard about a college in the Midwest in the United States [https://www.wikidata.org/wiki/Q30] where a visiting prof came out to give a lecture on Plato [https://www.wikidata.org/wiki/Q859] or something and had this bell go off every fifteen minutes and after, it really unnerved him, and after the end of the lecture, he asked one of the people, like, \"What is that bell going off?\" and the guy, the administrator said \"Oh, that's to keep the students awake.\" I--If that's the case, God bless you, I hope we can do better than that.\n \nRon Loewinsohn\n00:22:08\nReads \"These Worlds Have Always Moved in Harmony\".\n \nRon Loewinsohn\n00:23:34\nAnd this is called \"The Sipapu\". Don't worry about the title, it clears up.\n \nRon Loewinsohn\n00:23:52\nReads \"The Sipapu\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:27:51\nThis is called \"Settling\".\n \nRon Loewinsohn\n00:27:58\nReads \"Settling\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:29:48\nThis is called, this next poem is called \"Paean\" p-a-e-a-n, paean, and is a collaboration in a sense that it's the kind of poem in which a number of people get together and contribute lines, you give me three lines, and I'll give you two lines and eventually the poem gets written, and simply to give credit where credit where credit is due, to list the people who did contribute or help out in the writing of this poem, John Dryden [https://www.wikidata.org/wiki/Q213355], William Carlos Williams, and the Associated Press [https://www.wikidata.org/wiki/Q40469].\n \nRon Loewinsohn\n00:30:31\nReads \"Paean\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:32:12\nThe story goes that St. Cecilia [https://www.wikidata.org/wiki/Q80513] invented the organ, and when she was playing an angel passed and mistook earth for heaven because of this fantastic music. \"Went to her organ vocal breath was given\" says John Dryden. These are a couple of songs.\n \nRon Loewinsohn\n00:32:38\nReads “Song” [from Meat Air: Poems 1957-1969; third poem entitled “Song” published in “Book of Ayres” section].\n\nRon Loewinsohn\n00:32:48\nThis one also called \"Song\".\n \nRon Loewinsohn\n00:32:54\nReads “Song\" [from Meat Air: Poems 1957-1969; fourth poem entitled “Song” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:33:12\nAnd this one also called \"Song\".\n \nRon Loewinsohn\n00:33:18\nReads “Song\" [from Meat Air: Poems 1957-1969; fifth poem entitled “Song” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:33:57\nAnd this one called \"Air\".\n \nRon Loewinsohn\n00:34:01\nReads \"Air\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:34:59\nAnd this one called \"Goat Dance\".\n \nRon Loewinsohn\n00:35:07\nReads \"Goat Dance\" [from Meat Air: Poems 1957-1969; first poem entitled “Goat Dance” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:36:30\nThis one called \"Two Airs\".\n \nRon Loewinsohn\n00:36:36\nReads \"Two Airs\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:37:31\nAnd another one called \"Goat Dance\".\n \nRon Loewinsohn\n00:37:35\nReads \"Goat Dance\" [from Meat Air: Poems 1957-1969; third poem entitled “Goat Song” published in “Book of Ayres” section].\n \nRon Loewinsohn\n00:38:48\nAnd this, title, may perhaps need a little bit of explanation. \"The Romaunt of the Rose\", a 13th century French dream vision poem, dream allegory, written actually in two halves by Jean de Meun [https://www.wikidata.org/wiki/Q544925] and Guillaume de Lorris [https://www.wikidata.org/wiki/Q544959] I'm not sure but Chaucer [https://www.wikidata.org/wiki/Q5683] translated the first part of it, and the title comes from his title, \"The Romaunt of the Rose\". The last line of the poem, “smoot right to the herte rote” is from Chaucer's translation and it's \"smitten right to the heart's root\". And the whole, the title of the poem is \"The Romaunt of the Rose Fuck\".\n \nRon Loewinsohn\n00:39:39\nReads \"The Romaunt of the Rose Fuck\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:40:22\nI'll just do two more, the first one called \"K. 282\". Koechel is--don't please, be insulted that I explain that title, I read the poem in New York [https://www.wikidata.org/wiki/Q60] and a graduate student at Columbia [https://www.wikidata.org/wiki/Q49088] asked me if it meant \"Circa 282\", like circa 282, like approximately 282, and it is of course the catalogue number for the Mozart [https://www.wikidata.org/wiki/Q254] piano sonata, and it's a piano sonata, I forget which, what key it's in.\n \nRon Loewinsohn\n00:41:04\nReads \"K. 282\" [from Meat Air: Poems 1957-1969].\n \nRon Loewinsohn\n00:42:02\nAnd the last poem is the title poem of the book, \"Meat Air\".\n \nRon Loewinsohn\n00:42:08\nReads \"Meat Air\" from Meat Air: Poems 1957-1969.\n \nEND\n00:43:00\n\n\nrobert_hogg_i086-11-023.mp3 [File 2 of 2]\n \nRobert Hogg\n00:00:00\nI'd like to open the reading with a poem that's really part of a verse-play that I wrote in 1963 or 64, a long time ago, a play that never really made it as a play, but fragments of which I've salvaged because I like, I like what they do. And so this is sort of called \"Fragments of an Imaginary Noh Play\", and this is the dream that one of the figures has. \n \nRobert Hogg\n00:00:26\nReads \"Fragments of an Imaginary Noh Play - Walkie's Dream\".\n \nRobert Hogg\n00:02:39\nI'd like to read a few selections from my book of poems The Connexions, which was printed in 1965. I'd like to begin with a poem entitled \"The Command\". I should just briefly mention that these poems were all written in a very short period of time between November and January, mostly, and a few poems written later on throughout that spring of 1965. That is, November 1964 through the early part of 1965. Most of them were written in New York and involved an experience I had there where I was very ill, and part of the time delirious. This poem was actually written a little later than some of the poems that follow. They're not spaced out chronologically in the book. \"The Command\".\n \nRobert Hogg\n00:03:34\nReads \"The Command\" from The Connexions.\n \nRobert Hogg\n00:06:20\nThis poem, written, actually, previous to the other, is entitled \"Eclipse\", and it was written without my own, without my knowledge, actually, at the time, that there was an eclipse taking place. It was on the eighteenth of December, 1964, written in New York City. This was a lunar eclipse. Isn't there a lunar eclipse about to...is that tonight? [Audience laughter]. It's a full moon tonight. Something's happening.\n \nRobert Hogg\n00:07:06\nReads \"Eclipse\" from The Connexions.\n \nRobert Hogg\n00:09:12\nThe she of that last stanza enters into this poem, which was originally entitled \"The Changing of Skin\". There's a good, considerable amount of snake imagery in these poems, all of which was the result of having hepatitis and the turning of colours. I had hepatitis rather badly, and relapsed twice with it, and each time I relapsed, of course, I turned bright yellow again. And it was quite an unusual experience, especially the first time, in which I was in the hospital, and the nurses, especially the young nurses, would come round and look at you with the most peculiar eyes, you know, as if you were really something from another world, having changed colour like that. \n \nRobert Hogg\n00:10:02\nReads unnamed poem [originally entitled “The Changing of Skin”].\n \nRobert Hogg\n00:14:08\nAnother poem connected with this quite closely, another dream poem, entitled \"The Cave\".\n \nRobert Hogg\n00:14:17\nReads \"The Cave\".\n \nRobert Hogg\n00:15:36\nAfter this there's a descent, a further descent down, as has been instructed in an earlier poem, called \"The Command,\" and then a coming-out again. And then a poem that remembers, really, it's quite different, I'm not sure how much this poem really belonged in The Connexions. Most of the poems definitely did belong in the book, I think, though some of them don't bear reading, I don't think, now. This poem bears reading, I think, but doesn't really belong in the book. How's that?\n \nRobert Hogg\n00:16:09\nReads unnamed poem from The Connexions.\n \nRobert Hogg\n00:16:55\nAnd another poem, which was originally titled, \"Poem to Out of This World and Soul Lies\", was really written with John Sinclair [https://www.wikidata.org/wiki/Q706977] in mind, whom I hope all of you keep in mind at times, specially now that he's in prison, in Michigan [https://www.wikidata.org/wiki/Q1166]. It was written to...not written really for him, but written with him in mind, listening to the record \"Out of This World and Soul Lies\" by John Coltrane [https://www.wikidata.org/wiki/Q7346].\n \nRobert Hogg\n00:17:23\nReads [\"Out of This World\" , originally entitled “Poem to Out of This World and Soul Lies”].\n \nRobert Hogg\n00:19:09\nAnd the last poem in the collection is entitled, simply, \"Song\".\n \nRobert Hogg\n00:19:16\nReads \"Song\" from The Connexions.\n\nUnknown \n00:19:33\nAmbient Sound [bell].\n\nRobert Hogg\n00:19:34\nHave to change my trunks...Now I'd like to read a few poems that were written not too far removed from the time of The Connexions, some of them, and then moving right on up to the present. This poem titled simply, \"Once\" and the \"once\" is really part of the poem.\n \nRobert Hogg\n00:20:01\nReads \"Once\" [published later in Standing Back]. \n \nRobert Hogg\n00:20:24\nAnd another little poem called \"Tropos\", which means, \"to turn\" in Greek, or \"turning\" in Greek.\n \nRobert Hogg\n00:20:34\nReads \"Tropos\".\n \nRobert Hogg\n00:20:50\nAnother short poem, written some time later, but in the same vein. \"A Fragment of Love\".\n \nRobert Hogg\n00:20:57\nReads \"A Fragment of Love\".\n \nRobert Hogg\n00:21:12\nThis poem was written about four or five years ago also, and was written after having given a tarot reading for a friend. And I take it that most of you will have some familiarity with the tarot cards, and anyway, the poem attempts in several places to explain, in other places just simply to give you the reading of the tarot as it was done out. And so I've just simply in parts just listed the cards that fell. It's simply called \"A Reading\".\n \nRobert Hogg\n00:21:48\nReads \"A Reading\".\n \nRobert Hogg\n00:24:03\nAnd now, a longer poem, a poem that really, in a sense, deals with the subject of poetry, and the subject of love, together. The poem is entitled \"Aries and Pisces Dream\". And really, I supposed, ought to be dedicated to Charles Olson [https://www.wikidata.org/wiki/Q922978].\n \nRobert Hogg\n00:24:30\nReads \"Aries and Pisces Dream\" [published later in Standing Back].\n \nRobert Hogg\n00:29:03\nA short, and rather lyrical poem, which was written in response to a letter, not in very good response to a letter, actually...in which the other person asked me if I wouldn't tell them about Psyche [https://www.wikidata.org/wiki/Q843382], what I've defined psyche, which I found was an absolutely impossible thing to do, and something that I hope I can--you could--you know, once you spend one's whole life, I suppose, trying to do it, God help you if you actually get it done, you know. There'd be nothing left to do. This poem is called \"Of Psyche\".\n \nRobert Hogg\n00:29:39\nReads \"Of Psyche\" [published later in Standing Back]. \n \nRobert Hogg\n00:30:26\nA recent poem, entitled \"To the Moon\". The moon gets into a lot of my poems, one way or another. This one woke us up the other night, rather nastily. \n \nRobert Hogg\n00:30:37\nReads \"To the Moon\".\n \nRobert Hogg\n00:31:12\nThis is an untitled poem, a happy poem, I hope, written in September, on the seventh of September, and it struck me, as it was the seventh of September, that in fact, in the Latin, that September is the seventh month, and was apparently the seventh month of the Roman calendar year. And so I was suddenly taken by that, because, you know, if you write dates very often, you probably use the typical numerical method of you know, putting, the day, and the month, and the year, in terms of numbers. And you usually think of September as the ninth month, which in fact it is, in our calendar, but the word is obviously, suggests, as October suggests the eighth month, September is the seventh. And so I was happy. It seemed like something new was happening. It was nice, because you know, in September, in northern, any part of Ottawa [https://www.wikidata.org/wiki/Q1930], Ottawa-area, or Ontario [https://www.wikidata.org/wiki/Q1904], or Quebec [https://www.wikidata.org/wiki/Q176], you know what's coming, eh? You know, it's still here. So you got to be happy while you can. And it was also, I should add, that even in old times, you know, the calendar year was divided into twelve months, and so the seventh month would, in a sense, be the beginning of a new cycle. It would be six months, and that would end the first half, and there would be six more months, and September would be the first of it again. And that also excited me. It felt like Spring. [Laughter]. But I'm crazy.\n \nRobert Hogg\n00:32:42\nReads untitled poem [published later in Standing Back]. \n \nRobert Hogg\n00:33:05\nAnd now a sad poem, for someone who has, who had cancer, and is apparently alright, which is kind of nice. I think I was pessimistic, I'm always terribly pessimistic about something like that, I don't find it easy to be optimistic in such situations, and optimism, the optimism that I now have again for this person is only as qualified, I dare say. The poem is entitled \"A Lifetime\", and the more I thought about that word--I didn't get the title easily, I had to work it out--and the more I thought about that word, the more it began to mean to me. I think if you really think about that word, lifetime, as one word, it's very peculiar. And then I thought, I was thinking about time-life [audience laughter]. And that really, that was really funny. It's strange, isn't it, that those, that, that corporation should own those two words, as they do. It's very difficult to use them. We can't just call it--like, can you imagine putting out a magazine called Life? You know. Or Poetry magazine. These are very good names for a magazine. Or Time, you know. That's pretty big stuff! [Audience laughter]. What could they--and look what they've done with it, you know. So reduction is still possible [Laughter]. \"A Lifetime\"...And one other thing [laughter] before I begin this one, it's not altogether this way, you've probably, you know, you've probably found that my lines, my poetry, has a tendency, especially in the earlier poems, to be, like they say, poetic, you know, to try to be a little, to try to sound pretty. It was something that meant a great deal to me earlier, and means a little less to me now than it did then, though beauty still means as much to me as ever. I have tried, I have looked for in my poetry--and one thing, it was very pleasant hearing Ron's [https://www.wikidata.org/wiki/Q2165471] poems tonight, is a quality of voice, a quality of language, that doesn't necessarily try to be pretty at all--that tries to use the language that we are actually living with. I don't mean to try to talk about the old problems of prose and poetry, or anything of the kind. But just that, language needn't necessarily be quote, poetic, unquote. We had kind of a talk about that last night, at the reading in Ottawa, it was pretty funny. And this poem, just at least its beginning, it has that colloquialism that I enjoy.\n \nRobert Hogg\n00:35:37\nReads \"A Lifetime\".\n \nRobert Hogg\n00:37:03\nAnd the last poem that I'd like to read is a poem that is really a freak poem. This poem has taken me at least two years to write, a little longer than two years to write, I think, and has been written over and over and over and over again, and like I said about time/life, this one has also suffered a phenomenal reduction, starting out as about six pages and ending up as three, which is usually a good sign. Originally there was a line in the poem, something about the presages of civilization, you know, are on my back or in my ear, or something like that, and it was a horrible line. Like a lot of the other lines it had to be excised, and rewritten, and so forth. But the thought of it, the thought of that word, the meaning of that word, contained, lived with me, and lived with my sense of the poem. And so I've entitled it simply, \"Presages\". And also, to make it a little more comprehensible, I've put a sort of bracket, subtitle, \"From a Sixth-Floor Apartment\". Actually, the poem was begun in Manhattan [https://www.wikidata.org/wiki/Q11299], not in Manhattan, I'm sorry, in Queens [https://www.wikidata.org/wiki/Q18424], New York, when I was staying at my in-laws' house a little over two years ago, just briefly, and was written from their sixth-floor apartment. It actually, the strange thing about this poem is it was mostly written since then, really re-written, although the first part is pretty much as it was originally.\n \nRobert Hogg\n00:38:24\nReads \"Presages: From a Sixth-Floor Apartment\" [published later in Standing Back].\n \nRobert Hogg\n00:40:40\nThank you.\n \nEND\n00:40:42\n[Cut off abruptly]."],"Note":["[{\"note\":\"\\nIn 1970, Ron Loewinsohn was teaching at the University of Berkeley (perhaps he only started in the Fall semester?), Meat Air was published in the same year and he finished his Ph.D. from Harvard in 1971.\\n\\nIn 1970, Robert Hogg was a professor of Modern Poetry at Carleton University and was most likely working on publishing Standing back (Coach House Press, 1971) and Robert Duncan: An Interview by George Bowering and Robert Hogg (Coach House Press, 1971). \",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connections from Loewinsohn to Montreal or Sir George Williams University are unknown, however, Loewinsohn was a heavy-hitter in the American poetry ring, befriending many members of the San Francisco Renaissance, Black Mountain and Beat groups.\\n\\nRobert Hogg met George Bowering (a SGWU Poetry Committee Member) in the 60’s in Vancouver, and became involved in the Tish group.\",\"type\":\"General\"},{\"note\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, research, introduction andedits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Gray, Richard. \\\"Loewinsohn, Ron(ald William)\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996.\"},{\"url\":\"https://www.worldcat.org/title/connexions/oclc/976690442&referer=brief_results\",\"citation\":\"Hogg, Robert. The Connexions. Berkeley: Oyez, 1966. \"},{\"url\":\"https://www.worldcat.org/title/standing-back/oclc/1125106352&referer=brief_results\",\"citation\":\"Hogg, Robert. Standing Back. Toronto: Coach House Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/interview-by-george-bowering-robert-hogg/oclc/57411146?referer=di&ht=edition\",\"citation\":\"Hogg, Robert & George Bowering. Robert Duncan: an interview by George Bowering & Robert Hogg. Montreal: A Beaver Kosmos Folio, 1971.\"},{\"url\":\"https://www.worldcat.org/title/meat-air-poems-1957-1969/oclc/869016387&referer=brief_results\",\"citation\":\"Loewinsohn, Ron. Meat Air: Poems 1957-1969. New York: Harcourt, Brace & World, 1970. \"},{\"url\":\"https://talonbooks.com/authors/robert-hogg\",\"citation\":\"“Robert Hogg”. Talonbooks website: Vancouver, B.C.. \"},{\"url\":\"\",\"citation\":\"“Loewinsohn, Ron”. Literature Online Biography. Proquest, 2009. \"},{\"url\":\"\",\"citation\":\"“Research, Teaching and Professional Awards: Marston Lafrance Research Fellow (2004-2005)”. Carleton NOW, Carleton University: May 3, 2004. \"},{\"url\":\"\",\"citation\":\"“Robert Hogg”. ECW Press website, Biographies: Toronto, Ontario.\"},{\"url\":\"\",\"citation\":\"“Robert Hogg, Mountain Path Flours”. Eco Farm Day 2010: Canadian Organic Growers/ Cultivons Biologique Canada, Speakers. \"},{\"url\":\"\",\"citation\":\"\\\"Ron(ald) (William) Loewinsohn.\\\" Contemporary Authors Online. Detroit: Gale, 2001. \"}]"],"_version_":1853670548970668032,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0033_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0033_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ron Loewinsohn Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0033_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0033_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ron Loewinsohn Tape Box - 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Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/robert_hogg_i086-11-023.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_hogg_i086-11-023.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:40:42\",\"precision\":\"\",\"size\":\"97.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"robert_hogg_i086-11-023.mp3 [File 2 of 2]\\n \\nRobert Hogg\\n00:00:00\\nI'd like to open the reading with a poem that's really part of a verse-play that I wrote in 1963 or 64, a long time ago, a play that never really made it as a play, but fragments of which I've salvaged because I like, I like what they do. And so this is sort of called \\\"Fragments of an Imaginary Noh Play\\\", and this is the dream that one of the figures has. \\n \\nRobert Hogg\\n00:00:26\\nReads \\\"Fragments of an Imaginary Noh Play - Walkie's Dream\\\".\\n \\nRobert Hogg\\n00:02:39\\nI'd like to read a few selections from my book of poems The Connexions, which was printed in 1965. I'd like to begin with a poem entitled \\\"The Command\\\". I should just briefly mention that these poems were all written in a very short period of time between November and January, mostly, and a few poems written later on throughout that spring of 1965. That is, November 1964 through the early part of 1965. Most of them were written in New York and involved an experience I had there where I was very ill, and part of the time delirious. This poem was actually written a little later than some of the poems that follow. They're not spaced out chronologically in the book. \\\"The Command\\\".\\n \\nRobert Hogg\\n00:03:34\\nReads \\\"The Command\\\" from The Connexions.\\n \\nRobert Hogg\\n00:06:20\\nThis poem, written, actually, previous to the other, is entitled \\\"Eclipse\\\", and it was written without my own, without my knowledge, actually, at the time, that there was an eclipse taking place. It was on the eighteenth of December, 1964, written in New York City. This was a lunar eclipse. Isn't there a lunar eclipse about to...is that tonight? [Audience laughter]. It's a full moon tonight. Something's happening.\\n \\nRobert Hogg\\n00:07:06\\nReads \\\"Eclipse\\\" from The Connexions.\\n \\nRobert Hogg\\n00:09:12\\nThe she of that last stanza enters into this poem, which was originally entitled \\\"The Changing of Skin\\\". There's a good, considerable amount of snake imagery in these poems, all of which was the result of having hepatitis and the turning of colours. I had hepatitis rather badly, and relapsed twice with it, and each time I relapsed, of course, I turned bright yellow again. And it was quite an unusual experience, especially the first time, in which I was in the hospital, and the nurses, especially the young nurses, would come round and look at you with the most peculiar eyes, you know, as if you were really something from another world, having changed colour like that. \\n \\nRobert Hogg\\n00:10:02\\nReads unnamed poem [originally entitled “The Changing of Skin”].\\n \\nRobert Hogg\\n00:14:08\\nAnother poem connected with this quite closely, another dream poem, entitled \\\"The Cave\\\".\\n \\nRobert Hogg\\n00:14:17\\nReads \\\"The Cave\\\".\\n \\nRobert Hogg\\n00:15:36\\nAfter this there's a descent, a further descent down, as has been instructed in an earlier poem, called \\\"The Command,\\\" and then a coming-out again. And then a poem that remembers, really, it's quite different, I'm not sure how much this poem really belonged in The Connexions. Most of the poems definitely did belong in the book, I think, though some of them don't bear reading, I don't think, now. This poem bears reading, I think, but doesn't really belong in the book. How's that?\\n \\nRobert Hogg\\n00:16:09\\nReads unnamed poem from The Connexions.\\n \\nRobert Hogg\\n00:16:55\\nAnd another poem, which was originally titled, \\\"Poem to Out of This World and Soul Lies\\\", was really written with John Sinclair [https://www.wikidata.org/wiki/Q706977] in mind, whom I hope all of you keep in mind at times, specially now that he's in prison, in Michigan [https://www.wikidata.org/wiki/Q1166]. It was written to...not written really for him, but written with him in mind, listening to the record \\\"Out of This World and Soul Lies\\\" by John Coltrane [https://www.wikidata.org/wiki/Q7346].\\n \\nRobert Hogg\\n00:17:23\\nReads [\\\"Out of This World\\\" , originally entitled “Poem to Out of This World and Soul Lies”].\\n \\nRobert Hogg\\n00:19:09\\nAnd the last poem in the collection is entitled, simply, \\\"Song\\\".\\n \\nRobert Hogg\\n00:19:16\\nReads \\\"Song\\\" from The Connexions.\\n\\nUnknown \\n00:19:33\\nAmbient Sound [bell].\\n\\nRobert Hogg\\n00:19:34\\nHave to change my trunks...Now I'd like to read a few poems that were written not too far removed from the time of The Connexions, some of them, and then moving right on up to the present. This poem titled simply, \\\"Once\\\" and the \\\"once\\\" is really part of the poem.\\n \\nRobert Hogg\\n00:20:01\\nReads \\\"Once\\\" [published later in Standing Back]. \\n \\nRobert Hogg\\n00:20:24\\nAnd another little poem called \\\"Tropos\\\", which means, \\\"to turn\\\" in Greek, or \\\"turning\\\" in Greek.\\n \\nRobert Hogg\\n00:20:34\\nReads \\\"Tropos\\\".\\n \\nRobert Hogg\\n00:20:50\\nAnother short poem, written some time later, but in the same vein. \\\"A Fragment of Love\\\".\\n \\nRobert Hogg\\n00:20:57\\nReads \\\"A Fragment of Love\\\".\\n \\nRobert Hogg\\n00:21:12\\nThis poem was written about four or five years ago also, and was written after having given a tarot reading for a friend. And I take it that most of you will have some familiarity with the tarot cards, and anyway, the poem attempts in several places to explain, in other places just simply to give you the reading of the tarot as it was done out. And so I've just simply in parts just listed the cards that fell. It's simply called \\\"A Reading\\\".\\n \\nRobert Hogg\\n00:21:48\\nReads \\\"A Reading\\\".\\n \\nRobert Hogg\\n00:24:03\\nAnd now, a longer poem, a poem that really, in a sense, deals with the subject of poetry, and the subject of love, together. The poem is entitled \\\"Aries and Pisces Dream\\\". And really, I supposed, ought to be dedicated to Charles Olson [https://www.wikidata.org/wiki/Q922978].\\n \\nRobert Hogg\\n00:24:30\\nReads \\\"Aries and Pisces Dream\\\" [published later in Standing Back].\\n \\nRobert Hogg\\n00:29:03\\nA short, and rather lyrical poem, which was written in response to a letter, not in very good response to a letter, actually...in which the other person asked me if I wouldn't tell them about Psyche [https://www.wikidata.org/wiki/Q843382], what I've defined psyche, which I found was an absolutely impossible thing to do, and something that I hope I can--you could--you know, once you spend one's whole life, I suppose, trying to do it, God help you if you actually get it done, you know. There'd be nothing left to do. This poem is called \\\"Of Psyche\\\".\\n \\nRobert Hogg\\n00:29:39\\nReads \\\"Of Psyche\\\" [published later in Standing Back]. \\n \\nRobert Hogg\\n00:30:26\\nA recent poem, entitled \\\"To the Moon\\\". The moon gets into a lot of my poems, one way or another. This one woke us up the other night, rather nastily. \\n \\nRobert Hogg\\n00:30:37\\nReads \\\"To the Moon\\\".\\n \\nRobert Hogg\\n00:31:12\\nThis is an untitled poem, a happy poem, I hope, written in September, on the seventh of September, and it struck me, as it was the seventh of September, that in fact, in the Latin, that September is the seventh month, and was apparently the seventh month of the Roman calendar year. And so I was suddenly taken by that, because, you know, if you write dates very often, you probably use the typical numerical method of you know, putting, the day, and the month, and the year, in terms of numbers. And you usually think of September as the ninth month, which in fact it is, in our calendar, but the word is obviously, suggests, as October suggests the eighth month, September is the seventh. And so I was happy. It seemed like something new was happening. It was nice, because you know, in September, in northern, any part of Ottawa [https://www.wikidata.org/wiki/Q1930], Ottawa-area, or Ontario [https://www.wikidata.org/wiki/Q1904], or Quebec [https://www.wikidata.org/wiki/Q176], you know what's coming, eh? You know, it's still here. So you got to be happy while you can. And it was also, I should add, that even in old times, you know, the calendar year was divided into twelve months, and so the seventh month would, in a sense, be the beginning of a new cycle. It would be six months, and that would end the first half, and there would be six more months, and September would be the first of it again. And that also excited me. It felt like Spring. [Laughter]. But I'm crazy.\\n \\nRobert Hogg\\n00:32:42\\nReads untitled poem [published later in Standing Back]. \\n \\nRobert Hogg\\n00:33:05\\nAnd now a sad poem, for someone who has, who had cancer, and is apparently alright, which is kind of nice. I think I was pessimistic, I'm always terribly pessimistic about something like that, I don't find it easy to be optimistic in such situations, and optimism, the optimism that I now have again for this person is only as qualified, I dare say. The poem is entitled \\\"A Lifetime\\\", and the more I thought about that word--I didn't get the title easily, I had to work it out--and the more I thought about that word, the more it began to mean to me. I think if you really think about that word, lifetime, as one word, it's very peculiar. And then I thought, I was thinking about time-life [audience laughter]. And that really, that was really funny. It's strange, isn't it, that those, that, that corporation should own those two words, as they do. It's very difficult to use them. We can't just call it--like, can you imagine putting out a magazine called Life? You know. Or Poetry magazine. These are very good names for a magazine. Or Time, you know. That's pretty big stuff! [Audience laughter]. What could they--and look what they've done with it, you know. So reduction is still possible [Laughter]. \\\"A Lifetime\\\"...And one other thing [laughter] before I begin this one, it's not altogether this way, you've probably, you know, you've probably found that my lines, my poetry, has a tendency, especially in the earlier poems, to be, like they say, poetic, you know, to try to be a little, to try to sound pretty. It was something that meant a great deal to me earlier, and means a little less to me now than it did then, though beauty still means as much to me as ever. I have tried, I have looked for in my poetry--and one thing, it was very pleasant hearing Ron's [https://www.wikidata.org/wiki/Q2165471] poems tonight, is a quality of voice, a quality of language, that doesn't necessarily try to be pretty at all--that tries to use the language that we are actually living with. I don't mean to try to talk about the old problems of prose and poetry, or anything of the kind. But just that, language needn't necessarily be quote, poetic, unquote. We had kind of a talk about that last night, at the reading in Ottawa, it was pretty funny. And this poem, just at least its beginning, it has that colloquialism that I enjoy.\\n \\nRobert Hogg\\n00:35:37\\nReads \\\"A Lifetime\\\".\\n \\nRobert Hogg\\n00:37:03\\nAnd the last poem that I'd like to read is a poem that is really a freak poem. This poem has taken me at least two years to write, a little longer than two years to write, I think, and has been written over and over and over and over again, and like I said about time/life, this one has also suffered a phenomenal reduction, starting out as about six pages and ending up as three, which is usually a good sign. Originally there was a line in the poem, something about the presages of civilization, you know, are on my back or in my ear, or something like that, and it was a horrible line. Like a lot of the other lines it had to be excised, and rewritten, and so forth. But the thought of it, the thought of that word, the meaning of that word, contained, lived with me, and lived with my sense of the poem. And so I've entitled it simply, \\\"Presages\\\". And also, to make it a little more comprehensible, I've put a sort of bracket, subtitle, \\\"From a Sixth-Floor Apartment\\\". Actually, the poem was begun in Manhattan [https://www.wikidata.org/wiki/Q11299], not in Manhattan, I'm sorry, in Queens [https://www.wikidata.org/wiki/Q18424], New York, when I was staying at my in-laws' house a little over two years ago, just briefly, and was written from their sixth-floor apartment. It actually, the strange thing about this poem is it was mostly written since then, really re-written, although the first part is pretty much as it was originally.\\n \\nRobert Hogg\\n00:38:24\\nReads \\\"Presages: From a Sixth-Floor Apartment\\\" [published later in Standing Back].\\n \\nRobert Hogg\\n00:40:40\\nThank you.\\n \\nEND\\n00:40:42\\n[Cut off abruptly].\",\"notes\":\"Robert Hogg reads from The Connexions (Oyez Press, 1966), as well as poems later published in Standing Back (Coach House Press, 1972), and others from unknown sources.\\n\\n00:00- Robert Hogg introduces reading and “Fragments of an Imaginary Noh Play”. [INDEX: poem, verse-play, written in 1963-4, fragments, dream.]\\n00:26- Reads “Fragments of an Imaginary Noh Play: Walkie’s Dream”. [INDEX: morning, wake, sleep, dream, water, sun, east, sea, swim, day, glass, window.]\\n02:39- Introduces “The Command”. [INDEX: selections from The Connexions, printed in 1965, written between November and January, spring of 1965, New York, ill, delirious, not chronological order.]\\n03:34- Reads “The Command”. [INDEX: snow, winter, unsaid, city, ice, wind, young, death, Erie, Great Lakes, place, New York, body, water, disease, sun, land, earth, memory, remembrance, mind, season, Eden, journey, snake.]\\n06:20- Introduces “Eclipse”. [INDEX: lunar eclipse, December 18, 1964, New York City, full moon the night of this reading.]\\n07:06- Reads “Eclipse” [INDEX: earth, moon, fire, oracle, snake, body, naked, queen, sex, sperm, woman.]\\n09:12- Introduces unknown poem, first line “So it is empty, but for the animals...”. [INDEX: female from “Eclipse”, original title “The Changing of Skin”, snake imagery, hepatitis, relapsed, hospital, nurses.]\\n10:02- Reads unknown poem, first line “So it is empty, but for the animal...” [INDEX: New Testament, Judaism, Jew, Moses, Jesus, crucifixion, Mary Magdalene, vision, name, night, disease, illness, violence, snake, child, sex, mythology.]\\n14:08- Introduces “The Cave”. [INDEX: dream poem.]\\n14:17- Reads “The Cave”. [INDEX: child, cave, winter, day.]\\n15:36- Introduces unknown poem, first line “This much is remembered...”. [INDEX: descent down, “The Command”, memory, relevance in collection.]\\n16:09- Reads unknown poem, first line “This much is remembered...” [INDEX: memory, remembrance, sea, man, land]\\n16:55- Introduces “Out of This World”. [INDEX: originally titled, “Poem to Out of This World and Soul Lies” written with John Sinclair, prison, Michigan, record “Out of this World and Soul Lies” by John Coltrane.]\\n17:23- Reads “Out of This World”. [INDEX: beginning, origin, eternity, birth, egg, snake, woman, sex]\\n19:09- Introduces “Song” [INDEX: last poem in the collection]\\n19:16- Reads “Song”. [INDEX: sun, wind, tree, nature, bird, air, voice]\\n19:34- Introduces “Once”. [INDEX: poems written same time as The Connexions up to the present]\\n20:01- Reads “Once”. [INDEX: poem, poet, poetry, love, line]\\n20:24- Introduces “Tropos”. [INDEX: Greek for ‘to turn’ or ‘turning’]\\n20:34- Reads “Tropos”. [INDEX: turning, couple, sight, beauty]\\n20:50- Introduces “A Fragment of Love”. [INDEX: short poem, same vein as “Tropos”]\\n20:57- Reads “A Fragment of Love”. [INDEX: winter, seasons, woman, nature]\\n21:12- Introduces “A Reading”. [INDEX: written 4-5 years previous, tarot reading, friend, explain, cards.]\\n21:48- Reads “A Reading”. [INDEX: tarot, reading, fate, lover, magician, mother, father, night, child, blood, French, woman, friend, death, moon, sea, justice, sun, bilingual]\\n24:03- Introduces “Aries and Pisces Dream”. [INDEX: poetry, love, dedicated to Charles Olson.] \\n24:30- Reads “Aries and Pisces Dream”. [INDEX: night, woman, awake, love, space, Charles Olson, moon, sun, earth, real, distance, bird, sleep, dance, word, world, measure, death]\\n29:03- Introduces “Of Psyche”. [INDEX: short, lyrical poem, response to a letter, Psyche, definition of Psyche.]\\n29:39- Reads “Of Psyche”. [INDEX: love, spring, Psyche, woman, man, beauty, window, morning, dance.]\\n30:26- Introduces “To the Moon”. [INDEX: poems, moon, night.]\\n30:37- Reads “To the Moon”. [INDEX: moon, face, pain, woman, mother, light, night, laugh.]\\n31:12- Introduces Untitled Poem, first line “Fresh September...” [INDEX: written September 7th, Latin, Roman Calendar, numerical method of dates, October, Ottawa, Ontario, Quebec, happy, twelve months, new cycle, Spring.]\\n32:42- Reads Untitled Poem, first line “Fresh September...” [INDEX: nature, seasons, winter, spring, bird, sun, September]\\n33:05- Introduces “A Lifetime”. [INDEX: friend who had cancer, pessimistic, optimism, time, life, Life magazine, Poetry magazine, reduction, lines, beauty, Ron [Loewinsohn], quality of voice, quality of language, unpoetic language, Ottawa, colloquialism.]\\n35:37- Reads “A Lifetime”. [INDEX: idea, giving, time, rain, cancer, nothing, disease, death, dying, rose, tulip, growth, dark, waiting, silence.]\\n37:03- Introduces “Presages: From a Sixth-Floor Apartment”. [INDEX: freak poem, taken over two years to write, time, life, reduction of the text, six pages to three, original line in poem, presages of civilization, horrible line, rewriting, title, sub-title, begun in Queens New York, first part is original.]\\n38:24- Reads “Presages: From a Sixth-Floor Apartment”. [INDEX: city, New York, distance, apartment, earth, death, air, body, dream, river, sea, mind, time, soul, property, civilization, blood, fire, fish, Psyche, beach]\\n40:40- Robert Hogg thanks the audience.\\n40:42.66- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-hog-at-sgwu-1970/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/ron_loewinsohn-i086-11-033.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"ron_loewinsohn-i086-11-033.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:43:00\",\"precision\":\"\",\"size\":\"103.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"ron_loewinsohn-i086-11-033.mp3 [File 1 of 2]\\n \\nRon Loewinsohn\\n00:00:00\\nI do want to try to read as much as I can from the more recent material, the book is called Meat Air, and the last section which is the collection of new stuff is called “Book of Ayres”. Let me start out with, let me start out with one called \\\"His Music's Like His 20 Children\\\".\\n \\nRon Loewinsohn\\n00:00:30\\nReads \\\"His Music's Like His 20 Children\\\" from Meat Air: Poems 1957-1969.\\n \\nRon Loewinsohn\\n00:01:54\\nReads [\\\"It Is to Be Bathed in Light\\\" from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:04:25\\nThis is called \\\"Song\\\".\\n \\nRon Loewinsohn\\n00:04:30\\nReads \\\"Song\\\" [from Meat Air: Poems 1957-1969, section “L’autre 1967”].\\n \\nRon Loewinsohn\\n00:05:10\\nAnd this one called, \\\"The Rain, The Rain\\\".\\n \\nRon Loewinsohn\\n00:05:17\\nReads \\\"The Rain, The Rain\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:06:20\\nLet me, let me do one called \\\"Fuck You With Your Home Run Title\\\". That title had to be changed, it was originally \\\"Fuck You Roger Maris [https://www.wikidata.org/wiki/Q741023]\\\", but Harcourt Brace [https://www.wikidata.org/wiki/Q5654997] didn't want to be sued. It's not as if I can't afford it, it's just that it wouldn't do anybody any good. So this is \\\"Fuck You With Your Home Run Title\\\".\\n \\nRon Loewinsohn\\n00:07:04\\nReads \\\"Fuck You With Your Home Run Title\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:07:41\\nThe quote \\\"thoughts of the party were in my head\\\" is from the World Champion Weight Lifter, who is a Communist Chinese, and after he had pressed some 5,000 lbs or something they said, you know \\\"You're fantastic, how did you do it?\\\". And he said \\\"Thoughts of the party were in my head\\\". This is called \\\"Vision of Childhood''.\\n \\nRon Loewinsohn\\n00:08:15\\nReads \\\"Vision of Childhood\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:10:33\\nThis is called \\\"Lots of Lakes\\\".\\n \\nRon Loewinsohn\\n00:10:37\\nReads \\\"Lots of Lakes\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:12:03\\nThis is called \\\"The Sea, Around Us\\\".\\n \\nRon Loewinsohn\\n00:12:17\\nReads \\\"The Sea, Around Us\\\" [from The Sea, Around Us].\\n \\nRon Loewinsohn\\n00:15:59\\nI want to read some, most of the poems from this section called \\\"Book of Ayres\\\", and I want to explain just a little bit about it if I can, I guess the most important thing to say is that they declared themselves as a book of poems, in the middle of a final exam, I was taking an exam and one of the things that we had to deal with was a poem by Emily Dickinson [https://www.wikidata.org/wiki/Q4441], which I will read to you, it's a marvelous poem, I'd never seen it before. And it's so clearly tied all of the poems I'd been working on for the past year or so together, into a bundle, into a package. Let me read to you the, this little statement which I'd written for the publication of the book, and I, simply to insist that they are before anything else, religious poems, and I, as prepossessing as I am about them now, because I think that I may have occasion later on in the reading to call that, or you may have occasion to call that to mind. That they take, as their focus, the making, the finding of the flesh in the word, that is that the word is flesh and it has to be found as such. But let me just read this statement and then I'll read you the Emily Dickinson poem, we'll go right into the “Book of Ayres”. I hope that they're, also, that they're fun, and then you say 'religion', people say, 'uh-oh', this is going to be very grim and very heavy, and in the old sense of heavy. But I hope we can have fun with them, but simply, let me do this. All the poems in the “Book of Ayres” section Meat Air, were written with the intention, though not entirely conscious ‘til rather late in the series, of making the word flesh. That is, when the poet speaks, his words are physically only air, yet they can afford us the most sensorially tangible of experiences. Further, the poem, though merely air, is what sustains us, what the soul feeds on. The poet speaks to keep the soul of man alive, that's Yeats [https://www.wikidata.org/wiki/Q40213] in “John Kinsella's Lament for Mrs. Mary Moore”, it's interesting that as I was grabbing for something to, for support, picked that line, because the line continues, or rather the whole passage goes \\\"And oh, but she had stories, though not for the priest's ear, to keep the soul of man alive, to banish age and care, and being old, she put a skin on everything she said.\\\" Or as Williams [https://www.wikidata.org/wiki/Q178106] puts it, \\\"It is difficult, to get the news from poems, yet we die, every day, for lack of what is found there.\\\" Yet if the word seeks to take on the actuality of flesh, of substance, substance itself, as the poet apprehends it, in the merest of tales of his life, from day to day, seeks to take on the resonating actuality of speech, to realize itself in the actuality of the word. Love itself is both a word and a continuing act or process, both an idea and a tension in the chest, viscera and genitals, a pressure toward articulation so complex that it often stifles speech. About halfway through “The Book of Ayres”, I realized that many of the poems I'd written over the past twelve years or so, had been attempting with various degrees of success to effect these transubstantiations and so, this collection. \\\"The Dickinson Poem\\\", which if you want to take a look at it is in Thomas Johnson's editions, it's number “1651”.\\n \\nRon Loewinsohn\\n00:20:02 \\nReads \\\"Poem 1651\\\" by Emily Dickinson.\\n \\nRon Loewinsohn\\n00:20:49\\nAnd one last note before starting in the book has an epigraph from Jim St. Jim. \\\"I need to take a new tack, and sit on it.\\\" The first poem's called \\\"’These Worlds Have Always Moved in Harmony’\\\".\\n \\nRon Loewinsohn\\n00:21:11\\nReads \\\"’These Worlds Have Always Moved in Harmony’\\\" [from Meat Air: Poems 1957-1969].\\n \\nUnknown\\n00:21:20\\nAmbient Sound [bell].\\n\\nRon Loewinsohn\\n00:21:22\\nWhat the hell is that? I have this terrible recollection of this story I heard about a college in the Midwest in the United States [https://www.wikidata.org/wiki/Q30] where a visiting prof came out to give a lecture on Plato [https://www.wikidata.org/wiki/Q859] or something and had this bell go off every fifteen minutes and after, it really unnerved him, and after the end of the lecture, he asked one of the people, like, \\\"What is that bell going off?\\\" and the guy, the administrator said \\\"Oh, that's to keep the students awake.\\\" I--If that's the case, God bless you, I hope we can do better than that.\\n \\nRon Loewinsohn\\n00:22:08\\nReads \\\"These Worlds Have Always Moved in Harmony\\\".\\n \\nRon Loewinsohn\\n00:23:34\\nAnd this is called \\\"The Sipapu\\\". Don't worry about the title, it clears up.\\n \\nRon Loewinsohn\\n00:23:52\\nReads \\\"The Sipapu\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:27:51\\nThis is called \\\"Settling\\\".\\n \\nRon Loewinsohn\\n00:27:58\\nReads \\\"Settling\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:29:48\\nThis is called, this next poem is called \\\"Paean\\\" p-a-e-a-n, paean, and is a collaboration in a sense that it's the kind of poem in which a number of people get together and contribute lines, you give me three lines, and I'll give you two lines and eventually the poem gets written, and simply to give credit where credit where credit is due, to list the people who did contribute or help out in the writing of this poem, John Dryden [https://www.wikidata.org/wiki/Q213355], William Carlos Williams, and the Associated Press [https://www.wikidata.org/wiki/Q40469].\\n \\nRon Loewinsohn\\n00:30:31\\nReads \\\"Paean\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:32:12\\nThe story goes that St. Cecilia [https://www.wikidata.org/wiki/Q80513] invented the organ, and when she was playing an angel passed and mistook earth for heaven because of this fantastic music. \\\"Went to her organ vocal breath was given\\\" says John Dryden. These are a couple of songs.\\n \\nRon Loewinsohn\\n00:32:38\\nReads “Song” [from Meat Air: Poems 1957-1969; third poem entitled “Song” published in “Book of Ayres” section].\\n\\nRon Loewinsohn\\n00:32:48\\nThis one also called \\\"Song\\\".\\n \\nRon Loewinsohn\\n00:32:54\\nReads “Song\\\" [from Meat Air: Poems 1957-1969; fourth poem entitled “Song” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:33:12\\nAnd this one also called \\\"Song\\\".\\n \\nRon Loewinsohn\\n00:33:18\\nReads “Song\\\" [from Meat Air: Poems 1957-1969; fifth poem entitled “Song” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:33:57\\nAnd this one called \\\"Air\\\".\\n \\nRon Loewinsohn\\n00:34:01\\nReads \\\"Air\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:34:59\\nAnd this one called \\\"Goat Dance\\\".\\n \\nRon Loewinsohn\\n00:35:07\\nReads \\\"Goat Dance\\\" [from Meat Air: Poems 1957-1969; first poem entitled “Goat Dance” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:36:30\\nThis one called \\\"Two Airs\\\".\\n \\nRon Loewinsohn\\n00:36:36\\nReads \\\"Two Airs\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:37:31\\nAnd another one called \\\"Goat Dance\\\".\\n \\nRon Loewinsohn\\n00:37:35\\nReads \\\"Goat Dance\\\" [from Meat Air: Poems 1957-1969; third poem entitled “Goat Song” published in “Book of Ayres” section].\\n \\nRon Loewinsohn\\n00:38:48\\nAnd this, title, may perhaps need a little bit of explanation. \\\"The Romaunt of the Rose\\\", a 13th century French dream vision poem, dream allegory, written actually in two halves by Jean de Meun [https://www.wikidata.org/wiki/Q544925] and Guillaume de Lorris [https://www.wikidata.org/wiki/Q544959] I'm not sure but Chaucer [https://www.wikidata.org/wiki/Q5683] translated the first part of it, and the title comes from his title, \\\"The Romaunt of the Rose\\\". The last line of the poem, “smoot right to the herte rote” is from Chaucer's translation and it's \\\"smitten right to the heart's root\\\". And the whole, the title of the poem is \\\"The Romaunt of the Rose Fuck\\\".\\n \\nRon Loewinsohn\\n00:39:39\\nReads \\\"The Romaunt of the Rose Fuck\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:40:22\\nI'll just do two more, the first one called \\\"K. 282\\\". Koechel is--don't please, be insulted that I explain that title, I read the poem in New York [https://www.wikidata.org/wiki/Q60] and a graduate student at Columbia [https://www.wikidata.org/wiki/Q49088] asked me if it meant \\\"Circa 282\\\", like circa 282, like approximately 282, and it is of course the catalogue number for the Mozart [https://www.wikidata.org/wiki/Q254] piano sonata, and it's a piano sonata, I forget which, what key it's in.\\n \\nRon Loewinsohn\\n00:41:04\\nReads \\\"K. 282\\\" [from Meat Air: Poems 1957-1969].\\n \\nRon Loewinsohn\\n00:42:02\\nAnd the last poem is the title poem of the book, \\\"Meat Air\\\".\\n \\nRon Loewinsohn\\n00:42:08\\nReads \\\"Meat Air\\\" from Meat Air: Poems 1957-1969.\\n \\nEND\\n00:43:00\\n\",\"notes\":\"Ron Loewinsohn reads from Meat Air: Poems 1957-1969 (Harcourt, Brace & World, 1970).\\n\\n00:00- Ron Loewinsohn introduces “His Music’s Like His Twenty Children” [INDEX: Meat Air by Ron Loewinsohn, published by Harcourt Brace]\\n00:30- Reads “His Music’s Like His Twenty Children”\\n01:54- Reads “It Is to Be Bathed in Light”\\n04:25- Reads “Song”\\n05:20- Reads “The Rain, The Rain”\\n06:20- Introduces “Fuck You With Your Home Run Title” [INDEX: Roger Maris: baseball \\tplayer]\\n07:04- Reads “Fuck You With Your Home Run Title”\\n07:41- Explains a line from “Fuck You With Your Home Run Title” [INDEX: Communist \\tChinese World Champion Weight Lifter]\\n08:15- Reads “Vision of Childhood”\\n10:33- Reads “Lots of Lakes”\\n12:03- Reads “The Sea Around Us”\\n15:59- Introduces section “Book of Ayres” and Emily Dickinson Poem, “Number \\t1651” [INDEX: “Book of Ayres” section in Meat Air, Emily Dickinson Poem from \\tThomas Johnson’s Collection #1651, Yeats’ poem “John Kinsella’s Lament for Mrs. \\tMary Moore”, William Carlos Williams quote, religious poetry: words are flesh, epigraph from Jim St. Jim [sp?]]\\n20:02- Reads “1651” by Emily Dickinson\\n20:49- Introduces epigraph in Meat Air\\n21:11- Reads “These Worlds Have Always Moved in Harmony”\\n21:22- Interrupted [INDEX: Mid-Western United States]\\n22:08- Re-starts “These Worlds Have Always Moved in Harmony”\\n23:34- Reads “The Sipapu” [INDEX: South Western Native American Tradition]\\n27:51- Reads “Settling”\\n28:48- Introduces “Paean” [INDEX: Collaborative poem: John Dryden, William Carlos Williams and the Associated Press]\\n30:31- Reads “Paean”\\n32:12- Explains “Paean” [INDEX: St. Cecilia invented Organ]\\n32:38- Reads “Song: I think of you through a pain in my throat...”\\n32:48- Reads “Song: Like two apples in a tree...”\\n33:12- Reads “Song: If there is nothing but the rhythm of tears...”\\n33:57- Reads “Air”\\n34:59- Reads “Goat Dance: You inspire me...”\\n36:30- Reads “Two Airs”\\n37:31- Reads “Goat Dance: 1. In the middle of the park...”\\n38:48- Introduces “The Romaunt of the Rose Fuck” [INDEX: 13th century French Dream allegory poetry: by Jean de Meun, Guillaume de Lorris, translated by Chaucer into “The \\tRomaunt of the Rose”]\\n39:39- Reads “The Romaunt of the Rose Fuck”\\n40:22- Introduces “K. 282” [INDEX: Koechel: Mozart piano sonata k. 282]\\n41:04- Reads “K. 282”\\n42:02- Reads “Meat Air”\\n43:00.20- END OF RECORDING\\n\\nFrom the Howard Fink List of poems:\\n*Two separate and different typed pages in print sources...\\nPAGE 1) \\nFeb 20, 1970\\n5”, mono, single track, reel, @ 3 3/4 ips; lasting 50 mins.\\n1. “His Music is Like His Twenty Children”\\n2. “Song” first line: “Oh her lips swell...”\\n3. “The Rain, The Rain”\\n4. “Fuck You With Your Home-run Title”\\n5. “Vision of Childhood”\\n6. “Lots of Lakes”\\n7. “The Sea Around Us”\\n8. “A poem by E. Dickenson”\\n9. first line: “Angelic spirits in a winter sky...”\\n10. first line: “But originally the real world...”\\n11. “Settling”\\n12. “Paean”\\n13. “Song” first line “I think of you through a pain...”\\n14. “Song” first line “Like two apples in a tree...”\\n15. “Song” first line “If there is nothing...”\\n16. “Air”\\n17. “Goat Dance” first line “You inspire me...”\\n18. “Two Airs”\\n19. “Goat Dance” first line “In the middle of the park...”\\n20. first line “In it’s tower of bone...”\\n21. first line “In the fullness...”\\n22. “Meat Air”\\nDiscrepancies on page 2)\\n2. It is To Be Bathed In Light\\n3. Song\\n4. The Rain, The Rain\\n5. Fuck You With Your Home-Run Title\\n6. Vision of Childhood\\n7. Lots of Lakes\\n8. The Sea Around Us\\n9. These Worlds Have Always Moved In Harmony\\n10. The Cee-pah-pooh (Where The Spirit Dwells)\\n11. Settling\\n12. Paean\\n13. I Think Of You With A Pain In My Throat\\n14. Song\\n15. Song\\n16. Air\\n17. Goat Dance\\n18.Two Airs\\n19. Goat Dance\\n20.The Ro-- Of The Rose\\n21. Kercshal 282\\n22. Meat Air\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/ron-loewinsohn-at-sgwu-1970-2/\"}]"],"score":1.0},{"id":"1286","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Frank Davey at Sir George Williams University, The Poetry Series, 6 February 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"FRANK DAVEY Recorded February 6, 1970 3.75 ips on 1 mil. tape, 1/2 track\" written on sticker on the back of the tape's box. \"FRANK DAVEY I006/SR48\" written on sticker on the spine of the tape's box. \"I006-11-048\" written on sticker on the reel\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Davey, Frank"],"creator_names_search":["Davey, Frank"],"creators":["[{\"url\":\"http://viaf.org/viaf/5029235\",\"name\":\"Davey, Frank\",\"dates\":\"1940-\",\"notes\":\"Poet, critic and editor Frank Davey was born in Vancouver in 1940. He received his B.A. and M.A. from the University of British Columbia, where he co-founded and edited the influential Tish magazine from 1961-1969. Davey’s first book of poetry was published in 1963, called D-Day and after (Tishbooks), which was followed by Bridge force (Contact Press, 1965) and The scarred hull (Imago, 1966). Davey founded Open Letter, a journal of avant-garde writing and theory(which is still being published) in 1965. He then completed a Ph.D. in 1968 at the University of Southern California, with a thesis on the Black Mountain poetics. His poems from this period were collected and published in 1972 in L’an trentiesme: selected poems 1961-1970 (Community Press, 1970). Davey’s most influential poetry was produced in the early 70’s, with Weeds (Coach House Press, 1970), Four Myths for Sam Perry (Talon Books, 1970), King of swords (Talon Books, 1972), Arcana (Coach House Press, 1973), and The Clallam (Talon Books, 1973). Davey’s criticism of the period was collected in From There to Here: A Guide to English-Canadian Literature Since 1960 (Porcepic Press, 1974), his 1976 essay of the same title, published in Surviving the Paraphrase (Turnstone Press, 1983) and Reading Canadian reading (Turnstone, 1988). bp Nichol wrote an important introduction for Davey’s Selected poems: the arches (Talon Books, 1980). Davey has documented and written on Canadian authors such as Margaret Atwood, Earle Birney, Louis Dudek and Raymond Souster among others, focusing on Canadian small-press poets who would have been looked over by bigger presses. His own poetry appeared in Capitalistic affection (Coach House Press, 1982), Edward and Patricia (Coach House Press, 1984), The Louis Riel organ and piano company (Turnstone, 1985), The Abbotsford guide to India (Porcepic, 1986) and Popular narratives (Talon Books, 1991). Davey founded Swift Current, a literary journal database published from 1984 to 1990. Davey has taught in Montreal, Toronto’s York University, and was the Carl F. Klinck professor of Canadian Literature at the University of Western Ontario at the time of his retirement in 2005. His criticism and poetics of the 90‘s include Post-national arguments: the politics of the Anglophone-Canadian novel since 1967 (University of Toronto Press, 1993), Canadian literary power (NeWest, 1994), Reading ‘Kim’ Right (Talon Books, 1993) and Karla’s Web (Viking, 1994). He continues to publish poetry, Poems Suitable to Current Material Conditions (2014) and Motel Homage for Greg Curnoe (2014) being his most recent publications. \",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Fink, Howard"],"contributors_names_search":["Fink, Howard"],"contributors":["[{\"url\":\"http://viaf.org/viaf/6332801\",\"name\":\"Fink, Howard\",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Fink, Howard"],"Series_organizer_name":["Fink, Howard"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 2 6\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Frank Davey reads from Four Myths for Sam Perry (Talonbooks, 1970) and Weeds (Coach House Press, 1970), as well as poems published later in Arcana (Coach House Press, 1973)."],"contents":["frank_davey_i006-11-048.mp3\n \nHoward Fink\n00:00:00\nFrank's a West Coast poet, as you know if you've been reading the entertainment section of the Montreal Star [https://www.wikidata.org/wiki/Q3521910], editor of, founding editor of Tish [https://www.wikidata.org/wiki/Q2384384], and of the Open Letter, prolific poet, and poeticist. His last two books Four Myths for Sam Perry and Weeds are at the publishers', and Myths for Sam Perry will be appearing in a month or so. Without further introduction, Frank Davey [https://www.wikidata.org/wiki/Q1443126].\n \nFrank Davey\n00:00:36\nThe first poems I'm going to read this evening are ones which came out of my experiences in my first marriage. My own feeling about reading poetry is that the poem is exposed to the audience at a much faster rate than what the poem is when it's on the page, and excuse me, I'm going to give you a fair bit of background material on some of these poems. These are a collection of prose poems.\n \nFrank Davey\n00:01:20\nReads unnamed poem.\n \nFrank Davey\n00:02:13\nReads “Counting” [from Weeds].\n\nFrank Davey\n00:03:11\nReads \"The Bandit\" [from Weeds]. \n \nFrank Davey\n00:04:08\nTo me some of these poems are remarkable because at the time I didn't know this marriage was breaking up and some of the, some of the poems as you can see are about experiences other than marriage and suddenly I realize of course as these poems were progressing, in particular toward the end, that the message was certainly that there was something rather infertile in my whole life, I mean even in the next poem I'm going to read, I didn't catch on, I thought, 'oh well, I'll write this poem, I can't really show it to my wife, but you know, so what'.\n \nFrank Davey\n00:04:44\nReads \"Mealtimes\" [from Weeds].\n \nFrank Davey\n00:05:46\nReads \"The Place\" [from Weeds].\n \nFrank Davey\n00:06:39\nThese poems actually form a sequence, I'm only giving you certain examples of them and jumping ahead and now the cat is suddenly in the next poem as if it hadn't left.\n \nFrank Davey\n00:06:52\nReads \"The Calling\" [from Weeds].\n \nFrank Davey\n00:08:08\nWell by this point in the sequence, the message was beginning to become more available to me. I was, I admit beginning to understand what I was writing by this point. I've always felt that it's important to write a poem whether or not you realize its significance or its relevance to your own life that you go ahead and write the poem anyway. And in this particular sequence, my own faith that poetry can reveal things to you, that the process of writing poems is a process of discovery, that in fact poems teach the poet, rather than the poet teaching the poems. The poems are wiser than the poet, if you want to look at it that way. This was--seemed to be borne out. \n\nFrank Davey\n00:09:15\nReads \"Leaves\" [from Weeds].\n \nFrank Davey\n00:10:25\nReads \"A Letter\" [from Weeds].\n \nFrank Davey\n00:11:35\nReads \"Them Apples\" [from Weeds].\n \nFrank Davey\n00:12:39\nReads \"I Do Not Write Poems\" [from Weeds].\n \nFrank Davey\n00:13:40\nReads \"Red\" [from Weeds].\n \nFrank Davey\n00:14:41\nMany ways experience played into the hands of the poems, very nice that the most disastrous years of that marriage happened to begin in a summertime situation, and to end in winter, so that the seasonal, the cycle of the seasons could play its part in the poem. But on the other hand, perhaps that wasn't accidental. One doesn't want to question these things after they've worked for you. Group of poems that are collected in the book, which Howard Fink spoke about in his introduction, Four Myths for Sam Perry.\n \nFrank Davey\n00:15:39\nReads \"Sentences of Welcome\" from Four Myths for Sam Perry.\n \nFrank Davey\n00:17:00\nI had the fortune, I was going to say good fortune, I had the fortune of being in Los Angeles [https://www.wikidata.org/wiki/Q65] during the Watts Riots in 1965 [https://www.wikidata.org/wiki/Q377682], and living in the riot area. I was very busy at the time and that particular experience I haven't really even begun to deal with.\n \nFrank Davey\n00:17:26\nReads \"Watts, 1965\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:18:34.12\nAt that time, in Vietnam [https://www.wikidata.org/wiki/Q881], the most contested piece of property was Hill 488. And most of us know that mountains have a peculiar history of being sacred to human beings, Olympus [https://www.wikidata.org/wiki/Q80344], Fuji [https://www.wikidata.org/wiki/Q39231], Sinai [https://www.wikidata.org/wiki/Q377485], there's a mountain in China [https://www.wikidata.org/wiki/Q148] called Tai Shan [https://www.wikidata.org/wiki/Q216059], I believe Confucius [https://www.wikidata.org/wiki/Q4604] made a pilgrimage up this mountain, which is apparently so sacred that the Chinese had carved thousands of steps all the way up to the summit of the mountain. There are mountains, of course, in the Himalayas [https://www.wikidata.org/wiki/Q5451], which house monasteries and which monks so far have successfully prevented anyone from climbing.\n \nFrank Davey\n00:19:39\nReads \"Hill 488\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:20:27\nDrongo is a purple bird that is peculiar to Southeast Asia [https://www.wikidata.org/wiki/Q11708], one of the things which is never really thought of in times of conflict are all of the more, well very specific natural features of the landscape which of course are threatened by destruction in such times. We think of the problems of the defoliant in South Vietnam, when what they estimate now that more than 10% of the country has been treated with defoliant. We don't think of the individual examples of the flora and fauna which may be threatened with extinction because of this defoliation. Man of course is only one of the many inhabitants of this planet and although it is certainly a despicable thing that the biological function of human beings have been interfered with by the defoliation, children are being born malnourished, these are not the only sufferers. \n \nFrank Davey\n00:21:58\nReads \"The Drongo\" [from Four Myths for Sam Perry].\n \nUnknown\n00:23:27\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nFrank Davey\n00:23:28\nAnd of course in the middle of this, there are tankers sinking.\n \nFrank Davey\n00:23:35\nReads \"Torrey Canyon\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:24:29\nWell actually for the past three years I've been writing poems, from the tarot pack. I've been somewhat disappointed to learn that all kinds of other poets have been doing this at the same time. They're getting their stuff into print but I haven't bothered because I was going to do all 88 cards and publish them all at once. At any rate, I'm going to say some more about the tarot pack later but this particular poem comes out of the tarot pack from the Emperor card and has a peculiar affinity to the poems I've just been reading.\n \nFrank Davey\n00:25:20\nReads \"The Emperor\" [published later as “Manuscript, 4 December, 1970, title ‘The Emperor’” in Arcana].\n \nFrank Davey\n00:27:03\nReads \"When\" [from Four Myths for Sam Perry]\n \nFrank Davey\n00:27:56\nBut there is also of course, another side of the coin.\n \nFrank Davey\n00:27:59\nReads \"For her, a Spring\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:30:39\nThe next poem is entitled \"A Light Poem\". For lack of a better descriptive term, I might call myself an anti-humanist, this is of course the--it's almost become a category, I thought it was unique at one point, but it's become of late a category. I think more and more people are realizing that man is not capable of appointing himself as manager, or he's capable of appointing himself, he's not capable of acting out his self-appointment as manager of this planet. That in fact, his capabilities at managing certain areas create problems that are multiples of the ones he has solved. And that the humanist dream of man through his own rationality creating a nearly utopian existence, coming to understand the workings of the universe in such a way that he can bend them to his own use, but this dream has not going to come true. And of course, one of the ways that this feeling in men has been manifested has been his utilization of light and energy, and well, to the poem. \"A Light Poem\".\n \nFrank Davey\n00:32:25\nReads \"A Light Poem\" [from Four Myths for Sam Perry]..\n \nUnknown\n00:37:24\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nFrank Davey\n00:37:25\nRecently I have been writing poems from tarot cards. I have noticed a couple of things about the tarot cards that are very important for the poems. One of these is that the female symbol seems to be the most important symbol in the deck and it seems to suggest that the universe itself is essentially feminine in nature, that the fertility of the universe is feminine. Another aspect of the cards suggests that the nature of the universe is such that all sorts of mysterious things can happen to it without our understanding them. That there are all sorts of forces indicated in these cards that are essentially outside of our control. This poem, entitled \"To Win at Cards\". Tarot cards are not cards whose primary purpose is to play a game. The decks of cards with which we are all familiar with are cards where you play a game, the object of course of playing cards is to win at cards. And winning of course, is something which we are all brought up to wish, so one of the things about our competitive society that makes it work is that we all want to win. And card games help indoctrinate us in this direction. Cards, can also tell you things, this is the thing that the tarot cards have in common with poetry, is that people don't win in poetry, you don't write a better poem than somebody else in order to win prizes or to--you don't use poems in order to seduce a girl, or you don't use poems in order to accomplish any kind of end outside of the end of writing the poem. If you do, your allegiance is not to the poem and it's to something else and you're prostituting the poem. The only thing which can win at poetry is the poem itself, and this is where the poet ought to apply his effort to, is to helping the poem win.\n \nFrank Davey\n00:40:15\nReads \"To Win at Cards\" published later in Arcana].\n \nFrank Davey\n00:41:20\nThis poem, entitled \"The Hermit\", one of the figures on the cards. The card happened to cause me to recall a childhood memory of an earthquake.\n \nFrank Davey\n00:41:35\nReads \"The Hermit\" [published later in Arcana].\n \nFrank Davey\n00:42:49\nIt became very clear to me writing these Tarot poems that indeed there were many things outside of one's control and my wife and I were putting together a jigsaw puzzle of the moon, I think it was a satellite photograph of one side of the moon, and things started to go wrong.\n \nFrank Davey\n00:43:16\nReads [“Luna”, published later in Arcana].\n \nFrank Davey\n00:44:52\nThroughout history of course, men have been obsessed with the idea of being displaced by another man. Either in the seat--in the kingdom, or in the favors of the special woman in their lives. We have in mythology of course, many myths of Gods being displaced very often by their children. In Greek drama of course, the classical example is the Oedipus [https://www.wikidata.org/wiki/Q130890] myth where Laius [https://www.wikidata.org/wiki/Q463898] and Jocasta [https://www.wikidata.org/wiki/Q131445] have their married lives disrupted by their son, Oedipus. This is a poem about this particular fear. Fear of being displaced by someone younger, very often, fear of being displaced by one's own son, although that's not necessarily integral to the poem.\n \nFrank Davey\n00:45:53\nReads [\"Menelaus, To You\", published later in Arcana].\n \nFrank Davey\n00:47:19\nIf you choose to go to war with the natural environment, strange things happen. “King of Pentacles” is wrapped in a coat of binds.\n \nFrank Davey\n00:47:34\nReads \"King of Pentacles\" [published later in Arcana].\n \nFrank Davey\n00:48:44\nTimes when men do the right things, or seem to do the right things. A poem called \"The Caughnawaga Bell\".\n \nFrank Davey\n00:48:55\nReads \"The Caughnawaga Bell\" [published later in Arcana].\n \nFrank Davey\n00:50:32\nI'd like to conclude with a couple of poems about the whole problem of writing. It's always a problem for a poet to keep the process of writing going. One of the tricks of poets of course is always to write poems about the fact that the process of writing isn't going. I have a number of these. \"The Mountain\".\n \nFrank Davey\n00:51:06\nReads \"The Mountain\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:51:50\nOf course, the thing is, as soon as you begin to pay homage to the fact that you're having trouble writing a poem and express your will to, you are in fact being repaid. As soon as I remembered this myth of Popocatepetl [https://www.wikidata.org/wiki/Q1782392] and you know, the earth literally repaying the boy for his homage representing him with a mountain. If you couldn't grow corn on it, at least you could lure the Yankees down to look at. [Audience laughter].\n \nFrank Davey\n00:52:24\nReads \"The Bells\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:53:33\nThis poem, entitled \"The Making\".\n \nFrank Davey\n00:53:41\nReads \"The Making\" [from Four Myths for Sam Perry].\n \nFrank Davey\n00:55:34\nAnd so, I wish you all good winds!\n \nEND\n00:55:37\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Frank Davey had written both Weeds and Four Myths for Sam Perry, and his poems were collected in L’an Trentiesme: Selected Poems 1961-1970, all published that year. He was the writer-in-residence at Sir George Williams University from 1969-1970.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nFrank Davey’s influence reaches farther than his numerous publications, as he was devoted to the publication of other new poets and to the little magazine in Canada. A founding member of Tish, along with Fred Wah and George Bowering (a magazine responsible for a re-birth of poetry in Vancouver and the publication of some of the most important figures in Canadian poetry today) and as a managing editor of Toronto’s Coach House Press, Davey has also documented his fellow poets through bibliographies and biographies. Davey and Bowering no doubt had a long history together, starting in Vancouver, and Bowering most likely invited Davey to Sir George Williams University to read in this series. \",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tap>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/476332314&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Bowering, George. “Davey, Frank”. From There to Here: A Guide to English-Canadian Literature Since 1960, Our Nature-Our Voices II. Frank Davey. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/arcana/oclc/655182833&referer=brief_results\",\"citation\":\"Davey, Frank. Arcana. Toronto: Coach House Press, 1973. \"},{\"url\":\"https://www.worldcat.org/title/four-myths-for-sam-perry/oclc/422678742&referer=brief_results\",\"citation\":\"Davey, Frank. Four Myths for Sam Perry. Vancouver: Talonbooks, 1970. \"},{\"url\":\"https://www.worldcat.org/title/weeds-poems-by-frank-davey/oclc/639736215&referer=brief_results\",\"citation\":\"Davey, Frank. Weeds. Toronto: Coach House Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Scobie, Stephen. \\\"Davey, Frank\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press 2001. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol2/oclc/1156824609&referer=brief_results\",\"citation\":\"Whiteman, Bruce. “Davey, Frank (1940-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Benson, Eugene; Conolly, L.W. (eds). London: Routledge, 1994. 2v. \"}]"],"_version_":1853670548974862336,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0048_back.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0048_front.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0048_side.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I006_11_0048_tape.jpg\",\"file_path\":\"\",\"filename\":\"I006_11_0048_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Frank Davey Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/frank_davey_i006-11-048.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"frank_davey_i006-11-048.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:55:37\",\"precision\":\"\",\"size\":\"133.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Howard Fink\\n00:00:00\\nFrank's a West Coast poet, as you know if you've been reading the entertainment section of the Montreal Star [https://www.wikidata.org/wiki/Q3521910], editor of, founding editor of Tish [https://www.wikidata.org/wiki/Q2384384], and of the Open Letter, prolific poet, and poeticist. His last two books Four Myths for Sam Perry and Weeds are at the publishers', and Myths for Sam Perry will be appearing in a month or so. Without further introduction, Frank Davey [https://www.wikidata.org/wiki/Q1443126].\\n \\nFrank Davey\\n00:00:36\\nThe first poems I'm going to read this evening are ones which came out of my experiences in my first marriage. My own feeling about reading poetry is that the poem is exposed to the audience at a much faster rate than what the poem is when it's on the page, and excuse me, I'm going to give you a fair bit of background material on some of these poems. These are a collection of prose poems.\\n \\nFrank Davey\\n00:01:20\\nReads unnamed poem.\\n \\nFrank Davey\\n00:02:13\\nReads “Counting” [from Weeds].\\n\\nFrank Davey\\n00:03:11\\nReads \\\"The Bandit\\\" [from Weeds]. \\n \\nFrank Davey\\n00:04:08\\nTo me some of these poems are remarkable because at the time I didn't know this marriage was breaking up and some of the, some of the poems as you can see are about experiences other than marriage and suddenly I realize of course as these poems were progressing, in particular toward the end, that the message was certainly that there was something rather infertile in my whole life, I mean even in the next poem I'm going to read, I didn't catch on, I thought, 'oh well, I'll write this poem, I can't really show it to my wife, but you know, so what'.\\n \\nFrank Davey\\n00:04:44\\nReads \\\"Mealtimes\\\" [from Weeds].\\n \\nFrank Davey\\n00:05:46\\nReads \\\"The Place\\\" [from Weeds].\\n \\nFrank Davey\\n00:06:39\\nThese poems actually form a sequence, I'm only giving you certain examples of them and jumping ahead and now the cat is suddenly in the next poem as if it hadn't left.\\n \\nFrank Davey\\n00:06:52\\nReads \\\"The Calling\\\" [from Weeds].\\n \\nFrank Davey\\n00:08:08\\nWell by this point in the sequence, the message was beginning to become more available to me. I was, I admit beginning to understand what I was writing by this point. I've always felt that it's important to write a poem whether or not you realize its significance or its relevance to your own life that you go ahead and write the poem anyway. And in this particular sequence, my own faith that poetry can reveal things to you, that the process of writing poems is a process of discovery, that in fact poems teach the poet, rather than the poet teaching the poems. The poems are wiser than the poet, if you want to look at it that way. This was--seemed to be borne out. \\n\\nFrank Davey\\n00:09:15\\nReads \\\"Leaves\\\" [from Weeds].\\n \\nFrank Davey\\n00:10:25\\nReads \\\"A Letter\\\" [from Weeds].\\n \\nFrank Davey\\n00:11:35\\nReads \\\"Them Apples\\\" [from Weeds].\\n \\nFrank Davey\\n00:12:39\\nReads \\\"I Do Not Write Poems\\\" [from Weeds].\\n \\nFrank Davey\\n00:13:40\\nReads \\\"Red\\\" [from Weeds].\\n \\nFrank Davey\\n00:14:41\\nMany ways experience played into the hands of the poems, very nice that the most disastrous years of that marriage happened to begin in a summertime situation, and to end in winter, so that the seasonal, the cycle of the seasons could play its part in the poem. But on the other hand, perhaps that wasn't accidental. One doesn't want to question these things after they've worked for you. Group of poems that are collected in the book, which Howard Fink spoke about in his introduction, Four Myths for Sam Perry.\\n \\nFrank Davey\\n00:15:39\\nReads \\\"Sentences of Welcome\\\" from Four Myths for Sam Perry.\\n \\nFrank Davey\\n00:17:00\\nI had the fortune, I was going to say good fortune, I had the fortune of being in Los Angeles [https://www.wikidata.org/wiki/Q65] during the Watts Riots in 1965 [https://www.wikidata.org/wiki/Q377682], and living in the riot area. I was very busy at the time and that particular experience I haven't really even begun to deal with.\\n \\nFrank Davey\\n00:17:26\\nReads \\\"Watts, 1965\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:18:34.12\\nAt that time, in Vietnam [https://www.wikidata.org/wiki/Q881], the most contested piece of property was Hill 488. And most of us know that mountains have a peculiar history of being sacred to human beings, Olympus [https://www.wikidata.org/wiki/Q80344], Fuji [https://www.wikidata.org/wiki/Q39231], Sinai [https://www.wikidata.org/wiki/Q377485], there's a mountain in China [https://www.wikidata.org/wiki/Q148] called Tai Shan [https://www.wikidata.org/wiki/Q216059], I believe Confucius [https://www.wikidata.org/wiki/Q4604] made a pilgrimage up this mountain, which is apparently so sacred that the Chinese had carved thousands of steps all the way up to the summit of the mountain. There are mountains, of course, in the Himalayas [https://www.wikidata.org/wiki/Q5451], which house monasteries and which monks so far have successfully prevented anyone from climbing.\\n \\nFrank Davey\\n00:19:39\\nReads \\\"Hill 488\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:20:27\\nDrongo is a purple bird that is peculiar to Southeast Asia [https://www.wikidata.org/wiki/Q11708], one of the things which is never really thought of in times of conflict are all of the more, well very specific natural features of the landscape which of course are threatened by destruction in such times. We think of the problems of the defoliant in South Vietnam, when what they estimate now that more than 10% of the country has been treated with defoliant. We don't think of the individual examples of the flora and fauna which may be threatened with extinction because of this defoliation. Man of course is only one of the many inhabitants of this planet and although it is certainly a despicable thing that the biological function of human beings have been interfered with by the defoliation, children are being born malnourished, these are not the only sufferers. \\n \\nFrank Davey\\n00:21:58\\nReads \\\"The Drongo\\\" [from Four Myths for Sam Perry].\\n \\nUnknown\\n00:23:27\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nFrank Davey\\n00:23:28\\nAnd of course in the middle of this, there are tankers sinking.\\n \\nFrank Davey\\n00:23:35\\nReads \\\"Torrey Canyon\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:24:29\\nWell actually for the past three years I've been writing poems, from the tarot pack. I've been somewhat disappointed to learn that all kinds of other poets have been doing this at the same time. They're getting their stuff into print but I haven't bothered because I was going to do all 88 cards and publish them all at once. At any rate, I'm going to say some more about the tarot pack later but this particular poem comes out of the tarot pack from the Emperor card and has a peculiar affinity to the poems I've just been reading.\\n \\nFrank Davey\\n00:25:20\\nReads \\\"The Emperor\\\" [published later as “Manuscript, 4 December, 1970, title ‘The Emperor’” in Arcana].\\n \\nFrank Davey\\n00:27:03\\nReads \\\"When\\\" [from Four Myths for Sam Perry]\\n \\nFrank Davey\\n00:27:56\\nBut there is also of course, another side of the coin.\\n \\nFrank Davey\\n00:27:59\\nReads \\\"For her, a Spring\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:30:39\\nThe next poem is entitled \\\"A Light Poem\\\". For lack of a better descriptive term, I might call myself an anti-humanist, this is of course the--it's almost become a category, I thought it was unique at one point, but it's become of late a category. I think more and more people are realizing that man is not capable of appointing himself as manager, or he's capable of appointing himself, he's not capable of acting out his self-appointment as manager of this planet. That in fact, his capabilities at managing certain areas create problems that are multiples of the ones he has solved. And that the humanist dream of man through his own rationality creating a nearly utopian existence, coming to understand the workings of the universe in such a way that he can bend them to his own use, but this dream has not going to come true. And of course, one of the ways that this feeling in men has been manifested has been his utilization of light and energy, and well, to the poem. \\\"A Light Poem\\\".\\n \\nFrank Davey\\n00:32:25\\nReads \\\"A Light Poem\\\" [from Four Myths for Sam Perry]..\\n \\nUnknown\\n00:37:24\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nFrank Davey\\n00:37:25\\nRecently I have been writing poems from tarot cards. I have noticed a couple of things about the tarot cards that are very important for the poems. One of these is that the female symbol seems to be the most important symbol in the deck and it seems to suggest that the universe itself is essentially feminine in nature, that the fertility of the universe is feminine. Another aspect of the cards suggests that the nature of the universe is such that all sorts of mysterious things can happen to it without our understanding them. That there are all sorts of forces indicated in these cards that are essentially outside of our control. This poem, entitled \\\"To Win at Cards\\\". Tarot cards are not cards whose primary purpose is to play a game. The decks of cards with which we are all familiar with are cards where you play a game, the object of course of playing cards is to win at cards. And winning of course, is something which we are all brought up to wish, so one of the things about our competitive society that makes it work is that we all want to win. And card games help indoctrinate us in this direction. Cards, can also tell you things, this is the thing that the tarot cards have in common with poetry, is that people don't win in poetry, you don't write a better poem than somebody else in order to win prizes or to--you don't use poems in order to seduce a girl, or you don't use poems in order to accomplish any kind of end outside of the end of writing the poem. If you do, your allegiance is not to the poem and it's to something else and you're prostituting the poem. The only thing which can win at poetry is the poem itself, and this is where the poet ought to apply his effort to, is to helping the poem win.\\n \\nFrank Davey\\n00:40:15\\nReads \\\"To Win at Cards\\\" published later in Arcana].\\n \\nFrank Davey\\n00:41:20\\nThis poem, entitled \\\"The Hermit\\\", one of the figures on the cards. The card happened to cause me to recall a childhood memory of an earthquake.\\n \\nFrank Davey\\n00:41:35\\nReads \\\"The Hermit\\\" [published later in Arcana].\\n \\nFrank Davey\\n00:42:49\\nIt became very clear to me writing these Tarot poems that indeed there were many things outside of one's control and my wife and I were putting together a jigsaw puzzle of the moon, I think it was a satellite photograph of one side of the moon, and things started to go wrong.\\n \\nFrank Davey\\n00:43:16\\nReads [“Luna”, published later in Arcana].\\n \\nFrank Davey\\n00:44:52\\nThroughout history of course, men have been obsessed with the idea of being displaced by another man. Either in the seat--in the kingdom, or in the favors of the special woman in their lives. We have in mythology of course, many myths of Gods being displaced very often by their children. In Greek drama of course, the classical example is the Oedipus [https://www.wikidata.org/wiki/Q130890] myth where Laius [https://www.wikidata.org/wiki/Q463898] and Jocasta [https://www.wikidata.org/wiki/Q131445] have their married lives disrupted by their son, Oedipus. This is a poem about this particular fear. Fear of being displaced by someone younger, very often, fear of being displaced by one's own son, although that's not necessarily integral to the poem.\\n \\nFrank Davey\\n00:45:53\\nReads [\\\"Menelaus, To You\\\", published later in Arcana].\\n \\nFrank Davey\\n00:47:19\\nIf you choose to go to war with the natural environment, strange things happen. “King of Pentacles” is wrapped in a coat of binds.\\n \\nFrank Davey\\n00:47:34\\nReads \\\"King of Pentacles\\\" [published later in Arcana].\\n \\nFrank Davey\\n00:48:44\\nTimes when men do the right things, or seem to do the right things. A poem called \\\"The Caughnawaga Bell\\\".\\n \\nFrank Davey\\n00:48:55\\nReads \\\"The Caughnawaga Bell\\\" [published later in Arcana].\\n \\nFrank Davey\\n00:50:32\\nI'd like to conclude with a couple of poems about the whole problem of writing. It's always a problem for a poet to keep the process of writing going. One of the tricks of poets of course is always to write poems about the fact that the process of writing isn't going. I have a number of these. \\\"The Mountain\\\".\\n \\nFrank Davey\\n00:51:06\\nReads \\\"The Mountain\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:51:50\\nOf course, the thing is, as soon as you begin to pay homage to the fact that you're having trouble writing a poem and express your will to, you are in fact being repaid. As soon as I remembered this myth of Popocatepetl [https://www.wikidata.org/wiki/Q1782392] and you know, the earth literally repaying the boy for his homage representing him with a mountain. If you couldn't grow corn on it, at least you could lure the Yankees down to look at. [Audience laughter].\\n \\nFrank Davey\\n00:52:24\\nReads \\\"The Bells\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:53:33\\nThis poem, entitled \\\"The Making\\\".\\n \\nFrank Davey\\n00:53:41\\nReads \\\"The Making\\\" [from Four Myths for Sam Perry].\\n \\nFrank Davey\\n00:55:34\\nAnd so, I wish you all good winds!\\n \\nEND\\n00:55:37\\n\",\"notes\":\"Frank Davey reads from Four Myths for Sam Perry (Talonbooks, 1970) and Weeds (Coach House Press, 1970), as well as poems published later in Arcana (Coach House Press, 1973).\\n\\n00:00- Howard Fink introduces Frank Davey. [INDEX: West Coast poet, Montreal Star, founding editor of Tish, Open Letter, Four Myths for Sam Perry, Weeds in publication]\\n00:36- Frank Davey introduces poetry reading [INDEX: reading poetry, first marriage, prose poems]\\n01:20- Reads “How We Are” first line “How alone we are from each other...”\\n03:11- Reads “The Bandit”\\n04:08- Introduces next group of poems [INDEX: marriage, process of writing]\\n04:44- Reads “Meal Times”\\n05:46- Reads “The Place”\\n06:39- Explains that poems are in a sequence\\n06:52- Reads “The Calling”\\n08:08- Explains process of writing these poems [INDEX: process of writing]\\n09:15- Reads “Leaves”\\n10:25- Reads “A Letter”\\n11:35- Reads “Them Apples”\\n12:39- Reads “I Do Not Write Poems”\\n13:40- Reads “Red and Where is Love?”\\n14:41- Introduces group of poems from Four Myths for Sam Perry\\n15:39- Reads “Sentences of Welcome”\\n17:00- Introduces “Watts, 1965” [INDEX: Watts Riot in 1965, Los Angeles,]\\n17:26- Reads “Watts, 1965”\\n18:34- Introduces “Hill 488” [INDEX: Vietnam, Hill 488, Olympus, Fuji, Sinai, Tai Shan, Confucius, Himalayas.]\\n19:39- Reads “Hill 488”\\n20:27- Introduces “The Drongo” [INDEX: Drongo bird, South East Asia, conflict, South Vietnam, destruction of flora and fauna during war, defoliation]\\n21:58- Reads “The Drongo”\\n23:35- Reads “Torrey Canyon”\\n24:29- Introduces “The Emperor” [INDEX: tarot cards, Emperor card]\\n25:29- Reads “The Emperor”\\n27:03- Reads “When”\\n27:59- Reads “For Her, a Spring”\\n30:39- Introduces “A Light Poem” [INDEX: anti-humanism, light and energy]\\n32:25- Reads “A Light Poem”\\n37:25- Introduces “To Win at Cards” [INDEX: tarot cards]\\n40:15- Reads “To Win at Cards”\\n41:20- Introduces “The Hermit”\\n41:35- Reads “The Hermit”\\n42:49- Introduces “The Moon” first line “When the moon demanded that...” [INDEX: tarot cards, moon]\\n43:16- Reads “The Moon”\\n44:52- Introduces “A Child” [INDEX: mythology of Oedipus]\\n45:53- Reads “A Child”\\n47:19- Introduces “King of Pentacles”\\n47:34- Reads “King of Pentacles”\\n48:44- Introduces “The Caughnawaga Bell”\\n48:55- Reads “The Caughnawaga Bell”\\n50:32- Introduces “The Mountain” [INDEX: process of writing’]\\n51:06- Reads “The Mountain”\\n51:50- Explains “The Mountain” [INDEX: myth of Popocatepetl ]\\n52:24- Reads “The Bells”\\n53:33- Reads “The Making”\\n55:37.72- END OF RECORDING\\n \\nHoward Fink List:\\nFrank Davey\\nRecorded Feb 6, 1970\\n \\n1. “How Alone We Are”\\n2. “Counting”\\n3. “The Bandit”\\n4. “Mealtimes”\\n5. “The Place”\\n6. “The Calling”\\n7. “Leaves”\\n8. “A Letter”\\n9. “Them Apples”\\n10. “I Do Not Write Poems”\\n11. “Red”\\n12. “Sentences of Welcome”\\n13. “Watts- 1965”\\n14. “Hill 488”\\n15. “The Drongo”\\n16. “Tory Canyon”\\n17. “The Emperor”\\n18. “When”\\n19. “For Her A Spring” (serial poem)\\n20. “A Light Poem” (serial poem)\\n21. “To Win at Cards”\\n22. “The Hermit”\\n23. “The Moon”\\n24. “The Child”\\n25. “The Horned God”\\n26. (something missing) Vines...\\n27. “King of Pentacles”\\n28.“The Caughnawaga Bell”\\n29. “The Mountain”\\n30. “The Bell”\\n31. “The Making”\\npg. 69\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/frank-davey-at-sgwu-1970-howard-fink/\"}]"],"score":1.0},{"id":"1287","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["David Ball and Tom Raworth at Sir George Williams University, The Poetry Series, 4 March 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"David Ball and Tom Raworth Reading at Sir George Williams University, 1970\" written on sticker on the back of the tape's box: \"BALL & RAWORTH Recorded March 4, 1970 3.75 ips, 1/2 track on 1 mil tape\". \n\n\"Ball, the Raworth. Separated by leader\" also written on sticker on the back of the tape's box. BALL refers to David Ball. \n\n\"DAVID BALL & TOM RAWORTH I006/SR133\" written on sticker on the spine of the tape's box. \n\n\"GLADYS HINDMARCH I006-11-133\" written on sticker on the reel (possible mistake)."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Ball, David","Raworth, Tom"],"creator_names_search":["Ball, David","Raworth, Tom"],"creators":["[{\"url\":\"http://viaf.org/viaf/43626927\",\"name\":\"Ball, David\",\"dates\":\"1942-\",\"notes\":\"David Ball was born on February 27, 1937 in New York, New York. He received his B.A. from Brandeis University in 1959, studied at the Sorbonne, University of Paris, Licence et Lettres in 1964, Docteur en Littérature Générale et Comparée in 1971. He was a lecturer at Smith College, MA, from 1969-1971, an assistant professor from 1971 to 1976, and an associate professor of French from 1976-. In 1959 David Ball was a Fulbright scholar, won a French Government fellowship from 1967 to 1968, and the Eugene M. Warren Poetry Prize from Brandeis University in 1957. Ball’s work appeared in Jazz Poems, an anthology edited by Anselm Hollow in 1963. He also wrote poems and translations to journals including Locus Solus, World, Massachusetts Review, Atlantic Monthly, New Republic, Études Anglaises and Revue de Littérature Comparée. He served as the editor of Blue Pig magazine. David Ball published a chapbook, We Just Wanted to Tell You with Anselm Hollo in 1963 (Writers Forum). His first book of verse, Two Poems came out in 1964, published by Matrix Press in London. His books New Topoi, (Buffalo Press,1972), The Mutant Daughter, (Buffalo Press, 1975), Praise of Crazy, (Diana’s bimonthly,1975), The Garbage Poems: From the New Zone in 1976 (Burning Deck), and In Cities (Potato Clock Editions) in 2001 followed. David Ball translated and introduced Leda: In Praise of the Blessings of Darkness (Cheeloniideae Press), by Pierre Louys in 1985 and Darkness Moves: An Henri Michaux Anthology 1927-1984 (University of California Press) in 1994, which won MLA’s Scaglione Prize for Outstanding Translation of a Literary Work in 1996. Other translations include Pierre Loti’s Constantinople: The Way It Was (Unlem Press) and The Green Mosque at Bursa in 2006, and Abdourahman A. Waberi’s In the United States of Africa (University of Nebraska Press) in 2009. Most recently he translated Alfred Jarry’s Ubu the King in the spring of 2009. David Ball is a member of PEN American Center. \",\"nation\":[],\"role\":[\"Performer\",\"Author\"]},{\"url\":\"https://viaf.org/viaf/79047481\",\"name\":\"Raworth, Tom\",\"dates\":\"1938-2017\",\"notes\":\"Poet Tom Raworth was born in 1938 and grew up in the outskirts of London. Raworth left grammar school at sixteen and pursued many odd jobs, frequented all-night jazz clubs while writing a collaborative secret-agent novel in addition to his own poetry. He married in the late 50’s and had three children. In 1963 he was publishing and printing his own magazine, Outburst, meeting the likes of Michael Horowitz, Anselm Hollo, David Ball, publishing Robert Creeley, Ed Dorn, Charles Olson, LeRoi Jones and Gregory Corso. His first book of verse, The Minicab War (Matrix Press) was a collaboration with Hollo and Corso in 1961. Under Matrix Press, he published Dorn’s From Gloucester Out, and Hollo’s History. Raworth met Barry Hall and in 1965, they formed Goliard Press and published books by Charles Olson, and Ron Padgett. Jonathan Cape’s publishing house and Goliard merged in 1967, becoming Cape Goliard Press, publishing Olson’s The Maximus Poems in 1970. The Relation Ship (Cape Goliard Press) was published in 1966, re-printed in 1969, and drew the attention of Donald Davie and Dorn at University of Essex, who offered him the opportunity to continue his education. The Relation Ship won the Alice Hunt Bartlett prize in 1969. Raworth also published smaller collections of poetry, Continuation in 1966 (Goliard), Haiku (another collaboration with Hollo and John Esam) in 1968 (Trigram Press), and Betrayal in 1969. A Serial Biography (Fulcrum Press) published in 1969 spawned from a correspondence with Ed Dorn, and culminated with correspondences from letters with Park magazine. Written in 1968 while Raworth was studying Spanish at the University of Granada, (through the University of Essex), Lion Lion (Trigram Press) was published in 1970. Over the subsequent two decades, Raworth took up position as poet-in-residence at King’s College, Cambridge for a year, and published over a dozen other books, including Ace (The Figures Press, 1974), Cloister (Sand Project Press, 1975), Logbook (Poltroon Press, 1977), Nicht Wahr, Rosie? (Poltroon Press,1980), and Lazy Left Hand: Notes from 1970-1975 (Actual Size Press,1986). His poems were later compiled in Collected Poems (Carcanet, 2003). Raworth died in 2017.\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/1461/Screen Shot 2020-10-05 at 6.02.21 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 3 4\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box. Previous researcher specifies March 2, 1970 as date. Possible mistake.\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["David Ball reads from unknown sources. Tom Raworth reads from The Relation Ship (Cape Goliard Press, 1969), The Big Green Day (Trigram, 1968), Lion Lion (Trigram, 1970), as well as poems later published in Moving (Cape Goliard Press, 1971)."],"contents":["david_ball_tom_raworth_i006-11-133.mp3\n\nIntroducer\n00:00:00\nDavid Ball is currently a professor of French at Smith College [https://www.wikidata.org/wiki/Q49204], he has published his poetry in the Atlantic Monthly [https://www.wikidata.org/wiki/Q1542536], and Locus Solus [https://www.wikidata.org/wiki/Q6666062], Poor.Old.Tired.Horse [https://www.wikidata.org/wiki/Q64866104], Blue Pig which he was co-editor, Outburst, Jazz Poems, [The Wyvenhoe (?)] Park Review, etc, etc and a wide variety of publications. He has two tiny books that were published in London [https://www.wikidata.org/wiki/Q84], we just wanted to tell you, and two and he has two long, long poems that are published by the Matrix Press, and a long poem, titled “The Boring Poems”, which he will read tonight. This will also be published in Copenhagen [https://www.wikidata.org/wiki/Q1748] with a French title. David Ball has spent the last ten years in Paris [https://www.wikidata.org/wiki/Q90]. He has some other poem sequences which have been published along with Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and others and he has worked with Tom Raworth on the translation of several of Rene Char's poems, one of which received an accolade from René Char [https://www.wikidata.org/wiki/Q315015] himself. We give you David Ball.\n\nDavid Ball\n00:01:40\nReads unnamed poem [series].\n\nDavid Ball\n00:11:34\nFrom Anti-Tish happenings, “The Second”. \n\nDavid Ball\n00:11:38\nReads \"The Second\".\n\nDavid Ball\n00:13:25\nThat's the end of the New Zone poems\n\nDavid Ball\n00:13:28\nReads unnamed poem [series].\n\nUnknown\n00:18:17\nSilence [cut or edit in tape].\n\nIntroducer\n00:18:26\nTom Raworth is a central figure in the emergence of the British Avant-Garde, he is also well represented in most forward North American publications, he was the editor of the underground Goliard Press before it was taken up as the revolutionary branch of Johnathan Cape [https://www.wikidata.org/wiki/Q3277534] books, and his own publications include The Relation Ship, The Big Green Day and most recently, Lion, Lion , poetry that along with that of Anselm Hollo [https://www.wikidata.org/wiki/Q252476], and Turnbull [https://www.wikidata.org/wiki/Q5516589] will define what happened in the British verse of the 60's. Cape Goliard has also published his Serial Biography which is a most exciting experiment on the British prose scene, and he is also one of the first poets to be heard on Steam Records, a series of LPs presenting leading American and British poets reading their works. This year, he is poet in residence at Essex [https://www.wikidata.org/wiki/Q1075104].\n\nTom Raworth\n00:19:40\nThis is a poem called \"My Face is My Own, I Thought\".\n\nTom Raworth\n00:19:44\nReads \"My Face is My Own, I Thought\" [from The Relation Ship].\n\nTom Raworth\n00:20:19\nThese are two poems about children, the first poem's called \"Three\".\n\nTom Raworth\n00:20:26\nReads \"Three\" [from The Relation Ship].\n\nTom Raworth\n00:20:51\nReads \"Morning\" from The Relation Ship. \n\nTom Raworth\n00:21:17\nReads \"The Third Retainer\" [from The Relation Ship]. \n\nTom Raworth\n00:21:54\nReads \"September Morning\" [from The Relation Ship]. \n\nTom Raworth\n00:22:40\nThis poem is called \"Shoes\".\n\nTom Raworth\n00:22:51\nReads \"Shoes\" [from The Big Green Day].\n\nTom Raworth\n00:23:35\nThis is a poem in eight parts called \"Love Poem\".\n\nTom Raworth\n00:23:43\nReads \"Love Poem\" [from The Big Green Day].\n\nTom Raworth\n00:25:06\nThis is a short poem called \"Georgia on My Mind\".\n\nTom Raworth\n00:25:10\nReads \"Georgia on My Mind\" [from The Big Green Day].\n\nTom Raworth\n00:25:32\nThis is a poem called \"Got Me\" which is difficult to read because the last part of the poem is the first part of it, corrected.\n\nTom Raworth\n00:25:43\nReads \"Got Me\" [from The Big Green Day].\n\nTom Raworth\n00:26:17\nThis poem is called \"Wham! The Race Begins\".\n\nTom Raworth\n00:26:24\nReads \"Wham! The Race Begins\" [from The Big Green Day].\n\nTom Raworth\n00:26:53\nReads \"Hot Day at the Races\" [from The Big Green Day].\n\nTom Raworth\n00:27:50\nI’ll just read a few poems from a book called Lion, Lion. The quote from the beginning is from an old poem from Gregory Corso [https://www.wikidata.org/wiki/Q470871]., called “Dementia in an African Apartment House”. \n\nTom Raworth\n00:28:02\nReads “Dementia in an African Apartment House” by Gregory Corso. \n\nTom Raworth\n00:28:10\nThe first poem is called \"Lion, Lion\".\n\nTom Raworth\n00:28:13\nReads \"Lion, Lion\" from Lion, Lion. \n\nTom Raworth\n00:28:27\nThis is a poem in four parts called \"Traveling\".\n\nTom Raworth\n00:28:35\nReads \"Traveling\" [from Lion, Lion].\n\nTom Raworth\n00:29:23\nReads \"The Plaza in the Flaming Orange Trees\" [from Lion, Lion].\n\nTom Raworth\n00:30:08\nThis poem is called \"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\".\n\nTom Raworth\n00:30:14\nReads \"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\" [from Lion, Lion].\n\nTom Raworth\n00:30:53\nThis is called \"King of the Snow\".\n\nTom Raworth\n00:30:58\nReads \"King of the Snow\" [from Lion, Lion].\n\nTom Raworth\n00:31:39\nReads \"South America\" [from Lion, Lion].\n\nTom Raworth\n00:33:00\nThis is a poem called \"Claudette Colbert by Billy Wilder”, and all the lines are just by Billy Wilder [https://www.wikidata.org/wiki/Q51547], they're from films that he made with Claudette Colbert https://www.wikidata.org/wiki/Q203819].\n\nTom Raworth\n00:33:15\nReads \"Claudette Colbert by Billy Wilder” [from Lion, Lion].\n\nTom Raworth\n00:34:12\nThe last poem in Lion, Lion is called \"Vensuramos\".\n\nTom Raworth\n00:34:16\nReads \"Vensuramos\" from Lion, Lion.\n\nTom Raworth\n00:34:46\nI'll just read a few poems from, that I've been working on recently, that's a sequence called “Into the Living Sea” from a poem by John Clare [https://www.wikidata.org/wiki/Q981572] called \"I Am\", the middle stanza of which goes \"Into the nothingness of scorn and noise, into the living sea of waking dream, where there is neither sense of life, nor joys, but the huge shipwreck of my own esteem, and all that's dear, even those that I love the best are strange, nay, they are stranger than the rest\". The first poem is called \"The Moon Upon the Waters\". \n\nTom Raworth\n00:35:27\nReads \"The Moon Upon the Waters\" [published later in Moving].\n\nTom Raworth\n00:36:35\nReads \"Reverse Map\" [published later in Moving].\n\nTom Raworth\n00:37:21\nReads \"Who Would True Valour See\" [published later in Moving].\n\nTom Raworth\n00:37:56\nReads \"The Corpse in My Head\" [published later in Moving].\n\nTom Raworth\n00:38:33\nThis is a poem called \"Helpston, £9,850 Stone Built Residence\".\n\nTom Raworth\n00:38:42\nReads \"Helpston, £9,850 Stone Built Residence\" [published later in Moving].\n\nTom Raworth\n00:39:26\nThis is just a short poem called \"The Stroboscopic Forest Light Plays\" .\n\nTom Raworth\n00:39:30\nReads \"The Stroboscopic Forest Light Plays\" [published later in Moving].\n\nTom Raworth \n00:39:40\nI'll just read two more poems. This one's called \"Purely Personal\".\n\nTom Raworth\n00:39:46\nReads \"Purely Personal\" [published later in Moving].\n\nTom Raworth\n00:40:19\nThe last poem's called \"Notes of the Song / Ain't Gonna Stay in This Town Long\".\n\nTom Raworth\n00:40:23\nReads \"Notes of the Song / Ain't Gonna Stay in This Town Long\" [published later in Moving].\n\nEND\n00:40:45\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nDavid Ball was a lecturer at Smith College, Massachusetts in 1970. \\n\\nTom Raworth was the poet-in-residence at the University of Essex. Lion Lion was also published in 1970. \",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nBall--Unknown connection to Canadian, Montreal, and Sir George Williams University poetry scene at this point.\\n\\nRaworth--No known connections to Canadian/Montreal/Concordia poetry scene, however he was connected to David Ball. Tom Raworth was an important poet and publisher of poetry and experimental works, publishing the work of Robert Creeley, Ed Dorn, Charles Olson, Anselm Hollo and Gregory Corso. \",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) & Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/big-green-day/oclc/640029679&referer=brief_results\",\"citation\":\"Raworth, Tom. The Big Green Day: Poems. London: Trigram Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/relation-ship-poems/oclc/23061569&referer=brief_results\",\"citation\":\"Raworth, Tom. The Relation Ship. London: Goliard Press, 1969. \"},{\"url\":\"\",\"citation\":\"\\\"David Ball.\\\" Contemporary Authors Online. Detroit: Gale, 2001. \"},{\"url\":\"\",\"citation\":\"Robinson, Kit. \\\"Thomas Moore Raworth.\\\" Poets of Great Britain and Ireland Since 1960. Ed. Vincent B. Sherry. Dictionary of Literary Biography. Vol. 40. Detroit: Gale Research, 1985. \"},{\"url\":\"https://www.worldcat.org/title/lion-lion/oclc/941047536&referer=brief_results\",\"citation\":\"Raworth, Tom. Lion Lion. London: Tigram Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/moving/oclc/154144?referer=di&ht=edition\",\"citation\":\"Raworth, Tom. Moving. London: Cape Goliard Press, 1971.\"}]"],"_version_":1853670548978008064,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0133_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0133_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0133_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0133_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0133_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Ball and Raworth Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/david_ball_tom_raworth_i006-11-133.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"david_ball_tom_raworth_i006-11-133.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:40:45\",\"precision\":\"\",\"size\":\"97.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nDavid Ball is currently a professor of French at Smith College [https://www.wikidata.org/wiki/Q49204], he has published his poetry in the Atlantic Monthly [https://www.wikidata.org/wiki/Q1542536], and Locus Solus [https://www.wikidata.org/wiki/Q6666062], Poor.Old.Tired.Horse [https://www.wikidata.org/wiki/Q64866104], Blue Pig which he was co-editor, Outburst, Jazz Poems, [The Wyvenhoe (?)] Park Review, etc, etc and a wide variety of publications. He has two tiny books that were published in London [https://www.wikidata.org/wiki/Q84], we just wanted to tell you, and two and he has two long, long poems that are published by the Matrix Press, and a long poem, titled “The Boring Poems”, which he will read tonight. This will also be published in Copenhagen [https://www.wikidata.org/wiki/Q1748] with a French title. David Ball has spent the last ten years in Paris [https://www.wikidata.org/wiki/Q90]. He has some other poem sequences which have been published along with Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and others and he has worked with Tom Raworth on the translation of several of Rene Char's poems, one of which received an accolade from René Char [https://www.wikidata.org/wiki/Q315015] himself. We give you David Ball.\\n\\nDavid Ball\\n00:01:40\\nReads unnamed poem [series].\\n\\nDavid Ball\\n00:11:34\\nFrom Anti-Tish happenings, “The Second”. \\n\\nDavid Ball\\n00:11:38\\nReads \\\"The Second\\\".\\n\\nDavid Ball\\n00:13:25\\nThat's the end of the New Zone poems\\n\\nDavid Ball\\n00:13:28\\nReads unnamed poem [series].\\n\\nUnknown\\n00:18:17\\nSilence [cut or edit in tape].\\n\\nIntroducer\\n00:18:26\\nTom Raworth is a central figure in the emergence of the British Avant-Garde, he is also well represented in most forward North American publications, he was the editor of the underground Goliard Press before it was taken up as the revolutionary branch of Johnathan Cape [https://www.wikidata.org/wiki/Q3277534] books, and his own publications include The Relation Ship, The Big Green Day and most recently, Lion, Lion , poetry that along with that of Anselm Hollo [https://www.wikidata.org/wiki/Q252476], and Turnbull [https://www.wikidata.org/wiki/Q5516589] will define what happened in the British verse of the 60's. Cape Goliard has also published his Serial Biography which is a most exciting experiment on the British prose scene, and he is also one of the first poets to be heard on Steam Records, a series of LPs presenting leading American and British poets reading their works. This year, he is poet in residence at Essex [https://www.wikidata.org/wiki/Q1075104].\\n\\nTom Raworth\\n00:19:40\\nThis is a poem called \\\"My Face is My Own, I Thought\\\".\\n\\nTom Raworth\\n00:19:44\\nReads \\\"My Face is My Own, I Thought\\\" [from The Relation Ship].\\n\\nTom Raworth\\n00:20:19\\nThese are two poems about children, the first poem's called \\\"Three\\\".\\n\\nTom Raworth\\n00:20:26\\nReads \\\"Three\\\" [from The Relation Ship].\\n\\nTom Raworth\\n00:20:51\\nReads \\\"Morning\\\" from The Relation Ship. \\n\\nTom Raworth\\n00:21:17\\nReads \\\"The Third Retainer\\\" [from The Relation Ship]. \\n\\nTom Raworth\\n00:21:54\\nReads \\\"September Morning\\\" [from The Relation Ship]. \\n\\nTom Raworth\\n00:22:40\\nThis poem is called \\\"Shoes\\\".\\n\\nTom Raworth\\n00:22:51\\nReads \\\"Shoes\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:23:35\\nThis is a poem in eight parts called \\\"Love Poem\\\".\\n\\nTom Raworth\\n00:23:43\\nReads \\\"Love Poem\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:25:06\\nThis is a short poem called \\\"Georgia on My Mind\\\".\\n\\nTom Raworth\\n00:25:10\\nReads \\\"Georgia on My Mind\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:25:32\\nThis is a poem called \\\"Got Me\\\" which is difficult to read because the last part of the poem is the first part of it, corrected.\\n\\nTom Raworth\\n00:25:43\\nReads \\\"Got Me\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:26:17\\nThis poem is called \\\"Wham! The Race Begins\\\".\\n\\nTom Raworth\\n00:26:24\\nReads \\\"Wham! The Race Begins\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:26:53\\nReads \\\"Hot Day at the Races\\\" [from The Big Green Day].\\n\\nTom Raworth\\n00:27:50\\nI’ll just read a few poems from a book called Lion, Lion. The quote from the beginning is from an old poem from Gregory Corso [https://www.wikidata.org/wiki/Q470871]., called “Dementia in an African Apartment House”. \\n\\nTom Raworth\\n00:28:02\\nReads “Dementia in an African Apartment House” by Gregory Corso. \\n\\nTom Raworth\\n00:28:10\\nThe first poem is called \\\"Lion, Lion\\\".\\n\\nTom Raworth\\n00:28:13\\nReads \\\"Lion, Lion\\\" from Lion, Lion. \\n\\nTom Raworth\\n00:28:27\\nThis is a poem in four parts called \\\"Traveling\\\".\\n\\nTom Raworth\\n00:28:35\\nReads \\\"Traveling\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:29:23\\nReads \\\"The Plaza in the Flaming Orange Trees\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:30:08\\nThis poem is called \\\"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\\\".\\n\\nTom Raworth\\n00:30:14\\nReads \\\"Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:30:53\\nThis is called \\\"King of the Snow\\\".\\n\\nTom Raworth\\n00:30:58\\nReads \\\"King of the Snow\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:31:39\\nReads \\\"South America\\\" [from Lion, Lion].\\n\\nTom Raworth\\n00:33:00\\nThis is a poem called \\\"Claudette Colbert by Billy Wilder”, and all the lines are just by Billy Wilder [https://www.wikidata.org/wiki/Q51547], they're from films that he made with Claudette Colbert https://www.wikidata.org/wiki/Q203819].\\n\\nTom Raworth\\n00:33:15\\nReads \\\"Claudette Colbert by Billy Wilder” [from Lion, Lion].\\n\\nTom Raworth\\n00:34:12\\nThe last poem in Lion, Lion is called \\\"Vensuramos\\\".\\n\\nTom Raworth\\n00:34:16\\nReads \\\"Vensuramos\\\" from Lion, Lion.\\n\\nTom Raworth\\n00:34:46\\nI'll just read a few poems from, that I've been working on recently, that's a sequence called “Into the Living Sea” from a poem by John Clare [https://www.wikidata.org/wiki/Q981572] called \\\"I Am\\\", the middle stanza of which goes \\\"Into the nothingness of scorn and noise, into the living sea of waking dream, where there is neither sense of life, nor joys, but the huge shipwreck of my own esteem, and all that's dear, even those that I love the best are strange, nay, they are stranger than the rest\\\". The first poem is called \\\"The Moon Upon the Waters\\\". \\n\\nTom Raworth\\n00:35:27\\nReads \\\"The Moon Upon the Waters\\\" [published later in Moving].\\n\\nTom Raworth\\n00:36:35\\nReads \\\"Reverse Map\\\" [published later in Moving].\\n\\nTom Raworth\\n00:37:21\\nReads \\\"Who Would True Valour See\\\" [published later in Moving].\\n\\nTom Raworth\\n00:37:56\\nReads \\\"The Corpse in My Head\\\" [published later in Moving].\\n\\nTom Raworth\\n00:38:33\\nThis is a poem called \\\"Helpston, £9,850 Stone Built Residence\\\".\\n\\nTom Raworth\\n00:38:42\\nReads \\\"Helpston, £9,850 Stone Built Residence\\\" [published later in Moving].\\n\\nTom Raworth\\n00:39:26\\nThis is just a short poem called \\\"The Stroboscopic Forest Light Plays\\\" .\\n\\nTom Raworth\\n00:39:30\\nReads \\\"The Stroboscopic Forest Light Plays\\\" [published later in Moving].\\n\\nTom Raworth \\n00:39:40\\nI'll just read two more poems. This one's called \\\"Purely Personal\\\".\\n\\nTom Raworth\\n00:39:46\\nReads \\\"Purely Personal\\\" [published later in Moving].\\n\\nTom Raworth\\n00:40:19\\nThe last poem's called \\\"Notes of the Song / Ain't Gonna Stay in This Town Long\\\".\\n\\nTom Raworth\\n00:40:23\\nReads \\\"Notes of the Song / Ain't Gonna Stay in This Town Long\\\" [published later in Moving].\\n\\nEND\\n00:40:45\\n\",\"notes\":\"David Ball reads from unknown sources. Tom Raworth reads from The Relation Ship (Cape Goliard Press, 1969), The Big Green Day (Trigram, 1968), Lion Lion (Trigram, 1970), as well as poems later published in Moving (Cape Goliard Press, 1971).\\n\\nList of Poems Read and Time Stamps\\n00:00 - Unknown Male introduces David Ball [INDEX: David Ball-- Professor of French at\\nSmith College, Atlantic Monthly Magazine, Locus Solus Journal, Poor.Old.Tired.Horse Magazine, Blue Pig Press, Outburst Magazine, Jazz Poems Magazine, the Wyvenhoe Park Press, Matrix Press, The Boring Poems published in Copenhagen, Paris/ Tom Raworth-- Translation of Rene Char’s poetry\\n01:40 - David Ball reads first line “The Smell of printer’s ink was more than...”\\n11:38 - Reads “The Second” [INDEX: anti-tish happenings]\\n13:28 - Reads first line “One: Stone face of..” (series)\\n18:26 - Unknown Male introduces Tom Raworth [INDEX: Tom Raworth: British Avant Guard,Goliard Press, Johnathan Cape Books, books by: The Relation Ship, The big green day, Lion, Lion, Anslem Hollo, British Verse of the 60’s, Steam Records LP, Poet in residence at Essex (1971), Outburst Magazine]\\n19:44 - Tom Raworth reads “My Face is My Own, I Thought” [INDEX: The Relation Ship]\\n20:19 - Introduces “Three” and “Morning”\\n20:26 - Reads “Three” [INDEX: The Relation Ship]\\n20:51 - Reads “Morning” [INDEX: The Relation Ship]\\n21:17 - Reads “The Third Retainer” [INDEX: The Relation Ship]\\n21:54 - Reads “September Morning” [INDEX: The Relation Ship]\\n22:40 - Reads “Shoes” [INDEX: Into the Living Sea]\\n23:35 - Reads “Love Poem” [INDEX: Into the Living Sea]\\n25:06 - Reads “Georgia On My Mind” [INDEX: Into the Living Sea]\\n25:32 - Introduces “Got Me” [INDEX: Into the Living Sea]\\n25:43 - Reads “Got Me”\\n26:17- Reads “Wham! The Race Begins” [INDEX: Into the Living Sea]\\n26:53 - Reads “Hot Day at the Races” [INDEX: the big green day]\\n27:50 - Introduces “Lion Lion” [INDEX: poem “Dementia in an African Apartment House” \\nby Gregory Corso]\\n28:02 - Reads Gregory Corso poem, “Dementia in an African Apartment House”\\n28:10 - Reads “Lion, Lion”\\n28.27 - Reads “Traveling”\\n29:23 - Reads “The Plaza in the Flaming Orange Trees”\\n30:08 - Reads “Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers”\\n30:53 - Reads “King of the Snow”\\n31:39 - Reads “South America”\\n33:00 - Introduces “Claudette Colbert by Billy Wilder”\\n33:15 - Reads “Claudette Colbert by Billy Wilder”\\n34:12 - Reads “Vensuramos”\\n34:46 - Introduces “The Moon Upon the Waters” [INDEX: Into the Living Sea, poem by Jon Clare “I Am”]\\n35:27 - Reads “The Moon Upon the Waters”\\n36:35 - Reads “Reverse Map” [INDEX: Into the Living Sea]\\n37:21 - Reads “Who Would True Valor See” [INDEX: Into the Living Sea]\\n37:56 - Reads “The Corpse in My Head” [INDEX: Into the Living Sea]\\n38:33 - Reads “Helpston,£9,850. Stone Built Residence” [INDEX: Into the Living Sea]\\n39:26 - Reads “The Stroboscopic Forest Light Plays” [INDEX: Into the Living Sea]\\n39:40 - Reads “Purely Personal” [INDEX: Into the Living Sea]\\n40:19 - Reads “Notes of the Song: Ain’t Gunna Stay in This Town Long” [INDEX: Into the Living Sea]\\n40:45 - END OF RECORDING\\n\\nHoward Fink list of poems:\\n4/3/70\\non one 5”, mono, single track, tape, @ 3 3/4 ips, lasting 65 mins.\\nDavid Ball:\\n1. First line “The smell of printers ink was more...”\\n2. “The Second”\\n3. First line “Stone face of...”\\n\\nTom Raworth:\\n1. “My Face is My Own Thought”\\n2. “Three”\\n3. “Morning”\\n4. “The Third Retainer”\\n5. “September Morning”\\n6. “Shoes”\\n7. “Love Poem”\\n8. “Georgia on My Mind”\\n9. “Got Me”\\n10. “Wham! The Race Begins”\\n11 .“Hot Day at the Races”\\n12. “Lion Lion”\\n13.“Travelling”\\n14.“The Plaza in the Flaming Orange Trees:\\n15.“Dear Sir, Flying Saucers, Flying Saucers, Flying Saucers.\\n16.“King of Snow”\\n17.“South America”\\n18.“Claud et Colbert” by Billy Wilder\\n19. First line “Death came as the lion spoke...”\\n20. “The Moon upon the Waters”\\n21. “Reverse Map”\\n22. First Line “Everything is done to the ticking of a clock...”\\n23.“The Corps in My Head”\\n24. First Line “The view is again...\\n25. First Line “Gentlt (?) the walk to the door...”\\n26.“Purely Personal”\\n27.“Notes of the Song: Ain’t going to stay in this town long”\\n\\n* Second page of Tom Raworth poems (discrepancies)\\n1. “My Face Is My Own, I Thought”\\n7. “Love Poem” (serial poem)\\n13. “Travelling” (serial poem)\\n14. “The Flowers Are In The Flaming Orange Trees”\\n16. “King of the Snow”\\n18. “Claudette Colbert”\\n19. “Vensuramos”\\n20. “Into The Living Sea”\\n21. “The Moon Upon the Waters”\\n22. “Who Would True Valor See”\\n23. “The Corps In My Head”\\n24. “Help....Stone Residence” (something lost)\\n25. “The Strob Light Blaze”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/david-ball-tom-raworth/\"}]"],"score":1.0},{"id":"1288","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":[" Al Purdy at Sir George Williams University, The Poetry Series, 13 March 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"AL PURDY Recorded March 13, 1970 3.75 ips, 1/2 tracl on 1 mil. tape\" written on sticker on the back of the tape's box. \"AL PURDY I006/SR37.1\" written on sticker on the spine of the tape's box. \n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Purdy, Alfred Wellington"],"creator_names_search":["Purdy, Alfred Wellington"],"creators":["[{\"url\":\"http://viaf.org/viaf/7398775\",\"name\":\"Purdy, Alfred Wellington\",\"dates\":\"1918-2000\",\"notes\":\"Canadian poet Al Purdy was born on December 30, 1918, in Wooler, Ontario of United Empire Loyalists. Purdy attended Dufferin Public school in Trenton, Albert Collegiate in Belleville and Trenton Collegiate Institute, writing poems along the way. During the Second World War, Purdy enrolled in the RCAF, serving most at the remote base Woodcock, on the Skeena River in northern British Columbia. Purdy married Eurithe Mary Jane Parkurst in 1941, and they had a son, Alfred. His first collection of poems was The Enchanted Echo (Clarke & Stuart Company, 1944), but it was his second collection, Pressed on Sand (Ryerson Press, 1955) that showcased Purdy’s literary accomplishment. Despite this, he worked odd jobs across the country, and published poems and short stories in magazines like North and The Beaver. Purdy received his first Canada Council grant in 1960, and published Poems for all the Annettes (Contact Press, 1962) and The Cariboo horses (McClelland & Stewart, 1965) which won a Governor General’s Award. His next publication, North of summer: poems from Baffin Island (McClelland & Stewart, 1967) came out of a second Canada Council Grant, which he spent in the Baffin Islands, and was followed by Wild Grape Wine (McClelland & Stewart, 1968). That year, Purdy also became an editor for the Tamarack Review, an anthology, The New Romans, and Fifteen Winds. Purdy has published dozens more collections of poetry along with writing in other genres, including In search of Owen Roblin (McClelland & Stewart, 1974), autobiographical essays, No Other Country (McClelland & Stewart, 1977), Being alive: poems 1958-78 (McClelland & Stewart, 1978), a memoir, Morning and it’s summer (1983), a collection of letters, The Bukowski/Purdy letters 1964-1984 (Quadrant Editions, 1983), his only novel A Splinter in the Heart (McClelland & Stewart, 1990), a selection of prose recollections, Reaching for the Beaufort Sea: an autobiography (Harbour Publishing,1993), and Starting from Ameliasburgh: the collected prose of Al Purdy (Harbour Publishing, 1995). Purdy’s The Collected Poems of Al Purdy, 1956-1986 (McClelland & Stewart, 1986) won his second Governor General’s Award, and he was appointed to the Order of Canada in 1982 and the Order of Ontario in 1987. Dividing most of his time between North Saanich, B.C. and Roblin Lake, Ontario, Purdy supported himself through his poetry, guest lecturing, readings and editing. Al Purdy died in North Saanich, on April 21, 2000. His last collection of poetry, Beyond Remembering: The Collected Poems of Al Purdy (Harbour Publishing, 2000) was released posthumously. The Voice of the Land Award was created to honour Purdy’s contributions to Canadian poetry.\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 3 13\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box. Date also specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Al Purdy reads from a wide variety of his books, including Selected Poems (McClelland and Stewart, 1972), Love in a Burning Building (McClelland and Stewart, 1970), The Cariboo Horses (McClelland and Stewart, 1965), Poems for all the Annettes (Contact Press, 1962), and North of Summer (McClelland and Stewart, 1967)."],"contents":["al_purdy_i006-11-037-1.mp3\n\nGeorge Bowering\n00:00:00\nAs you know, the reader tonight is Al Purdy [https://www.wikidata.org/wiki/Q4704621], a man who's been described as, by Doug Featherling, as the most Canadian of all possible poets. And who has, as they say, paid his dues, and in that time, won all the prizes, like the President's Medal [https://www.wikidata.org/wiki/Q39089691], and the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and countless numbers of Canada Council [https://www.wikidata.org/wiki/Q2993809] Grants and all those other things that come to you. [Laughter]. Currently, I don't know if whether or not I'm supposed to mention this or not, but currently making an excursion amongst the academics at...in other words, straightening people out at Simon Fraser University [https://www.wikidata.org/wiki/Q201603]. And a very welcome addition to our series. Al Purdy. \n \nUnknown\n00:00:55\n[Cut or edit in tape. Unknown amount of time elapsed]. \n \nAl Purdy\n00:00:56\nWhen I started to write poems about sixty-eight years ago, Bliss Carman [https://www.wikidata.org/wiki/Q3068116] was the only one writing. So I imitated Bliss Carman, and this first poem is a sort of imitation of Bliss Carman. [Audience laughter]. And there are hardly any new poems in there because it takes me two years to revise them for two years and then conclude them in a reading, and then besides which as George [https://www.wikidata.org/wiki/Q1239280] said, I've joined the academics because all the American members of the department at Simon Fraser have guilty consciences so they wanted a Canadian on staff [audience laughter]. \"About being a member of our armed forces\". This is, this is thirty years after I started to write poems. Remember--Oh, I should say, there are two, three phrases in this that would not ordinarily be understood by you people. \"Zombies,\" who were conscripts in the last war, and well, the CWACs were women members, Canadian Women's Army Corp [https://www.wikidata.org/wiki/Q5030688]. And during the early part of the last war, there were no rifles. So they used wooden rifles to drill with. \n \nAl Purdy\n00:02:09\nReads \"About Being a Member of Our Armed Forces\" [from Selected Poems; audience laughter throughout].\n \nAl Purdy\n00:03:29\nAs I said, I've become an academic lately, and one of the students in this class has asked for all my cigar tubes, little metal tubes that, you know, I get cigars in. He wants to put poems in them and float them down the North Saskatchewan River [https://www.wikidata.org/wiki/Q2237] [audience laughter]. And for some reason or other, this, that became the title of this particular poem. \"Floating Down the North Saskatchewan River\". [Audience laughter].\n \nAl Purdy\n00:04:01\nReads \"Floating Down the North Saskatchewan River\" [audience laughter throughout].\n \nAl Purdy\n00:04:40\nFunny, eh? [Audience laughter]. Something called \"Jubilate\", and I'm going to leave that out of there. \"Flight 17 Eastbound\". Ah...I keep revising some of these and I'm reading now from manuscript because I revised a lot of the poems here and I can't remember which ones I revised, so if they're in manuscript I'm sure they're either revised or that there's some reason for them being there. \n \nAl Purdy\n00:05:13\nReads \"Flight 17 Eastbound\".\n \nAl Purdy\n00:06:47\nI don't know what that means but it must be profound. [Audience laughter]. I'm getting together a collection of love poems, or I have gotten a collection of love poems together. They are, I am told, fairly hard-boiled love poems. Because when Jack McClelland [https://www.wikidata.org/wiki/Q6113965], of McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322], heard about them they thought it was a good idea that Harold Town [https://www.wikidata.org/wiki/Q827127] should do some illustrations. But when they saw the poems, and of course it wasn't because they were bad poems, I'm sure, he didn't want to do the illustrations anymore, they said they were hard-boiled. As I said, they can't be bad poems. This was one of them. It's got...no, I don't think I'll read that anyway. I don't like it. However, here's another one along the same lines. [Audience laughter]. It's called \"With Words, Words\".\n \nAl Purdy\n00:07:51\nReads \"With Words, Words\" [from Love in a burning building].\n \nAl Purdy\n00:10:49\nI lived in Vancouver [https://www.wikidata.org/wiki/Q24639] for a while, and up till 1955 or 6. The first play I wrote for CBC [https://www.wikidata.org/wiki/Q461761] was accepted, and I thought I was a genius, and moved to Montreal [https://www.wikidata.org/wiki/Q340] in order to reap the rewards of my genius. For a year in Montreal I think my...I sold a couple of adaptations to CBC. And eventually we moved to Roblin Lake [https://www.wikidata.org/wiki/Q22447801], near Ameliasburgh [https://www.wikidata.org/wiki/Q4742321] in Ontario [https://www.wikidata.org/wiki/Q1904], and built a house. And my wife having quit her job, she having decided that if I could get away without working she could too. So we sat down for a couple of years looking at each other, waiting for the other one, to see which one would break first. But this is a poem about that particular time, called \"One Rural Winter\".\n \nAl Purdy\n00:11:50\nReads \"One Rural Winter\" [from Selected Poems; audience laughter throughout].\n \nAl Purdy\n00:15:22\nI was in the Arctic [https://www.wikidata.org/wiki/Q25322] in '65, but this is a poem written long after that about the Arctic. And I suppose...certainly about the Canadian Arctic. I called it \"Arctic Romance\", but I think it should be just \"Arctic\", or something like that.\n \nAl Purdy\n00:15:46\nReads \"Arctic Romance\".\n \nAl Purdy\n00:17:13\nScrewed that up, I guess. You get tired of reading your own stuff, after a while. You forget what it sounded like the last time. This is a poem I kind of like but I keep revising it also, or have been several times in the last few years, called \"Dark Landscape\". It uses a couple of lines from an American poet who died thirty years ago called Vachel Lindsay [https://www.wikidata.org/wiki/Q1197667], whom probably nobody ever heard of. And it starts in a very prosy way, and is meant to sound that way, and then the rhythm quickens. \"Dark Landscape\".\n \nAl Purdy\n00:18:07\nReads \"Dark Landscape\".\n \nAl Purdy\n00:21:45\nIn case anybody is wondering about the particular Vachel Lindsay line, it was \"The spring comes on forever, and the Chinese nightingale\". And he also had \"Aladdin to the jinn\", except that Aladdin to the jinn, his jinn was J-I-N-N and mine was two J-I-N-N's, and one G-I-N. So that, always a little difficult to understand it without seeing it on the page. Kind of a sweet little poem, this was after we moved to Roblin Lake, and as I say, I sold a couple of plays and we bought a pile of used lumber with the proceeds and put the down payment on the lot and build this house. \n \nAl Purdy\n00:22:27\nReads \"Winter at Roblin Lake\" [from The Cariboo Horses].\n \nAl Purdy\n00:22:52\nAlso the same period, about building the house, or rather after the house was built. Trouble is, you can't, you can't smoke a cigar here, can you, something I...it always goes out. Anyway. \"Interruption\". \n \nAl Purdy\n00:23:13\nReads \"Interruption\" [from Selected Poems].\n \nAl Purdy\n00:24:49\nWhen I...when we first moved down to Ameliasburg, or to Roblin Lake, I should say, because Roblin Lake where we are is about a mile or so from Ameliasburg...I, after Montreal, and after the job I'd had in Vancouver, I suddenly had to become my own disciplinary straw boss, and it was quite difficult, and in other words, you know, I'd try to get up at a certain hour of the day and start writing. Which I could always, you know, I can always write prose, whenever I feel like it, but poems, I write them, well, I should say, I write poems whenever I feel like it, but you can, I can regimen my own prose, which I don't do much of these days. Anyway, when we moved to Roblin Lake, I wasn't physically regimented myself, so that I was waking up all hours of the day. And this is a short poem about that, but I also screwed up the poem, because I put lines at the end of, or words at the end of each line so that I don't know where the emphasis should be placed, even though I've read it dozens of times. It's called \"Late Rising at Roblin Lake\".\n \nAl Purdy\n00:25:57\nReads \"Late Rising at Roblin Lake\" [from The Cariboo Horses].\n \nAl Purdy\n00:26:47\nAnother poem about the same particular period, called \"Wilderness Gothic\". Uh...don't think there's a thing to say about this particular poem at all. \n \nAl Purdy\n00:27:03\nReads \"Wilderness Gothic\" [from Selected Poems].\n \nAl Purdy\n00:29:33\nWhen you read a bunch of poems over several years, I think you pick out the ones that you think will read the best, which is certainly what I do, because there are many of my own poems that I rarely read, or never read at all. In fact I, I never read this one. It's called \"Love Poem\".\n \nAl Purdy\n00:29:58\nReads \"Love Poem\" [from Poems for all the Annettes].\n \nAl Purdy\n00:31:40\nIn...This poem dates, the actual time of the poem dates about fifteen years ago. The poem itself was written about five years ago. At the time, a friend of mine was there also, which, other than his particular presence I might have acted a little bit differently than I did. You'll see what I mean in a, when I read the poem. Because nobody would take this chance in placing themselves in such a vulnerable position with a woman. \"Homemade Beer\".\n \nAl Purdy\n00:32:12\nReads \"Homemade Beer\" [from The Cariboo Horses].\n \nAudience\n00:33:48\nLaughter.\n \nUnknown\n00:33:51\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nAl Purdy\n00:33:52\nOne called \"The Drunk Tank\". It's...Dates back two or three years ago when, after the time when I was in the Air Force [https://www.wikidata.org/wiki/Q25456], a friend of mine got out of the Air Force much later, so we celebrated. And...it was after quite a turbulent evening with my friend in Belleville [https://www.wikidata.org/wiki/Q34227], Ontario, we decided to get a couple of bottles of liquor and go out to the country where we wouldn't be disturbed, and drink it. But the farmer phoned the cops, and we were both thrown in jail. And this particular poem is about the first part of that experience, I mean the early part of being thrown in jail, more or less. But not the end of it, it turned into a sort of fantasy that means something other than I intended. \n \nAl Purdy\n00:34:43\nReads \"The Drunk Tank\" [from The Poems of Al Purdy].\n \nAl Purdy\n00:36:51\nThis is called \"Poem for Rita\", and about a couple of years ago in Toronto [https://www.wikidata.org/wiki/Q172], there was a couple of girls staying with myself, my wife and myself, and she kept asking me to write a poem. So after a while, I wrote this.\n \nAl Purdy\n00:37:10\nReads \"Poem for Rita\".\n \nAudience\n00:37:25\nLaughter.\n \nAl Purdy\n00:37:28\nThat's all. [Audience laughter]. I think it was actually kind of unkind on my part, because I was never sure whether she understood that or not, and I didn't know whether I wanted her to understand it. [Audience laughter]. There...when we first moved to Ameliasburg, as I mentioned, I was broke as hell. And after having lived in Vancouver, I learned how to make wine of one kind or another, and there was no way to, I didn't have enough money to make beer, so there were a lot of wild grapes around there and we made, I made wild grape wine, and one time, one particular season, I had about five hundred bottles. [Audience laughter]. I attribute the effects of this wine to having made me what I am today [audience laughter], if I could figure that out. But the poem eventually came out of it, called \"The Winemaker's Beatitude\".\n \nAl Purdy\n00:38:39\nReads \"The Winemaker's Beatitude\" [from Selected Poems].\n \nAl Purdy\n00:41:16\nIn '65, I went up to Baffin Island [https://www.wikidata.org/wiki/Q81178] on some government money, public money, rode a commercial airline plane from Montreal to Frobisher Bay [https://www.wikidata.org/wiki/Q1004067], hitchhiked a ride on what I thought was a DOT plane, but was a construction plane, a construction company charter, and then at Pangnirtung [https://www.wikidata.org/wiki/Q631747], which is on the Arctic Circle, the original administrator there arranged that I go along with an Eskimo family in their canoe to some islands in Cumberland Sound [https://www.wikidata.org/wiki/Q938327]. A year and a half after I got back from the Arctic, I got a bill for a hundred and ten dollars from the construction company that I thought I'd, whose plane I thought I'd hitchhiked on. Which I haven't paid. But anyway, all of these poems, except perhaps I think one or two, were written up there, written in the Arctic, except that after I got back from the Arctic I kept revising them. So you can make up your own mind whether they're written there or not. Among the poems here, there's one called \"At the Movies\".\n \nAl Purdy\n00:42:37\nReads \"At the Movies\" [from North of Summer].\n\n Al Purdy\n00:44:55\nThe business about the caribou draining in the bilge water was one of the reasons, I suppose, I found it so extraordinary that, perhaps, that Eskimos should enjoy these shoot-em-up movies, was that they had just come a hundred miles or so after shooting caribou, bringing them back to Pang, Pangnirtung on the, on the Sound, on the...jeez, my memory's failing, I can't even remember the fjord it was. But anyway, they had just shot them and come a hundred miles back with them, and yet...and they were draining in their Peterhead boats, and yet they found these movies so exciting--I suppose I shouldn't find that so unusual, but I do. A crappy Hollywood [https://www.wikidata.org/wiki/Q34006] movie. And here's one called \"The Sculptors\".\n \nAl Purdy\n00:45:50\nReads \"The Sculptors\" [from North of Summer].\n\nAl Purdy\n00:48:17\nI think I'm going to have about time for two more, so that I'd better...I could probably go on, oh I'd better make it three more I'll give ya...this is, the trees in the Arctic are about, are very low, and well, this is treeless country on Baffin Island, where there, where practically nothing grows except moss and that, and the like of that, but I wrote a poem about trees at the Arctic Circle, and this is it....I see I'm getting, I'm only talking about the physical things about the Arctic, and I have some poems about the people, too, which, which I should read. Anyway, \"Trees at the Arctic Circle\".\n \nAl Purdy\n00:49:05\nReads \"Trees at the Arctic Circle\" [from North of Summer].\n \nAl Purdy\n00:51:07\nI want to read at least one about, about, about people there, because I used to, when I was on these islands, [inaudible] Islands in Cumberland Sound, the Eskimo women used to come over every day and drink tea. They could not speak any English and I could speak no Eskimo, and I would feed them tea and we would sit there, myself feeling about as silly as I could, so eventually I grew a bit desperate and I would read them poems and I would sing songs or I'd do any damn thing. However, eventually there was some kind of, I think, positive liking on my part. But this poem may express it as well as anything. \"Wash Day\".\n \nAl Purdy\n00:51:54\nReads \"Wash Day\" [from North of Summer].\n \nAl Purdy\n00:54:03\nTalking about shit, there's actually a poem that has a little bit to do with it here. The Arctic dogs have some qualities that are more pronounced and magnified in Arctic dogs than in southern dogs, that is, they like to eat the stuff. So that when you go, as all, everybody must go at some time or other in their lives, possibly once a day or not, one takes an Eskimo kid along to throw stones and keep the dogs off. When I came back from the Arctic I saw an hour-long film about the George River [https://www.wikidata.org/wiki/Q966023] Eskimos, and one scene in it showed about fifty Eskimos trying to get into a tent, and the Eskimos beating them into the tent, and the next thing you showed the same dogs trying to get out of the tent and the Eskimos beating them out of the tent. And the announcer said not one single word. And then I remembered that whenever the Eskimos leave a campsite, they use it for a privy, and then send the dogs in to clean up. So, actually, this is a poem about that. \"When I Sat Down to Play the Piano\". [Audience laughter].\n \nAl Purdy\n00:55:10\nReads \"When I Sat Down to Play the Piano\" [from North of Summer; audience laughter throughout].\n\nAl Purdy\n00:58:23\nI've got one more poem if my voice can hold out. When Robert Kennedy [https://www.wikidata.org/wiki/Q25310] was shot...I always think about anything that I'm interested and emotionally moved by, always, at least I have in the past, till I got to Simon Fraser, think about writing a poem about it. So the same thing was happening after Kennedy was shot and died, and I was thinking about writing a poem about it, and then the Star Weekly [https://www.wikidata.org/wiki/Q17112122] phoned up and asked me to write a poem about it. So this poem eventually got written. \"A Lament for Robert Kennedy\".\n \nAl Purdy\n00:59:06\nReads \"A Lament for Robert Kennedy\".\n\nAudience\n01:04:39\nApplause.\n \nEND\n01:04:55\n"],"Note":["[{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Al Purdy published Love in a Burning Building (McClelland and Stewart). George Bowering’s study on Al Purdy came out that year, Al Purdy (Copp Clarke Co).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAl Purdy became an important figure in Canadian poetry, and was known as a “people’s poet”. He published over thirty books of poetry, but also published in dozens of other genres. Purdy was known as a generous mentor, and his work received several Governor General's Awards as well as other high Canadian honours. He lived in Vancouver, Montreal, and several locations in Ontario, and his poetry reflected Canadian landscape themes. Over the years he has been called the ‘most’ Canadian poet, the ‘first’ Canadian poet and the ‘last’ Canadian poet. In 1963, George Bowering convinced the University of British Columbia to invite Al Purdy to give a reading, where the two poets first met. Later on, Purdy was in contact with George Bowering, as he was completing a book about Purdy.\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.cbc.ca/archives/topic/al-purdy-an-uncommon-poet\",\"citation\":\"“Al Purdy, An Uncommon Poet”. CBC Digital Archives. Canadian Broadcasting Corporation, \\t2008.\"},{\"url\":\"https://www.worldcat.org/title/al-purdy/oclc/469555161&referer=brief_results\",\"citation\":\"“Al Purdy- The Voice of the Land”. Save Al Purdy’s Home. Harbour Publishing, 2009. \\nBowering, George. Al Purdy. Studies in Canadian Literature. Hugo McPherson and Gary Geddes (eds). Toronto: Copp Clarke Publishing Company, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Brown, Russel and George Woodcock. \\\"Purdy, Al\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-x2/oclc/40224711\",\"citation\":\"Geddes, Gary. “Al Purdy”. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/al-purdy-at-sgwu-1970-george-bowering\",\"citation\":\"“Poetry Four: Sir George Williams Poetry Series, Ninth Reading, Al Purdy”. Montreal, Quebec: Sir George Williams University, 1970. Found in “The Stephen Morrissey Papers, 1963 - 1998”, McGill McLennan Library, Special Collections and Rare Books, Montreal, Quebec, Canada. \"},{\"url\":\"https://www.worldcat.org/title/splinter-in-the-heart/oclc/47271421&referer=brief_results\",\"citation\":\"Purdy, Al. A Splinter in the Heart. Toronto: McClelland & Stewart, 2000.\"},{\"url\":\"https://www.worldcat.org/title/in-search-of-owen-roblin/oclc/245733376&referer=brief_results\",\"citation\":\"Purdy, Al. In Search of Owen Roblin. McClelland and Stewart, 1974. \"},{\"url\":\"https://www.worldcat.org/title/north-of-summer-poems-from-baffin-island/oclc/457913&referer=brief_results\",\"citation\":\"Purdy, Al. North of Summer. Toronto: McClelland and Stewart, 1967. \"},{\"url\":\"https://www.worldcat.org/title/poems-for-all-the-annettes/oclc/819106789&referer=brief_results\",\"citation\":\"Purdy, Al. Poems for all the Annettes. Toronto: Contact Press, 1962. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/637245&referer=brief_results\",\"citation\":\"Purdy, Al. Selected Poems. Toronto: McClelland and Stewart, 1972.\"},{\"url\":\"https://www.worldcat.org/title/cariboo-horses/oclc/869024275&referer=brief_results\",\"citation\":\"Purdy, Al. The Cariboo Horses. Toronto: McClelland and Stewart, 1965. \"},{\"url\":\"https://www.worldcat.org/title/poems-of-al-purdy/oclc/490247728&referer=brief_results\",\"citation\":\"Purdy, Al. The Poems of Al Purdy. Toronto: McClelland and Stewart, 1976. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Steele, James. \\\"Purdy, Al(fred) (Wellington)\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"}]"],"_version_":1853670548980105216,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Al Purdy Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/al_purdy_i006-11-037-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"al_purdy_i006-11-037-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:04:55\",\"precision\":\"\",\"size\":\"155.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nAs you know, the reader tonight is Al Purdy [https://www.wikidata.org/wiki/Q4704621], a man who's been described as, by Doug Featherling, as the most Canadian of all possible poets. And who has, as they say, paid his dues, and in that time, won all the prizes, like the President's Medal [https://www.wikidata.org/wiki/Q39089691], and the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and countless numbers of Canada Council [https://www.wikidata.org/wiki/Q2993809] Grants and all those other things that come to you. [Laughter]. Currently, I don't know if whether or not I'm supposed to mention this or not, but currently making an excursion amongst the academics at...in other words, straightening people out at Simon Fraser University [https://www.wikidata.org/wiki/Q201603]. And a very welcome addition to our series. Al Purdy. \\n \\nUnknown\\n00:00:55\\n[Cut or edit in tape. Unknown amount of time elapsed]. \\n \\nAl Purdy\\n00:00:56\\nWhen I started to write poems about sixty-eight years ago, Bliss Carman [https://www.wikidata.org/wiki/Q3068116] was the only one writing. So I imitated Bliss Carman, and this first poem is a sort of imitation of Bliss Carman. [Audience laughter]. And there are hardly any new poems in there because it takes me two years to revise them for two years and then conclude them in a reading, and then besides which as George [https://www.wikidata.org/wiki/Q1239280] said, I've joined the academics because all the American members of the department at Simon Fraser have guilty consciences so they wanted a Canadian on staff [audience laughter]. \\\"About being a member of our armed forces\\\". This is, this is thirty years after I started to write poems. Remember--Oh, I should say, there are two, three phrases in this that would not ordinarily be understood by you people. \\\"Zombies,\\\" who were conscripts in the last war, and well, the CWACs were women members, Canadian Women's Army Corp [https://www.wikidata.org/wiki/Q5030688]. And during the early part of the last war, there were no rifles. So they used wooden rifles to drill with. \\n \\nAl Purdy\\n00:02:09\\nReads \\\"About Being a Member of Our Armed Forces\\\" [from Selected Poems; audience laughter throughout].\\n \\nAl Purdy\\n00:03:29\\nAs I said, I've become an academic lately, and one of the students in this class has asked for all my cigar tubes, little metal tubes that, you know, I get cigars in. He wants to put poems in them and float them down the North Saskatchewan River [https://www.wikidata.org/wiki/Q2237] [audience laughter]. And for some reason or other, this, that became the title of this particular poem. \\\"Floating Down the North Saskatchewan River\\\". [Audience laughter].\\n \\nAl Purdy\\n00:04:01\\nReads \\\"Floating Down the North Saskatchewan River\\\" [audience laughter throughout].\\n \\nAl Purdy\\n00:04:40\\nFunny, eh? [Audience laughter]. Something called \\\"Jubilate\\\", and I'm going to leave that out of there. \\\"Flight 17 Eastbound\\\". Ah...I keep revising some of these and I'm reading now from manuscript because I revised a lot of the poems here and I can't remember which ones I revised, so if they're in manuscript I'm sure they're either revised or that there's some reason for them being there. \\n \\nAl Purdy\\n00:05:13\\nReads \\\"Flight 17 Eastbound\\\".\\n \\nAl Purdy\\n00:06:47\\nI don't know what that means but it must be profound. [Audience laughter]. I'm getting together a collection of love poems, or I have gotten a collection of love poems together. They are, I am told, fairly hard-boiled love poems. Because when Jack McClelland [https://www.wikidata.org/wiki/Q6113965], of McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322], heard about them they thought it was a good idea that Harold Town [https://www.wikidata.org/wiki/Q827127] should do some illustrations. But when they saw the poems, and of course it wasn't because they were bad poems, I'm sure, he didn't want to do the illustrations anymore, they said they were hard-boiled. As I said, they can't be bad poems. This was one of them. It's got...no, I don't think I'll read that anyway. I don't like it. However, here's another one along the same lines. [Audience laughter]. It's called \\\"With Words, Words\\\".\\n \\nAl Purdy\\n00:07:51\\nReads \\\"With Words, Words\\\" [from Love in a burning building].\\n \\nAl Purdy\\n00:10:49\\nI lived in Vancouver [https://www.wikidata.org/wiki/Q24639] for a while, and up till 1955 or 6. The first play I wrote for CBC [https://www.wikidata.org/wiki/Q461761] was accepted, and I thought I was a genius, and moved to Montreal [https://www.wikidata.org/wiki/Q340] in order to reap the rewards of my genius. For a year in Montreal I think my...I sold a couple of adaptations to CBC. And eventually we moved to Roblin Lake [https://www.wikidata.org/wiki/Q22447801], near Ameliasburgh [https://www.wikidata.org/wiki/Q4742321] in Ontario [https://www.wikidata.org/wiki/Q1904], and built a house. And my wife having quit her job, she having decided that if I could get away without working she could too. So we sat down for a couple of years looking at each other, waiting for the other one, to see which one would break first. But this is a poem about that particular time, called \\\"One Rural Winter\\\".\\n \\nAl Purdy\\n00:11:50\\nReads \\\"One Rural Winter\\\" [from Selected Poems; audience laughter throughout].\\n \\nAl Purdy\\n00:15:22\\nI was in the Arctic [https://www.wikidata.org/wiki/Q25322] in '65, but this is a poem written long after that about the Arctic. And I suppose...certainly about the Canadian Arctic. I called it \\\"Arctic Romance\\\", but I think it should be just \\\"Arctic\\\", or something like that.\\n \\nAl Purdy\\n00:15:46\\nReads \\\"Arctic Romance\\\".\\n \\nAl Purdy\\n00:17:13\\nScrewed that up, I guess. You get tired of reading your own stuff, after a while. You forget what it sounded like the last time. This is a poem I kind of like but I keep revising it also, or have been several times in the last few years, called \\\"Dark Landscape\\\". It uses a couple of lines from an American poet who died thirty years ago called Vachel Lindsay [https://www.wikidata.org/wiki/Q1197667], whom probably nobody ever heard of. And it starts in a very prosy way, and is meant to sound that way, and then the rhythm quickens. \\\"Dark Landscape\\\".\\n \\nAl Purdy\\n00:18:07\\nReads \\\"Dark Landscape\\\".\\n \\nAl Purdy\\n00:21:45\\nIn case anybody is wondering about the particular Vachel Lindsay line, it was \\\"The spring comes on forever, and the Chinese nightingale\\\". And he also had \\\"Aladdin to the jinn\\\", except that Aladdin to the jinn, his jinn was J-I-N-N and mine was two J-I-N-N's, and one G-I-N. So that, always a little difficult to understand it without seeing it on the page. Kind of a sweet little poem, this was after we moved to Roblin Lake, and as I say, I sold a couple of plays and we bought a pile of used lumber with the proceeds and put the down payment on the lot and build this house. \\n \\nAl Purdy\\n00:22:27\\nReads \\\"Winter at Roblin Lake\\\" [from The Cariboo Horses].\\n \\nAl Purdy\\n00:22:52\\nAlso the same period, about building the house, or rather after the house was built. Trouble is, you can't, you can't smoke a cigar here, can you, something I...it always goes out. Anyway. \\\"Interruption\\\". \\n \\nAl Purdy\\n00:23:13\\nReads \\\"Interruption\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:24:49\\nWhen I...when we first moved down to Ameliasburg, or to Roblin Lake, I should say, because Roblin Lake where we are is about a mile or so from Ameliasburg...I, after Montreal, and after the job I'd had in Vancouver, I suddenly had to become my own disciplinary straw boss, and it was quite difficult, and in other words, you know, I'd try to get up at a certain hour of the day and start writing. Which I could always, you know, I can always write prose, whenever I feel like it, but poems, I write them, well, I should say, I write poems whenever I feel like it, but you can, I can regimen my own prose, which I don't do much of these days. Anyway, when we moved to Roblin Lake, I wasn't physically regimented myself, so that I was waking up all hours of the day. And this is a short poem about that, but I also screwed up the poem, because I put lines at the end of, or words at the end of each line so that I don't know where the emphasis should be placed, even though I've read it dozens of times. It's called \\\"Late Rising at Roblin Lake\\\".\\n \\nAl Purdy\\n00:25:57\\nReads \\\"Late Rising at Roblin Lake\\\" [from The Cariboo Horses].\\n \\nAl Purdy\\n00:26:47\\nAnother poem about the same particular period, called \\\"Wilderness Gothic\\\". Uh...don't think there's a thing to say about this particular poem at all. \\n \\nAl Purdy\\n00:27:03\\nReads \\\"Wilderness Gothic\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:29:33\\nWhen you read a bunch of poems over several years, I think you pick out the ones that you think will read the best, which is certainly what I do, because there are many of my own poems that I rarely read, or never read at all. In fact I, I never read this one. It's called \\\"Love Poem\\\".\\n \\nAl Purdy\\n00:29:58\\nReads \\\"Love Poem\\\" [from Poems for all the Annettes].\\n \\nAl Purdy\\n00:31:40\\nIn...This poem dates, the actual time of the poem dates about fifteen years ago. The poem itself was written about five years ago. At the time, a friend of mine was there also, which, other than his particular presence I might have acted a little bit differently than I did. You'll see what I mean in a, when I read the poem. Because nobody would take this chance in placing themselves in such a vulnerable position with a woman. \\\"Homemade Beer\\\".\\n \\nAl Purdy\\n00:32:12\\nReads \\\"Homemade Beer\\\" [from The Cariboo Horses].\\n \\nAudience\\n00:33:48\\nLaughter.\\n \\nUnknown\\n00:33:51\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nAl Purdy\\n00:33:52\\nOne called \\\"The Drunk Tank\\\". It's...Dates back two or three years ago when, after the time when I was in the Air Force [https://www.wikidata.org/wiki/Q25456], a friend of mine got out of the Air Force much later, so we celebrated. And...it was after quite a turbulent evening with my friend in Belleville [https://www.wikidata.org/wiki/Q34227], Ontario, we decided to get a couple of bottles of liquor and go out to the country where we wouldn't be disturbed, and drink it. But the farmer phoned the cops, and we were both thrown in jail. And this particular poem is about the first part of that experience, I mean the early part of being thrown in jail, more or less. But not the end of it, it turned into a sort of fantasy that means something other than I intended. \\n \\nAl Purdy\\n00:34:43\\nReads \\\"The Drunk Tank\\\" [from The Poems of Al Purdy].\\n \\nAl Purdy\\n00:36:51\\nThis is called \\\"Poem for Rita\\\", and about a couple of years ago in Toronto [https://www.wikidata.org/wiki/Q172], there was a couple of girls staying with myself, my wife and myself, and she kept asking me to write a poem. So after a while, I wrote this.\\n \\nAl Purdy\\n00:37:10\\nReads \\\"Poem for Rita\\\".\\n \\nAudience\\n00:37:25\\nLaughter.\\n \\nAl Purdy\\n00:37:28\\nThat's all. [Audience laughter]. I think it was actually kind of unkind on my part, because I was never sure whether she understood that or not, and I didn't know whether I wanted her to understand it. [Audience laughter]. There...when we first moved to Ameliasburg, as I mentioned, I was broke as hell. And after having lived in Vancouver, I learned how to make wine of one kind or another, and there was no way to, I didn't have enough money to make beer, so there were a lot of wild grapes around there and we made, I made wild grape wine, and one time, one particular season, I had about five hundred bottles. [Audience laughter]. I attribute the effects of this wine to having made me what I am today [audience laughter], if I could figure that out. But the poem eventually came out of it, called \\\"The Winemaker's Beatitude\\\".\\n \\nAl Purdy\\n00:38:39\\nReads \\\"The Winemaker's Beatitude\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:41:16\\nIn '65, I went up to Baffin Island [https://www.wikidata.org/wiki/Q81178] on some government money, public money, rode a commercial airline plane from Montreal to Frobisher Bay [https://www.wikidata.org/wiki/Q1004067], hitchhiked a ride on what I thought was a DOT plane, but was a construction plane, a construction company charter, and then at Pangnirtung [https://www.wikidata.org/wiki/Q631747], which is on the Arctic Circle, the original administrator there arranged that I go along with an Eskimo family in their canoe to some islands in Cumberland Sound [https://www.wikidata.org/wiki/Q938327]. A year and a half after I got back from the Arctic, I got a bill for a hundred and ten dollars from the construction company that I thought I'd, whose plane I thought I'd hitchhiked on. Which I haven't paid. But anyway, all of these poems, except perhaps I think one or two, were written up there, written in the Arctic, except that after I got back from the Arctic I kept revising them. So you can make up your own mind whether they're written there or not. Among the poems here, there's one called \\\"At the Movies\\\".\\n \\nAl Purdy\\n00:42:37\\nReads \\\"At the Movies\\\" [from North of Summer].\\n\\n Al Purdy\\n00:44:55\\nThe business about the caribou draining in the bilge water was one of the reasons, I suppose, I found it so extraordinary that, perhaps, that Eskimos should enjoy these shoot-em-up movies, was that they had just come a hundred miles or so after shooting caribou, bringing them back to Pang, Pangnirtung on the, on the Sound, on the...jeez, my memory's failing, I can't even remember the fjord it was. But anyway, they had just shot them and come a hundred miles back with them, and yet...and they were draining in their Peterhead boats, and yet they found these movies so exciting--I suppose I shouldn't find that so unusual, but I do. A crappy Hollywood [https://www.wikidata.org/wiki/Q34006] movie. And here's one called \\\"The Sculptors\\\".\\n \\nAl Purdy\\n00:45:50\\nReads \\\"The Sculptors\\\" [from North of Summer].\\n\\nAl Purdy\\n00:48:17\\nI think I'm going to have about time for two more, so that I'd better...I could probably go on, oh I'd better make it three more I'll give ya...this is, the trees in the Arctic are about, are very low, and well, this is treeless country on Baffin Island, where there, where practically nothing grows except moss and that, and the like of that, but I wrote a poem about trees at the Arctic Circle, and this is it....I see I'm getting, I'm only talking about the physical things about the Arctic, and I have some poems about the people, too, which, which I should read. Anyway, \\\"Trees at the Arctic Circle\\\".\\n \\nAl Purdy\\n00:49:05\\nReads \\\"Trees at the Arctic Circle\\\" [from North of Summer].\\n \\nAl Purdy\\n00:51:07\\nI want to read at least one about, about, about people there, because I used to, when I was on these islands, [inaudible] Islands in Cumberland Sound, the Eskimo women used to come over every day and drink tea. They could not speak any English and I could speak no Eskimo, and I would feed them tea and we would sit there, myself feeling about as silly as I could, so eventually I grew a bit desperate and I would read them poems and I would sing songs or I'd do any damn thing. However, eventually there was some kind of, I think, positive liking on my part. But this poem may express it as well as anything. \\\"Wash Day\\\".\\n \\nAl Purdy\\n00:51:54\\nReads \\\"Wash Day\\\" [from North of Summer].\\n \\nAl Purdy\\n00:54:03\\nTalking about shit, there's actually a poem that has a little bit to do with it here. The Arctic dogs have some qualities that are more pronounced and magnified in Arctic dogs than in southern dogs, that is, they like to eat the stuff. So that when you go, as all, everybody must go at some time or other in their lives, possibly once a day or not, one takes an Eskimo kid along to throw stones and keep the dogs off. When I came back from the Arctic I saw an hour-long film about the George River [https://www.wikidata.org/wiki/Q966023] Eskimos, and one scene in it showed about fifty Eskimos trying to get into a tent, and the Eskimos beating them into the tent, and the next thing you showed the same dogs trying to get out of the tent and the Eskimos beating them out of the tent. And the announcer said not one single word. And then I remembered that whenever the Eskimos leave a campsite, they use it for a privy, and then send the dogs in to clean up. So, actually, this is a poem about that. \\\"When I Sat Down to Play the Piano\\\". [Audience laughter].\\n \\nAl Purdy\\n00:55:10\\nReads \\\"When I Sat Down to Play the Piano\\\" [from North of Summer; audience laughter throughout].\\n\\nAl Purdy\\n00:58:23\\nI've got one more poem if my voice can hold out. When Robert Kennedy [https://www.wikidata.org/wiki/Q25310] was shot...I always think about anything that I'm interested and emotionally moved by, always, at least I have in the past, till I got to Simon Fraser, think about writing a poem about it. So the same thing was happening after Kennedy was shot and died, and I was thinking about writing a poem about it, and then the Star Weekly [https://www.wikidata.org/wiki/Q17112122] phoned up and asked me to write a poem about it. So this poem eventually got written. \\\"A Lament for Robert Kennedy\\\".\\n \\nAl Purdy\\n00:59:06\\nReads \\\"A Lament for Robert Kennedy\\\".\\n\\nAudience\\n01:04:39\\nApplause.\\n \\nEND\\n01:04:55\\n\",\"notes\":\"Al Purdy reads from a wide variety of his books, including Selected Poems (McClelland and Stewart, 1972), Love in a Burning Building (McClelland and Stewart, 1970), The Cariboo Horses (McClelland and Stewart, 1965), Poems for all the Annettes (Contact Press, 1962), and North of Summer (McClelland and Stewart, 1967).\\n\\n00:00- George Bowering introduces Al Purdy. [INDEX: Doug Featherling describes Purdy as“the most Canadian of all possible poets”, won the President’s Medal, Governor General’s award, Canada Council Grants, Simon Fraser University]\\n00:56- Al Purdy introduces the reading, and “About Being a Member of Our Armed Forces”. [INDEX: Bliss Carman as influence, Simon Fraser University, joining ‘academia’, conscripts in the war, CWAC: women members of the Canadian Women’s Army Corps, wooden drill rifles; from Selected Poems (McClelland and Stewart, 1972)].\\n02:09- Reads “About Being a Member of Our Armed Forces”.\\n03:29- Introduces “Floating Down the North Saskatchewan River”. [INDEX: student in his class, student’s poems in Purdy’s cigar tubes floating down the North Saskatchewan\\nRiver; read from unknown source].\\n04:01- Reads “Floating Down the North Saskatchewan River”.\\n04:40- Introduces “Flight 17 Eastbound”. [INDEX: revising his manuscript; from unknown source, could be known as “Jubilate on Flight 17, Eastbound”].\\n05:13- Reads “Flight 17 Eastbound”.\\n06:47- Introduces “With Words, Words”. [INDEX: collection of love poems, Jack McClelland and Stewart, Harold Town (illustrator); from Love in a burning building (McClelland and Stewart, 1970)].\\n07:51- Reads “With Words, Words”.\\n10:49- Introduces “One Rural Winter”. [INDEX: Vancouver, 1955-6, play for CBC accepted, moved to Montreal, Roblin Lake near Ameliasburg in Ontario, built house, *note that explanation is almost word-for-word identical as his explanation for the same poem, in the reading at the Vancouver Art Gallery (I086-11-042)*; from Selected Poems (1972)].\\n11:50- Reads “One Rural Winter”.\\n15:22- Introduces “Arctic Romance”. [INDEX: Arctic trip in 1965, naming of the poem; from unknown source; Howard Fink List “Arctic”].\\n15:46- Reads “Arctic Romance”.\\n17:13- Introduces “Dark Landscape”. [INDEX: reading, revising, lines from American pet\\nVachel Lindsay; from unknown source].\\n18:07- Reads “Dark Landscape”.\\n21:45- Explains Vachel Lindsay line, Introduces “Winter at Roblin Lake”. [INDEX: Vachel\\nLindsay line “The spring comes on forever, and the Chinese nightingale”, “Aladdin to the\\njinn”, changes Purdy made to the poem, Roblin lake, sold plays, building house of used\\nlumber; from The Cariboo Horses (McClelland and Stewart, 1965)].\\n22:27- Reads “Winter at Roblin Lake”.\\n22:52- Introduces “Interruption”. [INDEX: building house, smoking a cigar; from Selected\\nPoems (1972); not in Howard Fink List of poems].\\n23:13- Reads “Interruption”.\\n24:49- Introduces “Late Rising at Roblin Lake”. [INDEX: Ameliasburg, Montreal, Vancouver, discipline of writing, writing prose vs. writing poetry, process of reading many times; from The Cariboo Horses (1965)]\\n25:57- Reads “Late Rising at Roblin Lake”.\\n26:47- Introduces “Wilderness Gothic”. [INDEX: from Selected Poems (1972); Howard Fink List “One Ernest Gothic”].\\n27:03- Reads “Wilderness Gothic”.\\n29:33- Introduces “Love Poem”. [INDEX: preparing poems to be read, poems Purdy’s never read; from Poems for all the Annettes (Contact Press, 1962)].\\n29:58- Reads “Love Poem”.\\n31:40- Introduces “Homemade Beer”. [INDEX: poem dates five years prior; from The Cariboo Horses (1965)].\\n32:12- Reads “Homemade Beer”.\\n33:52- Introduces “The Drunk Tank”. [INDEX: Air Force, Belleville, Ontario, drinking with\\nfriend, cops called, thrown in jail, ending meaning something other than what was\\nintended; from The Poems of Al Purdy (McClelland and Stewart, 1976)].\\n34:43- Reads “The Drunk Tank”.\\n36:51- Introduces “Poem for Rita”. [INDEX: Toronto, girls staying with Purdy and his wife, girl asked him to write a poem; from unknown source, Howard Fink List “Poem for\\nEda”].\\n37:10- Reads “Poem for Rita”.\\n37:25- Introduces “The Winemaker’s Beat Etude”, and explains more about “Poem for Rita”. [INDEX: Ameliasburg, Vancouver, making homemade wine; from Selected Poems\\n(1972)].\\n38:39- Reads “The Winemaker’s Beat Etude”.\\n41:16- Introduces “At the Movies”. [INDEX: 1965, trip to Baffin Island on government money, plane from Montreal to Frobisher Bay, hitchhiked on DOT plane, construction company charter, Pangnirtung on Arctic Circle, “Eskimo” family’s canoe, bill for plane, Arctic poems; from North of Summer (McClelland and Stewart, 1967)].\\n42:36- Reads “At the Movies”.\\n44:55- Introduces “The Sculptors”. [INDEX: caribou draining, “Eskimos” shooting caribou then watching movies, Pangnirtung Sound, Peterhead boats, Hollywood movie; from North of Summer]\\n45:50- Reads “The Sculptors”.\\n48:17- Introduces “Trees at the Arctic Circle”. [INDEX: Trees on Baffin Island; from North of Summer].\\n49:05- Reads “Trees at the Arctic Circle”.\\n51:07- Introduces “Wash Day”. [INDEX: Cumberland Sound, Eskimo women, language\\nbarriers, tea, sing songs; from North of Summer].\\n51:54- Reads “Wash Day”.\\n54:03- Introduces “When I Sat Down to Play the Piano”. [INDEX: Arctic dogs, film about the George River Eskimos; from North of Summer].\\n55:10- Reads “When I Sat Down to Play the Piano”.\\n58:23- Introduces unknown poem “A Lament for Robert Kennedy”, perhaps actually “Death of John F. Kennedy”. [INDEX: Shooting of Robert Kennedy (John F?), Simon Fraser, writing poem about shooting, Star Weekly asked Purdy for a poem about it].\\n59:06- Reads “A Lament for Robert Kennedy”. [INDEX: perhaps “Death of John F.\\nKennedy”, found in The Cariboo Horses].\\n1:04:55- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/al-purdy-at-sgwu-1970-george-bowering/\"}]"],"score":1.0},{"id":"1289","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Joel Oppenheimer at Sir George Williams University, The Poetry Series, 3 April 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"JOEL OPPENHEIMER Recorded April 3, 1970 3.75 ips, 1/2 track on 1 mil tape\" written on sticker on the back of the tape's box. \"JOEL OPPENHEIMER I006/SR12\" written on sticker on the spine of the tape's box. \"Speed 3 3/4 I006-11-012\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Oppenheimer, Joel"],"creator_names_search":["Oppenheimer, Joel"],"creators":["[{\"url\":\"http://viaf.org/viaf/57449787\",\"name\":\"Oppenheimer, Joel\",\"dates\":\"1930-1988\",\"notes\":\"Born in 1930 in Yonkers, New York, Joel Oppenheimer lived in New York City until 1950 when he attended Black Mountain College in North Carolina. There, he was influenced by Charles Olson and colleagues such as Robert Creeley, Ed Dorn, Jonathan Williams and Fielding Dawson, forming the Black Mountain Poets. Visiting writer William Carlos Williams and e.e. cummings also greatly influenced Oppenheimer. Joel published The Dancer in 1951 (Sad Devil Press at Black Mountain College), The Dutiful Son in 1956 (Short Hills, Johnathan Cape), The Love Bit in 1962 (Totem Press) and Sirventes on a Sad Occasion in 1967 (The Perishable Press) while working in a printing shop. In 1966 he became the director of the Poetry Project at St Mark’s Church in-the-Bowery, a New York City reading series and by 1969, Oppenheimer became a columnist for the Village Voice. He then published In Time: Poems 1962-1968 (Bobbs-Merrill, 1969), and in 1973 published On Occasion: Some Births, Deaths, Weddings, Birthdays, Holidays, and Other Events, a book of occasional poems (Bobbs-Merrill). The Woman Poems (Bobbs-Merrill) was published in 1975, and Names, Dates & Places (Saint Andrew’s Press, 1973) chronicled the New York Mets. He also wrote a popular book about Marilyn Monroe, called Marilyn Lives! (Delilah, 1981). In 1984 Oppenheimer taught creative writing at New England College in Henniker, New Hampshire. His last published book of poetry was New Spaces: Poems 1975-1983 (Black Sparrow Press, 1985). Joel Oppenheimer died of lung cancer on October 11, 1988.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 4 3\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box. Date also specified in previous written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in previous written announcement \\\"Poetry Four: Sir George Williams Poetry Series,\\\" but not confirmed\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Joel Oppeheimer reads from In Time: Poems 1962-1968 (Bobbs-Merrill,1969) as well as poems from Just Friends/Friends and Lovers (Jargon Society) which was only published in 1980."],"contents":["joel_oppenheimer_i006-11-012.mp3\n\nGeorge Bowering\n00:00:00\nI suppose everybody knows everything that everybody would say in an introduction to Joel Oppenheimer [https://www.wikidata.org/wiki/Q6213806] anyway, the Black Mountain [https://www.wikidata.org/wiki/Q2413277] blah blah blah, and the director of the St. Mark's Poetry Project [https://www.wikidata.org/wiki/Q7207506] blah blah blah but what I would like to mention specifically is that there's a big fat book called In Time with about 225 pages of Joel's poetry from the 1960's published by Bobbs-Merrill [https://www.wikidata.org/wiki/Q4934692] distributed by McClelland & Stewart [https://www.wikidata.org/wiki/Q6800322] in Canada [https://www.wikidata.org/wiki/Q16] if they ever get into bookstores in Montreal [https://www.wikidata.org/wiki/Q340]. Joel Oppenheimer, thank you.\n \nJoel Oppenheimer\n00:00:44\nI really didn't like, George [https://www.wikidata.org/wiki/Q1239280], being referred to as being a Black Mountain blah blah blah. I happen to be the finest softball pitcher Black Mountain ever had. And so that none of you lose any sleep tonight, the uniform is genuine United States [https://www.wikidata.org/wiki/Q30] Merchant Marine [https://www.wikidata.org/wiki/Q865132] uniform and the fifth stripe, the purple stripe denotes me as a chief poet, which I was appointed by three captains, two chief engineers and several assorted mates of United States lines and we invented the uniform one night and they threw in all the materials and my wife gave it to me for a Christmas present, so I am responsible for the moral, religious, emotional and sexual life of the crew while at sea. It's a very serious duty! The book that's out now is actually my fourth book of poems, the first to some of you may be familiar with some of the poems from The New American Poetry [https://www.wikidata.org/wiki/Q7753501]and so on, The Dutiful Son and The Love Bit. And In Time is the fourth book. The third book is a little known book because Jonathan Williams [https://www.wikidata.org/wiki/Q6274797] has been carrying it around in his briefcase for eight years and sends me postcards every six month saying he's bringing it out. I thought maybe since it probably will never get published I should read some poems from there, it's called Friends and Lovers and most of the poems have initialed inscriptions, some of which I will name to you, and some of which somebody going for his Master's thirty years from now will have to do a lot of research to figure out. It's divided into two parts, obviously in the first part is friends and in the second part is lovers. This is the dedicatory poem. \"Orpheus\" [https://www.wikidata.org/wiki/Q174353].\n \nJoel Oppenheimer\n00:02:52\nReads \"Orpheus\" [published later in Just Friends/Friends and Lovers].\n \nJoel Oppenheimer\n00:03:20\nThis is a poem called \"Lesson I\" and it's for Charles Olson [https://www.wikidata.org/wiki/Q922978]. It's also as sure you all recognize upon a parody on one of Pound's [https://www.wikidata.org/wiki/Q163366] Usury Cantos [https://www.wikidata.org/wiki/Q2701465] and it's based on an actual softball incident in which Charles was supposed to be coaching third base and instead was discussing Etruscan sculpture when I was rounding second on a long drive to left centre field.\n \nJoel Oppenheimer\n00:03:54\nReads \"Lesson I\".\n \nJoel Oppenheimer\n00:04:30\nCharles got very upset about that. This is a poem for Franz Kline [https://www.wikidata.org/wiki/Q374492]. Do I need to tell you who Franz was? Alright, if anybody doesn't know should ask the person next to them after the reading…”Pablo Nerruda--” It’s called “The Boys Whose Fathers\".\n \nJoel Oppenheimer\n00:04:57\nReads \"The Boys Whose Fathers\".\n \nJoel Oppenheimer\n00:08:31\nAnd this is for Cubby Selby [https://www.wikidata.org/wiki/Q551487] who wrote Last Exit to Brooklyn [https://www.wikidata.org/wiki/Q1400274]. “A Poem In Tune With Its Time”.\n \nJoel Oppenheimer\n00:08:39\nReads “A Poem In Tune With Its Time”.\n \nJoel Oppenheimer\n00:09:13\nThis is for Phillip Guston [https://www.wikidata.org/wiki/Q701952]. That's very strange, I find that now I can say the names. Philip is a still surviving member of the New York [https://www.wikidata.org/wiki/Q60] Abstract Expressionist school, or whatever they call it these days. And a marvelous painter.\n \nJoel Oppenheimer\n00:09:30\nReads \"A Grace for Painters\".\n \nJoel Oppenheimer\n00:11:21\nThis is another poem for Charles Olson. It's called \"Okay\". This is a funny book because it was written about 1961, as I say literally, it's been carried around in manuscript form for eight years and why I never pulled it back except that those damn postcards kept coming in so I kept saying, okay, six months more and it just was a scene I got into where I, personal poems to people became a thing that I was doing at that time. It's called \"Okay\".\n \nJoel Oppenheimer\n00:12:10\nReads \"Okay\".\n \nJoel Oppenheimer\n00:13:54\nThank you. I don't know how many of you knew Charles, that was a visit to New York and we did have a marvelous meal in New York's Chinatown [https://www.wikidata.org/wiki/Q866332] and I just said to the guy, you know, bring us so many dollars worth of food, and there were eleven of us, Ed Dorn [https://www.wikidata.org/wiki/Q5334756] and his wife were with us and LeRoi Jones [https://www.wikidata.org/wiki/Q354783] and his wife and Charles, and we sat there and they kept bringing dishes out everybody stuffed themselves and we were all sitting there and Charles, as most of you know was about 6'7” and about 250 pounds and after all this food had come out and been consumed, the guy came out with a sea bass about this big, and everybody sorta looked and Charles said, \"Oh, thank you Joel\" and proceeded to demolish this thing. Well, everybody just sitting...[audience laughter]. Ah, yes! I have a Canadian poem for you. I didn't even know that. This is a poem for Ed Dorn and it's called \"The Fourth Ark Royal\". One night at a bar called Dylan's, Ed and I had seen each other for the first time for about six years and a couple of sailors came in and they had Ark Royal on their caps and Canadian badges and finally after a couple of drinks I asked one of them what the Ark Royal was, and to their shame and my chagrin, and they really were abashed when they said it, it turns out now that the Ark Royal is now a Corvette, uh, after a long distinguished history and not that--I'm sure that it's a great Corvette, but still, a Corvette is a Corvette, you know.\n \nJoel Oppenheimer\n00:16:03\nReads \"The Fourth Ark Royal\".\n \nJoel Oppenheimer\n00:20:03\nDoes anybody know where the Fourth Ark Royal is anchored? I'll go see it tomorrow. I have to make a confession, I pulled a dreadful gaff yesterday and I'm sure that Stan and George are going to spread it around after I leave, so I'm going to confess it in public. I said \"Gee, we're going to be here for a couple of days and there's one thing I'd really like to see. And do you suppose somebody might, you know, give us a lift to the Plains of Abraham [https://www.wikidata.org/wiki/Q2726825]\", and they both looked at me and said \"It's 100 miles away in Quebec [https://www.wikidata.org/wiki/Q176]\" and I said \"Oh my god, you're right\" and then I got home, to the hotel, and I was reading through, what's the name of that lovely magazine they give you at the hotel? Canada Today or something, and I was reading through, and when I saw them today, I said \"Oh well, I was wrong about the Plains of Abraham, but we guys captured Montreal once\" and it made me feel much better. Of course, we didn't hold it very long, I think a day we were here. This is a thing called \"Spring Poem\". And let's hope that it gets here.\n \nJoel Oppenheimer\n00:21:24\nReads \"Spring Poem\".\n \nJoel Oppenheimer\n00:21:39\nAhah! Yes, gee, I don't know if you're liking these, but I'm so delighted, I really haven't looked at these poems in moons, and it's...this is a poem for Gil Sorrentino [https://www.wikidata.org/wiki/Q326773] called \"The Aces\", and it starts with a quote from Antony and Cleopatra [https://www.wikidata.org/wiki/Q606830]. And it's when, it's the speech that's always quoted where the death is announced to her, and everybody always quotes the crown he bestride the continents like [unintelligible] and crowns--the crown would drop from his pocket, but I always love the end of it, near the end, she says \"His delights were dolphin-like, they showed his back above the element they lived in\".\n \nJoel Oppenheimer\n00:22:28\nReads \"The Aces\".\n \nJoel Oppenheimer\n00:23:36\nFor J.C. Just to add a little mystery.\n \nJoel Oppenheimer\n00:23:56\nReads unnamed poem \"There are waterfalls pour straight down\".\n \nJoel Oppenheimer\n00:24:48\n\"La Revolución\", for J.S.\n \nJoel Oppenheimer\n00:24:51\nReads \"La Revolución\".\n \nJoel Oppenheimer\n00:25:55\nI think what I'll do is read one--this is kind of a long poem, are you up to a longish poem and then we'll call a break? \"A Little Mayan Head\", for E.W.\n \nJoel Oppenheimer\n00:26:23\nReads \"A Little Mayan Head\".\n\nUnknown\n00:30:22\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nJoel Oppenheimer\n00:30:23\nIt's titled \"N.B.\", but that isn't for a lady, that's Nota Bene, if I am correcting--if I am pronouncing that correctly, or correcting that pronouncedly.\n \nJoel Oppenheimer\n00:30:34\nReads \"N.B.\"\n \nJoel Oppenheimer\n00:31:10\n\"Poem for New Children\", for E. and L.\n \nJoel Oppenheimer\n00:31:14\nReads \"Poem for New Children\".\n \nJoel Oppenheimer\n00:31:35\n\"Peire Vidal at Thirty-Two\" and any of you who don't know Peire Vidal [https://www.wikidata.org/wiki/Q5269] are instructed to report to George Bowering on Monday morning and he will give you a lecture on Peire Vidal. And George, if you don't have a lecture prepared, you better by then. Peire Vidal was the most marvelous poet in the world, his vida begins, Peire Vidal was the son of a rich fourrier in Toulouse [https://www.wikidata.org/wiki/Q7880], he sang better than any man in the world and he wrote good songs and he was the biggest fool the world has ever known because he believed that what a woman told him in love was true. He also [audience laughter] wrote a poem, this will get an even bigger hit when he was an old man he wrote a gorgeous poem that I can't quote, and you can thank me for that, he wrote a gorgeous poem in which in the first stanza, he avowed his eternal love to four different chicks [audience laughter]. \n \nJoel Oppenheimer\n00:32:4\nReads \"Peire Vidal at Thirty-Two\".\n \nJoel Oppenheimer\n00:33:16\n\"The Truck Farmer\", for R. F.\n \nJoel Oppenheimer\n00:33:25\nReads \"The Truck Farmer\".\n \nJoel Oppenheimer\n00:35:01\n\"Dutch Interior: Sewing\", also for R.F. R.F. was my first wife.\n \nJoel Oppenheimer\n00:35:07\nReads \"Dutch Interior: Sewing\".\n \nJoel Oppenheimer\n00:35:36\n\"Clams on the Half-Shelf\" for M.M. And I must say I've been very disappointed, because everybody kept telling me what great seafood restaurants Montreal has and the only seafood I can really stand is fresh clams and every restaurant I go into says, \"Oh, yeah, we have oysters but we don't serve clams\". Does anyone know a restaurant where I can get fresh clams?...This is for M.M.\n \nJoel Oppenheimer\n00:36:09\nReads \"Clams on the Half-Shelf\".\n \nJoel Oppenheimer\n00:36:48\nI must confess to the ladies in the audience that my book has been branded by women's lib in New York as insulting to women, and I have great fights with all of them, I praise their bosoms, and they sort of calm down then, but they still keep putting up stickers on my book jackets. It's amazing what you can do to a women's lib chick if you just tell her that she has very nice tits, really. Immediately they desert the movement. \"New Blues for the Moon\" for D.D.\n \nJoel Oppenheimer\n00:37:34\nReads \"New Blues for the Moon\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:38:10\nIt took me four years after, I got the rhyme line to \"I know your door better than my own\" but now it's too late to write the blues, but if anybody's interested, it's \"And if you won't have me I still ain't goin' home.\" \"A Love Poem\" for M.S.\n \nJoel Oppenheimer\n00:38:33\nReads \"A Love Poem\".\n \nJoel Oppenheimer\n00:39:08\nOh yeah, that's a nice poem for today. \"Third of April\", for M.R.\n \nJoel Oppenheimer\n00:39:16\nReads \"Third of April\".\n \nJoel Oppenheimer\n00:39:59\n\"A Five Act Play\" for B.J.\n \nJoel Oppenheimer\n00:40:02\nReads \"A Five Act Play\".\n \nJoel Oppenheimer\n00:40:27\n\"Nature Boy\" for B.C. Helen, are you keeping notes on these initials?\n \nJoel Oppenheimer\n00:40:41\nReads \"Nature Boy\".\n \nJoel Oppenheimer\n00:41:22\n\"Flora\" for J.G.\n \nAnnotation\n00:41:31\nReads \"Flora\".\n \nJoel Oppenheimer\n00:42:04\nI'm not sure I like this poem but the story behind it is funny. The really, the fairest break-up, for very strange reasons, and this one literally broke up because the first day that the chick made me sunny-side up eggs, she mashed the yolk with her fork. [Audience laughter]. I knew that no matter how beautiful the scene had been I couldn't stay there anymore. It's called \"Purple Flowers\" and it's for S.G., wherever you might be.\n \nJoel Oppenheimer\n00:42:54\nReads \"Purple Flowers\" [audience laughter throughout].\n \nJoel Oppenheimer\n00:43:29\n\"The Apples\" for D.R.\n \nJoel Oppenheimer\n00:43:35\nReads \"The Apples\".\n \nJoel Oppenheimer\n00:44:10\nI have--this is the last poem in the book and if you want to hear some stuff from--this is a longish one, why don't we call a stop after this, and if people want to split, split and if people want to stay I'll read a little bit more from the new book. \"When What You Dream\" for F.E.\n \nJoel Oppenheimer\n00:44:45\nReads \"When What You Dream\".\n \nJoel Oppenheimer\n00:51:07\nThis book starts with a poem that was turned down by at least 37 little magazines, and I finally blackjacked it in as the introductory poem. It's called \"The Poem\".\n \nJoel Oppenheimer\n00:51:36\nReads \"The Poem\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:51:45\nNobody liked it. Dan Rice is the only person in the world I know that likes that poem. And I think it's the best poem I ever wrote. This is a poem for the other poet I have to most love for, Li Po [https://www.wikidata.org/wiki/Q7071], the Chinese poet from 700, 800, roughly. It's called \"shooting the moon\". Li Po, his particular distinctions were that he seduced the emperor of China's [https://www.wikidata.org/wiki/Q148] favourite courtesan, and showed up two hours late for the date, bombed out of his skull, and fell asleep on her bosom before doing anything, and the emperor was not terribly amused by it but at the same time he was impressed by the enormity of the action so he exiled him to the mountains but he gave him like 50 thousand acres and bread for life, it's just he was not to show up in court ever again. While there, he did several notable things, one of which is writing the best lush poem that's ever been written cause he got up on a beautiful spring day and was sitting out on his terrace and his servant brought him breakfast and he ate it and he started drinking some sake and the next thing he knew it was nine o'clock at night and like he had sorta missed spring so he started drinking again, and the last line of the poem is something like \"two hours later I was dancing with the moon\". So, he worked it out. The only problem was, that he was literally in love with the moon, and this image runs through his poem, and one night on the way home from a wine tavern, he decided finally to make it with the moon and he sat down at the edge of the river, left it under a rock with his clothes and dove in to screw the moon, literally, the reflection in the water, and drowned. And one hopes that--I don't know what the autopsy showed, but one hopes that he did make it before he drowned, you know, like, you have to love, you know, a guy like that.\n \nJoel Oppenheimer\n00:54:28\nReads \"Shooting the Moon\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:56:37\nHelen, do you remember, by any chance, where the other moon poem is? Hold on one--I think I have it. Marvelous picture in the Times [https://www.wikidata.org/wiki/Q9684] one day, the first time they took a--the first time one of the things went around the moon, and I wrote a very funny poem about it I think, if I can find it here. Oh well, while I'm looking for it, I'll read you \"Zeus, in May, Reflects on a Recent Letter from Astarte\".\n \nJoel Oppenheimer\n00:57:53\nReads \"Zeus, in May, Reflects on a Recent Letter from Astarte\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:58:37\nAm I allowed to read dirty poems here? Yeah? This is a poem called \"Poem in Praise of Perseverance\". And anybody who doesn't want to hear it should close their ears. This is another poem that was rejected by about 40 magazines.\n \nJoel Oppenheimer\n00:59:05\nReads \"Poem in Praise of Perseverance\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n00:59:34\nI really do want to find that damn moon poem. Alright, \"The New Standard Simplified American Cabala for Home Use\".\n \nJoel Oppenheimer\n00:59:53\nReads \"The New Standard Simplified American Cabala for Home Use\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n01:00:12\n\"The Three Old Ladies\".\n \nJoel Oppenheimer\n01:00:24\nReads \"The Three Old Ladies\" [from In Time: 1962-1968].\n \nJoel Oppenheimer\n01:01:14\nThat poem incidentally was because of a little incident in a college in Brooklyn [https://www.wikidata.org/wiki/Q18419] because they had a lady faculty member as a cop and she listened to me read and she objected to only one word in the entire reading and that was 'hard-on' and I suggested gently to the woman who called me about it that that might be that lady's problem, if she could listen to my--I found the moon poem, thank god--if that was the only word she found to object to that I really thought she might need a little help somewhere from somebody. \"Wrong Again\".\n \nJoel Oppenheimer\n01:02:11\nReads \"Wrong Again\" [from In Time: 1962-1968; audience laughter throughout].\n \nEND\n01:03:25\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nIn Time: Poems 1962-1968 was published in 1969 while Joel Oppenheimer was writing columns for the Village Voice in New York City.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections to Montreal or Sir George Williams University are known, however Oppenheimer was an influential member of the Black Mountain group, and a director of the Poetry Project at St. Mark’s Church in-the-Bowery in New York. George Bowering’s name appears on the list of correspondences between 1969 and 1978, in Joel Oppenheimer’s Papers. (See Related Works).\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Foster, Edward.\\\"Oppenheimer, Joel\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"http://doddcentre.uconn.edu/ \\tfindaids/Oppenheimer/MSS19900056.html\",\"citation\":\"“Joel Oppenheimer Papers”. Archives & Special Collections at the Thomas J. Dodd Center, University of Connecticut, 2003.\"},{\"url\":\"https://www.worldcat.org/title/in-time-poems-1962-1968/oclc/48666?referer=di&ht=edition\",\"citation\":\"Oppenheimer, Joel. In Time: poems 1962-1968. Indianapolis: Bobbs-Merril, 1969.\"},{\"url\":\"https://www.worldcat.org/title/just-friendsfriends-and-lovers-poems-1959-1962/oclc/869017166&referer=brief_results\",\"citation\":\"Oppenheimer, Joel. Just Friends/Friends and Lovers. Asheville: Jargon Society, 1980.\"},{\"url\":\"\",\"citation\":\"“Oppenheimer, Joel”. Literature Online Biography. Proquest, 2008. \"},{\"url\":\"\",\"citation\":\"“Poetry Four: Sir George Williams Poetry Series, Ninth Reading, Al Purdy”. Montreal: Sir George Williams University, 1970. Found in “The Stephen Morrissey Papers, 1963 - 1998”, McGill McLennan Library, Special Collections and Rare Books, Montreal, Quebec, Canada.\"}]"],"_version_":1853670548984299520,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0012_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0012_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0012_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0012_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006-11-0012_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Joel Oppenheimer Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/joel_oppenheimer_i006-11-012.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"joel_oppenheimer_i006-11-012.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:03:25\",\"precision\":\"\",\"size\":\"152.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nI suppose everybody knows everything that everybody would say in an introduction to Joel Oppenheimer [https://www.wikidata.org/wiki/Q6213806] anyway, the Black Mountain [https://www.wikidata.org/wiki/Q2413277] blah blah blah, and the director of the St. Mark's Poetry Project [https://www.wikidata.org/wiki/Q7207506] blah blah blah but what I would like to mention specifically is that there's a big fat book called In Time with about 225 pages of Joel's poetry from the 1960's published by Bobbs-Merrill [https://www.wikidata.org/wiki/Q4934692] distributed by McClelland & Stewart [https://www.wikidata.org/wiki/Q6800322] in Canada [https://www.wikidata.org/wiki/Q16] if they ever get into bookstores in Montreal [https://www.wikidata.org/wiki/Q340]. Joel Oppenheimer, thank you.\\n \\nJoel Oppenheimer\\n00:00:44\\nI really didn't like, George [https://www.wikidata.org/wiki/Q1239280], being referred to as being a Black Mountain blah blah blah. I happen to be the finest softball pitcher Black Mountain ever had. And so that none of you lose any sleep tonight, the uniform is genuine United States [https://www.wikidata.org/wiki/Q30] Merchant Marine [https://www.wikidata.org/wiki/Q865132] uniform and the fifth stripe, the purple stripe denotes me as a chief poet, which I was appointed by three captains, two chief engineers and several assorted mates of United States lines and we invented the uniform one night and they threw in all the materials and my wife gave it to me for a Christmas present, so I am responsible for the moral, religious, emotional and sexual life of the crew while at sea. It's a very serious duty! The book that's out now is actually my fourth book of poems, the first to some of you may be familiar with some of the poems from The New American Poetry [https://www.wikidata.org/wiki/Q7753501]and so on, The Dutiful Son and The Love Bit. And In Time is the fourth book. The third book is a little known book because Jonathan Williams [https://www.wikidata.org/wiki/Q6274797] has been carrying it around in his briefcase for eight years and sends me postcards every six month saying he's bringing it out. I thought maybe since it probably will never get published I should read some poems from there, it's called Friends and Lovers and most of the poems have initialed inscriptions, some of which I will name to you, and some of which somebody going for his Master's thirty years from now will have to do a lot of research to figure out. It's divided into two parts, obviously in the first part is friends and in the second part is lovers. This is the dedicatory poem. \\\"Orpheus\\\" [https://www.wikidata.org/wiki/Q174353].\\n \\nJoel Oppenheimer\\n00:02:52\\nReads \\\"Orpheus\\\" [published later in Just Friends/Friends and Lovers].\\n \\nJoel Oppenheimer\\n00:03:20\\nThis is a poem called \\\"Lesson I\\\" and it's for Charles Olson [https://www.wikidata.org/wiki/Q922978]. It's also as sure you all recognize upon a parody on one of Pound's [https://www.wikidata.org/wiki/Q163366] Usury Cantos [https://www.wikidata.org/wiki/Q2701465] and it's based on an actual softball incident in which Charles was supposed to be coaching third base and instead was discussing Etruscan sculpture when I was rounding second on a long drive to left centre field.\\n \\nJoel Oppenheimer\\n00:03:54\\nReads \\\"Lesson I\\\".\\n \\nJoel Oppenheimer\\n00:04:30\\nCharles got very upset about that. This is a poem for Franz Kline [https://www.wikidata.org/wiki/Q374492]. Do I need to tell you who Franz was? Alright, if anybody doesn't know should ask the person next to them after the reading…”Pablo Nerruda--” It’s called “The Boys Whose Fathers\\\".\\n \\nJoel Oppenheimer\\n00:04:57\\nReads \\\"The Boys Whose Fathers\\\".\\n \\nJoel Oppenheimer\\n00:08:31\\nAnd this is for Cubby Selby [https://www.wikidata.org/wiki/Q551487] who wrote Last Exit to Brooklyn [https://www.wikidata.org/wiki/Q1400274]. “A Poem In Tune With Its Time”.\\n \\nJoel Oppenheimer\\n00:08:39\\nReads “A Poem In Tune With Its Time”.\\n \\nJoel Oppenheimer\\n00:09:13\\nThis is for Phillip Guston [https://www.wikidata.org/wiki/Q701952]. That's very strange, I find that now I can say the names. Philip is a still surviving member of the New York [https://www.wikidata.org/wiki/Q60] Abstract Expressionist school, or whatever they call it these days. And a marvelous painter.\\n \\nJoel Oppenheimer\\n00:09:30\\nReads \\\"A Grace for Painters\\\".\\n \\nJoel Oppenheimer\\n00:11:21\\nThis is another poem for Charles Olson. It's called \\\"Okay\\\". This is a funny book because it was written about 1961, as I say literally, it's been carried around in manuscript form for eight years and why I never pulled it back except that those damn postcards kept coming in so I kept saying, okay, six months more and it just was a scene I got into where I, personal poems to people became a thing that I was doing at that time. It's called \\\"Okay\\\".\\n \\nJoel Oppenheimer\\n00:12:10\\nReads \\\"Okay\\\".\\n \\nJoel Oppenheimer\\n00:13:54\\nThank you. I don't know how many of you knew Charles, that was a visit to New York and we did have a marvelous meal in New York's Chinatown [https://www.wikidata.org/wiki/Q866332] and I just said to the guy, you know, bring us so many dollars worth of food, and there were eleven of us, Ed Dorn [https://www.wikidata.org/wiki/Q5334756] and his wife were with us and LeRoi Jones [https://www.wikidata.org/wiki/Q354783] and his wife and Charles, and we sat there and they kept bringing dishes out everybody stuffed themselves and we were all sitting there and Charles, as most of you know was about 6'7” and about 250 pounds and after all this food had come out and been consumed, the guy came out with a sea bass about this big, and everybody sorta looked and Charles said, \\\"Oh, thank you Joel\\\" and proceeded to demolish this thing. Well, everybody just sitting...[audience laughter]. Ah, yes! I have a Canadian poem for you. I didn't even know that. This is a poem for Ed Dorn and it's called \\\"The Fourth Ark Royal\\\". One night at a bar called Dylan's, Ed and I had seen each other for the first time for about six years and a couple of sailors came in and they had Ark Royal on their caps and Canadian badges and finally after a couple of drinks I asked one of them what the Ark Royal was, and to their shame and my chagrin, and they really were abashed when they said it, it turns out now that the Ark Royal is now a Corvette, uh, after a long distinguished history and not that--I'm sure that it's a great Corvette, but still, a Corvette is a Corvette, you know.\\n \\nJoel Oppenheimer\\n00:16:03\\nReads \\\"The Fourth Ark Royal\\\".\\n \\nJoel Oppenheimer\\n00:20:03\\nDoes anybody know where the Fourth Ark Royal is anchored? I'll go see it tomorrow. I have to make a confession, I pulled a dreadful gaff yesterday and I'm sure that Stan and George are going to spread it around after I leave, so I'm going to confess it in public. I said \\\"Gee, we're going to be here for a couple of days and there's one thing I'd really like to see. And do you suppose somebody might, you know, give us a lift to the Plains of Abraham [https://www.wikidata.org/wiki/Q2726825]\\\", and they both looked at me and said \\\"It's 100 miles away in Quebec [https://www.wikidata.org/wiki/Q176]\\\" and I said \\\"Oh my god, you're right\\\" and then I got home, to the hotel, and I was reading through, what's the name of that lovely magazine they give you at the hotel? Canada Today or something, and I was reading through, and when I saw them today, I said \\\"Oh well, I was wrong about the Plains of Abraham, but we guys captured Montreal once\\\" and it made me feel much better. Of course, we didn't hold it very long, I think a day we were here. This is a thing called \\\"Spring Poem\\\". And let's hope that it gets here.\\n \\nJoel Oppenheimer\\n00:21:24\\nReads \\\"Spring Poem\\\".\\n \\nJoel Oppenheimer\\n00:21:39\\nAhah! Yes, gee, I don't know if you're liking these, but I'm so delighted, I really haven't looked at these poems in moons, and it's...this is a poem for Gil Sorrentino [https://www.wikidata.org/wiki/Q326773] called \\\"The Aces\\\", and it starts with a quote from Antony and Cleopatra [https://www.wikidata.org/wiki/Q606830]. And it's when, it's the speech that's always quoted where the death is announced to her, and everybody always quotes the crown he bestride the continents like [unintelligible] and crowns--the crown would drop from his pocket, but I always love the end of it, near the end, she says \\\"His delights were dolphin-like, they showed his back above the element they lived in\\\".\\n \\nJoel Oppenheimer\\n00:22:28\\nReads \\\"The Aces\\\".\\n \\nJoel Oppenheimer\\n00:23:36\\nFor J.C. Just to add a little mystery.\\n \\nJoel Oppenheimer\\n00:23:56\\nReads unnamed poem \\\"There are waterfalls pour straight down\\\".\\n \\nJoel Oppenheimer\\n00:24:48\\n\\\"La Revolución\\\", for J.S.\\n \\nJoel Oppenheimer\\n00:24:51\\nReads \\\"La Revolución\\\".\\n \\nJoel Oppenheimer\\n00:25:55\\nI think what I'll do is read one--this is kind of a long poem, are you up to a longish poem and then we'll call a break? \\\"A Little Mayan Head\\\", for E.W.\\n \\nJoel Oppenheimer\\n00:26:23\\nReads \\\"A Little Mayan Head\\\".\\n\\nUnknown\\n00:30:22\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nJoel Oppenheimer\\n00:30:23\\nIt's titled \\\"N.B.\\\", but that isn't for a lady, that's Nota Bene, if I am correcting--if I am pronouncing that correctly, or correcting that pronouncedly.\\n \\nJoel Oppenheimer\\n00:30:34\\nReads \\\"N.B.\\\"\\n \\nJoel Oppenheimer\\n00:31:10\\n\\\"Poem for New Children\\\", for E. and L.\\n \\nJoel Oppenheimer\\n00:31:14\\nReads \\\"Poem for New Children\\\".\\n \\nJoel Oppenheimer\\n00:31:35\\n\\\"Peire Vidal at Thirty-Two\\\" and any of you who don't know Peire Vidal [https://www.wikidata.org/wiki/Q5269] are instructed to report to George Bowering on Monday morning and he will give you a lecture on Peire Vidal. And George, if you don't have a lecture prepared, you better by then. Peire Vidal was the most marvelous poet in the world, his vida begins, Peire Vidal was the son of a rich fourrier in Toulouse [https://www.wikidata.org/wiki/Q7880], he sang better than any man in the world and he wrote good songs and he was the biggest fool the world has ever known because he believed that what a woman told him in love was true. He also [audience laughter] wrote a poem, this will get an even bigger hit when he was an old man he wrote a gorgeous poem that I can't quote, and you can thank me for that, he wrote a gorgeous poem in which in the first stanza, he avowed his eternal love to four different chicks [audience laughter]. \\n \\nJoel Oppenheimer\\n00:32:4\\nReads \\\"Peire Vidal at Thirty-Two\\\".\\n \\nJoel Oppenheimer\\n00:33:16\\n\\\"The Truck Farmer\\\", for R. F.\\n \\nJoel Oppenheimer\\n00:33:25\\nReads \\\"The Truck Farmer\\\".\\n \\nJoel Oppenheimer\\n00:35:01\\n\\\"Dutch Interior: Sewing\\\", also for R.F. R.F. was my first wife.\\n \\nJoel Oppenheimer\\n00:35:07\\nReads \\\"Dutch Interior: Sewing\\\".\\n \\nJoel Oppenheimer\\n00:35:36\\n\\\"Clams on the Half-Shelf\\\" for M.M. And I must say I've been very disappointed, because everybody kept telling me what great seafood restaurants Montreal has and the only seafood I can really stand is fresh clams and every restaurant I go into says, \\\"Oh, yeah, we have oysters but we don't serve clams\\\". Does anyone know a restaurant where I can get fresh clams?...This is for M.M.\\n \\nJoel Oppenheimer\\n00:36:09\\nReads \\\"Clams on the Half-Shelf\\\".\\n \\nJoel Oppenheimer\\n00:36:48\\nI must confess to the ladies in the audience that my book has been branded by women's lib in New York as insulting to women, and I have great fights with all of them, I praise their bosoms, and they sort of calm down then, but they still keep putting up stickers on my book jackets. It's amazing what you can do to a women's lib chick if you just tell her that she has very nice tits, really. Immediately they desert the movement. \\\"New Blues for the Moon\\\" for D.D.\\n \\nJoel Oppenheimer\\n00:37:34\\nReads \\\"New Blues for the Moon\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:38:10\\nIt took me four years after, I got the rhyme line to \\\"I know your door better than my own\\\" but now it's too late to write the blues, but if anybody's interested, it's \\\"And if you won't have me I still ain't goin' home.\\\" \\\"A Love Poem\\\" for M.S.\\n \\nJoel Oppenheimer\\n00:38:33\\nReads \\\"A Love Poem\\\".\\n \\nJoel Oppenheimer\\n00:39:08\\nOh yeah, that's a nice poem for today. \\\"Third of April\\\", for M.R.\\n \\nJoel Oppenheimer\\n00:39:16\\nReads \\\"Third of April\\\".\\n \\nJoel Oppenheimer\\n00:39:59\\n\\\"A Five Act Play\\\" for B.J.\\n \\nJoel Oppenheimer\\n00:40:02\\nReads \\\"A Five Act Play\\\".\\n \\nJoel Oppenheimer\\n00:40:27\\n\\\"Nature Boy\\\" for B.C. Helen, are you keeping notes on these initials?\\n \\nJoel Oppenheimer\\n00:40:41\\nReads \\\"Nature Boy\\\".\\n \\nJoel Oppenheimer\\n00:41:22\\n\\\"Flora\\\" for J.G.\\n \\nAnnotation\\n00:41:31\\nReads \\\"Flora\\\".\\n \\nJoel Oppenheimer\\n00:42:04\\nI'm not sure I like this poem but the story behind it is funny. The really, the fairest break-up, for very strange reasons, and this one literally broke up because the first day that the chick made me sunny-side up eggs, she mashed the yolk with her fork. [Audience laughter]. I knew that no matter how beautiful the scene had been I couldn't stay there anymore. It's called \\\"Purple Flowers\\\" and it's for S.G., wherever you might be.\\n \\nJoel Oppenheimer\\n00:42:54\\nReads \\\"Purple Flowers\\\" [audience laughter throughout].\\n \\nJoel Oppenheimer\\n00:43:29\\n\\\"The Apples\\\" for D.R.\\n \\nJoel Oppenheimer\\n00:43:35\\nReads \\\"The Apples\\\".\\n \\nJoel Oppenheimer\\n00:44:10\\nI have--this is the last poem in the book and if you want to hear some stuff from--this is a longish one, why don't we call a stop after this, and if people want to split, split and if people want to stay I'll read a little bit more from the new book. \\\"When What You Dream\\\" for F.E.\\n \\nJoel Oppenheimer\\n00:44:45\\nReads \\\"When What You Dream\\\".\\n \\nJoel Oppenheimer\\n00:51:07\\nThis book starts with a poem that was turned down by at least 37 little magazines, and I finally blackjacked it in as the introductory poem. It's called \\\"The Poem\\\".\\n \\nJoel Oppenheimer\\n00:51:36\\nReads \\\"The Poem\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:51:45\\nNobody liked it. Dan Rice is the only person in the world I know that likes that poem. And I think it's the best poem I ever wrote. This is a poem for the other poet I have to most love for, Li Po [https://www.wikidata.org/wiki/Q7071], the Chinese poet from 700, 800, roughly. It's called \\\"shooting the moon\\\". Li Po, his particular distinctions were that he seduced the emperor of China's [https://www.wikidata.org/wiki/Q148] favourite courtesan, and showed up two hours late for the date, bombed out of his skull, and fell asleep on her bosom before doing anything, and the emperor was not terribly amused by it but at the same time he was impressed by the enormity of the action so he exiled him to the mountains but he gave him like 50 thousand acres and bread for life, it's just he was not to show up in court ever again. While there, he did several notable things, one of which is writing the best lush poem that's ever been written cause he got up on a beautiful spring day and was sitting out on his terrace and his servant brought him breakfast and he ate it and he started drinking some sake and the next thing he knew it was nine o'clock at night and like he had sorta missed spring so he started drinking again, and the last line of the poem is something like \\\"two hours later I was dancing with the moon\\\". So, he worked it out. The only problem was, that he was literally in love with the moon, and this image runs through his poem, and one night on the way home from a wine tavern, he decided finally to make it with the moon and he sat down at the edge of the river, left it under a rock with his clothes and dove in to screw the moon, literally, the reflection in the water, and drowned. And one hopes that--I don't know what the autopsy showed, but one hopes that he did make it before he drowned, you know, like, you have to love, you know, a guy like that.\\n \\nJoel Oppenheimer\\n00:54:28\\nReads \\\"Shooting the Moon\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:56:37\\nHelen, do you remember, by any chance, where the other moon poem is? Hold on one--I think I have it. Marvelous picture in the Times [https://www.wikidata.org/wiki/Q9684] one day, the first time they took a--the first time one of the things went around the moon, and I wrote a very funny poem about it I think, if I can find it here. Oh well, while I'm looking for it, I'll read you \\\"Zeus, in May, Reflects on a Recent Letter from Astarte\\\".\\n \\nJoel Oppenheimer\\n00:57:53\\nReads \\\"Zeus, in May, Reflects on a Recent Letter from Astarte\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:58:37\\nAm I allowed to read dirty poems here? Yeah? This is a poem called \\\"Poem in Praise of Perseverance\\\". And anybody who doesn't want to hear it should close their ears. This is another poem that was rejected by about 40 magazines.\\n \\nJoel Oppenheimer\\n00:59:05\\nReads \\\"Poem in Praise of Perseverance\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n00:59:34\\nI really do want to find that damn moon poem. Alright, \\\"The New Standard Simplified American Cabala for Home Use\\\".\\n \\nJoel Oppenheimer\\n00:59:53\\nReads \\\"The New Standard Simplified American Cabala for Home Use\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n01:00:12\\n\\\"The Three Old Ladies\\\".\\n \\nJoel Oppenheimer\\n01:00:24\\nReads \\\"The Three Old Ladies\\\" [from In Time: 1962-1968].\\n \\nJoel Oppenheimer\\n01:01:14\\nThat poem incidentally was because of a little incident in a college in Brooklyn [https://www.wikidata.org/wiki/Q18419] because they had a lady faculty member as a cop and she listened to me read and she objected to only one word in the entire reading and that was 'hard-on' and I suggested gently to the woman who called me about it that that might be that lady's problem, if she could listen to my--I found the moon poem, thank god--if that was the only word she found to object to that I really thought she might need a little help somewhere from somebody. \\\"Wrong Again\\\".\\n \\nJoel Oppenheimer\\n01:02:11\\nReads \\\"Wrong Again\\\" [from In Time: 1962-1968; audience laughter throughout].\\n \\nEND\\n01:03:25\\n[Cut off abruptly].\",\"notes\":\"Joel Oppeheimer reads from In Time: Poems 1962-1968 (Bobbs-Merrill,1969) as well as poems from Just Friends/Friends and Lovers (Jargon Society) which was only published in 1980.\\n\\n00:00- Introduction for Joel Oppeheimer, by George Bowering [INDEX: Black Mountain, director of the St. Mark’s Poetry Project, In Time published by Bobbs-Merrill distributed by McCaulin Stewart.]\\n00:44- Joel Oppenheimer speaks, introduces “Orpheus” [INDEX: Black Mountain Softball pitcher, United States Merchant Marine uniform. The New American Poetry, The Dutiful Son, Love Bit, Johnathan Williams, Friends and Lovers, initialed inscriptions explained]\\n02:52- Reads “Orpheus” from Friends and Lovers\\n03:20- Introduces “Lesson I” [INDEX: Charles Olson, Ezra Pound’s Usury Cantos, Etruscan sculpture]\\n03:54- Reads “Lesson I”\\n04:30- Introduces “The Boys Whose Fathers” [INDEX: Franz Klein]\\n04:57- Reads “The Boys Whose Fathers”\\n08:31- Introduces “A Poem In Tune With Its Time” [INDEX: Cubby Selby’s Last Exit to Brooklyn]\\n08:39- Reads “A Poem In Tune With Its Time”\\n09:13- Introduces “New York Abstract Expressionist School: For Philip Guston”, published as “A Grace for Painters” [INDEX: Philip Guston, New York Abstract Expressionist school]\\n09:30- Reads “A Grace for Painters”\\n11:21- Introduces “Okay” [INDEX: Charles Olson, written in 1961, personal poems for friends]\\n12:10- Reads “Okay”\\n13:54- Introduces “The Fourth Ark Royal” [Howard Fink List “The Fourthork Royal”] [INDEX: Charles Olson, New York’s China Town. Ed Dorn, LeRoi Jones, Dylan’s Bar, Forth ArK Royal sailors, Corvette]\\n16:03- Reads “The Fourth Ark Royal” [INDEX: Stan[ley Hoffman], George [Bowering], Plains of Abraham, Quebec City, Canada Today magazine]\\n20:03- Introduces “Spring Poem”\\n21:24- Reads “Spring Poem”\\n21:39- Introduces “The Aces” [INDEX: Gil[bert] Sorrentino, Shakespeare’s “Anthony and Cleopatra”]\\n22:28- Reads “The Aces”\\n23:36- Introduces poem for J.C, first line “There are waterfalls pour straight down...”\\n23:56- Reads first line “There are waterfalls pour straight down...”\\n24:48- Introduces “La Revolucion”\\n24:51- Reads “La Revolucion”\\n25:55- Introduces “A Little Mayan Head”\\n26:23- Reads “A Little Mayan Head”\\n30:23- Introduces “N.B.” [INDEX: “Nota Bene”]\\n30:34- Reads “N.B.”\\n31:10- Introduces “Poem for New Children” [INDEX: poem for children]\\n31:14- Reads “Poem for New Children”\\n31:35- Introduces “Peire Vidal at Thirty-Two” [Howard Fink List “Pervy Dahl at 32”] [INDEX: George Bowering, Peire Vidal, Toulouse]\\n32:44- Reads “Peire Vidal at Thirty-Two”\\n33:16- Introduces “The Truck Farmer”\\n33:25- Reads “The Truck Farmer”\\n35:01- Introduces “Dutch Interior: Sewing” [INDEX: R.F. initial is his first wife]\\n35:07- Reads “Dutch Interior: Sewing”\\n35:36- Introduces “Clams on a Half-Shelf”\\n36:09- Reads “Clams on a Half-Shelf”\\n36:48- Introduces “New Blues for the Moon” [INDEX: Women’s Liberation Movement branded as insulting to women]\\n37:34- Reads “New Blues for the Moon”\\n38:10- Introduces “A Love Poem”\\n38:33- Reads “A Love Poem”\\n39:08- Introduces “Third of April”\\n39:16- Reads “Third of April”\\n39:59- Introduces “A Five Act Play”\\n40:02- Reads “A Five Act Play”\\n40:27- Introduces “Nature Boy”\\n40:41- Reads “Nature Boy”\\n41:22- Introduces “Flora”\\n41:31- Reads “Flora”\\n42:04- Introduces “Purple Flowers”\\n42:54- Reads “Purple Flowers”\\n43:29- Introduces “The Apples”\\n43:35- Reads “The Apples”\\n44:10- Introduces “When What You Dream”\\n44:45- Reads “When What You Dream”\\n51:07- Introduces “the poem” from In Time Poems\\n51:36- Reads “the poem”\\n51:45- Introduces “shooting the moon” [INDEX: Dan Rice, Li Po seducing the moon, moon imagery]\\n54:28- Reads “shooting the moon”\\n56:37- Introduces “zeus, in may, reflects on a recent letter from astarte” [Howard Fink List: Xertes] [INDEX: Times magazine picture of the moon]\\n57:53- Reads “zeus in may, reflects on a recent letter from astarte”\\n58:37- Introduces “poem in praise of perseverance” [INDEX: “dirty” poems]\\n59:05- Reads “poem in praise of perseverance”\\n59:34- Introduces “the new standard simplified american cabala for home use”\\n59:53- Reads “the new standard simplified american cabala for home use”\\n1:00:12- Introduces “the three old ladies”\\n1:00:24- Reads “the three old ladies”\\n1:01:14- Introduces “wrong again” [INDEX: reading at a college in Brooklyn]\\n1:02:11- Reads “wrong again”\\n1:03:25- END OF RECORDING\\n \\nHoward Fink List:\\nIntroduction by George Bowering\\nRecorded April 3, 1970\\npage 77\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/joel-oppenheimer-at-sgwu-1970/\"}]"],"score":1.0},{"id":"1305","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":[" David Bromige at Sir George Williams University, The Poetry Series, 6 November 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"DAVID BROMIGE recorded November 6, 1970 3.75 ips, on 1. mil tape 1/2 track\" written on sticker on the back of the tape box.\"RT 550\" written on sticker on the front of the tape box. \"DAVID BROMIGE I086-11-007\" written on the spine of the tape box. \"DAVID BROMIGE\" and \"RT 550\" also written on stickers on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Bromige, David"],"creator_names_search":["Bromige, David"],"creators":["[{\"url\":\"http://viaf.org/viaf/7436750\",\"name\":\"Bromige, David\",\"dates\":\"1933-2009\",\"notes\":\"David Bromige was born in London, England, on October 22, 1933. He spent most of his childhood in England, surviving the German blitzkrieg during World War II. Bromige then left for Canada, to pursue an undergraduate degree in English from the University of British Columbia. There he met George Bowering and the Tish group of poets, and worked as an editor for the UBC newspaper. In 1962, he graduated and was offered a scholarship to complete his Master’s Degree from the University of California at Berkeley. He completed both his M.A. (1964) and his Ph.D. (1970), when he began teaching at the Sonoma State University in 1970, a position he held until his retirement 23 years later. His first publication was The Gathering (Sumbooks, 1965), which was followed by The Ends of the Earth (Black Sparrow Press, 1968), Please, Like Me (Black Sparrow Press, 1968) and Threads (Black Sparrow Press, 1971). Bromige was involved in the San Francisco poetry renaissance of the late 1960’s and early 1970’s. He then published Birds of the West (Coach House Press, 1973), Ten Years in the Making: Selected Poems, Songs & Stories, 1961-1970 (Vancouver Community Press, 1973), Three Stories (Black Sparrow Press, 1973), Out of my Hands (Black Sparrow Press, 1974) and Tight Corners & What’s Around Them: Prose & Poems (Black Sparrow Press, 1974). Bromige has published over forty volumes of prose and poetry, including Living in Advance (Open Ready Press, 1976), My Poetry (The Figures press, 1980), Desire: Selected Poems 1963-1987 (Black Sparrow Press, 1988) which won a Western States Arts Federation award, Piccolo Mondo (Coach House Press Books, 1998) with Angela and George Bowering and Michael Matthews, As in T, As in Tether (Chax Press, 2002), Ten Poems from Clearings in the Throat (dPress, 2005) and his last collection, with Richard Denner, Spade (dPress, 2006). Bromige’s many honours include a Pushcart Prize, two fellowships from the National Endowment for the Arts and two awards from the Poetry Foundation. David Bromige died on June 3, 2009 at the age of 75.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 11 6\",\"type\":\"Performance Date\",\"notes\":\"Date referenced on the tape box. A. newspaper announcement mentioned Bromige was intended to read with Daphne Marlatt on November 13, but no other supporting evidence has been found at this time.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building\",\"notes\":\"Exact venue location unknown\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building"],"City":["Montreal, Quebec"],"content_notes":["David Bromige reads from The Gathering (Sunbooks, 1965) and The Ends of the Earth (Black Sparrow Press, 1968), as well as poems published soon after in Threads (Black Sparrow Press, 1971), and later in Ten Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973)."],"contents":["david_bromige_i086-11-007.mp3\n \nDavid Bromige\n00:00:00\n...the new book, Threads, that hasn't been published yet, and then I'm going to read some poems from the book The Ends of the Earth, that came out a couple of years ago. Add a few new poems. It's a book with poems that are not, some poems that are not, in any sense in theory, or are less important than others, but it moves from one tangle of threads to the next, so it moves in various stages or groups, but I'll read at least one poem from each group, so I think that'll make a story. This is the first poem in the book, and this is the presentation that decided me on the book. What the book, in a way, pushes against.\n \nDavid Bromige\n00:01:02\nReads \"In His Image\" [published later in Threads].\n\nDavid Bromige\n00:02:01\nReads \"After the Engraving\" [published later in Threads].\n\nDavid Bromige\n00:03:07\nAnd I got this take, this poem was printed in a magazine that George Bowering [https://www.wikidata.org/wiki/Q1239280] edits, Imago, Number 13, I think.\n \nDavid Bromige\n00:03:21\nReads \"First Love\" [published later in Threads].\n \nDavid Bromige\n00:07:08\nSee, what I was working there was both the delightful self-indulgence of being able to tell that story over to myself after so many years, but, what I had coming out in the poem before, the one about the light elves who danced the dark elves out into the light in order to petrify them, as an Anglo-Saxon, Teutonic conception, which has a lot to do with our idea of what a poem is or what a work of art is. And so then I had this matter of the one you love coming to you and enabling you to be both light and dark elf to yourself, so that the two of you...whose particular form had never been, without her, it was that cultural attachment to particular forms, also, that I was hoping to tell the story, part of the story of, again, there. Okay, here's “Psychoanalysis”.\n \nDavid Bromige\n00:08:23\nReads “Psychoanalysis” [published later in Threads].\n \nDavid Bromige\n00:08:32\nReads \"You Too\" [published later in Threads].\n \nDavid Bromige\n00:08:52\nReads \"Why I Went There\" [published later in Threads].\n \nDavid Bromige\n00:10:54\nReads \"I Can't Read, & Here's a Book\" [published later in Threads].\n \nDavid Bromige\n00:12:27\nAnd so, yeah, and then that shifts into this prose piece, \"They Want\".\n \nDavid Bromige\n00:12:33\nReads \"They Want\" [published later in Threads].\n \nDavid Bromige\n00:14:11\nThis one came out of the same meeting.\n \nDavid Bromige\n00:14:14\nReads \"I can See\" [published later in Threads].\n \nDavid Bromige\n00:14:31\nReads \"Only Fair\" [published later in Threads].\n \nDavid Bromige\n00:14:59\nReads \"Example” [published later in Threads].\n \nDavid Bromige\n00:15:11\nYeah, this would seem to be very useful here. \"Choosing the Event\". This came out of the troubles, the people's park troubles in Berkeley [https://www.wikidata.org/wiki/Q168756]. Whenever it was, I can't remember now, the year before last, I guess.\n \nDavid Bromige\n00:15:34\nReads \"Choosing the Event\" [published later in Threads].\n \nDavid Bromige\n00:17:18\nReads \"Logical Conclusions\" [published later in Threads].\n \nDavid Bromige\n00:17:47\nI still don't know who it was. I figure if I keep reading it, sooner or later someone's going to break. But it's not very likely here. \"An Invention\".\n \nDavid Bromige\n00:18:07\nReads \"An Invention\" [published later in Threads].\n \nDavid Bromige\n00:18:49\nReads \"Fond\" [published later in Threads].\n \nDavid Bromige\n00:19:45\nReads \"So\" [published later in Threads].\n \nDavid Bromige\n00:22:19\nAnd so I want to read a poem from my first book. It was written in Vancouver [https://www.wikidata.org/wiki/Q24639], of Vancouver. Well, I'm not a...particular landscapes don't often come into my poetry but here all kinds of images came in, from Hampstead Heath [https://www.wikidata.org/wiki/Q1570958], near where I spent my childhood, and also of Vancouver, and this poem also was published in TISH [https://www.wikidata.org/wiki/Q2384384], a publication from those Vancouver days.\n \nDavid Bromige\n00:22:52\nReads \"We Could Get a Drink\" from The Gathering.\n \nDavid Bromige\n00:24:57\nI'll read a few poems now from the book between--that was from a book called The Gathering. This is from The Ends of the Earth. And these, in their literal presence, these woods were the woods behind Deep Cove [https://www.wikidata.org/wiki/Q5250114], where I was living in 1964, just up from Vancouver.\n \nDavid Bromige\n00:25:24\nReads \"In Deep Woods\" from The Ends of the Earth.\n \nDavid Bromige\n00:26:17\nThis goes back to back with that, I guess. \n \nDavid Bromige\n00:26:20\nReads \"Just Think\" [from The Ends of the Earth].\n \nDavid Bromige\n00:26:57\nReads \"A Defect\" [from The Ends of the Earth].\n \nDavid Bromige\n00:27:32\nReads \"Taking Heart\" [from The Ends of the Earth].\n \nDavid Bromige\n00:28:11\nReads \"The Faster\" [from The Ends of the Earth].\n \nDavid Bromige\n00:28:45\nReads \"Why Not\" [from The Ends of the Earth].\n \nDavid Bromige\n00:29:25\nReads \"A Call\" [from The Ends of the Earth].\n \nDavid Bromige\n00:30:35\nThis is a...it's my own attempt to write a fairy story. And I just let come into it all the elements that I knew from various fairy stories, narrative tricks and devices and so forth, and tried to have my fun from them, but I didn't get away with it. They took me, even though I held off, as well as I could.\n \nDavid Bromige\n00:31:03\nReads \"A Final Mission\" [from The Ends of the Earth].\n \nAudience\n00:38:04\nApplause.\n \nDavid Bromige\n00:38:11\nThat's the closest, I guess, to a political poem I've ever written. [Audience laughter]. So I want a bit to break that mood, because I can't do anything more with that mood.\n \nDavid Bromige\n00:38:23\nReads \"A Kind Numbness\" [from The Ends of the Earth].\n \nDavid Bromige\n00:39:19\nI like that very much, that notion of the bargain by which we civilized beings live, it comes through for me very strongly there, but also, I mean when the sun gets up the flies get up, but also that you can focus on one or the other. Let's see how I'm doing for time. Okay, I'll read...I sent the manuscript of Threads off to the publisher about two months ago, and these are the poems I've written since then.\n \nDavid Bromige\n00:40:06\nReads \"Dear Night\".\n \nDavid Bromige\n00:42:29\nReads \"The Spell\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\n\nDavid Bromige\n00:44:46\nReads \"Tom Thumb: A Relation on a Measure\".\n \nDavid Bromige\n00:48:23\nReads \"A Rime\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\n \nUnknown\n00:48:26\n[Cut or edit made in tape; poem title is repeated]. \n \nDavid Bromige\n00:50:26\nReads \"From my Mother\".\n \nEND\n00:52:18\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nIn 1970, Bromige completed his Ph.D. from the University of California at Berkeley, and began teaching at Sonoma State University the same year. He was working on his book Threads which was published in 1971.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDavid Bromige completed an undergraduate degree at the University of British Columbia, where he met George Bowering (a Reading Series Committee member).\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://bromige.wordpress.com/memories-thoughts-reflections/\",\"citation\":\"Bowering, George. “Stories”. Comment made on the Remembering David website. Posted June 3, 2009. \"},{\"url\":\"https://www.worldcat.org/title/gathering-poems/oclc/869019454&referer=brief_results\",\"citation\":\"Bromige, David. The Gathering. Buffalo: Sunbooks, 1965. \\n\"},{\"url\":\"https://www.worldcat.org/title/threads/oclc/869019738&referer=brief_results\",\"citation\":\"Bromige, David. Threads. Los Angeles: Black Sparrow Press, 1971.\"},{\"url\":\"https://www.worldcat.org/title/ends-of-the-earth/oclc/869019696&referer=brief_results\",\"citation\":\"Bromige, David. The Ends of the Earth. Los Angeles: Black Sparrow Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/ten-years-in-the-making-selected-poems-songs-stories-1961-1970/oclc/496167582&referer=brief_results\",\"citation\":\"Bromige David. Ten Years in the Making: selected poems, songs & stories 1961-1970. Vancouver: Community Press, 1973. \"},{\"url\":\"http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/06/16/BAU3187NM6.DTL\",\"citation\":\"Jones, Carolyn. “Poet, teacher David Bromige dies”. The San Francisco Chronicle. B-6: June 17, 2009. \"},{\"url\":\"http://www.poetryfoundation.org/harriet/2009/06/in- memoriam-david-bromige\",\"citation\":\"Powell, D.A. “In Memoriam: David Bromige”. Harriet: a blog from the Poetry Foundation. June 10th, 2009. \"},{\"url\":\"\",\"citation\":\"“David Bromige”. Writing Canada into the Millennium: Canadian Poets Online. University of Calgary, English Department. \"}]"],"_version_":1853670548986396672,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_back.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0007_side.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0007_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"David Bromige Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/david_bromige_i086-11-007.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"david_bromige_i086-11-007.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:52:18\",\"precision\":\"\",\"size\":\"125.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"David Bromige\\n00:00:00\\n...the new book, Threads, that hasn't been published yet, and then I'm going to read some poems from the book The Ends of the Earth, that came out a couple of years ago. Add a few new poems. It's a book with poems that are not, some poems that are not, in any sense in theory, or are less important than others, but it moves from one tangle of threads to the next, so it moves in various stages or groups, but I'll read at least one poem from each group, so I think that'll make a story. This is the first poem in the book, and this is the presentation that decided me on the book. What the book, in a way, pushes against.\\n \\nDavid Bromige\\n00:01:02\\nReads \\\"In His Image\\\" [published later in Threads].\\n\\nDavid Bromige\\n00:02:01\\nReads \\\"After the Engraving\\\" [published later in Threads].\\n\\nDavid Bromige\\n00:03:07\\nAnd I got this take, this poem was printed in a magazine that George Bowering [https://www.wikidata.org/wiki/Q1239280] edits, Imago, Number 13, I think.\\n \\nDavid Bromige\\n00:03:21\\nReads \\\"First Love\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:07:08\\nSee, what I was working there was both the delightful self-indulgence of being able to tell that story over to myself after so many years, but, what I had coming out in the poem before, the one about the light elves who danced the dark elves out into the light in order to petrify them, as an Anglo-Saxon, Teutonic conception, which has a lot to do with our idea of what a poem is or what a work of art is. And so then I had this matter of the one you love coming to you and enabling you to be both light and dark elf to yourself, so that the two of you...whose particular form had never been, without her, it was that cultural attachment to particular forms, also, that I was hoping to tell the story, part of the story of, again, there. Okay, here's “Psychoanalysis”.\\n \\nDavid Bromige\\n00:08:23\\nReads “Psychoanalysis” [published later in Threads].\\n \\nDavid Bromige\\n00:08:32\\nReads \\\"You Too\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:08:52\\nReads \\\"Why I Went There\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:10:54\\nReads \\\"I Can't Read, & Here's a Book\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:12:27\\nAnd so, yeah, and then that shifts into this prose piece, \\\"They Want\\\".\\n \\nDavid Bromige\\n00:12:33\\nReads \\\"They Want\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:14:11\\nThis one came out of the same meeting.\\n \\nDavid Bromige\\n00:14:14\\nReads \\\"I can See\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:14:31\\nReads \\\"Only Fair\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:14:59\\nReads \\\"Example” [published later in Threads].\\n \\nDavid Bromige\\n00:15:11\\nYeah, this would seem to be very useful here. \\\"Choosing the Event\\\". This came out of the troubles, the people's park troubles in Berkeley [https://www.wikidata.org/wiki/Q168756]. Whenever it was, I can't remember now, the year before last, I guess.\\n \\nDavid Bromige\\n00:15:34\\nReads \\\"Choosing the Event\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:17:18\\nReads \\\"Logical Conclusions\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:17:47\\nI still don't know who it was. I figure if I keep reading it, sooner or later someone's going to break. But it's not very likely here. \\\"An Invention\\\".\\n \\nDavid Bromige\\n00:18:07\\nReads \\\"An Invention\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:18:49\\nReads \\\"Fond\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:19:45\\nReads \\\"So\\\" [published later in Threads].\\n \\nDavid Bromige\\n00:22:19\\nAnd so I want to read a poem from my first book. It was written in Vancouver [https://www.wikidata.org/wiki/Q24639], of Vancouver. Well, I'm not a...particular landscapes don't often come into my poetry but here all kinds of images came in, from Hampstead Heath [https://www.wikidata.org/wiki/Q1570958], near where I spent my childhood, and also of Vancouver, and this poem also was published in TISH [https://www.wikidata.org/wiki/Q2384384], a publication from those Vancouver days.\\n \\nDavid Bromige\\n00:22:52\\nReads \\\"We Could Get a Drink\\\" from The Gathering.\\n \\nDavid Bromige\\n00:24:57\\nI'll read a few poems now from the book between--that was from a book called The Gathering. This is from The Ends of the Earth. And these, in their literal presence, these woods were the woods behind Deep Cove [https://www.wikidata.org/wiki/Q5250114], where I was living in 1964, just up from Vancouver.\\n \\nDavid Bromige\\n00:25:24\\nReads \\\"In Deep Woods\\\" from The Ends of the Earth.\\n \\nDavid Bromige\\n00:26:17\\nThis goes back to back with that, I guess. \\n \\nDavid Bromige\\n00:26:20\\nReads \\\"Just Think\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:26:57\\nReads \\\"A Defect\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:27:32\\nReads \\\"Taking Heart\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:28:11\\nReads \\\"The Faster\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:28:45\\nReads \\\"Why Not\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:29:25\\nReads \\\"A Call\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:30:35\\nThis is a...it's my own attempt to write a fairy story. And I just let come into it all the elements that I knew from various fairy stories, narrative tricks and devices and so forth, and tried to have my fun from them, but I didn't get away with it. They took me, even though I held off, as well as I could.\\n \\nDavid Bromige\\n00:31:03\\nReads \\\"A Final Mission\\\" [from The Ends of the Earth].\\n \\nAudience\\n00:38:04\\nApplause.\\n \\nDavid Bromige\\n00:38:11\\nThat's the closest, I guess, to a political poem I've ever written. [Audience laughter]. So I want a bit to break that mood, because I can't do anything more with that mood.\\n \\nDavid Bromige\\n00:38:23\\nReads \\\"A Kind Numbness\\\" [from The Ends of the Earth].\\n \\nDavid Bromige\\n00:39:19\\nI like that very much, that notion of the bargain by which we civilized beings live, it comes through for me very strongly there, but also, I mean when the sun gets up the flies get up, but also that you can focus on one or the other. Let's see how I'm doing for time. Okay, I'll read...I sent the manuscript of Threads off to the publisher about two months ago, and these are the poems I've written since then.\\n \\nDavid Bromige\\n00:40:06\\nReads \\\"Dear Night\\\".\\n \\nDavid Bromige\\n00:42:29\\nReads \\\"The Spell\\\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\\n\\nDavid Bromige\\n00:44:46\\nReads \\\"Tom Thumb: A Relation on a Measure\\\".\\n \\nDavid Bromige\\n00:48:23\\nReads \\\"A Rime\\\" [published later in Ten Years in the Making: selected poems, songs & stories 1961-1970].\\n \\nUnknown\\n00:48:26\\n[Cut or edit made in tape; poem title is repeated]. \\n \\nDavid Bromige\\n00:50:26\\nReads \\\"From my Mother\\\".\\n \\nEND\\n00:52:18\\n\",\"notes\":\"David Bromige reads from The Gathering (Sunbooks, 1965) and The Ends of the Earth (Black Sparrow Press, 1968), as well as poems published soon after in Threads (Black Sparrow Press, 1971), and later in Ten Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973).\\n\\n00:00- Recording starts mid-sentence, David Bromige introduces reading and “In His Image”. [INDEX: Threads, The Ends of the Earth, new poems, reading as a story, first poem in the book, presentation; from Threads (Black Sparrow Press, 1971).]\\n01:02- Reads “In His Image”. [INDEX: death, grave, sight, sky, camera, eye, voice, water]\\n02:01- Reads “After the Engraving, for Tom Clark. [INDEX: chisel, love, evil, luck, fortune, sculpture, craft, amulet, sky, stone; from Threads (Black Sparrow Press, 1971).]\\n03:07- Introduces “First Love”. [INDEX: printed in George Bowering’s Imago number 13; from Threads (Black Sparrow Press, 1971).]\\n03:21- Reads “First Love”. [INDEX: couple, unity, work, city, anger, fortune, north, village, love, joy, grandparents, wave, sea, sex, music, dance, boat, Chicago, parting, loss, kiss.]\\n07:08- Explains “First Love”, introduces “Psychoanalysis”. [INDEX: self-indulgence, telling story, light elves, dark elves, Anglo-Saxon, Teutonic, idea of what a poem or work of art is, love, cultural attachment to particular forms, psychoanalysis; from Threads (Black Sparrow Press, 1971).]\\n08:23- Reads “Psychoanalysis”. [INDEX: sex, word, psychoanalysis, memory.]\\n08:32- Reads “You Too”. [INDEX: orders, will, uniform; from Threads (Black Sparrow Press, 1971).]\\n08:52- Reads “Why I Went There”. [INDEX: knowledge, travel, audience, memory, Barry, editor, party, night, meeting, love, son, job, resentment, heavy, alone, nightmare; from Threads (Black Sparrow Press, 1971)]\\n10:54- Reads “I Can’t Read & Here’s a Book” [INDEX: boy, son, book, reading, Hans Christian Anderson, fairy tale, alone, solitude, brain; from Threads (Black Sparrow Press, 1971).]\\n12:27- Introduces “They Want”. [INDEX:prose piece; from Threads (Black Sparrow Press, 1971).]\\n12:33- Reads “They Want” [INDEX: identity, student, faculty, meeting, form, evaluation, pain, necessity, structure, rhyme.]\\n14:11- Introduces “I Can See”. [INDEX: poem from same meeting as “They Want”; from Threads (Black Sparrow Press, 1971)]\\n14:14- Reads “I Can See”. [INDEX: argument, meeting, intelligence]\\n14:31- Reads “Only Fair”. [INDEX: money, justice, banana; from Threads (Black Sparrow Press, 1971)]\\n14:59- Reads “Example”. [INDEX: competition; from Threads (Black Sparrow Press, 1971).]\\n15:11- Introduces “Choosing the Event”. [INDEX: people’s ‘park troubles’ in Berkeley; from Threads (Black Sparrow Press, 1971).]\\n15:34- Reads “Choosing the Event”. [INDEX: loss, luck, D-Day, suffering, forgetting, memory, feeling, interpreter, speaking, freedom, San Fernando, death.]\\n17:18- Reads “Logical Conclusions”. [INDEX: friend, meeting, couple, door, welcome, trust; from Threads (Black Sparrow Press, 1971)]\\n17:47- Explains “Logical Conclusions”. [INDEX: figuring out who the subject of the poem is.]\\n18:07- Reads “An Invention”. [INDEX: moon, zodiac, Virgo, date, birth, fate, accident, determination, dread, sign; from Threads (Black Sparrow Press, 1971)] \\n18:49- Reads “Fond”. [INDEX: love, failure, couple, sleep, night, kitchen, house; from Threads (Black Sparrow Press, 1971)]\\n19:45- Reads “So”. [INDEX: animal, kitten, eye, sight, vowel, consonant, language, word, loss, mistake, voice, iamb, writing, happiness, lust, joy, death, misery, resentment, cat; from Threads (Black Sparrow Press, 1971).]\\n22:19- Introduces “We Could Get a Drink”. [INDEX: first book, written in Vancouver, about Vancouver, Hampstead Heath, childhood, published in Tish from; The Gathering \\t(Sunbooks, 1965).]\\n22:52- Reads “We Could Get a Drink”. [INDEX: sun, memory, remembrance, Hampstead Heath, morning, tree, couple, love, Vancouver, place, shadow, camera, girl, starve, news, soldier, bomb, birch, drink.]\\n24: 57- Introduces “In Deep Woods”. [INDEX: previous poems from The Gathering, latter poems from The Ends of the Earth, literal presence, Deep Cove, 1964, living in Vancouver; from The Ends of the Earth (Black Sparrow Press, 1968).]\\n25:24- Reads “In Deep Woods”. [INDEX: place, Vancouver, Deep Cove, fish, salmon, bear, house, forest, animal.]\\n26:17- Introduces “Just Think”. [INDEX: from The Ends of the Earth (Black Sparrow Press, 1968).]\\n26:20- Reads “Just Think”. [INDEX: reality, hypothesis, family, children, theatre]\\n26:57- Reads \\\"A Defect\\\". [INDEX: doctor, defect, body, boy, meaning; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n27:32- Reads \\\"Taking Heart\\\" [INDEX: mouth, trust, doubt, body, ocean, love, couple, loss, lake, river; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n28:11- Reads \\\"The Faster\\\" [INDEX: night, time, play, statue, studio, representation; from The Ends of the Earth (Black Sparrow Press, 1968).]\\n28:45- Reads \\\"Why Not\\\" [INDEX: hypothetical, clothes, reflection, wind, dawn, window, sky, sun; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n29:25- Reads “A Call”. [INDEX: city, door, solitude, alone, street, sleep, room, silence, sight, mouth; from The Ends of the Earth (Black Sparrow Press, 1968)]\\n30:35- Introduces “A Final Mission”. [INDEX: fairy story, elements of fairy stories, narrative tricks and devices, fun; from The Ends of the Earth (Black Sparrow Press, 1968).] \\n31:03- Reads “A Final Mission”. [INDEX: forest, place, fairy tale, wood, ownership, travel, friend, story, woman, naked, home, tree, listening, master, flower, nature, bridge, water, music, heart, sleep, dream, couple, semen, sex, flight, sight, body, star.]\\n38:11- Talks about mood of the reading. [INDEX: political poem, mood of reading and poems.]\\n38:23- Reads “A Kind Numbness”. [INDEX: morning, sleep, cold, animal, horse, skin, fly, sun; from The Ends of the Earth (Black Sparrow Press, 1968).]\\n39:19- Explains “A Kind Numbness”, introduces new poems. [INDEX: bargain, civilization, sun, flies, manuscript of Threads sent off two months previous, poems written since then.]\\n40:06- Reads “Dear Night”. [INDEX: night, window, reflection, village, story, alone, woman, city, body, perception, praise, fate, figure of speech, language, absence, lover, love, blindness, shame, drinking, song; unknown source.]\\n42:29- Reads “The Spell”. [INDEX: dark, danger, light, beauty, safety, pun, antonym, city, man, time, story, stone, word, gem, light; published later in Ten Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973).]\\n44:46- Reads “Tom Thumb: a Relation on a Measure”. [INDEX: fairy tale, Tom Thumb, size, invisible, sight, child, soul, unique, island, Scotland, friend, betrayal, measure, memory, remembrance, house; unknown source.]\\n48: 23- Reads “A Rime”. [INDEX: nature, animal, bird, Great Horned Owl, sound, sight, night, book, knowledge, voice, morning, silence, house, fire, cold; published later in Ten Years in the Making: selected poems, songs & stories 1961-1970 (Vancouver Community Press, 1973)]\\n48:26- Cut/Edit in tape; Bromige reading poem's title is repeated. \\n50:26- Reads “From My Mother”. [INDEX: youth, mother, child, travel, father, home, wife, town, Pacific, Montreal, plane, meadow, St. Albans, education, woman, death; unknown source.]\\n52:18.07- RECORDING ENDS.\\n\\nTitle:\\nSource:\\nDate: Recorded November 6, 1970\\n \\n1. In His Image\\n2. After the Engraving: For Tom Clark\\n3. First Love\\n4. Psychoanalysis\\n5. You Too\\n6. Why I Went There\\n7. I Can’t Read and Here’s A Book\\n8. They Want\\n9. I Can See\\n10. Only Fair\\n11. Example\\n12. Choosing the Event\\n13. Logical Conclusions\\n14. An Invention\\n15. Fond\\n16. So\\n17. We Could Get A Drink\\n18. In Deep Woods\\n19. Just Think\\n20. A Defect\\n21. Taking Heart\\n22. The Faster\\n23. Why Not?\\n24. The Call\\n25. A Final Mission\\n26. A Kind Numbness\\n27. Dear Night\\n28. The Spell\\n29. Tom Thumb\\n30. A Rhyme\\n31. From My Mother\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/david-bromige-at-sgwu-1970/\"}]"],"score":1.0},{"id":"7995","cataloger_name":["Frances Grace,Fyfe"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Ian Ferrier fonds"],"source_collection_label":["Ian Ferrier fonds"],"collection_contributing_unit":["Ian Ferrier"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Bill Bissett at Sir George Williams University 1979"],"item_title_source":["Cataloguer"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Miscellaneous"],"item_identifiers":["[]"],"creators":["[]"],"contributors_names":["Bissett, Bill"],"contributors_names_search":["Bissett, Bill"],"contributors":["[{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Bissett, Bill"],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Maxell\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"A\",\"image\":\"Uploads/7995/Ferrier_F085_SW7995_cassette (1).png\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Maxell\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette","Cassette"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"48kHz\",\"duration\":\"00:31:36\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"A side\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"48kHz\",\"duration\":\"00:09:40\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/#map=17/45.49517/-73.57918\",\"venue\":\"Sir George Williams University\",\"notes\":\"\",\"address\":\"Montreal, Quebec, Canada\",\"latitude\":\"45.49517\",\"longitude\":\"-73.57918\"}]"],"Address":["Montreal, Quebec, Canada"],"Venue":["Sir George Williams University"],"City":["Montreal, Quebec"],"contents":["Bill Bissett sing/talks over percussive music. Very difficult to discern."],"Note":["[]"],"Related_works":["[]"],"_version_":1853670549341863938,"timestamp":"2026-01-07T14:59:53.966Z","score":1.0},{"id":"4040","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Frank Davey fonds"],"source_collection_label":["Frank Davey fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2014.002"],"persistent_url":[""],"item_title":["DAVEY - Tape 4"],"item_title_source":["Title written on box."],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Davey, Frank","Bowering, George"],"creator_names_search":["Davey, Frank","Bowering, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/5029235\",\"name\":\"Davey, Frank\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"Speaker unconfirmed.\",\"nation\":[],\"role\":[\"Interviewer\",\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/2361/UBCO_Davey_2014_002_007_a.jpg\",\"other\":\"5 inch reel. Holds 900 ft. Reel is full.\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Charter Magnetic Tape\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"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"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2014.002.007_Davey_Tape_4_SideA_1-4_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:11:52\",\"precision\":\"\",\"size\":\"196 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A track 1-4\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2014.002.007_Davey_Tape_4_SideA_3-2_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:47:25\",\"precision\":\"\",\"size\":\"785 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A track 3-2\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2014.002.007_Davey_Tape_4_SideB_3-2_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:47:16\",\"precision\":\"\",\"size\":\"783 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B track 3-2\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970\",\"type\":\"Performance Date\",\"notes\":\"Date unconfirmed, but probably recorded circa 1970. Date based on year Weeds was published.\",\"source\":\"Secondary research.\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["Contents entry temporary."],"contents":["Tape consists of [George Bowering?] interviewing Frank Davey about his recently published work Weeds."],"Note":["[{\"note\":\"Item #: 2014.002.007\",\"type\":\"General\"},{\"note\":\"Digitization complete.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Davey, Frank. Weeds. Coach House Press, 1970.\"}]"],"_version_":1853670549990932481,"timestamp":"2026-01-07T14:59:54.597Z","score":1.0},{"id":"4045","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Frank Davey fonds"],"source_collection_label":["Frank Davey fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2014.002"],"persistent_url":[""],"item_title":["Frank Davey"],"item_title_source":["Title written on cassette."],"item_title_note":["Side A reads: Frank Davey.\n\nSide B: Blank"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Davey, Frank"],"creator_names_search":["Davey, Frank"],"creators":["[{\"url\":\"http://viaf.org/viaf/5029235\",\"name\":\"Davey, Frank\",\"dates\":\"1940-\",\"notes\":\"Interviewee.\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"A\",\"image\":\"../Uploads/2366/UBCO_Davey_2014_002_014_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Sony Low Noise C60\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2014.002.014_FRANK_DAVEY_SideA_(MA)\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:32:23\",\"precision\":\"\",\"size\":\"1.13 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-07-20\",\"type\":\"Performance Date\",\"notes\":\"Exact date of interview is unconfirmed. Frank Davey recalls interview taking place around July 20, 1975, or perhaps one or two days later.\",\"source\":\"Correspondence with Frank Davey\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/9476864\",\"venue\":\"\",\"notes\":\"Frank Davey unsure if interview took place in Inuvik or Yellowknife.\",\"address\":\"Inuvik, Northwest Territories, Canada\",\"latitude\":\"68.3602632\",\"longitude\":\"-133.7203869\"},{\"url\":\"https://www.openstreetmap.org/relation/9476822\",\"venue\":\"\",\"notes\":\"Frank Davey unsure if interview took place in Inuvik or Yellowknife.\",\"address\":\"Yellowknife, Northwest Territories, Canada\",\"latitude\":\"62.4540807\",\"longitude\":\"-114.3773850\"}]"],"Address":["Inuvik, Northwest Territories, Canada","Yellowknife, Northwest Territories, Canada"],"content_notes":["Contents entry temporary. To be time stamped and transcribed."],"contents":["Frank Davey reading from \"The King of Pentacles\" and discussing the poem with an unidentified interviewer on an unidentified radio program."],"Note":["[{\"note\":\"Digitization complete. Transcription complete.\",\"type\":\"General\"},{\"note\":\"Item #: 2014.002.014\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"http://www.jstor.org/stable/302053\",\"citation\":\"Davey, Frank. \\\"The King of Pentacles.\\\" boundary 2, vol. 1, no. 1, 1972, p. 77.\\n\"}]"],"_version_":1853670549993029634,"timestamp":"2026-01-07T14:59:54.597Z","score":1.0},{"id":"4046","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Frank Davey fonds"],"source_collection_label":["Frank Davey fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2014.002"],"persistent_url":[""],"item_title":["Victor Coleman, interviewed by Judy Fitzgerald, Jan 31, 1977"],"item_title_source":["Title written on cassette."],"item_title_note":["Side A reads: Victor Coleman, interviewed by Judy Fitzgerald, Jan 31, 1977\n\nSide B reads: Victor Coleman interview."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Coleman, Victor","Fitzgerald, Judy"],"creator_names_search":["Coleman, Victor","Fitzgerald, Judy"],"creators":["[{\"url\":\"http://viaf.org/viaf/38160442\",\"name\":\"Coleman, Victor\",\"dates\":\"1944-\",\"notes\":\"Interviewee.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Fitzgerald, Judy\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors":["[]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/2367/UBCO_Davey_2014_002_016_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch Brand ACV 60\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"30 min each side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2014.002.016_Victor_Coleman_interviewed_by_Judy Fitzgerald_Jan_31_1977_SideA_(MA)\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:31:37\",\"precision\":\"\",\"size\":\"1.1 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2014.002.016_Victor_Coleman_interview_SideB_(MA)\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:12:46\",\"precision\":\"\",\"size\":\"443.8 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-01-31\",\"type\":\"Performance Date\",\"notes\":\"Date the interview was recorded.\",\"source\":\"Date listed on artifact.\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["Contents entry temporary. To be time stamped and transcribed."],"contents":["Victor Coleman interviewed by Judy Fitzgerald. Coleman reads from poem \"Disengagement Ritual,\" which he wrote in Brandon, Manitoba, and Calgary, Alberta. 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includes recordings of Ed Dorn reading \"Gunslinger\" in Vancouver, July 29, 30, 31, 1971 and \"Day Report\" July 29, 1971; Jeremy Prynne reading in Vancouver July 30 and August 1, 1971."],"Note":["[{\"note\":\"Tape 34 in Fred Wah's catalogue.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Dorn, Ed. \\\"Gunslinger.\\\" 1968.\"},{\"url\":\"\",\"citation\":\"Dorn, Ed. \\\"Day Report.\\\" 1971.\"}]"],"_version_":1853670550011904003,"timestamp":"2026-01-07T14:59:54.597Z","score":1.0},{"id":"4091","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Fred Wah fonds"],"source_collection_label":["Fred Wah fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2022.003"],"persistent_url":[""],"item_title":["36. Butterick/Glover in Vancouver"],"item_title_source":["Title taken from Fred Wah's catalogue"],"item_title_note":["Title on box: 36.\n\nSide A title: n/a\n\nSide B title: n/a\n\nFront of box: \nFred Wah\nDepartment of English\nSelkirk College\nCastlegar, B.C.\n\nBack of box: n/a\n\nAccompanying information: 1 piece of paper from Simon Fraser University Library and Audio Centre with timestamps of contents.\nReel No: 832-3. Speed: 3 3/4\nTrack 1. Date: 10.11.70. Time 59. Title: Charles Olson. The Entailment. Artist: George Butterick, Wilson College, Chambersburg, Pennsylvania. Introduced by Ralph Maud. \nTrack 2. Time: 61 - Concl.\nTrack 3. Date. Time: 59. Title: The Crow of Odin. Artist: Albert Glover. St. Lawrence University, Canton, N.Y., Introduced by Ralph Maud.\nTrack 4. Time: 29. 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Albert Glover lecture \"The Crow of Odin\" at St. Lawrence University in Canton, New York, introduced by Ralph Maud."],"Note":["[{\"note\":\"Tape 36 in Fred Wah's catalogue.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550012952577,"timestamp":"2026-01-07T14:59:54.597Z","score":1.0},{"id":"4092","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Fred Wah fonds"],"source_collection_label":["Fred Wah fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2022.003"],"persistent_url":[""],"item_title":["37. Wah in Vancouver"],"item_title_source":["Title taken from Fred Wah's catalogue"],"item_title_note":["Title on box: 37.\n\nSide A title: n/a\n\nSide B title: n/a\n\nBack of box: n/a\n\nAccompanying information: 1 piece of paper with timestamps of contents. See images.\nReel No. 834. 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Track 3/2 blank.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-11-13\",\"type\":\"Performance Date\",\"notes\":\"Date of Fred Wah lecture.\",\"source\":\"Date listed on accompanying material.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/989685880\",\"venue\":\"Selkirk Junior College\",\"notes\":\"Location of Fred Wah's lecture.\",\"address\":\"Castlegar, B.C., Canada\",\"latitude\":\"49.30721645\",\"longitude\":\"-117.64729878578993\"}]"],"Address":["Castlegar, B.C., Canada"],"Venue":["Selkirk Junior College"],"City":["Castlegar, British Columbia"],"contents":["Recording of Fred Wah lecture \"The Poets Who Are Here\" as introduced by Ralph Maud, and recorded at Selkirk Junior College, Castlegar, B.C., November 13, 1970."],"Note":["[{\"note\":\"Tape 37 in Fred Wah's catalogue.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550014001152,"timestamp":"2026-01-07T14:59:54.597Z","score":1.0},{"id":"4096","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Fred Wah fonds"],"source_collection_label":["Fred Wah fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2022.003"],"persistent_url":[""],"item_title":["41. Wah Malaspina"],"item_title_source":["Title written on box."],"item_title_note":["Title on box: 41. Wah Malaspina\n\nSide A title: n/a\n\nSide B title: n/a\n\nBack of box: Wah Malaspina. 31.\n\nAccompanying information: 1 program. See image.\nMalaspina College and The Canada Council present FRED WAH Thursday, February 3, 1972, Room 108 8:00 P.M.\nFred Wah was born in Swift Current, Saskatchewan, and at an early age moved to the Kootenays. He attended UBC where he was one of the editors of a poetry newsletter, Tish, and later edited a poetry newsletter, Sum, at the University of New Mexico. He later attended the State University of New York at Buffalo where he was one of the editors of a poetry journal, Magazine of Further Studies. Since 1967, he has been teaching at Selkirk College in Castlegar. His immediate concerns are with an experimental first-year university program which he coordinates (Arts I), and also to map, in poems, the geography of the land which has played such a prominent part in his life. Fred has had two volumes of poetry published - Lardeau, in 1965, and Mountain, in 1967. 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Rest of tracks on this reel are BLANK.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972-02-03\",\"type\":\"Performance Date\",\"notes\":\"Date of Fred Wah's reading at Malaspina College. 8:00pm.\",\"source\":\"Date listed on box.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/200091020\",\"venue\":\"Malaspina College (now Vancouver Island University)\",\"notes\":\"Room 108.\",\"address\":\"900 Fifth St, Nanaimo, B.C., Canada\",\"latitude\":\"49.1578851\",\"longitude\":\"-123.96564208745957\"}]"],"Address":["900 Fifth St, Nanaimo, B.C., Canada"],"Venue":["Malaspina College (now Vancouver Island University)"],"City":["Nanaimo, British Columbia"],"contents":["Recording of Fred Wah reading at Masapina College (now Vancouver Island University), as sponsored by the Canada Council, on February 3, 1972, Room 108, at 8:00pm."],"Note":["[{\"note\":\"Tape 41 in Fred Wah's catalogue.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550014001156,"timestamp":"2026-01-07T14:59:54.597Z","score":1.0},{"id":"4097","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Fred Wah fonds"],"source_collection_label":["Fred Wah fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2022.003"],"persistent_url":[""],"item_title":["42. Blaser / 73 / last\nBlaser South Slocan"],"item_title_source":["Title taken from box and Fred Wah's catalogue"],"item_title_note":["Title on box: Blaser / 73 / last\n\nSide A title: n/a\n\nSide B title: n/a\n\nBack of box: [crossed out] Dylan - Nashville Stay Line\nBlaser - 1A 2A 1B - 0-25\n32. March 73\n\nAccompanying information: n/a"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11063/2022.003.042a-Resize.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Award Fidelity Sound polyester base magnetic recording tape\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"4 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"None\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11063/2022.003.042b-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11063/2022.003.042c-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11063/2022.003.042d-Resize.jpg\",\"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\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.042/audio\",\"filename\":\"2022.003.042_42. Blaser / 73 / last Blaser South Slocan_Side 1_1-4_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T01:53:59\",\"precision\":\"\",\"size\":\"3.94 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.042/audio\",\"filename\":\"2022.003.042_42. 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Requires speed edit.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.061/audio\",\"filename\":\"2022.003.061_16. Duncan Romeo & Juliet_Side 2_3-2_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:36:57\",\"precision\":\"\",\"size\":\"1.28 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Track 2, side 3/2 of reel-to-reel recording. Requires speed edit. Possible bleed through from other side of the machine.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.061/audio\",\"filename\":\"2022.003.061_16. 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Requires speed edit.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972-02-29\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on tape.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/989685880\",\"venue\":\"Selkirk College\",\"notes\":\"\",\"address\":\"Castlegar, B.C., Canada\",\"latitude\":\"49.30721645\",\"longitude\":\"-117.6472988\"}]"],"Address":["Castlegar, B.C., Canada"],"Venue":["Selkirk College"],"City":["Castlegar, British Columbia"],"contents":["Recording of Robert Duncan at Selkirk College, February 29, 1972. 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David\n\nAccompanying Information: n/a"],"item_language":["English"],"item_production_context":["Broadcast"],"item_series_title":["7 inch reels"],"item_subseries_title":["Radio Recordings of Fred Wah"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Wah, Fred"],"creator_names_search":["Wah, Fred"],"creators":["[{\"url\":\"http://viaf.org/viaf/1330211\",\"name\":\"Wah, Fred\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11210/2022.003.064a-Resize.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Modern Series in Foreign Languages: The Bruce Publishing Company\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"None\",\"other_physical_description\":\"7 inch reels\"},{\"side\":\"\",\"image\":\"../Uploads/11210/2022.003.064b-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11210/2022.003.064c-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11210/2022.003.064d-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11210/2022.003.064e-Resize.jpg\",\"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\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.064/audio\",\"filename\":\"2022.003.064_Wah at New Hampshire March 74_Side 1_1-4_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:39:44\",\"precision\":\"\",\"size\":\"1.37 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Track 1, side 1/4 of reel-to-reel recording. Rest of tape is blank.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-03-26\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on tape.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/67213\",\"venue\":\"\",\"notes\":\"\",\"address\":\"New Hampshire, USA\",\"latitude\":\"43.4849133\",\"longitude\":\"-71.6553992\"}]"],"Address":["New Hampshire, USA"],"contents":["Recording of Fred Wah on New Hampshire radio program, March 26, 1974."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670550023438336,"timestamp":"2026-01-07T14:59:54.597Z","score":1.0},{"id":"4125","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Fred Wah fonds"],"source_collection_label":["Fred Wah fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2022.003"],"persistent_url":[""],"item_title":["Matt Cohen Jan 22/76 Selkirk"],"item_title_source":["Title based on back of box"],"item_title_note":["Title on box: n/a\n\nSide A: Unmixed Master\n\nSide B: n/a\n\nBack of box: \n1A - Matt Cohen Jan 22/76 Selkirk\n0-390\n\n[Crossed out] Unmixed Master music + voice\n\nAccompanying information: n/a"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["7 inch reels"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Cohen, Matt"],"creator_names_search":["Cohen, Matt"],"creators":["[{\"url\":\"http://viaf.org/viaf/49233359\",\"name\":\"Cohen, Matt\",\"dates\":\"1942-1999\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11268/2022.003.070a-Resize.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex Collector's Library Magnetic Recording Tape 941\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"None\",\"other_physical_description\":\"7 inch reels\"},{\"side\":\"\",\"image\":\"../Uploads/11268/2022.003.070b-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11268/2022.003.070c-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11268/2022.003.070d-Resize.jpg\",\"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\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.070/audio\",\"filename\":\"2022.003.070_Matt Cohen at Selkirk, January 22, 1976_Side 2_1-4_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:40:35\",\"precision\":\"\",\"size\":\"1.4 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.070/audio\",\"filename\":\"2022.003.070_Matt Cohen at Selkirk, January 22, 1976_Side 2_3-2_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:19:16\",\"precision\":\"\",\"size\":\"666 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.070/audio\",\"filename\":\"2022.003.070_Blank_Ghost in the machine_side 2_1-4_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:05:01\",\"precision\":\"\",\"size\":\"173.2 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"Interesting sounds from reel, probable bleed-through from other side. This side of the tape is does not have any actual recordings on it - I kept it for possible use in audio remediations in the future.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-01-22\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on box.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/989685880\",\"venue\":\"Selkirk College\",\"notes\":\"\",\"address\":\"Castlegar, B.C., Canada\",\"latitude\":\"49.30721645\",\"longitude\":\"-117.6472988\"}]"],"Address":["Castlegar, B.C., Canada"],"Venue":["Selkirk College"],"City":["Castlegar, British Columbia"],"contents":["Recording of Matt Cohen at Selkirk College, January 22, 1976."],"Note":["[]"],"Related_works":["[]"],"_version_":1853670550203793408,"timestamp":"2026-01-07T14:59:54.808Z","score":1.0},{"id":"4126","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of 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Card:] Fred forgot Mgt Avison + Robert Duncan Readings Aug 7 + ?"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["7 inch reels"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Gyseman, Douglas J.","Wah, Fred","Fawcett, Brian","Blaser, Robin","Kearns, Lionel","Marlatt, Daphne","Bowering, George","Miki, Roy","Tallman, Warren"],"creator_names_search":["Gyseman, Douglas J.","Wah, Fred","Fawcett, Brian","Blaser, Robin","Kearns, Lionel","Marlatt, Daphne","Bowering, George","Miki, Roy","Tallman, Warren"],"creators":["[{\"url\":\"\",\"name\":\"Gyseman, Douglas J.\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/1330211\",\"name\":\"Wah, Fred\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/53146998512318941903\",\"name\":\"Fawcett, 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Aug '73\n\n[Crossed out] [Illegible]\nPoetry\nSide 1\nPoetry #2\nAllen Ginsberg and Lawrence Ferlinghetti from the NET film\nThe Plum ??\nSide 2\nPoetry #4\nPhilip Whalen and Gary Snyder\nFrom the NET film\nRecorded on Ampex A.V. 770 tape recorder #1 Jan 22/69. 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Starts 20 minutes into tape.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.085/audio\",\"filename\":\"2022.003.085_Creeley, Kyger, Dorn // S.F. Aug '73_Side 2_1-4.wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:30:03\",\"precision\":\"\",\"size\":\"1.04 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Track 3/2 of this side is blank. 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He also is heard talking with Thea in the recording.\",\"nation\":[],\"role\":[\"Recordist\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/49240132\",\"name\":\"Dudek, Louis\",\"dates\":\"1918-2001\",\"notes\":\"Interviewee.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/93542147\",\"name\":\"Bowering, Angela\",\"dates\":\"\",\"notes\":\"Angela Bowering is heard talking with Thea Bowering on Side A. \\n\\nAngela Bowering (unconfirmed) interviews Louis Dudek on Side B.\",\"nation\":[],\"role\":[\"Speaker\",\"Interviewer\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/1113/UBCO_Bowering_2019_003_004_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Sanyo Compact Cassette\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"30 min each side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2019.003.004_Thea_JAN_FEB_1973,_SideA_(MASTER_ACCESS).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:16:29\",\"precision\":\"\",\"size\":\"572.7 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2019.003.004_Dudek,_SideB\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:16:13\",\"precision\":\"\",\"size\":\"563.3 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-01\",\"type\":\"Performance Date\",\"notes\":\"Side A. Recording of Thea Bowering.\",\"source\":\"Date listed on artifact.\"},{\"date\":\"1970\",\"type\":\"Performance Date\",\"notes\":\"Side B. Louis Dudek mentions the year of the recording as 1970.\",\"source\":\"Date announced in recording\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["Contents entry temporary. To be time stamped and transcribed."],"contents":["Side A consists of short clips of home recordings of a two-year-old Thea Bowering talking with George and Angela Bowering. Recorded between January and February 1973.\n\nSide B consists of a home recorded interview of Louis Dudek, perhaps by Angela Bowering in 1970 in Montreal."],"Note":["[{\"note\":\"Digitization complete. Transcription complete.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550212182018,"timestamp":"2026-01-07T14:59:54.808Z","score":1.0},{"id":"4161","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["George Bowering fonds"],"source_collection_label":["George Bowering fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2019.003"],"persistent_url":[""],"item_title":["1. Baby Thea 2. Mtl US Moon Shot - Warren + Kiyooka"],"item_title_source":["Title on front of box and content of tape."],"item_title_note":["Side A title: Baby Thea 1 week to 5 months\n\nSide B title: Warren, Roy, Moon, etc.\n\nTitle on case: Written on case:\n1. Baby Thea\n2. Mtl. 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To be time stamped and transcribed."],"contents":["Side A: Tape consists of recording by George Bowering of daughter Thea Bowering age 1 week to 5 months.\n\nSide B: Tape consists of George Bowering, Angela Bowering, Roy Kiyooka, and Warren Tallman listening to the televised broadcast of the Apollo 11 moon landing and chatting."],"Note":["[{\"note\":\"Digitization complete.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550212182020,"timestamp":"2026-01-07T14:59:54.808Z","score":1.0},{"id":"4122","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Fred Wah fonds"],"source_collection_label":["Fred Wah fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2022.003"],"persistent_url":[""],"item_title":["The Relevance of Poetry. 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Steveston at South Slocan, November 26, 1975."],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Fawcett, Brian. \\\"Cottonwood Canyon.\\\"\"},{\"url\":\"\",\"citation\":\"Marlatt, Daphne. \\\"Steveston.\\\"\"}]"],"_version_":1853670550213230596,"timestamp":"2026-01-07T14:59:54.808Z","score":1.0},{"id":"4170","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["George Bowering fonds"],"source_collection_label":["George Bowering fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2019.003"],"persistent_url":[""],"item_title":["[Thea Bowering] Gumpy - 6 mon[ths] / Gumpy - nearly 1 yr."],"item_title_source":["Title written on artifact."],"item_title_note":["Side A: Gumpy - 6 mons(?)\n\nSide B: Gumpy - nearly 1 yr."],"item_language":["English"],"item_production_context":["Home 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Univ. of B.C. 8:30 pm-10:30pm.\n(1) Joanne Kyger, Stan Persky, Colin Stuart, Brian Fawcett.\n(2) Robin Blaser"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Copies of Tapes"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kyger, Joanne","Persky, Stan","Stuart, Colin","Fawcett, Brian","Blaser, Robin"],"creator_names_search":["Kyger, Joanne","Persky, Stan","Stuart, Colin","Fawcett, Brian","Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/71627705\",\"name\":\"Kyger, Joanne\",\"dates\":\"1934-2017\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/57448780\",\"name\":\"Persky, Stan\",\"dates\":\"1941-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"https://atom.archives.sfu.ca/stuart-colin-2\",\"name\":\"Stuart, Colin\",\"dates\":\"1949-2018\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/53146998512318941903\",\"name\":\"Fawcett, Brian\",\"dates\":\"1944-2022\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10714/2022.002.130a-Resize.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Philips C-120\",\"generations\":\"\",\"Conservation\":\"Felt pad decomposed.\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Poor\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10714/2022.002.130c-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10714/2022.002.130d-Resize.jpg\",\"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\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[]"],"Dates":["[{\"date\":\"1970-03-11\",\"type\":\"Performance Date\",\"notes\":\"8:30-10:30pm.\",\"source\":\"Date listed on tape.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/11678160\",\"venue\":\"The University of British Columbia\",\"notes\":\"\",\"address\":\"Vancouver, BC V6T 1Z5\",\"latitude\":\"49.2581\",\"longitude\":\"-123.2448\"}]"],"Address":["Vancouver, BC V6T 1Z5"],"Venue":["The University of British Columbia"],"City":["Vancouver, British Columbia"],"contents":["Joanne Kyger, Stan Persky, Colin Stuart, Brian Fawcett, and Robin Blaser at UBC, March 11, 1970."],"Note":["[{\"note\":\"Felt pad decomposed - WAITING TO DIGITIZE - cassette player made high-pitched noise when I attempted to rewind cassette tape, will hold off on digitizing until all other cassettes are complete to avoid making cassette player obsolete prior to completing digitization. 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Joanne: misc.\n\nJ-card description: n/a"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Copies of Tapes"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kyger, Joanne","Borregaard, Ebbe","Stanley, George"],"creator_names_search":["Kyger, Joanne","Borregaard, Ebbe","Stanley, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/71627705\",\"name\":\"Kyger, Joanne\",\"dates\":\"1934-2017\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/43263290\",\"name\":\"Borregaard, Ebbe\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"\",\"name\":\"Stanley, George\",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10715/2022.002.131a-Resize.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF C 60\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"30 minutes per side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10715/2022.002.131b-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10715/2022.002.131c-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10715/2022.002.131d-Resize.jpg\",\"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\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Peter_Quartermain/2022.002.131/audio\",\"filename\":\"2022.002.131_Wed. 3 [illegible]. 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Nite; Mar 13 70. Joanne, George, Ebbe, etc. Roy etc."],"item_title_source":["Title written on container."],"item_title_note":["Title on case: Fri. Nite; Mar 13 70. Joanne, George, Ebbe, etc. Roy etc.\n\nSide A title: n/a\n\nSide B title: Stanley, Kyger, [Illegible], Copithorne, Cacchioni, Welkes. Mon March 9. Evening. 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Nite; Mar 13 70. Joanne, George, Ebbe, etc. Roy etc._Side A_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:31:15\",\"precision\":\"\",\"size\":\"1.08 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A of Master Access file. Do not edit.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Peter_Quartermain/2022.002.133/audio\",\"filename\":\"2022.002.133_Fri. Nite; Mar 13 70. Joanne, George, Ebbe, etc. Roy etc._Side A_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:26:14\",\"precision\":\"\",\"size\":\"906.8 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B of Master Access file. Do not edit. Tape is damaged. 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Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Peter_Quartermain/2022.002.183/audio\",\"filename\":\"2022.002.183_Bunting c. 1970 BP Nichol_Side A_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:47:14\",\"precision\":\"\",\"size\":\"1.63 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A of master access file.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive 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British Columbia, Okanagan"],"collection_source_collection":["Peter Quartermain fonds"],"source_collection_label":["Peter Quartermain fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Fonds consists of 180 cassette tapes."],"collection_source_collection_id":["2022.002"],"persistent_url":[""],"item_title":["Duncan 15 March 1976 Western front"],"item_title_source":["Cassette Case"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert"],"creator_names_search":["Duncan, Robert"],"creators":["[{\"url\":\"https://viaf.org/viaf/105142281/#Duncan,_Robert,_1919-1988\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF LH Super SM Cassette 120\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"60 minutes per side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Peter_Quartermain/2022.002.184/audio\",\"filename\":\"2022.002.184_Duncan 15 March 1976 Western front_Side A_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:05:43\",\"precision\":\"\",\"size\":\"191.5 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A of master access file. Side B is blank.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-03-15\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on tape\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/292460590\",\"venue\":\"The Western Front\",\"notes\":\"\",\"address\":\"Vancouver, B.C.\",\"latitude\":\"49.2639\",\"longitude\":\"-123.09868\"}]"],"Address":["Vancouver, B.C."],"Venue":["The Western Front"],"City":["Vancouver, British Columbia"],"content_notes":["J-Card description: Duncan 15 March 1976 Western front "],"contents":["Recording of Robert Duncan speaking at the Western Front in Vancouver, B.C. March 15, 1976."],"Note":["[]"],"Related_works":["[]"],"_version_":1853670550761635843,"timestamp":"2026-01-07T14:59:55.332Z","score":1.0},{"id":"4370","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Robert Hogg fonds"],"source_collection_label":["Robert Hogg fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2018.002"],"persistent_url":[""],"item_title":["Robert Duncan Video @ C.U. Oct 9, 1979 Poetry Reading"],"item_title_source":["Title written on container."],"item_title_note":["Label on back of reel box reads as follows:\n\"Oct 9/79\nRobert Hogg English Dept.\nTitle: 'Robert Duncan Poet'\nTape Speed 3 3/4\" ips\nTime Approx 45 min\nTech. - Mike de Paul\nOct 9/79 PM\nRobert Duncan\nPoetry Reading\nSpeed 3 3/4\nTime 120 min.\nTech. Mike de Paul\""],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert","de Paul, Mike","Hogg, Robert Hogg"],"creator_names_search":["Duncan, Robert","de Paul, Mike","Hogg, Robert Hogg"],"creators":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"de Paul, Mike\",\"dates\":\"\",\"notes\":\"Tech at Carleton University\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/91752751\",\"name\":\"Hogg, Robert Hogg\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3869/UBCO_Hogg_2018_002_006_a.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Video\",\"tape_brand\":\"Racal-Zonal Professional Magnetic Tape\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Two permissions forms signed by Robert Duncan giving reproduction rights to Carleton University.\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/3869/2018_002_006_d.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/3869/2018_002_006_d.jpg\",\"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\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"digital_description":["[]"],"Dates":["[{\"date\":\"1979-10-09\",\"type\":\"Performance Date\",\"notes\":\"Date of both the performance, and date Robert Duncan signed permission forms for reproduction by Carleton University.\",\"source\":\"Date listed on artifact.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/244435010#map=19/45.38280/-75.69823\",\"venue\":\"Tory Building, Carleton University\",\"notes\":\"Location of Robert Duncan poetry reading.\",\"address\":\"1125 Colonel By Drive, Ottawa, ON, Canada\",\"latitude\":\"45.38278925\",\"longitude\":\"-75.69820721376985\"},{\"url\":\"https://www.openstreetmap.org/way/10583513\",\"venue\":\"Theatre A, Carleton University\",\"notes\":\"Location of Robert Hogg lecture \\\"Robert Duncan Poet\\\" or \\\"Tradition in Poetry.\\\"\\n\",\"address\":\"Ottawa, ON, Canada\",\"latitude\":\"45.3858581\",\"longitude\":\"-75.69500411688679\"}]"],"Address":["1125 Colonel By Drive, Ottawa, ON, Canada","Ottawa, ON, Canada"],"Venue":["Tory Building, Carleton University","Theatre A, Carleton University"],"City":["Ottawa, Ontario","Ottawa, Ontario"],"content_notes":["Contents entry temporary. To be time stamped and transcribed."],"contents":["Side A contains a video recording of a lecture, potentially given by Robert Hogg, titled \"Robert Duncan Poet\" or \"Tradition in Poetry\" which was given on October 9, 1979 in Theatre A at Carleton University.\n\nSide B contains a video recording of a poetry reading given by Robert Duncan on October 9, 1979 in the Tory Building at Carleton University."],"Note":["[{\"note\":\"Not digitized. Requires special equipment.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550763732995,"timestamp":"2026-01-07T14:59:55.332Z","score":1.0},{"id":"4374","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Robert Hogg fonds"],"source_collection_label":["Robert Hogg fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2018.002"],"persistent_url":[""],"item_title":["3a Duncan 18.12.75 Tower \n[illegible] / 3a Diary"],"item_title_source":["Title written on artifact."],"item_title_note":["Side A title: 3a Duncan 18.12.75 Tower \n[illegible]\n\nSide B title: 3a Diary"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creators":["[]"],"contributors_names":["Duncan, Robert"],"contributors_names_search":["Duncan, Robert"],"contributors":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"Subject of recordist's tape.\",\"nation\":[],\"role\":[\"Author\"]}]"],"author_name":["Duncan, Robert"],"Performance_Date":[1975],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3890/UBCO_Hogg_2018_002_004_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF AV Headmaster Series 90\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"45 min each side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.004_3a_Duncan_18.12.75_SideA_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:45:44\",\"precision\":\"\",\"size\":\"1.52 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.004_Diary_3a_SideB_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:33:57\",\"precision\":\"\",\"size\":\"1.13 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-12-18\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on artifact.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/140983204\",\"venue\":\"\",\"notes\":\"\",\"address\":\"North Beach, San Francisco, California, 94133, United States of America\",\"latitude\":\"37.8011749\",\"longitude\":\"-122.4090021\"}]"],"Address":["North Beach, San Francisco, California, 94133, United States of America"],"content_notes":["Contents entry temporary. Requires further research."],"contents":["Tape consists of a conversation between two unknown speakers, followed by the German speaker walking around North Beach, San Francisco, talking to art vendors, going to Chinatown, and visiting multiple venues with live music. The recordist speaks in both English and German and appears to be narrating the tour as he visits different sites. The recordist notes he is writing a biography on Robert Duncan and is trying to locate the hermetic brotherhood in Oakland, San Francisco."],"Note":["[{\"note\":\"Digitization complete. Further research required. To be transcribed.\",\"type\":\"General\"},{\"note\":\"Related recordings in the SoundBox Collection: 2018.002.005, 2018.002.011, 2018.002.056, 2018.002.061 and 2018.002.063.\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550764781570,"timestamp":"2026-01-07T14:59:55.332Z","score":1.0},{"id":"4375","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Robert Hogg fonds"],"source_collection_label":["Robert Hogg fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2018.002"],"persistent_url":[""],"item_title":["Duncan 1. Jan. 1976"],"item_title_source":["Title written on artifact."],"item_title_note":["Side A title: Duncan 1. Jan. 1975\n\nSide B title: Duncan 1. Jan. 1976"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creators":["[]"],"contributors_names":["Duncan, Robert"],"contributors_names_search":["Duncan, Robert"],"contributors":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"Subject of recordist's tape.\",\"nation\":[],\"role\":[\"Author\"]}]"],"author_name":["Duncan, Robert"],"Performance_Date":[1975],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3891/UBCO_Hogg_2018_002_005_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Compact Cassette: Instant Loading Tape Cartridge\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"30 min each side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.005_Duncan_1._Jan._1975_SideA_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:18:03\",\"precision\":\"\",\"size\":\"598 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.005_Duncan_1._Jan._76_SideB_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:20:42\",\"precision\":\"\",\"size\":\"685 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-01-01\",\"type\":\"Performance Date\",\"notes\":\"Side A date. May be incorrect.\",\"source\":\"Date listed on artifact.\"},{\"date\":\"1976-01-01\",\"type\":\"Performance Date\",\"notes\":\"Side B date.\",\"source\":\"Date listed on artifact.\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["Contents entry temporary. Requires further research. To be transcribed."],"contents":["Tape consists of an interview/ conversation between two unknown speakers. Location of recording unknown. Sound quality is extremely poor and is almost inaudible. This recording may be connected to tape 2018.002.004."],"Note":["[{\"note\":\"Digitization complete. Requires further research. To be timestamped and transcribed.\",\"type\":\"General\"},{\"note\":\"Related recordings in the SoundBox Collection: 2018.002.004, 2018.002.011, 2018.002.056, 2018.002.061 and 2018.002.063.\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550764781571,"timestamp":"2026-01-07T14:59:55.332Z","score":1.0},{"id":"4378","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Robert Hogg fonds"],"source_collection_label":["Robert Hogg fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2018.002"],"persistent_url":[""],"item_title":["J.H. Prynne at SFU 1971"],"item_title_source":["Title written on artifact."],"item_title_note":["Cassette box title: J.H. Prynne at SFU 1971\n\nSide A title: J.H. Prynne at SFU 27 July 1971\n\nSide B title: Prynne Continued"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Prynne, J.H."],"creator_names_search":["Prynne, J.H."],"creators":["[{\"url\":\"http://viaf.org/viaf/39547652\",\"name\":\"Prynne, J.H.\",\"dates\":\"1936-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"B\",\"image\":\"../Uploads/3895/UBCO_Hogg_2018_002_009_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Sony C-90HF\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.009_Prynne_continued_SideB_(MASTER_ACCESS).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:04:11\",\"precision\":\"\",\"size\":\"138 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1971-07-27\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on artifact.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"Simon Fraser University, Gaglardi Way, Barnet, Burnaby, Metro Vancouver Regional District, British Columbia, V5A 4W2, Canada \",\"latitude\":\"49.276709600000004\",\"longitude\":\"-122.91780296438841\"}]"],"Address":["Simon Fraser University, Gaglardi Way, Barnet, Burnaby, Metro Vancouver Regional District, British Columbia, V5A 4W2, Canada "],"Venue":["Simon Fraser University"],"City":["Vancouver, British Columbia"],"content_notes":["Contents entry temporary. To be transcribed."],"contents":["Side B of tape contains a short excerpt of J.H. Prynne answering the question of an unknown interviewer at SFU on July 27, 1971. Side A blank."],"Note":["[{\"note\":\"Digitization complete. Side A blank. To be time stamped and transcribed.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550765830144,"timestamp":"2026-01-07T14:59:55.332Z","score":1.0},{"id":"4380","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Robert Hogg fonds"],"source_collection_label":["Robert Hogg fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2018.002"],"persistent_url":[""],"item_title":["Creeley 29.12.75 (2)"],"item_title_source":["Title written on artifact."],"item_title_note":["Side A title: Creeley 29.12.75 (2)\n\nSide B title: Creeley 29.12.75 (2)"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Creeley, Robert"],"creator_names_search":["Creeley, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3897/UBCO_Hogg_2018_002_011_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"TDK D-C90\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.011_Creeley_29.12.75_SideA_(MA)_03.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:51:07\",\"precision\":\"\",\"size\":\"1.7 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.011_Creeley_29.12.75_SideB_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:51:09\",\"precision\":\"\",\"size\":\"1.65 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-12-29\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on artifact.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/396487\",\"venue\":\"\",\"notes\":\"\",\"address\":\"San Francisco, California, United States of America\",\"latitude\":\"37.7647993\",\"longitude\":\"-122.4629897\"}]"],"Address":["San Francisco, California, United States of America"],"content_notes":["Contents entry temporary. To be timestamped and transcribed."],"contents":["Tape contains an interview/oral history with Robert Creeley. Interviewer is unknown, although may be the same person as in 2018.002.004 and 2018.002.005. Further research required."],"Note":["[{\"note\":\"Digitization complete. To be time stamped and transcribed.\",\"type\":\"General\"},{\"note\":\"Related recordings in the SoundBox Collection: 2018.002.004, 2018.002.005, 2018.002.056, 2018.002.061 and 2018.002.063.\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550765830146,"timestamp":"2026-01-07T14:59:55.332Z","score":1.0},{"id":"4390","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Robert Hogg fonds"],"source_collection_label":["Robert Hogg fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2018.002"],"persistent_url":[""],"item_title":["Sylvia Plath / Robert Lowell"],"item_title_source":["Title written on artifact."],"item_title_note":["Cassette Box title: Lowell / Plath\n\nSide A title: n/a\n\nSide B title: Sylvia Plath / Robert Lowell"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Lowell, Robert","Plath, Sylvia"],"creator_names_search":["Lowell, Robert","Plath, Sylvia"],"creators":["[{\"url\":\"http://viaf.org/viaf/17249803\",\"name\":\"Lowell, Robert\",\"dates\":\"1917-1977\",\"notes\":\"Robert Lowell reads his poems on Side A.\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/14775269\",\"name\":\"Plath, Sylvia\",\"dates\":\"1932-1963\",\"notes\":\"Sylvia Plath reads her poetry on Side B.\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3907/UBCO_Hogg_2018_002_021_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"TDK D-60 IEC Type I Normal Position\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.021_Sylvia_Plath_Robert_Lowell_SideA_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:30:15\",\"precision\":\"\",\"size\":\"1.0 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.021_Sylvia_Plath_Robert_Lowell_SideB_(MA)_01.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:25:43\",\"precision\":\"\",\"size\":\"852 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-04-30\",\"type\":\"Performance Date\",\"notes\":\"The Side A Robert Lowell reading was the last recorded reading before his death and was held on April 30, 1977. Source: https://www.lrb.co.uk/the-paper/v25/n17/michael-hofmann/his-own-prophet\",\"source\":\"Secondary research.\"},{\"date\":\"1958-06-13\",\"type\":\"Performance Date\",\"notes\":\"Sylvia Plath opens recording on Side B by noting the date of recording was June 13, 1958.\",\"source\":\"Audio recording.\"},{\"date\":\"1959-02-22\",\"type\":\"Performance Date\",\"notes\":\"Sylvia Plath opens second recording on Side B of recording by noting the date of recording was February 22, 1959.\",\"source\":\"Audio recording.\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["Contents entry temporary. To be timestamped."],"contents":["Side A of tape consists of Robert Lowell reading his poems \"Mr. Edwards and the Spiders,\" \"Bringing a Turtle Home,\" \"Returning Turtle,\" \"Memories of West St and Lepke,\" \"Central Park,\" \"The March I,\" \"The March II,\" \"For John Berryman: After Reading His Last Dream Song\" and \"To Frank Parker.\" This is likely a recording of Lowell's last recorded reading before his death, which was given on April 30, 1977.\n\nSide B consists first of a recording of Sylvia Plath reading her poems \"Black Rook in Rainy Weather,\" \"Maudlin,\" \"Sow,\" \"All The Dead Dears\" on June 13, 1958. Side B also contains a reading by Sylvia Plath on Feb 22, 1959 of \"Full Fathom Five,\" \"Watercolor of Grantchester Meadows,\" \"Snakecharmer,\" \"Point Shirley,\" \"Departure,\" \"I Want, I Want,\" \"Lorelei,\" \"Moonrise,\" \"The Bull of Bendylaw,\" \"The Hermit of Outermost House,\" and \"Frog Autumn.\""],"Note":["[{\"note\":\"Digitization complete.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://roundhousepoetrycircle.wordpress.com/2018/12/13/mr-edwards-and-the-spider/\",\"citation\":\"Lowell, Robert. \\\"Mr. Edwards and the Spider.\\\"\"},{\"url\":\"\",\"citation\":\"Lowell, Robert. \\\"Bringing a Turtle Home.\\\"\"},{\"url\":\"https://www.lorenwebster.net/In_a_Dark_Time/2004/11/26/robert-lowells-returning-turtle/\",\"citation\":\"Lowell, Robert. \\\"Returning Turtle.\\\"\"},{\"url\":\"https://www.poetryfoundation.org/poems/48338/memories-of-west-street-and-lepke\",\"citation\":\"Lowell, Robert. \\\"Memories of West Street and Lepke.\\\"\"},{\"url\":\"https://www.nybooks.com/articles/1965/10/14/central-park/\",\"citation\":\"Lowell, Robert. \\\"Central Park.\\\"\"},{\"url\":\"https://www.connotations.de/article/frank-j-kearful-poetics-and-politics-in-robert-lowells-the-march-1-and-the-march-2/\",\"citation\":\"Lowell, Robert. \\\"The March I.\\\"\"},{\"url\":\"https://www.connotations.de/article/frank-j-kearful-poetics-and-politics-in-robert-lowells-the-march-1-and-the-march-2/\",\"citation\":\"Lowell, Robert. \\\"The March II.\\\"\"},{\"url\":\"https://www.nybooks.com/articles/1977/06/23/for-john-berryman/\",\"citation\":\"Lowell, Robert. \\\"For John Berryman: After Reading His Last Dream Song.\\\"\"},{\"url\":\"google.com/search?sxsrf=ALeKk01R35E25WxjV2jBRlQYK0NWxNc35w%3A1595602823106&source=hp&ei=h_caX9L5A7XO0PEP1aaF6A8&q=to+frank+parker+robert+lowell&btnK=Google+Search&oq=how+to+change+default+search&gs_lcp=CgZwc3ktYWIQARgAMgIIADICCAAyAggAMgIIADICCAAyAggAMgIIADICCAAyAggAMgIIADoHCC4QJxCTAjoECCMQJzoICAAQsQMQgwE6CwguELEDEMcBEKMCOgUIABCxAzoICC4QsQMQgwE6AgguUPQGWPAwYPJNaABwAHgBgAH8CIgBz02SAQ0yLTEuMS4wLjMuMy41mAEAoAEBqgEHZ3dzLXdpeg&sclient=psy-ab\",\"citation\":\"Lowell, Robert. \\\"To Frank Parker.\\\"\"},{\"url\":\"https://www.internal.org/Sylvia_Plath/Black_Rook_in_Rainy_Weather\",\"citation\":\"Plath, Sylvia. \\\"Black Rook in Rainy Weather.\\\"\"},{\"url\":\"https://allpoetry.com/mussel-hunter-at-rock-harbor\",\"citation\":\"Plath, Sylvia. \\\"Mussel Hunter at Rock Harbor.\\\"\"},{\"url\":\"poemhunter.com/poem/maudlin/\",\"citation\":\"Plath, Sylvia. \\\"Maudlin.\\\"\"},{\"url\":\"http://caladesishore.com/dpc/Poets/SylviaPlath/Sow.html\",\"citation\":\"Plath, Sylvia. \\\"Sow.\\\"\"},{\"url\":\"https://www.poemhunter.com/poem/all-the-dead-dears/comments/\",\"citation\":\"Plath, Sylvia. \\\"All the Dead Dears.\\\"\"},{\"url\":\"https://hellopoetry.com/poem/645/full-fathom-five/\",\"citation\":\"Plath, Sylvia. \\\"Full Fathom Five.\\\"\"},{\"url\":\"https://www.poemhunter.com/poem/watercolor-of-grantchester-meadows/\",\"citation\":\"Plath, Sylvia. \\\"Watercolor of Grantchester Meadows.\\\"\"},{\"url\":\"https://allpoetry.com/Snakecharmer\",\"citation\":\"Plath, Sylvia. \\\"Snakecharmer.\\\"\"},{\"url\":\"https://allpoetry.com/Point-Shirley\",\"citation\":\"Plath, Sylvia. \\\"Point Shirley.\\\"\"},{\"url\":\"https://www.poeticous.com/sylvia-plath/departure\",\"citation\":\"Plath, Sylvia. \\\"Departure.\\\"\"},{\"url\":\"https://allpoetry.com/I-Want,-I-Want\",\"citation\":\"Plath, Sylvia. \\\"I Want, I Want.\\\"\"},{\"url\":\"https://www.poeticous.com/sylvia-plath/lorelei\",\"citation\":\"Plath, Sylvia. \\\"Lorelei.\\\"\"},{\"url\":\"https://www.poemhunter.com/poem/moonrise-16/comments/page-1/\",\"citation\":\"Plath, Sylvia. \\\"Moonrise.\\\"\"},{\"url\":\"https://www.internal.org/Sylvia_Plath/The_Bull_of_Bendylaw\",\"citation\":\"Plath, Sylvia. \\\"The Bull of Bendylaw.\\\"\"},{\"url\":\"https://allpoetry.com/The-Hermit-At-Outermost-House\",\"citation\":\"Plath, Sylvia. \\\"The Hermit at Outermost House.\\\"\"},{\"url\":\"http://www.phys.unm.edu/~tw/fas/yits/archive/plath_frogautumn.html\",\"citation\":\"Plath, Sylvia. \\\"Frog Autumn.\\\"\"}]"],"_version_":1853670550767927298,"timestamp":"2026-01-07T14:59:55.332Z","score":1.0},{"id":"4425","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Robert Hogg fonds"],"source_collection_label":["Robert Hogg fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2018.002"],"persistent_url":[""],"item_title":["Duncan 18 Dec 1975 1b"],"item_title_source":["Title written on artifact."],"item_title_note":["Side A title: Duncan 18 Dec 1975 1b\n\nSide B title: Duncan 18 Dec 1975 1b"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert"],"creator_names_search":["Duncan, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"Interviewee.\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Duncan, Robert"],"contributors_names_search":["Duncan, Robert"],"contributors":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"Subject of recordist's tape.\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/5693/2018.002.056_a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF AV Headmaster Series 90\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"45 min each side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Volumes/research/AmpLab/SpokenWeb/Collection/Robert_Hogg/2018.002.056/2018.002.056_Duncan 18 Dec_(MA)\",\"filename\":\"2018.002.056_Duncan 18 Dec_Side 1_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:46:20\",\"precision\":\"\",\"size\":\"735.5 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"Robert Duncan talks to an unknown speaker about his life, diaries and writing.\",\"notes\":\"The name \\\"Duncan\\\" written on the cassette case evidences that Robert Duncan is the speaker. However, the names of the speakers are never noted on the tape.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Volumes/research/AmpLab/SpokenWeb/Collection/Robert_Hogg/2018.002.056/2018.002.056_Duncan 18 Dec_(MA)\",\"filename\":\"2018.002.056_Duncan 18 Dec_Side 2_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:14:19\",\"precision\":\"\",\"size\":\"227.3 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"Robert Duncan talks to an unknown speaker about his life, diaries and writing.\",\"notes\":\"The name \\\"Duncan\\\" written on the cassette case evidences that Robert Duncan is the speaker. However, the names of the speakers are never noted on the tape.\\nThe master access file is sped up. For listening, the speed edit copy is required.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-12-18\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on artifact.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/140983204\",\"venue\":\"\",\"notes\":\"\",\"address\":\"North Beach, San Francisco, California, 94133, United States of America\",\"latitude\":\"37.8011749\",\"longitude\":\"-122.4090021\"}]"],"Address":["North Beach, San Francisco, California, 94133, United States of America"],"Note":["[{\"note\":\"Not digitized.\",\"type\":\"General\"},{\"note\":\"Related items in the SoundBox Collection include: 2018.002.004, 2018.002.005, 2018.002.011, and 2018.002.061.\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550969253888,"timestamp":"2026-01-07T14:59:55.538Z","score":1.0},{"id":"4427","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Robert Hogg fonds"],"source_collection_label":["Robert Hogg fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2018.002"],"persistent_url":[""],"item_title":["Krishna Das Bunting 19.6.75[?] [illegible]"],"item_title_source":["Title written on artifact."],"item_title_note":["Cassette box title: n/a\n\nSide A title: Krishna Das Bunting 19.6.75[?] [illegible]\n\nSide B title: n/a"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bunting, Basil"],"creator_names_search":["Bunting, Basil"],"creators":["[{\"url\":\"http://viaf.org/viaf/4949021\",\"name\":\"Bunting, Basil\",\"dates\":\"1900-1985\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/5695/2018.002.058_a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Volumes/research/AmpLab/SpokenWeb/Collection/Robert_Hogg/2018.002.058/2018.002.058_Krishna Das Bunting 19.6.75\",\"filename\":\"2018.002.058_Krishna Das Bunting 19.6.75_Side2_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:09:34\",\"precision\":\"\",\"size\":\"151.8 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"Basil Bunting performs poems along with musical performances.\",\"notes\":\"This sounds like Bunting's voice. Basil Bunting passed away in 1985 so this may be a copy of a recording. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Volumes/research/AmpLab/SpokenWeb/Collection/Robert_Hogg/2018.002.058/2018.002.058_Krishna Das Bunting 19.6.75\",\"filename\":\"2018.002.058_Krishna Das Bunting 19.6.75_Side1_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:30:24\",\"precision\":\"\",\"size\":\"482.7 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"Basil Bunting performs his poem \\\"Briggflatts\\\" along with other poems and musical performances.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-06-19\",\"type\":\"Performance Date\",\"notes\":\"Date may alternately read 1995. Requires confirmation.\",\"source\":\"Date listed on artifact.\"}]"],"Location":["[]"],"City":["Other"],"contents":["Basil Bunting performs his poem \"Briggflatts\" along with other poems and musical performances."],"Note":["[{\"note\":\"Not digitized.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Bunting, Basil. 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Typewritten from sheet of paper inside reel case: Please announce to all your classes: A public reading by poet Jeni Couzin, Humanities Centre, University of Alberta, AV L-3, Thursday December 2nd 1976, 12:30 noon. Jeni Couzin was born in South Africa, spent ten years in Britain, and has recently settled in Canada. She was one of the founding members of Poets' Conference and Poets' Union in Britain, and was an influential figure in the formation of public reading series in England. She is the author of three books of poetry, all of which were well received: Flying (Workshop Press), Monkey's Wedding (Cape), and the recent Christmas in Africa (J.J. Douglas, Vancouver, & Heinemann, London). 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Home truths, and beautiful poetry\\\" -- Gwendolyn MacEwan, Books in Canada\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552522194945,"timestamp":"2026-01-07T14:59:57.006Z","score":1.0},{"id":"9478","cataloger_name":["University of Alberta,"],"partnerInstitution":["University of Alberta"],"collection_source_collection":["Department of English Recorded Events"],"source_collection_label":["Department of English Recorded Events"],"collection_contributing_unit":["Department of English and Film Studies"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Literary readings, lectures, panels, and interviews organized by members of the Department of English, University of Alberta, featuring local and visiting authors. 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Unreadable note in red ink suggests this tape was used for more than one occasion (approximate transcription: \\\"ROWNING\\\").\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552743444480,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"9546","cataloger_name":["University of Alberta,"],"partnerInstitution":["University of Alberta"],"collection_source_collection":["Department of English Recorded Events"],"source_collection_label":["Department of English Recorded Events"],"collection_contributing_unit":["Department of English and Film Studies"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Literary readings, lectures, panels, and interviews organized by members of the Department of English, University of Alberta, featuring local and visiting authors. 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Goldberg, 226 Assinniboia, March 3/71; 3 3/4 speed, 2 track; Speaker: Prof. Ondaatje, Sub Art Gallery, 2 hrs. Front of reel case also includes an \\\"Audio Visual Technical Services\\\" stamp. Handwritten from back of reel case: March 1971 Reading Poetry; 0000>0142 Stephen Scobie; 0146>0199 Doug Barbour; 0202>0293 Bert Almon; 0293>0319 Introduction; 0311>0685 Michael Ondaatje. 03 Scobie: \\\"Lenin at the Cabaret Voltaire\\\"; 30 \\\"February, Edmonton\\\"; 48 \\\"White Swimmers in Green Water\\\"; 54 \\\"Shoreline\\\"; 66 \\\"Gifts Broken at Her Door.\\\" 132 Barbour \\\"Smoke Pours...\\\"; \\\"Poem After Purdy: Philosophically\\\"; 170 \\\"Another Image\\\"; 176 \\\"The Upper Berth\\\"; 185 Almon \\\"Dr. Deadlock\\\"; 190 \\\"Storm Like Kananaskis\\\"; 195 \\\"Breaking Loose\\\"; 213 \\\"The Shock,\\\" \\\"The Weighing,\\\" \\\"The Catch,\\\" \\\"The Curtain,\\\" \\\"The Knot,\\\" \\\"The Breakup\\\"; 243 \\\"For nancy Going to War\\\"; 270 Barbour introduces Ondaatje; 288 Ondaatje \\\"We're at the Graveyard\\\"; 313 \\\"A House Divided\\\"; 324 \\\"Notes for the Legend of Salad Woman\\\"; 352 \\\"For John Falling\\\"; 361 \\\"Griffin of the Night\\\" [cont'd on card inside {reel case}] 367 \\\"Gold and Black\\\"; 376 \\\"A Strange Case\\\"; 398 Postcard from Picadilly St.\\\"; 412 \\\"Spider Blues\\\"; 462 \\\"Letters and Other Worlds\\\"; 520 \\\"White Dwarfs\\\"; 561 from Billy the Kid \\\"His First Murder\\\"; 578 \\\"In Boot Hill Their Are Over 400 Graves\\\"; 591 \\\"Miss Angela Duchenson of Tuscon\\\"; 600 \\\"With the Bowdnys\\\"; 613 \\\"I Have Seen Pictures of Great Stars\\\"\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552743444482,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"9547","cataloger_name":["University of Alberta,"],"partnerInstitution":["University of Alberta"],"collection_source_collection":["Department of English Recorded Events"],"source_collection_label":["Department of English Recorded Events"],"collection_contributing_unit":["Department of English and Film Studies"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Literary readings, lectures, panels, and interviews organized by members of the Department of English, University of Alberta, featuring local and visiting authors. Original recordings on reel to reel and cassette, Edmonton and area, 1969-1988."],"collection_source_collection_id":[""],"persistent_url":["https://ualberta.aviaryplatform.com/collections/1783"],"item_title":["Margaret Atwood at University of Alberta, 1971"],"item_language":["English"],"item_identifiers":["[]"],"creator_names":["Atwood, Margaret","Atwood, Margaret","Moodie, Susanna"],"creator_names_search":["Atwood, Margaret","Atwood, Margaret","Moodie, Susanna"],"creators":["[{\"url\":\"\",\"name\":\"Atwood, Margaret\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Atwood, Margaret\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Moodie, Susanna\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch 145\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"https://ualberta.aviaryplatform.com/r/k649p2x24t\"}]"],"Dates":["[{\"date\":\"1971-12-03\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"University of Alberta Students'' Union Building Art Gallery (Edmonton)\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Venue":["University of Alberta Students'' Union Building Art Gallery (Edmonton)"],"Note":["[{\"note\":\"Handwritten notes from back of reel case: Side #1, speed 3 3/4, Margaret Atwood, reading poetry, Sub Art Gallery, Dec. 3/71; [indiscernable, looks like a name]; from S. Moodie [i.e. The Journals of Susanna Moodie]; c.25 talks about S. Moodie's origin; 98 \\\"Disembarking at Quebec\\\"; 106 \\\"Further Arrivals\\\"; 118 \\\"The Planters\\\"; 130 \\\"Death of a Young Son by Drowning\\\"; 151 \\\"The Immigrants\\\"; 181 \\\"Thoughts From Undergound\\\"; 199 \\\"Resurrection\\\"; 210 \\\"A Bus Along St. Claire in December\\\"; from Power Politics; 246 \\\"You Fit Into Me\\\"; 249 \\\"He Reappear[illegible due to case damage]; 265 \\\"They Eat Out\\\"; 280 \\\"After the Agony in the...Bedroom\\\"; 292 \\\"My Beautiful Wooden Leader\\\"; 307 \\\"You Want to Go Back...\\\"; 316 \\\"Their Attitudes Differ\\\"; 328 \\\"Because You Are Always Here\\\"; 336 \\\"After All You Are Quite Ordinary\\\"; 349 \\\"We Are Hard on Each Other\\\"; 365 \\\"At First I was Given Centuries\\\"; 388 \\\"You Refuse To Own Yourself\\\"; 404 \\\"You Did It...\\\"; 420 \\\"I am Sitting on the Edge...Bed\\\"; 430 \\\"Lying Here Everything Brittle\\\"; 443 \\\"This is a Mistake\\\"; 452 \\\"They Are Hostile Animals\\\"\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552744493056,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"9549","cataloger_name":["University of Alberta,"],"partnerInstitution":["University of Alberta"],"collection_source_collection":["Department of English Recorded Events"],"source_collection_label":["Department of English Recorded Events"],"collection_contributing_unit":["Department of English and Film Studies"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Literary readings, lectures, panels, and interviews organized by members of the Department of English, University of Alberta, featuring local and visiting authors. Original recordings on reel to reel and cassette, Edmonton and area, 1969-1988."],"collection_source_collection_id":[""],"persistent_url":["https://ualberta.aviaryplatform.com/collections/1783"],"item_title":["Frederick Manfred and Andy Suknaski at Banff Centre, 1978"],"item_language":["English"],"item_identifiers":["[]"],"creator_names":["Manfred, Frederick","Manfred, Frederick","Suknaski, Andy","Suknaski, Andy"],"creator_names_search":["Manfred, Frederick","Manfred, Frederick","Suknaski, Andy","Suknaski, Andy"],"creators":["[{\"url\":\"\",\"name\":\"Manfred, Frederick\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Manfred, Frederick\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Suknaski, Andy\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Suknaski, Andy\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"Sony SLH-7-550-BL\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"https://ualberta.aviaryplatform.com/r/h12v40m23r\"}]"],"Dates":["[{\"date\":\"1978-04-14\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Banff Centre (Banff)\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Venue":["Banff Centre (Banff)"],"Note":["[{\"note\":\"Handwritten from back of reel case: Crossing Frontiers, April 14/78, Reading: Frederick Manfred, Andy Suknaski\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552744493058,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"9531","cataloger_name":["University of Alberta,"],"partnerInstitution":["University of Alberta"],"collection_source_collection":["Department of English Recorded Events"],"source_collection_label":["Department of English Recorded Events"],"collection_contributing_unit":["Department of English and Film Studies"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Literary readings, lectures, panels, and interviews organized by members of the Department of English, University of Alberta, featuring local and visiting authors. Original recordings on reel to reel and cassette, Edmonton and area, 1969-1988."],"collection_source_collection_id":[""],"persistent_url":["https://ualberta.aviaryplatform.com/collections/1783"],"item_title":["Frances Itani and Caterina Edwards LoVerso at University of Alberta, 1975"],"item_language":["English"],"item_identifiers":["[]"],"creator_names":["Itani, Frances","Itani, Frances","Lo Verso, Caterina","Lo Verso, Caterina","Wiebe, Rudy"],"creator_names_search":["Itani, Frances","Itani, Frances","Lo Verso, Caterina","Lo Verso, Caterina","Wiebe, Rudy"],"creators":["[{\"url\":\"\",\"name\":\"Itani, Frances\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Itani, Frances\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Lo Verso, Caterina\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Lo Verso, Caterina\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Wiebe, Rudy\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"Sony C-90\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"https://ualberta.aviaryplatform.com/r/057cr5pb19\"}]"],"Dates":["[{\"date\":\"1975-01\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"University of Alberta (Edmonton)\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Venue":["University of Alberta (Edmonton)"],"Note":["[{\"note\":\"Side 1 - R. Wiebe intro, Frances Itani \\\"Outing,\\\" brief discussion, Caterina Lo Verso \\\"Frost King,\\\" discussion . . . (nothing re. Side 2 . . . )\",\"type\":\"General\"},{\"note\":\"Date is approximate.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552750784512,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"9533","cataloger_name":["University of Alberta,"],"partnerInstitution":["University of Alberta"],"collection_source_collection":["Department of English Recorded Events"],"source_collection_label":["Department of English Recorded Events"],"collection_contributing_unit":["Department of English and Film Studies"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Literary readings, lectures, panels, and interviews organized by members of the Department of English, University of Alberta, featuring local and visiting authors. Original recordings on reel to reel and cassette, Edmonton and area, 1969-1988."],"collection_source_collection_id":[""],"persistent_url":["https://ualberta.aviaryplatform.com/collections/1783"],"item_title":["Robin Blaser at [Location Unknown], 1970"],"item_language":["English"],"item_identifiers":["[]"],"creator_names":["Blaser, Robin","Blaser, Robin"],"creator_names_search":["Blaser, Robin","Blaser, Robin"],"creators":["[{\"url\":\"\",\"name\":\"Blaser, Robin\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Blaser, Robin\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"1 7/8 ips\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"https://ualberta.aviaryplatform.com/r/n872v2f76v\"}]"],"Dates":["[{\"date\":\"1970-03-03\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Note":["[{\"note\":\"Handwritten from back of case: Poetry Reading by Roblin Blaser For Prof Hogg | Track 1/4 Speed 1 7/8 IPS ONESIDE ONLY COPY |81-233 poet reads from an essay of his on his own work | 25L- reads a group of baseball poems (written by Jack Spicer?) also a poem written for Vancouver Festival | 290 Poems from \\\"Of the Holy Forest\\\" | 3-21 Poet talks from \\\"Cups\\\" | 21-81 \\\"one\\\" \\\"two\\\" \\\"three\\\" \\\"four\\\" \\\"five\\\" \\\"six\\\" \\\"seven\\\" \\\"eight\\\" \\\"nine\\\" \\\"ten\\\" \\\"eleven\\\" \\\"twelve\\\"\",\"type\":\"General\"},{\"note\":\"Event Location unknown\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552750784514,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"5219","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Around New Sounds Daily Means: Selected Poems by Larry Eigner at Swampscott on July 1st and 11th, 1974 Tape 3 of 3 #500c"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Eigner, Larry","Köhler, Michael"],"creator_names_search":["Eigner, Larry","Köhler, Michael"],"creators":["[{\"url\":\"http://viaf.org/viaf/1494149068356165730000\",\"name\":\"Eigner, Larry\",\"dates\":\"1930-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/114331797\",\"name\":\"Köhler, Michael\",\"dates\":\"1946-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/870/Reading in BC_MsC199_500c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:02:05\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"500c-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:34\",\"precision\":\"\",\"size\":\"30.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"500c-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:33\",\"precision\":\"\",\"size\":\"32.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-07-01\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"},{\"date\":\"1974-07-11\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/2373034\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Swampscott, Massachsetts, USA\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Swampscott, Massachsetts, USA"],"content_notes":["The detailed information about the cassette and its contents can be found in the insert that can be seen on the photograph"],"Note":["[{\"note\":\"Side 1 ends at 12:09 and the rest is blank\\nSide 2 is completely blank\",\"type\":\"General\"},{\"note\":\"The detailed information about the cassette and its contents can be found in the insert that can be seen on the photograph\",\"type\":\"General\"},{\"note\":\"Liner Notes: Copy 2\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552751833091,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"5221","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The University of Michigan Professional Theater: the Grass Harp, 1972 #501"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Richardson, Claibe","Rabb, Ellis","Kasdan, Michael","Berkman, John","Capote, Truman","Elmslie, Kenward","Tilton, James","Potts, Nancy","Billy, J","Planck, Ver","Levine, Rhoda","Tunik, Jonathan","Russell Bennett, Robert","Hoovar, Bruce A"],"creator_names_search":["Richardson, Claibe","Rabb, Ellis","Kasdan, Michael","Berkman, John","Capote, Truman","Elmslie, Kenward","Tilton, James","Potts, Nancy","Billy, J","Planck, Ver","Levine, Rhoda","Tunik, Jonathan","Russell Bennett, Robert","Hoovar, Bruce A"],"creators":["[{\"url\":\"http://viaf.org/viaf/50610115\",\"name\":\"Richardson, Claibe \",\"dates\":\"1929-2003\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/36454895\",\"name\":\"Rabb, Ellis\",\"dates\":\"1930-1998\",\"notes\":\"Diretcor \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Kasdan, Michael \",\"dates\":\"\",\"notes\":\"Associate producer\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"http://viaf.org/viaf/34641369\",\"name\":\"Berkman, John\",\"dates\":\"1964-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/1186145424674586830785\",\"name\":\"Capote, Truman\",\"dates\":\"1924-1984\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/13600197\",\"name\":\"Elmslie, Kenward\",\"dates\":\"1929-\",\"notes\":\"Book and lyric\",\"nation\":[],\"role\":[\"Presenter\"]},{\"url\":\"\",\"name\":\"Tilton, James \",\"dates\":\"\",\"notes\":\"Design and lighting \",\"nation\":[],\"role\":[\"Series organizer\"]},{\"url\":\"\",\"name\":\"Potts, Nancy\",\"dates\":\"\",\"notes\":\"Costumes \",\"nation\":[],\"role\":[\"Series organizer\"]},{\"url\":\"\",\"name\":\"Billy, J\",\"dates\":\"\",\"notes\":\"Musical arrangements \",\"nation\":[],\"role\":[\"Series organizer\"]},{\"url\":\"\",\"name\":\"Planck, Ver\",\"dates\":\"\",\"notes\":\"Musical arrangements \",\"nation\":[],\"role\":[\"Series organizer\"]},{\"url\":\"\",\"name\":\"Levine, Rhoda\",\"dates\":\"\",\"notes\":\"Choreography \",\"nation\":[],\"role\":[\"Series organizer\"]},{\"url\":\"\",\"name\":\"Tunik, Jonathan\",\"dates\":\"\",\"notes\":\"Additional orchestration \",\"nation\":[],\"role\":[\"Series organizer\"]},{\"url\":\"\",\"name\":\"Russell Bennett, Robert\",\"dates\":\"\",\"notes\":\"Additional orchestration \",\"nation\":[],\"role\":[\"Series organizer\"]},{\"url\":\"\",\"name\":\"Hoovar, Bruce A\",\"dates\":\"\",\"notes\":\"production stage manager\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/874/Reading in BC_MsC199_501.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:00:35\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"501-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:25\",\"precision\":\"\",\"size\":\"43.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"501-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:10\",\"precision\":\"\",\"size\":\"42.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/265320169\",\"venue\":\"Martin Beck Theatre\",\"notes\":\"The Martin Beck Theater has now been renamed \\\"Al Hirschfeld Theatre\\\".\",\"address\":\"New York county, New York, USA\",\"latitude\":\"40.75929\",\"longitude\":\"-73.98922\"}]"],"Address":["New York county, New York, USA"],"Venue":["Martin Beck Theatre"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tA&B\t000\tOverture\n\t\t046\tDropsy cure weather\n\t\t145\tFloozies\n\t\t207\tBig rich\n\t\t259\tIf there’s love enough\n\t\t329\tYellow drum\n\t\t433\tMarry with me\n\t\t539\tChain of love\nTwo\tA&B\t000\tThis one day\n\t\t035\tThe babylove miracle show\n\t\t273\tWalk into heaven\n\t\t338\tIndian blues\n\t\t403\tWhat do I do now\n\t\t492\tReach out\n\t\t592\tFinale: yellow drum"],"Note":["[{\"note\":\"The musical was performed by the University of Michigan Professional Theater Program and the names and roles of the actors and actresses can be found in the J insert \",\"type\":\"General\"},{\"note\":\"The detailed information about the cassette and its contents can be found in the insert that can be seen on the photograph\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552752881664,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"5223","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Yevgeny Yevtushenko Reading at The Felt Forum in New York on January 28th, 1972 and at Project Artaud in San Francisco, 1972 #502"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Boys, Barry","Yevtushenko, Yevgeny Aleksandrovich","Ginsberg, Allen","Ferlinghetti, Lawrence"],"creator_names_search":["Boys, Barry","Yevtushenko, Yevgeny Aleksandrovich","Ginsberg, Allen","Ferlinghetti, Lawrence"],"creators":["[{\"url\":\"http://viaf.org/viaf/93821782\",\"name\":\"Boys, Barry\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/79846190\",\"name\":\"Yevtushenko, Yevgeny Aleksandrovich\",\"dates\":\"1933-2017\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/110070499\",\"name\":\"Ferlinghetti, Lawrence\",\"dates\":\"1919-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/877/502.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:00:31\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"502-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:14\",\"precision\":\"\",\"size\":\"29.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"502-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:17\",\"precision\":\"\",\"size\":\"29.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972-01-28\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"},{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/8918770#map=16/37.7629/-122.4122&layers=N\",\"venue\":\"Project Artaud\",\"notes\":\"\",\"address\":\"499 Alabama St, San Francisco, CA 94110, United States\",\"latitude\":\"37.7622\",\"longitude\":\"-122.4121\"},{\"url\":\"https://www.openstreetmap.org/way/138141251\",\"venue\":\"Felt Forum ( known as Hulu Theater at Madison Square Garden)\",\"notes\":\"The Felt Forum has now been renamed the Hulu Theater. it's at Madison Square Garden\",\"address\":\"4 Pennsylvania Plaza, New York, NY 10001, United States\",\"latitude\":\"40.75056\",\"longitude\":\"-73.99348\"}]"],"Address":["499 Alabama St, San Francisco, CA 94110, United States","4 Pennsylvania Plaza, New York, NY 10001, United States"],"Venue":["Project Artaud","Felt Forum ( known as Hulu Theater at Madison Square Garden)"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t\tNew York\n\t\t000\tIntroduction – Yevtushenko\n\t\t035\t“Bombs for Balalaikas” – Barry Boys reading Yevtushenko\n\t\t125\t“Bombs for Balazaikas” – Yevtushenko reads in Russian\n\t\t305\t“Monologue of a broadway actress” – Viveca Lindfors\n\t\t422\t“Procession with the Madonna” – Richard Wilbur rads Yevtushenko\n\t\t521\tYevtushenko introduces “Freedom to kill”\n\t\t544\tBarry Boys & Yevtushenko read “Freedom to kill” San Francisco\nTwo\t\t000\tAllen Ginsberg introduces “The city of yes and the city of no”\n\t\t023\tGinsberg reads “the city of yes and the city of no”\n\t\t100\tYevtushenko introduces his reading\n\t\t125\tYevtushenko reads “The city of yes and the city of no” in Russian\n\t\t232\t“Question of freedom” – Allen Ginsberg\n\t\t295\t“Babi Yar” – read by Lawrence Ferlinghetti\n\t\t410\tYevtushenko reads “Babi Yar” in Russian\n\t\t572\t“In a steelworker’s home” – read by Barry Boys & Yevtushenko (all in English)"],"Note":["[{\"note\":\"The detailed information about the cassette and its contents can be found in the insert that can be seen on the photograph\",\"type\":\"General\"},{\"note\":\"There are several poems in Russian\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552752881666,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"5229","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Le Testament de Villon opera: Ezra Pound performance at Berkeley Studios of Fantasy Records, 1972 #506"],"item_title_source":["cassette and j-card"],"item_language":["French"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Pound, Ezra"],"creator_names_search":["Pound, Ezra"],"creators":["[{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/885/Reading in BC_MsC199_506.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:00:56\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"506-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:29\",\"precision\":\"\",\"size\":\"29.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"506-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:26\",\"precision\":\"\",\"size\":\"29.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"in the inventory, the date is written to be 1971\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/778620761#map=18/37.85844/-122.28996&layers=N\",\"venue\":\"Berkeley Studio of Fantasy Arts\",\"notes\":\"This Location has been permanently closed \",\"address\":\"2600 Tenth St, Berkeley, CA 94710, United States\",\"latitude\":\"37.85840\",\"longitude\":\"-122.28995\"}]"],"Address":["2600 Tenth St, Berkeley, CA 94710, United States"],"Venue":["Berkeley Studio of Fantasy Arts"],"City":["Berkeley, California"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tSpoken portion (English)\n\t\t018\t1.\tVillon: “Et Meure Paris ou Helaine…”\n\t\t073\t2.\tVillon: “Dictes may ou, n’en quell pays…”\n\t\t135\tSpoken portion (English)\n\t\t150\t3.\tYthier (echoed ironically by Rose): “Mort, j’appelle de ta rigeur…”\n\t\t190\t4.\tVillon: “Je plains le temps de ma jeunesse…”\n\t\t234\tSpoken portion\n\t\t247\t5.\tVillon: “Advis ne’est que j’oy regreter…”\n\t\t257\tLa Heaulmiere: “Ha, vielillesse felonne et fiere…”\n\t\t492\t6.\tThe Gallant: “Taulse beauté qui tant me couste chier…”\n\t\t537\t7.\tVillon: “Item, m’amour, ma chiere Rose…”\n\t\t549\tSpoken portion\n\t\t563\t8.\tLa Heaulmiere: “On y pensez, belle Gantiere…”\n\t\t645\t9.\tThe Priest: “Vergine pucele roiauz..”\nTwo\t\t000\t10.\tVillon’s Mother:”Dame cu ciel, regent terrienne…”\n\t\t082\tSpoken portion\n\t\t094\t11.\tThe Priest: “Suyvey beauté, courey au festes…”\n\t\t105\t12.\tBozo: “Se j’ayme et sers la belle de bon hait…”\n\t\t195\t13.\tThe Gallant: “Je regnie amours et despite…”\n\t\t240\t14.\tThe Chorus of Drinkers\n\t\t372\t15.\tChorus of the Hanged: “Freres humains qui après nous vivez…”\n\t\t\tN.B. The notes in the tape box contain English translations of the libretto"],"Note":["[{\"note\":\"Liner Notes: \\nSide 1: #1-9- 26:15 \\nSide 2: #10-15- 23:40\\nRecorded in 1972 as part of Fantasy 12001\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552754978820,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"5230","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Pacifica Radio Series on Ezra Pound: discussion of Ezra Pound’s Le Testement de Villon by Charles Amirkhanian, Robert Hughes, and Hugh Kenner, 1973 Tape1 of 2 #507a"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Pound, Ezra","Amirkhanian, Charles","Hughes, Robert","Kenner, Hughes"],"creator_names_search":["Pound, Ezra","Amirkhanian, Charles","Hughes, Robert","Kenner, Hughes"],"creators":["[{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\" http://viaf.org/viaf/7489149108420668780004\",\"name\":\"Amirkhanian, Charles\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/61574402\",\"name\":\"Hughes, Robert\",\"dates\":\"1938-2012\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/106966232\",\"name\":\"Kenner, Hughes\",\"dates\":\"1923-2003\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/887/Reading in BC_MsC199_507a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Real\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:30:40\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"507_1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:21\",\"precision\":\"\",\"size\":\"45.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"507_1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:20\",\"precision\":\"\",\"size\":\"43.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t\tIntroduction to, and discussion of, Ezra Pound’s Le Testement de Villon\n\t\t000\tIntroduction to the opera (for the opera itself, see tape #506) Robert Hughes, Charles Amirkhanian, Hugh Kenner discuss the opera\n\t\t017\tRobert Hughes (the conductor) synopsizes the plot\n\t\t030\tCharles Amirkhaman (Music Director at KPFA, Berkeley) asks Hughes about the musical structure of the work\n\t\t047\tHugh Kenner compares Pound, Stravinsky, and T.D. Eliot\n\t\t051\tThe cost of the opera is introduced (see notes in tape #506)\n\t\t062\tAnnouncer introduces the resumed discussion\n\t\t074\tHughes discusses the critical reaction to the opera, the difficulties of performing it, and the advantages of modern recording techniques\n\t\t096\tKenner describes his reaction to finally hearing a good performance of Le Testament de Villon\n\t\t109\tHughes talks about the problem of the opera’s not having much physical action and the audience’s lack of ability to understand the French of the Villon poem\n\t\t123\tKenner’s The Pound Era is discussed; Hughes speaks about techniques of expression used in Pound’s Cantos which are also used by Kenner. Hughes then talks about the relationship of Pound’s poetry to music and vice versa\n\t\t203\tHistory of Pound’s involvement with music\n\t\t223\tPound is quoted: “I pointed out that music and poetry had been an alliance in the twelfth century, that the divorce of the two arts had been to the advantage of neither…” This opinion is discussed\n\t\t265\tAmirkhanian reads from an article by George Antheil (who edited the opera in 1923) which assesses Pound’s music\n\t\t317\tPound’s lack of knowledge of harmony, etc., is discussed and compared to Stravinski’s lack of musical “hang-ups”\n\t\t360\tHughes defends Pound’s being opinionated and “bombastic” on the subject of music\n\t\t400\tHughes discusses Pound’s original manuscript of the score, and some of the problems of performing it as written\n\t\t460\tRobert Browning’s use of musical notation as part of some of his later poems is mentioned by Hughes; it is pointed out that Pound also does this in the Pisan Cantos\n\t\t485\tThe future of Pound’s opera as a lasting work is discussed, as is the inability of earlier orchestras to play such a complex work\n\t\t586\tPound’s “pan-cultural” approach to music and literature is discussed\n\t\t655\tHughes discusses how he gets musical inspiration for his own compositions from Pound’s writings\n\t\t734\tKenner talks about the “old fashioned” kind of scholarship needed to understand Pound’s works\n\t\t790\tKenner expresses the opinion that Le Testement may have been a “tryout” for the Cantos\n"],"Note":["[{\"note\":\"Liner Notes: This Tape contains an introduction to the opera (Band 1) and a discussion of the opera among Charles Amirkhanian (the Music Director at KPFA, Berkeley), Robert Hughes (the Conductor) and Hugh Kenner \\nSide 1: 29:05\\nSide 2: 26:08\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552756027392,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"5231","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Pacifica Radio Series on Ezra Pound: discussion of Ezra Pound’s Le Testement de Villon by Hugh Kenner, Paul Vangelisti, and Everett Lloyd Frost, 1973 Tape 2 of 2 #507b"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Pound, Ezra","Kenner, Hughes","Vangelisti, Paul","Frost, Everett Lloyd"],"creator_names_search":["Pound, Ezra","Kenner, Hughes","Vangelisti, Paul","Frost, Everett Lloyd"],"creators":["[{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/106966232\",\"name\":\"Kenner, Hughes\",\"dates\":\"1923-2003\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/61690815\",\"name\":\"Vangelisti, Paul\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/311110613\",\"name\":\"Frost, Everett Lloyd\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/889/Reading in BC_MsC199_507b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:00:36\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"507_2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:16\",\"precision\":\"\",\"size\":\"29.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"507_2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:21\",\"precision\":\"\",\"size\":\"29.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t\tHugh Kenner (prof. of literature, U.C. Santa Barbara), Georg Gugelberger (prof. of comparative literature, U.C. Riverside), and Paul Vangelisti (editor of Invisible City) discuss Pound’s work\n\t\t000\tIntroduction: Kenner discusses the rationale behind designating a “Pound Era”\n\t\t052\tDiscussion of some of Pound’s contributions to modern poetry\n\t\t080\tPound’s influence on other writers\n\t\t100\tParis in 1920’s – important because it was possible for an author to get anything printed\n\t\t112\tPound’s translations as feats of invention\n\t\t130\tNotes of Ernest Fenollosa\n\t\t160\tPound’s desire that his readers should consult some of the original sources of his translations\n\t\t177\tContribution of Chinese poetry to English poetry: conveys a “literal sense”\n\t\t181\tKenner reads from “Poem by the Bridge at Ten-Shin” (Personae, p. 131)\n\t\t198\tE. Frost reads a passage from Kenner’s The Pound Era – Kenner’s idea that public events (i.e. W.W.I) dissipated the energy of the burgeoning London arts scene; Kenner describes how the “vortex” of London was destroyed, and its effect on writers such as T.S. Eliot\n\t\t300\tThe panel discusses the humorous anecdotes in The Pound Era (e.g. T.S. Eliot as a connoisseur of cheese)\n\t\t390\tCritical response to Kenner’s book is discussed\n\t\t467\tKenner quotes a letter from Pound to a Yale Prof. : “Naturally you can’t expect a professor to read [fer] to learn what he don’t know…”\n\t\t490\tDiscussion of Kenner’s book as not being just about Ezra Pound\n\t\t525\tPound’s “early retreat” from city life to rural Italy\n\t\t562\tPound’s unusual dating of his letters\n\t\t675\tEvents of Pound’s life\n\t\t702\tPound’s writing in the concentration camp\n\t\t770\tThe photographs in Kenner’s book are discussed as proof of Pound’s poems being literal descriptions of things which actually exist\n"],"Note":["[{\"note\":\"Liner Notes: \\nBased initially on Dr. Hugh Kenner's authoritative book of that title (University of California Press, 1971), this program attempts to place Ezra Pound in the context of his contemporaries; and to describe his influence and that of his aesthetic theories and writing. Dr. Kenner, who is Professor of Literature at UC Santa Barbara joins with Pound Scholars Georg Gugelberger (Professor of Contemporary Literature, UC Riverside), Paul Vangelisti (Editor of Invisible City), and Everrett Frost in a discussion.\\nSide 1: 29:39\\nSide 2: 29:40\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552756027393,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"5243","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Bob Rose reading at SFU CLC Room on June 21, 1979 #192"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Rose, Bob"],"creator_names_search":["Rose, Bob"],"creators":["[{\"url\":\"\",\"name\":\"Rose, Bob\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/903/Reading in BC_McS199_192.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"192-Side-A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:44:50\",\"precision\":\"\",\"size\":\"41.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"192-Side-B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:20\",\"precision\":\"\",\"size\":\"35 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979-06-21\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/3764261726\",\"venue\":\"SFU CLC Reading Room\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU CLC Reading Room"],"City":["Burnaby, British Columbia"],"Note":["[{\"note\":\"Liner Notes\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552838864896,"timestamp":"2026-01-07T14:59:57.321Z","score":1.0},{"id":"5246","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Open Space Gallery: Jenny, John Pass, and Bill Bissett reading on February 10, 1979 part 1 of 2 #708"],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Jenny","Tallman, Warren","Pass, John","Bissett, Bill"],"creator_names_search":["Jenny","Tallman, Warren","Pass, John","Bissett, Bill"],"creators":["[{\"url\":\"\",\"name\":\"Jenny\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren \",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/29611411\",\"name\":\"Pass, John\",\"dates\":\"1947-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1040/Reading in BC_MsC199_708.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:00:30\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"708-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:17\",\"precision\":\"\",\"size\":\"36.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"708-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:13\",\"precision\":\"\",\"size\":\"37.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979-02-10\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/27142233\",\"venue\":\"Open Space Gallery (Art gallery in Victoria)ria\",\"notes\":\"\",\"address\":\"1040, Moss Street, Cook Street Village, Rockland, Victoria, Capital Regional District, British Columbia, V8V 3M8, Canada\",\"latitude\":\"48.42208\",\"longitude\":\"-123.34749\"}]"],"Address":["1040, Moss Street, Cook Street Village, Rockland, Victoria, Capital Regional District, British Columbia, V8V 3M8, Canada"],"Venue":["Open Space Gallery (Art gallery in Victoria)ria"],"City":["Victoria, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t007\tWarren Tallman makes an introduction for John Pass\n\t\t090\tJohn Pass takes the mike\n\t\t140\tPass reads ‘Invocation’\n\t\t169\t‘Welcome Lowry’\n\t\t209\t‘Still Life’\n\t\t240\tPass will now read from Port of Entry\n\t\t250\t‘The Image’\n\t\t266\t‘Landed’\n\t\t305\t‘North Shore’\n\t\t324\t‘Her Garden’\n\t\t330\t‘The Ache’\n\t\t377\t‘Real Roses’\n\t\t389\tPass will now read from There Go The Cars\n\t\t391\t‘Poem Facing the Other Way’\n\t\t400\tEnd of Side One\nTwo\t\t000\t\n\t\t006\t‘Leslie’ – a miniature’\n\t\t015\tJohn Pass ends his reading\n\t\t024\tJenny takes the microphone, her general theme will be childhood. She will read the poetry of several N.Z. and Australian poets\n\t\t064\t‘A shift of Emphasis’\n\t\t091\t‘He was born in the sun’\n\t\t109\t‘for a 5 year-old’\n\t\t130\t‘Legend’\n\t\t170\t‘Pat came swinging along’\n\t\t250\t‘for Andrew’\n\t\t277\tThe Second Look’\n\t\t330\tJenny ends her reading\n\t\t339\tBill Bissett begins a chant\n\t\t386\tEnd of chant, end of tape"],"Note":["[{\"note\":\"\",\"type\":\"\"},{\"note\":\"Liner Notes: Open Space Gallery, part 1, Vancouver, BC, February 10, 1979 #708\\npersons reading: John Pass, Jenny, Bill Bissett\\n(Very noisy, radio program in background)\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552840962049,"timestamp":"2026-01-07T14:59:57.321Z","score":1.0},{"id":"5247","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Open Space Gallery: Bill Bissett and David McFadden reading on February 10, 1979 part 2 of 2 #709\n"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bissett, Bill","McFadden, David"],"creator_names_search":["Bissett, Bill","McFadden, David"],"creators":["[{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/7405434\",\"name\":\"McFadden, David \",\"dates\":\"1940-2018\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1041/Reading in BC_MsC199_709.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"709-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:55\",\"precision\":\"\",\"size\":\"30.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"709-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:23\",\"precision\":\"\",\"size\":\"29.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979-02-10\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/27142233\",\"venue\":\"Open Space Gallery (Art gallery in Victoria)ria\",\"notes\":\"\",\"address\":\"1040, Moss Street, Cook Street Village, Rockland, Victoria, Capital Regional District, British Columbia, V8V 3M8, Canada\",\"latitude\":\"48.42208\",\"longitude\":\"-123.34749\"}]"],"Address":["1040, Moss Street, Cook Street Village, Rockland, Victoria, Capital Regional District, British Columbia, V8V 3M8, Canada"],"Venue":["Open Space Gallery (Art gallery in Victoria)ria"],"City":["Victoria, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t006\tBill Bissett beings another chant, using rattles this time\n\t\t091\tEnd of Chant\n\t\t099\t‘The tumbling grass breathe…’\n\t\t142\tEnd\n\t\t145\tBissett leads clapping and ‘Honey, hone’\n\t\t166\tBissett finishes\n\t\t169\tTallman suggests a break\n\t\t187\tMcFadden takes the microphone\n\t\t196\tMcFadden starts with quote from Margaret Randall’s introduction to a book on Cuban Poets\n\t\t234\t‘Vision that came to a 38-yar old male, English speaking, living in a Southern Canadian community, in the autumn’\n\t\t240\t‘Driving Home (for John Pass)’\n\t\t244\t‘The Folk Center’\n\t\t255\t‘The People’\n\t\t264\t‘This is such an awful story…’\n\t\t296\t‘News from the Nursing Home’\n\t\t307\t‘On the reigning reading light’\n\t\t316\t‘A poem to be placed at the beginning of a book\n\t\t327\t‘The Bunny farm’\n\t\t372\t‘Greaseball’\n\t\t389\t‘The Rat’\n\t\t399\tEnd of Side One\nTwo\t\t000\t\n\t\t007\t‘The Rat’ continued\n\t\t016\t‘The Baby in the Glass Case’\n\t\t031\t‘Alison at 14 and a half’\n\t\t055\t‘Unforgettable Dreams of Childhood’\n\t\t098\t‘Driving through the West Kootenays’\n\t\t107\t‘Dreary Weekend at Half Moon Bay’\n\t\t128\t‘Pinnocchio’\n\t\t149\t‘Carlos Pizzeria, Kingston Ontario, 1:30 am’\n\t\t154\t‘Truckers at a Truck Stop’\n\t\t168\t‘Been dead 22 years…’\n\t\t188\t‘Riding the Bus…’\n\t\t192\tMcFadden concludes\n\t\t200\tEnd of Side Two"],"Note":["[{\"note\":\"The cassette's label says it is very noisy, but I could hear it well\",\"type\":\"\"},{\"note\":\"Liner Notes: Open Space Gallery, part II, Vancouver Island, February 10, 1979 #709 \\npersons reading: Bill Bissett and David McFadden \\n(Very noisy, radio program breaking in)\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552840962050,"timestamp":"2026-01-07T14:59:57.321Z","score":1.0},{"id":"5273","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Gloucester Interview: Warren Tallman and Robert Creeley, 1972 #714"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Creeley, Robert","Tallman, Warren"],"creator_names_search":["Creeley, Robert","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert \",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1128/Reading in BC_MsC199_714.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"714-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:41:41\",\"precision\":\"\",\"size\":\"123.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"714-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:00\",\"precision\":\"\",\"size\":\"56.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t020\tThe difficulty of accepting that writing can be great art, as a painting by Cezanne (or great music) can be, is discussed by Tallman\n\t\t064\tCreeley makes mention of Stonewall Jackson and the Battle of Richmond\n\t\t100\tOn the distinction between reality and actuality\n\t\t210\t“The Sioux,” notes Creeley, “felt that the first order of creation was stone…”\n\t\t225\tDiscussion of Charles Olson ensues\n\t\t242\tDiscussion of Emerson’s intelligence\n\t\t331\tYeats enters the frame, in a sense\n\t\t340\tCreeley discusses some Mexican influences and their effect upon his work\n\t\t428\tOn content vs. technique in poetry\n\t\t442\tCreeley relates his first meeting with Paul Blackburn\n\t\t470\tColeridge is discussed\n\t\t513\tJ. Kerouac is discussed, in light, especially, of his memory\n\t\t521\tAllen Ginsberg’s phenomenal memory is touched upon\n\t\t589\tEnd of Side One\nTwo\t\t000\t\n\t\t007\tA Fred Wah anecdote is related\n\t\t069\tCreeley discusses the physical nature of the writing process\n\t\t232\tArabian poetry is given mention\n\t\t280\tBack to the topic of: the physical nature of writing\n\t\t315\tDiscussion of ‘Numbers’\n\t\t450\tCreeley relates an anecdote about a radio and another about exotic chickens\n\t\t490\tThe semantics f language are discussed\n\t\t508\tA discussion of rocks ensues, and reference is made to Gloucester\n\t\t570\tEnd of Side Two"],"Note":["[{\"note\":\"The cassette #714 is missing.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552846204930,"timestamp":"2026-01-07T14:59:57.321Z","score":1.0},{"id":"5274","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Warren Tallman and Robert Creeley interview with Don Allen on April 11, 1975 #716"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Allen, Don","Tallman, Warren","Creeley, Robert"],"creator_names_search":["Allen, Don","Tallman, Warren","Creeley, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/79111075\",\"name\":\"Allen, Don\",\"dates\":\"1912-2004\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert \",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1129/Reading in BC_MsC199_716.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"716-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:56\",\"precision\":\"\",\"size\":\"46.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"716-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:50\",\"precision\":\"\",\"size\":\"46.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-04-11\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t007\tThe methodology of the discussion to follow is discussed\n\t\t060\tTallman asks Don Allen about his Berkeley experience\n\t\t115\tDon Allen relates his experience working for Naval Intelligence and like in Japan\n\t\t200\t“How early did you have facility with languages?” asks Tallman\n\t\t228\tDon Allen relates his experiences moving to, and living in China\n\t\t248\tTallman asks Don Allen about his impressions of Berkeley\n\t\t321\tJosephine Miles is discussed \n\t\t346\tCreeley asks Don Allen about his early translations of poetry texts\n\t\t383\tDuncan is discussed – a lot of name-dropping follows\n\t\t395\tDon Allen relates his life in New York\n\t\t448\tThe editorial and publishing process is discussed\n\t\t508\tTrout Fishing is discussed\n\t\t568\tJ. Kerouac is discussed\n\t\t600\tEnd of Side One\nTwo\t\t000\t\n\t\t018\tTallman returns to the topic of New York and the publishing business. Lots of small talk follows\n\t\t245\tDon Allen discusses the proofreading process\n\t\t355\tContinued discussion of New York\n\t\t420\tCreeley asks Don Allen, “what kept you independent and from becoming just another New York Establishment editor?”\n\t\t455\tA French play that Don Allen translated is discussed\n\t\t603\tSide Two ends"],"Note":["[{\"note\":\"Based on the info in inventory and what I heard in digital files, it seems that there is a discussion between Don Allen, Warren Tallman and Robert Creeley NOT an interview. They all get to ask questions and talk. Mainly, Don Allen is the one who is asked questions from rather than the one who asks questions. \",\"type\":\"\"},{\"note\":\"Liner Notes: interview with Warren Tallman and Robert Creeley, April 11, 1975 #716 \\nDon Allen interviewing \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552846204931,"timestamp":"2026-01-07T14:59:57.321Z","score":1.0},{"id":"5279","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robert Creeley, Expo 86: 60th Birthday Reading in Vancouver on November 23, 1970, and 1986 part 2 of 2 #721"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Creeley, Robert"],"creator_names_search":["Creeley, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1135/Reading in BC_MsC199_721.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"721-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:19\",\"precision\":\"\",\"size\":\"59.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"721-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:21\",\"precision\":\"\",\"size\":\"59.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-11-23\",\"type\":\"Performance Date\",\"notes\":\"Side two (B)\",\"source\":\"Inventory\"},{\"date\":\"1986\",\"type\":\"Performance Date\",\"notes\":\"side one (A)\",\"source\":\"Inventory\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\"49.2519\",\"longitude\":\"-123.1145\"}]"],"Address":["Vancouver, BC, Canada"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t002\tTape begins with Creeley in the midst of reading an unidentified poem\n\t\t040\tEnd\n\t\t060\t“Old Max”\n\t\t138\tEnd\n\t\t156\t“Heaven Knows”\n\t\t163\tEnd\n\t\t166\t“Hotel”\n\t\t172\tEnd\n\t\t173\t“Echo”\n\t\t177\tEnd\n\t\t178\t“Made in America”\n\t\t182\tEnd\n\t\t183\t“Always”\n\t\t188\tEnd\n\t\t189\t“Massachusetts in May”\n\t\t195\tEnd\n\t\t196\t“Memories”\n\t\t200\t“For John”\n\t\t219\tEnd\n\t\t220\t“Buffalo Afternoon”\n\t\t230\tEnd\n\t\t231\t“For Ted…”\n\t\t236\tEnd\n\t\t237\t“Hotel…”\n\t\t242\tEnd\n\t\t280\tUnidentified\n\t\t300\tEnd\n\t\t301\t“Late Love”\n\t\t306\tEnd\n\t\t307\t“Fathers”\n\t\t318\tEnd\n\t\t319\t“Memory Gardens”\n\t\t325\tEnd\n\t\t326\t“Flicker”\n\t\t333\tEnd\n\t\t334\t“Window”\n\t\t339\tEnd\n\t\t340\t“Winter Mourning”\n\t\t346\tEnd\n\t\t347\t“Lovers”\n\t\t353\tEnd\n\t\t354\t“Funeral”\n\t\t358\tEnd\n\t\t359\t“Supper”, “Classical”\n\t\t372\tEnd\n\t\t373\t“Mother’s Photograph”\n\t\t379\tEnd\n\t\t380\t“Valentine”\n\t\t384\tEnd\n\t\t385\t“Lecture”\n\t\t389\tEnd\n\t\t390\t“Days”\n\t\t396\tEnd\n\t\t402\t“To say it’ from Mirrors\n\t\t416\tEnd\n\t\t420\tMusic Accompaniment\n\t\t565\tEnd, End Side One\nTwo\t\t000\t-\tReading Nov. 23, 1970\n\t\t020\tCreeley takes the microphone\n\t\t040\t“Massachusetts”\n\t\t080\tEnd\n\t\t081\t“June 6, 1970”\n\t\t090\tEnd\n\t\t091\t“For Benny and Sabina”\n\t\t100\tEnd\n\t\t135\t“For Son and his Girlfriend”\n\t\t142\tEnd\n\t\t143\t“Song for John Chamberlan”\n\t\t147\tEnd\n\t\t148\t“Irish”\n\t\t158\tEnd\n\t\t160\t“Sitting up to Fill Pages…”\n\t\t173\tEnd\n\t\t174 \t“You”, “Walking the Dog”, “Envoy”, “Heaven”\n\t\t205\tEnd\n\t\t206\t“Wisdom”, “Echo”, “Trees”, “Person”, “For Allen”, “For Chuck Hinman”, “For Louis”, “Oh-Love”, “Pay”, “For Some Weeks”\n\t\t301\tEnd\n\t\t307\t“Hunger”, “Rain”, “Down Home”, “Mouths”, “Kid”, “Tiny Place”, “Smoke”, “Echos”, “Roads”, “Love”, “Mobile Homes:, “Curse”, “Epigraph”, “Bolinas and Me”\n\t\t420\tEnd\n\t\t425\t“In London”, “Homesick Etc.”, “12:30”, “Variance of Emotional Occasion”, “Do You Think”\n\t\t\t-\tIn this section Creeley is reading a flurry of poems, many of which are untitled"],"Note":["[{\"note\":\"Liner Notes: \\nRobert Creeley \\nExpo 86, 60th birthday reading, Vancouver, BC, part two of two\\n1986 \\nside B with Vancouver ART TRID\\n45 minutes\\nDOLBY B\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552847253506,"timestamp":"2026-01-07T14:59:57.321Z","score":1.0},{"id":"5297","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Douglas Gordon Jones interview on July 19, 1979 #726"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Jones, Douglas Gordon"],"creator_names_search":["Jones, Douglas Gordon"],"creators":["[{\"url\":\"http://viaf.org/viaf/41883605\",\"name\":\"Jones, Douglas Gordon\",\"dates\":\"1929-2016\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1153/Reading in BC_MsC199_726.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"726-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:25\",\"precision\":\"\",\"size\":\"46.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"726-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:15\",\"precision\":\"\",\"size\":\"45.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979-07-19\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t003\tJones talks about his background with the French language\n\t\t075\t“To talk French, understand French, spoken, to read it and speak it are all different things… requiring different exercises”\n\t\t120\tJones talks about his work with Canadian literature at Sherbrook University\n\t\t140\tJones is asked about his position as a person\n\t\t195\tJones is questioned about Eclipse\n\t\t230\tJones is questioned about the process of translating from English to French and vice versa\n\t\t265\tJones is asked about this mixing of French and English words within his poetry\n\t\t295\tQuestion: “Have your books been translated?”\n\t\t310\tQuestion: “Do you think translating is a creative process?”\n\t\t326\tQuestion: “How much English-Canadian writing gets translated into French?”\n\t\t380\tJones talks about the similarities between English and French writers; and some of the co-operative projects which have taken place\n\t\t420\tQuestion: “Do Quebecers attend many poetry readings?”\n\t\t440\tJones speaks about the underground writing scene in Montreal\n\t\t480\tThe antagonisms between English and French Canadians\n\t\t512\tJones speaks about the modern political state in Quebec: i.e. some of the “absurd” conflicts between French and English culture\n\t\t547\t“There are very real splits, good and bad within Quebec society itself”\n\t\t576\tEnd. End Side One\nTwo\t\t000\t\n\t\t005\tJones is still speaking, continuing, the debate about the differences and similarities of French and English culture. Focus upon political elements\n\t\t130\tJones relates a story about two Quebec poets who travel to Pittsburg in order to perform at a reading\n\t\t250\tJones is questioned about the potential benefits of an English/French forum to discuss issues of culture\n\t\t270\tJones comments about likely French Canadian intellectuals who would take part in such a forum: Jones expresses his opinion about which French writers/academics would be essential to such a meeting\n\t\t\tAfter this point the interview begins to crawl – continued listless exchanges about appropriate conditions for the culture forum\n\t\t550\tEnd. End Side Two"],"Note":["[{\"note\":\"Liner Notes: Doug Jones interview \\nJuly 19, 1979 \\n#726\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552854593538,"timestamp":"2026-01-07T14:59:57.321Z","score":1.0},{"id":"5216","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["There is No Other Life: Selected Poems by Gary Snyder in Sierra Nevada on August 21, 1974 tape 2 of 3 #500b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Snyder, Gary","Kohler, Michael"],"creator_names_search":["Snyder, Gary","Kohler, Michael"],"creators":["[{\"url\":\"http://viaf.org/viaf/68944804\",\"name\":\"Snyder, Gary\",\"dates\":\"1930-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/114331797\",\"name\":\"Kohler, Michael\",\"dates\":\"1946-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/867/Reading in BC_MsC199_500b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:00:38\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"500b-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:17:21\",\"precision\":\"\",\"size\":\"17.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"500b-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:17:23\",\"precision\":\"\",\"size\":\" 17.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-08-21\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/10470200\",\"venue\":\"Kitkitdizze\",\"notes\":\"\",\"address\":\"Kitkitdizze, Sierra Nevada, California, USA\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Kitkitdizze, Sierra Nevada, California, USA"],"Venue":["Kitkitdizze"],"Note":["[{\"note\":\"The detailed information about the cassette and its contents can be found in the insert that can be seen on the photograph\",\"type\":\"General\"},{\"note\":\"Liner Notes: Copy 2\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552859836419,"timestamp":"2026-01-07T14:59:57.321Z","score":1.0},{"id":"5338","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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Louise\",\"dates\":\"1930-2018\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Donor\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1207/Reading in BC_MsC199_735.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"735-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:33\",\"precision\":\"\",\"size\":\"46.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"735-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:35\",\"precision\":\"\",\"size\":\"47.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979-05\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\"49.2584\",\"longitude\":\"-123.1128\"}]"],"Address":["Vancouver, BC, Canada"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t009\tAn introductory speaker makes some opening comments\n\t\t050\tHawkins takes the microphone\n\t\t064\t“A Conversation Between Five Women”\n\t\t111\tEnd\n\t\t149\t“Twice”\n\t\t161\tEnd\n\t\t170\t“The Boyfriend”\n\t\t259\tEnd\n\t\t263\tUntitled\n\t\t270\tEnd\n\t\t272\t“Rainbow”\n\t\t293\tEnd\n\t\t302\t“The Grace of the Rising Sun”\n\t\t330\tEnd\n\t\t333\t“Pearl said”\n\t\t347\tEnd\n\t\t349\t“Curtis stuck his feet”\n\t\t360\tEnd\n\t\t361\t“Well, I’ll tell yawl”\n\t\t430\tEnd\n\t\t439\tGeorge Bowering takes the microphone\n\t\t576\tEnd\nTwo\t\t000\t\n\t\t008\tBowering continues reading\n\t\t288\t(stop)\n\t\t294\tKyger takes the microphone and will begin reading a series of poems from “The Wonderful Focus of You” [These poems flow into one another and, therefore, are not demarcated with separate tracking numbers’\n\t\t313\t“The Wonderful Focus of You”\n\t\t\t“February 15”\n\t\t\t“February 16”\n\t\t\t“March 2”\n\t\t\t“March 15”\n\t\t\t“March 28”\n\t\t\t“April 7”\n\t\t\t“April 8”\n\t\t\t“May 11”\n\t\t\t“May 11”\n\t\t\t“July 20”\n\t\t\t“July 21”\n\t\t\t“More on Thursday”\n\t\t\t“August 1”\n\t\t\t“August 16”\n\t\t\tUntitled\n\t\t\tUntitled\n\t\t\t“October 11”\n\t\t\tUntitled\n\t\t\tUntitled\n\t\t\tUntitled\n\t\t510\tEnd\n\t\t512\tEnd Side Two"],"Note":["[{\"note\":\"Liner Notes:\\nHawkins, Bowering, Kyger \\nVancouver, May, 1979\\n#735\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552868225024,"timestamp":"2026-01-07T14:59:57.321Z","score":1.0},{"id":"5343","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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Dante and Pound)\n\t\t475\t“In the poetic tradition it found that its Eros was the enemy of love and sexuality – this is a distinction that most people don’t understand”\n\t\t494\t“Poetry is profoundly against fulfillment and ultimately for the death…”\n\t\t579\t“Romance is what we have in the poetry – in a moment of revelation – which is the mind”\n\t\t583\tEnd Side One\nTwo\t\t000\t\n\t\t005\tDuncan says that he is drawn towards, in the sense of romance, is a mysterious friendship\n\t\t050\t“In the 19th century the greatest romance writer is Dickens”\n\t\t090\tDuncan condemns Freudian psychology – suggesting that Freud had a self-destructive drive: an underlying romantic drive\n\t\t142\tGinsberg and Buddhism\n\t\t188\t“I think mind is a very different thing from psyche”\n\t\t240\tDuncan suggests that romance can encompass a wide range of authors with opposing metaphysics\n\t\t286\tDiscussion focuses upon courtly love\n\t\t318\tDuncan – a most important notion is that the troubadour poet never consummated his love\n\t\t376\tDuncan proposes that the spirit of romance involves a denial of the body\n\t\t440\tThe discussion focuses upon the philosophical differences between Buddhism and Christianity\n\t\t484\tTallman questions some of the others present at the interview about their definition of romance\n\t\t525\tDuncan relates a story about Robert Creeley\n\t\t548\tEnd. End Side Two"],"Note":["[{\"note\":\"Liner Notes:\\nWarren Tallman interviewing Robert Duncan Vancouver BC\\nMay 1979\\nDOLBY B\\n #736\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553052774400,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5344","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Frank Davey interview with Warren Tallman, May 1979 #737"],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Davey, Frank","Tallman, Warren"],"creator_names_search":["Davey, Frank","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/5029235\",\"name\":\"Davey, Frank \",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors":["[]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1209/Reading in BC_MsC199_737.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"737-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:31\",\"precision\":\"\",\"size\":\"46.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"737-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:39\",\"precision\":\"\",\"size\":\"46.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979-05\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t005\tDavey is heard speaking about the environment of Canadian writing\n\t\t086\tDavey reviews some modern Canadian writers, comparing even Duncan and Pound to the milieu of Canadian authorship\n\t\t160\tDavey explains about the publishing industry and the specifics behind the publishing house of which he is involved\n\t\t230\tDavey speaks about some of the modern writers which he has published\n\t\t268\t“Vancouver publishing has to be responsible for the Vancouver scene … this is a complicating thing, Coach House [or Toronto Publishing] does not have to be responsible for the Toronto scene”\n\t\t338\tTallman questions Davey about his foundations as a writer – particularly about a phase in which Davey became preoccupied with criticism\n\t\t376\tDavey recounts that his writing is indebted to his colleagues – particularly the members of the Tish project\n\t\t440\tTallman reflects upon the body of Davey’s writing – suggesting that D-Day and After and Weeds will become key works\n\t\t500\tTallman and Davey fall into a long discussion about their colleagues – and how the entire group is changing\n\t\t560\tDavey: “The Reality of being a writer in Canada is different, [from the U.S.], not simply a political line, in terms of the actual necessities of life”\n\t\t577\tTallman makes an interesting statement to the effect: The older generation of Canadian poets lacked a courage of the imagination – The new generation, however, seems to be developing that courage\n\t\t590\tBoth speakers agree that the Tish project involved an imaginative courage\n\t\t605\tTallman reflects that at the time he was an undergraduate – no formal canon of Canadian literature existed\n\t\t610\tDavey reflects that this lack of a formal canon – infused the writing of his generation with a great sense of freedom to write\n\t\t615\tEnd. End Side One\nTwo\t\t000\t\n\t\t010\tTallman talks about the pockets of resistance between the poet subculture, publishing poets, and the academic world\n\t\t070\tThe political/academic environment within B.C.\n\t\t170\t“I think B.C. in particular suffers from the kind of counter movement you are talking about… in the East… there is a desire to find a new kind of B.C. writing…” Davey\n\t\t180\tDavey suggests that Ontario has a tendency to dismiss the canon of B.C. writing as “American-style” writing\n\t\t235\tDavey characterizes the creative writing program at York\n\t\t330\tPoetic risk taking Toronto vs. B.C.\n\t\t350\tThe relationship of this conservative government to Canadian Cultural Councils, and the dangers of assigning political control over creative money\n\t\t381\tTallman summarizes his efforts to create local support for poetry within Vancouver: “I have just about written U.B.C. off, I think they are enemies of literature, the institutional, bureaucratic, professional attitude toward literature is killing off any real interest…”\n\t\t400\tBoth speakers embark on a long discussion about the attitude towards creative writing in B.C.’s universities\n\t\t465\tTallman draws an analogy between theology and the professionalism of B.C. universities\n\t\t545\tDavey focuses upon modern Quebec writing\n\t\t580\tTallman asks Davey what kind of a critical theory he employs when writing\n\t\t610\tEnd. End Side Two"],"Note":["[{\"note\":\"Liner Notes:\\nFrank Davey interview Warren Tallman\\nMay 1979\\n#737\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553052774401,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5345","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Side one: Edward Dorn interview with Warren Tallman on June 23, 1979 / Side two: Eli and Ann Mandel interview with Warren Tallman #738"],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Dorn, Edward","Mandel, Eli","Mandel, Ann","Tallman, Warren"],"creator_names_search":["Dorn, Edward","Mandel, Eli","Mandel, Ann","Tallman, Warren"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/25166087\",\"name\":\"Dorn, Edward\",\"dates\":\"1929-1999\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/59095399\",\"name\":\"Mandel, Eli\",\"dates\":\"1922-1992\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/31854728\",\"name\":\"Mandel, Ann\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors":["[]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1210/Reading in BC_MsC199_738.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"738-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:25\",\"precision\":\"\",\"size\":\"46.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"738-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:55:32\",\"precision\":\"\",\"size\":\"45.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979-6-23\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tEd Dorn interview\n\t\t010\tDorn and interviewer share common childhood experiences – esp. about film and the experience of going to the theatre\n\t\t090\tDorn and interviewer talk about home town environments and the alienation that these small towns breed\n\t\t160\tDorn relates his first experience of travelling to Los Angeles\n\t\t200\tDorn explains about his employment on the railroad at the age of 14\n\t\t230\tDorn explains about the necessity of working as an adolescent – working on the family farm and the social expectations placed upon labour and employment\n\t\t287\tInterview continues from inside a car\n\t\t320\tDorn is asked about his proximity to the public library while growing up\n\t\t340\tThe two talk about the exposure to the classics, the experience of reading, and the social atmosphere of the time\n\t\t390\tDorn recounts some of the reading (novels, philosophers) which profoundly affected him\n\t\t470\tDorn admits to a rejection of older types of poetry – preferring the modern, 20th century forms\n\t\t515\tDorn is asked about the intellectual arenas within his high-school\n\t\t523\tEnd. End side One\nTwo\t\t000\t\n\t\t005\tThe interviewer points out that in the graduate programs – women seem genuinely more interested in the literature; where men seem more interested in a career\n\t\t100\tThe interviewer goes on to point out that marriages between faculty members and outsiders (those who have no graduate training in English) often fail; while the tendency for a woman to leave school upon marriage – continues\n\t\t124\tThe interviewer asks whether these conditions still prevail\n\t\t158\tEli maintains that men in positions of power continue to marginalize women\n\t\t180\tEli states that a feminist movement is being propelled by a language which accommodates female expression – this language can be found in poetic movements\n\t\t250\tAnn responds that women are constantly placed in a subordinate position by institutional mechanism such as marriage and university\n\t\t290\tAnn points out that women, in university are still associated with creative writing\n\t\t328\tEli argues that women are allocated a kind of mystical rule in our culture through writing\n\t\t350\tAnn explains that women are in a double bind – they are frustrated, and forbidden to be militant\n\t\t383\tBoth speakers discuss the discriminatory practices of English faculty departments\n\t\t430\tEnd. End Side Two"],"Note":["[{\"note\":\"Both interviews are done by Warren Tallman although his name is not mentioned neither in J-Card nor the inventory. I just added.\",\"type\":\"\"},{\"note\":\"Liner Notes:\\nTwo interviews: Edward Dorn and Eli and Ann Mandel, June 23, 1979 \\nSide 1: Ed Dorn \\n38:55\\nSide 2: “The Situation of women in university English departments”/ Eli and Ann Mandel\\nDOLBY B\\n#738\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553053822976,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5346","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Colin Stewart and Duncan McNaughton reading poems on November 29, 1978 part 1 of 2 #739"],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","McNaughton, Duncan","Stewart, Colin"],"creator_names_search":["Tallman, Warren","McNaughton, Duncan","Stewart, Colin"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/63059516\",\"name\":\"McNaughton, Duncan \",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/1899514\",\"name\":\"Stewart, Colin \",\"dates\":\"1959-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1213/Reading in BC_MsC199_739.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"739-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:39\",\"precision\":\"\",\"size\":\"41.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"739-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:28\",\"precision\":\"\",\"size\":\"39.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-11-29\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t005\tAn introduction speaker *[i.e. Warren Tallman] gives a background description of the upcoming readers\n\t\t050\tStewart takes the microphone\n\t\t065\t“The Conclusion to the ‘Triumph of Life’\n\t\t118\tEnd\n\t\t122\t“Getting into October”\n\t\t132\tEnd\n\t\t134\t“1999”\n\t\t154\tEnd\n\t\t166\tUntitled – a very long prose piece\n\t\t401\tEnd Side One\nTwo\t\t000\t\n\t\t008\tColin Stewart leaves the stage while a background speaker introduces Duncan McNaughton\n\t\t049\tUntitled – McNaughton reads a modern prose piece\n\t\t120\tEnd\n\t\t146\tUntitled – McNaughton again reads a prose piece. This is an unpublished work-in-progress\n\t\t311\tEnd\n\t\t320\tEnd Side Two"],"Note":["[{\"note\":\"Liner Notes:\\nColin Stewart and Duncan McNaughton\\nNovember 29, 1978\\npart one of two\\nDOLBY B\\n #739 \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553053822977,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5347","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Colin Stewart and Duncan McNaughton discussion and interview with Warren Tallman on November 29, 1978 part 2 of 2 #740"],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["McNaughton, Duncan","Tallman, Warren","Stewart, Colin"],"creator_names_search":["McNaughton, Duncan","Tallman, Warren","Stewart, Colin"],"creators":["[{\"url\":\"http://viaf.org/viaf/291599827\",\"name\":\"McNaughton, Duncan \",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/1899514\",\"name\":\"Stewart, Colin \",\"dates\":\"1959-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1214/Reading in BC_MsC199_740.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"740-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:00\",\"precision\":\"\",\"size\":\"47.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"740-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:51\",\"precision\":\"\",\"size\":\"51.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-11-29\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t020\tDuncan McNaughton explains about his modern prose project\n\t\t080\tMcNaughton explains about the process of writing – and the alcohol problem which propelled him into this writing project\n\t\t142\t“The book has no plot, it is a suspense book of sorts… the problem is, I don’t know how to get out of it” – McNaughton\n\t\t210\tMcNaughton is asked about the references to Massachusetts in the work he has just read\n\t\t270\tMcNaughton is asked about the aspect of surrealism within his work\n\t\t280\tStewart is asked about his awareness of writing mechanics during the process of writing\n\t\t295\tStewart comments about uniting as a process of illumination and destruction\n\t\t310\tStewart explains that writing, for him, is difficult process filled with resistance\n\t\t330\tStewart talks about the distinction between poetry and prose, and the difficulties involved in writing within each style\n\t\t386\tThe discussion focuses upon T.V. and popular culture\n\t\t400\tEnd. End Side One\nTwo\t\t000\t\n\t\t020\tMcNaughton expresses great pessimism about television, popular film and the business of film production\n\t\t090\t“The Americans who write anything that interests me are people so attuned to live speech… and far away from books” – McNaughton\n\t\t160\tMcNaughton speaks about the Japanese language and his interest in Japanese fiction\n\t\t235\tMcNaughton relates a story about his meeting with Jack Kerouac and the literary philosophy which evolved from this meeting\n\t\t281\tMcNaughton is questioned about what he concentrates upon when writing, and how he develops a character\n\t\t320\tMcNaughton comments about one’s roots and the importance of being tied to a culture – a sense of place"],"Note":["[{\"note\":\"Liner Notes:\\nColin Stewart and Duncan McNaughton \\nNovember 29 1978\\npart two of two\\nDOLBY B\\n#740\",\"type\":\"General\"},{\"note\":\"Besides Warren Tallman, there is also a woman who asks some questions \",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553053822978,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5348","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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End Side One\nTwo\t\t000\t\n\t\t010\tMaxine Gadd begins reading from untitled work\n\t\t070\tEnd\n\t\t075\tUntitled\n\t\t105\tEnd\n\t\t109\tUntitled\n\t\t145\tEnd\n\t\t160\tUntitled\n\t\t180\tEnd\n\t\t190\t“The Wig Queen”\n\t\t261\tEnd. End Side Two"],"Note":["[{\"note\":\"Liner Notes:\\nFrank Davey, Maxine Gadd \\nMay 16, 1979\\nDOLBY B\\n#741\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553053822979,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5349","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. 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End Side One\nTwo\t\t000\t\n\t\t006\t“The Torn Cloth” – continued\n\t\t052\tEnd\n\t\t070\t“The Sentinels”\n\t\t143\tEnd\n\t\t228\t“Seven sessions”\n\t\t321\tEnd\n\t\t353\t“The Buddha’s Smile”\n\t\t386\tEnd\n\t\t447\t“An Eros/Amor/Love Cycle”\n\t\t530\tEnd. End Side Two"],"Note":["[{\"note\":\"Liner Notes:\\nRobert Creeley, Robert Duncan\\nMay 16, 1979\\nDOLBY B \\n#742\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553053822980,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5380","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. 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There are also other people attending this program\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553068503041,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5407","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robin Blaser FPA 110 Dante Lecture IA at SFU on September 9, 1977 #946"],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[RB_946]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1283/Reading in BC_McS199_946.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/rbr-91/rb946a\",\"file_path\":\"\",\"filename\":\"946-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:31\",\"precision\":\"\",\"size\":\"44.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-92/rb946b\",\"file_path\":\"\",\"filename\":\"946-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:41\",\"precision\":\"\",\"size\":\"40 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-09-09\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU \",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2770\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU "],"City":["Burnaby, British Columbia"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553072697350,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5410","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Two Toughs: Ed Sanders and Michael Brownstein reading at Naropa Institute Jack Kerouak school Disembodied poetics, Summer Session 1975. Duplicate 1 of 2. #775"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Brownstein, Michael","Sanders, Ed"],"creator_names_search":["Brownstein, Michael","Sanders, Ed"],"creators":["[{\"url\":\" http://viaf.org/viaf/91276819\",\"name\":\"Brownstein, Michael \",\"dates\":\"1943-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/22183708\",\"name\":\"Sanders, Ed \",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1286/Reading in BC_MsC199_775.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"775-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:01:12\",\"precision\":\"\",\"size\":\"59.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"775-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:06:07\",\"precision\":\"\",\"size\":\"66.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976\",\"type\":\"Performance Date\",\"notes\":\"It's the date that is written in inventory BC document \",\"source\":\"Inventory\"},{\"date\":\"1975\",\"type\":\"Performance Date\",\"notes\":\"This is the date that is mentioned by Ed Sanders on the digital file \",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"\",\"address\":\"2130 Arapahoe Ave, Boulder, CO 80302, United States\",\"latitude\":\"40.01405\",\"longitude\":\"-105.26695\"}]"],"Address":["2130 Arapahoe Ave, Boulder, CO 80302, United States"],"Venue":["Naropa Institute"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\n1\t\t\tEd Sanders reading: Untitled I, Untitled II, The Struggle, Homage to Zap, Children of Freedom, Souls, From the Diary Secret Notebooks, Stand by My Side, Oh Lord, Eulogy for ()\n2\t\t\tMichael Brownstein reading: Plot to Save the World, Oh Tuna, Strindberg, The Sidewalk, The Wind, It Can’t be True, The Booklets, Dinner Music, Geography\n"],"Note":["[{\"note\":\"Two Toughs\\nside 1: Ed Sanders\\nside two: Michael Brownstein \\n#775\",\"type\":\"General\"},{\"note\":\"The first 28 minutes and 34 seconds of side one is full, and the rest is empty. \\n\",\"type\":\"\"},{\"note\":\"The first 28 minutes and 35 seconds of side two is full, and the rest is empty. \",\"type\":\"\"},{\"note\":\"The reading date is different on inventory and audio file \",\"type\":\"\"},{\"note\":\"Tape #975 is duplicate 2\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670553073745922,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5421","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Pacifica Radio series on Ezra Pound: reading and discussion of the Cantos of Ezra Pound by Everett Frost, George Gupelberger, Paul Vangelisti, and Hugh Kenner, 1973 Part 2 of 2 #508b"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creator_names_search":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/106966232\",\"name\":\"Kenner, Hughes\",\"dates\":\"1923-2003\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/311110613\",\"name\":\"Frost, Everett Lloyd\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/61690815\",\"name\":\"Vangelisti, Paul\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"\",\"name\":\"Gugelberger, George\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1356/508b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"508_2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:18\",\"precision\":\"\",\"size\":\"29.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"508_2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:17\",\"precision\":\"\",\"size\":\"29.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tCanto XXXVI is discussed\n\t\t060\tPound’s American Cantos are discussed, especially the John Adams Cantos\n\t\t078\tPound reads Canto XLIX\n\t\t113\tCanto XLIX is discussed\n\t\t140\tPound reads Canto LXXXI\n\t\t271\tCanto LXXXI is discussed – the “money theme”, etc.\n\t\t372\tPound reads Canto LXXIV\n\t\t458\tCanto LXXXIV is discussed\n\t\t475\tPound’s stay in the concentration camp\n\t\t485\t“Coda” to the Pisas Cantos (Kenner’s idea): a letter by Pound to his lawyer, concerning his nervous breakdown\n\t\t508\tPound reads Canto CVI\n\t\t613\tThe Panel tries to assess the Cantos\n\t\t801\tPound reads from Canto CXV"],"Note":["[{\"note\":\"Liner Notes: \\nThe Cantos of Ezra Pound: A Discussion from KPFA\\nSide 1: 29:30\\nSide 2: 23:50\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553076891648,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5422","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Pacifica Radio series on Ezra Pound: reading and discussion of out of key with his time by Everett Frost, George Gupelberger, Paul Vangelisti, and Hugh Kenner, 1973 Part 1 of 2 #509a"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creator_names_search":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/106966232\",\"name\":\"Kenner, Hughes\",\"dates\":\"1923-2003\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/311110613\",\"name\":\"Frost, Everett Lloyd\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/61690815\",\"name\":\"Vangelisti, Paul\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"\",\"name\":\"Gugelberger, George\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1357/509a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"509_1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:15\",\"precision\":\"\",\"size\":\"40.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"509_1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:15\",\"precision\":\"\",\"size\":\"40.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t\tHugh Kenner, et al., discuss Pound’s shorter poems\n\t\t000\tPound reads “Je Bois dans mon Verre”, from his translations of the Confucian odes (Part 1, Book IX, iii)\n\t\t015\tIntroduction by Everett Frost\n\t\t028\tKenner reads “The Seafarer,” Pound’s 1911 translation of the Old English poem (from New Directions Personae, p. 64)\n\t\t123\t“The Seafarer” is discussed\n\t\t209\tPound reads his translation of Li Po: “The Exile’s Letter” (Personae, p. 134)\n\t\t283\t“The Exile’s Letter” is compared to “The Seafarer”\n\t\t300\tDiscussion of the manuscripts (of Fenollosa) from which Pound worked to create his Chinese translations\n\t\t368\tDiscussion of “The Exile’s Letter”\n\t\t390\tKenner reads “Liu Ch’e”, discusses it as an example of an “imagist” poem (from Personae, p. 108)\n\t\t413\t“In a Station of the Metro” is read and discussed in the context of Pound’s idea of “imagism” (from Personae, p. 109)\n\t\t483\t“An Object” (from Personae p.63) is read and discussed\n\t\t510\t“Ancient Music” is read by Gugelberger (Personae, p.116)\n\t\t519\tPound reads “Soiree” and “Sketch 48 b.11” from”Moeurs Contemporaines” (from Personae, p. 179)\n\t\t530\tPound reads from “Homage to Sextus Propertius” (Personae, p. 205)\n\t\t625\t“Homage…” is discussed\n\t\t685\t“The Return” (Personae, p. 74)\n\t\t703\tDiscussion of “The Return”\n\t\t815\tDiscussion of “Hugh Selwyn Mauberley” (Personae, p. 185)"],"Note":["[{\"note\":\"Liner Notes: \\nThe Cantos of Ezra Pound: A Discussion from KPFA\\nSide 1: 29:30\\nSide 2: 23:50\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553076891649,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5423","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Pacifica Radio series on Ezra Pound: reading and discussion of out of key with his time by Everett Frost, George Gupelberger, Paul Vangelisti, and Hugh Kenner, 1973 Part 2 of 2 #509b"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creator_names_search":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/106966232\",\"name\":\"Kenner, Hughes\",\"dates\":\"1923-2003\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/311110613\",\"name\":\"Frost, Everett Lloyd\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/61690815\",\"name\":\"Vangelisti, Paul\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"\",\"name\":\"Gugelberger, George\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1358/509b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"509_2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:30\",\"precision\":\"\",\"size\":\"25.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"509_2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:52\",\"precision\":\"\",\"size\":\"24.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tDiscussion of “Mauberley” continues\n\t\t049\tPound reads “Hugh Selwyn Mauberley’ (“Envoi” and “Medallion” are read by Kenner)\n\t\t294\tIntroduction to Pound’s Confucian Odes\n\t\t312\tPound reads “O omen tree…” (Book 1:vi)\n\t\t322\t“Ole Brer Rabbit…” (Book VI: Aliter)\n\t\t328\t“Hep-Cat Chung…” (Book VII:ii)\n\t\t341\t“Garden peach…” (Book IX:iii)\n\t\t352\t“Flies, blue flies…” (Book VII: Sang Hu:v)\n\t\t360\t“Folk worn out…” (Book II: Decade of Sheng Min:ix)\n\t\t394\tIntroduction of “The Tree”\n\t\t399\tKenner reads “The Tree”\n\t\t410\tBrief discussion of “The Tree”\n\t\t437\tPound reads “Compassionate heaven…” (Book III: Decade of T’ang:xi)"],"Note":["[{\"note\":\"Liner Notes: \\nThe Cantos of Ezra Pound: A Discussion from KPFA\\nSide 1: 29:30\\nSide 2: 23:50\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553076891650,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5424","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Pacifica Radio series on Ezra Pound: discussion and reading by Everett Frost, George Gupelberger, Paul Vangelisti, and Hugh Kenner, 1973 Part 1 of 2 #510a "],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creator_names_search":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/106966232\",\"name\":\"Kenner, Hughes\",\"dates\":\"1923-2003\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/311110613\",\"name\":\"Frost, Everett Lloyd\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/61690815\",\"name\":\"Vangelisti, Paul\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"\",\"name\":\"Gugelberger, George\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1359/Reading in BC_MsC199_510a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"510_1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:34\",\"precision\":\"\",\"size\":\"42.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"510_1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:27\",\"precision\":\"\",\"size\":\"44.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t\tDiscussion of Pound’s “extra-poetic” life\n\t\t000\tIntroduction by Everett Frost\n\t\t025\tPound reads two of his poems: Cantos XLV and \n\t\t063\tLI\n\t\t115\tDiscussion of Canto XLV; the meaning of “usura”; rhetoric of the poem reflecting a hypothetical prophet persona\n\t\t245\tPound’s economic views – based on C.H. Douglas’ Economic Democracy, 1919\n\t\t343\tPound’s important work in London during W.W.I. not the source of his income\n\t\t364\tPound and the “Marxist temptation”\n\t\t409\tPound speaking as an artist on behalf of artists\n\t\t480\tPound’s view of how art ought to be financed in a time of economic abundance\n\t\t540\tFunction of the artist in society\n\t\t595\t“Direction” of Pound’s Cantos; the accuracy of his language\n\t\t629\tPound’s aesthetic of recycling”\n\t\t650\tPound as an “expansionist” compiler of data rather than a reflective poet\n\t\t700\tAnti-Semitism"],"Note":["[{\"note\":\"Liner Notes: \\nHugh Kenner, Georg Gugelberger, Paul Vangelisti & Everrett Frost discuss Pound's politics, radio broadcasts, incarceration, \\\"insanity\\\" etc.\\nSide 1: 27:30\\nSide 2: 23 mins\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553076891651,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5425","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Pacifica Radio series on Ezra Pound: discussion and reading by Everett Frost, George Gupelberger, Paul Vangelisti, and Hugh Kenner, 1973 Part 2 of 2 #510b"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creator_names_search":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/106966232\",\"name\":\"Kenner, Hughes\",\"dates\":\"1923-2003\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/311110613\",\"name\":\"Frost, Everett Lloyd\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/61690815\",\"name\":\"Vangelisti, Paul\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"\",\"name\":\"Gugelberger, George\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1360/510b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"510_2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:33\",\"precision\":\"\",\"size\":\"24.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"510_2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:26:43\",\"precision\":\"\",\"size\":\"27.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tPound, like many of his American contemporaries, has more of an “evangelical” motivation than a political one\n\t\t010\tGugelbergr reads a short statement by Mike Gold (editor of the New Masses), cautioning Pound against uncritically accepting fascist ideology\n\t\t021\tPound’s radio broadcasts in Italy\n\t\t030\tPound’s reasons for supporting Italian fascism\n\t\t046\tFrost reads a letter written by Pound after his arrest, justifying his radio broadcasts; these are discussed by the panel\n\t\t100\tPound’s fascination with Mussolini\n\t\t155\tPound’s poetry based on two opposing operational principles: formalism and societal referentiality\n\t\t180\tPound’s ideal of “total engagement” (artistic & social) – Pound a “revolutionary simpleton” (Lewis)\n\t\t220\tPound’s unique (for an American) perspective on Mussolini, Italian fascism, and the complicity of the Allied powers in precipitating W.W.II – his naivety\n\t\t330\tPound’s selective structuring of reality – his emphases on things which interested him\n\t\t355\tPound’s “insanity”; his years at St. Elizabeth’s mental hospital; his involvement with Casper and Horton (of Square Dollar Books)\n\t\t449\tPound’s lucidity at St. Elizabeth’s\n\t\t490\tG. Gugelberger points out that Pound has retracted his anti-Semitic views\n\t\t519\tP. Vangelisti reads from a fragment of Canto CVII\n\t\t534\tDr. Kenner comments on Pound’s “penitential silence” in his last years\n\t\t540\tE. Frost’s closing comments, Canto CXX"],"Note":["[{\"note\":\"Liner Notes:\\nThe Case of Ezra Pound\\nSide 3: 22 min\\nSide 4: 21 mins\\nNote: There appears to be some material lost between the end of side 2 and the start of side 3\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553076891652,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5413","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Pacifica Radio series on Ezra Pound: reading and discussion of the Cantos of Ezra Pound by Everett Frost, George Gupelberger, Paul Vangelisti, and Hugh Kenner, 1973 Part 1 of 2 #508a"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creator_names_search":["Pound, Ezra","Kenner, Hughes","Frost, Everett Lloyd","Vangelisti, Paul","Gugelberger, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/106966232\",\"name\":\"Kenner, Hughes\",\"dates\":\"1923-2003\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/311110613\",\"name\":\"Frost, Everett Lloyd\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/61690815\",\"name\":\"Vangelisti, Paul\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"\",\"name\":\"Gugelberger, George\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1289/508a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"508_1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:51\",\"precision\":\"\",\"size\":\"49.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"508_1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:54\",\"precision\":\"\",\"size\":\"51.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t\tHugh Kenner et al discuss the Cantos of Ezra Pound\n\t\t000\tIntroduction of program\n\t\t023\tIntroduction of Canto I\n\t\t030\tPound reads, in Latin, from the Andreas Divus translation of Homer\n\t\t036\tKenner takes over reading (in Latin)\n\t\t042\tPound reads Canto I in English. Kenner & Pound read in Latin\n\t\t110\tThe “completeness” of Pound’s epic is discussed\n\t\t127\tThe epic doesn’t end or begin; it begins with the word “and”\n\t\t137\tSome of the unfinished and, at the time of the broadcast, unpublished Cantos are mentioned\n\t\t162\tCanto I is discussed as a translation of Homer through Andreas Divus, and at the end, the Cretan (translator of the Homeric hymns)\n\t\t191\tPound’s troubles in beginning his epic are discussed\n\t\t224\tPound’s letter to his father (Apr.11, 1927) outlining “main scheme” of poem\n\t\t235\tPound reads Canto IV\n\t\t328\tThe difficulty of Canto IV is discussed; Kenner defends the coherence and symmetry of the poems as they are arranged\n\t\t427\tCanto IX is introduced; Kenner reads some of the “letters” contained therein\n\t\t529\tKenner, Frost, Gugelberber, Vangelisti, read Canto XIII\n\t\t588\tCanto XIII is discussed – problems knowing which versions have authority\n\t\t656\t“Hell” Cantos introduced\n\t\t667\tPound reads from Canto XVI\n\t\t721\tCanto XVI is discussed\n\t\t778\tThe publishing history of the Cantos is discussed; an excerpt from Kenner’s book, The Pound Era is read\n\t\t831\tPound reads Canto XXXVI"],"Note":["[{\"note\":\"Liner Notes: \\nThe Cantos of Ezra Pound: A Discussion from KPFA\\nSide 1: 37:20\\nSide 2: 37:25\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553270878210,"timestamp":"2026-01-07T14:59:57.732Z","score":1.0},{"id":"5414","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Hugh Kenner lecture about Ezra Pound, Language, and Literature Recorded at SFU on February 25th, 1975 #511"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"creator_names":["Kenner, Hughes"],"creator_names_search":["Kenner, Hughes"],"creators":["[{\"url\":\"http://viaf.org/viaf/106966232\",\"name\":\"Kenner, Hughes\",\"dates\":\"1923-2003\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1290/511.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"511-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:18\",\"precision\":\"\",\"size\":\"80.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"511-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:54\",\"precision\":\"\",\"size\":\"66.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-02-25\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178 \"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t\tLanguage and literature – Ezra Pound\n\t\t000\tIntroduction: Pound as a manipulator of large-scale forms\n\t\t042\tTwo questions are posed: “How can we sustain a conception of some length?” and “What do we have when we have a form?”\n\t\t115\tForms are accidents repeated by design; how this affected Pound’s poetry when fragments of Sopho manuscript were discovered\n\t\t154\tEdmond’s reconstruction of the Sopho poems\n\t\t178\tPound’s interest in archaeology: Sir Evans’ restorations in Crete\n\t\t202\tKenner points out that there are a great number of possible accidents in language. Elaborate rhyme schemes, combined with a chance convergence of the poet’s intent and suitable sounding words, can be very important in determining the poem’s outcome\n\t\t275\tKenner talks about poetic forms as a way of “playing it safe”; he gives as examples Virgil’s and Milton’s indebtedness to Homeric forms\n\t\t340\tKenner tries to reconstruct Pound’s thinking in creating the forms of his poetry\n\t\t370\tPound’s system governing the use of his repetitions – details form a model of the larger structure in which the detail will function\n\t\t390\tPound’s motives for paying intense attention to detail\n\t\t415\tKenner reads a passage from Canto VII, relates its sonorities to the beginning of Canto I with the word “and”\n\t\t445\tThe poem begins with “and” because it is based on Book XI of The Odyssey, which begins with “et”\n\t\t475\tPound’s remark that one should “introduce new material near the end”\n\t\t505\tAnother fortunate accident: The decision to simply reproduce a portion of Divas resulted in Canto I having the appearance of a fragment, beginning with “and” & ending with “so that:”\n\t\t544\t“Where does ‘so that:’ go?”\n\t\t568\tKenner discusses Cathay\n\t\t599\tIn original Cathay, Pound put “The Seafarer” next to “Exile’s Letter” – an attempt at “rhyming one culture with another”\n\t\t632\tPound’s rhyme scheme: “Hugh Selwyn Mauberley” – (a study in form) a two-part poem somewhat based on James’ notes to The Ivory Tower\n\t\t688\tThe Cantos containing an array of possibilities, for example, the option to more extensively draw upon the Homeric hymns\n\t\t755\tOther options: Form of Canto I is repeated in Canto LXXXIII, with “Brother Wasp” going to “have speech with Tiresias”\n\t\t824\tThe “economic theme” of the early Cantos, especially regarding Sigismundo Malatestis, becomes important later\n\t\t880\tPound’s numerical sequences in the Cantos\nTwo\t\t000\tPound’s numerical devices reassure the reader of the poem’s formality\n\t\t022\tJuxtaposition of China and America in the Cantos\n\t\t039\tCantos II setting the pattern of cats being a prelude to visions of gods\n\t\t068\tNew material introduced near the end validates the pattern of the poem; the form is repeated, but the particulars are different\n\t\t082\tThe ability of the Cantos to withstand and assimilate the disastrous public events of the 20th century\n\t\t108\tPound’s willingness to accept Chance as a collaborator (Fortuna in Canto-XCVII)\n\t\t125\tLecture ends"],"Note":["[{\"note\":\"Liner Notes: Dr. Hugh Kenner, Language and Literature Recorded at SFU February 25th 1975\\nSide 1: 37:15\\nSide 2: 36:15\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553271926784,"timestamp":"2026-01-07T14:59:57.732Z","score":1.0},{"id":"5466","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["New letters on the air (Contemporary Writers on Radio) at University of Missouri: Diane Wakoski reading in the American Poetry Series at the Jewish Community Center, November 1977 #799"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["[Belg, Albert?]","Wakoski, Diane"],"creator_names_search":["[Belg, Albert?]","Wakoski, Diane"],"creators":["[{\"url\":\"\",\"name\":\"[Belg, Albert?]\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/79051243\",\"name\":\"Wakoski, Diane \",\"dates\":\"1937-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1504/Reading in BC_MsC199_799.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T00:29:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"799-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:23\",\"precision\":\"\",\"size\":\"29.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"799-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:22\",\"precision\":\"\",\"size\":\"32.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-11\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/237973251\",\"venue\":\"University of Missouri - Kansas City \",\"notes\":\"It's the location where the radio program is made\",\"address\":\" 5000 Holmes St, Kansas City, MO 64110, United States\",\"latitude\":\"39.0343\",\"longitude\":\"-94.5786\"},{\"url\":\"https://www.openstreetmap.org/node/358643714\",\"venue\":\"Jewish Community Center of Greater Kansas City \",\"notes\":\"we are not sure about the location of the Jewish Community Center; we thought it could be in Kansas City since the whole series has been recorded in Kansas.\",\"address\":\"5801 W 115th St, Overland Park, KS 66211, United States\",\"latitude\":\"38.91828\",\"longitude\":\"-94.65315\"}]"],"Address":[" 5000 Holmes St, Kansas City, MO 64110, United States","5801 W 115th St, Overland Park, KS 66211, United States"],"Venue":["University of Missouri - Kansas City ","Jewish Community Center of Greater Kansas City "],"Note":["[{\"note\":\"Side two is empty.\",\"type\":\"\"},{\"note\":\"Liner Notes:\\nDiane Wakoski\\n1977 November reading\\nNew letters on the air\\n(Contemporary Writers on Radio)\\nUniversity of Missouri Kansas City, MO 64110\\n(816)2761159\\n29 minutes\\n11/77\\n #799\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553277169666,"timestamp":"2026-01-07T14:59:57.732Z","score":1.0},{"id":"5471","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Naropa Institute Archives Project: Clark Coolidge reading, 1977 #806 "],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Coolidge, Clark"],"creator_names_search":["Coolidge, Clark"],"creators":["[{\"url\":\"http://viaf.org/viaf/66488556\",\"name\":\"Coolidge, Clark \",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1510/Reading in BC_MsC199_806.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"806-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:25\",\"precision\":\"\",\"size\":\"47.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"806-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:28:43\",\"precision\":\"\",\"size\":\"29.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"\",\"address\":\" Marine Street, Boulder, Boulder County, Colorado, 80309, United States\",\"latitude\":\"40.01403\",\"longitude\":\"-105.26697\"}]"],"Address":[" Marine Street, Boulder, Boulder County, Colorado, 80309, United States"],"Venue":["Naropa Institute"],"Note":["[{\"note\":\"Liner Notes:\\nThe Naropa Institute Archives Project\\nc/o The Naropa Institute Library, 2130 Arapahoe Ave, Boulder, CO 80302, (303) 444-0202\\nClark Coolidge, 1977 \\n#806\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553278218241,"timestamp":"2026-01-07T14:59:57.732Z","score":1.0},{"id":"5472","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Naropa Institute Archives Project: Amiri Baraka and Diane Di Prima reading on July 26, 1978 #807"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Baraka, Amiri","Di Prima, Diane"],"creator_names_search":["Baraka, Amiri","Di Prima, Diane"],"creators":["[{\"url\":\"http://viaf.org/viaf/39371896\",\"name\":\"Baraka, Amiri \",\"dates\":\"1934-2014\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/83981636\",\"name\":\"Di Prima, Diane\",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1520/Reading in BC_MsC199_807.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"807-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:10\",\"precision\":\"\",\"size\":\"65.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"807-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:41:01\",\"precision\":\"\",\"size\":\"48.9 MB \",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-07-26\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"\",\"address\":\" Marine Street, Boulder, Boulder County, Colorado, 80309, United States\",\"latitude\":\"40.01403\",\"longitude\":\"-105.26697\"}]"],"Address":[" Marine Street, Boulder, Boulder County, Colorado, 80309, United States"],"Venue":["Naropa Institute"],"Note":["[{\"note\":\"Liner Notes:\\nThe Naropa Institute Archives Project\\nc/o The Naropa Institute Library, 2130 Arapahoe Ave, Boulder, CO 80302, (303) 444-0202\\nAmiri Baraka and Diane Diprima\\n#807\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553278218242,"timestamp":"2026-01-07T14:59:57.732Z","score":1.0},{"id":"5474","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Naropa Institute Archives Project: Robert Duncan, 1978 #809"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert"],"creator_names_search":["Duncan, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert \",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1522/Reading in BC_MsC199_809.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"809-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:58:29\",\"precision\":\"\",\"size\":\"79.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"809-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:17\",\"precision\":\"\",\"size\":\"61.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"\",\"address\":\" Marine Street, Boulder, Boulder County, Colorado, 80309, United States\",\"latitude\":\"40.01403\",\"longitude\":\"-105.26697\"}]"],"Address":[" Marine Street, Boulder, Boulder County, Colorado, 80309, United States"],"Venue":["Naropa Institute"],"Note":["[{\"note\":\"Liner Notes:\\nThe Naropa Institute Archives Project\\nc/o The Naropa Institute Library, 2130 Arapahoe Ave, Boulder, CO 80302, (303) 444-0202\\nRobert Duncan, 1978\\n#809\",\"type\":\"General\"},{\"note\":\"The first 30 minutes and 50 seconds of side one is full, and the rest is empty. \\n\",\"type\":\"\"},{\"note\":\"The first 16 minutes and 29 seconds of side two is empty. From 16:30 to 34:26 is full, and the rest is again empty. \",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553278218244,"timestamp":"2026-01-07T14:59:57.732Z","score":1.0},{"id":"5480","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Naropa Institute Archives Project: Michael McClure reading, 1977 #815"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["McClure, Michael"],"creator_names_search":["McClure, Michael"],"creators":["[{\"url\":\"http://viaf.org/viaf/71493269\",\"name\":\"McClure, Michael\",\"dates\":\"1932-2020\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1531/Reading in BC_MsC199_815.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T00:31:51\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"815-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:08\",\"precision\":\"\",\"size\":\"69.4 MB \",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"815-side-2 - audio too quiet on tape.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:08\",\"precision\":\"\",\"size\":\"60.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"\",\"address\":\" Marine Street, Boulder, Boulder County, Colorado, 80309, United States\",\"latitude\":\" 40.01403\",\"longitude\":\"-105.26697\"}]"],"Address":[" Marine Street, Boulder, Boulder County, Colorado, 80309, United States"],"Venue":["Naropa Institute"],"Note":["[{\"note\":\"Liner Notes:\\nThe Naropa Institute Archives Project\\nc/o The Naropa Institute Library, 2130 Arapahoe Ave, Boulder, CO 80302, (303) 444-0202\\nMichael McClure, 1977 \\n#815\",\"type\":\"General\"},{\"note\":\"Side two is empty.\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553280315394,"timestamp":"2026-01-07T14:59:57.732Z","score":1.0},{"id":"5481","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Naropa Institute Archives Project: Jackson MacLow Performance, 1977 #816"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["MacLow, Jackson"],"creator_names_search":["MacLow, Jackson"],"creators":["[{\"url\":\"http://viaf.org/viaf/80245668\",\"name\":\"MacLow, Jackson \",\"dates\":\"1922-2004\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1532/Reading in BC_MsC199_816.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T00:31:51\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"816-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:23\",\"precision\":\"\",\"size\":\"46.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"816-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:33\",\"precision\":\"\",\"size\":\"48.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"\",\"address\":\" Marine Street, Boulder, Boulder County, Colorado, 80309, United States\",\"latitude\":\"40.01403\",\"longitude\":\"-105.26697\"}]"],"Address":[" Marine Street, Boulder, Boulder County, Colorado, 80309, United States"],"Venue":["Naropa Institute"],"Note":["[{\"note\":\"Liner Notes:\\nThe Naropa Institute Archives Project\\nc/o The Naropa Institute Library, 2130 Arapahoe Ave, Boulder, CO 80302, (303) 444-0202\\nJackson MacLow Performance\\n1977 \\n#816\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553280315395,"timestamp":"2026-01-07T14:59:57.732Z","score":1.0},{"id":"5448","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Naropa Institute Archives Project: John Cage at Naropa Centre on August 8, 1974 part 1 of 2 #781\n"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Cage, John"],"creator_names_search":["Cage, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/71577292\",\"name\":\"Cage, John \",\"dates\":\"1912-1992\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1394/Reading in BC_MsC199_781.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"781-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:21\",\"precision\":\"\",\"size\":\"60.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"781-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:20\",\"precision\":\"\",\"size\":\"70.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-08-08\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"\",\"address\":\"Marine Street, Boulder, Boulder County, Colorado, 80309, United States\",\"latitude\":\"40.01407\",\"longitude\":\"-105.26694\"}]"],"Address":["Marine Street, Boulder, Boulder County, Colorado, 80309, United States"],"Venue":["Naropa Institute"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\n1 Part I\t\t\tJohn Cage : Empty Words\n2 Part I\t\t\tJohn Cage : Interview\n"],"Note":["[{\"note\":\"Naropa Institute Archives Project, \\nc/o The Naropa Institute Library,\\n2130 Arapahoe Ave,\\nBoulder, Colorado 80302\\n(303)4440202\\nJohn Cage\\nAugust 8, 1974 \\npart I\\n#781\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553282412548,"timestamp":"2026-01-07T14:59:57.732Z","score":1.0},{"id":"5449","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Naropa Institute Archives Project: John Cage at Naropa Centre on August 8, 1974 part 2 of 2 #782"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Cage, John"],"creator_names_search":["Cage, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/71577292\",\"name\":\"Cage, John \",\"dates\":\"1912-1992\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1396/Reading in BC_MsC199_782.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"782-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:23\",\"precision\":\"\",\"size\":\"47.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"782-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:35\",\"precision\":\"\",\"size\":\"47.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-08-08\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"\",\"address\":\"Marine Street, Boulder, Boulder County, Colorado, 80309, United States\",\"latitude\":\"40.01407\",\"longitude\":\"-105.26694\"}]"],"Address":["Marine Street, Boulder, Boulder County, Colorado, 80309, United States"],"Venue":["Naropa Institute"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\n½ Part 2\t\t\tJohn Cage : Empty Words\n"],"Note":["[{\"note\":\"Naropa Institute Archives Project, \\nc/o The Naropa Institute Library,\\n2130 Arapahoe Ave,\\nBoulder, Colorado 80302\\n(303)4440202\\nJohn Cage\\nAugust 8, 1974 \\npart II\\n#782\",\"type\":\"General\"},{\"note\":\"The first 17 minutes and 59 seconds of side 2 is full, and the rest is empty.\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553282412549,"timestamp":"2026-01-07T14:59:57.732Z","score":1.0},{"id":"5514","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Kenneth Rexroth Reading at University of California, November 1977 #829"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Rexroth, Kenneth"],"creator_names_search":["Rexroth, Kenneth"],"creators":["[{\"url\":\"http://viaf.org/viaf/105850695\",\"name\":\"Rexroth, Kenneth \",\"dates\":\"1905-1982\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/3475/Reading in BC_MsC199_829.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"829-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:29:40\",\"precision\":\"\",\"size\":\"38.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"829-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:29:39\",\"precision\":\"\",\"size\":\"36.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-11\",\"type\":\"Performance Date\",\"notes\":\"I searched and found out that this poem reading was recorded in November 1977. I found the date on the website below:\\nhttps://www.worldcat.org/title/sword-in-a-cloud-of-light/oclc/11105989\",\"source\":\"internet\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/542863702\",\"venue\":\"University of California \",\"notes\":\"I found the location on the internet on this website: https://www.worldcat.org/title/sword-in-a-cloud-of-light/oclc/11105989.\\n\\nNot sure if it's the exact right one\",\"address\":\"Santa Barbara, Santa Barbara County, California, 93106, United States of America\",\"latitude\":\"34.4136\",\"longitude\":\"-119.8467\"}]"],"Address":["Santa Barbara, Santa Barbara County, California, 93106, United States of America"],"Venue":["University of California "],"content_notes":["SFU BC Readings formatting"],"contents":["Kenneth Rexroth : A Sword in a Cloud of Light\nSide 1 : I Dream of Leslie 2. Blue Sunday 3. Sharp in My Heart 4. Married Blues 5. Sottoportico San Zaccaria 6. This Night Only 7. Between Myself and Death 8. For Eli Jacobson 9. A Sword in a Cloud of Light\nSide 2 : 10. Void Only Akiko translations : 11. “Press my breasts” 12. “Black hair” Marichiko translations: 13. “Who is there? Me” 14. “I hold your head tight” 15. “Every morning” 16. On Flower Wreath Hill"],"Note":["[{\"note\":\"Liner Notes:\\nKenneth Rexroth Reading\\n#829\",\"type\":\"General\"},{\"note\":\"I found the location and the date both on this website: https://www.worldcat.org/title/sword-in-a-cloud-of-light/oclc/11105989\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553287655424,"timestamp":"2026-01-07T14:59:57.732Z","score":1.0},{"id":"5537","cataloger_name":["Nina,Fesenko"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. 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There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Ingrid Buch FPA 110 Dante Lecture 9A 'Music of the Renaissance' at SFU on November 2, 1977 #958 "],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Buch, Ingrid"],"creator_names_search":["Buch, Ingrid"],"creators":["[{\"url\":\"\",\"name\":\"Buch, Ingrid\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5706/Reading in BC_McS199_958.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"958-side-1 - crop.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:36:59\",\"precision\":\"\",\"size\":\"36.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"958-side-2 - crop.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:39\",\"precision\":\"\",\"size\":\"30.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-11-02\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU \",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2770\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU "],"City":["Burnaby, British Columbia"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553505759236,"timestamp":"2026-01-07T14:59:57.945Z","score":1.0},{"id":"5683","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Essay on Romeo and Juliet by Robert Duncan in Vancouver, 1972 tape 1 of 2 #693\n"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert","Tallman, Warren"],"creator_names_search":["Duncan, Robert","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"Warren Tallman opens with comments on Robert Duncan\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5864/Reading in BC_MsC199_693.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"693-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:26\",\"precision\":\"\",\"size\":\"39.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"693-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:22\",\"precision\":\"\",\"size\":\"38.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\"49.2553\",\"longitude\":\"-123.1128\"}]"],"Address":["Vancouver, BC, Canada"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0002\nWarren Tallman opens with comments on Robert Duncan\n0077\nDuncan begins to talk\n0100\nDuncan explains his motivation to write about Romeo and Juliet\n0146\nOn the concept of the ‘Kick-Baby’\n0230\nDuncan’s goal is to determine “What is mystery when it leaves religion, when it leaves most of the places we thought of it as being in, and enters poetry?”\n0258\nDuncan feels that the play was written at a time when an intellectual cult arose around poetry, around 1590\n0309\nDuncan reads two prologues, first the quarto version, then the folio\n0391\nEnd of Side One\nTwo\n0000\n0047\nDuncan makes reference to Roman Catholic theology and its place in Romeo and Juliet\n0080\nThe prince, says Duncan, represents government\n0120\nOn Olson, his attitude toward field theory, poetics , and his relationship to Duncan\n0200\nDuncan makes some comments about J. Spicer\n0275\nDuncan reflects on the nature of the poetic and the rhythm of the poetic\n0358\n“I read a second phase in the poetry,” notes Duncan, “after the enchantment or pleasures or marvel, the poet as hero opens the door upon the consciousness” (of ill, sorrow, etc.)\n0365\nEnd of Side Two"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553744834563,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5684","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Twelve American text Sound pieces, 1962-1973 #530"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Dodge, Charles","Coolidge, Clark","Cage, John","Giorno, John","Ashley, Robert","Anderson, Beth","Gysin, Brion","O'Gallagher, Liam","Saroyan, Aram","Amirkhanian, Charles","Gnazzo, Anthony"],"creator_names_search":["Dodge, Charles","Coolidge, Clark","Cage, John","Giorno, John","Ashley, Robert","Anderson, Beth","Gysin, Brion","O'Gallagher, Liam","Saroyan, Aram","Amirkhanian, Charles","Gnazzo, Anthony"],"creators":["[{\"url\":\"http://viaf.org/viaf/74050891\",\"name\":\"Dodge, Charles\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/66488556\",\"name\":\"Coolidge, Clark\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/71577292\",\"name\":\"Cage, John\",\"dates\":\"1912-1992\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/84168002\",\"name\":\"Giorno, John\",\"dates\":\"1936-2019\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/86848770\",\"name\":\"Ashley, Robert\",\"dates\":\"1930-2014\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/199015\",\"name\":\"Anderson, Beth\",\"dates\":\"1950-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\" http://viaf.org/viaf/100267599\",\"name\":\"Gysin, Brion\",\"dates\":\"1916-1986\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/75314232\",\"name\":\"O'Gallagher, Liam\",\"dates\":\"1917-2017\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/64104835\",\"name\":\"Saroyan, Aram\",\"dates\":\"1943-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/7489149108420668780004\",\"name\":\"Amirkhanian, Charles\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/345148752072841201128\",\"name\":\"Gnazzo, Anthony\",\"dates\":\"1945-1988\",\"notes\":\"Role mentioned as \\\"Vocalist\\\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5866/530.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"530-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:29:11\",\"precision\":\"\",\"size\":\"45.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"530-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:28:59\",\"precision\":\"\",\"size\":\"42.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"Charles Amirkhanian reading\",\"source\":\"J-card\"},{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"Charles Amirkhanian reading\",\"source\":\"J-card\"},{\"date\":\"1968\",\"type\":\"Performance Date\",\"notes\":\"Clark Coolidge reading\",\"source\":\"J-card\"},{\"date\":\"1971\",\"type\":\"Performance Date\",\"notes\":\"John Cage reading\",\"source\":\"J-card\"},{\"date\":\"1967\",\"type\":\"Performance Date\",\"notes\":\"John Giorno reading\",\"source\":\"J-card\"},{\"date\":\"1969\",\"type\":\"Performance Date\",\"notes\":\"Anthony Gnazzo reading\",\"source\":\"J-card\"},{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"Charles Dodge reading\",\"source\":\"J-card\"},{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"Robert Ashley reading 1972-1973\",\"source\":\"J-card\"},{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"Robert Ashley reading 1972-1973\",\"source\":\"J-card\"},{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"Beth Anderson reading\",\"source\":\"J-card\"},{\"date\":\"1962\",\"type\":\"Performance Date\",\"notes\":\"Brion Gysin reading\",\"source\":\"J-card\"},{\"date\":\"1970\",\"type\":\"Performance Date\",\"notes\":\"Liam O'Gallagher reading\",\"source\":\"J-card\"},{\"date\":\"1965\",\"type\":\"Performance Date\",\"notes\":\"Aram Saroyan reading\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tJust – Charles Amirkhanian\n\t\t098\tHeavy aspirations – Amirkhanian\n\t\t242\tPreface – Clark Coolidge\n\t\t395\t62 mesostics re Merce Cunningham – John Cage\n\t\t590\tGive it to me, baby – John Giorno\n\t\t817\tThe population explosion – Anthony Gnazzo\nTwo\t\t000\tSpeech songs (No.1 when I am with you) – Charles Dodge\n\t\t036\tSpeech songs (No.2 He destroyed her image) – Dodge\n\t\t082\tIn Sara, Mencken, Christ and Beethoven there were men and women – Robert Ashley\n\t\t172\tTorero piece – Beth Anderson\n\t\t266\tCome to free the words – Brion Gyson\n\t\t360\tBorder dissolve in audio space – Liam O’Gallagher\n\t\t796\tCrickets – Aram Saroyan"],"Note":["[{\"note\":\"Side 1 27:59\\nSide 2 27:25\",\"type\":\"General\"},{\"note\":\"I am not sure if there is a quality issue or if the sound is echoing intentionally\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553744834564,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5685","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Essay on Romeo and Juliet by Robert Duncan in Vancouver, 1972 tape 2 of 2 #694"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert"],"creator_names_search":["Duncan, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5867/Reading in BC_MsC199_694.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"694-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:57\",\"precision\":\"\",\"size\":\"36.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"694-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:56\",\"precision\":\"\",\"size\":\"36.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\"49.2553\",\"longitude\":\"-123.1128\"}]"],"Address":["Vancouver, BC, Canada"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0010\nA break is taken\n0148\nNotes on night, dark, and stars\n0246\nAnother break\n0320\nDuncan resumes with discussion of the sun and moon in relation to Romeo and Juliet\n0335\nOn the significance of ‘day’ and ‘awareness’\n0446\nOn Shakespeare as the theatre of what Dali called the paranoiac image\n0495\nA joke is made regarding the true author of Shakespeare’s works, among others\n0503\nAnother joke, this time at the expense of Freud\n0505\nTape ends\nTwo\n0000\n0015\n“Again and again, Shakespeare makes us self-conscious of the appearances and masks of what is not what it seems to be”\n0020\nDuncan goes on to discuss puns in Romeo and Juliet\n0235\nOn the transmutation in meaning from: “I am a pretty piece of flesh” to “I do but keep the peace”\n0303\nThe reworking of the prince’s admonition speech in the first section is discussed\n0355\n“There can only be one thing that Shakespeare is concealing,” notes Duncan,” …the nature of Christ and God…” The Christian mystery may be deepest of all mysteries\n0444\nTape ends abruptly"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553745883136,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5687","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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Stanley reads ‘Noise’\n\t\t190\tEnd of ‘Noise’\n\t\t191\tStanley reads ‘The Secretary’\n\t\t278\tEnd of ‘The Secretary’\n\t\t285\tStanley now reads a prose piece, ‘Missing Mass’\n\t\t524\tEnd of ‘Missing Mass’\n\t\t534\tStanley reads ‘Lamanet’\n\t\t555\tEnd of ‘Lament’\n\t\t560\tConcluding comments from Warren Tallman\n\t\t564\tEnd of tape\nTwo\t\t\tSide two is blank\n"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553745883138,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5694","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Joanne Kyger reading her poetry on 13 March, 1970 #699"],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kyger, Joanne"],"creator_names_search":["Kyger, Joanne"],"creators":["[{\"url\":\"http://viaf.org/viaf/71627705\",\"name\":\"Kyger, Joanne\",\"dates\":\"1934-2017\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5907/Reading in BC_MsC199_699.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"699-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:44\",\"precision\":\"\",\"size\":\"37.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-03-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t009\tA speaker (unknown) makes some introductory remarks for Joanne Kyger\n\t\t079\tKyger takes the microphone, and begins by discussing her move out of the city into the country\n\t\t104\tKyger reads “To the City”\n\t\t130\tEnd of “To the City”\n\t\t149\tKyger reads “The Revolution”\n\t\t167\tEnd of “The Revolution”\n\t\t169\t“This Minute”\n\t\t200\tEnd\n\t\t204\t“What to Form”\n\t\t215\tEnd\n\t\t226\t“He is in the Mountains and in the Streams, the Fields”\n\t\t258\tEnd\n\t\t260\t“My Sign is Scorpio”\n\t\t275\tEnd\n\t\t282\t“When Time Has Passed…”\n\t\t292\tEnd\n\t\t294\t“Hovering…”\n\t\t314\tEnd\n\t\t318\t“The Five Hindrances”\n\t\t323\tEnd\n\t\t331\tJoanne Kyger is now to read from a selection of poems called The Real Thing\n\t\t338\t“Tuesday, October 28”\n\t\t343\tEnd\n\t\t345\t“October 28, Take it Easier”\n\t\t349\tEnd\n\t\t351\t“October 29, Wednesday”\n\t\t363\tEnd\n\t\t364\t“Earlier”\n\t\t369\tEnd\n\t\t374\t“Before I am alone with you, it is a dreamland”\n\t\t386\tEnd\n\t\t387\t“A Little Breath”\n\t\t394\tEnd. End Side One\nTwo\t\t000\t\n\t\t002\tA poem in mid-progress, title unknown. It is difficult to tell whether or not this is one long poem, or a series of poems\n\t\t090\tEnd\n\t\t092\tKyger begins a series of poems, written after Christmas\n\t\t195\tEnd\n\t\t196\t“Monday Evening”\n\t\t226\tEnd\n\t\t230\t“A Few Dialogues”\n\t\t254\tEnd\n\t\t262\t“The Yoga of the Dream State”\n\t\t334\tEnd. Applause\n\t\t342\tEND SIDE TWO\n"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553746931716,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5695","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Fast Speaking Woman: Anne Waldman reading at St. Mark’s Church on September 28, 1974 #531a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright 1977 by Anne Waldman and S Press Tonbandverlag, Dusseldorf/Munchen, West Germany"],"creator_names":["Waldman, Anne","Köhler, Michael"],"creator_names_search":["Waldman, Anne","Köhler, Michael"],"creators":["[{\"url\":\"http://viaf.org/viaf/84079610\",\"name\":\"Waldman, Anne\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/114331797\",\"name\":\"Köhler, Michael\",\"dates\":\"1946-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"contributors":["[]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5989/Reading in BC_MsC199_531.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"531-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:26:23\",\"precision\":\"\",\"size\":\"35.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"531-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:55\",\"precision\":\"\",\"size\":\"32.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-09-28\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/700521658\",\"venue\":\"St. Mark's Church\",\"notes\":\"\",\"address\":\"131 E 10th St, New York, NY 10003, United States\",\"latitude\":\"42.99188\",\"longitude\":\"-76.07456\"}]"],"Address":["131 E 10th St, New York, NY 10003, United States"],"Venue":["St. Mark's Church"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tWhite eyes\n\t\t335\tBrinks of fame\n\t\t424\tNon stop\n\t\t489\tFast speaking woman"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553746931717,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5696","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Fast Speaking Woman: Anne Waldman reading at St. Mark’s Church on September 28, 1974 #531b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright 1977 by Anne Waldman and S Press Tonbandverlag, Dusseldorf/Munchen, West Germany"],"creator_names":["Waldman, Anne","Köhler, Michael"],"creator_names_search":["Waldman, Anne","Köhler, Michael"],"creators":["[{\"url\":\"http://viaf.org/viaf/84079610\",\"name\":\"Waldman, Anne\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/114331797\",\"name\":\"Köhler, Michael\",\"dates\":\"1946-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"contributors":["[]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5990/Reading in BC_MsC199_531b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"531_2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:20\",\"precision\":\"\",\"size\":\"41.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"531_2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:21\",\"precision\":\"\",\"size\":\"43.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-09-28\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/700521658\",\"venue\":\"St. Mark's Church\",\"notes\":\"\",\"address\":\"131 E 10th St, New York, NY 10003, United States\",\"latitude\":\"42.99188\",\"longitude\":\"-76.07456\"}]"],"Address":["131 E 10th St, New York, NY 10003, United States"],"Venue":["St. Mark's Church"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tWhite eyes\n\t\t335\tBrinks of fame\n\t\t424\tNon stop\n\t\t489\tFast speaking woman"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553747980288,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5699","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["A Potpourri of Poetry: Allen Ginsberg, Anne Waldman, Ted Berrigan, Michael Brownstein, Chögyam Trungpa, John Ashbery, William S. Burroughs, Ron Padgett, Ed Sanders, and Philip Whalen reading, 1976 #538"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright Naropa Institute. Unauthorized duplication prohibited"],"creator_names":["Brownstein, Michael","Ashbery, John","Waldman, Anne","Trungpa, Chögyam","Berrigan, Ted","Burroughs, William S.","Padgett, Ron","Sanders, Ed","Whalen, Philip","Ginsberg, Allen"],"creator_names_search":["Brownstein, Michael","Ashbery, John","Waldman, Anne","Trungpa, Chögyam","Berrigan, Ted","Burroughs, William S.","Padgett, Ron","Sanders, Ed","Whalen, Philip","Ginsberg, Allen"],"creators":["[{\"url\":\" http://viaf.org/viaf/91276819\",\"name\":\"Brownstein, Michael\",\"dates\":\"1943-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/100001869\",\"name\":\"Ashbery, John\",\"dates\":\"1927-2017\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/84079610\",\"name\":\"Waldman, Anne\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/95161934\",\"name\":\"Trungpa, Chögyam\",\"dates\":\"1939-1987\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\" http://viaf.org/viaf/64027570\",\"name\":\"Berrigan, Ted\",\"dates\":\"1934-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/108916275\",\"name\":\"Burroughs, William S.\",\"dates\":\"1914-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/17265862\",\"name\":\"Padgett, Ron\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/22183708\",\"name\":\"Sanders, Ed\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Author\"]},{\"url\":\"http://viaf.org/viaf/54270610\",\"name\":\"Whalen, Philip\",\"dates\":\"1923-2002\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5993/Reading in BC_MsC199_538.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"538-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:40\",\"precision\":\"\",\"size\":\"30.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"538-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:36\",\"precision\":\"\",\"size\":\"30.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/43306140#map=18/40.01935/-105.27823\",\"venue\":\"\",\"notes\":\"It seems recordings happened there, not sure though. That's the only location on the J-card\",\"address\":\"1345 Spruce Street Boulder, Colorado 80302\",\"latitude\":\"40.01938\",\"longitude\":\"-105.27809\"}]"],"Address":["1345 Spruce Street Boulder, Colorado 80302"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tAllen Ginsberg: “Thursday” (by W.C. Williams)\n\t\t019\t“Ego Confessions”\n\t\t100\tAnne Waldman: “Light and Shadow”\n\t\t330\tVen, Chogyam Trungpa, Rinpoche: “To Gesar of Ling”\n\t\t444\tTed Berrigan: “Heroin”\n\t\t485\t“Song, Prose, and Poetry”\n\t\t527\t“Hall of Mirrors”\n\t\t576\tMichael Brownstein: “Who Knows Where the Time Goes”\n\t\t740\t“Jet Set Melodrama”\nTwo\t\t000\tJohn Ashbery:”Wet Casements”\n\t\t045\t“Platitudes, Unctous”\n\t\t070\tWilliam S. Burroughs: “Evening News”\n\t\t144\tRon Padgett: “Joe Brainard’s Painting, Bingo”\n\t\t174\t“Ode to Stupidity”\n\t\t263\tEd Sanders: “The Blind Harp Strummer”\n\t\t424\tMichael Brownstein: “The Meditation Machine”\n\t\t499\t“The Overcoat”\n\t\t555\t“Dear God”\n\t\t587\tPhilip Whalen: “Denunciation”\n\t\t659\t“Whistler’s Mother”\n\t\t695\t“Regalia in Immediate Demand”\n\t\t723\t“Cyanide Water in Pittsburgh”\n\t\t\t(last two poems read by A. Ginsberg)"],"Note":["[{\"note\":\"Side A 29:11\\nSide B 27:45\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553749028866,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5702","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Charles Olson reading from Maximus Poems and from Mayan letters at his home in Gloucester, [1968?] #542b"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Olson, Charles"],"creator_names_search":["Olson, Charles"],"creators":["[{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5998/Reading in BC_MsC199_542_1.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"542_1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:59\",\"precision\":\"\",\"size\":\"36.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"542_1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:54\",\"precision\":\"\",\"size\":\"36.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975\",\"type\":\"Performance Date\",\"notes\":\"Exact date is uncertain: [1975?]\",\"source\":\"Inventory\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/2377876\",\"venue\":\"\",\"notes\":\"Recorded at his home in Gloucester, Massachusetts\",\"address\":\"Gloucester, Essex County, Massachusetts, United States of America\",\"latitude\":\"42.6158\",\"longitude\":\"-70.6778\"}]"],"Address":["Gloucester, Essex County, Massachusetts, United States of America"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t\tCharles Olson reads from the Maximus Poems IV, V, VI [1968]\n\t\t000\tI am The Gold Machine\n\t\t021\tAll My Life\n\t\t026\tPiggy-Back Poem\n\t\t030\tMaximus From Dogtown II\n\t\t079\tSequentio\n\t\t087\tGravely Hill\n\t\t154\tBetween Cruiser and Plato\n\t\t159\tI.\tJohn Watts\n\t\t166\tAfter The Storm Was Over\n\t\t174\tTo Travel Typhon\n\t\t179\tUp The Steps\n\t\t182\tPeople Want Delivery\n\t\t185\tThe Coast\n\t\t190\tTesserai Commisure\n\t\t194\tOlder Than Biblus\n\t\t198\tChronicles I\n\t\t213\tChronicles II\n\t\t220\tUntitled Maximus poem (from MSS)\n\t\t246\tVida Upanishad Eda Then\n\t\t248\tKent Circle (Wrote My First Poems)\n\t\t266\tFurther Completion Of Plot\n\t\t293\tMaximus poem – July 24, 1968\n\t\t339\tInto The Stream, Gloucester\n\t\t345\tThe Frontlet\n\t\t359\tTo Enter Into Their Bodies\n\t\t370\tHer Stern Like A Box\n\t\t377\tAnacobithic And Drag\n\t\t379\tThe Difference Of A Wild Thing\n\t\t382\tThe Cormorant And Spindle\n\t\t384\tAbsoluteness\n\t\t386\tIn The Harbour\n\t\t388\tKent Circle Song\n\t\t393\tI Swang Out At Eight Or Ten\n\t\t397\tJ.W.\n\t\t409\tNot the Itaglio Method\n\t\t413\tMayan Letter #13 (w/intro & commentary)\n\t\t555\tMayan Letter #7 (explanation of passage on WATER)\n\t\t584\tMayan letter #5 (excerpt)\n\t\t735\tChockablock\n\t\t783\tCaches\n\t\t832\tBolan I\n\t\t849\tBolan II\n\t\t864\tJohn Watts\n\t\t871\tThird Letter On Geroges\n\t\t918\tGulf of Main\n"],"Note":["[{\"note\":\"Released on Folkways FL 9738\\nSide 1 30:40\\nSide 1 30:55\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553750077441,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5703","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jeremy H. Prynne discussion on Charles Olson's Maximus Poems at SFU on July 29, 1971 #542a"],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Olson, Charles","Prynne, J. H."],"creator_names_search":["Olson, Charles","Prynne, J. H."],"creators":["[{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"Topic of Discussion\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/39547652\",\"name\":\"Prynne, J. H.\",\"dates\":\"1936-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5999/Reading in BC_MsC199_542_2.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"542_2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:39\",\"precision\":\"\",\"size\":\"40.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"542_2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:34\",\"precision\":\"\",\"size\":\"42.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1971-07-29\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2767,-122.9178 \",\"longitude\":\"-122.9178 \"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t\tJeremy H. Prynne, Olson’s Maximus IV, V, VI\n\t\t000\tIntroduction\n\t\t024\tMaximus IV, V, VI, a “simple poem”. It is not a lyric poem\n\t\t065\tHow a seemingly lyrical poem like “The Twist” avoids being lyrical\n\t\t071\t…poem is “simple” but Olson’s life dense and complex\n\t\t087\tDefinition of “cosmos”, “cosmology”\n\t\t100\t“Lyric” relies on metaphor; a condition “of the part”, not “of the whole”\n\t\t110\tFirst part of Maximus has a “lyrical” thrust outward into the ocean and cosmos; later part (IV, V, VI) man turns his back on the sea, back to the land\n\t\t148\tMaximus “folds back on itself”, from cosmos to land, from story to myth – “muthos”\n\t\t180\tMaximus a “circular” poem; when “lyric’ concludes, condition of myth takes over\n\t\t204\tMilton’s “Paradise Lost” a circular poem with a fault (original sin); Maximus a circular poem without a fault – “the world is an eternal event”\n\t\t240\tOlson gets away from the “lyric” by becoming “estranged from that which was most familiar”: the Earth, “home”\n\t\t288\t“Obscure LYRIC” IS PERMISSABLE; “OBSCURE EPIC” is a failed epic\n\t\t320\tSecond Maximus a simple part of an epic poem; describes “homecoming”\n\t\t340\tMaximus a “complete” poem\n\t\t389\t“We escape the metaphor… We participate in the condition of being… beyond the condition of meaning”\n\t\t406\t“The ‘love epic’” : Love for the “whole”, for the cosmos\n\t\t420\tOlson “nods to” Ezra Pound in his epic\n\t\t429\tKeats’ struggle to get out of “local” “lyrical” condition in “Hyperion”; struggle to do what Olson does\n\t\t467\t“the ‘curvature’ of the universe is love”\n\t\t502\tThe universe is simple as a whole, as is its language: a “capacity for love”\n\t\t576\tQuestions from the audience"],"Note":["[{\"note\":\"Released on Folkways FL 9738\\nSide 1 30:40\\nSide 1 30:55\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553750077442,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5723","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 1 at SFU on September 11, 1973 #660"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 1973 George Bowering Lecture 1 Sept. 11 Outline of course; H.D.'s poem: Pink Rose"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6023/Reading in BC_MsC199_660.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_660 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:18\",\"precision\":\"\",\"size\":\"35.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_660 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:18\",\"precision\":\"\",\"size\":\"33.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-09-11\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n000\n005\nBowering tells a funny tale concerning Euripides & the SFU library\n012\nMicrophone problems, class takes direct interest in helping Bowering with this problem\n034\nBeing that this is a 20th century American poetry course, Bowering gives a list of recommended readings (essays actually).\nEmerson’s “The Poet” not his poem “The Poet”\nWhitman’s preface to the 1856 ed. of “Leaves of Grass”\nPoe’s essays, start with “The Rational of Verse”\n045\nBowering finds evidence for his “feeling” of a connection between H.D. & Poe\n060\nBegins H.D. discussion with a discussion on Poe’s essays\n079\nPoe’s influence abroad\n083\nPoe’s influence in America\nThe characterization of Poe – its intent\n118\nPoe’s image of the making of a work of art\nA duty to the Muse to prepare one’s self\n172\nThe analysis of definitions by quality\n200\n20th century assumptions about poetry\n“Patterson”\n“The Lantos”\n“Maximus” poems\n“A”\n216\nPoe’s stress on the effect the poem makes on the person\n230\nPoe’s concept of beauty\n242\nH.D. poem read as example\n282\nPreoccupation with “looking at Verse” not “listening to Verse”\n310\nAmerican poets using rhyme as functional technique not because it was what was required\n327\nPoe’s feud with established literary forces\n373\nPoe’s view that the best poem is “written solely for the poem’s sake”\nArt as an entity, not an isolated entity though\n450\nBowering takes a job at Robert Frost’s comments on free Verse, praises Robert Duncan\n490\nH.D. poem read\n536\nPoe’s concept of the desire for beauty\n561\nBowering apologizes for “Imagism”\n620\nWhy Poe is placed so low commonly on the American literary pole\n671\nAmerican attitudes towards writing ; how American writing is self-imploding\n736\nStates next class’s subject matter\n758\nSide one ends\nTwo\n000\nBlank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553755320324,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5726","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Margaret Atwood reads \"Landscape as image bank\" recorded at SFU on March 14, 1975 #443"],"item_title_source":["cassette and j-card"],"item_title_note":["Liner notes: see the photo in material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret"],"creator_names_search":["Atwood, Margaret"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6026/Reading in BC_MsC199_443.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"443-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:50:52\",\"precision\":\"\",\"size\":\"49.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"443-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:17\",\"precision\":\"\",\"size\":\"44.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-03-14\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tIntroduction\n\t\t015\tTalks about writing The Circle Game and its exploration of geography and landscape as metaphor\n\t\t039\tReads “This is a photograph of Me”\n\t\t079\tReads “An Attempted solution for chess problems”\n\t\t121\tReads “The City Planners”\n\t\t162\tReads “At the Tourist Centre in Boston”\n\t\t204\tReads “The Reincarnation of Captain Cook”\n\t\t224\tReads from Surfacing\n\t\t249\tReads from her work-in-progress Lady Oracle\n\t\t\t-\tChapter 9 of Lady Oracle\n\t\t684\tFinishes chapter 9. Answers questions from audience\n\t\t717\tCritical response to a poet-novelist\n\t\t775\tSusan McFarlane asks about the length and procedures of the publishing process, and the status of women writers\nTwo\t\t000\tQuestions from Audience – regarding publishing procedures, and her thoughts about old writing\n\t\t072\tTalks about movie rights for Surfacing\n\t\t097\tQuestion “Is the end of Surfacing a mushroom trip”\n\t\t\tNo, famine\n\t\t119\tAlternate titles for Surfacing : “Where is Here” & “Forehead Eye”\n\t\t150\tHer attitude towards critical response\n\t\t182\tParallels between plot structures and landscapes\n\t\t211\tTape ends"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553756368898,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5732","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Karl Siegler reading Sonnets to Orpheus at George and Angela Bowering home on January 27, 1979 #472"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Siegler, Karl"],"creator_names_search":["Siegler, Karl"],"creators":["[{\"url\":\"\",\"name\":\"Siegler, Karl \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6034/Reading in BC_MsC199_472.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"472-Side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:52\",\"precision\":\"\",\"size\":\"39.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"472-Side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:59\",\"precision\":\"\",\"size\":\"40.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979-01-27\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/356584778#map=19/49.26359/-123.21061\",\"venue\":\"George and Angela Bowering home\",\"notes\":\"Angela Bowering was George Bowering's first wife who died quite a few years ago, and this is where they used to live.\",\"address\":\"401 – 4542 West 10th Vancouver, BC V6R 2J1\",\"latitude\":\"49.26360\",\"longitude\":\"-123.21062\"}]"],"Address":["401 – 4542 West 10th Vancouver, BC V6R 2J1"],"Venue":["George and Angela Bowering home"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tSiegler talks about the religiosity of the sonnets\n\t\t039\t-\tReads 1-1 – “There rose a tree…”\n\t\t048\tI-2 - “and almost a maiden it was…”\n\t\t059\tI-3 – “”A god may” \n\t\t069\t1-4 – “Oh you tender ones”\n\t\t078\tI-5 – “Erect no stone”\n\t\t088\tI-6 – “Is he from here?”\n\t\t098\tI-7 – “Praise, that’s it!”\n\t\t106\tI-8 – “Only in the realm of praise”\n\t\t116\tI-9 – “Only he who has raised the lyre”\n\t\t125\tI-10 – “You that have never left my sensibility”\n\t\t133\tI-11 – “Observe the heavens”\n\t\t145\tI-12 – “Hail the spirit, that may unite us”\n\t\t153\tI-13 –“Fullness of apple…”\n\t\t165\tI-14 – “We go about with Flower…”\n\t\t175\tI-15 – “Stay… that tastes...”\n\t\t188\tI-16 – “You, my friend, are set apart…”\n\t\t200\tI-17 – “Undermost the ancient, entangled”\n\t\t209\tI-18 – “Do you hear the New, Lord”\n\t\t217\tI-19 – “Though the world may transform itself”\n\t\t224\tI-20 – “But to you Lord…”\n\t\t236\tI-21 – “Spring has come again”\n\t\t245\tI-22 – “We are the drivers…”\n\t\t253\tI-23 – “Oh, only then…”\n\t\t260\tI-24 – “Shall we cast aside our ancient Friendship”\n\t\t274\tI-25 – “But you now…”\n\t\t290\tI-26 – “But you, beautiful and godly…”\n\t\t311\tSome comments on part two – Siegler says the language starts to mirror the page\n\t\t338\t-\tReads II, 1, in German\n\t\t354\tTranslation of II, 1 “Breath, you invisible poem!”\n\t\t370\tII-2 – “As by the quick rising leaf…”\n\t\t382\tII-3 – “Mirrors: no one has written on you”\n\t\t397\tII-4 – “Oh this is the beast which is not”\n\t\t411\tII-5 – “Flower muscle”\n\t\t428\tII-6 – “Rose, enthroned”\n\t\t446\tII-7 – “Flowers, you are finally kin”\n\t\t459\tII-8 – “How Few there were of you”\n\t\t482\tII-9 – “Praise not yourselves…”\n\t\t502\tII-10 – “All we have attained…”\n\t\t524\tII-11 – “Many a quietly ordered law…”\n\t\t542\tII-12 – “Will the transformation”\n\t\t567\tII-13 – “Be previous to all parting…”\n\t\t586\tII-14 – “Look at the flowers…”\n\t\t605\tII-15 – “Oh fountain-mouth…”\n\t\t623\tII-16 – “Time and again we have torn him up”\n\t\t642\tII-17 – “Where, in which sacred gardens…”\n\t\t664\tII-18 – “Dancer…”\n\t\t687\tII-19 – “Somewhere the spoiled gold lives…”\n\t\t714\tII-20 – “Between the stars…”\n\t\t739\tII-21 – “Sing those gardens…”\n\t\t765\tII-22 – “Oh despite destiny…”\n\t\t789\tII-23 – “Summon me to one”\n\t\t811\tII-24 – “Oh this lust always new…”\n\t\t838\tII-25 – “Listen: already the First harrow’s work is”\n\t\t858\tII-26 – “How the cry of a bird seizes us…”\n\t\t882\tII-27 – “Does time really exist…”\n\t\t902\tII-28 – “Oh come and go”\n\t\t932\tII-29 – “Silent companion of the many distances”"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553757417475,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5734","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robert Falcon Scott reading at SFU on November 4, 1974 #474a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Scott, Robert Falcon"],"creator_names_search":["Scott, Robert Falcon"],"creators":["[{\"url\":\"http://viaf.org/viaf/66475494\",\"name\":\"Scott, Robert Falcon\",\"dates\":\"1868-1912\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6036/Reading in BC_MsC199_474a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"474a-Side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:17\",\"precision\":\"\",\"size\":\"29.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"474a-Side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:20\",\"precision\":\"\",\"size\":\"30.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-11-04\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2780\",\"longitude\":\"-122.9283\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"Note":["[{\"note\":\"The last 40 minutes of track two is empty\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553758466048,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5742","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jack Clarke lecture on Charles Olson on December 12, 1971 Tape 2 of 2 #543b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Olson, Charles","Clarke, John"],"creator_names_search":["Olson, Charles","Clarke, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"Jack Clarke discusses Charles Olson as an inspiration for FATHAR III\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/40837274\",\"name\":\"Clarke, John\",\"dates\":\"1933-1992\",\"notes\":\"John \\\"Jack\\\" Clarke\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6045/Reading in BC_MsC199_543_2.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:55\",\"precision\":\"\",\"size\":\"36.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:59\",\"precision\":\"\",\"size\":\"37.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1971-12-12\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tFATHAR III written in Buffalo & Oregon from Memorial Day 1970 to Memorial Day 1971\n\t\t030\t“property is solace to everyone”\n\t\t052\tIntroduces “We are the Gypsies of Coalsack Bluff”\n\t\t090\tReads “We are the Gypsies…”\n\t\t110\tIntroduces ‘THE CHALLENGE”\n\t\t168\tReads “THE CHALLENGE”\n\t\t200\tReads “ANIMAE SIMPLICISSIMAE”\n\t\t238\tReads “OXFORD GONE TO THE DOGS”\n\t\t255\tReads “JOB ONLY GOES THROUGH”\n\t\t274\tReads “CRYPTIC EMERGENCY”\n\t\t280\tReads “PURCHASE ORDER THE STATE OF NEW YORK NELSON ROCKYFELLER GOVERNOR”\n\t\t298\tReads “LOTS OF VESTURE”\n\t\t307\tReads “BREAD ALONE”\n\t\t330\tReads “AND ALL THE DARK PLACES WRE LIGHTED UP FOR WYNTON”\n\t\t345\tExplains the mythology of “AND ALL THE DARK…”\n\t\t409\tReads “THE DECADE IS COMPLETE”\n\t\t421\tReads “THE WARDER OF THE WOOD”\n\t\t445\tReads “THE DELINEATION”\n\t\t472\tQuestions from the audience"],"Note":["[{\"note\":\"\\nSide 3 36:15\\nSide 4 26:00\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553760563202,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5746","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Anselm Hollo reading \"With Ruth in Mind\" in Barrytown on July 21, 1978 #546"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Hollo, Anselm"],"creator_names_search":["Hollo, Anselm"],"creators":["[{\"url\":\"http://viaf.org/viaf/2485795\",\"name\":\"Hollo, Anselm\",\"dates\":\"1934-2013\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6049/Reading in BC_MsC199_546.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"546-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:42\",\"precision\":\"\",\"size\":\"37.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"546-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:41\",\"precision\":\"\",\"size\":\"45.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-07-21\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/158843437\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Barrytown, New York State \",\"latitude\":\"41.9988\",\"longitude\":\"-73.9243\"}]"],"Address":["Barrytown, New York State "],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tIntroduction\n\t\t028\tTitle\n\t\t054\tOr, to hocus the animals of pursuers by changing their dream cassettes (old [thibetan] trick)\n\t\t426\tDragons & gazelles\n\t\t747\tOver there by the hibiscus\nTwo\t\t000\tOver there by the hibiscus"],"Note":["[{\"note\":\"Side 1 30:19\\nSide 2 13:30\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553954549762,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5747","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The 1028 Fugs First Album: Ed Sanders vocals recorded in New York City, April and July 1965 #547"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["All Compositions copyright 1965 by UNITED INTERNATIONAL (ASCAP)"],"creator_names":["Sanders, Ed","Kupferberg, Tuli","Weber, Steve","Weaver, Ken","Anderson, John","Stampfel, Peter","Leary, Vinny","Crabtree, Lee"],"creator_names_search":["Sanders, Ed","Kupferberg, Tuli","Weber, Steve","Weaver, Ken","Anderson, John","Stampfel, Peter","Leary, Vinny","Crabtree, Lee"],"creators":["[{\"url\":\"http://viaf.org/viaf/22183708\",\"name\":\"Sanders, Ed\",\"dates\":\"1939-\",\"notes\":\"Tambourine, maraccas, poetry\",\"nation\":[],\"role\":[\"Reader\",\"Performer\",\"Author\"]},{\"url\":\"http://viaf.org/viaf/1030149198246074940006\",\"name\":\"Kupferberg, Tuli\",\"dates\":\"1924-2010\",\"notes\":\"Tambourine maracas\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/1373157583875233970000\",\"name\":\"Weber, Steve\",\"dates\":\"\",\"notes\":\"Guitar\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/15108298\",\"name\":\"Weaver, Ken\",\"dates\":\"\",\"notes\":\"Drums\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/89819463\",\"name\":\"Anderson, John\",\"dates\":\"1954-\",\"notes\":\"Bass guitar\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/77665847\",\"name\":\"Stampfel, Peter \",\"dates\":\"1938-\",\"notes\":\"Guitar and fiddle harmonica \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Leary, Vinny \",\"dates\":\"\",\"notes\":\"Guitar\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Crabtree, Lee\",\"dates\":\"\",\"notes\":\"Piano, Celesta, and Bells\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Production_Date":[1965],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6050/Reading in BC_MsC199_547.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"547-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:22\",\"precision\":\"\",\"size\":\"61.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"547-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:24\",\"precision\":\"\",\"size\":\"62.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-04\",\"type\":\"Production Date\",\"notes\":\"Recorded in April and July of 1965 in New York City\",\"source\":\"J-card\"},{\"date\":\"1965-07\",\"type\":\"Production Date\",\"notes\":\"Recorded in April and July of 1965 in New York City\",\"source\":\"J-card\"},{\"date\":\"1979\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/175905\",\"venue\":\"\",\"notes\":\"Recorded in April and July of 1965 in New York City\",\"address\":\"New York City, New York, United States of America\",\"latitude\":\"40.6619\",\"longitude\":\"-73.9105\"}]"],"Address":["New York City, New York, United States of America"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tSlum Goddess (Ken Weaver)\n\t\t042\tAh! Sunflower Weary of Time (William Blake, Ed Sanders)\n\t\t094\tSupergirl (Juli Kupferberg)\n\t\t146\tSwineburne Stomp (A.C. Swineburne, Ed Sanders)\n\t\t213\tI Couldn’t Get High (Ken Weaver)\n\t\t265\tHow Sweet I Roamed From Field to Field (W. Blake, Ed Sanders)\n\t\t318\tSeize the Day (Juli Kuperferberg)\n\t\t450\tMy Baby Done Left Me (Ed Sanders)\n\t\t514\tBoobs a Lot (Steve Weber)\n\t\t577\tNothing (trad. Melody, lyrics by Kupferberg)\nTwo\t\t000\tFrenzy (Sanders)\n\t\t045\tI Want to Know (Sanders, Olson)\n\t\t092\tSkin Flowers (Sanders, Kearney)\n\t\t147\tGroup Grope (Sanders)\n\t\t236\tComing Down (Sanders)\n\t\t330\tDirty Old Man (Goldbart, Sanders)\n\t\t405\tKill for Peace (Kupferberg)\n\t\t464\tMorning, Morning (Kupferberg)\n\t\t524\tDoin’ All Right (Berrigan, Crabtree, Leary)\n\t\t600\tVirgin Forest (Sanders, Crabtree, Alderson)\n\t\t600\t-\tOut of Chaos\n\t\t627\t-\t- Birth of Aphrodite\n\t\t685\t-\tStructured Investigation of Rousseau\n\t\t\tI.\tSquack-man meets the Lunatic Vagina\n\t\t\tII.\tDog style diversion\n\t\t724\t-\tGobble Chorus\n\t\t731\t-\tDance of the Freak-gropers\n\t\t784\t-\tBurroughsian Time Grid\n\t\t817\t-\tThe Theme of the Virgin Forest\n\t\t910\t-\tDeath Stay Thy Phantoms"],"Note":["[{\"note\":\"Side 1 30:19\\nSide 2 13:30\",\"type\":\"General\"},{\"note\":\"The production supervised by Harry Smith\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553954549763,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5750","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["William Seward Burroughs reading on November 7 and April 24, 1974 and April 17 and March 5, 1975 #488a"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Burroughs, William Seward"],"creator_names_search":["Burroughs, William Seward"],"creators":["[{\"url\":\"http://viaf.org/viaf/108916275\",\"name\":\"Burroughs, William Seward\",\"dates\":\"1914-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6054/Reading in BC_MsC199_488a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"488a-Side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:55\",\"precision\":\"\",\"size\":\"38.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"488a-Side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:12\",\"precision\":\"\",\"size\":\"38.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-04-24\",\"type\":\"Performance Date\",\"notes\":\"William S. Burroughs reading from \\\"The Wild Boys, The Green Nun\\\" at St. Mark’s Church April 24, 1974\",\"source\":\"Inventory\"},{\"date\":\"1975-04-17\",\"type\":\"Performance Date\",\"notes\":\"William S. Burroughs reading from \\\"Ah Pook is Here\\\" at Columbia University, New York, April 17, 1975\",\"source\":\"Inventory\"},{\"date\":\"1975-04-17\",\"type\":\"Performance Date\",\"notes\":\"William S. Burroughs reading from \\\"Cities of the Red Night\\\" at Columbia University, New York, April 17, 1975\",\"source\":\"Inventory\"},{\"date\":\"1975-03-05\",\"type\":\"Performance Date\",\"notes\":\"William S. Burroughs reading from \\\"Junkie\\\" and \\\"Naked Lunch\\\" at 103rd Street Boys, WBAI, New York, March 5, 1975\",\"source\":\"Inventory\"},{\"date\":\"1974-11-07\",\"type\":\"Performance Date\",\"notes\":\"William S. Burroughs reading from \\\"The Wildboys and \\\"Exterminator\\\" and \\\"The Chief Smiles\\\" at University of California Nov 7, 1974\",\"source\":\"Inventory\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/2814221\",\"venue\":\"University of California \",\"notes\":\"From The Wildboys, The Chief Smiles. University of California Nov. 7, 1974 \\nand\\nFrom Exterminator, From here to eternity, KPFA, Berkeley Barb Reading, University of California, Nov. 7, 1974\",\"address\":\" Berkeley, North Street, Panoramic Hill, Berkeley, Alameda County, California, 94720-1076, United States\",\"latitude\":\"37.8759\",\"longitude\":\"-122.2410\"},{\"url\":\"https://www.openstreetmap.org/way/732228095\",\"venue\":\"Columbia University\",\"notes\":\"From Exterminator, From here to eternity, KPFA, Berkeley Barb Reading, University of California, Nov. 7, 1974\\nand\\nFrom Cities of the Red Night (an unpublished novel), Columbia University, New York, April 17, 1975\",\"address\":\" West 116th Street, Morningside Heights, Manhattan, New York County, New York, 10027, United States\",\"latitude\":\"40.80791\",\"longitude\":\"-73.96182\"},{\"url\":\"https://www.openstreetmap.org/node/357606922\",\"venue\":\"WBAI Radio Station\",\"notes\":\"From Junkie, 103rd Street Boys, WBAI, New York, March 5, 1975\\nand\\nFrom Naked Lunch, WBAI, New York, March 5, 1975\\n\",\"address\":\"5th Avenue, Koreatown, Manhattan Community Board 5, Manhattan, New York County, New York, 10035, United States\",\"latitude\":\"40.74844\",\"longitude\":\"-73.98570\"},{\"url\":\"https://www.openstreetmap.org/way/700521658\",\"venue\":\"St. Marks Church-In-The-Bowery\",\"notes\":\"From The Wild Boys, The Green Nun St. Mark’s Church, New York, April 24, 1974\",\"address\":\"131 E 10th St, New York, NY 10003, United States\",\"latitude\":\"42.99189\",\"longitude\":\"-76.07456\"}]"],"Address":[" Berkeley, North Street, Panoramic Hill, Berkeley, Alameda County, California, 94720-1076, United States"," West 116th Street, Morningside Heights, Manhattan, New York County, New York, 10027, United States","5th Avenue, Koreatown, Manhattan Community Board 5, Manhattan, New York County, New York, 10035, United States","131 E 10th St, New York, NY 10003, United States"],"Venue":["University of California ","Columbia University","WBAI Radio Station","St. Marks Church-In-The-Bowery"],"City":["Berkeley, California"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tWilliam S. Burroughs\n\t\t\tFrom The Wildboys, The Chief Smiles. University of California Nov. 7, 1974\n\t\t084\tFrom The Wild Boys, The Green Nun St. Mark’s Church, New York, April 24, 1974\n\t\t175\tFrom Ah Pook is Here (Columbia University, New York, April 17, 1975)\n\t\t272\tFrom Cities of the Red Night (an unpublished novel), Columbia University, New York, April 17, 1975\n\t\t402\tFrom Junkie, 103rd Street Boys, WBAI, New York, March 5, 1975\n\t\t502\tFrom Naked Lunch, WBAI, New York, March 5, 1975\n\t\t812\tFrom Exterminator, From here to eternity, KPFA, Berkeley Barb Reading, University of California, Nov. 7, 1974\n\t\t873\tTape ends"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553957695490,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5758","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robert Creeley reading for The Door selected poems in Buffalo on April 16,17 and 18, 1974 tape 2 of 2 #497b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Creeley, Robert","Köhler, Michael"],"creator_names_search":["Creeley, Robert","Köhler, Michael"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/114331797\",\"name\":\"Köhler, Michael\",\"dates\":\"1946-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6065/Reading in BC_MsC199_497b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"497-Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:52:30\",\"precision\":\"\",\"size\":\"69.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"494-Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:49:29\",\"precision\":\"\",\"size\":\"65.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-04-16\",\"type\":\"Performance Date\",\"notes\":\"Robert Creeley reading\",\"source\":\"J-card\"},{\"date\":\"1974-04-17\",\"type\":\"Performance Date\",\"notes\":\"Robert Creeley reading\",\"source\":\"J-card\"},{\"date\":\"1974-04-18\",\"type\":\"Performance Date\",\"notes\":\"Robert Creeley reading\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/68036581\",\"venue\":\"Buffalo – S.U.N.Y. (University at Buffalo)\",\"notes\":\"Robert Creeley reading is recorded In Buffalo; probably Buffalo refers to Buffalo – S.U.N.Y. (University at Buffalo), and it's where we put its address \",\"address\":\"Buffalo, NY 14260, United States\",\"latitude\":\"42.9533\",\"longitude\":\"-78.8181\"}]"],"Address":["Buffalo, NY 14260, United States"],"Venue":["Buffalo – S.U.N.Y. (University at Buffalo)"],"City":["Buffalo, New York"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t\tRobert Creeley: The door. April 16, 17 & 18 1974. Buffalo, recorded by Michael Kohler\n\t\t000\tPoems from The Charm “Return”\n\t\t016\t“Sanine to Leda”\n\t\t026\t“An obscene poem”\n\t\t034\t“Broken back blues”\n\t\t051\t“For Somebody’s marriage”\n\t\t056\tFrom For Love “Le Fou”\n\t\t068\t“The Crisis”\n\t\t078\t“For Rainer Gerhardt”\n\t\t096\t“The immoral proposition”\n\t\t104\t“I know a man”\n\t\t110\t“The business”\n\t\t120\t“The warning”\n\t\t126\t“The whip”\n\t\t138\t“A wicker basket”\n\t\t160\t“The door”\n\t\t226\t“A token”\n\t\t231\t“The gift”\n\t\t242\t“The name”\n\t\t265\t“Love comes quietly”\n\t\t272\tFrom Words “The rocks”\n\t\t283\t“I”\n\t\t312\t“The Language”\n\t\t323\t“The measure”\n\t\t331\t“The woman”\n\t\t368\t“Distance”\n\t\t424\t“Some place”\n\t\t447\t“Going”\n\t\t448\t“The hole”\n\t\t480\t“Intervals”\n\t\t494\tFrom Numbers: 1\n\t\t511\t2\n\t\t529\t3\n\t\t546\t0\n\t\t594\tFrom A Day Book “Looking for a way”\n\t\t600\t“Persons”\n\t\t619\t“The act of love”\n\t\t661\t“Time”\n\t\t684\t“Massachusetts”\n\t\t713\t“For Benny and Sabina”\n\t\t734\t“Smoke”\n\t\t755\t“For the graduation”\n\t\t780\tEnd of recording"],"Note":["[{\"note\":\"The audio file is blank\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553958744065,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5759","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jackson Mac Low performing -The 8-Voice Stereo-Canon Realization (11/25/73) Of The Black Tarantula Crossword Gathas, recorded in 1973, tape 1 of 2 #497a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Mac Low, Jackson"],"creator_names_search":["Mac Low, Jackson"],"creators":["[{\"url\":\"http://viaf.org/viaf/80245668\",\"name\":\"Mac Low, Jackson\",\"dates\":\"1922-2004\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6066/Reading in BC_MsC199_497a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"497-tape-3-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:33:03\",\"precision\":\"\",\"size\":\"43.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"497-tape-3-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:44:55\",\"precision\":\"\",\"size\":\"62.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t\tJackson MacLow\n\t\t000\tThe 8-voice stereo-canon realization (For Kathy Acker) of “The Black Tarantula Crossword Gathas”"],"Note":["[{\"note\":\"Side two is blank\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553958744066,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5769","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 2 at SFU on September 13, 1973 #661"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 2 Sept. 13, 1973; H.D. and Imagism"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6076/Reading in BC_MsC199_661.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_661 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:13\",\"precision\":\"\",\"size\":\"35.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_661 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:09\",\"precision\":\"\",\"size\":\"49.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-09-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n000\n009\nTape breaks into a discussion on a SFU Bookstore mix-up\nSounds quite familiar doesn’t it?\n022\nBowering decides to disregard the text book problem & forge ahead, at one point, with a discussion on Naturalism\n027\nMore comments on Poe & the American Imagist poets’ connection. Similar ideals\n065\nPoe’s sense of an “original style which would be totally answerable to the soul”\n081\nIdeals of Imagism\n091\nClassism –What is it?\n101\nNouns that best define Imagism\n117\nH.D.’s notion that Imagism was really the self-instruction of young poets\n140\nH.D.’s translation of Euripides\nIn the introduction H.D. talks about the problems of translation; laying a lot of the blame at the feet of Swinburne & his ilk\n174\nH.D.’s outrage at the abuse of language\n177\nT.D. Humes essay “Romanticism & Classism” announcing the break with the 19th century\n209\nEzra Pound essay “A Retrospect”’ explaining the school of Imagism\n231\nDefinitions of what an “Image” is\n252\nDefinition by Bowering, of “description: - the process of the writer interpreting an experience for the reader (removing individual interpretation)\n290\nPound’s definition of “symbols”\n300\nSymbols must not only be accessible to an intellectual elite – Pound paraphrased\n328\nReading of a Swinburne sonnet\n352\nReading of a H.D. poem\n357\nDiscussion on contrasts between the two poems\n384\nImagist school innate legacy\n427\nPerfectibility of Man notion disregarded by 1905 / Influence of World War I\n447\nBowering places his emphasis on the period between 1903-1915 “Major change in American writing”\n465\nImagist desire to seek out foreign influences\n489\nRecommendation of The Imagist Poem by William Pratt as a “handy” source of reference\n496\nExamples of sources, Bowering reads aloud two Greek poems :\n“Poesidipus”\n“Refinis”\n518\nAn Ezra Pound poem from 1912 Awpia; this poem is to be seen, so Bowering feels, in reference to the two Greek poems read previously\n530\nH.D. poem, also written in 1912 “Orchid” or “Pryapous”\n550\nDiscussion of initial Imagist output/ The Eaglist magazine/Imagist anthology “Des Imagists”\n613\nPound’s discovery/creation of “Voiceism”. Bowering admits he is just skimming over things, he feels that those who are interested will investigate further for themselves & those who are not interested will be content with the information presented\n622\nOverview of next class “What Imagism did to Poetry” with emphasis on the work of H.D.\n627\nClass over\n982\nSide One over\nTwo\nSide two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553960841216,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5770","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 3 at SFU on September 17, 1973 #662"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 3 Sept. 17, 1973; Imagism continued"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6077/Reading in BC_MsC199_662.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_662 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:16\",\"precision\":\"\",\"size\":\"38.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_662 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:42\",\"precision\":\"\",\"size\":\"35.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-09-17\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"Voice is clear but there is a low buzz throughout\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553961889792,"timestamp":"2026-01-07T14:59:58.384Z","contents":["Side\nTrack\nNo.\nComments\nOne\n000\n012\nH.D. (Bowering explains that he is aiming towards selections from War Trilogy)\n019\nWhat Imagism did to poetry\n021\nT.E. Hume – “A lecture on Modern Poetry”. Modern poetry at that time meant what the Imagists were doing and to a certain extent Symbolists and English poets\n029\nModern art makes its break with the Victorians in that “it no longer deals with heroic action. It has become definitely and finally introspective and deals with expression and communication of momentary phases in the poet’s mind”\n035\nExplains different relationship of reader to writer caused by shift in perspective: Impression vs. described action. Outlines implications of this with examples\n060\nRevelations rather than deliver. Likens Imagists to psychologists\n074\nH.D. and Freud\n082\nFreudian analysis – dredging up of an image\n090\nFreud actually did have a couch and sexually harassed H.D., George informs us\n0100\nReader’s participation in meaning\n0113\nWriter’s non-interference\n0118\nWhat does the iambic pentameter do to us? Looks at Pope’s poetry. Talks about its structure\n0137\nWhy is the structure there?\n0147\nFree verse is the scariest phrase in literature\n0160\nFrench meaning different from English. Defined in a negative sense\n0172\nPrescribed forms like airplane flight; free verse, like a bird’s\n0189\nSynthesis between different structures is what free verse does. Body is the determinant\n0200\nHighly structured works and automatic pilots\n0216\nRhythm and images\n0239\nHow can one portray a dream without converting it into a conscious censored pattern?\n0250\nGeorge’s diary entry from 1961\n0261\nInability of language to explain dreams\n0270\nSocial contract and manipulation\n0284\nHopkins\n0301\nBegin with sound\n0314\nReads from “Music of Poetry”, T.S. Eliot. Inner and outer unity. Organic form\n0340\nWhat has been thrown out in free verse\n0346\nWilliams – measure and metre\n0364\nCadence replaces metre as ordering principle\n0400\nStill waiting for definition of cadence from students, Bowering offers the word cadaver because it has same root\n0408\nGeorge offers definition – “where the foot falls”\n0414\nDefinition applied to English and Latin, qualitative and quantitative, respectively\n0419\nParallel with music (i.e. cadenza)\n0439\nCadence verse (as far as rhythm is concerned) and the English language\n0447\nE.A. Poe and the scansion of verse (in English), characterizing how to put a poem together moment by moment\n0461\nThe difference between a good H.D. poem and a bad H.D. poem is determined by the degree to which she “meddles”\n0465\nPound thought H.D. was getting “too mystical”\n0472\nWhat is being sought in an Imagist poem “to discover the inevitable”\n0483\nPope’s form social convention – English isn’t spoken in iambic\n0496\nRecommends John Gould Fletcher’s book Irradiations Sand and Spray. The preface describes how one goes about making an Imagist poem\n0506\nParaphrases T.E. Hume – Images are the only way to communicate with each other (verbal or pictorial)\n0536\nWhat is the poet’s job? To communicate with images; make those images fresh and make the combinations of those images fresh\n0545\nCraze to find new imagists (Imagists and Surrealists) and to rely as little as possible on descriptions, abstractions, and ‘function’ words (i.e. of, about, by for, from, until, etc.)\n0555\nContrasts with 18th century verse which relied on function words in order to be iambic\n0578\nImages for imagists not there to decorate the verse or illustrate an argument (as in 18th century especially)\nBowering offers other examples\n0613\nIn England in 1914 the Imagists were ridiculed (and in U.S.A.)\n0619\nGertrude Stein’s writing became a joke but her name became a household word. The situation was not this extreme for the Imagists\n0633\nImagists views became truisms about verse later on\n0665\nBowering stresses that every Imagist poem is by its own terms a failure because they had to compromise with language. Each making of poetic language is a compromise. Measuring the poem moment by moment works against the knowledge that it is a compromise. Quotes Pound “compromise as little as you can”. Bowering says this means “stay awake” when writing and reading the poem. Recommends Chapter 8 in ABC\nOf Reading, p. 63\n0696\nWill look at the first H.D. poems next time\nTwo\nSide two is blank"],"score":1.0},{"id":"5771","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 4 at SFU on September 18, 1973 #663"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 4 Sept. 18, 1973; Imagism continued; biography of H.D.; influence of Freud; influence of classicism"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6078/Reading in BC_MsC199_663.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_663 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:20\",\"precision\":\"\",\"size\":\"36.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_663 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:17\",\"precision\":\"\",\"size\":\"35.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-09-18\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553961889793,"timestamp":"2026-01-07T14:59:58.384Z","contents":["Side\nTrack\nNo.\nComments\nOne\n000\n003\nTape begins\n005\nBowering begins with page 63 of ABC of Reading by J.G. Fletcher\n008\nDiscusses the principles that are presented in this chapter. (i.e. 1 – Incompetence will show in the use of too many words). Bowering sees this book as a good demonstration of what it asks for itself\n017\nAs Pound notes, the principles that are set here are common to all poetry not just Imagist. The principles that Hume, Pound, Fletcher, etc. set are not an invention of imagism\n0027\n“Archaeological dig” of classicism especially for H.D.\n0029\nPoetic images and dream images. Hume and Freud. Pound and H.D.\n0052\nImagist poetry was sculpture just coming over into speech. Sculpture, like dreams cannot be discussed in terms of meaning save as you attend to its physical properties\n0062\nBowering recommends Pratt’s book on the Imagist poem, particularly the section on Pound’s “Station and the Metro”. “The making of that poem is almost a short history on the making of the Imagist movement”\n0071\nImagism, Bowering says, is a funny thing to have happened in the 20th century. Why should it show up in the 20th Century except as a response to the death of Romantic poetry in the hands of Swinbourne and company\n0077\nDiscussion of images in Romantic poetry at its height (Coleridge and Shelley). Images are not fixed. They are always in motion, in flight\n0098\nConstant flux picked up by American Poets. The prime images in Whitman, for example, are images of things in motion\n0105\nThe beginning of the 19th C. perspective akin to 20th C. notion in physics: impossible to distinguish between matter and energy. To carry (or impose) the image of matter that is not in motion is to impose a false image. And yet, the imagist poem suggest that there are absolute unchanging, eternal realities (with Pound it is rhythm)\n0117\nH.D.’s setting of ancient Greece for the modern mind is one of stasis. She uses “timeless” setting\n0124\nWhat do we make of this?\n0128\nFreud (not a political radical, says Bowering) offers a suggestion, a clue as William James did to G. Stein (another conservative) : there is a common bank of images and a common bank of symbols, that we can share\n0145\nThe mind is a flower pot, says Bowering, and the flower is the same as the one that grew in Greece. A yellow orchid in H.D.’s instance\n0149\nH.D.’s novel Palimpsest is discussed as an example of H.D.’s method\n0184\nImagists especially H.D. used experiences over and over again (“spiral”). A sense that she is hovering over the experiences getting different views, similar to the effect of walking by a Cezanne canvas\n0190\nShe is loyal in terms of detail to each of these times, but there is the sense that time hasn’t happened between them. The images know of no boundary called time\n0206\nShared memory (archetypes). For Freud all images are automatically symbols as soon as people become aware of them (this is echoed by Hume)\n0216\nShelley – I, she, he, it, etc. are simply different words denoting the same thing. Yeats as discussed by Unterraker is presented as an example: “No symbol has a meaning”\n0225\nImplication(s) of this discussed. Word-as-sign is the only exception but as soon as associations are made it becomes a symbol\n0232\nImagists provide exactly what the Freudian analysts did. Images are shared images. What H.D. is looking for according to Robert Duncan, is what the words can offer her. Because for H.D. words offer the unknown, they are not tools as for rationalist poets\n0253\n“What the words conceal” is the quality of words that H.D. is looking for in her poems. She is not using words to do this, the words are using her. Bowering likens this to dreams and psychoanalysis\n0274\nPresents Herbert Read’s discussion/demonstration of the difference between a sign and an image and a metaphor and symbol. Discussed in terms of psychoanalysis\n0297\nThe difference between bad imagist poem and good imagist poem. If the poet cannot resist hinting at the “meaning” of an image this is not an imagist poem. This is connected to the example of a patient undergoing psychoanalysis\n0301\nH.D.’s “Oread” closest to the most perfect imagist poem. Ironically, if patient/reader is asked to find out meaning rather than having one imposed upon her by analyst/poet then s/he is likely to come much closer to “intended” or “shared” meaning, says Bowering. He gives examples (similes, as well as metaphors)\n0324\nT.S. Eliot is quoted (from Preludes) on the experience that the writer/reader of imagist poem has\n0337\nHow are imagist procedures used to make a long poem or a novel? Pound is quoted (on the haiku & noh play) : “its unity consists in one image”\n0356\nBowering presents another view “an aggregate of images” that would lead to Pound’s discovery of ideograms\n0362\nPound’s definition of periplume (?) is given because none other is available\n0373\nPratt’s remarks on the long poems of Pound, Williams & Eliot “aggregate imagist poems set in a mosaic pattern around a dominant image” such as The Wasteland, Bowering likens these to certain early 205h C. paintings\n0380\nThe effect of instantaneous perception is discussed\n0393\nThe isolation of images from their surroundings is more pronounced in 20th C. paintings “unclouded by rhetoric”\n0421\nSolicits questions from students. Explains relation between psychoanalysis and imagism briefly\n0467\nLaunches into H.D. discussion. Mentions key things. Recommends Tribute to Freud and other biographies and autobiographies – Ezra Pound, Williams, Hemingway\n0504\nBegins with particulars of H.D.’s life\n0517\nDescription by H.D. in Tribute to Freud of her experience as a child being the only living daughter\n0542\nWhat her experience as being “only one in a world of twos” means (two things); First, (that she is) an outsider without balance and secondly, a rich interior life\n0566\nBowering discusses further H.D.’s feelings of isolation and estrangement\n0575\nDiscusses H.D.’s time at Bryn Mawr with Pound, Williams and Moore\n0581\nDiscusses two visions H.D. had: A childhood vision in which she sees a glowing block with a picture of a serpent and a thistle. Years later she sees a ring in the Louvre which has these images on it. Bowering connects this to collective unconscious (i.e. that images re (re)discovered or (re)membered not invented by individuals\n0617\nH.D.’s search for real and healing images\n0635\nExplains the peculiarly 20th C. view of art: Fragments to be gathered and reconstructed. This “archaeological” approach is connected to collective unconscious\n0700\nDecides to end lecture\n0712\nRecording ends\nTwo\nBlank"],"score":1.0},{"id":"5772","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 5 at SFU on September 20, 1973 #664"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 5 Sept. 20, 1973; Biography of H.D. continued"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6079/Reading in BC_MsC199_664.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_664 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:11\",\"precision\":\"\",\"size\":\"34.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_664 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:15\",\"precision\":\"\",\"size\":\"33.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-09-20\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0004\nLecture begins. Various announcements\n0036\nRecaps. (i.e. great interest in classical world)\n0045\nDiscusses translations and H.D.’s decision to not be “slavish” in translating\n0058\nImagists don’t have a “split” between translations and other poems: “She seeks the elemental (images)”\n0065\nThis ain’t no soft focus Greece\n0073\nBowering reads passages from Wm. Carlos Williams’ autobiography who was madly in love with H.D.\n0134\nBowering says that these passages give a different sense of her because they discuss her in relation to sea, storm, the sky, etc.\n0144\nSome biographical anecdotes\n0161\nRecommends My Friends When Young. More anecdotes and titles\n0183\nDiscusses impact of war on H.D. and her marriage and affairs. Mentions Bloomsbury Group. More biographical stories\n0213\nMentions that poems ‘reflect’ this turmoil. More biographical stories\n0232\n“The Islands” is discussed, esp. section IV which is read\n0290\nDiscusses Sappho’s “Fragment #113” and reads last stanza\n0312\nH.D.’s second famous vision (in Tribute to Freud) is discussed. More biographical stories follow\n0403\nWorld War II’s impact on H.D. Reads from Tribute to the Angels. (p.85). More titles and stories\n0446\n20th century chaos affects and resembles H.D. life. She tries to (re)discover who she is. Poems are an attempt at resolution\n0466\n“The blank page is a perfect poem” – Mallarme\n0467\nFreud “The childhood of the individual is the childhood of the race”. Discussed briefly in relation to H.D. and her work\n0475\nNew editions. Bowering reads some passages\n0502\nH.D.’s poems as a search for identity (partly). Bowering says he, unlike everyone else he knows, has not been in analysis because he does not believe in the unconscious (which some say proves one needs analysis!) Analysis anecdotes\n0519\nGreek myth as a metaphor but all poems autobiographical for H.D. This prevents the Sylvia Plath syndrome\n0541\nH.D.’s admiration for the hard, elemental strength of singularity versus the ease that the late Victorian Poets were being accused of. Mentions “Sea Rose” and mentions poem about Shakespeare “Good Friend”. Mentions various other titles\n0590\nLecture ends\n0673\nEnd of Side One"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553962938368,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5773","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 6 at SFU on September 24, 1973 #665"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 6 Sept. 24, 1973; H.D. continued"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6080/Reading in BC_MsC199_665.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_665 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:39\",\"precision\":\"\",\"size\":\"39.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_665 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:26\",\"precision\":\"\",\"size\":\"36.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-09-24\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553962938369,"timestamp":"2026-01-07T14:59:58.384Z","contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0024\nLecture begins\n0037\nMentions Harold Watts essay “H.D. and the Age of Myth” in Sewanee Review LVI Apr. 1948, and some dictionaries of myth (e.g. Classic Myths)\n0062\nDiscusses H.D.’s admiration for hard, elemental strength/courage in relation to “The Sea Rose”\n0074\n‘Rhyme and reason’ and the cult of mass communication\n0087\n“Words are not counters or tools… (They) are manifestations of a world we enter not as users or owners but, at the very most, equals to”\n0099\n“The qualities of words that can’t be described as things that we can own, explain or interpret,” in relation to “The Sea Rose”\n0145\nMentions “A Sea Lily”\n0159\nPsychological and aesthetic ramifications. Poems might be made to survive by their singularity\n0175\nBriefly looks at “North Star”\n0188\nThe connection between beauty and (the sustenance of) life. The only worthwhile beauty, for H.D., is assertive of life and survival versus decadence. Discusses in relation to the goddesses that H.D. admires (esp. Artemis who is inviolable as well, Athena, Demeter, Circe)\n0241\nIn “The Walls do not Fall” she becomes ISIS, Classicist aesthetics are concerned with the strength and survival of that which is beautiful; that which is beautiful is seen as that which lasts\n0252\nLooks at poem about Athena “Pallas”, an introductory poem. “They” in the poem refers to men\n0262\nReads out a passage. Athena is simultaneously the goddess; protector; example and at the same time, Greece (Athens) and women\n0296\nDiscusses the end-rhyme in the poem\n0302\n“What are the rhymes making you do?” asks Bowering. “This is the angle to attack the poem on.” Uses of rhyme are subtle. They don’t discard real speech patterns\n0332\nDon’t think that H.D. was just an anti-male amazon\n0347\nAnother aspect of the “War Trilogy” that must be kept in mind. One does not reach ‘The Mystery’ by abstractions but by sharp detail. Mentions “the scribe”. H.D. places herself philosophically against the Aristotelian genus sorting. She wants to portray how things come together, “wildly dissimilar yet actuated by the same fear the hippopotamus and the wild deer hide by the same river…”\n0365\nShe is against associating things in that organization “that places everything in boxes”. George discusses the scientific objectification of the world and its relation to capitalistic exploitation\n0408\nLooks at two more poems that connect to “The Walls do not Fall” whose theme is: What do we do with language?\n0413\nAfter the work of the poet has been done the mysteries remain\n0427\nThe mysteries are not explained away as is so common in the 20th Century where mystery gets changed into a puzzle – something solvable (i.e. poems of Tate, Ransom, etc.)\n[0042]\n“The Moon in your Hands” is discussed\n0460\n“The Good Friend” is discussed. A poem about poetry of the Elizabethans and her own – similarities between Elizabethans and moderns. Introduces “War Trilogy” and “Walls do not Fall”\n0514\nGreece is not the metaphor in “The Walls do not Fall”. All the sources of magic, religion, myth (i.e. Christian, Hebraic, Egyptian, Theban and the secret, hermetic forbidden) are there\n0550\nSense that she takes structures from Christianity and extends them so that they will take all the beginnings of myth and religion. The Holy Ghost becomes dreams. We admit the transubstantiation\n0578\nH.D. makes association between rhymes, images and between gods that nobody ever made before because she makes them purely on the basis of sound. Necromancy\n0597\nH.D. wants to make the “associations of delight” in terms of rhyme. She doesn’t see mystery as a puzzle (i.e. something that is outside of us that we can solve)\n0619\nH.D. doesn’t want any frills or ‘poetic devices’ for the war in terms of the use of the language. She wants to show the continuation of the spirit despite the mechanical horrors of war. This is discussed at some length\n0741\n“Inspiration stalks us through gloom” (stalks us unaware as Coleridge said)\n0750\nQuotes Joseph Riddle. “H.D. is like Helen in that she is captive at her loom within the sacred space of the walls (i.e. in Troy) which both protect her and hold her captive”\n0765\nLecture ends\n0771\nEnd of Side One\nSide Two is blank"],"score":1.0},{"id":"5774","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 7 at SFU on September 25, 1973 #666"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 7 Sept. 25, 1973; H.D. continued; The War Trilogy, The Walls Do Not Fall"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6081/Reading in BC_MsC199_666.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_666 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:13\",\"precision\":\"\",\"size\":\"37.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_666 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:12\",\"precision\":\"\",\"size\":\"35.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-09-25\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0004\nLecture begins\nMentions Gertrude Stein exhibit\n0018\nRecommends bibliography on H.D. in Wisconsin Studies in Contemporary Literature – 1969, “A Preliminary Checklist”\n0033\n“The Walls do not Fall” is poem of discussion. There is a change in H.D.’s thinking from volume to volume\n0046\n“Sand drifts… eternity endures… inspiration stalks us” taken as totems for theme\n0060\n“Stalked unaware” a vision is placed in front of us. Reads passage from poem\n0064\n“Stalked unaware” a vision is placed in front of us. Reads passage from poem\n0077\nPatterns of images (e.g. The python, etc.)\n0088\nPoem made up of fragments\n0093\nPoet (H.D.) looking for fragments to piece together universe\n0101\nH.D. says that there is a parallel between the smashed city and the condition of the 20th century (“sensitive”) mind\n0109\nShe posits a difference between scribes and priests. The priests have always been removed from the source of power (especially cosmic power) unlike the poets. The poets have revelations which the priests have to interpret. Poets do not close off any experience\n127\nH.D. does not see the subject/object split. Objects are “messages”\n0141\n“I sense my own limit… Be indigestible, hard, ungiving…” What is suggested by this to Bowering is that the individual consciousness can find access to all truth that has ever existed (D.N.A. : R.N.A. can be seen as repositories of all of it)\n0167\nWhy does anyone break into a song or dance?\n0174\nImage of worm as passage of time\n0188\nIs the genius in the jar another hermetically sealed room? Look at Fisher-King and worm images at some length\n0240\nImage of worm spinning its own shroud –a cocoon Imago – the last flowering stage of metamorphosis and root for image and has specific meaning in Freudian psychology (one’s image of one’s self after having gone through a dialective). Worm image discussed further\n0282\n“We are bearers of the secret wisdom … we are not only non-utilitarian we are pathetic/this is the new heresy/but if you cannot even understand what words say how can you expect to pass judgement on what words conceal.” Words are not tools any more than nature is a tool. Central poetic for H.D.\n0295\n“Speech is not only for use,” this is to destroy reactionary notions that poetry is frivolous\n0309\nThe writing on the wall\n0345\nThe holy ghost, for H.D., comes in terms of dreams. Discussion of dreams in “Walls do not Fall”. Visions that H.D. has had come up in the poem\n0397\nH.D.’s condemnation of Christianity. She sees it as out of touch with the mystery that inspires. Christianity is guilty of the objectification of the world which allows the exploitation of human beings and the destruction of the planet\n0421\nBowering reads section 20 of “Walls do not Fall”\n0442\nPassage 28 is discussed briefly\n0450\nPassage 36 is discussed along with 37\n0509\nThe poem, says Bowering, begins to feed upon itself. Poem not seeking status for timeless imagist poem. Time becomes part of the process of the poem itself. This is not referential time\n0538\nNon-referential time is a matter of process. The poem does not hover in imagistic stillness but becomes an act\n0548\nDiscussion of polytheism and monotheism. Explains relation between monotheism, the scientific objectification of life and capitalism\n0586\nBowering reads final section of “Walls do not Fall”\n0616\nDiscusses H.D.’s play(ing) with words as the loosening of the spirit. Sequential thinking is repressive. Bowering discusses Joker-Gods. (e.g. joker-coyote of the northwest Indians; the spider-joker of West Africa)\n0668\nLecture ends\n0680\nEnd of Side one\nSide two is blank"],"Note":["[{\"note\":\"Intermittent audio problem for first six minutes [indicated on J-card]\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553963986944,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5775","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 8 at SFU on September 27, 1973 #667"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 8 Sept. 27, 1973; H.D. continued"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6082/Reading in BC_MsC199_667.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_667 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:11\",\"precision\":\"\",\"size\":\"36.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_667 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:16\",\"precision\":\"\",\"size\":\"32.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-09-27\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0023\n(Tape begins with horrible high-pitched squeal and other loud noises)\n0023\nBowering begins speaking but noises still continue\n0034\nBowering begins by discussing H.D’s response to 1st World War in relation to Walls Do Not Fall and Tribute to the Angels\n0050\nThe reappearance of ruination in Tribute to the Angels. Views poem as a process or act\n0059\nThebes and Jerusalem become the major bodies of mytho-history that H.D. feeds on in poem\n0101\nBowering reads section 3 and discusses the “angelology”\n0121\nWar becomes part of process (of poem and history). Discusses view of war as inevitable part of progress (Whitman)\n0132\nSections 6 to 17, main passages on Aphrodite who becomes Mary. Bowering reads section 12. Discusses goddesses. Explains that there is a balance struck up between Aphrodite (the mother of us all, for H.D.) and Amen (Father)\n0162\nDiscusses images of beauty in relation to war, Section 17, and discusses H.D.’s two major visions in Section 23\n0200\nTransubstantiation image is discussed while reading Section 23\n0216\nThe second vision first appears in Section 28. The fusion of Venus and Mary is made here\n0231\nThe figure of Mary, explains Bowering, is not simply the Christian Figure of Mary. It is the figure of Mary as she becomes merged with ISIS, ASARTE, Demeter, etc.\n0236\nAn ambiguous gesture in Section 29 – the appearance of Mary gives us the sense that H.D. is expanding to all the Venus figures\n0247\nThe series of painters’ images of Mary in Section 29 is discussed\n0263\nThe ‘Palimpsest process’ is pointed out (i.e. Mary keeps resurfacing again and again)\n0274\nMary’s son combines Adonis and Dionysius, explains Bowering, during a discussion of the ‘evolution’ of religions. A lengthy discussion of collective dreams ensues\n0332\nFreudian dream theory\n0344\nSections 32, 35, 36 and 37 are discussed\n0400\nSection 1 is read and discussed. The totally purified Mary, before the Church imposes its image upon her, is the one H.D. wants to see/show\n0459\nSection 39 is read. Primitive terror is discussed, as well as the inability of language to express or convey a synthesis of ‘same’ and ‘different’\n0497\nSection 40 is read and discussed. In particular, Bowering discusses the subjection of experience by representation, and the inability of representation to ‘capture’ an impression or experience. One of the oldest problems artists have had\n0516\nBowering reads Section 41 and discusses it\n0554\nSection 43 is read and discussed\n0626\nLecture ends\nEnd of Side one\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553963986945,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5776","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 9 at SFU on October 1, 1973 #668"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 9 Oct. 1, 1973; H.D - The War Trilogy, Flowering of the Rod"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6083/Reading in BC_MsC199_668.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_668 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:16\",\"precision\":\"\",\"size\":\"35.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_668 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:14\",\"precision\":\"\",\"size\":\"34.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-10-01\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0004\nRecording begins. Bowering comments on strange 747 noise. More noise\n0018\nLecture begins. Bowering outlines Gertrude Stein readings\n0040\nH.D. discussion begins with a question to the students and an explanation of the amount of time spent on H.D.\n0049\nPromotion for Special Collections room\n0065\nDiscussion of Flowering of the Rod begins with a comment on aesthetics\n0074\nThe Flowering of the Rod is the flowering of the pen and of the tree. Biblical story is mentioned. Sexual connotations of story are mentioned\n0090\nH.D.’s visions and her relationship to the war. Transcendence which is not merely resurrection\n0102\nResurrection images/metaphor\n0109\nBeginning of Section 3 of Flowering of the Rod is read and discussed\n0117\nSection 1 is rad and discussed in relation to other two volumes of War Trilogy\n0133\nSection 2 is read and discussed in part\n0142\nSection 3 is discussed further. Atlantis is supreme example of of the cities with walls\n0185\nSection 4 is read in part and discussed. The continued images of beauty and love are H.D.’s longing for the perfect\n0210\nH.D.’s position as an artist (in relation to poem) : she stands unsatisfied. Her search for beauty and the eternal is what is left instead of the eternal, beautiful, perfect\n0222\nBowering explains the difference between a cynic and a skeptic: a cynic denounces the search for the perfect because it is impossible to reach (this in itself is idealism). A skeptic accepts that we seek the perfect in art because that is the impulse to create all the while realizing that this is impossible. The difference between an artist and a “sensible” person lies in the acceptance or rejection, respectively, of this search\n0245\nThis eternal urge is the urge of dreamers, explains Bowering. He discusses the aforementioned in relation to art in general and the imagist’s use of Freudian dream theory. Section 5 is read in part and discussed\n0289\nBeatitudes in St. Matthew are discussed in relation to Section 5 images. Suffering and art are discussed in relation to H.D. and Romantics\n0324\nSection 6 is read and discussed. Bowering notes how the poem again feeds on itself\n0326\nSection 9 and 10 are discussed\n0473\nSection 11 is read and discussed. H.D.’s use of resurrection is looked at again\n0516\nSection 12 is read in part and discussed. H.D. ; Mary Magdalene; Eve and Lilith are connected. A woman from Atlantis who H.D. does not name is seen by her to be before Lilith (who is before Eve)\n0590\nFor H.D. doubt is absolutely necessary for the recurrence of faith. Could Faith exist without doubt? Faith and doubt are discussed at some length\n0690\nLecture ends\nEnd of Side one\nSide two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553963986946,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5778","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 10 at SFU on October 2 , 1973 #669"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 10 Oct. 2, 1973; Gertrude Stein, Composition as Explanation"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6085/Reading in BC_MsC199_669.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_669 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:45\",\"precision\":\"\",\"size\":\"34.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_669 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:47\",\"precision\":\"\",\"size\":\"35.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-10-02\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553965035520,"timestamp":"2026-01-07T14:59:58.384Z","contents":["Side\nTrack\nNo.\nComments\nTwo\n0000\n0025\nLecture on Gertrude Stein begins\n0045\nDiscussion of place of Stein’s writing in relation to William James’\n0051\nThe area of the reading experience that Stein is primarily interested in as a student of William James\n0066\nStein saw her writing as a continuation of Henry James’ psychological realism. She tried to move beyond that\n0086\nWilliam James did not see abstract, logical entities only moving and becoming. This was why he was interested in the process of mind\n0095\nDiscussion of native Indians in California who perceive the world in motion. Their language does not allow for talking about anything at rest. Things are not manifest they are manifesting\n0105\nHow can H.D.’s sense of the past/present which doesn’t have any levels to it be compared to Stein’s sense of time?\n0123\nReads first scene of a Stein play\n0160\nPlays tape of Stein reading “If I Told Him” (her later portrait of Picasso)\n0203\nStein reading ends\n0219\nWhat does Stein mean when she says that “civilization began with a rose a rose is a rose is a rose”\n0230\nStein is stalling that process called reference (allusion or metaphor and even description)\n0244\nStein is perhaps attempting to do here what Buddha was trying to do in “The Flower Sutra”. Bowering discusses experience and its representation in language. What is the relationship between the primary experience and its representation? This is discussed at some length\n0340\nStein is interested in the conscious mind and its possibilities. Her Poetry works on this as opposed to turn-of-the-century (and later) “mining the unconscious” Stein doesn’t believe in the unconscious\n0354\nStein asks about how we can know the unconscious, consciously\n0363\nIn the late-early period of the early portraits on Tender Buttons Stein no longer thinks that words have to be used to refer to a world. She believes that they can fashion a world or become a world. Words do not have to be signs, images, or symbols\n0424\nRecommends The Third Rose by Malcolm Brinnin (a critical biography of Steins work). “Models’, (Stein reminds us in Brinnin’s book) “were everything until the beginning of the 20th century and now hardly any painter who interests anyone really has any realization that everybody used to have a model.:” This is discussed\n0478\nStein said that it was possible to use language in the way that painters could use color. (But color, plane and proportion in painting are not of themselves highly referential in the same way that language is in the “real” world.) Stein was trying to rescue them from their common dulling associations. She makes an assumption about the effect/experience of language\n(i.e. under the conventions that we have applied to the way we make language work is a primary language, a primary association with words). She believed (quite rightly) that each society’s syntactic habits are enforced in order to enforce political, economic, tribal preferences on the parts of those in power. In our post-Aristotlean world, we, like the Russians and Chinese put subject-over-object in that order. The subject is taken to exist previous to action. The object is only brought into being when that subject acts upon it. The subject object split maintained by language is the root of our exploitive capitalism. Stein is attempting to see the world previous to that overlay (her use of language is remedial)\n0556\nThe art is one’s primary experience while one is viewing it (“reality”). It doesn’t have to refer to some previous model. Bowering says that he will look at cubism later to further illustrate this\n0575\nBowering’s use of the word “order” is to imply a sense of beginning\n0594\nStein is interested mainly in “brain” rather than “mind” unlike H.D. brain can be described in terms of energy (and mind in terms of sets for some reason)\n0623\nMemory in connection to “mind” and “brain” is discussed. Memory, for the purposes of the writer especially (according to Stein) is more fruitful than philosophy or conjecture\n0638\nBowering says that whenever words are put together the product is “real”. It is not possible to not do this. The concept of “real” is discussed at some length\n0724\nA test of Stein’s fiction, says Bowering, would not be whether it is a simulacrum of an experience of the readers’ but whether the reader can remember a character\n0740\nConventional 19th century novels (and paintings) are discussed for their process of cause and effect: set of conditions that becomes the environment; the suggestion is, as it is in naturalism, that environment (as well as heredity) shapes character. Environment and character come together and make the event believable. Stein doesn’t bother with this because people do not look back on their lives that way, says Bowering. She takes major characteristics of a character and shows them appearing again and again through a series of actions. She calls this the continuous present\n0800\nLecture ends\nEnd of side Two"],"score":1.0},{"id":"5779","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 11 at SFU on October 4, 1973 #670"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 11 Oct. 4, 1973; Gertrude Stein: Composition as Explanation continued"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6086/Reading in BC_MsC199_670.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_670 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:21\",\"precision\":\"\",\"size\":\"35.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_670 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:17\",\"precision\":\"\",\"size\":\"33.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-10-04\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553965035521,"timestamp":"2026-01-07T14:59:58.384Z","contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0028\nBowering begins by explaining title of “Composition as Explanation” at some length\n0112\nReads passage and discusses it as a further elaboration of “Composition as Explanation”. “Composition is the difference” – Stein. Things cannot be seen as different unless they are first seen as similar otherwise there would be no such\nconcept as different.” Bowering waxes metaphysical. Composition and difference are discussed at some length\n0170\nCubism does not want to arrest some object in a moment of time, it wants to get multiple views of the same thing into one space that resists the movement of time. Bowering says he will discuss this further later on in the lecture\n0178\nComposition is involved in the consciousness of seeing (the similar in the different); placing yourself physically in the scene\n0181\nStein on the avant-garde: “No one is ahead of his time. It is only that the particular variety of creating his time is the one that his contemporaries who are also creating their own time refuse to accept.” She once stated that she created the 20th Century when she wrote The Making of Americans. (Created 20th Century America)\n0190\nAgainst description. (Places the writing in past). H.G. Wells is given as an example\n0222\nMcLuhan and rear-view mirror thinking is discussed briefly. “Artists are not ahead of their time,” said McLuhan, “everyone else is behind the time.”\n0231\nStein wants to create one’s time, says Bowering. This is the only thing one can do if one is not satisfied trying to describe (or translate) one’s time. This places one in the past and Stein is not interested in this\n0240\n“Those who are creating the modern composition authentically are naturally only of importance when they are dead because by that time the modern composition having become past is classified,” said Stein, “and the description of it is classical. This is the reason why the creator of the new composition in the arts is an outlaw until he is a classic. There is hardly a moment in between and it really is too bad, very much too bad, naturally for the creator but also very much too bad for the enjoyer. They all would really enjoy the created soon after it is made than when it is already a classic”\n0250\nThe irritation (shock) of the new (in literature or visual art) is discussed\n0270\nWhat is the source of this irritation? Stein locates it at the reader’s (or audience’s) experience of the work (rather than the work itself). Bowering gives a rather unconvincing David Hume-like analogy\n0279\nWhat is the source of this irritation? Stein locates it at the reader’s (or audience’s) experience of the work (rather than the work itself). Bowering gives a rather unconvincing David Hume-like analogy\n0300\nThe Stein sense of beautiful versus H.D.’s sense of the beautiful which is the eternal and perfect\n0320\nRepetition, beginnings and the ‘natural thing’ are discussed\n0344\nStein does not want to describe but to find the main characteristic. To solve problems she looked at what was not done, Bowering explains\n0380\nThe effect Stein wants to achieve is similar to the effect the cubists wanted to achieve. She wants to get multiple views of the same thing happening in the same time, explains Bowering. Repetition is discussed again as is the parallel in writing with a painting’s effects showing no recognizable object (no nouns)\n0401\nStein’s repetition of main characteristics in different circumstances is discussed as being the way she paints a picture of a person’s life. This perspective is discussed in relation to a historical perspective. Her point was to make people look at and hear her writing in the same way that the cubists wanted people to look at painting. A great deal of art is self-referring in the 20th century, says Bowering. Visual examples are shown\n0450\nWhile showing slides, Bowering discusses perspective, composition referentiality and abstractions\n0596\nDescription is criticized again and discussed in relation to the paintings on the slides. As soon as one enters into description the elements of nature are used by the artist who wants to direct the viewer/audience into having a certain set response to his main subject material\n0622\nDescription; interpretation, perspective; values systems and ego\n0657\nStein’s phrase on composition is discussed in relation to the direction of attention versus process of mind\n0684\nEnd of lecture and side one\nSide two is blank"],"score":1.0},{"id":"5780","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 12 at SFU on October 9, 1973 #671"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 12 Oct. 9, 1973; Gertrude Stein continued"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6087/Reading in BC_MsC199_671.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_671 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:13\",\"precision\":\"\",\"size\":\"34.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_671 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:15\",\"precision\":\"\",\"size\":\"33.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-10-09\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0004\nBowering begins with his usual Prince George and Sylvia Plath jokes\n0035\nBegins by looking at “Composition as Explanation”. Pg. 24, “A Question on Time.”\n0042\n“(t)he time in that composition is the natural phenomena of that composition and of that perhaps everyone can be certain” – Stein. This quotation is discussed in relation to time in paintings\n0072\n“Each period of living differs from any other period not in the way life is but in the way life is conducted and that, authentically speaking, is composition.” (Stein is trying to show what it is to live in her time. Composition is discussed in relation to consciousness and against certain kinds of realism\n0112\nStein is not interested in cause and effect or in questions of why people do things but how they do it; this places her as scientist as opposed to a religious or philosophical investigator, Bowering explains\n0119\n“Everything is the same except composition and as the composition is different and always going to be different, everything is not the same”. (p. 28 “composition as explanation”). Bowering discusses this quotation\n0142\nBowering discusses above quotation in relation to H.D. who believed that anyone’s mind could tap the arche-types and dissolve the self. Stein is more interested in how one acts, explains Bowering\n0156\nBowering discusses Melanctha. Though it seems a conventional story for Stein, it is still an odd way of writing for that period (because it is not like descriptive literature), says Bowering\n0182\nStein’s parallel between writing and war. The exigencies that demand modernism : if the war demands modern techniques, those modern techniques will be there sooner than for other things\n0199\nBowering discusses “the time of the composition is a natural thing…”\n0230\nStein tries to make time inconsequential, says Bowering, and the only time that is operative at all is the actual reading time of the piece\n0242\nBowering discusses the cubist’s who did away with conventional use of time and space. They too, like Stein and linguists who study natural language, are looking for an “order’ that exists before the conventionalized, interpretive mind gets a hold of the world and conceals it. This is discussed at quite some length\n0617\nUp until the 20th Century, there are no spaces between things (all space on canvas is filled). In 20th Century art, music and writing, there are spaces between things (different ordering). This is the difference in the modern perspective\n0663\nStein makes a distinction between insistence and repetition. She, as well as Williams, says that Stein doesn’t use repetition. How she writes the portraits is related (by Stein) to how one sees the world around. “Is there repetition or is there insistence? I am included to believe there is no such thing as repetition”. – Stein. This is discussed in relation to “same’ and “different “which is explained in metaphysical terms\n0737\nEnd of lecture\nEnd of Side one\nSide two blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553965035522,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5781","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 13 at SFU on October 15, 1973 #672"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 13 Oct. 15, 1973; Gertrude Stein: Ida"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6094/Reading in BC_MsC199_672.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_672 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:27\",\"precision\":\"\",\"size\":\"34.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_672 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:19\",\"precision\":\"\",\"size\":\"33.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-10-15\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0006\nBowering begins with one of his standard jokes\n0031\nBowering recapitulates about Stein’s process by quoting W.C. Williams from his 1931 Selected Essays. “It is a breakaway from that paralyzing vulgarity of logic for which the habits of science and philosophy coming over into literature, where they do not belong, are to blame”\n0065\nBowering wants us to think of realism as a challenge to form not to contend\n0072\nBowering begins with them. Stein is working out the problem of identity for a famous woman (Ida). Bowering discusses the conflict between identity vs. entity at quite some length and in relation to Stein’s own life\n0206\nWhy does conventional fiction use plot etc., asks Bowering: To assert an unproven greater significance to our existence, he answers\n0220\n“Nobody has identity. Do they put up with it? They put up with identity” – Stein. (Ida’s) identity is discussed at quite some length\n0325\nBowering discusses fable, legends, saints in relation to identity and publicity\n0348\nStein’s dreams and symbols are discussed (with the examples) as well as, fable-language; legend-language (that makes time cease)\n0397\nMagic paranoia fantasy\n0434\nIda is picaresque novel\n0460\nBowering’s description of Ida : “At first there is Ida and what will she do and then there is what she does but where is Ida?”\n0467\nIn Stein’s work we are always dealing with “How it (the mind) feels” not so much with what it says. Bowering illustrates this with examples\n0485\nStein’s jokes and puns are discussed at quite some length\n0627\nThe implications of Ida “making a name for herself” are discussed\n0680\nIda falling in love. Bowering gives an example of true Gertrude Stein logic\n0700\nBowering discusses what he considers one of the greatest empirical passages about growing to love. More discussing of identity\n0813\nEnd of lecture\nEnd of Side One\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553966084096,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5782","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 14 at SFU on October 16, 1973 #673"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 14 Oct. 16, 1973; Gertrude Stein: Ida concluded; Hemingway - beginning"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6095/Reading in BC_MsC199_673.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_673 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:21\",\"precision\":\"\",\"size\":\"35.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_673 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:00\",\"precision\":\"\",\"size\":\"34.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-10-16\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting\n"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0014\nBowering begins lecture by finishing off discussion of Ida (i.e. problems of identity – Ida as type in a picaresque sense; names and naming; Ida’s relationship to Andrew; her phase as her mother’s Ida; Ida’s attempts to formulate identity; her experience as trapped in identity, etc.). Quite a lengthy discussion ensues – “the story is not over until the reader dies”\n0209\nBowering begins Hemingway discussion by introducing Death in the Afternoon which he will allude to through the lecture\n0231\n“Remarks are not literature”, Stein tells Hemingway. Bowering recommends chapter on Hemingway in Stein’s The Autobiography of Alice B. Toklas\n0239\nBiographical anecdotes\n0266\nBowering reads from “Up in Michigan” (Hemingway’s “first story”) and discusses use of language\n0296\nBowering discusses The Nick Adams Stories and interchangeable, autobiographical Hemingway heroes\n0364\nOn the necessity of human bonding which appears almost exclusively as male bonding. Bowering gives various examples\n0409\n“Grace under pressure” is discussed along with Catholicism\n0444\nNick Adams Stories are discussed as initiation stories. One of the two most common themes in American Literature, says Bowering, along with the-disappointment-of-the-promise-made-by-the-constitution (i.e. also loss of innocence like the initiation stories)\n0483\nAnti-Hemingway position is reduced to two points: 1. The women are male-identified; unreal. 2. Hemingway is obsessed by violence, pain and death. Bowering dismisses the former point quickly with an unconvincing, standard (masculine) answer. The latter is discussed and rationalized\n0555\nThe social construction of masculinity is rationalized and glorified\n0590\nBowering recommends Turgenev’s Fathers and Sons\nEnd of Side One\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553966084097,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5783","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 15 at SFU on November 1, 1973 #674"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 15 Nov. 1, 1973; William Carlos Williams"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6096/Reading in BC_MsC199_674.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_674 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:23\",\"precision\":\"\",\"size\":\"34.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_674 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:19\",\"precision\":\"\",\"size\":\"32.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-01\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553966084098,"timestamp":"2026-01-07T14:59:58.384Z","contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0005\nPaterson is a town, and, a man. Bowering discusses Williams’ urban home town – dirty, filthy, the population a result of the great immigrations into the United States in the early part of the 20th Century to feed the mills\n0027\nBowering notes that Williams chose Patterson as the setting for Paterson, rather than nearby Rutherford, as “He had to write a poem about everything and set it in its specific place”. The image that Paterson contains is the very central image of the waterfalls\n0032\nLike In the American Grain, Paterson is a book, a poem, about making poetry. Bowering goes on to discuss Paterson as a veritable mine of information on what Williams and other contemporaries thought and felt about poetics\n0071\n…on some pronouncements about poetry by William Carlos Williams: -- ‘Order’ for example\n0097\nDiscusses Yeats’ views of poetics in reference to a Comparison with Williams’ ideas on ‘order’\n0116\nYeats’ idea was to write a poem that lasts forever, containing images which defy death\n0138\nWilliams on ‘Masterpieces’ – beauty is found in the fresh, the unexplored. Masterpieces are only beautiful in the tragic sense, like a starfish stretched out dead on the beach in the sun\n0151\nBeauty – Uncertainty, hence Williams’ interest in ‘accident’, an important principle in Paterson\n0207\n“The impulse to order, then, involves measure, in all its meanings. The first thing one does when one finds oneself lost is try to start measuring, and the only access one has, in order to start measuring, is one’s own lineaments.” Bowering goes on to discuss various aspects of the idea of ‘measurement’\n0303\nA swift jump into ‘perspective’, another multi-meaning word. ‘Perspective’ suggests that the viewer is at the center, and “everything else is on the outside, and the farther away that something is from that ego, then the less important it is.”\n0337\nBowering discusses the desire of the imagists and the cubists to get rid of, or distort ‘perspective’, either by deliberate placement of an image, or by ‘dis-covering’ it. One can “see the world without dominating it”, as Williams says\n0376\nW.C. Williams says: “It is not what you say that matters, but the manner in which you say it”\n0406\nWilliams on ‘Ex-pression’\n0483\nBowering discusses Williams’ The Wedge, as a book written contemporaneously with Paterson\n0533\nWilliams – “One doesn’t seek beauty, it finds you.”\n0574\nFrom Williams “Revelation”: “The objective in writing is to reveal; it is not to teach, not to advertise, not to sell, not even to communicate (for that needs two), but to “reveal”. Bowering goes on to discuss Williams’ fascination for speech undistorted, by speech that reveals through its particular genre: “As a carrot grows up through the ground will have in its shape the particulars of that ground.” In other words, the place in which a person grows up will have to constitute how that person comes to the world, and has to be ‘dis’covered’ in the work itself\n0620\nBowering closes by looking at a late work of Williams, namely The Poem as a Field of Action (1948), which came out at the same time as Book II of Paterson\n0687\nEnd of Lecture a\n0699\nEnd of Side One\nTwo\nBlank\n\n*This appears to be a second version of Accession Number #674\n\nSide\nTrack\nNo.\nComments\nOne\n0000\n0004\nLecture begins with Bowering explaining various significances of Paterson (i.e. the city in New Jersey)\n0033\nPaterson, like many of Williams’ poems, is about making poems; this is discussed\n0053\nBowering recommends In the American Grain as being one of the most useful and accessible books to an understanding of the local (language and place) and the difference between marrying the language and raping it (with reference to Williams’ writing)\n0071\nBowering gives some of Williams’ pronouncements about poetry (esp. on order). “Time is a storm in which we are all lost only inside the convolutions of the storm itself shall we find our directions”\n0087\nYeats (and Pound) in relation to Williams’ work\n0097\nA discussion of artifacts (emblems of perfection and eternity) with reference to Yeats\n0134\nWhy Williams is opposed to masterpieces – they are “like starfish lying stretched dead on the beach in the sun”. Beauty is found in uncertainty and the unknown\n0154\nWilliams’ interest in accident is discussed with reference to Paterson and “Chora in Hell” and Marchel DuChamp\n0190\nBowering discusses Williams’ view of form and structure with reference to “Against the Weather” (storm and uncertainty and order)\n0206\n“The impulse to order involves measure in all its meanings” (measure as distinct from metre because metre is seen as something predecided – measure is used as a descriptive rather than a pre-scriptive term by Bowering)\n0233\nBowering discusses Olson’s image of a bird making a nest in relation to measure\n0255\nMeasure is discussed further in relation to prose, poetry and the self. “The measure intervenes. To measure is all we know. A choice among the measures”\n0291\nImagists wanted to rid the view of her/his self-centred interpretation of the world. The act of observation is discussed\n0302\nBowering discusses perspective at some length\n0373\nProcess and composition are discussed\n0398\nBowering discusses Arthur Simon’s quotation on Mallarme – “To be rather than to express that is what Mallarme has consistently sought in verse and prose”\n0410\nThe artist for Williams is a phenomenon among phenomena. She/he is not the “I” who is a creator of order but a discoverer or a rearranger of an order that is already there. This is discussed with reference to other poets\n0482\nBowering looks at Williams’ reface to “"],"score":1.0},{"id":"5784","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 16 at SFU on November 5, 1973 #675"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 16 Nov. 5, 1973; W. C. Williams continued - Paterson, Book I"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6097/Reading in BC_MsC199_675.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_675 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:30\",\"precision\":\"\",\"size\":\"34.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_675 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:21\",\"precision\":\"\",\"size\":\"33.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-05\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0015\nBowering notes that he feels that he is learning even more now from Paterson despite his experience and travails as a writer – each reading brings to light new issues and ideas\n0045\nPaterson is an example of how to write a long imagist or objectivist poem”, notes Bowering. Paterson is very much about writing\n0071\nDiscussion of the symbolic setting of Paterson, esp. the river and the falls\n0087\nBowering makes the point that one can look at the river in terms of its representation of the passage of one’s life, a familiar metaphor. The river also can be viewed as representative of thought that has not yet been turned into voice\n0120\nComparison of the treatment of water as a metaphor in a poem of Whitman’s Starting from Paumanok\n0161\nThere is a ‘set-up’ structure to Paterson, its original four books were each divided into three sections, for a total of twelve divisions, suggesting ‘the year’. The physical setting matches also – Book II about the spring\n0180\nAnother sense of structure in the books parallels the subject matter; Book I is relatively clear and straight-forward, but as we progress through the books, the writing grows progressively more ‘muddied’, as does the river in Paterson in its journey to the sea\n0203\n“There are some very particular oppositions to Eliot in Paterson…”\n0218\nThe image of the Dog\n0275\nThe image of the ‘particulars’ of the river\n0279\nWilliams: “Beauty cannot exist in a museum out of time and away from the human”\n0294\nThe idea of ‘Quest’ in literature is discussed\n0314\nThe theme of Marriage/Union as compared to Divorce/Rape is investigated\n0363\nThe metaphor of the City (Man) and the Park (Woman), with the river as thought is looked at. Male and female images are investigated\n0373\nWilliams’ reading of Freud played, perhaps, some bearing on the creation of Paterson, especially in terms of dream signification\n0419\nContinued discussion of ‘Marriage’ vs.’Rape’ in the poetry of Paterson\n0503\nWilliams’ attack on university writers is examined\n0520\nThe symbolism of the dead water of ‘the moat’ of poetry created as a result of middle-class motivations\n0595\nWilliams’ attempts to deal with the masculine, puritanical, death-wish drive in which the masculine values are championed. The American hero at the time was the quiet, unspeaking man of action vs. the suspect, effete man of words (i.e. European). In Selected Essays (p. 68), Williams said “The perfect type of the man of action is the suicide”\n0642\nEnd of lecture\nTwo\nSide two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553968181248,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5785","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 17 at SFU on November 6, 1973 #676"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 17 Nov. 6, 1973; W. C. Williams - Paterson Book I continued"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6098/Reading in BC_MsC199_676.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_676 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:13\",\"precision\":\"\",\"size\":\"34.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_676 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:30\",\"precision\":\"\",\"size\":\"33.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-06\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0010\nIntroductory remarks – how to read Paterson (?!)\n0027\nThe suicide of Sam Patch is touched upon, in reference to the theme of Marriage vs. Divorce/Rape\n0053\n“Williams works with crowds throughout Paterson…”\n0069\nThe key phrase in Paterson in which Williams rails against divorce, which he associates with perfection, or the striving for perfection : “A bud forever green…” (p. 18)\n0112\nWilliams looks at the rose as an image of Woman or Christ (p. 30)\n0146\n“Woman, earth, art, proceed; they are not captured, one cannot be the master of them”, Williams says. One cannot own language or poetry or control it without disrupting its essence\n0172\nWilliams’s examination of two disparate girls who wish to be alike is discussed. This discussion leads into the topic of the range of beauty in nature (ugly to beautiful) and of how that range should be reflected in the language and imagery of poetry. The beauty can be found anywhere – it is how one applies the language to it that interests Williams\n0220\nThe Freudian imagery in Paterson is touched on again by Bowering\n0265\nWilliams views on the ‘library’ and “history, but not for the sake of the encyclopedia”, are examined\n0302\n“The first problem Williams has, if he looks around the city and sees people divorced from their past, divorced from their language, divorced from each other, divorced for the reasons they are doing their jobs, divorced from the possibility of devising their own schedules – he has to find and admit and lay out those faults within himself”\n0372\nBowering notes that, in Paterson, we see people coming together not to share language and themselves, but they gather together as crowds to see dead bodies, to see freaks, to see false language, to rape the earth, to see outside beauty rather than their own\n0432\nQuestions are fielded concerning Book I\n0481\nIf the poet will allow, Bowering notes, his discrepancies, his hesitancies, all his imperfections to appear in the body of the poem, then we are lead to a consideration of the poet, the speaker, much more than we would be if we were offered a poem as a finished and perfect artifact\n0492\nBowering starts on Book II. In Book II, Williams discusses ‘the appearance of contemporaries’\n0547\nPuritans vs. Nature is discussed; “they came across to America claiming that they were going to find and people a new world. What they actually did was to make the Old World over again its worst aspects on the American continent”\n0560\nWilliams is like an explorer of the New World in Book II. Constraint is the major them in Book II\n0600\nThe images of people laying in the grass are examined\n0653\nLecture ends\nTwo\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553968181249,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5786","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 18 at SFU on November 8, 1973 #677"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 18 Nov. 8, 1973; W. C. Williams continued - Paterson Book II"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6099/Reading in BC_MsC199_677.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_677 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:52\",\"precision\":\"\",\"size\":\"35.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_677 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:57\",\"precision\":\"\",\"size\":\"34.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-08\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0015\nBowering begins the discussion with reference to Williams 1923 Volume Springdoll, and a metaphor concerning the issue of imitation vs. copying in poetry with respect to nature\n0030\n“Art is to be placed beside Nature, in its own nature…”\n0040\nFor Williams, the ideal is “that the poem operate in the world vis Nature, in the way that a tree would”, notes Bowering\n0055\nIn Paterson, Book II, notes Bowering, we have Paterson going out to find out what the nature of people in the city is on Sunday in the park. A key motif is ‘walking’\n0083\nThe image of the roots is discussed (p. 44)\n0121\nPuritanism vs. Nature is discussed\n0151\nThe idea of ’property’ in Paterson is a topic for analysis\n0218\nProperty and theme of constraint\n0222\nDiscusses ‘dogs’\n0252\nProperty and price are discussed\n0277\nIssues surrounding Hamiltonian vs. Jeffersonian politics and 20th century American government are looked\n0331\nThe Federal Reserve banks are extensively discussed\n0416\nHow slavery was made into law in relation to the Federal Reserve banks is touched upon\n0420\n“There are forces which seek to block one’s marriage with nature, with one’s language, with one’s fellow beings and so forth, to keep the people divorced, to keep them constrained…”\n0428\nThe letters of the ‘neurotic poetess’ C. are discussed in reference to the theme of divorce\n0512\nA trick of Williams is to subtly poke fun at other poets by reiterating lines from other works\n0544\nThe business of invention is discussed, in relation to the creation of poetry and nature. ‘In-ven’tion’ = ‘to come in-to’\n0588\nThe freedom of art is associated with economic freedom, an image picked straight out of Pound’s Canto about Usury\n0634\n“Your poetics are directly related to the way you measure the rest of the universe…”\n0666\nBowering will talk about the Pagan and the Descent Passage next time\n0676\nEnd of tape\nTwo\nSide two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553968181250,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5787","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 19 at SFU on November 13, 1973 #678"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 19 Nov. 13, 1973; W. C. Williams - Paterson Book II continued, Book III begin"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6100/Reading in BC_MsC199_678.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_678 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:53\",\"precision\":\"\",\"size\":\"35.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_678 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:56\",\"precision\":\"\",\"size\":\"34.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0023\nBowering begins with a discussion of the Pagan vs. the Puritan\n0040\nAspects of the film Viva Mexico are touched upon in Paterson\n0059\n“In the Puritan”, Bowering states, “there is a fear built in of both the beautiful and the feminine”\n0088\n“The Evangelist gives all his money away, but he is always worried about cost and price…”\n0120\nPaterson’s great discovery against the deadening absolutes one is offered in life is that “marriage in the present is the way to enter the eternal”\n0152\nIn Part III of Book II we find a refusal to be negative\n0185\nThe descent passage of Book II, Part III, is the key moment of the Book\n0242\nWaterfall imagery in Part III is discussed\n0302\n“Williams force comes from the feminine…”\n0356\nBowering begins Paterson, Book III\n0365\nThe library is discussed - a place of coolness and escape\n0378\n“The library is about the search for new language – the realization that the old has to be picked up and shaken and literally re-formed”, notes Bowering. The image of fire, flood and cyclone runs through it\n0395\nWe are now in the summer season of Paterson\n0399\nFear is a major theme in Book III\n0419\nThat which inspires fear, in all cases in Book III, is the beautiful\n0446\nPaterson remains in the library all through Book III, but his mind keeps going outside to ’beautiful things’\n0526\nIn the library, Paterson is cut off from the city, ‘divorced’ and silent\n0556\nThe dreams of dead men are prisoners in the library\n0561\nThe moth image is discussed\n0607\nThe ‘toilet-training’ theory of literature is discussed\n0622\nThe imagery of the library sign ‘SILENCE!’ is discussed\n0650\nBowering talks about metamorphosis – of the worm, of the cyclone, of the flood, of the fire\n0685\nLecture ends\nTwo\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553969229824,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5788","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 20 at SFU on November 15, 1973 #679"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 20 Nov. 15, 1973; W. C. Williams continued - Paterson Book III"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6101/Reading in BC_MsC199_679.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_679 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:05\",\"precision\":\"\",\"size\":\"36.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_679 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:16\",\"precision\":\"\",\"size\":\"35.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-15\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0020\nBowering discusses the nature of the course’s final exam\n0087\nPart III of Book III is discussed\n0131\nBowering relates an anecdote about auto-destructive art\n0185\nThe library image as a dam for fresh thought is discussed\n0230\nReference to In the American Grain is made in terms of the beauty of the un-raped, the new\n0266\nThe passage about the Indians turned over to the soldiers is analyzed. The idea of Williams as doctor is touched upon\n0278\nThe colonists were little more than rapists\n0285\nOn the nature of rapists\n0304\nMarriage vs. Death and Destroying is discussed\n0343\nThe puritan answer to the beauty that the poet hopes to encounter in his art in Paterson (that it is an unproductive useless activity or that it is a ‘dirty book’)\n0348\n“the puritan ethic”, states Bowering, “means the opposite of Williams’ decision to embrace the foulness – they do it without thinking they do, they do it while denying they’ve done it”\n0362\nThe Puritans were not only afraid of the animals in the forest, they were afraid of the animal in man\n0380\nToulouse Lautrec is discussed in the context of Paterson, Book III\n0490\n“So, beauty is not to be divorced from the local, not to be divorced from the vulgar”, states Bowering\n0552\nBeauty is not the moment of rest and contentment, but rather it is at the moment of being shaken just like the volcano or the raging fire – because it cracks open new places\n0628\nThe image of flame is reiterated: it consumes things of elementally lower order and raises them to a higher order – it is the one element (of Earth, Air, Water, Fire) that does not have any weight and is always in change. It is like the waterfall in Paterson\n0689\nEnd of lecture\nTwo\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553969229825,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5789","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 21 at SFU on November 19, 1973 #680"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 21 Nov. 19, 1973; W. C. Williams: Paterson III"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6102/Reading in BC_MsC199_680.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_680 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:58\",\"precision\":\"\",\"size\":\"35.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_680 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:57\",\"precision\":\"\",\"size\":\"34.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-19\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0002\nBowering makes light of the fact that he is early for lecture\n0019\nPaterson, Book III is, as far as Bowering is concerned, the best in terms of verse, in terms of art, in the Paterson series\n0024\nBowering recaps his discussion on beauty and the significance of the fire, the flood and the cyclone\n0040\nReference is made to Shelley’s concept of the flame\n0105\nFlame and fire are the most common images for those things which both destroy and preserve. Water also has this quality\n0122\nWilliams said, “The province of the poem is the world. When the sun rises, it rises in the poem and when it sets, darkness comes down and the poem is dark”. That is to say that the poem is not a description of the world, the poem is a world – its own world\n0144\nBowering relates the history of Capt. Vancouver’s voyage up the Northwest Cost\n0165\nThe tightrope passage is discussed\n0204\nThe poetics of wind, the “Breath of poetry” is discussed\n0254\nWilliams’s attitude about the ‘doom’ of the city is looked at. Why does the puritan fear fire?\n0270\nThe events of the Apocalypse are discussed in light of Paterson\n0287\n“Rather than fear the flames”, notes Bowering, “or rather than be gloomy, N.F. Paterson, the poet, hears the laughter all the way through it”\n0315\nThe central image in Book III is the old bottle mauled by the fire. In-depth discussion follows\n0399\nAnother image of the accidental is discussed\n0454\nMore interpenetration and marriage images are given mention\n0493\n“Those books (in the Library)”, says Bowering, “that record of the confrontation with beauty are not the inspiration of the imagination in action at the moment”. What we get is what the guy wrote about that in most cases. How can we get past this conundrum? Asks Williams.\n0535\n“In Part III of Book III we get the flood”, states Bowering\n0547\nWhile the fire changes and form and makes beauty, the flood piles up the debris – it is the past, piling up like property\n0645\nThe wonder of the tin roof is mentioned, with reference to the apocalyptic\n0703\nTape ends abruptly in mid-sentence\nTwo\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553969229826,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5790","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 22 at SFU on November 20, 1973 #681"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 22 Nov. 20, 1973; W. C. Williams: Paterson IV"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6103/Reading in BC_MsC199_681.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_681 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:23\",\"precision\":\"\",\"size\":\"33.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"bowering_681 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:45\",\"precision\":\"\",\"size\":\"34.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-20\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0004\nBowering begins with a comment from Olson, that Poetry seeks not to describe but to enact. Sound quality is poor\n0033\nComments about the pastoral are made\n0053\nThe setting for Book IV is New York City\n0063\nThe key word for Book IV is Rebirth. It is a mighty optimistic book, taking place, as it were, in the sewer\n0094\nThere is a lot of ‘busy’ poetry in Book IV that can lead the reader to a sense of disappointment, but Bowering feels that this is deliberate on Williams’ part\n0136\nBowering discusses a letter Williams wrote in 1951, the same time that the book came out\n0178\nBowering announces that since the form of Book IV is very ordered, he will discuss the work section by section in a linear fashion\n0222\nPeople in Paterson reveal themselves by their language, especially the early passage in the text concerning Corydon and Phyllis\n0331\n“The poetess, though”, notes Bowering, “must set up a game, a play if you like, and she is so divorced from the real that she can, at will, reverse the roles”\n0387\nThe ‘disappearance’ of the river is mentioned\n0400\nSound quality dramatically improves\n0494\nIn Book IV we are dealing with October-December, the end of the year…\n0514\nBowering remarks that certain sections of Book IV act in the opposite way of the ‘Fire’, in Book III : they bring a death to language, to the imagination, to the sense of love. It is not a burning away of the old, it is a forcing of people to live in out-worn buildings or poems. It is just a play at poetry\n0524\nThe image of Dr. Paterson is discussed\n0550\nThe association between the East River and Death is touched upon\n0571\nThe significance of the passage on the ‘Indian Princess’ is looked at\n0600\nThe theme of particularity is expanded upon\n0671\nTape ends abruptly – lecture was ending\nTwo\nSide Two is blank"],"Note":["[{\"note\":\"[From J-card] Poor quality copy - low volume and high noise\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553969229827,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5791","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 23 at SFU on November 22, 1973 #682"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 23 Nov. 22, 1973; W. C. Williams: Paterson Book IV continued"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6104/Reading in BC_MsC199_682.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_682A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:26:28\",\"precision\":\"\",\"size\":\"33.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_682B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:19:34\",\"precision\":\"\",\"size\":\"24.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-22\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0013\nDiscussion of take-home final exam\n0026\nSection II introduces themes of marriage and pregnancy. Paterson is himself a family man\n0054\nThe building imagery in Paterson is discussed, in light (pun intended) of the solarium\n0085\nBowering asks the class if anyone can give him a brief synopsis on how nuclear fission works. No response\n0118\nBowering notes that the destruction of uranium in a nuclear reaction to produce energy is beautiful in Williams’ terms\n0124\nThe parallel between the division of cells to create life and the division of atoms to create energy is discussed\n0156\nMadame Currie’s discovery of Radium is an important image in Book IV\n0198\nThe letter of ‘A.P.’ is discussed\n0212\nThe marriage and ‘pregnancy’ of M. Currie is looked at, and linked to discovery and invention\n0285\nWilliams wants to write the poem with dissonance, so that the slightest disturbance in its movement will hopefully set off a ‘chain reaction’ of thought or other response in the reader, much as a nuclear reaction is set off by the dissonance of a uranium atom losing valency and setting off a chain reaction\n0307\nThe Billy Sunday passage is discussed\n0350\nThe ‘coarsened hands’ passage is analyzed\n0434\nThe irony of relating M. Currie to Corydon is discussed\n0458\nAgain the piece returns to the American Federal Reserve and money : joke\n0557\nBowering starts Part III of Book IV. The year is December, and the river runs slowly now in Paterson\n0612\n“Writing will always be failure if one aims at the ideal, the perfect”\n0666\nThe lecture closes with a recommendation to look at reveries in Part III\n0673\nEnd of lecture\nTwo\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553969229828,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5792","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 24 at SFU on November 26, 1973 #683"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 24 Nov. 26, 1973; W. C. Williams: Paterson Book IV cont'd"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6105/Reading in BC_MsC199_683.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_683A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:29:17\",\"precision\":\"\",\"size\":\"35.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_683B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:19:23\",\"precision\":\"\",\"size\":\"22.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-26\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0025\nMention of the take-home final is made once again\n0042\nBowering begins with a look at the poet’s offering of cop-outs and solace for his failures and his move into reveries\n0069\nThe poetry returns to a smooth and relaxed mode\n0082\nThe mention of I Ching is touched upon and its relevance to wind imagery in Paterson\n0116\nThe birth images from earlier sections, expressed in lively verse much like dance music, now alternates with the ‘weakness’ – this is the enactment of mind, we are given the state of Paterson’s mind as it goes back and forth between excitement and reverie\n0205\nWilliams intersperses the relaxed flow of the poetry with stories of murder and divorce and war and other violence. It’s like the river is just flowing along and people are dumping crap in it\n0253\n“Finally his reverie is broken with the word ‘falls…’\n0290\nImages of war and violence are examined more closely\n0377\nThe image of the seeds floating in the sea is discussed\n0480\nThe dogs reappear in Paterson again late in Book IV\n0525\nThe ‘beach plums’ passage at the very end of the book is discussed\n0545\nThe nature of crowds is again touched on\n0556\nThe ambiguity of pronunciation of the word ‘close’ in the final stanza is analyzed\n0574\nBowering feels that although the poem ends with reference to death, there is room for the view that it really ends with birth\n0594\nBowering returns to the beginning of Paterson to look at the section on ‘nine months’\n0634\n“So much death and graveyard is in Book IV that it seems a wonder that it should end in birth”\n0681\nThe author’s introduction to Paterson is examined\n0767\nEnd of lecture – Book V next time\nTwo\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553970278400,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5793","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 25 at SFU on November 27, 1973 #684"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 25 Nov. 27, 1973; W. C. Williams: Paterson V"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6106/Reading in BC_MsC199_684.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_684A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:39:51\",\"precision\":\"\",\"size\":\"103 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_684B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:14:52\",\"precision\":\"\",\"size\":\"18.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-27\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0007\nDiscussion of take-home final exam\n0034\nWilliams, in talking about Paterson in “I Wanted to Write a Poem”, said that Paterson IV ends with the protagonist breaking through the bushes, identifying himself with the land, with America. He finally will die but it can’t be categorically stated that Death ends anything”\n0044\nBowering remarks that there is an interesting treatment of time in Book V, an embracing of the past and hope for art in the future\n0070\nPaterson V is, somewhat, a separate poem from the others\n0078\nThe language in Book V no longer descends or ascends – it can just soar. Bowering thinks of the poet as having died in Book V\n0095\nBook V was written after Williams had had a series of strokes which had nearly killed him. He had to quit his medical practice as a result. Much of Book V involves memory\n0132\nA key instruction to the reader in Book V is “What but indirection will get to the end of the sphere?”\n0200\nThe unicorn image is introduced in the context of the tapestries in Upper New York\n0242\nThe unicorn was generally treated in medieval art as an apparition of Christ. In Book V, the unicorn is the poet\n0300\nTime cannot be localized to a particular month in the year in Book V as it could in the other Paterson books. Williams is now writing for all time – a coda\n0309\nThe image of the tail (coda) is discussed\n0355\nSappho is discussed\n0410\nThe ‘deformed great toe-nail’ passage is looked at. The passage is a weaving of different images, just like the unicorn tapestry\n0471\nThat form of the poem in Book V is a record of the very search for that form; it does not end\n0509\nBowering returns to the beginning of the Book, and the eagle image\n0561\nBowering does ‘a little number’ on perspective and ends with it\n0643\nLecture ends\nTwo\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553970278401,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5794","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 26 at SFU on November 29, 1973 #685"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 26, Nov. 29, 1973; W. C. Williams: Paterson Book V"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6107/Reading in BC_MsC199_685.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_685A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:25:59\",\"precision\":\"\",\"size\":\"33.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_685B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:42\",\"precision\":\"\",\"size\":\"53.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-11-29\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0009\nBowering continues from last time with his discussion on perspective, moving into Arabic Art. Poor quality sound\n0058\nWatch it! Sound suddenly increases in volume\n0068\nBowering now returns (again) to the start of Book V\n0092\nWhat is being contemplated in Book V is women and flowers\n0125\nBowering discusses virginity as a possession for barter\n0206\nThe letter from Josie is touched upon\n0226\nAudubon is discussed as a type of artist\n0316\nThe letter of Ginsberg is discussed (#1); “Paterson is not a task like Milton going down to hell, it’s a flower to the mind”\n0332\nBowering refers to an earlier work from Williams – “Poetry does not tamper with the world, but moves it…”\n0352\nThe business of Sappho (Part 2) is returned to\n0394\nPaterson is virtually a disembodied sensitivity in Book V\n0430\n“The woman in our town” passage is discussed. Williams speaks out of a sense of beauty\n0450\nBessie Smith is discussed, with further discussion of dance and Satyric Plays\n0560\nPaul Klee, a 20th century artist who does not employ perspective, is mentioned\n0571\nBoshe is also mentioned in the same context of non-perspective art\n0632\nPaterson V is an instruction: “Dreams possess me and the dance of my thoughts…”\n0685\nEnd of lecture\nTwo\nSide Two is blank"],"Note":["[{\"note\":\"Note from J-card: First 5 min. very noisy\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553971326977,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5802","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Janis Joplin singing performance, 1970 #553"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"rights_notes":["Potentially belongs to Columbia Records?"],"creator_names":["Joplin, Janis","McClure, Michael"],"creator_names_search":["Joplin, Janis","McClure, Michael"],"creators":["[{\"url\":\"http://viaf.org/viaf/7574301\",\"name\":\"Joplin, Janis\",\"dates\":\"1943-1970\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/71493269\",\"name\":\"McClure, Michael\",\"dates\":\"1932-2020\",\"notes\":\"she sings Mercedes Benz by Michael McClure\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6121/Reading in BC_MsC199_553.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"553-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:31\",\"precision\":\"\",\"size\":\"41.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"553-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:32\",\"precision\":\"\",\"size\":\"41.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tMove Over\n\t\t081\tCry Baby\n\t\t173\tA Woman Left Lonely\n\t\t261\tHalf Moon\n\t\t364\tBuried Alive in the Blues\nTwo\t\t000\tMy Baby\n\t\t082\tMe and Bobby McGee\n\t\t188\tMercedes Benz (by Michael McClure)\n\t\t232\tTrust Me\n\t\t318\tGet It While You Can"],"Note":["[{\"note\":\"The Full Tilt Boogie Band were the musicians who accompanied her on the Festival Express, a concert tour by train of Canada, in the summer of 1970. Many of the songs on this album were recorded on the concert stage in Canada two months before Joplin and the band started their Los Angeles recording sessions. The band also appeared twice on The Dick Cavett Show. They also played many American cities, both before and after Festival Express, although no recordings of those concerts have been officially released.\\n\\nAll nine tracks that she sings on were personally approved and arranged by Joplin. Pearl features the number one hit \\\"Me and Bobby McGee\\\", on which she played acoustic guitar, written by Kris Kristofferson and Fred Foster; \\\"Trust Me\\\", by Bobby Womack, written for Joplin; Howard Tate's \\\"Get It While You Can\\\", showcasing her vocal range; and the original songs \\\"Move Over\\\" and \\\"Mercedes Benz\\\", the latter co-written by Joplin, Bobby Neuwirth and Michael McClure.\\n\\nJoplin sang on all tracks except \\\"Buried Alive in the Blues\\\", which remained an instrumental because she died before recording vocals. The song's writer Nick Gravenites was offered the opportunity to sing it as a tribute to Joplin, but he turned it down.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553972375552,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5809","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Michael McClure Reading for John Sinclair on January 17, 1970 #556"],"item_title_source":["cassette and j-card"],"item_title_note":["(Beginning of Master Tape has been lost)"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["McClure, Michael","Sinclair, John","Conner, Bruce"],"creator_names_search":["McClure, Michael","Sinclair, John","Conner, Bruce"],"creators":["[{\"url\":\"http://viaf.org/viaf/4030582\",\"name\":\"McClure, Michael\",\"dates\":\"1950-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/107592825\",\"name\":\"Sinclair, John\",\"dates\":\"1933-2007\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/93779826\",\"name\":\"Conner, Bruce\",\"dates\":\"1933-2008\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6129/Reading in BC_MsC199_556.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"556-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:01\",\"precision\":\"\",\"size\":\"39.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"556-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:15:31\",\"precision\":\"\",\"size\":\"21.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"(Blank Tape)\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-01-17\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t\t10:25\nTwo\t\t\tBlank"],"Note":["[{\"note\":\"Side 1 10:25\\nSide 2 blank\\n(Beginning of Master Tape has been lost)\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553973424132,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5810","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The River or The Authentic Radio Life of Bruce Connor and Snoutburbler, 1970 #557"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["McClure, Michael"],"creator_names_search":["McClure, Michael"],"creators":["[{\"url\":\"http://viaf.org/viaf/4030582\",\"name\":\"McClure, Michael\",\"dates\":\"1950-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6130/Reading in BC_MsC199_557.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"557-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:15:52\",\"precision\":\"\",\"size\":\"15.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"557-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:40\",\"precision\":\"\",\"size\":\"28.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"(Blank Tape)\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Note":["[{\"note\":\"Boy...... Master Goldman And the ghosts of Brace Breemer, Jay Silverheels, William Throckmorton, Don Wilson, Lance Reemer, Jock McLaughlin, Fanny Tarcy, Ludwig Krautz, Doopie Freed, Lilly Tracewski, Kenniston Frontwell, Collie Martz, Joe Mellow, and a thousand others\\nSide 1 11:00\\nSide 2 blank\\n(Beginning of Master Tape has been lost)\",\"type\":\"General\"},{\"note\":\"There is a woman who's reading poetry on the second side, but she's unknown. The quality of the second side is quite poor. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553974472704,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5812","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Gunslinger Part 1: Ed Dorn reading from Books I and II and The Cycle in Munich on February 20, 1975 Tape 1 of 3 #559a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright by Edward Dorn, 1975, and S Press Tonbandverlag, Dusseldorf/Munchen, West Germany, 1975. 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They cause culture. Honk…”\n070\n“Howard? I asked…”\n091\n“Well boy, that was singular...”\n112\n“Because he was sayin some of the abstractest…”\n123\n“The Gunslinger sang…”\n144\n“No, my horse is not a Texan…”\n170\n“Thus we sat and still I knew not the principle of which he spoke”\n194\n“and the Bombed Horse took off his Stetson…”\n217\n“and he looped toward the juke then…”\n243\n“Into the cord of that question…”\n269\n“…changed its mind, muttering something about having been up too late last night…”\n295\n“your attempt is close but let me warn about having been up too late last night…”\n322\n“by that name leave, or come…”\n349\n“Well what do yu do I persisted”\n377\n“…into each chamber goes one bit of my repertoire…”\n400\n“the Song about a woman”\n443\nGunslinger, Book II :”This tapestry moves…”\n484\n“Have you noticed how everboring the following day is…”\n523\n“I see we are yet some distance outside Universe City…”\n563\n“And oh in the cool lateral morning even in the cool wide burn…”\n602\n“My fathers seed burst away…”\n637\n“That aint grammatical, Poet”\n681\n“Imagine that, Lil said patting I’s stiff knee”\n727\n“What subtle richness he whispered…”\n774\n“But I see none of my friends grazing there…”\n826\n“There was the faintest semblance of a smile on I’s posthumous mouth.”"],"Note":["[{\"note\":\"Dorn's high-spirited, crazy-quilt, complex anti-epic is a masterful critique of late twentieth-century capitalism and is one of the great comic poems of American literature. Dorn is one of the few political poets in America; this fantasy about a demigod cowboy, a saloon madam, and a talking horse named Claude Levi-Strauss, who travel the Southwest in search of Howard Hughes, has become a minor classic.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553974472706,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5813","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Gunslinger Part 1: Ed Dorn reading from Books I and II and The Cycle in Munich on February 20, 1975 Tape 2 of 3 #559b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright by Edward Dorn, 1975, and S Press Tonbandverlag, Dusseldorf/Munchen, West Germany, 1975. 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Theres the marquee/LITERATE PROJECTOR”\n171\n“I didn’t know you had a drawl, Slinger…”\n192\n“The Tensile Strength of Last Winter’s Icicles”\n217\n“PROCLAMATION RE: the Cycle of Robart’s Wallet”\n235\nThe Cycle: “The Slinger speaks…”\n246\n1\n262\n5\n277\n10\n290\n15\n302\n20\n313\n25\n326\n30\n341\n35\n370\n45\n385\n50\n398\nThe Cycle: “The Interior Decorator Runs the Scenario of the Winged Car”: 1\n420\n5\n433\n10\n448\n15\n459\n20\n462\nThe Cycle: “The I.D. Runs the Actual Furnishings” :1\n479\n5\n493\n10\n510\n15\n531\n20\n545\n25\n558\n30\n572\n35\n589\n40\n601\n45\n616\n“O Poet! The sun like a sword…”"],"Note":["[{\"note\":\"Dorn's high-spirited, crazy-quilt, complex anti-epic is a masterful critique of late twentieth-century capitalism and is one of the great comic poems of American literature. Dorn is one of the few political poets in America; this fantasy about a demigod cowboy, a saloon madam, and a talking horse named Claude Levi-Strauss, who travel the Southwest in search of Howard Hughes, has become a minor classic.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553974472707,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5814","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. 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All Rights Reserved"],"creator_names":["Dorn, Edward","Köhler, Michael"],"creator_names_search":["Dorn, Edward","Köhler, Michael"],"creators":["[{\"url\":\"http://viaf.org/viaf/25166087\",\"name\":\"Dorn, Edward\",\"dates\":\"1929-1999\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Author\"]},{\"url\":\"http://viaf.org/viaf/114331797\",\"name\":\"Köhler, Michael\",\"dates\":\"1946-2005 \",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6134/Reading in BC_MsC199_559c2.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"559 c2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:20:53\",\"precision\":\"\",\"size\":\"20.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"559 c2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:39\",\"precision\":\"\",\"size\":\"70.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-02-20\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/62428\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Munich, Bavaria, Germany\",\"latitude\":\"48.1652\",\"longitude\":\"11.5453\"}]"],"Address":["Munich, Bavaria, Germany"],"content_notes":["SFU BC Readings formatting"],"contents":["“The Poet took away from his embroidered lapel the Rose of High Noon…”\n022\n“The Tautology walked from the stage step to the hitching post…”\n048\n“Into the dead center of this ellipsis the Slinger shot a complex gesture…”\n076\n“Hang light, Cool, the earth moves beneath yur feet…”\n099\n“And that’s gone north for the Winter the Horse reckoned…”\n126\n“That’s the trouble with a name like mine…”\n146\n“See! Theres the marquee/LITERATE PROJECTOR”\n171\n“I didn’t know you had a drawl, Slinger…”\n192\n“The Tensile Strength of Last Winter’s Icicles”\n217\n“PROCLAMATION RE: the Cycle of Robart’s Wallet”\n235\nThe Cycle: “The Slinger speaks…”\n246\n1\n262\n5\n277\n10\n290\n15\n302\n20\n313\n25\n326\n30\n341\n35\n370\n45\n385\n50\n398\nThe Cycle: “The Interior Decorator Runs the Scenario of the Winged Car”: 1\n420\n5\n433\n10\n448\n15\n459\n20\n462\nThe Cycle: “The I.D. Runs the Actual Furnishings” :1\n479\n5\n493\n10\n510\n15\n531\n20\n545\n25\n558\n30\n572\n35\n589\n40\n601\n45\n616\n“O Poet! The sun like a sword…”"],"Note":["[{\"note\":\"Dorn's high-spirited, crazy-quilt, complex anti-epic is a masterful critique of late twentieth-century capitalism and is one of the great comic poems of American literature. 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Date\",\"source\":\"J-card\"},{\"date\":\"1976-11-09\",\"type\":\"Performance Date\",\"notes\":\"Jackie Curtis recording Date\",\"source\":\"J-card\"},{\"date\":\"1975-01-1\",\"type\":\"Performance Date\",\"notes\":\"Patti Smith recording Date\",\"source\":\"J-card\"},{\"date\":\"1977-04-29\",\"type\":\"Performance Date\",\"notes\":\"Philip Glass recording Date\",\"source\":\"J-card\"},{\"date\":\"1978-06-09\",\"type\":\"Performance Date\",\"notes\":\"John Giorno recording Date\",\"source\":\"J-card\"},{\"date\":\"1978-02\",\"type\":\"Performance Date\",\"notes\":\"Laurie Anderson recording Date\",\"source\":\"J-card\"},{\"date\":\"1975-01-01\",\"type\":\"Performance Date\",\"notes\":\"Robert Wilson and Christopher Knowles recording Date\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/13886722\",\"venue\":\"St. Marks Church\",\"notes\":\"Recording Location of:\\nPatti Smith, \\\"The Histories of the Universe\\\"\\nRobert Wilson & Christopher Knowles, \\\"A Letter to Queen Victoria: The Sundance Kid is Beautiful\\\"\\nMichael Lally, \\\"All of the Above\\\"\\nRobert Lowell: \\\"Ulysses and Circe\\\"\",\"address\":\"West Main Street, Port Leyden, Lewis County, New York, 13433, United States\",\"latitude\":\"-33.87471\",\"longitude\":\"151.23647\"},{\"url\":\"https://www.openstreetmap.org/node/6355195660\",\"venue\":\"Big Apple Studios\",\"notes\":\"\",\"address\":\"229 W 28th St, New York, NY 10001, United States\",\"latitude\":\"40.74803\",\"longitude\":\"-73.99479\"},{\"url\":\"https://www.openstreetmap.org/node/8395318496\",\"venue\":\"ZBS Media, Fort Edward, New York\",\"notes\":\"\",\"address\":\"174 N River Rd, Fort Edward, NY 12828, USA\",\"latitude\":\"43.17589\",\"longitude\":\"-73.58278\"},{\"url\":\"https://www.openstreetmap.org/relation/112143\",\"venue\":\"\",\"notes\":\"\",\"address\":\"San Jose, California, USA\",\"latitude\":\"37.3407\",\"longitude\":\"-121.8933\"}]"],"Address":["West Main Street, Port Leyden, Lewis County, New York, 13433, United States","229 W 28th St, New York, NY 10001, United States","174 N River Rd, Fort Edward, NY 12828, USA","San Jose, California, USA"],"Venue":["St. Marks Church","Big Apple Studios","ZBS Media, Fort Edward, New York"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tPatti Smith “The Histories of the Universe”\n\t\t081\tPhilip Glass “A Secret Solo”\n\t\t107\tJohn Giorno “Grasping at Emptiness”\n\t\t220\tLaurie Anderson “Three Expediences”\n\t\t257\tRobert Wilson & Christopher Knowles excerpt from A Letter to Queen Victoria: The Sundance Kid is Beautiful\n\t\t362\tMeredith Monk”Biography” from “Education of the Girlchild, 1972”\n\t\t478\tMichael Lally excerpt from All of the Above\n\t\t577\tRobert Lowell excerpt from Ulysses & Circe\n\t\t756\tLarry Wendt “How to Cook a Duck”\n\t\t863\tJackie Curtis “Have yourself a Merry Little Christmas”"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553974472709,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5817","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Donald Davie Reading at Stanford, 1974 #561"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright 1974 by the Stanford Program for Recordings in Sound"],"creator_names":["Davie, Donald"],"creator_names_search":["Davie, Donald"],"creators":["[{\"url\":\"http://viaf.org/viaf/108291746\",\"name\":\"Davie, Donald\",\"dates\":\"1922-1995\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6137/Reading in BC_MsC199_561.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"561-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:28\",\"precision\":\"\",\"size\":\"37.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"561-side-2 - blank.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:33\",\"precision\":\"\",\"size\":\"31.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/29268613\",\"venue\":\"Stanford University\",\"notes\":\"\",\"address\":\"Stanford University, 408, Panama Mall, Stanford, Santa Clara County, California, 94305, United States\",\"latitude\":\"37.4310\",\"longitude\":\"-122.1699\"}]"],"Address":["Stanford University, 408, Panama Mall, Stanford, Santa Clara County, California, 94305, United States"],"Venue":["Stanford University"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n000\n“To Certain English Poets”\n014\n“Zip”\n023\n“Heart Beats”\n032\n“Demi-Exile Howth”\n045\n“Creon’s Mouse”\n064\n“Woodpigeons at Raheny”\n081\n“Remembering the Thirties”\n115\n“The Wind at Penistone”\n147\n“Time Passing, Beloved”\n160\n“The Mushroom Gatherers”\n175\n“To a Brother in the Mystery”\n225\n“Killala”\n255\n“Metals”\n270\n“A Meeting of Cultures”\n293\n“The Life of Service”\n314\nFrom The Forests of Lethuania\n595\n“Rodez”\n629\n“The North Sea”\n656\n“July, 1964”\n682\n“Out of East Anglia”\n694\n“Ezra Pound in Pisa”\n717\n“A Winter Landscape near Ely”\n732\n“Iowa”"],"Note":["[{\"note\":\"\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553975521281,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5819","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["John Giorno's reading and performance of \"Everyone is a Complete Disappointment\" at ZBS Media on May 1, 1977 and \"Drinking the Blood of Every Woman's Period\" at Town Hall on November 9, 1976 and at ZBS Media on January 17, 1977 #563a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Giorno, John"],"creator_names_search":["Giorno, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/84168002\",\"name\":\"Giorno, John\",\"dates\":\"1936-2019\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6139/Reading in BC_MsC199_563a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"563a-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:44:30\",\"precision\":\"\",\"size\":\"43.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"563a-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:29\",\"precision\":\"\",\"size\":\"29.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-05-01\",\"type\":\"Performance Date\",\"notes\":\"John Giorno's reading and performance of \\\"Everyone is a Complete Disappointment\\\" at ZBS Media\",\"source\":\"J-card\"},{\"date\":\"1976-11-09\",\"type\":\"Performance Date\",\"notes\":\"John Giorno's reading and performance of \\\"Drinking the Blood of Every Woman's Period\\\" at Town Hall \",\"source\":\"J-card\"},{\"date\":\"1977-01-17\",\"type\":\"Performance Date\",\"notes\":\"John Giorno's reading and performance of \\\"Drinking the Blood of Every Woman's Period\\\" at ZBS Media\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/8395318496#map=19/43.17588/-73.58276&layers=N\",\"venue\":\"ZBS Media, Fort Edward, New York\",\"notes\":\"\",\"address\":\"174 N River Rd, Fort Edward, NY 12828, USA\",\"latitude\":\"43.17589\",\"longitude\":\"-73.58277\"},{\"url\":\"https://www.openstreetmap.org/node/2717543654\",\"venue\":\"The Town Hall \",\"notes\":\"\",\"address\":\"123 W 43rd St, New York, NY 10036, USA\",\"latitude\":\"40.75603\",\"longitude\":\"-73.98457\"}]"],"Address":["174 N River Rd, Fort Edward, NY 12828, USA","123 W 43rd St, New York, NY 10036, USA"],"Venue":["ZBS Media, Fort Edward, New York","The Town Hall "],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tJohn Giorno: “Everyone Is a Complete Disappointment”\n\t\t\tMay 1, 1977 at ZBS Media\n\t\t294\t“Drinking the Blood of Every Woman’s Period” Nov. 9, 1976 at Town Hall, New York and Jan. 17, 1977 at ZBS Media\n"],"Note":["[{\"note\":\"I put the audio quality excellent assuming that the reading is recorded this way intentionally\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553976569857,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5820","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Anne Waldman reading at different locations and dates #563b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Waldman, Anne"],"creator_names_search":["Waldman, Anne"],"creators":["[{\"url\":\"http://viaf.org/viaf/84079610\",\"name\":\"Waldman, Anne\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6141/Reading in BC_MsC199_563b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"563b-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:43\",\"precision\":\"\",\"size\":\"42.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"563b-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:17:46\",\"precision\":\"\",\"size\":\"97.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-11-09\",\"type\":\"Performance Date\",\"notes\":\"Performance at the New York Town Hall\",\"source\":\"J-card\"},{\"date\":\"1974-07-30\",\"type\":\"Performance Date\",\"notes\":\"Performance at the Naropa Institute, Boulder, Colorado\",\"source\":\"J-card\"},{\"date\":\"1974-11-19\",\"type\":\"Performance Date\",\"notes\":\"Recording at University of Wisconsin, Milwaukee\",\"source\":\"J-card\"},{\"date\":\"1975-01-01\",\"type\":\"Performance Date\",\"notes\":\"Performance at St. Mark's Church, New York\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2717543654\",\"venue\":\"The Town Hall\",\"notes\":\"\",\"address\":\"123 W 43rd St, New York, NY 10036, USA\",\"latitude\":\"40.75603\",\"longitude\":\"-73.98456\"},{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute (University)\",\"notes\":\"\",\"address\":\"Boulder, Colorado, United States of America\",\"latitude\":\"40.01404\",\"longitude\":\"-105.26695\"},{\"url\":\"https://www.openstreetmap.org/relation/721788\",\"venue\":\"University of Wisconsin-Milwaukee\",\"notes\":\"\",\"address\":\"Milwaukee, WI 53211, United States\",\"latitude\":\"43.0779\",\"longitude\":\"-87.8820\"},{\"url\":\"https://www.openstreetmap.org/node/8395318496\",\"venue\":\"ZBS Media, Fort Edward, New York\",\"notes\":\"\",\"address\":\"Fort Edward, Town of Fort Edward, Washington County, New York, United States\",\"latitude\":\"43.17589\",\"longitude\":\"-73.58277\"},{\"url\":\"https://www.openstreetmap.org/node/13886722\",\"venue\":\"St. Marks Church\",\"notes\":\"\",\"address\":\"131 E 10th St, New York, NY 10003, United States\",\"latitude\":\"-33.87472\",\"longitude\":\"151.23640\"}]"],"Address":["123 W 43rd St, New York, NY 10036, USA","Boulder, Colorado, United States of America","Milwaukee, WI 53211, United States","Fort Edward, Town of Fort Edward, Washington County, New York, United States","131 E 10th St, New York, NY 10003, United States"],"Venue":["The Town Hall","Naropa Institute (University)","University of Wisconsin-Milwaukee","ZBS Media, Fort Edward, New York","St. Marks Church"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tAnne Waldman: “For the Voice of Montserrat Caballe”\n\t\t018\t“Error”\n\t\t034\t“Sisters”\n\t\t048\t“Plutonium Poem”\n\t\t063\t“Billy Work Peyote”\n\t\t095\t“Sun the Blonde Out”\n\t\t122\t“Shaman Hisses You Slide Back Into the Night”¹\n\t\t283\t“Fast Speaking Woman” ²\n\t\t410\t“White Eyes”³\n\t\t624\t“Musical Garden”⁴\n\t\t\t¹ This and the preceding Waldman poems recorded at Town Hall, New York, Nov. 9, 1976\n\t\t\t² Naropa Institute, Boulder, Colorado, July 30, 1974\n\t\t\t³ University of Wisconsin, Milwaukee, Nov. 19, 1974\n\t\t\t⁴ St. Mark’s Church, New York, Jan. 1, 1975\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553976569858,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5822","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["John Giorno and friends reading poems in New York City, 1966, 1967, 1968, and 1970 #564c2"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright by John Giorno, New York City, and S Press Tonbandverlag, Dusseldorf/Munchen, West Germany."],"creator_names":["Giorno, John","Gold, Ron","Bang, Joy"],"creator_names_search":["Giorno, John","Gold, Ron","Bang, Joy"],"creators":["[{\"url\":\"http://viaf.org/viaf/84168002\",\"name\":\"Giorno, John\",\"dates\":\"1936-2019\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Gold, Ron \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Bang, Joy \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6143/Reading in BC_MsC199_564c2.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"564c2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:50:05\",\"precision\":\"\",\"size\":\"49.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"564c2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:07\",\"precision\":\"\",\"size\":\"37.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-01\",\"type\":\"Performance Date\",\"notes\":\"“Balling Buddha”, Jan. 19790, read by Ron Gold & John Giorno\",\"source\":\"J-card\"},{\"date\":\"1968-01\",\"type\":\"Performance Date\",\"notes\":\"“Groovey & Linda”, Jan. 1968, read by Joy Bang\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/175905\",\"venue\":\"\",\"notes\":\"\",\"address\":\"New York City, New York, USA\",\"latitude\":\"40.6598\",\"longitude\":\"-73.9174\"}]"],"Address":["New York City, New York, USA"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\n000\n3. “Groovey & Linda”, Jan. 1968, read by Joy Bang\n132\n4. “Balling Buddha”, Jan. 19790, read by Ron Gold & John Giorno"],"Note":["[{\"note\":\"Side 1: 31:40\\nSide 2: 29:55\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553976569860,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5840","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Live in the West: Four Horsemen, February 1974 #582"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Four Horsemen (Musical group)"],"creator_names_search":["Four Horsemen (Musical group)"],"creators":["[{\"url\":\"http://viaf.org/viaf/128949455\",\"name\":\"Four Horsemen (Musical group)\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6161/Reading in BC_MsC199_582.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"582-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:02\",\"precision\":\"\",\"size\":\"31.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"582-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:57\",\"precision\":\"\",\"size\":\"31.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-02\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tMayakovsky\n\t\t031\tAssassin\n\t\t049\tSally Wants to Go\n\t\t061\tOver-Revised\n\t\t080\tHoly Thursday\n\t\t107\tMatthew’s Line\n\t\t137\tSonada\nTwo\t\t000\tMischievous Eve\n\t\t112\tGood bye\n\t\t122\tStagelost\n"],"Note":["[{\"note\":\"Side 1: 25 min\\nSide 2: 25 min\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553981812737,"timestamp":"2026-01-07T14:59:58.384Z","score":1.0},{"id":"5846","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["English Department Colloquium with Robin Blaser, George Bowering, Fred Candelaria, Stanley Cooperman, Lionel Kearns at SFU on July 27th, 1972 tape 1 of 2 #447a"],"item_title_source":["J-card and inventory"],"item_title_note":["Liner notes: see the photo in material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George","Candelaria, Frederick H.","Cooperman, Stanley","Kearns, Lionel","Blaser, Robin"],"creator_names_search":["Bowering, George","Candelaria, Frederick H.","Cooperman, Stanley","Kearns, Lionel","Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935- \",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94938550\",\"name\":\"Candelaria, Frederick H.\",\"dates\":\"1929-2006\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/42882018\",\"name\":\"Cooperman, Stanley\",\"dates\":\"1929-1976\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/30784380\",\"name\":\"Kearns, Lionel \",\"dates\":\"1937-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6168/Reading in BC_MsC199_447a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"447a-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:29\",\"precision\":\"\",\"size\":\"32.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"447a-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:25\",\"precision\":\"\",\"size\":\"33.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972-07-27\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU, AQ 3003\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU, AQ 3003"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tPanel members: Fred Candelaria, Lionel Kearns, Stanley Cooperman, George Bowering, Robin Blaser. Moderator: Evan Alderson\nAlderson introduces the Panel\n\t\t052\tCandelaria speaks of Wittgenstein, language & poetics\n\t\t152\tCandelaria reads the poem “Survivors”\n\t\t158\tLionel Kearns speaks\n\t\t178\tKearns reads poem “Entropy”\n\t\t208\tKearns reads statement on poetry called “Ick”\n\t\t222\tKearns reads poem “Contra Diction”\n\t\t229\tStanley Cooperman speaks about poetry’s relation to reality and the state of language\n\t\t283\tHe says poetry is the creation of things to be remembered\n\t\t305\tReads poem “The Cannibal”\n\t\t333\tGeorge Bowering reads a statement on Composition\n\t\t380\tReads a piece called “The Code”\n\t\t415\tThey argue about the page, chaos and order\n\t\t447\tReads a piece called “Events and Things”\n\t\t472\tReads an autobiographical piece called “It”\n-\tCalls it “prosaics”\n\t\t504\tRobin Blaser speaks. Poetry as a composition of the real\n\t\t544\tHe talks about the beginning of The Moth Poem\n\t\t559\tReads the section where “it” is born, in The Moth Poem\n\t\t668\tStanley Cooperman disagrees that poetry is an ineffable quality. He says it is the perception of the rational\n\t\t795\tCooperman reads his poem “Cannibals” as an example of a poem with an overt polemic\n\t\t972\tEnd of side one"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554170556416,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5847","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["English Department Colloqium with Robin Blaser, George Bowering, Fred Candelaria, Stanley Cooperman, Lionel Kearns at SFU on July 27th, 1972 tape 2 of 2 #447b"],"item_title_source":["J-card and inventory"],"item_title_note":["Liner notes: see the photo in material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George","Candelaria, Frederick H.","Cooperman, Stanley","Kearns, Lionel","Blaser, Robin"],"creator_names_search":["Bowering, George","Candelaria, Frederick H.","Cooperman, Stanley","Kearns, Lionel","Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935- \",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94938550\",\"name\":\"Candelaria, Frederick H.\",\"dates\":\"1929-2006\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/42882018\",\"name\":\"Cooperman, Stanley\",\"dates\":\"1929-1976\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/30784380\",\"name\":\"Kearns, Lionel \",\"dates\":\"1937-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6169/Reading in BC_MsC199_447b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"447b-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:27\",\"precision\":\"\",\"size\":\"31.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"447b-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:35:22\",\"precision\":\"\",\"size\":\"36.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972-07-27\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU, AQ 3003\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU, AQ 3003"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tQuestions from the audience\n\t\t027\tDoes the poet write with a potential reader in mind? – is there a relationship of trust with the audience?\n\t\t052\tBlaser answers that in the public world there is no place for a language made abstract and transparent, and that the role of the poem is to put the particularities of experience in the world, making a dialectic of “binding”. He says as long as the\n\t\t090\tdialectic is experiential the readership can include everyone\n\t\t141\tCooperman says for him the poem is a catalyst with an objective shape\n\t\t208\tBlaser says that every methodology is a record of belief\n\t\t248\tBernard Curtin asks about the social responsibility of the poet in a capitalist system\n\t\t275\tBlaser says that the poet has an absolute social responsibility, but that language extends beyond the social\n\t\t342\tLionel Kearns says he sees poetry as a kind of superior propaganda\n\t\t370\tBowering says perhaps the fault lies in reading the wrong poets, and that the poets responsibility is to avoid exploiting language, and thus, the people who use it\n\t\t445\tCooperman speaks of poetry and social responsibility\n\t\t480\tCandelaria reads the poem “Boundary Bay”\n\t\t494\tKearns reads “Trap”\n\t\t519\tCooperman reads “Flyleaf”\n\t\t534\tBowering reads “The Body” from Autobiology\n\t\t565\tBlaser reads the last of The Moth Poems\n\t\t602\tTape ends"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554171604992,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5849","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Selected Readings of George Open, 1979 #590"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright 1982, The Watershed Foundation, All rights reserved. Unauthorized duplication is prohibited"],"creator_names":["Oppen, George"],"creator_names_search":["Oppen, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/98097764\",\"name\":\"Oppen, George\",\"dates\":\"1908-1984\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6175/Reading in BC_MsC199_590.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"590-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:22:09\",\"precision\":\"\",\"size\":\"21.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"590-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:22:07\",\"precision\":\"\",\"size\":\"22.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nA\t\t000\t“silver as the new design of the horizon…”\n\t\t015\t“oh whither seas of the doorsteps…”\n\t\t025\t“oh ships are preserved…”\n\t\t037\t“Climbing the peak…”\n\t\t049\t“The darkness of trees guards this life…”\n\t\t061\t“Exodus”\n\t\t070\t“Latitude, longitude”\n\t\t078\t“What do you want…”\n\t\t094\t“Political poem”\n\t\t106\t“Disasters”\n\t\t130\t“The Poem”\n\t\t145\t“To make much of the world”\n\t\t154\t“To the shining of rails in the night…”\n\t\t160\t“waken who knows…”\n\t\t168\t“If it all went up in smoke…”\n\t\t177\t“The tongues of appearance…”\n\t\t187\t“populist”\n\t\t217\t“Golden oak leaves”\n\t\t233\t“The natural”\n\t\t241\t“Strange are the products”\n\t\t259\t“Neighbours”\n\t\t287\t“Til other voices wake us”\nTwo\t\t000\tOf Being Numerous\n\t\t\t1.\t“There are things”\n\t\t010\t2.\t“So spoke of the existence of things”\n\t\t015\t3.\t“The emotions of engaged”\n\t\t019\t4.\t“For the people of that flow”\n\t\t023\t5.\t“The great stone”\n\t\t026\t6.\t“We are pressed, pressed on each other”\n\t\t030\t7.\t“Obsessed, bewildered…”\n\t\t032\t8.\t“Amor Fati”\n\t\t036\t9.\t“Whether, as the intensity of seeing increases…”\n\t\t043\t10.\t“Or, in that light, Newarts!”\n\t\t051\t11.\t“it is that light…”\n\t\t064\t12.\t“In these explanations…”\n\t\t073\t13.\t“unable to begin”\n\t\t082\t14.\t“I cannot even now…”\n\t\t090\t15.\t“Chorus (androgynous) :’Find me”\n\t\t093\t16.\t“…he who will not work shall not eat”\n\t\t100\t17.\t“The roots of words…”\n\t\t105\t18.\t“It is the air of atrocity”\n\t\t107\t19.\t“Now in the helicopters the casual will…”\n\t\t111\t20.\t“They await…”\n\t\t122\t21.\t“There can be a brick”\n\t\t125\t22.\t“Clarity…”\n\t\t130\t“Historic Pun”\n\t\t146\t“Ballad”\n\t\t165\t“From a phrase of Simone Weil’s and some words of Hegel’s “From Seascape : Needle’s eye\n\t\t181\t“The Occurences”\n\t\t197\t“Animula”\n\t\t214\t“West”\n\t\t241\t“Song, The Winds of Downhill”\n\t\t249\t“A Morality Play : Preface”\n\t\t277\t“The Translucent Mechanics”\n"],"Note":["[{\"note\":\"Liner notes: see photo\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670554171604994,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5852","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Basil Bunting reading from Brigg Flatts at UBC, 1972 #594"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bunting, Basil"],"creator_names_search":["Bunting, Basil"],"creators":["[{\"url\":\"http://viaf.org/viaf/4949021\",\"name\":\"Bunting, Basil\",\"dates\":\"1900-1985\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Author\"]}]"],"contributors":["[]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6178/Reading in BC_MsC199_594.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"594-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:08\",\"precision\":\"\",\"size\":\"54.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"594-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:05\",\"precision\":\"\",\"size\":\"54.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1424987\",\"venue\":\"University of British Columbia\",\"notes\":\"\",\"address\":\"6398 University Blvd, Vancouver, BC V6T 1Z4\",\"latitude\":\"49.2590\",\"longitude\":\"-123.2464\"}]"],"Address":["6398 University Blvd, Vancouver, BC V6T 1Z4"],"Venue":["University of British Columbia"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tIntroduction of Bunting\n\t\t030\tBunting explains some of the vocabulary of the poem\n\t\t098\t“Brag, sweet tenor bull…”\n\t\t215\t“Poet appointed dare not decline…”\n\t\t412\t“Down into dust and reeds…”\n\t\t510\tSide one ends at “in air/too thin to bear up a gnat”\nTwo\t\t000\t“scrutinizing holds while day lasted”\n\t\t042\t“Grass caught in willow...”\n\t\t182\t“Drip – icicle’s gone”\n\t\t296\tEnd of Briggflatts\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554172653568,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5853","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Basil Bunting Reading From Brigg Flatts at UBC, 1972 #595"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Record by Bloodaxe Books"],"creator_names":["Johnson, Robert","Bunting, Basil"],"creator_names_search":["Johnson, Robert","Bunting, Basil"],"creators":["[{\"url\":\"\",\"name\":\"Johnson, Robert \",\"dates\":\"\",\"notes\":\"Basil Bunting's reading was video-recorded at Aidanvision Studios, Carlisle, on 15 April 1977 by Robert Johnson\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/4949021\",\"name\":\"Bunting, Basil\",\"dates\":\"1900-1985\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Author\"]}]"],"contributors":["[]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6179/Reading in BC_MsC199_595.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"595-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:39\",\"precision\":\"\",\"size\":\"44.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"595-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:33\",\"precision\":\"\",\"size\":\"45.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"Introductory Remarks\",\"source\":\"J-card\"},{\"date\":\"1977-04-15\",\"type\":\"Performance Date\",\"notes\":\"Poem Recorded at Aidanvision Studios, Carlisle\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Aidanvision Studios\",\"notes\":\"Basil Bunting's reading was video-recorded at Aidanvision Studios, Carlisle, on 15 April 1977\",\"address\":\"Carlisle, Cumberland County, Pennsylvania, 17013, United States\",\"latitude\":\"\",\"longitude\":\"\"},{\"url\":\"https://www.openstreetmap.org/relation/1424987\",\"venue\":\"University of British Columbia\",\"notes\":\"Introductory Remarks\",\"address\":\"6398 University Blvd, Vancouver, BC V6T 1Z4\",\"latitude\":\"49.2590\",\"longitude\":\"-123.2464\"}]"],"Address":["Carlisle, Cumberland County, Pennsylvania, 17013, United States","6398 University Blvd, Vancouver, BC V6T 1Z4"],"Venue":["Aidanvision Studios","University of British Columbia"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tBasil Bunting is introduced\n\t\t046\tBunting gives the North American equivalent of some uniquely British terms; relates some historical and geographical details about Brigg Flatts\n\t\t119\tMusical interlude\n\t\t161\t“Brag, sweet tenor bull…”\n\t\t332\t“Poet appointed dare not decline…”\n\t\t567\tSide one ends\nTwo\t\t000\t“Down into the dust and reeds...”\n\t\t118\t“Grass caught in willow”\n\t\t257\t“Drip – icicle’s gone…”\n\t\t398\t“A strong song tows…”\n\t\t460\tSide two ends\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554172653569,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5854","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Beauty and the Beast: Anne Waldman and Allen Ginsberg at Naropa Institute in poetry recording of August, 1975 #596"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright 1976, Allen Ginsberg and Anne Waldman. Unauthorized Distribution prohibited\n\nCopyright 1976, Naropa Institute. Unauthorized Distribution prohibited\n"],"creator_names":["Ginsberg, Allen","Waldman, Anne"],"creator_names_search":["Ginsberg, Allen","Waldman, Anne"],"creators":["[{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Author\"]},{\"url\":\"http://viaf.org/viaf/84079610\",\"name\":\"Waldman, Anne\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6180/Reading in BC_MsC199_596.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"596-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:27\",\"precision\":\"\",\"size\":\"43.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"596-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:30\",\"precision\":\"\",\"size\":\"45.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-08\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"\",\"address\":\"1345 Spruce Street, Boulder, Colorado, United States of America\",\"latitude\":\"40.01404\",\"longitude\":\"-105.26694\"}]"],"Address":["1345 Spruce Street, Boulder, Colorado, United States of America"],"Venue":["Naropa Institute"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tIntroduction\n\t\t048\tAnne Waldman : “Rocky Plutonium Fantasy”\n\t\t065\t“Notes from Rolling Stones”\n\t\t088\t“Sun the Blond Out”\n\t\t107\t“Carressed you curiously…”\n\t\t135\t“Fast Speaking Woman”\n\t\t325\tEnd of side one\nTwo\t\t042\tAllen Ginsberg “Howl I”\n\t\t240\t“Howl II”\n\t\t303\t“Howl III”\n\t\t349\t“Footnote to Howl”\n\t\t404\tTape ends\n"],"Note":["[{\"note\":\"side two starts at 4:34\",\"type\":\"\"},{\"note\":\"Tapes #596 and #811 are the same\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554172653570,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5857","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Heritage Writers' Festival. George Bowering, John Mills, and Audrey Thomas discuss Problems of the B.C. Writer moderated by Bruce Nesbitt at SFU on June 13th, 1978 Tape 1 of 2 #448 - tape 1"],"item_title_source":["cassette and j-card"],"item_title_note":["Liner notes: see the photo in material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George","Mills, John","Thomas, Audrey","Nesbitt, Bruce"],"creator_names_search":["Bowering, George","Mills, John","Thomas, Audrey","Nesbitt, Bruce"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935- \",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/107592894\",\"name\":\"Mills, John\",\"dates\":\"1930-2016\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/27082708\",\"name\":\"Thomas, Audrey\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/40907542\",\"name\":\"Nesbitt, Bruce\",\"dates\":\"1941-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6192/Reading in BC_MsC199_448-tape1.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card \"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"448-tape-1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:33\",\"precision\":\"\",\"size\":\"40.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"448-tape-1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:16\",\"precision\":\"\",\"size\":\"45.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-06-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178 \"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tProf. Bruce Nesbitt introduces the panel\n\t\t\tHe gives a history of the problem of Canadian writing\n\t\t072\tJohn Mills begins by saying he has not experienced problems as a writer here. The first problem he thinks of, is that a BC writer is seldom reviewed here. It is hard to get a reputation locally\n\t\t191\tAudrey Thomas agrees with Mills – writers here are poorly reviewed\n\t\t284\tGeorge Bowering – says he writes much better here but makes very little money doing it\n\t\t444\tThomas says writers here are loyal to one another\n\t\t467\tMills talks about the falsity of “Canadian identity” and says that he thinks most writers are deracinated\n\t\t578\tBowering says he has always been bothered by “coast chauvinism”. His landscape is neither green nor watery\n\t\t702\tMills says if you get published by an eastern publisher, you will get reviewed. If you only get published in the west, you may be a loser\n\t\t787\tThomas talks about being labelled “a woman writer”\n\t\t814\tMills says the basic Canadian short story is boy-goes-out-shoots-coon-feels-guilt\n\t\t855\tRoy Miki comments that they all approach B.C. as a negativity, and that there has been no discussion of a political affiliation with a place\n\t\t914\tThomas responds that if you write sincerely about the human condition, that constitutes a political act"],"Note":["[{\"note\":\"Tape 2 is missing\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670554173702145,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5863","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Victor Coleman reading his poems at SFU on October 14, 1975 tape 1 of 2 #450 - tape 1"],"item_title_source":["cassette and j-card"],"item_title_note":["Liner notes: see the photo in material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George","Coleman, Victor"],"creator_names_search":["Bowering, George","Coleman, Victor"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935- \",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/38160442\",\"name\":\"Coleman, Victor\",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6225/Reading in BC_MsC199_450-tape1.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"450-tape-1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:05\",\"precision\":\"\",\"size\":\"31 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"450-tape-1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:33:12\",\"precision\":\"\",\"size\":\"32.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-09-14\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t07\tIntroduction to Victor Coleman by George Bowering\n\t\t14\tVictor synonymous with recent explosion in Canadian poetry\n\t\t27\tVictor Coleman begins – he will read a general survey of past poems\n\t\t33\t“The Twentyfour Hour Poem”\n\t\t57\t“Buff Hello” (for Bill Hutton)\n\t\t87\t“Separations”\n\t\t115\t“For Eric Satee, Charles Azravour, & John Wieners: Poem in Scorpio” (for Ellen Faylen)\n\t\t148\t“The Moonlit Road’s ditch…”\n\t\t162\tColeman’s period of collaborative works – “History is now”\n\t\t169\t“Flying”\n\t\t193\t“The History of Poets – Benny Goodman”\n\t\t258\tVictor introduces Hank Bull, the accompanist\n\t\t268\t“Fog Get Me Not” a song from Murder in the Fog\n\t\t317\t“The Nancy & Mary Poems’ from Strangelove\n\t\t366\t“Fone’s Call”\n\t\t410\t“Girls”\n\t\t480\t“Where in me does the woman begin”\n\t\t532\t“Cove’s Fall”\n\t\t574\t“The Blues For Your Birthday”"],"Note":["[{\"note\":\"Tape 2 is missing\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670554174750723,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5865","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Gerry Gilbert Reading at SFU on November 23, 1976 part 1 of 2 #452a"],"item_title_source":["cassette and j-card"],"item_title_note":["Liner notes: see the photo in material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Gilbert, Gerry","Bowering, George"],"creator_names_search":["Gilbert, Gerry","Bowering, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/13554305\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Presenter\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6227/Reading in BC_MsC199_452a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"452-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:06:46\",\"precision\":\"\",\"size\":\"67.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"452-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:49\",\"precision\":\"\",\"size\":\"30.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-11-23\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tGeorge Bowering introduces Gerry Gilbert\n\t\t015\tGilbert talks about meeting Birney at UBC in the late 50’s.\n\t\t\tBirney suggested the Iowa writer’s workshop, then told him about “Tish”\n\t\t039\tIn the late 60’s the idea was “collage or perish” Now it is “straight writing”\n\t\t045\tReads “Starshit”\n\t\t051\t“Right here”\n\t\t060\t“Mass”\n\t\t070\t“and how”\n\t\t076\t“I’m going there now”\n\t\t084\tReads sequence from From Next Spring\n\t\t\t“Thanksgiving, 1976”\n\t\t096\t“The silence is more than we can hear”\n\t\t114\t“each other”\n\t\t130\t“your sure lightness”\n\t\t139\t“Canada isn’t an invention”\n\t\t152\t“That’s my old cup”\n\t\t190\t“Where were you Monday afternoon”\n\t\t230\tReads the Captions for 15 photographs of a tacky blues singer running From Burnaby Art Gallery to Vancouver City Hall\n\t\t276\tReads From a sequence called Due East, numbers 11 to 16\n\t\t331\tReads from his First book, White Lunch, from 1964\n\t\t\t-\tA version consisting of the cut-up then reconstructed \n\t\t\t-\tOriginal text\n\t\t525\tSections from From Next Spring\n\t\t527\t“You know the end of July”\n\t\t560\t“This place used to be called Eng’s”\n\t\t593\t“Prior to Union”\n\t\t691\t“Hero Duty”\n\t\t753\t“Giddy”\n\t\t778\t“A Dream”\n\t\t800\tTape ends"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554174750725,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5868","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 27 at SFU on December 3, 1973 #686"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 27 Dec. 3, 1973; W. C. Williams: Paterson Book V concl."],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6232/Reading in BC_MsC199_686.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_686 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:16\",\"precision\":\"\",\"size\":\"35.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_686 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:16\",\"precision\":\"\",\"size\":\"36.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-12-03\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting\n"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0033\nWe ‘zoom’ into Section 3 of Book V, with the Brueghel painting, which is discussed in great detail\n0130\nThe particularity of Brueghel’s work is compared to the local work that Williams picks up on. More discussion of Brueghel follows\n0232\nThe relation between gifts and art is mentioned\n0276\nThe particularity of Brueghel’s Joseph scene is immediately followed and associated with the local work\n0299\nThe letter from Edward is discussed\n0320\nThe connection between art and the imagination as escapes of death is seen in Book V. The tapestries stayed 500 years\n0400\nThe serpent with a tail in its mouth is discussed\n0448\nThe unicorn appears, to Bowering, as an image of art as a record of the imagination, where love is engendered\n0483\nOn the significance of digging in Paterson\n0504\nThe flowers of particularity in relation to the unicorn’s capture is touched upon. The description of every kind of flower hints that by showing the whole of the world, the magical qualities embodied in the unicorn may be appreciated\n0601\nThe last page of Book V is gone through line by line\n0639\nThe significance of ‘in-ter-vention’\n0696\n‘Assume’ is linked to the Hamiltonian ‘appropriate’\n0706\n“The unicorn is not going to leap into your garden if you do not make the effort to be ready for it, if you don’t have a virgin out there to capture it”, notes Bowering\n0735\nBowering was initially bothered by the end lines of Book V, but the tape cuts short before he can explain how he resolved this\n0764\nEnd\nTwo\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670554181042177,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5869","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 28 at SFU on December 4, 1973 #687"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 28 Dec. 4, 1973; Charles Olson: Introduction and Maximus poems"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6233/Reading in BC_MsC199_687.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_687 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:42\",\"precision\":\"\",\"size\":\"38.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_687 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:20\",\"precision\":\"\",\"size\":\"35.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-12-04\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0036\nBowering gives a definition of Olson’s Maximus – Maximus is not a persona for Charles Olson; it is a metaphor\n0060\nOlson bases Maximus at Gloucester, Massachusetts\n0083\nBowering quotes from Letter 3 (3), and notes that one of the first questions one must ask upon reading poetry is “Who am I?”\n0117\nBowering discusses the geography of Gloucester as a small island and seaport\n0152\nOlson’s major themes are:\n1) Man should not exploit nature beyond his necessities\n2) Man should not assume that he be placed above nature, but rather be part of it\n3) Men should live communally and not exploit each other\n4) Men cannot exploit nature or others without exploiting themselves\n0250\nBowering quotes from an 1804 translation of Maximus of Tyre\n0323\nOlson goes through a litany of seamen and fishermen and their enemies through the three or four hundred year history of Maximus itself, reflects Bowering\n0327\nOlson felt that men, or artists, or poets go wrong when they demand more than they need, or more than nature can give. He is totally opposed to money being used to make money\n0383\nOlson’s enemies are greed, pride, and ambition, because they stop the mutual feeding processes in nature and man\n0441\nOlson noted that death begins to enter as soon as one begins to prefer society over the cosmos\n0458\nBowring quotes again from Maximus of Tyre\n0483\nBowering discusses the distinction between the source of the line and the source of the syllable\n0628\nOlson sees that the natural process in the world, most clearly seen in the ocean and the trees, is always shifting and always unfolding, and it is in opposition to advertising, the profit motive, exploitive power, the sprawling ego, and so forth, those cancers which seek to grow ever larger and feed themselves upon the death of others\n0652\nOlson said that you have to pay a moment-to-moment close attention to detail in reading his poems-you will not get an artifact at the end of his poem-you must pay attention to keep the poems from using you or to keep you from using the poem\n0682\nBowering notes that the poem’s use is to deliver news of the real, not to encapsulate reality\n0702\nBowering quotes from “Letter 22” of Maximus\n0738\nEnd of Lecture\nTwo\nSide two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670554181042178,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5870","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Bowering English 414 Lecture 29 at SFU on December 6, 1973 #688"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: English 414 Lecture 29 Dec. 6, 1973; Charles Olson: Letters and songs of Maximus"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6234/Reading in BC_MsC199_688.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_688 side 1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:19\",\"precision\":\"\",\"size\":\"34.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Bowering_688 side 2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:38\",\"precision\":\"\",\"size\":\"28.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-12-06\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n0000\n0027\nBowering begins by looking at a passage in Section 2 of Letter 3 of Maximus\n0060\nThe movement in Maximus is: your earth – your community – your language – the sources of your language – the depths of Tartarus\n0090\nThe braid image in Letter 1 is discussed\n0105\nBowering discusses the semantics of the words ‘true’, ‘actual’, and ‘real’\n0145\nDiscussion of Olson’s reluctance to create artifacts\n0190\nOlson’s ideas on history and the poem are discussed. Olson wanted the actual to be evident\n0215\nOn the difficulty of reading Olson\n0283\n“What we have in Gloucester,” notes Bowering, “is a perfect location for…”\n0320\nOlson’s perceptions on the mechanisms of being cut off from your roots forms a topic of discussion\n0375\nLetter 9 in Maximus and the bee image and the immediate\n0445\n‘The Songs of Maximus’ is discussed, and Bowering notes that the poem is at its most powerful when it is heard\n0540\nThe image of dirty postcards is touched upon\n0580\nThe irony of not knowing your own city after being raised in it (so that it should be reflected in your very being) because of the words that are laid on top of it in description\n0643\nThe flat Earth Society\n0710\nThe importance of Herodotus\n0736\nMaximus Letter 2\n0782\nEnd of lecture\nTwo\nSide Two is blank"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670554181042179,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5871","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Terry Southern, William S. Burroughs, John Giorno, and Patti Smith at The Nova Convention, November 30, 1978 to December 2, 1978 Tape 1 of 2 #599"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: \nTERRY SOUTHERN: Vingette of Idealistic Life in South Texas, 1:25 mins.\nWILLIAM S. BURROUGHS: Keynote commentary & Roosevelt After Inauguration, 5:52 mins.\nJOHN GIORNO: Eating The Sky, 13:30 mins.\nPATTI SMITH: Poem for Jim Morrison & Bumblebee, 11:45 mins."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Southern, Terry","Smith, Patti","Giorno, John","Gysin, Brion","Zappa, Frank","Burroughs, William Seward"],"creator_names_search":["Southern, Terry","Smith, Patti","Giorno, John","Gysin, Brion","Zappa, Frank","Burroughs, William Seward"],"creators":["[{\"url\":\"https://viaf.org/viaf/54154501/\",\"name\":\"Southern, Terry\",\"dates\":\"1924-1995\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/84037206\",\"name\":\"Smith, Patti\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/84168002\",\"name\":\"Giorno, John\",\"dates\":\"1936-2019\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/100267599\",\"name\":\"Gysin, Brion\",\"dates\":\"1916-1986\",\"notes\":\"Introduction of William S. Burroughs by Brion Gyson;\\nBrion Gysin Introductory Comments\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/100234697\",\"name\":\"Zappa, Frank\",\"dates\":\"1940-1993\",\"notes\":\"Frank Zappa Reads Burroughs “The Talking Asshole” from Naked Lunch\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/108916275\",\"name\":\"Burroughs, William Seward\",\"dates\":\"1914-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6235/Reading in BC_MsC199_599.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"599-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:16\",\"precision\":\"\",\"size\":\"37.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"599-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:00\",\"precision\":\"\",\"size\":\"39.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-11-30\",\"type\":\"Performance Date\",\"notes\":\"Convention was from Nov. 30, 1978 to Dec. 2, 1978\",\"source\":\"J-card\"},{\"date\":\"1978-12-02\",\"type\":\"Performance Date\",\"notes\":\"Convention was from Nov. 30, 1978 to Dec. 2, 1978\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/247852538\",\"venue\":\"Village East Cinema\",\"notes\":\"Formerly called Entermedia Theatre.\",\"address\":\"181-189 2nd Ave, New York City, New York\",\"latitude\":\"40.7309\",\"longitude\":\"-73.98652\"}]"],"Address":["181-189 2nd Ave, New York City, New York"],"Venue":["Village East Cinema"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t#599\t\tTime: 32:32 mins.\n\t\t000\t\n\t\t004\tTerry Southern “Vignette of Idealistic Life in South Texas”\n\t\t017\tMaster of Ceremonies Comments\n\t\t019\tWilliam S. Burroughs Keynote Commentary [Philosophy of The Nova Convention] \n\t\t036\t“Roosevelt After Inauguration”\n\t\t082\tJohn Giorno “Eating the Sky” [a duet with himself]\n\t\t246\tPatti Smith Comments concerning Keith Richards, The Nova Convention and other related or unrelated subjects\n\t\t329\t“Poem for Jim Morrison”\n\t\t362\t“Bumblebee”\n\t\t530\tSide 1 ends\nTwo\t\t\tTime: 32:42 mins.\n\t\t000\t\n\t\t010\tIntroduction of William S. Burroughs by Brion Gyson\n\t\t037\tWilliam S. Burroughs “Letter from Dr. Benway in Jonestown”\n\t\t049\tPhilip Glass “Building” from Einstein On The Beach\n\t\t084\tBrion Gysin Introductory Comments\n\t\t094\t“Kick that Habit”\n\t\t106\t“Junk is No Good Baby”\n\t\t128\t“Somebody Special”\n\t\t142\t“Blue Baboon Blues”\n\t\t169\tFrank Zappa Reads Burroughs “The Talking Asshole” from Naked Lunch\n\t\t239\tWilliam S. Burroughs “This is Kim Carson” from Place of the Dead Roads\n\t\t268\t“The Collapse of Any Currency”\n\t\t297\t“The Whole Tamale”\n\t\t375\t“The Coming of the Purple Better One”\n\t\t425\t“The Aggressive Southern Ape May block Your Way to Space”\n\t\t524\tSide 2 ends\n\n"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670554182090752,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5872","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["William S. Burroughs, Ed Sanders, John Cage, and Anne Waldman at The Nova Convention, November 30, 1978 to December 2, 1978 Tape 2 of 2 #600\n\n \t"],"item_title_source":["cassette and j-card"],"item_title_note":["On J-card: \nWILLIAM S. BURROUGHS: What The Nova Convention Is About, 2:35 mins.\nED SANDERS: Hymn to Aphrodite from Sappho, 8:50 mins.\nJOHN CAGE: Writing for the Second Time Through Finnegans Wake, 14:15 mins\nANNE WALDMAN: Plutonium Ode & Skin Meat Bones, 6:35 mins."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Waldman, Anne","Cage, John","Heyward, Julia","Anderson, Laurie","Ginsberg, Allen","Orlovsky, Peter","Burroughs, William Seward","Leary, Timothy","Levine, Les","Wilson, Robert Anton","Gysin, Brion","Sanders, Ed"],"creator_names_search":["Waldman, Anne","Cage, John","Heyward, Julia","Anderson, Laurie","Ginsberg, Allen","Orlovsky, Peter","Burroughs, William Seward","Leary, Timothy","Levine, Les","Wilson, Robert Anton","Gysin, Brion","Sanders, Ed"],"creators":["[{\"url\":\"http://viaf.org/viaf/84079610\",\"name\":\"Waldman, Anne\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/71577292\",\"name\":\"Cage, John\",\"dates\":\"1914-1992\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/263217430\",\"name\":\"Heyward, Julia\",\"dates\":\"1949-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/39646022\",\"name\":\"Anderson, Laurie\",\"dates\":\"1947-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/34654554\",\"name\":\"Orlovsky, Peter\",\"dates\":\"1933-2010\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/108916275\",\"name\":\"Burroughs, William Seward\",\"dates\":\"1914-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/114912503\",\"name\":\"Leary, Timothy\",\"dates\":\"1920-1996\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/8199192\",\"name\":\"Levine, Les\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/101747597\",\"name\":\"Wilson, Robert Anton\",\"dates\":\"1932-2007\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/100267599\",\"name\":\"Gysin, Brion\",\"dates\":\"1916-1986\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/22183708\",\"name\":\"Sanders, Ed\",\"dates\":\"1939-\",\"notes\":\"Reading “The Lily” and “The Question Answered” by William Blake and “Hymn to Aphrodite” by Sappho\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6236/Reading in BC_MsC199_600.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"600-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:59\",\"precision\":\"\",\"size\":\"53.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"600-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:53\",\"precision\":\"\",\"size\":\"53.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-11-30\",\"type\":\"Performance Date\",\"notes\":\"Convention was from Nov. 30, 1978 to Dec. 2, 1978\",\"source\":\"J-card\"},{\"date\":\"1978-12-02\",\"type\":\"Performance Date\",\"notes\":\"Convention was from Nov. 30, 1978 to Dec. 2, 1978\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/247852538\",\"venue\":\"Village East Cinema\",\"notes\":\"Formerly called Entermedia Theatre.\",\"address\":\"181-189 2nd Ave, New York City, New York\",\"latitude\":\"40.7309\",\"longitude\":\"-73.98652\"}]"],"Address":["181-189 2nd Ave, New York City, New York"],"Venue":["Village East Cinema"],"content_notes":["SFU BC Readings formatting"],"contents":["Three\t#600\t\tTime: 32:35 mins.\n\t\t000\t\n\t\t004\tWelcome To The Nova Convention Agenda [Listing of Speakers]\n\t\t010\tWilliam S. Burroughs “What The Nova Convention is About”\n\t\t033\tEd Sanders Reading “Hymn to Aphrodite” by Sappho\n\t\t064\tReading “The Lily” and “The Question Answered” by William Blake; also “Hymn to Aphrodite” in the original Greek\n\t\t133\tJohn Cage Introductory Comments\n\t\t163\t“Writing for the Second Time Through Finnegans Wake”\n\t\t318\tUnknown Woman “It, It Looks…”\n\t\t342\tAnne Waldman “Plutonium Ode”\n\t\t369\t“Skin, meat, bones”\n\t\t533\tSide 3 ends\nFour\t\t\tTime: 33:00 mins.\n\t\t000\t\n\t\t006\tIntroduction\n\t\t010\tLaurie Anderson and Julia Heyward “Song from America on the Move”\n\t\t148\tAllen Ginsberg “Punk Rock”\n\t\t162\t“Old Pond”\n\t\t220\tPeter Orlovsky “Feeding Them Raspberries To Grow”\n\t\t263\tAllen Ginsberg Concise Introduction \n\t\t267\t“Nurses Song”\n\t\t323\tConversations [Burroughs, Gysin, Dr. Timothy Leary, Les Levine and Robert Anton Wilson] Gist of the conversations is “Space”. Individual members of the group didactically explain their view of “Space”. Much flattery is extended to Burroughs by the rest of the group\n\t\t535\tSide 4 ends"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670554182090753,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"5798","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Bill Bissett Reading at York University, 1973 #549"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bissett, Bill"],"creator_names_search":["Bissett, Bill"],"creators":["[{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6117/Reading in BC_MsC199_549.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"549-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:23\",\"precision\":\"\",\"size\":\"41.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"549-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:26\",\"precision\":\"\",\"size\":\"42.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/11928469\",\"venue\":\"York University\",\"notes\":\"\",\"address\":\"120, Ian Macdonald Boulevard, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M7A 2C5, Canada\",\"latitude\":\"43.77390\",\"longitude\":\"-79.49981\"}]"],"Address":["120, Ian Macdonald Boulevard, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M7A 2C5, Canada"],"Venue":["York University"],"City":["Toronto, Ontario"],"Note":["[{\"note\":\"Side 1 44 min\\nSide 2 37 min\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670554195722244,"timestamp":"2026-01-07T14:59:58.590Z","score":1.0},{"id":"6130","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Maxine Gadd reading in Capilano College on March 26, 1974 (incomplete recording) #129"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Gadd, Maxine"],"creator_names_search":["Gadd, Maxine"],"creators":["[{\"url\":\"http://viaf.org/viaf/75225856\",\"name\":\"Gadd, Maxine\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/680/Reading in BC_McS199_129.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"129-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:33:56\",\"precision\":\"\",\"size\":\"23.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-03-26\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/485438830\",\"venue\":\"Capilano College\",\"notes\":\"\",\"address\":\"2055 Purcell Way, North Vancouver, BC V7J 3H5\",\"latitude\":\"49.3179\",\"longitude\":\"-123.0193\"}]"],"Address":["2055 Purcell Way, North Vancouver, BC V7J 3H5"],"Venue":["Capilano College"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t002\tOpening comments\n\t\t019\t“She is a Bitch…”\n\t\t022\t“Can you Help…”\n\t\t040\t“It Came in a Dream…”\n\t\t063\tComments\n\t\t070\t“In Media Rays…”\n\t\t149\tComments\n\t\t155\t“Pico de la Mirandola”\n\t\t177\tComments\n\t\t185\t“Kitsilano”\n\t\t227\t“The Happy Vision Gone…”\n\t\t285\t“The Evening Star”\n\t\t330\tComments\n\t\t343\t“I’m on My High Horse…”\n\t\t352\tComments\n\t\t370\t“That Poor Damned Sakajowia…”\n\t\t390\tComments\n\t\t395\t“Billy-Joe Royal”\n\t\t438\tEnd of Tape\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554747273218,"timestamp":"2026-01-07T14:59:59.119Z","score":1.0},{"id":"6228","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Tom Marshall reading his poems at SFU on September 30, 1975 tape 2 of 2 #450 - tape 2"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Marshall, Tom"],"creator_names_search":["Marshall, Tom"],"creators":["[{\"url\":\"http://viaf.org/viaf/75682376\",\"name\":\"Marshall, Tom \",\"dates\":\"1921-1993\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7866/Reading in BC_MsC199_450-tape2.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"450-tape-2-side-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T01:08:03\",\"precision\":\"\",\"size\":\"67.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"450-tape-2-side-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:44:58\",\"precision\":\"\",\"size\":\"44.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-09-30\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767 \",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t07\tIntroduction to whole Canadian poetry series at SFU sponsored by English Dept.\n\t\t19\tIntroduction to Tom Marshall\n\t\t38\tTom Marshall begins – description of the format of his books – the associations involved\n\t\t57\tThe elements in elemental poetry\n\t\t68\tExperience as a literary form\n\t\t83\t“Surely there was no more violence…” from Silence of Fire\n\t\t112\t“Interior Monologue - #666”\n\t\t123\t“Winter Angels’ from Magic Water (ded. To Gail Fox)\n\t\t144\t“Spring Angels” from Magic Water\n\t\t159\tDescriptions of new poems from Hot Air\n\t\t163\t“Visiting Trent University”\n\t\t203\t“Definitions of Paradise” (for Ezra Pound)\n\t\t218\t“Country Places”\n\t\t249\t“Out There: Objects Disposed, Fragmenting In Our Own Space” – the introduction – from Hot Air\n\t\t298\tFrom the conclusion of “Out There”\n\t\t323\t“The Earth Book” from The Earth Booi\n\t\t338\t“Crab Tryptich” from The Earth Book\n\t\t362\t“Legend”\n\t\t368\t“Second Legend”\n\t\t377\t“An Elegy for A.M. Klein”\n\t\t390\t“Prothylamium”\n\t\t406\t“Indian Summer”\n\t\t483\tDescription of next poems – from 4 Women section of Hot Air\n\t\t502\t“Susannah Moodie”\n\t\t522\t“Hygia”\n\t\t566\t“The Poet”\n\t\t614\t“The Lamb”"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554847936512,"timestamp":"2026-01-07T14:59:59.214Z","score":1.0},{"id":"6233","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Pat Lane and Allan Safarik reading at SFU on November 18, 1974 tape1 of 2 #454 tape 1"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Lane, Pat","Safarik, Allan"],"creator_names_search":["Lane, Pat","Safarik, Allan"],"creators":["[{\"url\":\"http://viaf.org/viaf/18752295\",\"name\":\"Lane, Pat\",\"dates\":\"1931-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/92512913\",\"name\":\"Safarik, Allan\",\"dates\":\"1948-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7871/Reading in BC_MsC199_454.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"454-tape1_side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:18\",\"precision\":\"\",\"size\":\"28.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"454-tape1_side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:29:42\",\"precision\":\"\",\"size\":\"29.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-11-18\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\" 8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178 \"}]"],"Address":[" 8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t05\t“Loneliness of the Unemployed” – Allan Safarik\n\t\t29\t“Yellow On the Grave Sea”\n\t\t52\t“Blood Pie or Zeal for Revolutionary Zeal”\n\t\t74\t“To the Dynamite Man”\n\t\t99\tLife in a bus and a bus depot\n\t\t104\t“Cache Creek”\n\t\t140\t“Poem of Record for K.P.”\n\t\t149\t“The Art of Diplomacy or A Quick end to a Shit Kicking”\n\t\t178\t“Going up the Stairs”\n\t\t207\tPat Lane begins. Will begin with poems from Passing in the Storm\n\t\t312*\t“Know him for a white man…”\n\t\t226\t“After” (for Pat Lowther & John Newlove)\n\t\t240\t“Sleep is the Silence Darkness Takes” for Pat Lane’s father\n\t\t291\t“There was a woman bending…”\n\t\t278\t“For Rita In Asylum”\n\t\t337\t“The Huster”\n\t\t376\t“Chile”\n\t\t387\t“The Man”\n\t\t397\t“Her”\n\t\t414\t“Farmers”\n\t\t442\t“Unborn Things”\n\t\t468\t“The Carpenter”\n\t\t494\t“George”\n\t\t519\t“From the Hot Hills”\n\t\t561\t“Albino Pheasants”\n\t\t624\t“Thinking On That Contest”\n\t\t627\t“30 Miles in from the coast”\n\t\t647\t“Gerald”\n\t\t681\t“The Bird you Captured is Dead”\n\t\t697\t“Gray John”\n\t\t714\t“The Interior”\n\t\t731\t“Bunkhouse North”\n\t\t757\tRecording ends"],"Note":["[{\"note\":\"P.K. Page also is written to be reading on #454 tape 2 although the digital files are missing \",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554847936513,"timestamp":"2026-01-07T14:59:59.214Z","score":1.0},{"id":"6238","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Patrick Lane reading at Capilano College on February 16, 1979 #460\n\n"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Lane, Patrick"],"creator_names_search":["Lane, Patrick"],"creators":["[{\"url\":\"http://viaf.org/viaf/66513400\",\"name\":\"Lane, Patrick\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7876/Reading in BC_MsC199_460.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"460-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:14:27\",\"precision\":\"\",\"size\":\"72.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"460-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:14\",\"precision\":\"\",\"size\":\"45.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979-02-16\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/485438830\",\"venue\":\"Capilano College\",\"notes\":\"\",\"address\":\"2055 Purcell Way, North Vancouver, BC, Canada\",\"latitude\":\"49.3179\",\"longitude\":\"-123.0194\"}]"],"Address":["2055 Purcell Way, North Vancouver, BC, Canada"],"Venue":["Capilano College"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t06\tPatrick Lane begins – discusses what he calls “this Warren Tallman business”\n\t\t39\tLane – bored to death with constant homage to American writers such as Creeley and Duncan over British Columbian writers\n\t\t76\tLane – American writers’ lack of awareness about Canadian poets\n\t\t99\t“The Witnesses”\n\t\t162\t“For Rita”In Assylum”\n\t\t193\t“The Bird”\n\t\t234\t“The Dog” (a companion poem to “The Bird”)\n\t\t260\tThe macho image and Walt Disney\n\t\t290\t“The Hustler”\n\t\t346\t“Chilie”\n\t\t371\t“Election Day”\n\t\t421\t-\tclimbing through liberal bullshit\n\t\t428\tCensorship by Oxford University Press\n\t\t497\t“If”\n\t\t533\t-\tA poetry reading in Winnipeg\n\t\t552\t-\tHow to be impersonal without passion?\n\t\t567\t“I’m Tired of Your Politics” (to Dorothy Livesay)\n\t\t624\t“Fragments”\n\t\t736\t“You sit…” a poem about the CNR station in Winnipeg \n\t\t799\tEnd of side one\nTwo\t\t08\t“My Lady #1\n\t\t46\t#3\n\t\t65\t#4\n\t\t86\t#5\n\t\t112\tAnnie’s Mum who lives up the coast\n\t\t121\t“Annie”\n\t\t174\t“Hell, Even This”\n\t\t217\t“From The Hot Hills”\n\t\t267\t“A Murder of Crows”\n\t\t313\t“How The Heart Stinks With Its Derotien” ded. To the Brothers Damour & Johnny Gringo\n\t\t338\tPat Lane asks if there are any questions\n\t\t358\tPoetry & Politics\n\t\t363\tThe personal vs high rhetoric – back to Dorothy Livesay"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554850033664,"timestamp":"2026-01-07T14:59:59.214Z","score":1.0},{"id":"6240","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Crow of Odin: Albert Glover reading at Lawrence University on November 10, 1970 #462"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Glover, Albert","Maud, Ralph"],"creator_names_search":["Glover, Albert","Maud, Ralph"],"creators":["[{\"url\":\"http://viaf.org/viaf/65249411\",\"name\":\"Glover, Albert\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/66537561\",\"name\":\"Maud, Ralph\",\"dates\":\"1928-2014\",\"notes\":\"Ralph Maud invites audience to a reading on the following day\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7878/Reading in BC_MsC199_462.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"462-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:15\",\"precision\":\"\",\"size\":\"42.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"462-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:11\",\"precision\":\"\",\"size\":\"42.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-11-10\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/3941264\",\"venue\":\"Lawrence University\",\"notes\":\"\",\"address\":\"711, East Boldt Way, Appleton, Outagamie County, Wisconsin, 54911, United States\",\"latitude\":\"44.2605\",\"longitude\":\"-88.3983\"}]"],"Address":["711, East Boldt Way, Appleton, Outagamie County, Wisconsin, 54911, United States"],"Venue":["Lawrence University"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t04\tRalph Maud invites audience to a reading on the following day\n\t\t14\tMaud introduces Albert Glover – talks about his house on Wall St. which exists in a half-finished state\n\t\t36\tAlbert Glover begins – corrects some things that were stated earlier (in an earlier reading?)\n\t\t65\tCharles Olson’s funeral\n\t\t85\tIntroduces the text he will deal with – from the “Lay of Grimnye” – under a new title “The Crow of Odin”\n\t\t109\tThe Crow as a double\n\t\t160\t“Hugyn” and “Munyn” (thought and memory)\n\t\t141\tGraduate work and Letters of Origin – letters to and from Charles Olson\n\t\t223\tConflicts with state police – America is dead – why kill a dead thing\n\t\t230\tThe FLQ\n\t\t283\tThe need to live in peace\n\t\t286\tThe study of Shamanism\n\t\t298\tAccess to LSD\n\t\t411\tElectric Kool-Aid Acid Test\n\t\t461\tMushrooms, ancestry and memory\n\t\t515\tSiberian Shamanism – a history\n\t\t540\tShamanistic mushrooms\n\t\t610\t“Two men came to a hole in the sky…”\n\t\t633\tTurning back\n\t\t640\tCarlos Castoneda and Shamanism\n\t\t660\t“I am a crow…”\n\t\t727\t“Jack Clark’s Garage Door”\n\t\t792\tMore on crows\n\t\t810\t“The Eastern Crow knows a good thing when he sees it…” from A Trio in G\n\t\t881\t“For a bird in the air…”\n\t\t934\t“Indian Pike, up out of the ground…”\n\t\t958\t“I have put feathers in my hair…”\n\t\t977\tEnd of side one\nTwo\t\t06\t“My home over there…”\n\t\t14\tCrowd noise to 71\n\t\t72\tA conversation about just who Odin is – his crow and Old Norse (many voices muffled and hard to understand)\n\t\t121\tThe story of Odin hanging from a tree – the discovery of the runes\n\t\t136\tThe Promethean situation\n\t\t148\tOdin as Shaman\n\t\t210\tDon Juan & Carlos Custeneda – Does the teacher have to be severe?\n\t\t259\tIdle chatter – tape becomes very muffled\n\t\t\tContinues to end of side two"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554850033666,"timestamp":"2026-01-07T14:59:59.214Z","score":1.0},{"id":"6241","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Sacred Geography Seminar: Prof. Robin Blaser lecture at SFU on September 13, 1976 Tape 1 of 2 #617"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[RB_617]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7879/Reading in BC_MsC199_617.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/rbr-179/rb617a\",\"file_path\":\"\",\"filename\":\"617-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:00\",\"precision\":\"\",\"size\":\"38.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-180/rb617b\",\"file_path\":\"\",\"filename\":\"617-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:48\",\"precision\":\"\",\"size\":\"37.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-09-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t001\tInaudible voices, something about getting a “copy… in West Vancouver.” A man’s voice & a woman’s voice. The discussion seems to revolve around poetics. The tape covers a university seminar on poetics. The predominant man’s voice, whom we assume is the instructor, goes on to warn his student about being too academic & attempting to be too clever in their essays\n\t\t113\tDiscussion on poetic creation, with reference to Charles Olson\n\t\t140\tGroup discussion on students intellectual merits\n\t\t240\tThe group wade into Olson’s “Maximus” poems\n\t\t315\tDiscussion of other seminar texts\n\t\t415\tSide one ends midway through a long-wind sermon on issues the seminar will not address\nTwo\t\t000\t\n\t\t001\tThe same voices, all the more difficult to hear properly. Though I did make out something about Olson\n\t\t017\tQuotations from Marx in reference to poetics, its response to standard bourgeois literature. The instructor calls such a view a “cop-out”. Control, tradition, & eloquence are the standards to be observed\n\t\t090\tA class discussion that, like most of the tape, is basically inaudible\n\t\t130\tSomething about the poetic pitfalls of an addiction to alcohol\n\t\t162\tTape lapses into almost complete inaudibility\n\t\t260\tPound, Eliot & Yeats are mentioned\n\t\t297\tDiscussion on’Yeats’ reputation & his own hand in fostering it. From this point onwards the conversation wanders\n\t\t389\tClass dismissed. Feet shuffle & chairs are moved about\n\t\t419\tSide two ends"],"Note":["[{\"note\":\"Prof. Blaser’s “Sacred Geography” series breaks down into two organizational components, that of semi-formal lectures and that of seminars. The lectures have been indexed and are to be found throughout the Audio Tape Holdings catalogue under their respective accession numbers. The indexing is fairly self-explanatory. The seminars are not indexed for a variety of reasons, however, in conjunction with its respective lecture tape, each seminar is both important and invaluable to an understanding of the “Sacred Geography” series and the intentions of Prof. Blaser.\\n“And knowing”, Confucius says, “brings one to the goal”. Sacred Geography Lecture, October 22, 1976 (#630)\",\"type\":\"\"},{\"note\":\"It seems the whole seminar was happening from Sep 13 to Dec 3 in 1976\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554850033667,"timestamp":"2026-01-07T14:59:59.214Z","score":1.0},{"id":"6242","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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The lectures have been indexed and are to be found throughout the Audio Tape Holdings catalogue under their respective accession numbers. The indexing is fairly self-explanatory. The seminars are not indexed for a variety of reasons, however, in conjunction with its respective lecture tape, each seminar is both important and invaluable to an understanding of the “Sacred Geography” series and the intentions of Prof. Blaser.\\n“And knowing”, Confucius says, “brings one to the goal”. Sacred Geography Lecture, October 22, 1976 (#630)\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555058700289,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6249","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Bill Bissett reading, 1974 #537"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bissett, Bill"],"creator_names_search":["Bissett, Bill"],"creators":["[{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7948/Reading in BC_MsC199_537.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"537-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:20:46\",\"precision\":\"\",\"size\":\"20.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"537-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:41:04\",\"precision\":\"\",\"size\":\"45.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t“The water falls in your mind…”*\n\t\t054\t“A red harvest on the river bank…”*\n\t\t156\tGreen sky open\n\t\t251\t“The green bridge”*\nTwo\t\t000\t“Liftin’ hands…”*\n\t\t073\tMedicine"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555058700292,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6250","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Butterick lecture and reading on Charles Olson \"The Entailment\" at SFU on November 10, 1970 part 1 of 2 #541a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Butterick, George F.","Maud, Ralph Noel"],"creator_names_search":["Butterick, George F.","Maud, Ralph Noel"],"creators":["[{\"url\":\"http://viaf.org/viaf/109397621\",\"name\":\"Butterick, George F.\",\"dates\":\"1942-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/66537561\",\"name\":\"Maud, Ralph Noel\",\"dates\":\"1928-2014\",\"notes\":\"Introduction by Ralph Maud\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7953/Reading in BC_MsC199_541_1.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"541_1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:36\",\"precision\":\"\",\"size\":\"38.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"541_1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:36:55\",\"precision\":\"\",\"size\":\"47.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-11-10\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178 \"},{\"url\":\"https://www.openstreetmap.org/relation/6961857\",\"venue\":\"Wilson College\",\"notes\":\"There are two locations on the J-card, and it's not known what happened at each\",\"address\":\"1015 Philadelphia Ave, Chambersburg, PA 17201, United States\",\"latitude\":\"39.9508\",\"longitude\":\"-77.6527\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6","1015 Philadelphia Ave, Chambersburg, PA 17201, United States"],"Venue":["SFU","Wilson College"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tIntroduction by Ralph Maud\n\t\t115\tGeorge Butterick, who helped catalogue Olson’s journals, etc.\n\t\t120\tIntroduction to the “entailment” of Olson’s private writings. How he dealt with living at the end of civilization\n\t\t144\tPolitics: Why Olson did not fight in the Spanish Civil War : Olson’s personal papers, 1967; recollections of Olson’s friend, who did fight\n\t\t275\tOlson not as interested in politics or war as in creation of a language to transcend politics, help build a “New republic”\n\t\t295\tHow does Olson’s individualism relate to republicanism (communism, Marxism)? – Olson and national politics\n\t\t532\tWhy Olson “stayed at home” in late ‘60’s did not run for president – notes from Olson’s journal\n\t\t644\tPoem: “Wholly absorbed into my own conduits…”\n\t\t682\tOlson’s ambitions for movies, poems, etc. (idea for West) – his prolific writing and incredible scope of reading; His reason for limiting focus of Maximus to Gloucester\n\t\t850\tButterick reads “Dylan Thomas, and now Matthew Mead, as he himself, to Edward Thomas”"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555058700293,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6251","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["George Butterick lecture and reading on Charles Olson \"The Entailment\" at SFU on November 10, 1970 part 2 of 2 #541b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Butterick, George F."],"creator_names_search":["Butterick, George F."],"creators":["[{\"url\":\"http://viaf.org/viaf/109397621\",\"name\":\"Butterick, George F.\",\"dates\":\"1942-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7954/Reading in BC_MsC199_541_2.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"541_2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:59\",\"precision\":\"\",\"size\":\"45.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"541_2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:02\",\"precision\":\"\",\"size\":\"49.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-11-10\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178 \"},{\"url\":\"https://www.openstreetmap.org/relation/6961857\",\"venue\":\"Wilson College\",\"notes\":\"There are two locations on the J-card, and it's not known what happened at each\",\"address\":\"1015 Philadelphia Ave, Chambersburg, PA 17201, United States\",\"latitude\":\"39.9508\",\"longitude\":\"-77.6527\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6","1015 Philadelphia Ave, Chambersburg, PA 17201, United States"],"Venue":["SFU","Wilson College"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tReads “As the Shield Goddess, Mycenae…”\n\t\t034\tReads “The chain of memory is resurrection…”\n\t\t041\tSays, on finishing last poem “It’s in the poetry, not the life”, quotes from a lecture of Olson’s\n\t\t148\tCoffee break\n\t\t199\tOlson’s mother, “The Temple of Childhood”; his mother’s forcefulness, its effect on Olson\n\t\t280\tOlson had to “wrestle with” his mother; end of Maximus IV, V, VI a “teaser”, originally from a longer, unpublished poem, which Butterick reads, and relates to Maximus\n\t\t311\tOlson’s notes on Maximus: “What 1) is Maximus, and 2) where can he go?:” – purpose of Maximus\n\t\t380\tQuestions from the audience\n\t\t684\tQuestions end, remainder of the tape is idle chit-chat"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555059748864,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6252","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jack Clarke lecture on Charles Olson on December 12, 1971 Tape 1 of 2 #543a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Olson, Charles","Clarke, John"],"creator_names_search":["Olson, Charles","Clarke, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"Jack Clarke discusses Charles Olson as an inspiration for FATHAR III\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/40837274\",\"name\":\"Clarke, John\",\"dates\":\"1933-1992\",\"notes\":\"John \\\"Jack\\\" Clarke\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7957/Reading in BC_MsC199_543_1.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:34\",\"precision\":\"\",\"size\":\"30.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:30\",\"precision\":\"\",\"size\":\"30.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1971-12-12\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tClarke is introduced\n\t\t027\tJack Clarke begins to discuss the context of FATHAR III, mentions D.H. Lawrence\n\t\t064\t“I’ve got a oem that begins with the word ‘pre’.”\n\t\t076\tClarke inspired by a poster of Charles Olson before he left on his 1970 sabbatical, wrote the poems in FATHAR III\n\t\t122\tThe source of these poems “unknown”, in Lawrence’s sense\n\t\t275\tTalks about the 60’s, tells story of woman who asks her husband where he comes from discusses marriage\n\t\t340\tMarriage, etc., different in the 70’s, burden on man to express “unknown”\n\t\t425\tStory of South American man who is charged with being a shaman\n\t\t571\tLawrence:”…marriage is further than death…”\n\t\t594\tReads “As a matter of fact, unless a woman is held by man safe within the bounds of belief…” (Lawrence)\n\t\t678\tDiscusses Lawrence’s writing about Pearl from The Scarlet Letter"],"Note":["[{\"note\":\"\\nSide 3 36:15\\nSide 4 26:00\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555059748865,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6260","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Sacred Geography Seminar: Prof. Robin Blaser lecture at SFU on October 1, 1976 Tape 1 of 2 #621"],"item_title_source":["cassette and j-card"],"item_title_note":["J-card mistakenly indicates both Sept. 13 and Sept. 29 as the dates of this seminar; the correct date is September 29, 1976."],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[RB_621]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7984/Reading in BC_MsC199_621.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/rbr-196/rb621a\",\"file_path\":\"\",\"filename\":\"621-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:46\",\"precision\":\"\",\"size\":\"29.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-197/rb621b\",\"file_path\":\"\",\"filename\":\"621-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:36\",\"precision\":\"\",\"size\":\"29.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-10-01\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"Prof. Blaser’s “Sacred Geography” series breaks down into two organizational components, that of semi-formal lectures and that of seminars. The lectures have been indexed and are to be found throughout the Audio Tape Holdings catalogue under their respective accession numbers. The indexing is fairly self-explanatory. The seminars are not indexed for a variety of reasons, however, in conjunction with its respective lecture tape, each seminar is both important and invaluable to an understanding of the “Sacred Geography” series and the intentions of Prof. Blaser.\\n“And knowing”, Confucius says, “brings one to the goal”. Sacred Geography Lecture, October 22, 1976 (#630)\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555062894592,"timestamp":"2026-01-07T14:59:59.437Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t001\tBlaser’s voice is heard in mid-sentence\n\t\t002\tDiscussion of the text, Egyptian Book of the Dead, Blaser will be relying on\n\t\t015\tApparent continuation of discussion on the Divine Falcon. A part of enactment mythology & an enactment ritual in Egyptian myth Osiris, etc.\n\t\t037\t“The cosmology is still not entirely understood” Set & Isis are cited\n\t\t054\tImportance of Horus [god/god-like figure in the text] not the poet\n\t\t058\tMovement towards Death in Egyptian mythology; Principle of passage\n\t\t069\tOsiris arising to serve the order of the world\n\t\t088\tRites of Osiris\n\t\t094\tBlaser’s theory that the priests of the temples kept certain aspects of the rituals a mystery as a representation of the aspects of the god that were indeed a mystery. He rejects the contemporary notion that it was done as a form of social control on the part of the priests\n\t\t100\tRituals serving as an enactment of metaphysical concepts. For example, The Book of the Dead: its use of Time & Space\n\t\t120\tBlaser’s main point being that of duel nature of God/Godhead. Double in nature, but transcendent\n\t\t138\tTheory of the emergent & the transcendent\n\t\t179\tDoctrine of Osiris resurrection as found in the Pyramid texts. The Doctrine is contrasted & compared with the Legend of the Holy Grail\n\t\t215\tHerodious’ work is utilized, at this point, for its significant references to Mystery Cults/Religions\n\t\t243\tPassage dealing with the Osiris cult & its rituals as found in The Book of the Dead. Discussion follows dealing with the innate significance of the passage\n\t\t287\t“The Ancients thought of death as the essential prelude to life.” A polarity existing in all of nature. Further definition, especially of the concept of the “underworld” is given\n\t\t345\tGeneology of Osiris & his fellow gods, also the concept of his Kingship is explained\n\t\t400\tPrimeval time to be considered as the time before duality\n\t\t412\tLecture broken off in mid-sentence as tape ends\nTwo\t\t000\t\n\t\t001\tBlaser’s voice in mid-sentence. He is explaining, more so outlining, the concept of the original duality of male & female. It is a complimentary notion, that is, unfortunately altered with the birth of Set. Set represents elements of confusion/chaos\n\t\t027\tBlaser notes the lack of love between Set and his mother. He comments, in words to the effect of, that this is a strange twist on a rather common theme, that of Mother fixation in no way does this even begin to imply that Set is in any way a child god\n\t\t047\tSet as existing “outside” the community of the gods\n\t\t072\tThe birth of Horus, the undefinable conflict that arises between Horus and Set [in the tangible forms of a homosexual element that seems to be mostly implied in The Book of the Dead and a physical fight that is much more than merely implied]\n\t\t104\tThe importance of the eyes of a being. Special reference is given to what the eyes reveal after one engages in considerable sexual activity. Even the gods of The Book of the Dead, according to Blaser feel this is important\n\t\t115\tThe poison semen that Horus receives; the warning given Horus\n\t\t137\tThe sexual element between Horus and Set, noted also is the role Isis plays. As the conflict intensifies, the seed of Horus is spread on the vegetables growing in Set’s garden\n\t\t167\tThe pregnancy of Set; the battle for the disc; the notion that the eye of Horus comes from the forehead of Set; the birth of Wroth\n\t\t177\tOrigin of the creation of the moon [i.e. the eye of Horus] myth. Explanation on the religious symbol that the moon becomes. Blaser goes on to define a ‘symbol’ as a sign that conveys an image, that in our reality gives expression to a reality of a different order\n\t\t237\tThe ‘sound eye’ the eye that has been healed. Blaser utilizes mathematical concepts to further develop his position. The ‘sound eye’ serves as a notion of soundness and reality, via integrated contrasts. The newborn and Wroth has constructed the ‘eye’ in such a way that it presents a ‘new image of reality’ (being and non-being)\n\t\t292\tBlaser comments on what he feels is the greatest wonder of Egypian mythology, the notion of the journey to the underworld as an experience of complete totality\n\t\t314\tEgyptian concept of the essential duality that always exists, a series of contrasts and comparisons. Blaser calls them ‘polarities’\n\t\t340\tThe element of metamorphosis. Light and Sexuality become the focal points for the ensuing discussion\n\t\t411\tSide two ends"],"score":1.0},{"id":"6261","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Sacred Geography Seminar: Prof. Robin Blaser lecture at SFU on October 1, 1976 Tape 2 of 2 #622"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[RB_622]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7985/Reading in BC_MsC199_622.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"622-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:50\",\"precision\":\"\",\"size\":\"39.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-201/rb622a\",\"file_path\":\"\",\"filename\":\"622-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:50\",\"precision\":\"\",\"size\":\"39.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-10-01\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t001\tBlaser discussing the notion of duality in Egyptian cosmology as found in The Book of the Dead. He then goes on to speculate on the alterations in the relationships between the Egyptian gods. Further speculation is given to the results of Set; homosexual tendencies\n\t\t037\tNotion of duality. Blaser draws interesting assumption as he displays that Oasis is death from which life arises and Set is life from which death arises. As the relationship between the two gods deteriorate, Death becomes a visible, semi-separate entity unto itself\n\t\t055\tThe shift in emphasis on the worship of Set by the Egyptians\n\t\t074\tBlaser describes the ideas, mainly the “layers of the world” concept, that he wants the students to keep in mind as they read and re-read the text(s)\n\t\t160\tDiscussion turns to the “central issues”, relating from two particular texts, they being Causal Mythology and Poetry and Truth. Some of these “issues” include the notions of narrative and vocabulary\n\t\t203\tBeginning of a discussion on the narrative as having two particular facets, that of speech and that of speaking. Blaser goes on to say “…narrative is made up of events, not facts.” He stresses the ability of the narrative to pull the reader into the work\n\t\t225\tInvestigation into what Blaser calls “the means whereby we wish to speak of the active mode…” Topics such as sense, nonsense and a “pure” language are to be raised\n\t\t250\tReiteration of the active role the reader must play in the events of the narrative\n\t\t277\t“Presence” in the work of Jack Spicer, who most of the preceding discussion dealt with. Also, introduction of Surrealistic concepts into the discourse, specifically “the violent displacement of language that is then intended to control the marvelous”\n\t\t292\tSuggestion to read specific letters of Arthur Rimbaud. The letters announce the psychological notion of “otherness”\n\t\t325\tBlaser lays great emphasis, perhaps even the major emphasis of the entire course, on the “constant operation of the language”. Elaboration follows\n\t\t367\tFoucault, French poet, and his analysis of the evolution of the modern mind is stressed. It too utilized the concept of “otherness’ in a slightly economic sense\n\t\t420\tTape ends, cutting Blaser off in a discussion of scientific principles\nTwo\t\t000\t\n\t\t001\tTape cuts in on some humorous interplay between Blaser and his students\n\t\t003\tDiscussion moves back to the multi-textured issue of language. Language, it is stressed, by its very nature involves a sense of “otherness”. “I’m not paying any attention, at this point, to God and all that stuff” says Blaser; he is dealing with direct experience\n\t\t010\tThe consciousness of modern language and its restructuring. Blaser reads from an essay by Zollah, the title of the essay is unintelligible – that stresses social oneness. Linguistic origins and the developments of Indo-European tongue are brought to the discussion, especially the connection between myth, symbols and the resulting language in the construction of the self\n\t\t075\tQuestion of a point of detail from a member of the seminar. Blaser responds by reading from the text and repeating some of what he said previously. He uses the question as the link to “the consistent movement inside language”\n\t\t095\tBlaser turns to a book by Western Labarr called Ghostdance for which he expresses particular disdain for its overly simplistic and naturalistic approach to the subject of religion\n\t\t148\tQuestion from a seminar member concerning Spicer. Blaser feels the student has misunderstood his position and goes to re-explain that “the consistent efforts of all these texts is to speak to its own historical past”, adding further examples to strengthen his position. The student seems satisfied with the response, as do others in the seminar\n\t\t278\tTurn to Causual Mythology as reading for next seminar is assigned\n\t\t282\tClass breaks up with Blaser commenting on how much he appreciates question and dissent in his classes\n\t\t287\tSound ends\n\t\t410\tSide two over"],"Note":["[{\"note\":\"Prof. Blaser’s “Sacred Geography” series breaks down into two organizational components, that of semi-formal lectures and that of seminars. The lectures have been indexed and are to be found throughout the Audio Tape Holdings catalogue under their respective accession numbers. The indexing is fairly self-explanatory. The seminars are not indexed for a variety of reasons, however, in conjunction with its respective lecture tape, each seminar is both important and invaluable to an understanding of the “Sacred Geography” series and the intentions of Prof. Blaser.\\n“And knowing”, Confucius says, “brings one to the goal”. Sacred Geography Lecture, October 22, 1976 (#630)\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555062894593,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6262","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Sacred Geography Seminar: Prof. Robin Blaser lecture at SFU on October 6, 1976 Tape 1 of 2 #623"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[RB_623]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7986/Reading in BC_MsC199_623.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/rbr-204/rb623a\",\"file_path\":\"\",\"filename\":\"623-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:25\",\"precision\":\"\",\"size\":\"41.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-205/rb623b\",\"file_path\":\"\",\"filename\":\"623-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:25\",\"precision\":\"\",\"size\":\"40.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-10-06\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"Note":["[{\"note\":\"Prof. Blaser’s “Sacred Geography” series breaks down into two organizational components, that of semi-formal lectures and that of seminars. 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Sacred Geography Lecture, October 22, 1976 (#630)\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555063943168,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6263","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Sacred Geography Seminar: Prof. Robin Blaser lecture at SFU on October 6, 1976 Tape 2 of 2 #624"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[RB_624]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7987/Reading in BC_MsC199_624.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"624-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:07\",\"precision\":\"\",\"size\":\"29.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-208/rb624b\",\"file_path\":\"\",\"filename\":\"624-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:07\",\"precision\":\"\",\"size\":\"29.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-10-06\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"Note":["[{\"note\":\"Prof. Blaser’s “Sacred Geography” series breaks down into two organizational components, that of semi-formal lectures and that of seminars. The lectures have been indexed and are to be found throughout the Audio Tape Holdings catalogue under their respective accession numbers. The indexing is fairly self-explanatory. The seminars are not indexed for a variety of reasons, however, in conjunction with its respective lecture tape, each seminar is both important and invaluable to an understanding of the “Sacred Geography” series and the intentions of Prof. Blaser.\\n“And knowing”, Confucius says, “brings one to the goal”. Sacred Geography Lecture, October 22, 1976 (#630)\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555063943169,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6264","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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Pure language being that which involves “us” in polarities and opposites\n\t\t047\tBlaser draws a link from confusion to sexuality to language, making reference to past lectures and the Osiris myth of Kingship\n\t\t054\tDiscussion on the mythological language of “Theogony”, a poem, mentions Blaser, that “is extremely difficult to interpret”, yet this is, in many ways, why he chose to include it in the seminar, especially for its broken narrative\n\t\t063\tThe direct engagement of the poet in his historical condition, “there are not many poets who are engaged in this way”\n\t\t071\tBlaser’s question “Why does theology appear repeatedly?” Ensuing discussion with emphasis on Spicer and Olson\n\t\t099\tWide tradition of “Theogony”, its language is to be found all around the world – it’s the primary/the pure language\n\t\t135\tThe primary place of “Theogony” in Babylonian New Year worship of Marduk. Blaser stresses the powerful interaction the piece played in society\n\t\t171\tAfter reading from Genesis, Blaser develops a pattern of “cosmogony and cosmology followed by the genealogy of heroes and priests”. The Persian story of Ohrmzd and his opposite Ahraman is cited as example of a narration that speaks of polarity. Blaser notes the “listing” pattern (names, titles, deeds, etc.) in mythology drawing an appropriate contrast between the 50 names of Marduk and the equally numerous names of the Norse God, Odin\n\t\t243\tViolva’s Prophecy is noted as the voice of past, present and future. Yet another creation myth confirming the listing pattern. The original tie between the magic and the poetic, before the written word, which implies the theory of the language, the nature of the word. The magical aspect manifests itself in the power it gives; power over the order or to reveal the order\n\t\t319\tThe need to gather a better understanding of the narrative, utilizing unseen diagrams which draw heavily from West’s introduction to “Theogony” and Normana/Brown. In the case of “Theogony” this is best displayed in the invocations\n\t\t374\tBlaser draws a parallel between the generational narrative of the Old Testament and other such ancient relevant texts as an example\n\t\t416\tUtilizing the many myths of Zeus and his children as further example, Blaser seeks to display the exclusive nature in his estimation of the generational narrative. The tape ends sharply, cutting Blaser off\nTwo\t\t000\t\n\t\t001\tBlaser’s voice comes in during mid-sentence stressing the need to move through the process of the “Theogony” to reach the generational climax of Zeus and his supreme intelligence\n\t\t021\tThe succession story of Zeus, the birth of Aphrodite and story of Medusa, etc., all flow through each other. Almost “mythological digressions” yet completely necessary to the great whole of the story\n\t\t070\tThe structure of the poem is the succession story, which Blaser outlines. He then explores, by listing, the descriptive catalogues of the poem linking them to an implied movement in the human order\n\t\t141\tThe oriental flavor of the poem is pointed out as is West’s mention of a Phoenician history text compiled/written by San Chuniathon (a Phoenician poet) that was translated into Greek around the 2nd century A.D. and eventually translated into English on the insistence of Charles Olson. Both examples add further strength to the pure/primary language theory\n\t\t230\tSan Chuniathon’s work as yet further example of the narrative move towards an established order\n\t\t244\tBlaser announces a contemporary reading he would like the class to attend. The writer in question is [Foelling]* Dawson, reading at the Odd Infanitum Gallery, 3632 W. 4th Avenue on October 16/76. Blaser goes on to discourse on the importance of the contemporary\n\t\t266\tGenealogy in the structural poem “What should be the critic’s vocabulary?” The succession myth as the plot that is not truly apparent. Blaser links the genealogy as the “living movement of that succession (myth)” also taken into account is the cosmology\n\t\t319\tDistinction drawn between visionary and prophet. Examples and embellishment are provided by Blaser to further his point\n\t\t348\tThe prophet poet as one who “looks into his own time” which involves a use of “pure language”, Spicer and Olson are cited\n\t\t379\tReturn to the genealogy of ”Theogony” as the subject of discussion\n\t\t413\tAs Blaser was reintroducing the use of the listing pattern his voice was cut off\n\t\t413\tSide Two ends"],"score":1.0},{"id":"6267","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. 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Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Sacred Geography Seminar with Prof. Robin Blaser on October 22, 1976 tape 1 of 2 #630"],"item_title_source":["j-card"],"item_title_note":["Liner notes: see the photo in the material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[RB_630]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/8113/630.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Clear box with j-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/rbr-227/rb630a\",\"file_path\":\"\",\"filename\":\"630-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:29\",\"precision\":\"\",\"size\":\"29.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-228/rb630b\",\"file_path\":\"\",\"filename\":\"630-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:45\",\"precision\":\"\",\"size\":\"29.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-10-22\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"Location taken from cassette #631\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.276709600000004\",\"longitude\":\"-122.91780296438841\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"The numbers of tapes #631 and #630 are confused either on the cassette or on J-card. We made the order according to the contents of the cassettes, so the go in the proper order. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555064991747,"timestamp":"2026-01-07T14:59:59.437Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t003\tTape begins with Blaser discussing the need to find a vocabulary fitting for investigation of ‘the primary world’\n\t\t030\tHomer & Hesiod & the defense of divinity in the social world. Hesiod as a progression over Homer, Hesiod touted as the more abstract of the two writers, Blaser agrees but with distinct reservations, which he explains\n\t\t105\tStructure of The Iliad. Its narrative, its core story & its engaging formula. Pound & Olson are mentioned as inheritors of The Iliad’s formula, it’s a literary tradition utilized to maintain that which the culture must remember “in order to continue”\n\t\t127\tPreface to Plato by Havelock & the attempt to defeat poetry. Blaser utilizes Havelock’s book to examine the didactic nature of Homer & Hesiod in the transmission of social knowledge, public usage & private habit\n\t\t154\tHavelock’s outline of The Iliad\n\t\t170\tStudent presentation dealing with descriptive & connective phrasing, as well as the meter of The Iliad\n\t\t226\tOutline of The Iliad again, with scant commentary of Blaser’s part\n\t\t260\tPoetry as the transmission of social knowledge. Meaning & the interplay with the existing social structure. Plato wanted to remove the poet for such a powerful position in society & place the philosopher in such a role\n\t\t290\tExamination of the work of Hesiod, specifically the first 130 lines, Hymns to the Muses. Here we find, for the first time in the history of the West, the poet’s view of himself, his profession & what it means. Blaser feels that Hesiod’s Hymns teach History & Prophecy, they also teach morality & philosophy. This is the poet’s vital social role\n\t\t307\tThe creation of a realm of belief. How such a realm came to be is a major element of Hesiod’s work. This is the creation of a mythology\n\t\t315\tThe mythology of the ancient world, that of Olympia, & its central link to poetry\n\t\t393\tHesiod’s “rationalization of world history”, the nation is explored by the seminar\n\t\t406\tSide one ends, unfortunately cutting Blaser off in mid-sent.\nTwo\t\t002\tTape cuts in, picking up where Side one left off. Continuation of investigation of the poetic process with supplementation from Havelock text\n\t\t035\tHesiod’s description of the Muses\n\t\t077\tHavelock & Hesiod’s catalogue of the nine Muses. This discussion moves into the area of the [segmentized] educational system perfected by the 5th century B.C. Greeks & still haunting us to this very day\n\t\t175\tA look at the principles of the poetic which exists in our modern lives. Definitions of “reason” & “subject” which thematically structure contemporary perspectives. Marcuse’s Reason & Revolution, especially the Preface, is utilized at this point\n\t\t213\tThe rejection of the contradiction in search for synthesis which results in a return to the subject, Blaser views this as an enormous distortion of the real. Marcuse desires a system of thought by negation\n\t\t230\tNegation as a positive act, it comes far closer to a reality than the world of figures & facts ever could. Obviously Blaser elaborates on this notion\n\t\t239\tThe “experience” of poetry. Also a reference to Spicer & his use of the “primary”\n\t\t250\tThe poet who stresses the “primary” battles against the ideology of factual language, out of logical & into experiential form\n\t\t262\tThe search for an authentic language, a common element. Robert Duncan’s objections to this are mentioned & briefly addressed. Blaser stresses that “ideas” are not being disregarded rather they are being re-positioned.\n\t\t319\tCharles Olson’s letter to Elaine Feinstein (May 1959). Blaser gives background information & then goes on to read the letter. The letter is a response to general questions on poetics & more specific queries on the use of the image. Blaser peppers his reading of the letter with extremely relevant commentary\n\t\t362\tOlson letter continues, as does Blaser’s commentary\n\t\t390\tThe peripheral role given to poetry in the modern world is a victory of the logical. Blaser, quite rightly, feels that the logical must be resisted & poetry returned to its central social role\n\t\t406 \tSide two ends"],"score":1.0},{"id":"6271","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Sacred Geography Seminar with Prof. Robin Blaser on October 22, 1976 tape 2 of 2 #631"],"item_title_source":["j-card"],"item_title_note":["Liner notes: see the photo in the material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[RB_631]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/8114/631.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Clear box with j-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/rbr-230/rb631a\",\"file_path\":\"\",\"filename\":\"631-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:00\",\"precision\":\"\",\"size\":\"29.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-231/rb631b\",\"file_path\":\"\",\"filename\":\"631-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:37\",\"precision\":\"\",\"size\":\"30.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-10-22\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"Location taken from cassette #631\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.276709600000004\",\"longitude\":\"-122.91780296438841\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"The numbers of tapes #631 and #630 are confused either on the cassette or on J-card. We made the order according to the contents of the cassettes, so the go in the proper order. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555064991748,"timestamp":"2026-01-07T14:59:59.437Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t003\tTape begins with Blaser discussing the need to find a vocabulary fitting for investigation of ‘the primary world’\n\t\t030\tHomer & Hesiod & the defense of divinity in the social world. Hesiod as a progression over Homer, Hesiod touted as the more abstract of the two writers, Blaser agrees but with distinct reservations, which he explains\n\t\t105\tStructure of The Iliad. Its narrative, its core story & its engaging formula. Pound & Olson are mentioned as inheritors of The Iliad’s formula, it’s a literary tradition utilized to maintain that which the culture must remember “in order to continue”\n\t\t127\tPreface to Plato by Havelock & the attempt to defeat poetry. Blaser utilizes Havelock’s book to examine the didactic nature of Homer & Hesiod in the transmission of social knowledge, public usage & private habit\n\t\t154\tHavelock’s outline of The Iliad\n\t\t170\tStudent presentation dealing with descriptive & connective phrasing, as well as the meter of The Iliad\n\t\t226\tOutline of The Iliad again, with scant commentary of Blaser’s part\n\t\t260\tPoetry as the transmission of social knowledge. Meaning & the interplay with the existing social structure. Plato wanted to remove the poet for such a powerful position in society & place the philosopher in such a role\n\t\t290\tExamination of the work of Hesiod, specifically the first 130 lines, Hymns to the Muses. Here we find, for the first time in the history of the West, the poet’s view of himself, his profession & what it means. Blaser feels that Hesiod’s Hymns teach History & Prophecy, they also teach morality & philosophy. This is the poet’s vital social role\n\t\t307\tThe creation of a realm of belief. How such a realm came to be is a major element of Hesiod’s work. This is the creation of a mythology\n\t\t315\tThe mythology of the ancient world, that of Olympia, & its central link to poetry\n\t\t393\tHesiod’s “rationalization of world history”, the nation is explored by the seminar\n\t\t406\tSide one ends, unfortunately cutting Blaser off in mid-sent.\nTwo\t\t002\tTape cuts in, picking up where Side one left off. Continuation of investigation of the poetic process with supplementation from Havelock text\n\t\t035\tHesiod’s description of the Muses\n\t\t077\tHavelock & Hesiod’s catalogue of the nine Muses. This discussion moves into the area of the [segmentized] educational system perfected by the 5th century B.C. Greeks & still haunting us to this very day\n\t\t175\tA look at the principles of the poetic which exists in our modern lives. Definitions of “reason” & “subject” which thematically structure contemporary perspectives. Marcuse’s Reason & Revolution, especially the Preface, is utilized at this point\n\t\t213\tThe rejection of the contradiction in search for synthesis which results in a return to the subject, Blaser views this as an enormous distortion of the real. Marcuse desires a system of thought by negation\n\t\t230\tNegation as a positive act, it comes far closer to a reality than the world of figures & facts ever could. Obviously Blaser elaborates on this notion\n\t\t239\tThe “experience” of poetry. Also a reference to Spicer & his use of the “primary”\n\t\t250\tThe poet who stresses the “primary” battles against the ideology of factual language, out of logical & into experiential form\n\t\t262\tThe search for an authentic language, a common element. Robert Duncan’s objections to this are mentioned & briefly addressed. Blaser stresses that “ideas” are not being disregarded rather they are being re-positioned.\n\t\t319\tCharles Olson’s letter to Elaine Feinstein (May 1959). Blaser gives background information & then goes on to read the letter. The letter is a response to general questions on poetics & more specific queries on the use of the image. Blaser peppers his reading of the letter with extremely relevant commentary\n\t\t362\tOlson letter continues, as does Blaser’s commentary\n\t\t390\tThe peripheral role given to poetry in the modern world is a victory of the logical. Blaser, quite rightly, feels that the logical must be resisted & poetry returned to its central social role\n\t\t406 \tSide two ends"],"score":1.0},{"id":"6272","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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References to Olson & nature of the “primary” soon follow\n\t\t018\tThe historical task of the poet, the greater context. Once this has been understood one can truly appreciate texts that stand outside their mere contemporary context, the “otherness” of a poetic text\n\t\t040\tThe 20th century “consciousness of language”, Blaser agrees that the Romantics started the move towards the notion of language but he thinks it was individuals such as Pound who began to comprehend and appreciate the polar relationships of poetry with a consciousness of the nature of language\n\t\t074\tBy way of an investigation into divine poetic nature, Blaser examines texts that detail the relationship between the Ancient (Homeric?) Greeks and their gods\n\t\t104\tThe balance of heaven and earth (“earth and sky”) and the emerging notion of “the universe”. “A destiny of the Greeks is neither a justification nor disruption or elimination of the natural course of the world. It is this natural course of the world itself”\n\t\t130\tTo create an understanding of the foundation of this world view, Blaser explains that to the Homeric Greeks the world was not an observable, examinable place but a “realm” of “the ever unobjective to which we are subordinate as long as the paths of birth and death, of blessing and curse, hold us thrust into being where the essential lessons of our history befall us and which are taken over and abandoned, misunderstood and again sought by us. Their world’s the world. Prof. Blaser is drawing most of his material from Victor Vycinas’ The Earth and Gods : an introduction to the Philosophy of Martin Heidegger\n\t\t142\tArt as the stabilizer of the lucidity of the world\n\t\t\tProf. Blaser, as he does on other tapes in the series, argues that, as part of human being’s nature, Truth is to be found only in “unreason”. Truth as emerging from the primeval strife to “that which is”. The strife between the world and the earth can “only become Truth when it takes a stand within the realm of openness obtained by it. “….such a “stand” can only be actualized as an Artwork”\n\t\t220\tHermes, who “what he is, as an example of a deity. The various roles and responsibilities of the god are listed and detailed; an attempt is made by Blaser to limit the god’s many titles into a conceptual whole\n\t\t269\tThe discussion on the many traits of Hermes continues\n\t\t276\tBlaser turns onto Zeus “The worldness of a world is Zeus”. Zeus as a god of light, which innately infers that Zeus is a god of revealing, “of disclosing… by reflecting the truth of the god, these forms are true. They are the logos of this god. Zeus, then, is the logos par excellence\n\t\t289\tThe nature of Truth. “Truth as Reason, becomes in the poetic argument simply our Reason. And this confronts what Olson calls the “demonic nature of experience”. The link is made easily between this notion and the notion of the polarity, the “tension” of experience in mythology. Reference is made to Charles Olson’s Poetry and Truth (The Beloit Lectures and Poems). In the existence that lies behind poetry, more than the language we speak\n\t\t311\tReturn of topic to the “tension of existence”. Blaser notes the interdependence to the “other”. Olson’s so-called attack on Einstein in Poetry and Truth is brought up to display the content of the concept; Einstein’s relativity is viewed as another one of the modes of reason. Olson harkens to the dynamically-relational. A Maurice Merleon-Ponty essay to be found in Sense-non-Sense, is cited by Blaser as summing up the issue at immediate hand here\n\t\t333\tThe disclosure of the world the way it appears to the I. Again Olson’s Poetry and Truth is mentioned. One point of particular noteworthiness is that the “I” is to be found “among” not isolated in any manner. Notion of disclosure and concealment; the “active” agent of the unknown\n\t\t348\tSpeech as a stance of language, revealing the relationship(s) between intellect and objects. Language and freedom. Freedom as possessing the individual (not vice versa), Spicer and Olson cited. Human referring as a result of the outward mode, Logos, in this primary sense, “is our assembling of otherness to ourselves”\n\t\t368\tClassroom confusion results in Blaser repeating his previous statements to clarify their meaning\n\t\t384\tMartin Heidegger is cited once again, a quotation “Our thinking is giving thanks”. Further quotations are given and explored, all searching for the language behind language\n\t\t398\tOlson’s notion that “so say” (speech) is “to bring into appearance”. Such a notion should not be confused with the “creation” of appearance; words do not follow things”. Olson calls this “Mythologos”, words bringing things from their position of concealment\n\t\t407\tSide One ends\nTwo\t\t000\t\n\t\t003\tBlaser’s voice emerges in mid-sentence, discussing such topics as “truth” and “freedom”. The movement toward “the future” and its being is discussed. Vyainds’ is quoted and references to Olson and Spicer are made\n\t\t029\tThe future “as “improvised… in Utopias”; with the absence of a tradition, human beings “therefore… constantly break the ties of tradition by revolts”. While the concept seemingly contradicts itself, Blaser proves the opposite to in fact be the case\n\t\t052\tContemporary human beings standing between philosophy and the upcoming of a greater thought, the thought of being itself”. Blaser, utilizing Heidegger directly, states that thinking of the future assembles the language/being of the future thinking as no longer philosophy but now mythology\n\t\t106\tOperative and Representational language: Representational language represent the “red” of the world. Operative language presents – discloses – what was previously covered. The language is interactive when its operative sense\n\t\t132\tStructural elements of the world: Earth, Sky, Mortals and Gods. Together they make up the “action of the world… its light”. Concealment and Revealment are explored once again; Earth as having a “tendency to concealment, the World to revealment. Art, the Truth, emerges from the strife between the Earth and the World\n\t\t160\tChaos as “the holiness itself: (L. Heidegger), it stands as the ultimate course of all. The Realm of Destiny, binding everything. Blaser embellishes this fully, conjuring up Heroditas, Spicer and Olson\n\t\t198\tThe song of the poet being the place where ghouls, human beings and holiness can all appear. “All true poetry has its beginning in an encounter with the divine”\n\t\t215\tDiscussion moves onto earth-centered religions; the cathonoing society in which the dead are real and powerful in that they go to the earth. Blaser notes that Spiker refused to separate the dead and the living, and in fact gave the dead a prominence over the living\n\t\t229\tOlympian religion gains prominence over the Cathonain religion, death is shunned. Numerous references made to Homer’s place in this\n\t\t247\tThe reversal of Logos, the reversal of light. Characteristics of Olympian and Cathonain religion are explored in contrast\n\t\t280\tEarth, Sky, Gods, Mortal men – “all of them are in strife, as parts of the world”. Art as a creating a world, creating a hold on the “earth in the world”. The guarding of the earth and the world in their strife is a fundamental feature of Art work. Letting the Truth take place in the struggle between the worldness of the world and earth\n\t\t311\tBlaser draws a transition connecting concepts of the ancient world with the contemporary interest in “open form”. Charles Olson is cited as using such “open form” as projective and as field; Jack Spicer is also cited for his “serial poems’ a constant opening of time itself\n\t\t322\tBlaser vocalizes his view that he feels the “openform” vs. “closed form” debate is little more than an intellectual “hang-up”\n\t\t330\tThe nature of “open form”; openness as it is “attached to a primary condition” – the narrative as a new stance, a new content. Blaser quotes\n\t\t340\tClosing remarks. Blaser answers a class question. Blaser reading (his own work?)\n\t\t359\tSide Two ends"],"score":1.0},{"id":"6275","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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The topic is then further expanded into that of Norse religion and the old Norse world view. Blaser elaborates and explains the myths with references to Indo-European cultures\n\t\t0038\tBlaser discusses the family of languages. He refers to Webster’s International Dictionary. He draws together various pieces of cultural evidence to construct the characteristics of “Indo-European speech and culture”\n\t\t0105\tBlaser looks at “The Volaspa” for its Norse creation story. Discusses the generative act where we have a mutual attraction and opposition of cold and heat. The singular origin and identity is not the same as the Platonic one; this is a flow\n\t\t0155\tEverything, in this cosmology, returns to matter. Matter and spirit are not split as in our tradition. This difference is discussed\n\t\t185\tBlaser discusses the lack of creator in the Norse mythology. Creation is assumed to be spontaneous as a product of two opposed forces (heat and cold)\n\t\t214\tBlaser refers to Hinduism: he discusses the shape of the cosmos (shaped around the “eternal conflict which is life”). The cosmos develops in one of a fragile “order” of time and temporal relations with the “threat of disorder” always looming. Blaser discusses the structure of the Norse cosmos in some detail\n\t\t250\tThe connection between the world of gods and the world of men, the ash tree, Yggdrasil. Blaser postulates that the world tree, any mythological world tree is the “latent invisible fire in the living wood which is the perfect symbol of eternal spirit trapped in matter”. Dionysus is an anthropomorphized version of this vision\n\t\t270\tA thorough examination of the Norse world-tree ensues\n\t\t319\tEnd of lecture\nTwo\t\t000\t\n\t\t003\tTape begins with an announcement of a poetry reading. Blaser begins his lecture by introducing Charles Olson’s “The Horses of the Sea” [to be found in Sparrow, 43, Black Sparrow Press]\n\t\t055\tA very lengthy discussion of sources in Olson’s work ensues\n\t\t0156\tBlaser introduces a passage from Fowler’s book on Norse religions and present some propositions that he has been building that are meant to allow us to speak to the nature of the “real”"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555068137472,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6276","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. 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There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["P. K. Page reading at SFU on November 25, 1974 tape 2 of 2 #454 tape 2"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Page, P. K."],"creator_names_search":["Page, P. K."],"creators":["[{\"url\":\"http://viaf.org/viaf/59208470\",\"name\":\"Page, P. 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Will begin with poems from Passing in the Storm\n\t\t312*\t“Know him for a white man…”\n\t\t226\t“After” (for Pat Lowther & John Newlove)\n\t\t240\t“Sleep is the Silence Darkness Takes” for Pat Lane’s father\n\t\t291\t“There was a woman bending…”\n\t\t278\t“For Rita In Asylum”\n\t\t337\t“The Huster”\n\t\t376\t“Chile”\n\t\t387\t“The Man”\n\t\t397\t“Her”\n\t\t414\t“Farmers”\n\t\t442\t“Unborn Things”\n\t\t468\t“The Carpenter”\n\t\t494\t“George”\n\t\t519\t“From the Hot Hills”\n\t\t561\t“Albino Pheasants”\n\t\t624\t“Thinking On That Contest”\n\t\t627\t“30 Miles in from the coast”\n\t\t647\t“Gerald”\n\t\t681\t“The Bird you Captured is Dead”\n\t\t697\t“Gray John”\n\t\t714\t“The Interior”\n\t\t731\t“Bunkhouse North”\n\t\t757\tRecording ends"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555073380356,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6308","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Rap Session with Gerry Gilbert, George Bowering, and Lionel Kearns at SFU on November 23, 1976 part 2 of 2 #452b"],"item_title_source":["cassette and j-card"],"item_title_note":["Liner notes: see the photo in material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Gilbert, Gerry","Bowering, George","Kearns, Lionel"],"creator_names_search":["Gilbert, Gerry","Bowering, George","Kearns, Lionel"],"creators":["[{\"url\":\"http://viaf.org/viaf/13554305\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/30784380\",\"name\":\"Kearns, Lionel \",\"dates\":\"1937-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/8633/Reading in BC_MsC199_452b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"452-tape-1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:42\",\"precision\":\"\",\"size\":\"39.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"452-tape-1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:36:27\",\"precision\":\"\",\"size\":\"47.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-11-23\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nTwo\t\t000\tGeorge Bowering – talks about the poetry renaissance in Vancouver in the 60’s\n\t\t066\tBowering and Gilbert talk about the early coffee-house poetry readings\n\t\t110\tBowering talks about his discovery of contemporary poetry in the UBC library\n\t\t167\tGilbert talks about discovering poetry as a literary form whose language he couldn’t see through\n\t\t217\tBowering says that when he began writing he had no sense of western writing, or that there were western writers\n\t\t300\tBowering says he had a closer connection to the USA than to eastern Canada\n\t\t320\tLionel Kearns talks about Tish, its format and Circulation\n\t\t345\tBowering Reads a poem for Lionel Kearns called “Topcoat”, from Tish #5, January 1962\n\t\t360\tKearns reads a Bowering poem called “Motor-aid”\n\t\t379\tGeorge reads a letter to Tish from Mike Matthews. He says a main job of Tish was to be a poetry newsletter, and to react against Prism\n\t\t493\tQuestions from audience – Kearns talks about the importance of poets working in groups, in a collective space\n\t\t549\tBowering says he used Williams as a model, and Kearns says Kerouac was his\n\t\t595\tBowering says that since Kerouac was not prestigious, they quoted Olson\n\t\t630\tKearns says the Tish poets were very derivative, but that Gilbert’s poetry was distinctly unique\n\t\t661\tGilbert talks about the Zen influence and aesthetic\n\t\t695\tBowering talks about the value of imitation as a learning tool\n\t\t709\tTape ends\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555075477504,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6319","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robin Blaser FPA 110 Dante Lecture 3B at SFU on September 14, 1977 #951"],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[RB_951]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/8686/Reading in BC_MsC199_951.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/rbr-105/rb951a\",\"file_path\":\"\",\"filename\":\"951-side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:36\",\"precision\":\"\",\"size\":\"46.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-106/rb951b\",\"file_path\":\"\",\"filename\":\"951-side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:53\",\"precision\":\"\",\"size\":\"45.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-09-14\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU \",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2770\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU "],"City":["Burnaby, British Columbia"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555078623234,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6321","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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The show consisted of interviews, readings, and discussions with local, national and international literary figures such as Maxine Gadd, Judith Copithorne, Steve McCaffery, bpNichol, and WIlliam Burroughs."],"collection_source_collection_id":["MsC 14"],"persistent_url":[""],"item_title":["radiofreerainforest 10 and 20 March, 1988"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"creator_names":["Choquette, Peter","Farmilo, Tina","English, Gerald","Roots Roundup","Gilbert, Gerry","Harris, Gail","Gilbert, Betty","Serafin, Bruce","Duncan, Robert"],"creator_names_search":["Choquette, Peter","Farmilo, Tina","English, Gerald","Roots Roundup","Gilbert, Gerry","Harris, Gail","Gilbert, Betty","Serafin, Bruce","Duncan, Robert"],"creators":["[{\"url\":\"\",\"name\":\"Choquette, 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for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/radiofreerainforest-527/radiofreerainforest-22-september-1985-part-2\",\"file_path\":\"\",\"filename\":\"MSC14-74-Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:15:47\",\"precision\":\"\",\"size\":\"18.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-09-22\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"j-card\"},{\"date\":\"1978-07-03\",\"type\":\"Performance 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Gilbert was a multimedia artist and writer who published 19 books between 1960 and 2006. This collection contains poetry recordings of Gilbertu2019s, including a large number of tapes from u201cradiofreerainforest,u201d the radio show he hosted. radiofreerainforest [sic] aired on Vancouver co-op radio CFRO-FM Radio beginning in the spring of 1985 and ran well into the 1990s. The show consisted of interviews, readings, and discussions with local, national and international literary figures such as Maxine Gadd, Judith Copithorne, Steve McCaffery, bpNichol, and WIlliam Burroughs."],"collection_source_collection_id":["MsC 14"],"persistent_url":[""],"item_title":["radiofreerainforest Susan Musgrave 20 October, 1975"],"item_title_source":["item and box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"creator_names":["Musgrave, Susan"],"creator_names_search":["Musgrave, Susan"],"creators":["[{\"url\":\"https://viaf.org/viaf/19806786/#Musgrave,_Susan\",\"name\":\"Musgrave, Susan\",\"dates\":\"1951-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors_names":["Gilbert, Gerry"],"contributors_names_search":["Gilbert, Gerry"],"contributors":["[{\"url\":\"http://viaf.org/viaf/13554305/#Gilbert,_Gerry\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"editor\",\"nation\":[],\"role\":[\"Producer\",\"Donor\"]}]"],"Producer_name":["Gilbert, Gerry"],"Production_Date":[1974],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/2301/radiofreerainforest_321both.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"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"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC14-321.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:29:51\",\"precision\":\"\",\"size\":\"27.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-10-20\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"box\"},{\"date\":\"1974-10-31\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"box\"}]"],"Location":["[{\"url\":\"https://nominatim.openstreetmap.org/details.php?place_id=142934422\",\"venue\":\"Arts Centre The Western Front\",\"notes\":\"\",\"address\":\"303, East 8th Avenue, The Village Shops, Mount Pleasant, Vancouver, Metro Vancouver Regional District, British Columbia, Canada\",\"latitude\":\"49.26386015\",\"longitude\":\"-123.098650299062\"}]"],"Address":["303, East 8th Avenue, The Village Shops, Mount Pleasant, Vancouver, Metro Vancouver Regional District, British Columbia, Canada"],"Venue":["Arts Centre The Western Front"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Liner Notes: see photo\",\"type\":\"General\"},{\"note\":\"unlike the cassettes I write the performance date on the title to make it similar to the rest of the reel-to-reels becuase it is the only reel-to-reel with the date of broadcast\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555836743688,"timestamp":"2026-01-07T15:00:00.156Z","score":1.0},{"id":"6616","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Gerry Gilbert Fonds"],"source_collection_label":["Gerry Gilbert Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Gerry Gilbert Fonds collects materials from Vancouver poet Gerry Gilbert. 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The show consisted of interviews, readings, and discussions with local, national and international literary figures such as Maxine Gadd, Judith Copithorne, Steve McCaffery, bpNichol, and WIlliam Burroughs."],"collection_source_collection_id":["MsC 14"],"persistent_url":[""],"item_title":["radiofreerainforest Randy Gledhill 7 November, 1975 2/2"],"item_title_source":["item and box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"creator_names":["Gilbert, Gerry","Gledhill, Randy"],"creator_names_search":["Gilbert, Gerry","Gledhill, Randy"],"creators":["[{\"url\":\"https://viaf.org/viaf/13554305/#Gilbert,_Gerry\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\",\"Interviewer\"]},{\"url\":\"https://viaf.org/viaf/1189155284915887062562/#Gledhill,_Randy\",\"name\":\"Gledhill, Randy\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors_names":["Gilbert, Gerry"],"contributors_names_search":["Gilbert, Gerry"],"contributors":["[{\"url\":\"http://viaf.org/viaf/13554305/#Gilbert,_Gerry\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\",\"Donor\"]}]"],"Producer_name":["Gilbert, Gerry"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/2302/radiofreerainforest_322both.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"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"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC14-322.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:18:14\",\"precision\":\"\",\"size\":\"15.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-11-07\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"box\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/7802936235\",\"venue\":\"Vancouver Co-op Radio CFRO 100.5 FM\",\"notes\":\"\",\"address\":\"370 Columbia St., Vancouver, British Columbia, V6A 4J1\",\"latitude\":\" 49.2817999\",\"longitude\":\"-123.1020211\"}]"],"Address":["370 Columbia St., Vancouver, British Columbia, V6A 4J1"],"Venue":["Vancouver Co-op Radio CFRO 100.5 FM"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Liner Notes: see photo\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555837792256,"timestamp":"2026-01-07T15:00:00.156Z","score":1.0},{"id":"6594","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Gerry Gilbert Fonds"],"source_collection_label":["Gerry Gilbert Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Gerry Gilbert Fonds collects materials from Vancouver poet Gerry Gilbert. 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The show consisted of interviews, readings, and discussions with local, national and international literary figures such as Maxine Gadd, Judith Copithorne, Steve McCaffery, bpNichol, and WIlliam Burroughs."],"collection_source_collection_id":["MsC 14"],"persistent_url":[""],"item_title":["radiofreerainforest Maxine Gadd 6 May, 1974 1/3"],"item_title_source":["item and box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"creator_names":["Gilbert, Gerry","Gadd, Maxine"],"creator_names_search":["Gilbert, Gerry","Gadd, Maxine"],"creators":["[{\"url\":\"http://viaf.org/viaf/13554305/#Gilbert,_Gerry\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"host\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/75225856\",\"name\":\"Gadd, Maxine\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors_names":["Gilbert, Gerry"],"contributors_names_search":["Gilbert, Gerry"],"contributors":["[{\"url\":\"http://viaf.org/viaf/13554305/#Gilbert,_Gerry\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\",\"Donor\"]}]"],"Producer_name":["Gilbert, Gerry"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/2266/radiofreerainforest_300both.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"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"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC14-300.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:14:10\",\"precision\":\"\",\"size\":\"12.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-05-06\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"box\"}]"],"Location":["[{\"url\":\"https://nominatim.openstreetmap.org/details.php?place_id=92340333\",\"venue\":\"Vancouver Co-op Radio CFRO 100.5 FM\",\"notes\":\"\",\"address\":\"370 Columbia St, Vancouver, BC V6A 4J1\",\"latitude\":\"49.2818703\",\"longitude\":\"-123.1022474\"},{\"url\":\"https://nominatim.openstreetmap.org/details.php?place_id=142934422\",\"venue\":\"Arts Centre The Western Front\",\"notes\":\"\",\"address\":\"303, East 8th Avenue, The Village Shops, Mount Pleasant, Vancouver, Metro Vancouver Regional District, British Columbia, Canada\",\"latitude\":\"49.26386015\",\"longitude\":\"-123.098650299062\"}]"],"Address":["370 Columbia St, Vancouver, BC V6A 4J1","303, East 8th Avenue, The Village Shops, Mount Pleasant, Vancouver, Metro Vancouver Regional District, British Columbia, Canada"],"Venue":["Vancouver Co-op Radio CFRO 100.5 FM","Arts Centre The Western Front"],"City":["Vancouver, British Columbia","Vancouver, British Columbia"],"Note":["[{\"note\":\"Liner Notes: see photo\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555841986562,"timestamp":"2026-01-07T15:00:00.156Z","score":1.0},{"id":"6634","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Gerry Gilbert Fonds"],"source_collection_label":["Gerry Gilbert Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Gerry Gilbert Fonds collects materials from Vancouver poet Gerry Gilbert. 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The show consisted of interviews, readings, and discussions with local, national and international literary figures such as Maxine Gadd, Judith Copithorne, Steve McCaffery, bpNichol, and WIlliam Burroughs."],"collection_source_collection_id":["MsC 14"],"persistent_url":[""],"item_title":["radiofreerainforest 28 June, 1987 1/2 and 5 April 1987 1/2"],"item_title_source":["J Card, Cassette"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"creator_names":["Gilbert, Gerry","Paul Plimley Trio","Parent, Yvonne","Gadd, Maxine","Culley, Peter","Lusk, Dorothy","Creede, Gerald","Beyers, Joanna","Ferguson, Deanna","Davies, Kevin"],"creator_names_search":["Gilbert, Gerry","Paul Plimley Trio","Parent, Yvonne","Gadd, Maxine","Culley, Peter","Lusk, Dorothy","Creede, Gerald","Beyers, Joanna","Ferguson, Deanna","Davies, 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Gerald\",\"dates\":\"1951-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/60706728\",\"name\":\"Beyers, Joanna\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"https://viaf.org/viaf/9448936\",\"name\":\"Ferguson, Deanna\",\"dates\":\"1962-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"https://viaf.org/viaf/57518906\",\"name\":\"Davies, Kevin\",\"dates\":\"1960-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Gilbert, Gerry"],"contributors_names_search":["Gilbert, Gerry"],"contributors":["[{\"url\":\"https://viaf.org/viaf/13554305/#Gilbert,_Gerry\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Donor\",\"Producer\"]}]"],"Producer_name":["Gilbert, Gerry"],"Production_Date":[1974],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/2342/186.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"Very Good\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:30:00\",\"physical_condition\":\"Exellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J insert\",\"other_physical_description\":\"Clear Box with a J insert\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/radiofreerainforest-685/radiofreerainforest-28-june-1987-12-and-5-april-1987-12-part-1\",\"file_path\":\"\",\"filename\":\"MSC14-186-Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T0046:34\",\"precision\":\"\",\"size\":\"50.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/radiofreerainforest-686/radiofreerainforest-28-june-1987-12-and-5-april-1987-12-part-2\",\"file_path\":\"\",\"filename\":\"MSC14-186-Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:06\",\"precision\":\"\",\"size\":\"51.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-04-05\",\"type\":\"Production Date\",\"notes\":\"Side A\",\"source\":\"Casette Label, Insert\"},{\"date\":\"1987-06-28\",\"type\":\"Production Date\",\"notes\":\"Side B\\n\",\"source\":\"Casette Label, Insert\"},{\"date\":\"1974-06-19\",\"type\":\"Performance Date\",\"notes\":\"Yvonne Parent's Performance Date\",\"source\":\"Casette Label, Insert\"}]"],"Location":["[{\"url\":\"https://nominatim.openstreetmap.org/details.php?place_id=92340333\",\"venue\":\"Vancouver Co-op Radio CFRO 100.5 FM\",\"notes\":\"\",\"address\":\"370 Columbia St, Vancouver, BC V6A 4J1\",\"latitude\":\"49.2818703\",\"longitude\":\"-123.1022474\"}]"],"Address":["370 Columbia St, Vancouver, BC V6A 4J1"],"Venue":["Vancouver Co-op Radio CFRO 100.5 FM"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Liner Notes: See Photo\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555841986563,"timestamp":"2026-01-07T15:00:00.156Z","score":1.0},{"id":"6642","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Gerry Gilbert Fonds"],"source_collection_label":["Gerry Gilbert Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Gerry Gilbert Fonds collects materials from Vancouver poet Gerry Gilbert. Gilbert was a multimedia artist and writer who published 19 books between 1960 and 2006. This collection contains poetry recordings of Gilbertu2019s, including a large number of tapes from u201cradiofreerainforest,u201d the radio show he hosted. radiofreerainforest [sic] aired on Vancouver co-op radio CFRO-FM Radio beginning in the spring of 1985 and ran well into the 1990s. The show consisted of interviews, readings, and discussions with local, national and international literary figures such as Maxine Gadd, Judith Copithorne, Steve McCaffery, bpNichol, and WIlliam Burroughs."],"collection_source_collection_id":["MsC 14"],"persistent_url":[""],"item_title":["radiofreerainforest 20 September, 1987"],"item_title_source":["J Card, Cassette"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"creator_names":["Gilbert, Gerry","Dixon, Helen","Brazier, John"],"creator_names_search":["Gilbert, Gerry","Dixon, Helen","Brazier, John"],"creators":["[{\"url\":\"https://viaf.org/viaf/13554305/#Gilbert,_Gerry\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/277043526/#Dixon,_Helen,_1974-\",\"name\":\"Dixon, Helen\",\"dates\":\"1974-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/85248495/#Brazier,_John.\",\"name\":\"Brazier, John\",\"dates\":\"1961-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors_names":["Gilbert, Gerry"],"contributors_names_search":["Gilbert, Gerry"],"contributors":["[{\"url\":\"https://viaf.org/viaf/13554305/#Gilbert,_Gerry\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Donor\",\"Producer\"]}]"],"Producer_name":["Gilbert, Gerry"],"Production_Date":[1987],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/2351/195.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"Very Good\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:30:00\",\"physical_condition\":\"Exellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J card\",\"other_physical_description\":\"Clear Box with a J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/radiofreerainforest-709/radiofreerainforest-20-september-1987-part-1\",\"file_path\":\"\",\"filename\":\"MSC14-195-Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:07\",\"precision\":\"\",\"size\":\"65.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/radiofreerainforest-710/radiofreerainforest-20-september-1987-part-2\",\"file_path\":\"\",\"filename\":\"MSC14-195-Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:06\",\"precision\":\"\",\"size\":\"63.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1987-09-20\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"item and j-card\"},{\"date\":\"1974-07-24\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"item and j-card\"}]"],"Location":["[{\"url\":\"https://nominatim.openstreetmap.org/details.php?place_id=92340333\",\"venue\":\"Vancouver Co-op Radio CFRO 100.5 FM\",\"notes\":\"\",\"address\":\"370 Columbia St, Vancouver, BC V6A 4J1\",\"latitude\":\"49.2818703\",\"longitude\":\"-123.1022474\"}]"],"Address":["370 Columbia St, Vancouver, BC V6A 4J1"],"Venue":["Vancouver Co-op Radio CFRO 100.5 FM"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Liner Notes: See Photo\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555843035138,"timestamp":"2026-01-07T15:00:00.156Z","score":1.0},{"id":"6971","cataloger_name":["Donald,Shipton"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Fred Wah Fonds"],"source_collection_label":["Fred Wah Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Fred Wah fonds collects materials from Vancouver-based poet Fred Wah, who was appointed as Canadau2019s fifth Parliamentary Poet Laureate in 2011 and has published 25 books between 1965 and 2016. Wah was born in Swift Current, Saskatchewan in 1939 and grew up in the West Kootenay region. His Chinese and Scots-Irish ethnic background and identity have a significant influence on his literary work. Wah completed an undergraduate degree in Literature and Music at the University of British Columbia, where he became a founding editor of the TISH newsletter in 1961, and has taught at Selkirk College, the David Thompson University Centre, and the University of Calgary. The fonds contains a number of interviews, conversations, lectures, and public readings recorded between the years 1976 and 2006, featuring local and national literary and media figures such as Lorna Crozier, bpNichol, Daphne Marlatt, and Stuart McLean."],"collection_source_collection_id":["MsC 17"],"persistent_url":[""],"item_title":["bp Nichol Sound Poems 1970-80: Ear Rational"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"creator_names":["McCaffery, Steve","Nichol, bp (Barrie Phillip)","Dutton, Paul","Dean, Michael","Penhale, David","Truhlar, Richard","Smith, Steven"],"creator_names_search":["McCaffery, Steve","Nichol, bp (Barrie Phillip)","Dutton, Paul","Dean, Michael","Penhale, David","Truhlar, Richard","Smith, Steven"],"creators":["[{\"url\":\"http://viaf.org/viaf/38243\",\"name\":\"McCaffery, Steve\",\"dates\":\"1947-\",\"notes\":\"\\\"Cosmic Piece for Orchestra\\\" and \\\"Chorus\\\" songs are performed by Steve McCaffery and bpNichol; \\\"Acres Rare Meet\\\" is also performed by him and a group of other poets. \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"\\\"Cosmic Piece for Orchestra\\\" and \\\"Chorus\\\" songs are performed by Steve McCaffery and bpNichol.\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]},{\"url\":\"http://viaf.org/viaf/36999806\",\"name\":\"Dutton, Paul\",\"dates\":\"1943-\",\"notes\":\"\\\"Acres Rare Meet\\\" is performed by him and a group of other poets. \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Dean, Michael\",\"dates\":\"\",\"notes\":\"\\\"Acres Rare Meet\\\" is performed by him and a group of other poets. \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/16023367\",\"name\":\"Penhale, David\",\"dates\":\"\",\"notes\":\"\\\"Acres Rare Meet\\\" is performed by him and a group of other poets. \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/38165242\",\"name\":\"Truhlar, Richard\",\"dates\":\"1950-\",\"notes\":\"\\\"Acres Rare Meet\\\" is performed by him and a group of other poets. \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Smith, Steven\",\"dates\":\"\",\"notes\":\"\\\"Acres Rare Meet\\\" is performed by him and a group of other poets. \",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Production_Date":[1973],"Performance_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10216/Fred Wah Fonds_MsC 17 f_55.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Wah2021-055-Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:36\",\"precision\":\"\",\"size\":\"33.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Wah2021-055-Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:42\",\"precision\":\"\",\"size\":\"32.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-10\",\"type\":\"Performance Date\",\"notes\":\"\\\"Acres Rare meet\\\" was recorded live in Toronto\",\"source\":\"J-card\"},{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"\\\"The Alphabet Game\\\" was recorded at CBC Studios (Toronto); this is the circa date\",\"source\":\"J-card\"},{\"date\":\"1969\",\"type\":\"Performance Date\",\"notes\":\"\\\"Dada Lama\\\" was recorded at CBC Studios (Toronto). This is the circa date since another date is given for this piece, and it's in 1966 \",\"source\":\"J-card\"},{\"date\":\"1982-01-10\",\"type\":\"Performance Date\",\"notes\":\"All the recordings except for \\\"Dada Lama\\\", \\\"The Alphabet Game\\\", and \\\"Acres Rare Meet\\\" are recorded at the Studios of T.R.G \",\"source\":\"j-card\"},{\"date\":\"1973\",\"type\":\"Production Date\",\"notes\":\"\\\"060173\\\", \\\"Afternoon Attentions\\\", \\\"Meeln\\\", and \\\"Outsize Reference\\\"\",\"source\":\"J-card\"},{\"date\":\"1971\",\"type\":\"Production Date\",\"notes\":\"\\\"Eight Part Suite\\\"\",\"source\":\"J-card\"},{\"date\":\"1969\",\"type\":\"Production Date\",\"notes\":\"\\\"Cosmic piece for Orchestra and Chorus\\\"\",\"source\":\"J-card\"},{\"date\":\"1972\",\"type\":\"Production Date\",\"notes\":\"\\\"Poem Poem\\\"\",\"source\":\"J-card\"},{\"date\":\"1979\",\"type\":\"Production Date\",\"notes\":\"\\\"Art in Upheval\\\" begun in 1979\",\"source\":\"J-card\"},{\"date\":\"1977\",\"type\":\"Production Date\",\"notes\":\"\\\"Generations Generated\\\"\",\"source\":\"J-card\"},{\"date\":\"1967\",\"type\":\"Production Date\",\"notes\":\"\\\"Ballades Of The Restless Are\\\"\",\"source\":\"J-card\"},{\"date\":\"1978\",\"type\":\"Production Date\",\"notes\":\"\\\"White Text Sure: Version 1\\\"\",\"source\":\"J-card\"},{\"date\":\"1978\",\"type\":\"Production Date\",\"notes\":\"\\\"Translating Translating Apollinaire\\\"\",\"source\":\"J-card\"},{\"date\":\"1976-1980\",\"type\":\"Production Date\",\"notes\":\"\\\"Interupted Nap\\\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/7969162\",\"venue\":\"CBC Toronto\",\"notes\":\"\\\"Dada Lama\\\" and \\\"The Alphabet Game\\\" were recorded at CBC Studios \",\"address\":\"250 Front St W, Toronto, ON M5V 3G5\",\"latitude\":\"43,6444522\",\"longitude\":\"-79,3872615\"},{\"url\":\"https://www.openstreetmap.org/relation/2989349\",\"venue\":\"\",\"notes\":\"\\\"Acres Rare meet\\\" was recorded live in Toronto\",\"address\":\"City Toronto, Golden Horseshoe, Ontario, Canada\",\"latitude\":\"43.6542\",\"longitude\":\"-79.3841\"},{\"url\":\"\",\"venue\":\"Studios of T.R.G \",\"notes\":\"All the recordings except for \\\"Dada Lama\\\", \\\"The Alphabet Game\\\", and \\\"Acres Rare Meet\\\" are recorded at the Studios of T.R.G on January 10 in 1982\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["250 Front St W, Toronto, ON M5V 3G5","City Toronto, Golden Horseshoe, Ontario, Canada"],"Venue":["CBC Toronto","Studios of T.R.G "],"City":["Toronto, Ontario","Toronto, Ontario"],"Note":["[{\"note\":\"As it's written on the J-card, the woman's voice on \\\"The Alphabet Game\\\" song is that of the friend of the producer who, unfortunately, bpNichols had lost all record of.\",\"type\":\"General\"},{\"note\":\"Versions of Ear Rational exist in the Readings in BC collection, Fred Wah fonds, Adeena Karasick, and bp Nichol fonds.\\nEar Rational composed by bp Nichol, 1970 and 1980 #819 - SWALLOW ID 5484 Identical tape\\nbpNichol Sound Poems 1970-80: Ear Rational SWALLOW ID 6971 Identical tape\\nEar Rational: Sound Poems 1970-80 by bpNichol SWALLOW ID 7260 Identical tape\\nDub of Ear Rational, Sound Poems by bpNichol #43 SWALLOW ID 7023 \\nEARRATIONAL, bpNichol, side 1, master tape, recorded Nov. 1, 1982 #14 SWALLOW ID 7045 - Reel-to-Reel \\nEARRATIONAL, bpNichol, Side 2, master tape, recorded Nov. 1, 1982 #15 SWALLOW ID 7045 - Reel-to-Reel \",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670556243591171,"timestamp":"2026-01-07T15:00:00.560Z","score":1.0},{"id":"7047","cataloger_name":["Donald,Shipton"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["bpNichol Fonds"],"source_collection_label":["bpNichol Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of correspondence, poems (including concrete, experimental and sound poem drafts), manuscripts (including drafts), notebooks, and journals of bp Nichol. Fonds includes records (1964-1987) of Nichol's presses, Ganglia and grOnk, consisting of manuscript files, correspondence files, mockups, business and reference files, computer discs, the authors poetry and comic book collections, photographs, television scripts, etc. Correspondents and contributors include Bill Bissett, Gerry Gilbert, Margaret Avison, Earle Birney, David Harris, David Phillips, David McFadden and others"],"collection_source_collection_id":["MsC 12"],"persistent_url":[""],"item_title":["Raoul Duguay and bpNichol sound poetry performance on July 24, 1973 #16"],"item_title_source":["reel case"],"item_language":["English, French"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Nichol, B.P.","Duguay, Raoul"],"creator_names_search":["Nichol, B.P.","Duguay, Raoul"],"creators":["[{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, B.P.\",\"dates\":\"1944-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Performer\",\"Reader\",\"Donor\"]},{\"url\":\"http://viaf.org/viaf/64910684\",\"name\":\"Duguay, Raoul\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12147/bpNichol Fonds_MsC12_Reel 16.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"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":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC12.Nichol.Tape16.SideA\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:05:00\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-07-24\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"reel case\"}]"],"Location":["[]"],"City":["Other"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670556460646401,"timestamp":"2026-01-07T15:00:00.772Z","score":1.0},{"id":"7239","cataloger_name":["Maya,Schwartz"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Pierre Coupey Fonds"],"source_collection_label":["Pierre Coupey Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC205"],"persistent_url":[""],"item_title":["Coupey Interview 1978, Tape 2"],"item_title_source":["cassette"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Coupey, Pierre"],"creator_names_search":["Coupey, Pierre"],"creators":["[{\"url\":\"https://viaf.org/viaf/96212091/#Coupey,_Pierre,_1942-\",\"name\":\"Coupey, Pierre\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12177/Pierre Coupey Fonds_MsC 205_5.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"clear tape box\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC205-005 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:26\",\"precision\":\"\",\"size\":\"51.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online 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We are not even sure if the Vancouver Poetry Centre and Vancouver Poetry House used to be the same place \",\"address\":\"111 W Hastings St #210, Vancouver, BC V6B 1H4\",\"latitude\":\"49.281743\",\"longitude\":\"-123.105792\"},{\"url\":\"https://www.openstreetmap.org/way/23393992\",\"venue\":\"Langara College\",\"notes\":\"\",\"address\":\"100 W 49th Ave, Vancouver, BC V5Y 2Z6\",\"latitude\":\"49.22483\",\"longitude\":\"-123.10860\"}]"],"Address":["111 W Hastings St #210, Vancouver, BC V6B 1H4","100 W 49th Ave, Vancouver, BC V5Y 2Z6"],"Venue":["Vancouver Poetry House","Langara College"],"City":["Vancouver, British Columbia","Vancouver, British Columbia"],"Note":["[{\"note\":\"Side A contains one performance and some not very clear rumble, the rest of it is empty.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670557797580810,"timestamp":"2026-01-07T15:00:02.033Z","score":1.0},{"id":"9087","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser 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online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979-08-09\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"j-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU \",\"notes\":\" \",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU "],"City":["Burnaby, British Columbia"],"Note":["[{\"note\":\"Side A starts with some unrecognizable discussion, the Helen Adam introduction starts after 3 min\",\"type\":\"General\"},{\"note\":\"This tape is the duplicate of the tape from Readings in BC collection \\\"Helen Adam reading at SFU on August 9, 1979 #205\\\" (SWALLOW ID 5892)\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670558010441735,"timestamp":"2026-01-07T15:00:02.246Z","score":1.0},{"id":"8209","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Pythian Monitor"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Writing on aluminum disc."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[111.2]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2040"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"10 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Duodisc\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"33 1/3 rpm\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very fragile\",\"track_configuration\":\"\",\"material_designation\":\"Disc\",\"physical_composition\":\"Aluminum\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Disc"],"physical_compositions":["Aluminum"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_MsC_40.111.2\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:10:45\",\"precision\":\"\",\"size\":\"177.21 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970\",\"type\":\"Performance Date\",\"notes\":\"Dates supplied through research for copyright.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["Alden Nowlan is reading from the Knights of Pythias initiaton of The Rank of Knight. He reads a section ascribed to the \"Monitor\" of the ceremony. Some phrases from this ceremony are quotations from Milton. https://www.stichtingargus.nl/vrijmetselarij/pythias_r3.html"],"contents":["Alden Nowlan\nKnights of Pythias, Rank of Knight ceremony. Role of Monitor."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670558223302663,"timestamp":"2026-01-07T15:00:02.444Z","score":1.0},{"id":"8306","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Poetry Reading at U.N.B. 1979 Writer’s Workshop"],"item_title_source":["Transcribed from the artifact"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[3.1.2]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2029"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1979],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Concertape\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.3.1.2\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:43:43\",\"precision\":\"\",\"size\":\"80.05 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1979-07\",\"type\":\"Performance Date\",\"notes\":\"Dates taken from container and/or accompanying material.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://nominatim.openstreetmap.org/ui/details.html?osmtype=W&osmid=19797954&class=amenity\",\"venue\":\"University of New Brunswick\",\"notes\":\"\",\"address\":\"3, Bailey Drive, Fredericton, New Brunswick, Canada\",\"latitude\":\"[45.945530250000004]\",\"longitude\":\"[-66.64018313486694]\"}]"],"Address":["3, Bailey Drive, Fredericton, New Brunswick, Canada"],"Venue":["University of New Brunswick"],"content_notes":["- [00:00:00] Introduction of Alden Nowlan by male speaker. This workshop occurring during Alden Nowlan’s time as Writer in Residence at UNB.\n- [00:02:05] Alden Nowlan begins speaking\n- [00:06:36] Prefatory remarks, one of Alden Nowlan’s favourite poems. “A Picnic in Times Square”\n- [00:11:00] Prefatory remarks on zoos, Alden Nowlan finds them depressing places but this tiger struck him as different. “A Tiger in the Dublin Zoo”\n- [00:12:43] “He Grows in Understanding”\no - [00:13:20] Laughter and clapping at end of poem\n- [00:13:25] Prefatory remarks on how this poem is special to him and the epistolic form, written for his friend George Frederick Clarke. “A Poem for George Frederick Clarke”\no Reads final line as “and yes, / such reticence” instead of “yes, / and such reticence”\n- [00:19:18] Prefatory remarks on everyday people hijacking airplanes and his sympathy. “Night Flight from Montreal”\no Reads final line as “I must ask the police what / will happen to my luggage” instead of “Asking the police what / will happen to my luggage”\n- [00:21:15] Prefatory remarks on strange experience of being the subject of a documentary film; a new experience for him, he had naively assume that the camera would follow you around etc. Actually wanted you to perform as yourself, which is very difficult. “On Being the Subject of a Documentary”\n- [00:25:40] Prefatory remarks. “A Very Common Prescription”\n- [00:28:10] Prefatory remarks, trying to capture something of the power of expression of so-called ordinary people in very extraordinary situations. “The Red Wool Shirt”\n- [00:30:18] Prefatory remarks, it’s a found poem, something Alden Nowlan says he doesn’t do very often. “The Carpenter’s Misfortunes”\n- [00:31:45] Prefatory remarks on fifth Prime Minster of Canada and his being forgotten. “Election Song”\n- [00:32:58] Prefatory remarks on re-encountering people as an adult. “In the Blood”\n- [00:35:26] Prefatory remarks, wrote this poem a number of years ago and is recently revisiting and revising. In 1915, battle in a town in Belgium where poison gas was used for the first time by the Nazis. It appeared like something out of science fiction. Started to write this poem on Remembrance Day. “Ypres: 1915” \no A few differences from published version; Alden Nowlan himself acknowledges that he is working on its revision. Some removals or additions of words/phrases.\no Frenchmen leaving: “brandishing their swords, / weeping / for the dishonour of it all”\no The fisherman’s dialect is more colloquial: “and yup” instead of “yes”\no Billy MacNally: in this reading is specifically “from Britain Street from the South End of Saint John, New Brunswick”\n\n“I, Icarus” – “Picnic” published in Bread, Wine and Salt\n“Beggars” – “On Events” published in Between Tears and Laughter\n“Night Flight” – “Documentary” published in I’m a Stranger Here Myself\n“Prescription” – “In the Blood” published in Smoked Glass\n“Ypres: 1915” published in The Mysterious Naked Man\n"],"contents":["Alden Nowlan\n[00:02:55]\nReads \"I, Icarus\".\nAlden Nowlan\n[00:04:36]\nReads \"Daughter of Zion\".\nAlden Nowlan\n[00:06:36]\nReads \"A Picnic in Times Square\".\nAlden Nowlan\n[00:07:21]\nReads \"The Fresh-Ploughed Hill\".\nAlden Nowlan\n[00:08:18]\nReads \"The Beggars of Dublin\".\nAlden Nowlan\n[00:11:00]\nReads \"A Tiger in the Dublin Zoo\".\nAlden Nowlan\n[00:12:43]\nReads \"He Grows in Understanding\".\nAlden Nowlan\n[00:13:25]\nReads \"A Poem for George Frederick Clarke\".\nAlden Nowlan\n[00:16:05]\nReads \"Cornflowers\".\nAlden Nowlan\n[00:17:16]\nReads \"On Events of Varying Importance\".\nAlden Nowlan\n[00:19:18]\nReads \"Night Flight from Montreal\".\nAlden Nowlan\n[00:21:15]\nReads \"On Being the Subject of a Documentary\".\nAlden Nowlan\n[00:25:40]\nReads \"A Very Common Prescription\".\nAlden Nowlan\n[00:28:10]\nReads \"The Red Wool Shirt\".\nAlden Nowlan\n[00:30:18]\nReads \"The Carpenter’s Misfortunes\".\nAlden Nowlan\n[00:31:45]\nReads \"Election Song\".\nAlden Nowlan\n[00:32:58]\nReads \"In the Blood\".\nAlden Nowlan\n[00:35:26]\nReads \"Ypres: 1915\"."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Bread, Wine and Salt (1967), Smoked Glass (1977), Between Tears and Laughter (1971), The Mysterious Naked Man (1969), I'm a Stranger Here Myself (1974)\"}]"],"_version_":1853670558436163586,"timestamp":"2026-01-07T15:00:02.646Z","score":1.0},{"id":"8307","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Nov 15 / 77 A. Nowland. A. side only."],"item_title_source":["Transcribed from the artifact"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[3.1.3]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2027"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1977],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Philips\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.3.1.3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:23:16\",\"precision\":\"\",\"size\":\"42.59 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-11-15\",\"type\":\"Performance Date\",\"notes\":\"Dates taken from container and/or accompanying material.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["- [00:00:00] Recording begins mid-conversation. Discussion of martyrdom in Alden Nowlan’s verse. Dignity as part of the human character. Alden Nowlan appreciates those who know how to die well.\n- [00:04:05] Discussion of Alden Nowlan’s poem “Britain Street,” with the lines “On this street, / even the dogs / would rather fight / than eat”\no Alden Nowlan resists the interviewer’s desire for him to explain the meaning/intention of the poem. He wants readers to do this work and sees danger in the poet himself telling people what this meaning is.\n- [00:08:53] Discussion of gifts based on one of Alden Nowlan’s lines “the purest of gifts, those that consist only in giving.” A young woman at a reading brought Alden Nowlan flower seeds, it was a gift of understanding.\n- [00:10:37] Discussion of “The Sister of Zion” and religion. Presumably, this poem becomes “Daughter of Zion.”\n- [00:14:03] “There is not point in poetry if you withhold the truth” and “All truths are half truths.” Discussion of truth and the necessity (or not) for truth in poetry.\n- [00:18:25] Discussion of marriage.\n- [00:21:40] cuts to another question. Discussion of being an interviewer/being interviewed. Alden Nowlan tells a story of the only time he asked an interviewer to leave.\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670558436163587,"timestamp":"2026-01-07T15:00:02.646Z","score":1.0},{"id":"8311","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["“The Year of the Revolution” Short Story Read on CBC Radio June 29, 1982"],"item_title_source":["Transcribed from the artifact"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[3.2.4]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2052"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Balter, David"],"contributors_names_search":["Balter, David"],"contributors":["[{\"url\":\"\",\"name\":\"Balter, David\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"Presenter_name":["Balter, David"],"Performance_Date":[1978],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch Highlander\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.3.2.4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:31:07\",\"precision\":\"\",\"size\":\"56.98 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978\",\"type\":\"Performance Date\",\"notes\":\"Dates taken from container and/or accompanying material.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["Host introduces Alden Nowlan and Alden Nowlan’s short story “The Year of the Revolution.” One of a series of stories by Canadian authors commissioned by the CBC Anthology radio series and published in April 1982 in Small Wonders by CBC Books. Short story read by David Balter.\n- [00:03:13; 00:15:50; 00:23:20-40] laughter from person recording the CBC show throughout\n- [00:30:35] host concludes program. Production by Elizabeth Fox.\n"],"contents":["Alden Nowlan\n\"The Year of the Revolution\""],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Small Wonders (1982, CBC Books)\"}]"],"_version_":1853670558437212161,"timestamp":"2026-01-07T15:00:02.646Z","score":1.0},{"id":"8312","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Tim’s (Bond) Note for The Dollar Woman"],"item_title_source":["Transcribed from the artifact"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[3.3.1]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2028"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Bond, Tim","Learning, Walter"],"contributors_names_search":["Bond, Tim","Learning, Walter"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34659299\",\"name\":\"Bond, Tim\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11093579\",\"name\":\"Learning, Walter\",\"dates\":\"1938-2020\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"Speaker_name":["Bond, Tim","Learning, Walter"],"Performance_Date":[1978],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Sony\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.3.3.1\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T01:01:45\",\"precision\":\"\",\"size\":\"113.07 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978\",\"type\":\"Performance Date\",\"notes\":\"Dates supplied through research for copyright.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["Alden Nowlan speaking with Tim Bond and Walter Learning, reviewing notes on The Dollar Woman. Alden Nowlan has already met with some of the people involved in the play previously in Toronto. \n- Discussing draft of script for the play: characterization, staging, setting, audience engagement.\n- Act 3 is still yet to be written, much discussion on where the play needs to go.\n- [00:37:39] female voice interrupts because power in building is going to go off temporarily. Tape cuts to later when they return.\n- Tape is paused and begins again multiple times throughout. Ends mid-conversation.\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670558437212162,"timestamp":"2026-01-07T15:00:02.646Z","score":1.0},{"id":"8315","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Notes on Frankenstein. Priceless! / Ypres : 1915"],"item_title_source":["Transcribed from the artifact"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[3.3.4]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2025"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Learning, Walter"],"contributors_names_search":["Learning, Walter"],"contributors":["[{\"url\":\"http://viaf.org/viaf/11093579\",\"name\":\"Learning, Walter\",\"dates\":\"1938-2020\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"Speaker_name":["Learning, Walter"],"Performance_Date":[1975],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"sountrac\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.3.3.4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:23:11\",\"precision\":\"\",\"size\":\"42.44 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975\",\"type\":\"Performance Date\",\"notes\":\"Dates supplied through research for copyright.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["Cassette has note “Priceless!” written underneath the title “Notes on Frankenstein.”\n- Tape begins midway through recording these notes (speaker says “the third thing…”). Speaker is likely Walter Learning.\n- Discussion of Frankenstein radio play.\n- At - [00:05:36] tape stops and restarts, and now Alden Nowlan is present and discussing with Learning.\n- [00:15:45] recording stops and restarts; Alden Nowlan testing recording equipment.\n- [00:16:15] recording of CBC Showcase Anthology Series. Remembrance Day program with writing by Canadian writers on the first and second world wars. This section of the recording has significant hiss.\n- [00:18:22] recording cuts to later in CBC program, “Ypres: 1915” by Alden Nowlan\n"],"contents":["Unknown [likely Walter Learning]\n[00:00:01]\nDiscusses \"Frankenstein\" radio play.\nAlden Nowlan\n[00:05:36]\nTape stope and restarts, continues discussion with Unknown [likely Walter Learning].\nAlden Nowlan\n[15:45] \nTests recording equipment. \nAlden Nowlan\n[00:18:22]\n\"Ypres: 1915\"."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"The Mysterious Naked Man (1969)\"}]"],"_version_":1853670558437212165,"timestamp":"2026-01-07T15:00:02.646Z","score":1.0},{"id":"8316","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Hatfield"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Written on Tape Index Card: Side 1: Malka - Richard Hatfield Premier of New Brunswick / Side 2: Malka - Alden Nowlan. Pink sticky note with title of recording included \"Malka interview with Alden Nowlan also Richard Hatfield (premier of New Brunswick at the time)\". Tape has been recorded over, original label states “No.3 November 15/77”"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[3.4.1]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2028"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Hatfield, Richard","Marom, Malka"],"contributors_names_search":["Hatfield, Richard","Marom, Malka"],"contributors":["[{\"url\":\"\",\"name\":\"Hatfield, Richard\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Marom, Malka\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"Interviewer_name":["Marom, Malka"],"Speaker_name":["Hatfield, Richard"],"Performance_Date":[1978],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Philips\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.3.4.1\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:56:32\",\"precision\":\"\",\"size\":\"103.51 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978\",\"type\":\"Performance Date\",\"notes\":\"Dates supplied through research for copyright.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"New Brunswick, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["New Brunswick, Canada"],"content_notes":["Written on Tape Index Card: Side 1: Malka - Richard Hatfield Premier of New Brunswick / Side 2: Malka - Alden Nowlan. Pink sticky note with title of recording included \"Malka interview with Alden Nowlan also Richard Hatfield (premier of New Brunswick at the time)\".\n- Tape has been recorded over, original label states “No.3 November 15/77”\n- [00:00:00] begins with introduction of Richard Hatfield, and how he has known Alden Nowlan for many years. Malka Marom (interviewer) asks Hatfield about Alden Nowlan’s past and personal history; his contributions to New Brunswick and the writing community in NB.\n- [00:26:40] Hatfield discusses The Dollar Woman\n- [28:24-34] cuts and returns with Marom interviewing Alden Nowlan\n- Discussion of theatre and Alden Nowlan’s foray into playwriting\n- Issues with recording echo - [00:33:45] . Frequent stops to adjust recording equipment.\n- [00:39:46] Discussion of The Dollar Woman.\n- [00:47:27] Alden Nowlan reading poems. - [00:42:35] “Where do flames go when they burn out?”; - [00:42:54] “The Traveller” Between Tears and Laughter; - [00:43:16] “Remembrance of Things Past” Bread, Wine and Salt; - [00:44:22] “The Palomino Stallion” Playing the Jesus Game\n- [00:44:50] asks Alden Nowlan question in relation to interview with Hatfield the day before\n- [00:47:45] Discussion of Canadian winters\n- [00:50:02] Discussion of Alden Nowlan’s pithy/concise lines; i.e. “you’re a liar only if no one believes you”\n- The interview with Alden Nowlan occurred over a number of days (this tape representing one session/meeting)"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670558437212166,"timestamp":"2026-01-07T15:00:02.646Z","score":1.0},{"id":"8317","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Malka The Dollar Woman"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Written on Tape Index Card: Alden Nowlan Interview w. Malka about \"The Dollar Woman\" etc. Side A on tape has \"The Dollar Woman\" and \"Malka\" written on it. Side B on tape has \"Pre School\" written on it."],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[3.4.2]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2028"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Marom, Malka","Learning, Walter","Hatfield, Richard"],"contributors_names_search":["Marom, Malka","Learning, Walter","Hatfield, Richard"],"contributors":["[{\"url\":\"\",\"name\":\"Marom, Malka\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/11093579\",\"name\":\"Learning, Walter\",\"dates\":\"1938-2020\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Hatfield, Richard\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"Interviewer_name":["Marom, Malka"],"Speaker_name":["Learning, Walter","Hatfield, Richard"],"Performance_Date":[1978],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Simpsons-Sears\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.3.4.2\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:30:57\",\"precision\":\"\",\"size\":\"56.66 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978\",\"type\":\"Performance Date\",\"notes\":\"Dates supplied through research for copyright.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"CBC Radio\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Venue":["CBC Radio"],"content_notes":["Festival Theatre, hosted by William Husk. Begins with context of Alden Nowlan’s The Dollar Woman.\n- Comments from Alden Nowlan and Walter Learning on the play (somewhat difficult to make out because of recording quality). History of the pauper auctions in the Atlantic provinces, and how Alden Nowlan’s interest in the project came about. How Alden Nowlan and Learning met and began working on this project.\n- Transitions to interview selections coming from Alden Nowlan’s interview with Malka Marom. As well as Marom’s interview with Richard Hatfield.\n- [00:10:55] bagpipe interlude moves into Alden Nowlan reading a poem “The Palomino Stallion” and - [00:17:25] reading “The Traveller” and - [00:21:58] reading a segment of poetry (unknown)\n- [00:22:40] end of broadcast; recording cuts to TV medical drama, commercials.\n- [00:25:50] cuts to children playing with recording equipment.\n- [00:29:46] Alden Nowlan testing the recording equipment.\n- [00:30:05] returns to children."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670558437212167,"timestamp":"2026-01-07T15:00:02.646Z","score":1.0},{"id":"8318","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Walter Learning c. Malka"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Pink sticky note with title of recording included \"Walter Learning Alden and Malka\". Tape has been recorded over, original label states “No.1 November 15/77 #1”"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[3.4.3]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2028"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Marom, Malka","Learning, Walter"],"contributors_names_search":["Marom, Malka","Learning, Walter"],"contributors":["[{\"url\":\"\",\"name\":\"Marom, Malka\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/11093579\",\"name\":\"Learning, Walter\",\"dates\":\"1938-2020\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"Interviewer_name":["Marom, Malka"],"Speaker_name":["Learning, Walter"],"Performance_Date":[1978],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Philips\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.3.4.3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:56:09\",\"precision\":\"\",\"size\":\"102.80 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978\",\"type\":\"Performance Date\",\"notes\":\"Dates supplied through research for copyright.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["Tape has been recorded over, original label states “No.1 November 15/77 #1”\n- Malka begins interview by confusing Walter Learning and Alden Nowlan\n- Discussing The Dollar Woman (particularly its upcoming radio play adaptation). Learning notes that the basis of the story is all true, their only inventions were particular characters. This phenomenon is incredibly well-documented because there was a journalist at the time who took great issue with the poor auctions and dedicated repeated issues of the his column to the issue.\n- Learning notes that the idea of the play “chose them”\n- Audience reception of the stage play\n- The collaborative process for Learning and Alden Nowlan; how the play changed from conception to completion\n- The public feud between Alden Nowlan and Learning prior to their collaboration (and the great fun they had in maintaining this feud)\n- Histories of writing in Canada—playwriting, poetry, “Canadian literature”"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670558437212168,"timestamp":"2026-01-07T15:00:02.646Z","score":1.0},{"id":"8321","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Hatfield TV Interview / Notes on FRANKENSTEIN"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Writing on tape label (side 1): SIDE ONE, MED. MAD (crossed out), Hatfield TV Interview. Writing on tape label (side 2): SIDE TWO MED MAD (crossed out), 2 CHOPIN BALLADS (crossed out), Notes on FRANKENSTEIN"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[3.5.2(1)]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2026"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors_names":["Hatfield, Richard","Learning, Walter"],"contributors_names_search":["Hatfield, Richard","Learning, Walter"],"contributors":["[{\"url\":\"\",\"name\":\"Hatfield, Richard\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11093579\",\"name\":\"Learning, Walter\",\"dates\":\"1938-2020\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"Speaker_name":["Hatfield, Richard","Learning, Walter"],"Performance_Date":[1976],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Philips\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.3.5.2(1)\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:59:14\",\"precision\":\"\",\"size\":\"108.46 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976\",\"type\":\"Performance Date\",\"notes\":\"Dates supplied through research for copyright.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["Alden Nowlan is interviewing Richard Hatfield, during election campaign to be re-elected premier.\n- Asks why should the voters believe Hatfield and his government will keep their promises from this campaign (when they haven't kept some during this term)?\n- Discussion of money spending of Hatfield’s government; its focus on social services, keeping the tax burden down.\n- First priority is to develop the economy of the province.\n- [00:26:35] other interviewee clips talking about Hatfield\n- [00:27:46] tape cuts to choral singing.\n- [00:29:16] Notes on the first draft of Frankenstein from Walter Learning. Notes to be typed up and sent to Alden Nowlan.\n- [00:47:45] tape cuts to piano music, presumably the Chopin ballads that had been taped over. - [00:50:50] Can hear tapping in the background—possibly the noise of the radio/record player. - [00:53:43] Alden Nowlan yawns.\n- [00:54:56] tape cuts, muffled noises, and then returns to the Chopin ballad."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670558438260738,"timestamp":"2026-01-07T15:00:02.646Z","score":1.0},{"id":"8322","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["ONE SIDE Hatfield TV Interview / PRE-SCHOOL -- ONE SIDE"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Writing on tape index card: TV interview with Richard Hatfield (then Premier of New Brunswick). Writing on tape label (side 1): ONE SIDE Hatfield TV Interview. Writing on tape label (side 2): PRE-SCHOOL -- ONE SIDE"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[3.5.2(2)]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2026"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors_names":["Hatfield, Richard"],"contributors_names_search":["Hatfield, Richard"],"contributors":["[{\"url\":\"\",\"name\":\"Hatfield, Richard\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"Speaker_name":["Hatfield, Richard"],"Performance_Date":[1976],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Zellers\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.3.5.2(2)\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:29:57\",\"precision\":\"\",\"size\":\"54.86 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976\",\"type\":\"Performance Date\",\"notes\":\"Dates supplied through research for copyright.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["Recordist (Alden Nowlan) flipping through television channels\n- [00:01:00] ATV News Special Program of Premier Richard Hatfield in conversation with Alden Nowlan\n- Questions from Alden Nowlan to Hatfield: - [00:01:20] Why do you want another term as premier of New Brunswick? - [00:01:47] Are you superstitious? Does it bother you that no Conservative government has been elected premier a second term? - [00:05:20] Why should the voters believe you’ll keep the promises in this campaign? - [00:09:24] What would your reaction be to the charge that you have been spending the taxpayers’ money? \n- [00:09:39] laughter and comments from Alden Nowlan’s female partner in the background.\n- [00:19:45] Issue of federal government’s proposed cut to equalization payment a central concern for this campaign - [00:23:40] Hatfield addressing the (im)possibility of taking a federal job\n- [00:24:17-end of tape] tape slips as recording\n- [00:25:48] cuts to other people being interviewed about Premier Hatfield; ends with campaign endorsement to vote for Progressive Conservative.\n- [00:27:01] cuts to female reading story (likely Alden Nowlan’s partner Claudine Orser), children playing in the background. Frequent cuts and repeats."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670558438260739,"timestamp":"2026-01-07T15:00:02.646Z","score":1.0},{"id":"8332","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Untitled tape [\"In memory of Alden Nowlan\" from CBC Anthology series, 1970]"],"item_title_source":["Transcribed from the artifact"],"item_title_note":[" [\"In memory of Alden Nowlan\" from CBC Anthology series, 1970] added by Jason Camlot to create a more informative title."],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[4.3.2]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2054"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Burn, Cyril","Doherty, Denny","Wadman, Glenn","Milosovich, Olga"],"contributors_names_search":["Burn, Cyril","Doherty, Denny","Wadman, Glenn","Milosovich, Olga"],"contributors":["[{\"url\":\"\",\"name\":\"Burn, Cyril\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/7136679\",\"name\":\"Doherty, Denny\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Wadman, Glenn\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Milosovich, Olga\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Narrator\"]}]"],"performer_name":["Burn, Cyril","Doherty, Denny","Wadman, Glenn"],"Performance_Date":[1970],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Pulser\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.4.3.2\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:46:40\",\"precision\":\"\",\"size\":\"85.45 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970\",\"type\":\"Performance Date\",\"notes\":\"Date taken from creation dates listed for item level descriptions in archival finding aid for the Alden Nowlan fonds Item number 4.3.2\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Halifax, Nova Scotia, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Halifax, Nova Scotia, Canada"],"City":["Halifax, Nova Scotia"],"content_notes":["CBC Anthology series female announcer (Olga Milosovich) discussing Alden Nowlan’s Will Ye Let the Mummers In, published posthumously.\n- Program titled “In memory of Alden Nowlan”\n- [0:34-0:45] cuts and then returns to program. Different Anthology female announcer discussing Alden Nowlan and introducing program.\n- [00:01:22] “The Drunken Poet” read by a male voice.\n- [00:02:17] Announcer introduces first piece of short fiction, - [00:02:39] “Hello Out There”\n- [00:10:52] Announcer returns\n- [00:11:32] “Two Poems for the Nova Scotia Department of Highways”. Reads both poems.\n- [00:12:59] Announcer introduces next poem, - [00:13:26] “Fives Days in Hospital”\n- [00:15:15] “The Bull Moose”\n- [00:16:55] Announcer introduces “Ypres: 1915” - [00:17:15] \n- [00:21:37] break and return to program\n- [00:21:51] “Will Ye Let the Mummers In?” Squeak on recording throughout the first half of the reading.\n- [00:44:35] announcer ends program, notes that this program is one year after his death\n- [00:45:12] “For Claudine, Because I Love Her”\n- Written by Robert Weaver, produced by Elizabeth Fox, technical support Rod Sneden, production assistant Betty Ann Lloyd. Voiced by Cyril Burn, Denny Doherty, and Glenn Wadman. Narrated by Olga Milosovich."],"contents":["Unknown\n[00:00:01]\nPresents \"In memory of Alden Nowlan\" from CBC Anthology series.\nUnknown\n[00:01:22]\nReads \"The Drunken Poet\".\nUnknown\n[00:02:39]\nReads \"Hello Out There\".\nUnknown\n[00:11:32]\nReads \"Two Poems for the Nova Scotia Department of Highways\".\nUnknown\n[00:13:26]\nReads \"Fives Days in Hospital\".\nUnknown\n[00:15:15]\nReads \"The Bull Moose\".\nUnknown\n[00:17:15]\nReads \"Ypres: 1915\".\nUnknown\n[00:21:51]\nReads \"Will Ye Let the Mummers In?\".\nUnknown\n[00:45:12]\nReads \"For Claudine Because I Love Her\"."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"The Things Which Are (1962), The Mysterious Naked Man (1969)\"}]"],"_version_":1853670558516903938,"timestamp":"2026-01-07T15:00:02.734Z","score":1.0},{"id":"8333","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["#2 Nov 15/77"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Writing on tape: #2 Nov 15/77"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[4.3.3]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2027"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Marom, Malka"],"contributors_names_search":["Marom, Malka"],"contributors":["[{\"url\":\"\",\"name\":\"Marom, Malka\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"Interviewer_name":["Marom, Malka"],"Performance_Date":[1977],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Philips\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_523_92.21.4.3.3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:55:29\",\"precision\":\"\",\"size\":\"101.59 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-11-15\",\"type\":\"Performance Date\",\"notes\":\"Dates taken from container and/or accompanying material.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["Writing on tape: #2 Nov 15/77\n- Part of interview with Malka Marom\n- Discussion of drudgery and inspiration in writing\n- Alden Nowlan’s personal history. Includes discussion of Alden Nowlan’s illness.\n- Discussions of writing and poetry"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670558516903939,"timestamp":"2026-01-07T15:00:02.734Z","score":1.0},{"id":"8355","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Robert Kroetsch fonds"],"source_collection_label":["Robert Kroetsch fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/robert-kroetsch-fonds"],"item_title":["Robt. Kroetsch & Rudy Wieb [sic], CBR \"Canada AM\" Show, May 6/76."],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Transcription of entire interview. Recording in envelope stamped with University of Lethbridge."],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[28.3.2]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2026"],"creator_names":["Kroetsch, Robert"],"creator_names_search":["Kroetsch, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/120613489\",\"name\":\"Kroetsch, Robert\",\"dates\":\"1927-2011\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Wiebe, Rudy","McDonald, Marguerite"],"contributors_names_search":["Wiebe, Rudy","McDonald, Marguerite"],"contributors":["[{\"url\":\"http://viaf.org/viaf/39385421\",\"name\":\"Wiebe, Rudy\",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"McDonald, Marguerite\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"Interviewer_name":["McDonald, Marguerite"],"Speaker_name":["Wiebe, Rudy"],"Performance_Date":[1976],"material_description":["[{\"side\":\"A\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Sony\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"RK_MsC_27_28.3-2\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:18:28\",\"precision\":\"\",\"size\":\"608.74 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-05-06\",\"type\":\"Performance Date\",\"notes\":\"Date taken from creation dates listed for item level descriptions in archival finding aid for the Robert Kroetsch fonds Item number 28.3.2\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Canada AM / CBR Calgary\",\"notes\":\"\",\"address\":\"Calgary, Alberta, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Calgary, Alberta, Canada"],"Venue":["Canada AM / CBR Calgary"],"City":["Calgary, Alberta"],"content_notes":["Transcript of interview included in folder. The casette is enclosed in an envelope with the University of Lethbridge Department of English stamped on it\n- The file contains a full transcription of the interview.\n- Begins mid-sentence with introduction by Marguerite McDonald\n- Robert Kroetsch and Wiebe are at a piano with Collie Banks, they didn’t know they were already being recorded.\n- Rudy was a singer – he sings “Amazing Grace” then Robert Kroetsch sings “Wild, Wild Women”\n- [00:03:07] interview on approach to prairie writing\n- Beer parlours and prairie stories – Wiebe says there are only certain types of stories that you can hear at parlours\n- Space and the prairies – W “space has everything in it” you just have to look\n- Always in relationship with the landscape/earth and the prairies make you aware of this relationship\n- W – man is vertical compared to flatness of prairies, man moves while landscape remains immutable\n- K – why movement across prairies so important to novels\n- K – doesn’t like generalizations about the prairies\n- K – as writers we accept the prairies – earlier writers (Grove, Ross) trying to resist the prairies – trying to impose another cultural pattern onto it\n- W – old writers had a sense that somehow the prairies had to be improved, whereas current writers now live and move within the prairie space and work with it\n- W – When writing Big Bear travelled his prairie routes. Wiebe didn’t try to write notes during the journey, wanted to feel the experience\n- K – did the same for Badlands – a week on Red Deer River\n- Commenting on the quote about Canadian literature that “it’s by our lack of ghosts we’re haunted”: W – disagrees, gives examples of buffalo jumps which are over 4000 years old. He insists that we have ghosts, but it’s “by our ignorance that we’re haunted” because we don’t know or refuse the history.\n- K – in writing, you look for a story that acts out inside of you\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670558522146818,"timestamp":"2026-01-07T15:00:02.734Z","score":1.0},{"id":"8373","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Gardens of the wind"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Two pieces of paper, notes from archivist."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[111.1]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2040"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Springford, Ruth","Scott, John","Davidson, Richard","Allan, Andrew"],"contributors_names_search":["Springford, Ruth","Scott, John","Davidson, Richard","Allan, Andrew"],"contributors":["[{\"url\":\"\",\"name\":\"Springford, Ruth\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Scott, John\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Davidson, Richard\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Allan, Andrew\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Springford, Ruth","Scott, John","Davidson, Richard","Allan, Andrew"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Brentwood\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"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"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_MsC_40.111.10\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T01:04:06\",\"precision\":\"\",\"size\":\"1.03 GB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-03-07\",\"type\":\"Performance Date\",\"notes\":\"Date taken from creation dates listed for item level descriptions in archival finding aid for the Alden Nowlan fonds Item number 111.10\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["Cassette recording of reel also in folder, labeled \"LP's 40.111.10\".\n- [00:00:00] Alden Nowlan talking about getting a particular level, news put on and volume adjusted. Radio program indicates its 11:03pm, and the introduction to CBC Radio Anthology series plays.\n- Last of six “Poems for Voices” commissioned by Anthology.\n- [00:01:18] Introduction to Alden Nowlan\n- [00:01:48] “Gardens of the wind” read by female voice; - [00:02:37] transitions to male voice; - [00:04:12] various voices together; - [00:05:00] .\n- Quotations from various wartime speeches and literature (i.e., “We Shall Fight on the Beaches”), quotations from famous literature and the Bible, and musical accompaniments (military/nationalist—drums, God Save the Queen, parade music).\n- [00:08:04] “There is no order except that which the mind confers” (Jostein Gaarder); - [00:08:17] apocrypha\n- Recurrent image of a prisoner in a court room; inclusion of the “local news” of 1940; RCAF, war planes, and other industries of war related to Canada in the Great War; “we were all children”\n- Poem ends at - [00:15:23] .\n- [00:15:25] Credits for production.Voices of Ruth Springford, John Scott, Richard Davidson, and Andrew Allan.\n- [00:16:04] “Between Ourselves” radio program (with Alan Anderson) discussion of St. John’, Newfoundland. Interviewing locals.\n- [00:43:12] Poem about St. John called “Incident”.\n- [00:50:16] Another poem “Where’s the port of grey St. John…”\n- [01:02:36] credits for radio program."],"contents":["Alden Nowlan \n[0:00] \nDiscusses audio levels and volume, introduction to CBC Radio Anthology series plays. \nUnknown [multiple voices]\n[00:01:48]\nRead \"Gardens of the wind\".\nAnthology series Team [Ruth Springford, John Scott, Richard Davidson, Andrew Allan]\n[00:15:23]\nAnnounces credits for production of show."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Poem commissioned for this radio programme.\"}]"],"_version_":1853670558524243976,"timestamp":"2026-01-07T15:00:02.734Z","score":1.0},{"id":"8386","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Miracle at Indian River"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Two pieces of paper, notes from archivist. And advertising piece of paper for Audiotape."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[111.11]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2040"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Audiotape\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"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"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_MsC_40.111.11\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T01:40:26\",\"precision\":\"\",\"size\":\"1.62 GB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-12-01\",\"type\":\"Performance Date\",\"notes\":\"Date taken from creation dates listed for item level descriptions in archival finding aid for the Alden Nowlan fonds Item number 111.11\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["Cassette recording of reel also in folder, labeled \"40.111.11 side 1+2\".\n- [00:00:00] Alden Nowlan testing the audio equipment.\n- [00:00:57] recording begins of end of a CBC radio program. Conversation is audible in the background.\n- [00:04:00] radio reporting of Nova Scotia by-election.\n- [00:04:17] “Miracle at Indian River” radio play on CBC. Begins with singing (scene opens in a congregation worship service). Focuses on the town of Indian River, through the church, and the “crisis” of unmarried young people in Indian River.\n- [00:35:55] cuts to Nova Scotia by-election updates\n- [00:36:29] Returns to “Miracle”\n- [00:38:27] cuts to Nova Scotia by-election results\n- [00:38:46] Returns to “Miracle”\n- [00:50:52] End credits. Dramatized by Noel Stone and presented on CBC Tuesday Night. Jake Creeley starred as Reverend Horace Zwicker. Other credits: Frank Aldice, Bruce Armstrong, Joe Austin, Jim Barron, Marcia Diamond, Alan Deramos, Peg Dickson, Alice Hill, Corinne Langston, Claude Ray, Ruth Springford, and Marie Westgate. Music and arrangement by Carl Taffscott. Sound effects by Bill Robinson. Technical operations by Gary Stubbs. Introduction and broadcast announcer, Jim Chorley.\n- [00:51:33] cuts to Alden reading poems “for Wynn Fracis”\n- [00:51:56] “I, Icarus”\n- [00:53:29] “Daughter of Zion”\n- [00:55:04] “Husband and Wife”\n- [00:55:53] “Britain Street, St. John’s New Brunswick”\n- [00:56:57] “A Picnic in Times Square”\n- [00:57:21] “Secret Life”\n- [00:58:16] “O”\n- [00:59:04] “Verbal Transcription at the Legion Hall in Hartland, New Brunswick”\n- [00:59:45] “The Fresh Ploughed Hill”\n- [01:00:22] “Footsteps in the Dark”\n- [01:01:16] “Remembrance of Things Past”\n- [01:01:57] “The Hollow Men”\n- [01:02:35] “A Treaty to be Signed with Guests”\n- [01:03:00] “The Guide,” a short story\n- [01:11:34] Cut in recording. Can hear voices in the background. A collection of poems from The Mysterious Naked Man. - [01:11:59] “The Mysterious Naked Man”.\n- [01:13:21] Cut in recording. “Ypres: 1915”. Can hear music in the background.\n- [01:17:15] “Brandy of the Damned”\n- [01:19:21] “Absolution”\n- [01:19:38] “Hymn to Dionysius”\n- [01:19:58] “Greatness”\n- [01:20:16] “The Last Leper in Canada”\n- [01:21:25] “Snapshot”\n- [01:22:00] “The Atheist Praying”\n- [01:22:28] “For Claudine Because I Love Her”\n- [01:23:13] “Danse Macabre”\n- [01:24:01] “In an Irish Village”\n- [01:24:37] “A Signboard in Soho”\n- [01:26:26] “Points of Contact”\n- [01:27:40] Cut in recording. “The Barmaid’s Daughter”\n- [01:28:18] “The Dream of the Chocolate Dog”\n- [01:29:42] “A Mime for Lovers”\n- [01:30:39] “Apology”\n- [01:30:56] “A Million Years Ago”\n- [01:31:26] “Dream of Man, Whale and Tiger”\n- [01:32:48] “On the Nature of Human Compassion”\n- [01:33:40] “The Saint’s Apprentice”\n- [01:34:35] “The Backbiters”\n- [01:35:25] Note from Alden Nowlan that he will end with a few older poems. “In the Hainesville Cemetery”\n- [01:36:15] “Lament for James Talbot”\n- [01:37:37] “The Bull Moose”\n- [01:39:38] “The Execution”"],"contents":["Unknown\n[00:04:17]\nReads \"Miracle at Indian River\".\nAlden Nowlan\n[00:51:56]\nReads \"I, Icarus\".\nAlden Nowlan\n[00:53:29]\nReads \"Daughter of Zion\".\nAlden Nowlan\n[00:55:04]\nReads \"Husband and Wife\".\nAlden Nowlan\n[00:55:53]\nReads \"Britain Street, St. John’s New Brunswick\".\nAlden Nowlan\n[00:56:57]\nReads \"A Picnic in Times Square\".\nAlden Nowlan\n[00:57:21]\nReads \"Secret Life\".\nAlden Nowlan\n[00:58:16]\nReads \"O\".\nAlden Nowlan\n[00:59:04]\nReads \"Verbal Transcription at the Legion Hall in Hartland, New Brunswick\".\nAlden Nowlan\n[00:59:45]\nReads \"The Fresh Ploughed Hill\".\nAlden Nowlan\n[01:00:22]\nReads \"Footsteps in the Dark\".\nAlden Nowlan\n[01:01:16]\nReads \"Remembrance of Things Past\".\nAlden Nowlan\n[01:01:57]\nReads \"The Hollow Men\".\nAlden Nowlan\n[01:02:35]\nReads \"A Treaty to be Signed with Guests\".\nAlden Nowlan\n[01:03:00]\nReads \"The Guide\".\nAlden Nowlan\n[01:11:59]\nReads \"The Mysterious Naked Man\".\nAlden Nowlan\n[01:13:21]\nReads \"Ypres: 1915\".\nAlden Nowlan\n[01:17:15]\nReads \"Brandy of the Damned\".\nAlden Nowlan\n[01:19:21]\nReads \"Absolution\".\nAlden Nowlan\n[01:19:38]\nReads \"Hymn to Dionysius\".\nAlden Nowlan\n[01:19:58]\nReads \"Greatness\".\nAlden Nowlan\n[01:20:16]\nReads \"The Last Leper in Canada\".\nAlden Nowlan\n[01:21:25]\nReads \"Snapshot\".\nAlden Nowlan\n[01:22:00]\nReads \"The Atheist Praying\".\nAlden Nowlan\n[01:22:28]\nReads \"For Claudine Because I Love Her\".\nAlden Nowlan\n[01:23:13]\nReads \"Danse Macabre\".\nAlden Nowlan\n[01:24:01]\nReads \"In an Irish Village\".\nAlden Nowlan\n[01:24:37]\nReads \"A Signboard in Soho\".\nAlden Nowlan\n[01:26:26]\nReads \"Points of Contact\".\nAlden Nowlan\n[01:27:40]\nReads \"The Barmaid’s Daughter\".\nAlden Nowlan\n[01:28:18]\nReads \"The Dream of the Chocolate Dog\".\nAlden Nowlan\n[01:29:42]\nReads \"A Mime for Lovers\".\nAlden Nowlan\n[01:30:39]\nReads \"Apology\".\nAlden Nowlan\n[01:30:56]\nReads \"A Million Years Ago\".\nAlden Nowlan\n[01:31:26]\nReads \"Dream of Man, Whale and Tiger\".\nAlden Nowlan\n[01:32:48]\nReads \"On the Nature of Human Compassion\".\nAlden Nowlan\n[01:33:40]\nReads \"The Saint’s Apprentice\".\nAlden Nowlan\n[01:34:35]\nReads \"The Backbiters\".\nAlden Nowlan\n[01:35:25]\nReads \"In the Hainesville Cemetery\".\nAlden Nowlan\n[01:36:15]\nReads \"Lament for James Talbot\".\nAlden Nowlan\n[01:37:37]\nReads \"The Bull Moose\".\nAlden Nowlan\n[01:39:38]\nReads \"The Execution\"."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Miracle at Indian River (1982)\"}]"],"_version_":1853670558527389700,"timestamp":"2026-01-07T15:00:02.734Z","score":1.0}]