[{"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":"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":"4053","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":["Daphne Marlatt"],"item_title_source":["Title written on container."],"item_language":["English"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Marlatt, Daphne","Davey, Frank"],"creator_names_search":["Marlatt, Daphne","Davey, Frank"],"creators":["[{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/5029235\",\"name\":\"Davey, Frank\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/632/Swallow_2014_002_004_a.jpg\",\"other\":\"\",\"extent\":\"1/4 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\":\"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\":\"2014.002.004_DaphneMarlatt_Side1_3-2(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:33:29\",\"precision\":\"\",\"size\":\"771.8 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Performance Date\",\"notes\":\"Recording likely made circa or after 1974, when Steveston was published.\",\"source\":\"Secondary Research\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Note":["[{\"note\":\"Item #: 2014.002.004\",\"type\":\"\"},{\"note\":\"Digitized. 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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":["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":"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":"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":"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":"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":"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":"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":"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":"6302","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":["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. K.\",\"dates\":\"1916-2010\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/8315/Reading in BC_MsC199_454b.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\":\"453-tape-2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:22:40\",\"precision\":\"\",\"size\":\"26.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"Audio file has a wrong name, but it is the right one\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"453-tape-2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:39\",\"precision\":\"\",\"size\":\"29.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"Audio file has a wrong name, but it is the right one\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974-11-25\",\"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\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555073380356,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0},{"id":"6514","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 19 April, 1987 2/2"],"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","Ismail, Jam"],"creator_names_search":["Gilbert, Gerry","Ismail, Jam"],"creators":["[{\"url\":\"https://viaf.org/viaf/13554305/#Gilbert,_Gerry\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/70559937/#Ismail,_Jam\",\"name\":\"Ismail, Jam\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1987],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/2145/172.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\":\"\",\"file_path\":\"\",\"filename\":\"MSC14-172-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\":\"\",\"file_path\":\"\",\"filename\":\"MSC14-172-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\":\"1987-04-19\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Casette Label, J Card\"},{\"date\":\"1974-01-06\",\"type\":\"Performance Date\",\"notes\":\"Jam Ismail Performance date\",\"source\":\"Casette Label, 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_":1853670555610251267,"timestamp":"2026-01-07T14:59:59.951Z","score":1.0},{"id":"6534","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. 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 4 March, 1990"],"item_title_source":["item and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"creator_names":["MacLennan, Toby","Curnoe, Greg"],"creator_names_search":["MacLennan, Toby","Curnoe, Greg"],"creators":["[{\"url\":\"http://viaf.org/viaf/6321167/#MacLennan,_Toby\",\"name\":\"MacLennan, Toby\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/40615436/#Curnoe,_Greg,_1936-1992\",\"name\":\"Curnoe, Greg\",\"dates\":\"1936-1992\",\"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"],"Production_Date":[1990],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/2165/radiofreerainforest_7.7.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\":\"T01:00:00\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/radiofreerainforest-457/radiofreerainforest-4-march-1990-part-1\",\"file_path\":\"\",\"filename\":\"MSC14-7.7-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:24\",\"precision\":\"\",\"size\":\"36 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-458/radiofreerainforest-4-march-1990-part-2\",\"file_path\":\"\",\"filename\":\"MSC14-7.7-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:27:03\",\"precision\":\"\",\"size\":\"37.8 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\":\"1990-03-04\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"j-card\"},{\"date\":\"1974-02-18\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"j-card\"},{\"date\":\"1974-05-20\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"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\"},{\"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_":1853670555613396998,"timestamp":"2026-01-07T14:59:59.951Z","score":1.0},{"id":"6537","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. 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 22 March, 1990"],"item_title_source":["item and j-card"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"creator_names":["Gilbert, Gerry","Lewis, James","Oswald, John","Kaiser, Henry","Neil, Al"],"creator_names_search":["Gilbert, Gerry","Lewis, James","Oswald, John","Kaiser, Henry","Neil, Al"],"creators":["[{\"url\":\"http://viaf.org/viaf/13554305/#Gilbert,_Gerry\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\",\"Reader\",\"Interviewer\"]},{\"url\":\"\",\"name\":\"Lewis, James \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/74001043/#Oswald,_John,_1953-\",\"name\":\"Oswald, John\",\"dates\":\"1953-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/85608201/#Kaiser,_Henry.\",\"name\":\"Kaiser, Henry\",\"dates\":\"1952-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/46803421\",\"name\":\"Neil, Al\",\"dates\":\"1924-2017\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"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\":\"operator\",\"nation\":[],\"role\":[\"Producer\",\"Donor\"]}]"],"Producer_name":["Gilbert, Gerry"],"Production_Date":[1990],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/2168/radiofreerainforest_8.0.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\":\"T01:00:00\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/radiofreerainforest-466/radiofreerainforest-22-march-1990-part-1\",\"file_path\":\"\",\"filename\":\"MSC14-8.0-Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:19\",\"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\":\"https://digital.lib.sfu.ca/radiofreerainforest-467/radiofreerainforest-22-march-1990-part-2\",\"file_path\":\"\",\"filename\":\"MSC14-8.0-Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:46\",\"precision\":\"\",\"size\":\"26.8 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\":\"1990-03-22\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"j-card\"},{\"date\":\"1974\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"j-card\"},{\"date\":\"1977\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"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\"},{\"url\":\"\",\"venue\":\"PUMPS\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["370 Columbia St, Vancouver, BC V6A 4J1"],"Venue":["Vancouver Co-op Radio CFRO 100.5 FM","PUMPS"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Liner Notes: see photo\",\"type\":\"General\"},{\"note\":\"I cannot understand the location of '74 recording and didn't catch it mentioned on the 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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. 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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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