[{"id":"9594","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S4E3, Drum Codes [Part 2]: Sounds of Data, 5 December 2022, Miya"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/drum-codes-part-2-sounds-of-data/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 4"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Chelsea Miya"],"creator_names_search":["Chelsea Miya"],"creators":["[{\"url\":\"http://viaf.org/viaf/9162060349751401864\",\"name\":\"Chelsea Miya\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/f155a6f6-3a58-44fe-8b40-8536a7c437ab/audio/89995b0d-9cfc-4a2e-a427-ad697eb76aea/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"s4e3.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:50:41\",\"precision\":\"\",\"size\":\"48,663,031 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s4e3\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/drum-codes-part-2-sounds-of-data/\"}]"],"Dates":["[{\"date\":\"2022-12-05\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"University of Alberta Humanities Centre\",\"notes\":\"\",\"address\":\"11121 Saskatchewan Drive NW, Edmonton, AB, T6G 2E5\",\"latitude\":\"53.5269794\",\"longitude\":\"-113.51915593663469\"}]"],"Address":["11121 Saskatchewan Drive NW, Edmonton, AB, T6G 2E5"],"Venue":["University of Alberta Humanities Centre"],"City":["Edmonton, Alberta"],"content_notes":["No transcript."],"contents":["Audio technology and audio data come in radically different forms. This month’s episode, “Sounds of Data” is a follow up to Season Two’s “Drum Codes” and takes us deeper into the sonic world of data: from the sounds of surveillance to music of the stars to the wireless transmission of drum songs. Featuring interviews with sound artist and poet Oana Avasilichioaei, NASA sonification expert Matt Russo, and speech technologist Tunde Adegbola, each offering a unique perspective on the question: what does data sound like?\n\nSpecial thanks to master drummer Peter Olálékan Adédòkun, whose music you hear in the first half of the episode. Original music and performance clips were also provided by Oana Avasilichioaei and by Matt Russo and his team at SYSTEM Sounds. Thank you, as well, to Sean Luyk, who co-produced the “Drum Codes” episode and played a significant role in conceptualising this follow-up."],"Note":["[{\"note\":\"No transcript.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670549530607616,"timestamp":"2026-01-07T14:59:53.966Z","score":1.0},{"id":"9617","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S3E4, SoundBox Signals Presents “Performing the Archive”, 3 January 2022, Shearer, Butchart and Sallam"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/soundbox-signals-presents-performing-the-archive/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 3"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Karis Shearer","Megan Butchart","Nour Sallam"],"creator_names_search":["Karis Shearer","Megan Butchart","Nour Sallam"],"creators":["[{\"url\":\"http://viaf.org/viaf/61365463\",\"name\":\"Karis Shearer\",\"dates\":\"1980-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Megan Butchart\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Nour Sallam\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/470425b9-3ec2-4306-83fc-49f6bc3a2b7d/audio/1c30fb73-bdd4-42e2-8a5b-6d70ff8f0b07/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"s3e4-soundboxsignals-performingthearchive.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:59:37\",\"precision\":\"\",\"size\":\"57,301,830 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s3e4-soundboxsignals-performingthearchive\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/soundbox-signals-presents-performing-the-archive/\"}]"],"Dates":["[{\"date\":\"2022-01-03\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/123757617\",\"venue\":\"University of British Colombia Okanagan AMP Lab\",\"notes\":\"\",\"address\":\"3333 University Way, Kelowna, BC, V1V 1V7\",\"latitude\":\"49.94217525\",\"longitude\":\"-119.39902819775307\"}]"],"Address":["3333 University Way, Kelowna, BC, V1V 1V7"],"Venue":["University of British Colombia Okanagan AMP Lab"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"John Lent’s “A Matins Flywheel”: https://thistledownpress.com/product/a-matins-flywheel/\\n\\nDavid R. Loy’s “Nonduality in Buddhism and Beyond”: https://www.simonandschuster.com/books/Nonduality/David-R-Loy/9781614295242\\n\\nDaphne Marlatt’s Ana Historic: https://houseofanansi.com/products/ana-historic\\n\\nInspired Word Cafe: http://www.inspiredwordcafe.com/\\n\\nRead more about the AMP Lab’s events with Daphne Marlatt:\\n\\nShearer, Karis. “Performing the Archive: Daphne Marlatt, leaf leaf/s, then and now.” The AMP Lab Blog. 17 November 2019. http://amplab.ok.ubc.ca/index.php/2019/11/17/performing-the-archive-daphne-marlatt-leaf-leaf-s-then-and-now/\\n\\nBuchart, Megan. “Poetry, Campus, Community: Tuum Est.” The AMP Lab Blog. 18 November 2019. http://amplab.ok.ubc.ca/index.php/2019/11/18/poetry-campus-community-tuum-est/ \\n\\nOddleifson, Shauna. “Performing the Archive: Daphne Marlatt.” In Featured Stories and Our Students, UBCO Faculty of Critical and Creative Studies. 11 September 2019. https://fccs.ok.ubc.ca/2019/09/11/performing-the-archive-daphne-marlatt/ \"}]"],"_version_":1853670549710962688,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This month on the SpokenWeb Podcast, we are excited to share with you a special episode from our sister podcast Soundbox Signals. Host Karis Shearer, guest curator Megan Butchart, and poet Daphne Marlatt have a conversation about Daphne Marlatt’s 1969 archival recording of leaf leaf/s and her experience of performing poetry with the archive in 2019. This episode was co-produced by Karis Shearer and Nour Sallam.\n\nProduced by the SpokenWeb team at AMP Lab at UBC Okanagan, SoundBox Signals brings literary archival recordings to life through a combination of ‘curated close listening’ and conversation. Hosted and co-produced by Karis Shearer, each episode is a conversation featuring a curator and special guests. Together they listen, talk, and consider how a selected recording signifies in the contemporary moment and ask what *listening* allows us to know about cultural history. Find out more at https://soundbox.ok.ubc.ca.\n\n00:05\tSpokenWeb Podcast Theme Music:\t[Instrumental Overlapped With Feminine Voice] Can you hear me? I don’t know how much projection to do here.\n \n\n00:18\tHannah McGregor:\tDoes literature sound like? What stories, what we hear if we listen to the archive? Welcome to the SpokenWeb Podcast: Stories about how literature sounds.\n \n\n00:35\tHannah McGregor:\tMy name is Hannah McGregor, and each month I’ll be bringing you different stories of Canadian literary history, and our contemporary responses to it, created by scholars, poets, students, and artists from across Canada. It can be both wonderful and surprising to notice the work of your favourite writer change over their years of inspiration and creation. The recorded literary events that we hold in collections across the SpokenWeb network give us a particular opportunity to reflect on the multiplicity of an artist: an opportunity to talk to living artists and writers about the recorded works and performances by their younger selves. Sound recordings can reveal layers of memory beyond a text. They can evoke embodied memories: What emotion can we hear in an author’s voice and tone? What can we hear of literary community in the sounds of the room, the staccato of laughter, and the bursts of cheers and applause? How do artists reflect on their own performances as they are carried across time in these recordings? Today we bring you an episode from our sister podcast, SoundBox Signals, that considers the poetry and practice of Canadian poet Daphne Marlatt across decades of writing and performance. In this episode, producers Karis Shearer and Megan Butchart record a thoughtful conversation with Marlatt. They use a 1969 archival recording of Marlatt reading from her book leaf leaf/s to reflect together on her readings from the collection 50 years apart. The SpokenWeb project uplifts the power of such work with living authors. This episode exists in conversation with others we’ve shared with you in our monthly episodes and ShortCuts minisodes. If you enjoy this episode, check out “Lisa Robertson and the Feminist Archive”, “Listening Ethically to the Spoken Word”, “Talking about Talking”, “the Sounds of Trance Formation”, and “Robert Hogg and the Widening Circle of Return” for more conversations with artists about their recorded works. SoundBox Signals is produced by the AMP Lab at UBC-Okanagan, which holds recordings of Daphne Marlatt’s work in the SoundBox Collection. This episode was originally aired in February 2020, and we are delighted to bring it to you today on the SpokenWeb Podcast. [Start Music: SpokenWeb Podcast Theme Music] Here is Karis Shearer and Megan Butchart with “Performing the Archive.” [End Music: SpokenWeb Podcast Theme Music]\n03:07\tSoundBox Signals Intro Music:\t[Start Music: SoundBox Signals Theme Music] I see you face to face. What is the voice? The certainty of others, the life, love, sight, hearing of others.\n \n\n03:19\tSoundBox Signals Intro Music:\tWhere is this voice coming from?\n \n\n03:23\tSoundBox Signals Intro Music:\tI see you also face to face.\n \n\n03:27\tKaris Shearer:\tThis is SoundBox Signals, a podcast that brings archival recordings to life through a combination of curated close listening and conversation. Together we’ll consider how these literary recordings signify in the contemporary moment and ask what listening allows us to know about cultural history. Full-length versions of these recordings are available online in our SpokenWeb archive at soundbox.ok.ubc.ca.\n \n\n03:52\tAudio recording, Clip of Warren Tallman reading “Crossing Brooklyn Ferry”:\tHow curious you are to me. [Tape Click]\n \n\n03:55\tKaris Shearer:\tHave you ever listened to a recording of yourself when you were younger and noticed how your voice has changed? On September 20th, 2019, Megan Butchart and I got together with Canadian poet Daphne Marlatt and talked with her about the experience of doing just that. In our SoundBox collection, we have a recording of Daphne from 1969 when she was just 26 years old talking with Warren Tallman about her second book leaf leaf/s. Yes, she had published two books by the time she was 26. Our conversation took place the day after contemporary Daphne had given a reading here in Kelowna with her younger self, or her archival recorded voice, as part of our “Performing the Archive” series. The event was co-hosted by Megan Butchart, Erin Scott, and Cole Mash, and took place at Milk Crate Records. It was sponsored by Tuum Est, SpokenWeb, City of Kelowna, and the Inspired Word Cafe. In this podcast episode, you’ll hear our conversation with Daphne Marlatt. But first, let’s rewind to July 1969 and hear Daphne read from leaf leaf/s  [Tape Click]\n \n\n05:01\tAudio Recording, Daphne Marlatt, 1969:\t“4pParts of morning for 714” i: that petals’ veins / rift blue  / pared with razor / edge / tired eyes against the / gold dust, daisies / in a jug dyes / slowly into water / seeping pink. ii: moon drops / early / roused rocks / dry already a / firefly / threats rain it / flickers / green light over / night / sink’s / rust.  iii: white hood of a white / pickup parked on / green / trucks can be / steam risers, lettered / white / hollyhocks / of sun a whirl, / Cézanne, in a / tall tree. / iv: like it / flowers hail / outside our / back door stars / saw as worm / clots trod / morning / glories in deeper / small shells. [Tape Click]\n \n\n06:13\tKaris Shearer:\tYou just heard “4 parts of morning for 714.” Now we’ll fast forward to our contemporary conversation. In the first half of it, you’ll hear us ask Daphne about her experience listening to and voicing poems at public readings. In the second half of our conversation, we will talk about the archival recording itself and the experience of performing poetry with it. [Music Interlude]\n \n\n06:37\tKaris Shearer:\tMy name is Karis Shearer.\n \n\n06:37\tDaphne Marlatt:\tMy name is Daphne Marlatt.\n \n\n06:41\tMegan Butchart:\tMy name is Megan Butchart.\n \n\n06:42\tKaris Shearer:\tAnd we are here podcasting, or preparing material for a podcast. So, we have nine questions in kind of three different areas. But we also have a lot of flexibility around adding more or, I encourage Daphne to also flip the questions back on us as well. So, it becomes kind of more of a conversation, if we would like to do that. So, there really is no firm structure, that’s for sure. The first questions though, have to do with poetry readings because you know, we are very interested in the poetry reading. And Megan, you have the first question. So, do you want to?\n \n\n07:19\tMegan Butchart:\tYeah. All right. So, Daphne –.\n \n\n07:21\tDaphne Marlatt:\tMm-hmm.\n \n\n07:21\tMegan Butchart:\tCan you recall the first time that you ever heard a poem read out loud?\n \n\n07:27\tDaphne Marlatt:\t I’m trying to remember, whether – well, the first poem that I ever saw that would have been a wonderful one to read out loud was on the wall of my grade 12 classroom at Delbrook High School in North Van and my English teacher had put up one of Allen Ginsberg’s poems, which was the first time I ever heard about Allen Ginsberg. I mean, we’d been reading much much further back. I don’t think we’d even got, we must have got to Dylan Thomas, but nothing like Ginsburg, and I can’t remember if Mr. Patterson, that was his name, actually read it aloud to us or not. It’s the kind of thing he could have done.\n \n\n08:20\tKaris Shearer:\tSo, building on that, can you, can you tell us about the first poetry reading you ever attended, and what kind of impact it had on you?\n \n\n08:30\tDaphne Marlatt:\tThe first poetry reading was probably at UBC. And Prism held poetry readings, it seems to me, and there was another student magazine that did too, Raven. The first one that I actually remember, because I was very nervous about it, was one that I had been asked to read in. And I suspect it was a Raven poetry reading. It wasn’t raven as in “R-A-V-I-N’,” it was raven as in the blackbird, the trickster. And I said I’m too nervous to read. I don’t think I can read my poem. And I can’t remember whether it was Frank or someone else who said, you know from the TISH group, who said “I’ll read it for you.” I have a feeling it might have been Frank. Anyway, he read it and I squirmed in my seat because he didn’t read it the way I thought it should be read and from then on, I vowed I would always read my own poems out loud to an audience. [Laughter]\n \n\n09:51\tMegan Butchart:\tAnd so, how do you prepare to deliver for a poetry reading then?\n \n\n09:56\tDaphne Marlatt:\tOh, that’s a very good question. [Laughs] Hmm, it’s really interesting because it has become more flexible as I age. I still start the same way, I look at the book and I look at what I feel like reading that day, and I look at maybe different kinds of line that I might do from poem to poem. Sometimes it turns out there is a kind of image motif that’s running through several poems. I think, well, maybe I’ll do that. Sometimes I look at a poem and I think, I don’t want to read this poem aloud. When I was younger, I would take the book and I would look at the book and I would say, “I don’t feel like reading any of these.” [Laughs]. And that was pure nervousness before a reading, but now I will sometimes get up and I think, no I want to read this other poem instead. I mean I prepare, I have a list of what I’m going to read. I even time it because everybody is so concerned about timing and if there are other readers, I don’t want to go over my allotted time. But sometimes, like last night, last night’s reading, I wasn’t going to read the “Beo” poem at all and I just thought, no, I really I think after hearing Kurt read his Caetani poem, which used a lot of the language origins of the Caetani family, I thought, yeah, I want to read “Beo,” because that brings up a little of it, and it certainly talks about the relationship that Sveva had with her mother. So, that felt more appropriate, I guess.\n \n\n12:09\tKaris Shearer:\tYeah. I was struck by that too, last night, how responsive you were to the audience and to the kind of moment and things that were going on. How you were kind of re-crafting the reading in the moment.\n \n\n12:19\tDaphne Marlatt:\tRight, Right. Yeah, now that I’m the ripe old age that I am [Laughs] I feel more comfortable in front of an audience, so it gives me more freedom to do that.\n \n\n12:34\tKaris Shearer:\tYeah. Can I connect that back to what you said about hearing Frank read your work and then deciding – that as an impulse to want to read your own work. Can you kind of draw us a line from that to kind of feeling much more comfortable and responsive and being flexible in that moment? Were there kind of key pieces along the way in readings?\n \n\n12:57\tDaphne Marlatt:\tNo. No, I can’t. I don’t think I can know how to respond to that. It’s more a sense of having grown into your own voice and you have a sense of what your own voice is. and it’s interesting to me that even then I was beginning to have a sense of my own voice and it was not the voice that was reading the poem.\n \n\n13:17\tKaris Shearer:\tNice. Yeah. Thank you.\n \n\n13:18\tMegan Butchart:\tDaphne, can you share some of your thoughts on the significance of the live poetry reading during the period of the 1960s?\n \n\n13:25\tDaphne Marlatt:\tYeah, the live poetry reading was very important. It was a social glue, in a sense, that held all of us writers together. It was an occasion for being serious and being hilarious at the same time. No doubt there was room for a lot of grandstanding. But because, the group of writers that I knew met regularly, once a month, anyway, and sometimes more if we met at Warren’s house, to read to each other or to discuss. For instance, we had one evening where we had a long discussion of Olson’s essay on projective verse trying to figure out what he was saying and how that applied to any of us. So, there was a lot of push and pull, give-and-take, and I think the importance of those live readings was that it brought the language back into the body. The body was very present in the voicing, each person’s characteristic voicing of line, voicing of sound patterns, and so on. And I think that it clued us into that very quickly.\n \n\n15:03\tKaris Shearer:\tAnd you were doing that as students, right? I mean I’m talking about a time when you were undergrads at UBC.\n \n\n15:06\tDaphne Marlatt:\tYeah. Yeah. Well, some of them were, I mean, several of them were older than me and they left in ’63 right after the ’63 conference and went on to graduate school. Whereas, I still had another year anyway as an undergraduate. Yeah, and I can’t figure out, I mean, some of them were doing student teaching too, I think so, I don’t know if they stayed an extra year or the Honours program required an extra year. I have no idea. I just don’t remember all of that.\n \n\n15:43\tKaris Shearer:\tAnd were you also that student group that’s kind of like the Writers Workshop group?\n \n\n15:47\tDaphne Marlatt:\tAnd the TISH group. Yeah.\n \n\n15:50\tKaris Shearer:\tWere you also going to see other visiting writers give –\n \n\n15:54\tDaphne Marlatt:\tOh, definitely. Yeah. Yeah, I remember Leonard Cohen coming to give a reading. Yes, a poetry reading from what was it, Spice Box of the Earth, his first book, and that was remarkable because, he started out, it was in a classroom in the Buchanan Building and he started out to read and he suddenly stopped in the middle of a line! And we all thought, what? what’s going on? And he said something like “no, that’s not right” and he started again. And I was very impressed by that, like he was being so true to his sense of the line and he wanted it to come across the way he wanted it to come across, and that was a moment of freedom. Freeing for me because I realized the importance of that. And then I heard Irving Layton read. I can’t remember maybe that was in the old Auditorium. Was odd. There was kind of a stage set up but it was lower than a proper theater stage. So, I don’t know where it was, which room, but there he was. He had two young women posed on this little stage on each side of him. [Laughs] Layton. And okay. Well, that’s okay. That’s Layton, that’s Irving Layton. It was a very different reading from Leonard Cohen’s. And then, of course, we had these arts festivals that began and they were starting to do that and they brought in incredible people like – all these names are going to escape me. At 77, memory begins to go. There’s a New York poet, I cannot remember his name, and he did these very, to us, astonishing readings, which were not readings, they were performances. And he assigned lines to a number of us to say as we walked around the auditorium. But that really stuck in my mind because it was the beginning of the language approach that the Language School of Writers in the U.S. and was a beginning of that, I think. Very different from the aesthetic that we had developed and grown up with through the San Francisco Poets coming up, especially Robert Duncan, but Jack Spicer too, and of course Robin Blaser. So, it was a bit of an eye-opener to me that you could do that kind of thing with language. And it was like doing in language what John Cage was doing in music.\n18:57\tKaris Shearer:\tCool.\n \n\n18:57\tDaphne Marlatt:\tYeah.\n \n\n18:57\tKaris Shearer:\tWho is organizing that festival? Is that Warren?\n \n\n18:59\tDaphne Marlatt:\tThere wasn’t. No, there was a group. There was a group of faculty people from, I think, theater people as well as music people and people from English. Literary people. It was great. It was wonderful. It brought the outside world to us in performance and it was very exciting.\n \n\n19:25\tKaris Shearer:\tSounds amazing.\n \n\n19:26\tDaphne Marlatt:\tYeah.\n \n\n19:27\tKaris Shearer:\tWere you there for the Jack Spicer reading in ’65? Was it ’65?\n \n\n19:31\tDaphne Marlatt:\tUh, no, I was not there. I was in Bloomington, Indiana.\n \n\n19:35\tKaris Shearer:\tRight. Okay.\n \n\n19:36\tDaphne Marlatt:\tYeah.\n \n\n19:37\tKaris Shearer:\tYeah. That sounds like an incredible, I mean, just I always kind of think about myself, being back at, wanting to be back and that kind of moment of just kind of heady readings.\n19:47\tDaphne Marlatt:\tOh yeah, well Robert Duncan, of course, was the big one for me and for a number of us. Because he himself was so dramatic. I can see him walking between the catalpa trees, striding between them in his black cape on the way to giving a reading in the Buchanan building. [Laughs]. I learned a lot from Robert Duncan, a lot about language and the music of language and how language carries breath and spirit.\n \n\n20:21\tKaris Shearer:\tYeah. Can I ask you, following on that – you would’ve read the Black Mountain Poets before they arrived in ’63, I mean, I guess they read at different times, some of them, at UBC.\n \n\n20:32\tDaphne Marlatt:\tYeah, yeah.\n \n\n20:33\tKaris Shearer:\tBut prior to meeting them in person, had you formed ideas about them that maybe were changed by meeting them in person?\n \n\n20:44\tDaphne Marlatt:\tYeah, I had no idea that Denise Levertov for instance was such a dynamic reader. That was a wonderful event. And she was so open to young women poets. I mean I had a coffee with her and chat about my imminent marriage and whether I could continue writing, and she was great. She was very supportive. Robert Duncan, we knew because he’d come up several times before ’63. Olson was a revelation, because he was such a large man and his work was so large in its scope and yet he was very open to talking to us. You know, one of the things he said to me in Warren and Ellen’s kitchen, was when I told him – he asked me where I’d grown up. And so I told him I spent my childhood in Penang and grew up North Van. And he said, you should write about Penang. And I’m only just doing this now in my late 70s. [Laughs]. But some things kind of stay with you, you know. You get gifts like that. And Creeley. We knew Creeley, and he had taught a wonderful Creative Writing course. I think it was the first Creative Writing course that the English Department had given and it was – I mean Edward Bernie was busy trying to get a Creative Writing Department going, but I took that one from Robert and Bob Creeley. Yeah, Bob didn’t teach it like a workshop, like we know Creative Writing workshops these days. What he did was he brought in a lot of ideas in the form of reading assignments and discussions of what we had read and how does that relate to what you’re writing? It was very opening for me. It was about at the level of the older TISH poets. So, I was floundering around a bit, but it set the tone for me. Set the bar high, intellectually. Yeah.\n \n\n23:22\tKaris Shearer:\tNice. Nice. Can I pick up on that and ask, I mean, some of the things that strike me about like your descriptions of the Creative Writing course or your experiences in English courses are so different from how courses are run these days, typically –.\n \n\n23:37\tDaphne Marlatt:\tI know. [Laughs] Yeah.\n \n\n23:37\tKaris Shearer:\t– so that description and then what you said the other night about Warren teaching an English course, but having students do a lot of reading aloud.\n \n\n23:53\tDaphne Marlatt:\tYeah, right.\n \n\n23:54\tKaris Shearer:\tCan you take us back to that for a second, just the role of reading aloud?\n \n\n23:54\tDaphne Marlatt:\tRight. Right. That was that course, we did a lot of Whitman in and it was a poetry reading. It was a course on poetry and it’s funny, I can’t remember who else we studied. But Whitman was an eye-opener because in a way it was a bit excruciating for the class. He didn’t want to talk about the content of the poem, several poems, he just had different students read aloud. He would point to someone say, “okay, you read this one.” Person would read and he’d say, “you read that! and you read that!”. And of course, we would hear all these different versions of the same poem and we would all be thinking, “okay, what is the version he’s looking for?” But what it did was, it opened us up to hearing the poetry, hearing how the words were moving together, musically, rhythmically, semantically\n \n\n25:03\tKaris Shearer:\tNice. So, we have another set of questions that have to do with this recording of leaf leaf/s in an interview that you did with Warren Tallman in July 21st, 22nd, 25th, 1969. [Marlatt Laughs] Warren is not really sure what day it was recorded. But I wanted to ask you about that recording in the next couple of questions, and whether you can recall how you came to do that recording, that interview?\n \n\n25:32\tDaphne Marlatt:\tWhich one month was it?\n \n\n25:34\tKaris Shearer:\tJuly 1969. Some recording of an interview with Warren’s Tallman about leaf leaf/s and you’ve heard a copy of this where you read the full book in two parts, and he asks you a series of questions about it.\n \n\n25:49\tDaphne Marlatt:\tInteresting that date, because I had given birth to my son at the beginning of May. So, I was a young mother, my body had gone through a major experience. That was not the experience that I had had when I wrote those poems, so what was interesting to me hearing last night at the reading. There was so much, my voice was so much more present in those poems than I had remembered my voice being, and I think it’s because of the giving birth experience. You know, I mean we sat in the living room where he usually recorded and I was very happy that he wanted to record the whole book and then talk about it, but I think we had some slight – we had different approaches to my writing at that point because I had gone somewhere else. I had been in Bloomington and then I had been in the Napa Valley in California and in Bloomington. I belonged to – I joined a small writing group that Clayton Eshleman organized and D. Alexander was part of the deal. D. was a linguist. And we had a very significant conversation, significant for me, in one of the local student pubs. They don’t call them “pubs” down there, “bars,” in Bloomington, about language. And he pointed out to me that there was, there’s an elasticity, and a semantic associativeness and flexibility that I was not paying attention to because I wasn’t thinking of language just as a medium, as language. I was thinking of language referring to objects and actions in the world. And he said, I mean, this is Saussure, right? It’s basic Saussure. “No, you should read Saussure, for one thing, but language is a medium unto itself and it has all these currents in it that you could be hearing.” And that was a big eye-opener for me. So, leaf leaf/s was very much written out of learning that and trying to put that into practice. I find it a rather abstract book now, but it taught me a lot about writing because it taught me a lot about language.\n \n\n28:40\tMegan Butchart:\tAnd so, what does this recording mean to you now to listen back to it?\n \n\n28:44\tDaphne Marlatt:\tWell, as I said, I was surprised that my voice was so present in it, in the language. I was happy to hear that. I was still, I mean reading it in Warren’s living room was very familiar territory for me. So, it wasn’t like reading it aloud to an audience, which I still then found very nerve-wracking. But reading it to Warren –I can’t remember if other people were present or not. I know when he had me read frames of a brain, frames of a book, of a story…. Yeah, see, I can’t even remember the title of my first book! [Laughs]. Frames of a Story. He had me read that in his living room to a group of people when it first came out. I think it was – it might have been a fireplace. There might have been a fire burning in the fireplace. I felt very much at home there, and a lot of my friends were there in the living room and it was a big experience for me to read the whole, the whole of that book! “Warren, are you sure? really all of it?” “Yes. Yes. Yes.” [Laughs] So leaf leaf/s was after that. And it seems to me it was more, I don’t think there were many other people there, if any other people were there.\n \n\n30:13\tKaris Shearer:\tYeah. I didn’t get the sense listening to it that there were others.\n \n\n30:15\tDaphne Marlatt:\tYeah, yeah. Yeah. I think Warren was trying to figure out what had happened to my language while I was away. I suspect that occasioned that.\n \n\n30:27\tKaris Shearer:\tYeah, that transition from that kind of Black Mountain Poetics. It’s Duncan, Creeley, especially. He really wants to emphasize [inaudible], right?\n \n\n30:37\tDaphne Marlatt:\tThat’s right. Well he is very close to Creeley’s work. Yeah, yeah.\n \n\n30:41\tKaris Shearer:\tCan I take a little detour and ask about this concept of reading the entire book? Because that comes up in the Sir George Williams University recording as well where George Bowering says, back in Vancouver we would just – a reading, you would just read the whole book to your friends. Was that a common thing?\n \n\n31:00\tDaphne Marlatt:\tNot that I remember, no. I think Warren probably, I think, George was probably thinking about Warren, because I don’t remember that happening elsewhere, the whole book.\n \n\n31:13\tKaris Shearer:\tOkay. Yeah. I was just curious.\n \n\n31:16\tMegan Butchart:\tHow do you think that changes the reading experience though? To read just single poems versus reading something consecutive?\n \n\n31:24\tDaphne Marlatt:\tYeah. Well, for me, there’s always what you might call a kind of, it’s not a narrative in a book of poetry, necessarily, but narrative has always been of interest to me and that’s what Frames was. It told the narrative, but there’s a sense in a collection of poems some sort of line of a development through the book, and so you would only get that if you read the whole book.\n \n\n32:00\tKaris Shearer:\tAs a listener, I really love these moments where we get to attend a reading where someone reads the entire book because it feels like you’ve in advance made a commitment to staying for that kind of duration, it’s a significant duration –\n \n\n32:15\tDaphne Marlatt:\tThat’s right. That’s right. It is.\n \n\n32:16\tKaris Shearer:\t– and a kind of dedication to that person who’s going to read. They’re always –they’re very – and they also feel like a kind of communal dedication everybody in the room is there for the whole for the whole thing.\n \n\n32:25\tDaphne Marlatt:\tThat’s right. Yeah, yeah.\n \n\n32:28\tKaris Shearer:\tI long for those occasions, although one cannot have them all the time. [Laughs]\n \n\n32:32\tDaphne Marlatt:\tNo, but it was particularly nice to have an occasion like that in Warren’s living room. I should always say Warren and Ellen – because it was both of them – they were both such wonderful supporters of young writers. Really, I mean that whole phenomenon that’s become known as the TISH group wouldn’t have happened without them.\n \n\n32:59\tKaris Shearer:\tCan you talk a little bit about Ellen’s role in that? I know it was significant.\n \n\n33:02\tDaphne Marlatt:\tYeah. Ellen was very significant because not only did she help organize that 1963 conference, but she had the contacts because of growing up in Berkley and going to –I mean growing up in San Francisco and going to Berkeley. She had the contacts with Robert Duncan and Jack Spicer, and Robin Blazer, and she brought those with her when they moved to Vancouver. So, there was a clear line, a clear artery, if you like, for infusion. I knew Ellen not as a teacher. She became a teacher. She taught at UBC later. But when I knew her she was more, the one that everyone could talk to about their personal lives, their problems. She was remarkable. I’ve never known anyone who could cook a whole meal in the kitchen while talking to somebody about their deep emotional angst. [Laughs] She was a phenomenon in herself and I was really glad when she started writing in her later life about her experiences meeting all those people. And I wished, I mean, she had a very busy career as a therapist, and she was very, very supportive to a number of people in the AIDS community who it would have been very different for them without Ellen. And she didn’t have much room left in her life for writing. But the pieces that she did write were so good, and I kept encouraging her to try and find more time to write, but it was difficult. And she had her health problems as she aged to deal with. So, yeah.\n \n\n34:59\tKaris Shearer:\tI think of her very much, as you say, that social, as someone who had the kind of social connections to invite those writers up, but also who received them when they did come. And he talks on one of the recordings about choosing Robert Duncan’s poems and choosing the entire lineup for him and kind of orchestrating behind the scenes.\n \n\n35:24\tDaphne Marlatt:\tYeah. Yep, yep. Yeah, she was –she was intelligent and I think a lot of people might not have known that in the early days. She was very intelligent. Yeah. And also, intuitive about people. Yeah.\n \n\n35:37\tKaris Shearer:\tYeah. We need to talk more about that kind of work behind the writing. Because it’s so important.\n \n\n35:44\tDaphne Marlatt:\tIt is, and Gladys fulfilled that role too.\n \n\n35:48\tKaris Shearer:\tYeah.\n \n\n35:49\tDaphne Marlatt:\tYeah Gladys Hindmarch, Maria.\n \n\n35:53\tKaris Shearer:\tYeah, very much. So, I want to turn to, if you don’t mind, talking about last night’s reading, because it was a pretty marvelous, marvelous event in so many ways and I can’t stop thinking about it. Last night, you read with your former self [Marlatt Laughs], as we and sort of billed it –\n \n\n36:14\tDaphne Marlatt:\t[Laughs] That’s right.\n \n\n36:15\tKaris Shearer:\t–with your 26-year-old voice, from the archive as part of our “Performing the Archive” series. I know you’ve only had a short time to maybe think and reflect on that, but what was it like to collaborate with yourself?\n \n\n36:30\tDaphne Marlatt:\tWell, first of all, I was very very glad that Craig would key me in, because I didn’t want to read the poems as I heard them. I didn’t want to read them on the page. I wanted to hear them. And so, I couldn’t always remember when a poem would end. And so, I was always looking at him to clue me in to when to start reading in my current voice from that book. And we did this sandwiching thing, past and present, past and present, past and –so, it was interesting because it felt, well, it felt peculiar, in one sense, to hear my voice played back to me. And it wasn’t my voice as it is now. Bridget commented afterward that she noticed that there was still more English pronunciations, English-English pronunciations in it, which – and probably in the tone more than anything, I would think. And that voice was very clear about what it wanted, how it wanted the line to sound and exactly where the brakes went. It was a musical score, basically. The poems were kind of a musical score, and that voice was very keen on paying attention to that. And then when I read in my present voice, there was more focus on maybe image, and on the movement of a poem as a whole. Yeah, I don’t know what other people heard.\n \n\n38:20\tKaris Shearer:\tWell, actually, I’m going to turn to Megan and ask her. What did you hear in that kind of movement from the archival voice to the contemporary voice?\n \n\n38:31\tMegan Butchart:\tWell, it was interesting to me because you have two different contexts in which you’re reading. So, the 1969 voice is just you and Warren in the living room, which you would think would be the more intimate setting, whereas last night’s reading was in front of a crowd of I don’t even know how many –\n \n\n38:46\tKaris Shearer:\t70 people.\n \n\n38:46\tMegan Butchart:\t70 people.\n \n\n38:47\tDaphne Marlatt:\t70, huh?\n \n\n38:48\tMegan Butchart:\tAnd in that case, it seems like you would naturally want to perform more. And I actually found that the 1969 voice was more performative, in a sort of deliberate sense. Whereas, your reading last night was, like, I got musicality of the words together more –\n \n\n39:06\tDaphne Marlatt:\tOh, wonderful.\n \n\n39:08\tMegan Butchart:\t– I felt it was a softer reading, and I feel like everyone was so intent and so attentive, to your reading that there was sort of this silence around your speaking almost, it was incredible.\n \n\n39:21\tDaphne Marlatt:\tIt was a wonderful – well, it was a wonderful audience. And you know, we’d heard such diverse voices before I got up to read and that audience was open to every one of us. That was the astonishing thing.\n \n\n39:36\tMegan Butchart:\tYeah.\n \n\n39:37\tKaris Shearer:\tYeah. Erin Scott and Cole Mash have really crafted – I mean, that’s been a reading series over the past more than two years and every time I’ve been to it the audience is so generous and so warm.\n \n\n39:51\tDaphne Marlatt:\tWell Cole really sets that up. He’s so spontaneous and himself. And no posing at all on stage.\n \n\n40:00\tKaris Shearer:\tListening to him afterwards, one of the things I love about the way he hosts is he manages to kind of move between the sort of different registers, like that comic register, this sort of open, outrageous comedy, but then very respectful, thoughtful attentiveness and seriousness as well. And he’s able to move through those registers back and forth in a way that is very energizing. But also, yeah, just really attentive to the audience.\n \n\n40:30\tDaphne Marlatt:\tAnd the space was really good for a reading because even though I’m surprised to hear there were 70 people there because it didn’t feel like that, I mean, there’s all the records at the back and the shirts, t-shirts hanging up in the back and so on, but on the in the front this peculiar platform of a stage with an Asian carpet spread out on it [Laughs] and…\n \n\n40:57\tKaris Shearer:\tAnd a Mickey Mouse table. [Laughs]\n \n\n40:59\tDaphne Marlatt:\tAnd a Mickey Mouse table, that’s right. It’s very – well, it reminded me of the 70s actually. So, I felt really at home there. And also, the way, it was announced that this was probably the last event there, because people were being evicted, had to move, and Richard, I mean the flowers for Richard, the owner, not owner, but manager of Milk Crate Records, I guess he’s the owner of Milk Crate Records, not the owner of the building, and how he got up and spoke so, with such determination about the future of the place and then the diversity of the poets, the three poets before, and then Sari reading. It did feel almost like being in somebody’s living room. Yeah.\n \n\n41:58\tMegan Butchart:\tYeah. I mean, even there’s a couch in the front row –\n \n\n42:01\tDaphne Marlatt:\tThat’s right.\n \n\n42:02\tMegan Butchart:\t– and everyone’s just hanging around.\n \n\n42:05\tDaphne Marlatt:\tWith footstools – with hassocks with footstools or, yeah.\n \n\n42:08\tKaris Shearer:\tOne of the things I’ve been reminded over the last couple of days from the events that we’ve been doing. Just the kind of diversity of audience for poetry that really, I find very invigorating. You know, we’ve had at the “curated close listening” event, first-year students and students who are coming with sometimes very little background in poetry itself or knowledge of a particular poet, and they’re coming for a variety of reasons and contributing amazing things to the conversation. Yeah, and that struck me too with Milk Crate, with the reading last night, we saw a variety of different performers, different styles.\n \n\n42:50\tDaphne Marlatt:\tRight. Very much so. Yeah. Yeah. Yeah. And there was a variety in the audience too.\n \n\n42:56\tKaris Shearer:\tYeah, definitely.\n \n\n42:59\tDaphne Marlatt:\tWell, I hope they find a good place.\n \n\n43:01\tKaris Shearer:\tMe too.\n \n\n43:02\tDaphne Marlatt:\tAnd keep it going. Because it is, it does remind me of what the Vancouver poetry scene was like, and there were readings in folk music coffee shops [Laughs] and readings in bookshops. It wasn’t always this staged thing where you sold tickets or whatever.\n \n\n43:32\tKaris Shearer:\tYeah, it reminds me too, I mean Milk Crate Records is a venue for music and has been so welcoming to poetry. And so, Sari’s response last night, to your question Megan, about what undergrad course had most influenced her. I mean our connection sometimes are very much outside of the literary classroom, if you will, or the poetry community proper, and I think that those other connections are often where it finds growth.\n \n\n44:00\tDaphne Marlatt:\tWell, poetry should never be just an academic subject. It was never meant to be that in the beginning. And in one of the things that, I feel, the commercialization of the literary industry in Canada’s done is make it much more ambitious, the whole award business for one thing, I mean I’ve been on one of those juries and it’s impossible to choose the best book for the year. It’s a matter of people’s tastes finally vying and you get some kind of compromise. But poetry comes out of life, it comes out of lived experience and it also reaches for something that I was thinking of this morning, as philosophy in the original sense ‘philos’’sofia’, the love of wisdom. It’s about how to live, how to be alive in this time with all that we’re facing, as a culture as a society, and going through one’s individual life journey as well, at the same time.\n \n\n45:31\tKaris Shearer:\tDefinitely. I mean in that sense it has to reach out beyond the poetry community, proper. Draw from and be responsive to.\n \n\n45:43\tDaphne Marlatt:\tYeah. Yeah.\n \n\n45:46\tMegan Butchart:\tDo you think it could describe a little bit more, sort of, how you’re reading style has changed? I mean your voice has changed some, it has become less English, perhaps, but, like, your reading style.\n \n\n45:58\tDaphne Marlatt:\tWell, how did you hear it? How did you hear the difference?\n \n\n46:02\tMegan Butchart:\tI mean I heard the difference is being less deliberately performative, which is interesting. And maybe it was sort of the intimacy of having the mic right there instead of perhaps just, you know, a reel-to-reel machine in the room, right? So, there might have been a little bit.\n \n\n46:16\tDaphne Marlatt:\tSo, I didn’t have to project as much.\n \n\n46:18\tMegan Butchart:\tPerhaps not. Yeah. But I’m not sure. Karis, do you have any thoughts about that?\n \n\n46:22\tKaris Shearer:\tYeah, I mean, I think what I heard in the recording was a voice that was clipped and deliberate and for a long time, when I think about leaf leaf/s I think about that recording and that’s kind of in my head, the reference point for the sound of it. What struck me when you were reading last night was the way that you kind of opened up some of the vowels and it kind of lengthened and some of the vowels and it felt much more kind of flowy, and the turns more gentle. Then yeah, that particular – but I still hear echoes of the style, of course, across both.\n \n\n47:03\tDaphne Marlatt:\tOh, that’s good feedback for me. Yeah. Thank you.\n \n\n47:06\tKaris Shearer:\tYeah.\n \n\n47:07\tDaphne Marlatt:\tYeah, well, I’ve always had these two diverging interests in writing and one is narrative and one is the lyric. And the narrative also fights against the sense of sequence, that sequence doesn’t have to be narrative. And yet I’ve written narratives, I’ve written two novels, if not three, and I fought against, in each case, I fought against writing a traditional narrative [Laughs]. So, there’s an interesting conflict that feeds into the writing. And the lyric side of it has to do with my feeling that poetry is not about being declamatory. It’s about music. It’s what the music in the language, how it informs one, even sometimes unconsciously. Writing feels to me much more like improvisation than trying to get from A to B. So, there’s a funny kind of uneasy balance in my work between getting from A to B, as in a narrative, and the improvisatory.\n \n\n48:42\tSpeaker 5:\tWhen you were finishing with leaf leaf/s last night and transitioning to some of the other work, you mark that transition with a reference to the longer line, right? The very short lines of leaf leaf/s and the move into this like long the longer line of Steveson, for example. Can you talk a little bit about that?\n \n\n49:02\tDaphne Marlatt:\tYeah. Well it was wonderful for me to be able to stretch out into a longer line. And of course, I started trying to do that with the Vancouver poems. But even there they would come back to a short line here a short line there and so on, whereas with Steveston the writing was really informed by the flow of the Fraser River that ran underneath everything I wrote about Steveston. I wanted the flow of the river there, and the flow of history, which has a kind of, what’s the word I want? It has a kind of fatality to it, that is like the flow of the river out to sea, you can’t reverse it. You can’t reverse the tide. Not the tide, but the current in the river. It keeps on going out, and it keeps going out into this disappearance, into the oceanic. And I wanted to talk about the fatality of that awful moment in Canadian history when people who are born here as citizens, Japanese-Canadian citizens, were suddenly stripped of their citizenship and sent off, basically imprisoned and in camps in the Interior. And how fear it has a kind of fatality in it that grabs people so that they cannot see outside it. I wanted some of that to come through, and so there was this, you could call it a driving force, that was driving the line. But at the same time, it was aware of the music of the line because when a river flows it eddies around the banks and at eddies around whatever it encounters in the current and so there was this waylaying, musically, of that current driving forward. And I was really intrigued with a balance of that or trying to balance that in some way.\n \n\n51:31\tKaris Shearer:\tThat’s also picked up on the, I mean, the spaciousness of the page as well, I think. Right?\n \n\n51:35\tDaphne Marlatt:\tYeah. Yeah, which is why I thought the books have those white pages. Yes. I ran into such trouble trying to submit poems from Steveston to anthologies or magazines. I mean sometimes anthologies would ask me for poems, and “please, don’t cut the line!”\n \n\n51:58\tKaris Shearer:\tAnd so, to pick up on that is the page a unit for you in that sense?\n \n\n52:04\tDaphne Marlatt:\tYeah, the page is a kind of unit. And of course, then, poems will go over the page. And so that’s interesting. Where did they go? Over the page. How do they get over the page?\n \n\n52:27\tKaris Shearer:\tYeah, and especially when you’re in when the work is anthologized, I mean if you’ve had control or input in the page as a compositional unit in the original publication that gets –.\n \n\n52:38\tDaphne Marlatt:\tCompletely undone, yeah.\n \n\n52:38\tKaris Shearer:\t–compromised unintentionally.\n \n\n52:38\tDaphne Marlatt:\tYeah, that has been a cause of great aggravation.\n \n\n52:39\tKaris Shearer:\tI want to ask, Daphne, you, and Megan. We’ll start with Daphne. Is there anything you’re reading right now that you would recommend to the audience, the listeners?\n \n\n52:49\tDaphne Marlatt:\tYeah, there’s a book. I picked up at Mosaic Books here in Kelowna. That I was delighted to see — it’s John Lent’s new book. It’s called Matten Flywheel and they are remarkable poems because they’re written in the aftermath of a near-fatal heart attack and he, I would say those poems, they radiate that kind of ‘philosophia’ that I was talking about as what poetry reaches for. There’s a lot of it in there as well as the daily. But it always has to be. The daily always has to be there too. And the other book I’m reading that I’m very interested in is David R. Loy’s Nondual Thought.It’s a very exciting investigation of how the Buddhist notion of emptiness, which is very present in Chan and Zen Buddhism, and in Mahayana Buddhism. It has been presaged – there are connections with earlier Western philosophers, including Heidegger and Kant and he’s talking about the non-binary. And I think that is such an important concept. It’s one that I was first came in contact with through Rachel Blau Duplessis’s work and the work of feminist theorists generally and of course, Loy doesn’t talk about that, which he should do, but he doesn’t. He’s philosophical. And it’s a really interesting investigation of that, of those kinds of connections, and he’s now applying that to ecology and the environment. So, I’m going to be curious to hear what he has to say about that.\n \n\n55:04\tKaris Shearer:\tThat’s great, Thank you very much. Megan, over to you, for final thoughts. What would you recommend?\n \n\n55:10\tMegan Butchart:\tI’m in class right now. So, I’m reading a lot of books for class. But I’ve also been re-reading Ana Historic. Kind of in anticipation of this visit. That’s a book that’s meant a lot to me, because of its topics with archival work and archival studies and trying to retrieve voices, often marginalized voices from the periphery that have been silenced. So yeah, just re-reading that and also thinking about the SpokenWeb project more broadly and the sort of work that it’s it’s hopefully doing, yeah.\n \n\n55:47\tDaphne Marlatt:\tGreat.\n \n\n55:48\tMegan Butchart:\tYeah.\n \n\n55:48\tDaphne Marlatt:\tWonderful.\n \n\n55:49\tKaris Shearer:\tThank you so much.\n \n\n55:49\tDaphne Marlatt:\tWell, the archival is very interesting. Of course, I’ve used archives a lot in my work. What was it Olive Senior said in her recent talk? At the Writers Union, their little magazine writing has a kind of synopsis of it, but she said something like “place is never fixed.” It’s not fixed in time. We affect place, place affects us too. And the archival is interesting because it gives us a sense of what was there before we encounter it. We tend to think what we encounter is all there is, it isn’t. And we need to have not only a sense of what was there before we encountered it, but where it’s all moving to now, especially with climate change. So, there’s, I don’t know what you’d call the opposite of the archival, but it has to leap forward from the archival, just as Indigenous knowledge, and what the elders teach moves from very very far back in what preceded us, now, here, and forward to seven generations, they affect seven generations down the line. That’s the kind of view we need in our culture.\n \n\n57:19\tKaris Shearer:\tYeah.\n \n\n57:19\tMegan Butchart:\tYeah.\n \n\n57:20\tDaphne Marlatt:\tSorry to get a little [inaudible] –.\n \n\n57:21\tKaris Shearer:\tBut, a kind of a living archive that is not just passed on, but also co-created maybe?\n \n\n57:30\tDaphne Marlatt:\tYeah. Well the understanding of it has to be very much in the present, but it looks back and it looks forward and it should be a guide for action. [Start Music: SoundBox Signals Theme Music]\n \n\n57:47\tKaris Shearer:\tThat was episode two of SoundBox Signals. You were listening to a recording by Daphne Marlatt from our archive called the SoundBox Collection. I want to thank Daphne Marlatt for talking with us and for allowing us to share the recording online, and also to the Warren Tallman estate for the same permission. You can find full-length recordings online at soundbox.ok.ubc.ca. I’m your host Karis Shearer and I will see you next time. [End Music: SoundBox Signals Theme Music]\n \n\n58:26\tHannah McGregor:\t[Start Music: SpokenWeb Podcast Theme Music] SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. The episode we shared with you this month was produced by Karis Shearer and Megan Butchart for our sister podcast, SoundBox Signals, from UBC-Okanagan’s “Audio-Media-Poetry” Lab – a.k.a. – the AMP Lab. You can follow the work of the AMP Lab on Instagram @amplab_ubco. The SpokenWeb Podcast project manager and supervising producer is Judith Burr. This episode was transcribed by Kelly Cubbon and Nour Sallam. To find out more about SpokenWeb visit: spokenweb.ca and subscribe to The SpokenWeb Podcast on Apple Podcasts, Spotify, or wherever you may listen. If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Stay tuned to your podcast feed later this month for ShortCuts with Katherine McLeod, mini stories about how literature sounds. [End Music: SpokenWeb Podcast Theme Music]\n\n"],"score":1.0},{"id":"9618","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S3E5, The Show Goes On: Words and Music in a Pandemic, 7 February 2022, Camlot"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/the-show-goes-on-words-and-music-in-a-pandemic/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 3"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Jason Camlot"],"creator_names_search":["Jason Camlot"],"creators":["[{\"url\":\"http://viaf.org/viaf/90740324\",\"name\":\"Jason Camlot\",\"dates\":\"1967-\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/70e2056d-21b3-4884-914a-95bc4d3de45e/audio/a045aa72-0908-41c8-a0fb-06f57b214da9/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"s3e5-words-and-music-in-a-pandemic.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"01:07:56\",\"precision\":\"\",\"size\":\"65,286,522 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s3e5-words-and-music-in-a-pandemic\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/the-show-goes-on-words-and-music-in-a-pandemic/\"}]"],"Dates":["[{\"date\":\"2022-02-07\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670549715156992,"timestamp":"2026-01-07T14:59:54.290Z","contents":["How has the reading series been transformed by the Covid pandemic and its accompanying technologies of virtual gatherings? In this episode, Jason Camlot – SpokenWeb Director and Professor of English at Concordia University – takes us on a reflective listening tour through recordings of the Words and Music Show as it has evolved through the pandemic since early 2020. The Words and Music Show has been organized by Ian Ferrier for two decades to bring performances of literature, art, and music to live audiences at the Casa del Popolo in Montreal. Jason assisted Ian with organizing after Covid sent the series online, and this episode takes us into the in-person and virtual sounds of the Show. In this episode, we listen to the journey of one reading series and its co-curator over the past two years. Join us in reflecting on how the pandemic has changed the ways we share and connect to each other through literature, art, and performance.\n\n00:00:06\tSpokenWeb Podcast Theme Music:\tInstrumental Overlapped With Feminine Voice] Can you hear me? I don’t know how much projection to do here.\n \n\n00:00:18\tHannah McGregor:\tWhat does literature sound like? What stories will we hear if we listen to the archive? Welcome to the SpokenWeb Podcast: Stories about how literature sounds. [End Music: SpokenWeb Podcast Theme Music]\n \n\n00:00:36\tHannah McGregor:\tMy name is Hannah McGregor, and each month I’ll be bringing you different stories of Canadian literary history, and our contemporary responses to it, created by scholars, poets, students, and artists from across Canada. How have our experiences of live artistic events changed during the pandemic? The Words and Music Show is a monthly gathering that poet and musician Ian Ferrier has organized for over twenty years. It invites artists to share spoken word poetry, literature, music, dance, and other kinds of performance. Before March 2020, Ian brought the show to audiences in the physical space of Casa del Popolo in Montreal. The pandemic sent this event online and into strange hybrid physical/digital forms, as has happened with so many events that we used to attend in our favourite venues. Jason Camlot assisted Ian in hosting the show online during this pandemic period.\n \n\n00:01:34\tHannah McGregor:\tIn addition to co-hosting the Words and Music Show Jason Camlot is the director of the SpokenWeb Network and a Professor of English at Concordia University. He uses past recordings of the show to bring us this new episode of the podcast during yet another wave of Covid contagion and shut-downs. Listening to these recordings is a call to reflect back on the many pivots this show and other live events have made over the past two years of Covid-impacted life. Jason wonders aloud whether it’s too soon (and too close to home) to yet theorize about how Covid has transformed reading events, but he suggests it might be helpful to listen back to what organizers, artists, and fans of the show have been experiencing. What does this artistic gathering sound like now? Some of the sounds may be familiar to you: Zoom glitches and tech troubles; the lonely reverberance of a small crowd clapping; coughing fits; the strange absence of ambient conversation; and the background sounds of pets and children, reminders that people are listening from usually-private home spaces.\n \n\n00:02:34\tHannah McGregor:\tArtists and creative event organizers are a tough bunch: they have and will continue to weather the storms of challenges and unknowns in order to share writing, art, and poetry with those who wish to listen. We invite you to listen to this episode with us, as we reflect on the shifting sounds of poetry readings and artistic community – and the power these events continue to have for us all. Here is Jason Camlot with Episode 5 of our third season of the SpokenWeb Podcast: “The Show Goes On: Words and Music in a Pandemic”. [Interlude: SpokenWeb Podcast Theme Music]\n \n\n00:03:14\tAudio Recording, Ian Ferrier, Words and Music Online, August 2020:\tHere we go. Four minute venue buzz. Let’s see if it works… [Indistinct Shuffling Sounds] Not a chance.\n \n\n00:03:28\tAudio Recording, Jason Camlot, Words and Music Online, August 2020:\n \n\nIt’s not working? [Laughs] Are you sharing computer sound? [Sounds of Ian and Jason Troubleshooting Continue]\n00:03:32\tJason Camlot:\tThat is the sound of me, Jason Camlot, and Ian Ferrier working out some technical effects just before the start of a Words and Music show that we hosted on Zoom in August, 2020.\n \n\n00:03:43\tAudio Recording, Jason Camlot, Words and Music Online, August 2020:\t– well, you don’t have the advanced?\n \n\n00:03:45\tAudio Recording, Ian Ferrier, Words and Music Online, August 2020:\tI’m not sure that I do at the moment…\n \n\n00:03:47\tJason Camlot:\tI’m Jason Camlot, a professor in Concordia University’s department of English and research chair in Literature and Sound Studies.\n \n\n00:03:55\tIan Ferrier:\tHi, I’m Ian Ferrier and as far as this conversation is concerned, I’m a poet and a musician and a curator of multimedia shows featuring literature, music, poetry, performance, and dance.\n \n\n00:04:11\tAudio Recording, Ian Ferrier, Words and Music Online, August 2020:\tYeah, I think we’re just gonna start this.\n00:04:17\tAudio Recording, Jason Camlot, Words and Music Online, August 2020:\tOh, here’s Jay Alexander Brown.\n \n\n00:04:20\tAudio Recording, Ian Ferrier, Words and Music Online, August 2020:\tOh, there we go. [Laugh].\n \n\n00:04:24\tAudio Recording, Jason Camlot, Words and Music Online, August 2020:\t[Laugh] Yeah. Let that go for a minute before we start. [Start Music: Instrumental with Voices]\n \n\n00:04:26\tJason Camlot:\tThis episode is about all the shows that Ian and I have hosted online during the pandemic.\n \n\n00:04:32\tAudio Recording, Ian Ferrier, Words and Music Online, August 2020:\tSo, good evening everyone and welcome to the Words and Music Show.\n \n\n00:04:36\tJason Camlot:\tSince 2016, the “Where Poets Read” online listing of literary events in Montreal (curated by my colleague and regular collaborator Dr. Katherine McLeod) has posted details of nearly 800 readings. [End Music: Instrumental with Voices] The last “live” in-person event listed on the site (until very recently) was for the Épiques Voices: Bilingual Poetry Show held at La Vitrola on March 10th, 2020. That amazingly fun and moving bilingual show was co-hosted by Katherine and Catherine Cormier-Larose. I remember the show very well, not only because of the awesome readings by Klara du Plessis, Kama La Mackerel, Alexei Perry Cox, and ten other excellent poets, but especially because it was the last public reading I would attend in person for a period for a very long time. For 593 days, to be exact. More about how that stretch of time ended a bit later in this podcast.[Sound Effect: Tape Rewinding] But first let’s go back to March 2020, a time when we were just beginning to understand the implications of how the pandemic might alter our lives. Between March 12th and March 29th, the “Where Poets Read” listing showed a series of notices for “cancelled” or “postponed” shows. You would find messages on Facebook, like this one from Ian Ferrier.\n \n\n00:05:59\tIan Ferrier:\t[Start Music: Breaking News Music] [Voice Effect: News Anchor Voice] Tonight’s show is not cancelled, only postponed. We are collecting tracks from all the performers who were scheduled to present and preparing the way to present them live in this group sometime in this upcoming week. Stay tuned and stay safe.\n \n\n00:06:12\tJason Camlot:\tAnd then we see a listing for the Words and Music Show online.\n \n\n00:06:18\tIan Ferrier:\tIt took longer than a week, by the way, it ended up being towards the middle or the end of April, before we could get people online.\n \n\n00:06:26\tJason Camlot:\tYeah, this was the first one, right? Like April 20 –April 19th?\n \n\n00:06:30\tIan Ferrier:\tGee, was that it? Wow, that was a good one too.\n \n\n00:06:33\tJason Camlot:\tOr was it…?\n \n\n00:06:35\tJason Camlot:\tThe correct date of that first online Words and Music Show of the Pandemic Period was March 29th, 2020. It featured work by Brian Bartlett, Lune tres belle, Alexei Perry-Cox, Nisha Coleman, and Choeur Sala.\n \n\n00:06:50\tJason Camlot:\tSince that date (based on data some students of mine have been collecting by scouring events postings on social media) there have been thousands of online literary events (readings, book launches, public interviews and panels) hosted from locations across Canada (and across the world) using platforms such as Zoom, Facebook Live, Crowdcast, Instagram and YouTube. If you have ever attended a poetry reading (whether you enjoyed it or not), or if you have ever listened to an episode of the SpokenWeb Podcast before, you will know that public readings and performance are an important kind of literary communication, circulation and community-building. Much of the collaborative research pursued across the SpokenWeb network is committed to preserving, listening to, and trying to understand the many meanings of historical recordings that document literary activity in Canada. In studying the thousands of recordings that constitute our collective archives of literary sound, we find ourselves asking, “What did this event mean?” [Start Music: Ambient Sounds] Sometimes we find ourselves asking even more basic questions, like, “Whose voice is that? [Pause] What’s that sound?” [Pause] But here we are, in a period of major disruption again to just about everything, including to literary events, readings, and gatherings. There seem to be new, urgent questions to ask: What does this pandemic mean for literary performance communities? What does it mean for the way we think about and experience literature, as compared to how we did before, when we could see each other in person without concern of spreading or catching a potentially fatal virus? Even as I articulate the question, “What does this mean?” another question arises simultaneously, not quite drowning out the first one, but certainly obscuring its intelligibility and potential. “What does this mean? Is this a question I should be asking right now? [End Music: Ambient Sounds]\n00:08:53\tJason Camlot:\tBack in May, 2020, my colleague, Katherine McLeod, and I made a podcast for this SpokenWeb Podcast series, an episode called “How are we Listening Now?” –\n00:09:07\tAudio Recording, Jason Camlot, Words and Music, May 2021:\t[Zoom Doorbell Chime] Hello? [Start Music: SpokenWeb Podcast Theme Music]\n00:09:09\tAudio Recording, Katherine McLeod, Words and Music, May 2021:\tHello? Can you hear me?\n00:09:11\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tYep. Hi Katherine.\n00:09:13\tAudio Recording, Katherine McLeod, Words and Music, May 2021:\tHi!\n00:09:14\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tWait, let me turn my video on. Where are you, in your kitchen?\n00:09:21\tAudio Recording, Katherine McLeod, Words and Music, May 2021:\tUh, no, actually I’m in my office room.\n00:09:25\tAudio Recording, Unknown Voice, Words and Music, May 2021:\tHello from my kitchen!\n00:09:26\tJason Camlot:\t– about what it felt like to live and listen under pandemic conditions [End Music: SpokenWeb Podcast Theme Music] just a few months after the COVID-19 pandemic first began March 2020.\n00:09:35\tAudio Recording, Ian Ferrier, Words and Music, March 2020 :\tGood evening and welcome to a fine winter evening of literature and some poems and some music.\n00:09:44\tJason Camlot:\tWe actually used the sounds from that first online Words and Music Show, including the performances of Nisha Coleman –\n00:09:51\tAudio Recording, Nisha Coleman, Words and Music, March 2020 :\tIt’s precarious, of course it’s precarious in the best of times. And now we’re entering a new time where it’s sort of precarious for everybody. So I think it’s more important than ever to have this community, whether it be in person together, singing hymns and drinking out of the same beer bottle or maintaining this connection over the internet.\n00:10:13\tJason Camlot:\t– and Alexei Perry Cox.\n \n\n00:10:16\tAudio Recording, Alexei Perry Cox, Words and Music, March 2020 :\t[Baby Cooing] [Reciting Poetry] My lover believed there had to be a point at which reality perfect and conquerous would get through to humankind.\n00:10:23\tJason Camlot:\tIn retrospect, it marked the beginning of a long series of ongoing, and maybe repetitive questions. That episode could go on and on, with only slight modifications to the title: How are we listening, now? And now? [Multiple Repetitions of “and now”] Katherine and I did revisit the episode and expand our thinking around that initial question in a scholarly article recently published in a special “Pandemics” issue of the journal, Canadian Literature. We ended our contribution to the article with a rather upbeat take on the transformative implications of the pandemic upon our scholarly and pedagogical activities. We concluded:\n \n\n00:10:58\tJason Camlot and Katherine McLeod:\t[Simultaneous Voices] Pandemic listening may be a new, tremulous classroom within which we will come to hear, unlearn, and transform our understandings and practices of listening.\n \n\n00:11:20\tJason Camlot:\tOur article is filled with theses of different kinds about pandemic listening, that were developed through a process of listening to the kinds of online conversations about literature that we were having with students and colleagues during the first months of the pandemic. Writing the article necessarily represented an exercise in abstraction and theorization of that early experience (at least I felt it was necessary in preparing the article).\n00:11:41\tJason Camlot:\t[Start Music: Ambient Electronic Sounds] When is it a good time to reflect on a crisis within which one is still deeply entrenched? When’s a good time to reflect on our experience of the pandemic? Is it too soon to do so? Given that we are in a fifth wave now, and that the Omicron variant has initiated a series of public responses that are reminiscent of the very early period of the pandemic, it may be a good time to listen to what we have gone through, even though we’re still going through it. Perhaps it is still too early to theorize the meaning of the pandemic, but it feels helpful, somehow, to listen to it. [Pause] In this episode, my way of listening to my recent experience of the texture of time, and to the pandemic as it existed for me for an hour or so, on every third Sunday of the month, will take the form of selecting and playing recorded moments from some of the sixteen distinct online Words and Music Show events that I have co-hosted with Ian Ferrier (from my institutional Zoom account) since March 22nd, 2020. [Pause] In selecting moments from pandemic episodes of the Words and Music Show, I have been as interested in listening to the sounds around the performance, as the performances themselves. [End Music: Ambient Electronic Sounds].\n00:13:16\tJason Camlot:\tWe were interested in the sounds that surround the show, as well.\n \n\n00:13:19\tAudio Recording, Ian Ferrier, July 2020:\tSo, Jason, will you be doing the fake applause?\n00:13:25\t \nAudio Recording, Ian Ferrier, July 2020:\n\nOh, I can send you some fake applause if you want.\n00:13:28\tAudio Recording, Jason Camlot, July 2020:\tYeah, sure. Send me some fake applause.\n00:13:31\tAudio Recording, Ian Ferrier, July 2020:\tOne sec –I just –Jason, I just sent you a couple of little applause clips.\n00:13:39\tAudio Recording, Klara du Plessis, July 2020:\tHow’s everyone’s weekend been?\n00:13:46\tAudio Clip:\t[Applause]\n00:13:47\tMultiple Voices:\t[Laughter]\n00:13:47\tAudio Recording, Cole Mash, July 2020:\tIt was like Klara just walked in on a sitcom and –.\n00:13:49\tMultiple Voices:\t[Laughter]\n00:13:53\tAudio Recording, Ian Ferrier, July 2020:\tBy the way, that’s real life Casa applause.\n00:13:57\tAudio Recording, Klara du Plessis, July 2020:\tOh cool!\n00:13:57\tAudio Recording, Ian Ferrier, July 2020:\tAnd I just sent you four minutes of crowd buzz too, which is like just when nothing’s going on –\n00:14:04\tAudio Recording, Jason Camlot, July 2020:\tRight.\n00:14:05\tAudio Recording, Ian Ferrier, July 2020:\t– and people are talking with each other.\n00:14:07\tAudio Recording, Jason Camlot, July 2020:\tOh, hi Judee.\n00:14:07\tAudio Recording, Judee Burr, July 2020:\tHey everyone.\n00:14:10\tAudio Recording, Jason Camlot, July 2020:\tThanks for coming.\n00:14:13\tAudio Recording, Judee Burr, July 2020:\tYeah! So happy to be here. Jason, that’s a virtual background. I didn’t know.\n00:14:19\tAudio Recording, Jason Camlot, July 2020:\tIt is.\n00:14:19\tAudio Recording, Judee Burr, July 2020:\tIt’s quite deceptive.\n00:14:20\tAudio Recording, Jason Camlot, July 2020:\tYeah. It’s the Casa del Popolo where the Words and Music show often happens or usually happens. Yeah.\n00:14:28\tAudio Recording, Ian Ferrier, July 2020:\t[Start Audio Clip: Crowd Buzz] There we go! Crowd buzz.\n00:14:31\tAudio Recording, Jason Camlot, July 2020:\tCrowd buzz. We’re creating a virtual atmosphere.\n00:14:35\tAudio Recording, Judee Burr, July 2020:\tWow, the crowd is so, so loud. It’s hard to hear you guys!\n00:14:38\tAudio Recording, Jason Camlot, July 2020:\t[Laugh] I know. That’s why we gotta yell.\n00:14:42\tAudio Recording, Ian Ferrier, July 2020:\tIn honour of this crowd, I’m gonna go grab myself a beer before this show starts. I’ll be right back.\n00:14:48\tAudio Recording, Jason Camlot, July 2020:\tGood idea. Alright.\n00:14:49\tAudio Recording, Katherine McLeod, July 2020:\tIt’s so crowded. He might find there’s a line up.\n00:14:52\tMultiple Voices:\t[Laugher]\n00:14:55\tAudio Recording, Jason Camlot, July 2020:\n \n\nHey Kenny, I don’t know if you can hear us.\n00:14:58\tJason Camlot:\tSounds like audience buzz and different kinds of applause captured on tape [End Audio Clip: Crowd Buzz] from past live shows to give a sound of appreciation from a group of people that is practically impossible to produce when on Zoom, [Start Audio Clip: November 2021, Words and Music Crowd Buzz] because Zoom cancels out sound altogether when more than two or three people speak or make noise at the same time, at least with the standard noise cancellation settings on. [Audio Clip of Crowd Buzz continues] We missed those sounds online. [End Audio Clip: November 2021, Words and Music Crowd Buzz]\n00:15:32\tJason Camlot:\tThose first ten months of the Pandemic. Oh my god. Not only were we dealing with the anxiety and intense uncertainty of the virus, not quite knowing what it was all about, and many months away from the first vaccines. But Donald Trump still had a Twitter account (that was only taken away from him on January 9th, 2021). And on May 25th, George Floyd, was murdered. [Silence] Teaching and collaborative research activities, and community work (like being on the Board of the Quebec Writers Federation, QWF) kept me sane by giving me a sense of purpose. But the dull hum sounding feelings of utter purposelessness and helplessness were always there, in the background. Through my participation in the QWF, and with the leadership of spoken word performer and novelist Tanya Evanson, a regular Words and Music performer over the years, I became involved in collaboratively producing a show that featured Black Montreal-based performers, Roen Higgins, Fabrice Koffy, Faith Paré and Jason (Blackbird) Selman. For this QWF, Wired on Words, Throw Collective, and SpokenWeb special “Black Writers Out Loud” edition of the Words and Music Show, we invited these four amazing performers to appear on the legendary stage of the Sala Rossa.\n \n\n00:16:55\tJason Camlot:\t[Start Background Audio: Sounds of the Sala Rossa]\n00:18:01\tJason Camlot:\tOn this night for the recording of the Montreal Black Writers Out Loud event, a little more than two years later, the atmosphere at the Sala was something quite different. Venues were not allowed to have audiences at shows. We were recording the performances from the Sala stage to be webcast as a “live from the Sala Words and Music show” just a few hours later. The only people in the venue were the four performers, the audio and video technicians who were recording the sets, Ian, who was introducing the artists from the stage, and me, because it was thought I might need to Zoom cast the show from there if the recording took longer than expected. We were all masked when I said hi to the performers before they began, and then I watched in the chilly empty space leaning on the bar at the back of the room. The taps were dry. The performances were fantastic. Fabrice Koffey.\n \n\n00:18:58\tAudio Recording, Fabrice Koffey, Black Writers Out Loud, Words and Music Show, November 2020:\n \n\n[Fabrice performs the work “Je m’appelle Serge…” alternating between French and English]\n00:19:19\tJason Camlot:\tThey were all the more amazing given that each artist has to do their set a second time because the sound messed up during the first recording session, and the error was only discovered after all four sets of the entire hour-long show had been performed. In fact Roen Higgins had to come back another day to re-record her set because she couldn’t hang around to it a second time; she had to get home to a child who was sick. So her set wouldn’t make it out to Zoom and Facebook Live that night. Faith Paré\n00:19:47\tAudio Recording, Faith Paré Black Writers Out Loud, Words and Music Show, November 2020:\tHi there guys. Thank you so much for coming out tonight. I wanna say thank you to the Quebec Writers Federation, to Wired on Words and Ian Ferrier, to SpokenWeb Canada and to the Throw Collective. This is really wicked to be able to be in the space again. So as well, thank you to the Sala Rossa team for taking good care of us and Fabrice and Jason and to Rowan who’s here with us in spirit. It was awesome getting to chat with you guys in September and really wicked to be performing alongside some powerhouse poets from Montreal. So thank you for welcoming me into this community as well. I have a kind of suite of poetry for you guys, which is kind of a Black feminist elegizing of the world. And it begins with an epigraph from the poet, Claire Harris. [Begins reading poetry] While babies bleed, this is not the poem I wanted./ It is the poem I could./ Poetry is the stuff of a life lived./ What I have endured is no life./ The insult of that, the salt poured into the wound my mouth was replaced with./ I know the unsolicited tips to smooth my frown lines./ I know to try a smile from every sidewalk, leering guy./ I know the flies I’m bound to catch, how impolite. /No one likes mouth on a Black girl, unless it’s sucking cock or it’s an open grave, best when both./ And when they still see a hanged man in my dangling shin, I need to fix my face/ But my face is already fixed on the doomscroll, /The hashtags wreck, the headline bolded and stampeding through my throat./ When I’m sitting with a pen./ When I try laughter/ When I take a sip of water stolen from somewhere and still smell smoke from the flash bang grenade tossed on the Black girl asleep./ The breathless call for mother of a Black girl when they barked her off balcony/ Black girl, after Black girl submerged in river after river/ Because of their dead names can’t go,/ Can’t go anywhere in the world. /Can’t go when the one door out is my mouth./ Can’t when sound is cowering inside me with canned food, ready to hide years on end./ Can’t. [Intake of breath].\n \n\n00:22:08\tJason Camlot:\tThe Sala show was an experiment of sorts, an attempt to give the effect of a live show delivered from a beloved venue for an online audience. The quality of the performances, and the quality of the audio and video were both great. But there was also something a bit eerie about the juxtaposition of a recognizable, happening venue in which nothing was happening apart from the amazing performances on stage. The silence surrounding the sets was more than just noticeable. It was audible. It was thick. Thick with quiet and absence. [Audio Clip: Person Exhales] . Jason Blackbird Selman\n \n\n00:22:49\tAudio Recording, Jason Blackbird Selman, Writers Out Loud, Words and Music Show, November 2020:\t[Jason Blackbird Selman performing “Lend me a psychedelic dream…”] Lend me a psychedelic dream./ Lend me pieces of daylight./ Lend me a destruction sweeter than anything I can remember./ Lend me open sounds, a courtyard, Sedgwick Ave. /Bury this knowledge and sound./ A beat that repeats a rhythm that has a mind of its own./ Let the mind grow,/ spread to all five boroughs like a virus, black fire, wild stone rhythm for talk,/ Speak softly. Take over the world./ It was so easy to know you once I began listening to myself,/ the verse became free psychedelic colours and psychedelic graves./ Daisies growing wild from the barrel of a gun shoot stars./ Love is an idle threat shouted to the world who is not like I when delivering themselves to themselves,/ a glass filled with years, this venom filled with love./ I love her so much because she lets me know that I am fading./Ghetto codes and grey days./ The search for search, the sound of sound./ Find yourself in flames evenings on pause, part of something, apart and in parts/ Open the first door./ Let yourself in. [End reading]\n00:25:20\tAudio Recording, Jason Blackbird Selman, Writers Out Loud, Words and Music Show, November 2020:\tGood evening. It’s good to be here at Sala. It’s always good to be here, in amongst wonderful poets from our city. And all of you are watching right now. I just wanna say thank you to KWF to Ian, Words and Music. And, it’s good that we can do this. But I also really look forward to coming back into the world and having a full audience because we appreciate your virtual support, [Start Music: Ambient Sounds] but we also appreciate your energy and face to face. Cause that does make what we do really worth doing.\n \n\n00:26:06\tJason Camlot:\tI feel honoured to have been one of a handful of people who was in the room to see those terrific live performances before an absent audience. I hooted and yeahed, clapped and cheered loudly through my mask from the back of the room. The reverberation of my solitary response was a bit sad. I could have been an installation in the show currently running at the Montreal Museum of Modern Art, entitled, “How long does it take for one voice to reach another?” For the next month’s show, Ian and I went back to sitting in front of our computers and hosted an event of performers and audience members who were sitting in front of theirs. [End Music: Ambient Sounds] As we realized that online shows meant you could invite just about anyone in the world to perform (on Zoom), I suggested to Ian that we invite the UK-based poet Angela Szczepaniak to join the December 13th, 2020 show. I had just finished editing Angela’s third poetry collection for DC books, and I knew it would be great to hear her read from it.\n \n\n00:27:09\tAudio Recording, Ian Ferrier, Words and Music, December 2020:\tShe lectures in creative writing at the University of Surrey, and she has a new book coming out soon called The Nerves Center. So please welcome Angela Szczepaniak.\n00:27:18\tAudio Recording, Angela Szczepaniak, Words and Music, December 2020:\tThank you so much, Ian. And thank you for having me. It’s really lovely to be here from London very late at night right now, for me. Really nice to meet you all too. So, I’ll be reading from my forthcoming book, The Nerves Center, which is a long narrative poem about a performer in the midst of stage fright while on stage and attempting to give a performance. And each act in the sequence of the long poem she, the performer is trying to speak and what she actually says, which takes a form of sound poems. The sounds poems are comprised, I guess I should say, of recordings of panic attacks, that I played into transcription software, which then assigned kind of letters and phrases and words-ish, to it. It wasn’t very good at transcribing, which was very helpful when I was reshaping them into sound poems for the page. What didn’t really occur to me until now – this is my first reading of the work or from this book –[Cough] excuse me – is that I am essentially going to be reenacting lots of panic attacks that I once had [Laugh] long ago, which is a kind of exciting night, I guess, for everyone. [Cough] Excuse me.\n \n\n00:28:40\tJason Camlot:\tIt seemed especially appropriate for the Zoom stage, which might add its own sonic glitches through wavering connectivity. I was excited to hear what the planned silences in the poems would sound like on Zoom. And I was just excited to see Angela, since it had been a while since we’d zoomed, because she had contracted the COVID virus some months before and had been knocked out of commission for quite a while, now.\n \n\n00:29:03\tAudio Recording, Angela Szczepaniak, Words and Music, December 2020:\tI suppose also I should say that panic attack-wise, I very helpfully caught a virus a while ago, which results in me coughing constantly. So that’s what you’re going to hear for a lot of those kind of breathy sound poems. It’s just going to be replaced by coughing today. [Coughs] Excuse me. There are ten acts all together and each one maps onto a specific self-help strategy for managing anxiety and performance anxiety. [Coughs] Excuse me. I will keep this short also given the cough. So The Nerves Center, a novel in performance anxiety. The nerves center in 10 acts, the nerves center in 131 stanzas 2,417 fantic utterances and tonight, especially for you all 9, 381 coughs – and I’m guessing on that. [Angela begins performing] Act one. Act natural. Be yourself. /Speaker stands alone at microphone pin neat, polite,/ Serenity slipping through finger twitchers./Speaker ready self opens mouth. Silence. / Mouth opens this time with resolve./ Silence snaps jaws shut. Speaker opens steady mouth. Finally./ [Exhaling] [Coughing] Regroup reapproach. [Exhaling] [Coughing] Speaker back steps, wheezes, a casual graveyard whistle./ Shuffles a soft shoe, sidles up microphone adjacent to take it by surprise. [Exhaling] [Coughing]\n \n\n00:31:19\tJason Camlot:\tAngela continued performing, despite the discomfort, from several other acts in The Nerves Centre, as we all listened intently to a combination of breathing, coughing, and rich descriptions that frame the staged readings within a vaudevillian kind of world. Angela’s book is very funny, and remarkable for its acceptance without judgement of so many failures in speech, for the sense of hope that each act brings, and for the deep compassion the book shows for anyone who may be struggling to find their voice, for anyone trying to speak and be heard. And here we were, sitting in our own isolated sets, listening to a performance of anxiety and disarticulation that was both deliberate and real, highly performative and absolutely involuntary, at the same time.\n00:32:11\tAudio Recording, Angela Szczepaniak, Words and Music, December 2020:\tI am going to stop there. Thank you everyone for listening. And, were it not for many, many coughing fits I would continue, but I think you get the idea [Laughs] of what this is like. Thank you.\n \n\n00:32:26\tJason Camlot:\tIn many ways, it was the most pandemicky performance imaginable. Painful, beautiful, absurd. It made perfect sense.\n \n\n00:32:34\tAudio Recording, Ian Ferrier, Words and Music, December 2020:\tAnd thank you so much for coming. I should tell everybody, Angela’s been telling us a little bit about living with COVID in the UK, which sounds pretty intense with Starbucks open and everything else open and lots of people catching it. And it’s one in the morning for you. So I thank you very much for joining us tonight.\n00:32:50\tAudio Recording, Angela Szczepaniak, Words and Music, December 2020:\tThank you. Thank you so much, everyone for listening to that.\n00:32:54\tAudio Recording, Ian Ferrier, Words and Music, December 2020:\tAnd if you wanna catch some more of that, I think The Nerves Center is coming out this winter at some point.\n00:32:58\tAudio Recording, Angela Szczepaniak, Words and Music, December 2020:\n \n\nYeah. Thank you.\n00:33:01\tJason Camlot:\t[Audio Clip: Fastforwarding Tape Sound] Alright, let’s speed ahead a bit. Lots of shows happened between December 2020 and the special Words and Music Show – SpokenWeb Symposium edition held in May 2021. February 21st, 2021 for Black History Month, we reprised a screening of the Sala Rossa Black Writers Out Loud show, now with Roen Higgins’s performance restored so that all four sets could be viewed together.\n \n\n00:33:25\tAudio Recording, Roen Higgins, Black Writers Out Loud, Words and Music, November 2020:\t[Roen Higgins performing] Ware shell shocked, numb, sick and tired./These are the symptoms of PTSD whether we march, kneel, or speak./ Our voices are unheard in the streets, /every living thing on this earth retreats or reacts or stands still until the threat passes./ So please stop asking our people who are paralyzed to walk with you./ Stop judging others for not speaking up when their vocal chords are shot from screaming,/ Crying for babies, they never birthed yet feel the contractions of these now household names./ I can’t even say all their names as there are too many to remember, but their faces are etched in my mind/ with their mothers cry looped over this never ending soundtrack./ We are forever in labour with pain that our children will never belong or feel accepted,/ that they are guilty and being groomed from preschool to prison./ Before they leave their house they’re reminded by their mamas/ Stand tall, smile, look straight so you won’t come off hostile./ Keep your hands where it can be seen. Move slowly. Never, never run./ Don’t hang out on the streets and keep your hoodie off./ Comply. Answer their questions and cordially and politely./ Whatever you do, just stay calm and keep the camera rolling. Thank you. [End performance]\n \n\n00:35:02\tAudio Recording, Roen Higgins, Black Writers Out Loud, Words and Music, November 2020:\tThank you everyone. Thank you for this opportunity. It’s an amazing time to have a show in these times to be able to come together even virtually while they say we socially distance, we do not distance socially.\n \n\n00:35:13\tAudio Recording, Jason Camlot, Black Writers Out Loud, Words and Music, November 2020:\tThank you. Ronan\n00:35:15\tJason Camlot:\t[Start Music: Upbeat Accordion] Sunday March 21st the Words & Music Show is your online welcome to Spring. Tawhida Tanya Evanson is here with a new book. And catch poems, music, art and dance with: Emilie Zoey Baker (Australia), Raymond Jackson (New Orleans) , Marie-France Jacques (Montréal), Visual Art by Francis Caprani . Verse by Kelsey Nichole Brooks . Music by Ramela Arax Koumrouya.\n \n\n00:35:46\tVarious Speakers:\t[Collage of audio of March 2021, Words and Music Show]\n \n\n00:36:59\tAudio Recording, Ian Ferrier, Words and Music, March 2021:\tOkay. Thanks folks. Goodnight for now.\n00:37:01\tVarious Speakers:\tThank you very much Ian! Nice meeting you all. Yeah. Nice meeting you all. Likewise. See you next time. Cheers everyone. Thank you.\n00:37:06\tAudio Recording, Jason Camlot, Words and Music, March 2021:\n \n\nBye everyone, thank you. We’re going to go off air now. [End Music: Upbeat Accordion]\n00:37:07\tJason Camlot:\t[Start Music: Various Vocals and Musical Sounds] April 18th 2021. An absorbing evening featuring: verse by Sarah Wolfson , music by Geronimo Inutiq , art by Louise Belcourt, David Bateman as Dr. Sad , a new video by Marie-Josée Tremblay , words and music by Ian Ferrier, with a wealth of words, music, video and art, an online show to help us forget 8PM lockup (or is that lockdown?)\n00:37:41\tVarious Voices:\t[Collage of audio of audio from 18 April 2021 show] Should I start now? [Laugh] Yes, you are live! [Laugher] Okay. “They love to laugh together and drink and shop, especially when they were unhappy. She was much less happy than he was.” “In those days. We had a tool for taking the cords off beats. We grew everything. Then even our little toes. If our noses went missing, we replaced them with the most obliging webs.” “I love my grandfather. I hated my parents. He painted all the time. I hung around him.” [Guitar] “We’re just too many and we’re born too fast. Sarah and Will and James and Tina and Ian and John and Michael and Eric and Ty and Sarah, Beth, and Mary.” Bye. Take good care. Bye. Goodnight everyone.\n \n\n00:38:46\tJason Camlot:\tSo now we’re entering May 2021, and the entire Concordia SpokenWeb Team is deep into planning and delivering the annual SpokenWeb Symposium, which, for the second year in a row, was supposed to bring everyone to Montreal to share work, but which, again, had to take place online. The Symposium, with the theme “Listening, Sound, Agency” was a great success, with over 30 panels (so nearly 100 papers presented) by scholars and students from all over the world who were interested in exploring intersections between literary studies and sound studies. The Symposium was great, and then the Summer Sound Institute, filled with all kinds of workshops and research showcases, was also great. But, with all of that done, I was extremely excited to host a special edition of the Words and Music Show, where anyone from the Symposium, or from our research network, could share a poem, a story, a song, or a joke. We sent out a call trying to entice people to participate. And once we had a roster, I asked Ian to prepare one of his radio promo ads for the show.\n \n\n00:39:51\tIan Ferrier:\tOn Sunday May 23rd Wired on Words partners with SpokenWeb to present a special edition of the Words and Music show.\n \n\n00:39:56\tJason Camlot:\tIf this had been a live show, it would have taken place at the Casa Del Popolo, longtime home of the Words and Music Show. Instead, we were online again. Still, it was as close as we would come, that summer, to hanging out, joking around, being silly and creative, together.\n \n\n00:40:12\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tYeah. We have a bunch of different performances from members of the SpokenWeb network. And this is really – it doesn’t replace the gathering and party that we would’ve had if we’d been able to all gather together in Montreal, but it’s meant to have the fun feel of that kind of gathering.\n \n\n00:40:32\tJason Camlot:\tPoet and Simon Fraser University PhD student Cole Mash, hosted it in a way that made it all feel, at times, like we really were at the Casa together.\n \n\n00:40:41\tAudio Recording, Cole Mash, Words and Music, May 2021:\tI’m just turning my video off so I have a better connection and then kinda having a drink. But yeah! Welcome to the Words and Music show SpokenWeb edition. I personally have actually never seen this show but I’m really honoured and privileged to be able to host it and be a part of it. I hear it’s a pretty good show. We’ve got – we have about 10 or so lucky people who have signed up for tonight’s event. So can everyone please turn their cameras off? [Pause] Okay, great. Everyone turn their mics on. [Pause] Everyone say “Words and Music” all at the same time and see how that goes. [Various voices overlapping: “Words and Music”] All right. All right. That was pretty good actually. I got to hear quite a few people. That was nice. OK. Everyone turn their cameras back on, but make a weird face when you turn your camera back on. [Pause] [Laughter] All right. Very nice. Very nice. So now that I know you’re all listening…\n \n\n00:41:49\tJason Camlot:\t[Start Audio Clip: Jason Camlot Archival Performance] My own contribution to the show is to play a clip from the archive of me performing a song at a Words and Music show that took place nearly 20 years earlier.\n \n\n00:42:00\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tSo thanks so much Cole. And it’s great to be back on the pin screen. [End Audio Clip: Jason Camlot Archival Performance] And, it seemed appropriate really to –rather than to do something new since we’ve been spending so much time with Ian’s archive of shows– to dig into that and to play something that – play a performance that I did back in 2003. And I was thinking about this– and this is what happens when you listen back into an archive, especially if you find yourself in it. Even if you don’t, if you were at a show or whatever– but I’m thinking 2003, that means my son was probably around the same age as Cole’s son is now. I think of Deana Fong and I think of some of my colleagues and friends now who are starting families and that’s sort of where I was at in 2003, actually, my son was probably a year and a half and my daughter was just born probably about a month before this show. And I chose to play a song that I’ve just been singing in the backyard with my daughter no less than a couple weeks ago. So she’s 16 now and taught herself guitar during COVID and has been writing songs herself. And so we’re sharing our own compositions with each other. And so this is one that I taught her and that she’s sang along with. So it’s from the Words and Music show, April 27th, 2003.\n \n\n00:43:13\tJason Camlot:\tIt was fun to introduce this clip, set it up, and listen to it so many years later with new friends and students.\n \n\n00:43:19\tAudio Recording, Jason Camlot, 2003\tAnd we’re just gonna play one more song. I want to thank Ian for lending me his guitar. This song is called Derbyland, and Kenny’s gonna be playing arango, which is made of an Armadillo.\n00:43:45\tAudio Recording, Kenny Smilovich, 2003:\tA dead Armadillo. [Laugh].\n00:43:47\tAudio Recording, Jason Camlot, 2003:\tYeah. If you hear some screaming, that’s the Armadillo. [Start Music: Guitar]\n \n\n00:44:07\tJason Camlot:\t[Music Continues: Guitar] It was especially fun and moving to have my old friend and music collaborator tune into the show and to hear his response to a recording that he never knew existed. [End Music: Guitar].\n00:44:17\tAudio Recording, Kenny Smilovich, 2003:\tYou know, I’m trying to think back to that time and everything’s a blur, but –\n00:44:22\tJason Camlot:\tMusician, Kenny Smilovich\n00:44:24\tAudio Recording, Kenny Smilovich, Words and Music, May 2021:\t– I don’t remember, like how did that end up recorded? Was that sort of the plan or did it just happen that someone recorded it?\n00:44:34\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tSo Ian recorded pretty much every Words and Music Show almost since its inception.\n00:44:40\tAudio Recording, Kenny Smilovich, Words and Music, May 2021:\n \n\nWow. That’s amazing.\n00:44:41\tJason Camlot:\tThis was the longest online Words and Music Show of the pandemic period, by far.\n00:44:46\tVarious Voices:\t[Audio Collage of several performances from the May 2021 show.] [Start Music: Guitar] “When the artist takes matter and builds fence around it in the name of the line, or takes matter into their own hands and abstracts, what results is a manifestation of power in the sense of imposition and not in the sense of strength.” “This poem’s called ‘Asking the Spoon to Runaway Takes Courage: A spoons work is never done. They sit folded in the time waiting as we all do to be picked up.” I should have predicted the death of this city. I couldn’t predict it. Only there had been no such creepy blocks.” Pools and pavement in black ice, random stones steam, faintly. Lime water and liquorish light. Think how the black dust Beth made men dance.” “I have no words, officer lay my tongue. You stole each one in a scamper for escape. When he begged me when your men with the gavelbang voices hounded me. Yes.” “Using my full song to the wise intoxicating yarl and thrall alike. I know the rooms, the words of white. I know the words of flaming light. The words that still the sea at midnight.” [End Music: Guitar] [Start Music: Singing] “I see my from the west down to the east. Any day now. Any day…. [Fade Out Singing] [Start Music: Guitar and Singing] “All of my friends in a plastic, all around jumping train, track, silver effects, bang all back, sleep on a bench in a park on your birthday….” [Fade Out Singing]\n \n\n00:47:11\tJason Camlot:\tAnd yet even after two hours, we were happy to linger, chat, and debrief.\n00:47:17\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tWell, I guess at this point we’ve been together for two hours. It’s gone really quickly and it’s been so enjoyable. I just want to thank, first of all, Cole and Ian for hosting tonight. And Ian, like I said earlier also for just lending us The Words and Music stage for this evening and really to everyone for taking the chance to share something tonight, it’s –I think as Mike put it – it’s a safe environment that we’re trying to create both in terms of sharing ideas, concepts, methods, in our research and our collaborative practice, but also our creativity. And this is just an extension of that. And, since we haven’t been able to join in person this year, it just felt like it would be great to have a space where we could just share some stuff and other parts of ourselves. And I think that really happened tonight. And I’m just so happy that it did.\n \n\n00:48:11\tJason Camlot:\tTo help make the signoff period feel less harsh and abrupt, we engaged in an exercise of imagining each other offline, after the show as a way of saying goodbye, but still keeping each other in mind.\n \n\n00:48:23\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tI will say finally, when Katherine and I had a workshop recently, we were sort of trying to address the issue of like, well, where do people go after they disappear from Zoom? You could spend time together and then suddenly you’re in a shared space and then you’re no longer in the shared space. So maybe as a way to lessen the blow of departure I’m gonna suggest that we do the same thing again and ask you, what’s the next thing you’re gonna hear, or the next thing you’re gonna do after leaving us tonight? Katherine, you wanna share what you’re gonna hear next?\n00:48:58\tAudio Recording, Katherine McLeod, Words and Music, May 2021:\tYeah, sure. I’m gonna be picking up my little cat, who’s been hanging out and we’re gonna have a little chat. And then, I’m gonna hear the creaking of the door. And I also just feel like putting on some music and continuing to just move and stretch. I feel like it really made me want –I said this after the last time,I was gonna go dance –but I feel like just like moving and stretching, just some music. That’s what I’m gonna do next. Yeah.\n00:49:27\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tI’m gonna go see if my daughter wants to play guitar outside. [Laughs] How about you, Kenny? What’s the next sound you’re gonna hear?\n00:49:36\tAudio Recording, Kenny Smilovich, Words and Music, May 2021:\tI’ll probably have a few bites of dinner and then head downstairs and see if I can remember the chords to “Derbyland” by Tarango.\n00:49:43\tAudio Recording, Jason Camlot, Words and Music, May 2021:\t[Laughs]. Awesome. That’d be great. Klara?\n00:49:48\tAudio Recording, Klara du Plessis, Words and Music, May 2021:\tI’m definitely gonna get some ice cream, which means I’ll be opening the fridge and there will be a suction sound from the fridge. [Laughs].\n00:49:55\tAudio Recording, Jason Camlot, Words and Music, May 2021:\t[Laughs] Nick, what’s the next sound you’re gonna hear after you leave us?\n00:50:01\tAudio Recording, Nick Beauchesne,\nWords and Music, May 2021:\n\nWell my cat’s meowing and I have to keep grinding at my dissertation. So –\n00:50:05\tAudio Recording, Jason Camlot, Words and Music, May 2021:\t[Laughs] Some grinding, just grinding. [Laughs]\n00:50:08\tAudio Recording, Nick Beauchesne,\nWords and Music, May 2021:\n\n \n\n– not for too long. I’m gonna go do something fun after, but that’s when next,\n00:50:14\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tHow about you Faith?\n00:50:15\tAudio Recording, Faith Paré, Words and Music, May 2021:\tProbably the sound of my roommate and I chatting. I’m probably gonna watch a movie tonight, so maybe some horror movie screams and we have some Indian food on the way. So like that kind of straw sound, you know, sucking up like the last bits of like mango lassi I’m very excited for that particular thing. Yeah.\n00:50:35\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tThat’s great. Great array of sounds. Ali, how about you? What’s the next sound you’re gonna hear?\n00:50:41\tAudio Recording, Ali Barillaro, Words and Music, May 2021:\tSo probably similar to other people. I don’t know if you can see her, but my cat over there will probably wake up. So I’ll probably hear her – she’s right there. And probably my own excitement over going to eat some food. So sounds of excitement.\n00:50:57\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tFelicity?\n00:50:58\tAudio Recording, Felicity Tayler, Words and Music, May 2021:\tI’m gonna open the door to this room and walk down my very creepy hallway. And I missed somebody’s bedtime. So either I will hear silent breathing or I will hear a little voice that says “mama?”.\n00:51:17\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tJudee, how about you?\n00:51:19\tAudio Recording, Judee Burr, Words and Music, May 2021:\tYeah. Without you all, it’ll just be undiluted fan noises in this apartment with some like thum of traffic. Just steady cars. And I’ll probably walk outside. So I’ll get some door creak and maybe even a cricket.\n00:51:36\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tAnd Cole?\n00:51:37\tAudio Recording, Cole Mash, Words and Music, May 2021:\tWell, there’s three unbathed children awaiting me, so there’s gonna be screaming most likely. And then, after that, I hope silence.\n00:51:48\tAudio Recording, Jason Camlot, Words and Music, May 2021:\tSo it makes it a lot easier – not easy – but a lot easier to say goodbye to you all now. Thanks for a wonderful evening, everyone. And, we’ll see you soon at one of the events this week I hope. Take care, everyone.\n00:51:59\tAudio Recording, Kenny Smilovich, Words and Music, May 2021:\tThanks, Jason!\n00:52:01\tJason Camlot:\tThat particular show did feel as close to a live encounter over Zoom as I’ve had. The livest online event I’ve ever attended. Since we’re just about out of time, let me take you to the last Zoom conversation of what we thought, we hoped, [Start Music: Jay Alexander Brown singing “Beyond beyond”] might be the last online Words and Music Show of the pandemic period, September 19th, 2021. [End Music: Jay Alexander Brown singing “Beyond beyond”]. We thought that might be it, that we would never see each other again, in the flat, tiled, and often inaudible world of Zoom. We spoke to each other as if we were preparing to teleport into another dimension.\n00:52:47\tAudio Recording, Ian Ferrier, Words and Music, September 2021:\tI’m so excited to imagine that we can start, collaborating, and joining together and seeing things in real life.\n00:52:57\tAudio Recording, Katherine McLeod, Words and Music, September 2021:\tIt also makes one realize just what sort of community there has been created through the online shows. So I felt that through listening to John’s piece, that it actually – it would be different to hear that on the stage. And it’s very intimate that we are able to gather here to listen to it here tonight.\n00:53:16\tAudio Recording, Jay Alexander Brown, Words and Music, September 2021:\tAnd it feels like it’s maintained a sense of community and a sense of continuity throughout the pandemic to have these. It’s – in my opinion, it’s not the same as the vibe you have in a room full of people. But the fact that this show didn’t just disappear off the face of the earth and has kept us all tethered to the phenomenon called Montreal – cuz you know, barely leaving the house, especially last year when I was more paranoid about COVID – I could have been anywhere. Who even knows if you’re in Montreal.\n00:53:52\tAudio Recording, John Sweet, Words and Music, September 2021:\tI’m just – I’m concerned though – if we go back to doing like real live performances, what are you gonna do Jason? I’m concerned. [Laughs]\n00:54:04\tAudio Recording, Jason Camlot, Words and Music, September 2021:\tI only exist here in this square. I mean – I will still be here if ever you return 20, 30 years from now. You know, if you decide to come back, here I will be.\n00:54:15\tAudio Recording, John Sweet, Words and Music, September 2021:\tAnd you’ll look exactly the same.\n00:54:17\tAudio Recording, Jason Camlot, Words and Music, September 2021:\t[Laughs] Exactly. Yeah.\n00:54:18\tAudio Recording, Unknown Speaker, Words and Music, September 2021::\tJason isn’t real, John.\n00:54:21\tVarious Voices:\t[Laughter]\n00:54:24\tAudio Recording, Jay Alexander Brown, Words and Music, September 2021:\tJason’s gonna show up at Cafe Resonance as a cardboard cut out.\n00:54:29\tAudio Recording, Jason Camlot, Words and Music, September 2021:\n \n\n[Laughs] That’s right. Katherine’s gonna be carrying me on a stick.\n00:54:31\tAudio Recording, Various Voices, Words and Music, October 2021:\tAudience chatter and background noise\n00:54:44\tJason Camlot:\tAfter having co-hosted the Words and Music show online for nearly two years, Ian invited me to perform at the first live show since March 2020 – a show that we thought would be a return to live events on a regular basis.\n \n\n00:54:56\tAudio Recording, Various Voices, Words and Music, October 2021:\tAudience chatter and background noise.\n00:55:10\tAudio Recording, Ian Ferrier, Words and Music, October 2021:\tGood evening, everyone and welcome to our first live show in 18 months. Holy crap. [Audience Applause]. I mean, I look back at that whole time and it feels like a giant hallucination and I wonder where I was I and what was going on. And it’s so nice to see people in a room and to be able to present things for them and to actually jam with other musicians from time to time. All of this stuff is so great. So thank you so much for coming tonight. It’s really nice to have everybody here.\n \n\n00:55:42\tJason Camlot:\tI was quite anxious about participating in this show, not so much about giving a reading as about being in a room with lots of people. Anxious, but very excited as well. I had to arrive a bit late and so I sat in the back of the room for most of the first set. Then at intermission, I moved up to join some friends who were seated in the audience. [Start Music] It felt great to sit at a table and chat with people. I had a new book of poems that was about to come out. So I printed up some flyers that the press had given me and handed them out to people during intermission. Then I went up to the mic in front of people and read.\n \n\n00:56:17\tAudio Recording, Ian Ferrier, Words and Music, October 2021:\t[Audience Chatter and Instrument Tuning Background Noise Throughout] Welcome to our fabulous second set. For this set we’re very, very lucky. When we started this project, the project had going online at the beginning of COVID. I was very lucky to have help from Jason Camlot who’s a fine poet and also one of the core people in a project called SpokenWeb, which is taking audio literature and making a databases up so that people can study it in 30 years and say, wow, those people were amazing, whatever they were. And he’s got a new book, which is just coming out called Vlarf. The reason you have those sheets on your table is – the books not quite out yet, but if you have one of these sheets, you get a big discount in the book, so you can get it later. Please welcome Jason Camlot. [Audience Applause].\n \n\n00:57:16\tAudio Recording, Jason Camlot, Words and Music, October 2021:\tThanks so much, Ian, thank you everyone. It’s so exciting to be with other people.\n00:57:22\tAudience Member:\tYes! [Clapping]\n00:57:25\tAudio Recording, Jason Camlot, Words and Music, October 2021:\tLet’s just give ourselves a hand for having made it through the last two years, and as Ian said, we’ve been doing the Words and Music Show on Zoom. I had a background of the Casa, always on my screen as I was hosting it from my basement. And it’s just a great feeling to be listening with people and to have the opportunity to read tonight. [Reading poetry] They keep well in winter and sometimes like jagged mounds, they appear frozen in the lake ice. /And then they suffocate in shallow pits, are digested with wood and transform into charcoal and muck./ My botanical book speaks of exogenous stems plunged into lead./ I don’t in the least want to know what that means. /I prefer to understand them as the grounds trembling scales, the soil thus sung in coral shiver./ [Applause]\n00:58:47\tJason Camlot:\t[Audio of Words and Music Show Audience Plays Underneath] In listening back to the audio of those two most recent live Words and Music Shows, the last shows of 2021. It is amazing to hear just how noisy they are with movement, chatter, tumult.\n00:59:18\tAudio Recording, Words and Music, October 2021:\n \n\n[Audience Chatter and Musicians Tuning Instruments]\n00:59:23\tJason Camlot:\t[Audio or Words and Music Show Audience Plays Underneath] This was the buzz we had been trying to emulate in awkward attempts that were comically artificial due to latency, inappropriate amplitude, and bad timing. Awkward too, because that “venue buzz” as Ian called it, isn’t just background noise. Not really. It is the sound of affect in action. [Audience Clip Swells] The sound of a kind of responsive choreography that captures what it feels like. Maybe even what it means to be together at an event where people get up on stage and share something they made just for you. [End of Audience Audio] When I interviewed Ian for this podcast during the final days of 2021, it was clear that we had no idea where the next Words and Music Show would happen – in person, online, we didn’t know.\n01:00:17\tIan Ferrier, 2021 interview\tHopefully this latest iteration of COVID is as not as dangerous as the ones before, but it sure is virulent from the looks of it. So I feel kind of lost about that. I’ve just – I just think that – I mean the first lockdown, I don’t know how it was for you. I found I was in a bit of shock just cuz I didn’t realize how much of my life had been based on going from thinking of something to making something, to putting that thing out and seeing how it lived in the world to going back and making something else, you know? That was the core of my creative practice and all of a sudden that was gone and I –and until we did those live shows, I didn’t realize how much I’d missed it. And it was like, oh yeah, we’re back on stage. And this feels so much better and it’s so much more present. It’s so much more focused. So, I’m gonna– I’m hoping that if we get stuck again, and I very much hope we don’t, but it looks like we probably will – that we can, that I can devise something more interesting to do with that time. Something that I enjoy doing as opposed to the feeling of being stuck indoors.\n01:01:27\tJason Camlot:\tWe talked about how the past two years –and now this recent return to something like a lockdown in Quebec with bars, pubs and restaurants closed to in-person patrons – has taken its toll on the venues that have supported the Words and Music show over the years. La Vitrola (the venue where the Epique Voices show of March 10th, 2020 had taken place) was long gone. The Casa del Popolo had closed its showroom in March, 2020 and tried to make a go it as a shop for a while.\n01:01:56\tIan Ferrier, 2021 interview\tWell, it’s still kind of unfolding. At the moment, it sounds like the two partners in Casa and Sala who were partners themselves or breaking up and they’re running through all the troubles that involves at the same time as these venues that they ran together have basically closed down. Sala is still open, but I haven’t seen anything at Casa del Popolo since COVID happened. I hear the occasional rumour that there will be something in April, but I’m not, I’m not really sure. James Goddart is working there in the office now, so I occasionally ask him, but he doesn’t know either what’s gonna happen. And that would be tough because, for a lot of us in this neighbourhood, that was a place where we could always drop in and catch something or say hello to a friend or meet for coffee or for food or whatever. We did our Mile End Poets Festival – we did at least one or two nights there for almost 10 years too. So I really miss the place.\n01:02:55\tJason Camlot:\tAnd now in the first days of 2022, we have learned that the Ressonance Café, the venue that Ian turned to for the most recent live shows, is shutting down too. The Sala has managed to stay afloat in part through the kind of live streaming and recording sessions that we did for the Black Writers Out Loud show. Just a couple of days ago, CBC reporter, Fenn Mayes published a profile piece on venue covering the long history of the place and interviewing the staff and owners about what it means to them and how they’ve managed to keep going. It makes me a little anxious to read a story like this, which might just as easily be an obituary as a feel good profile piece under the current ongoing circumstances. But the article ends on a positive of note of sorts. The final line being quote, if these walls could talk, they’d sing close quote. I mean, at least didn’t report that the Sala was closing. Even if we could do the next show in person, where would that be? Ian doesn’t know, but not knowing what’s coming next, as far as pandemic circumstances are concerned, does not create even the slightest shiver of uncertainty in Ian about the Words and Music Show.\n01:04:06\tIan Ferrier, 2021 interview\tI think, well, let’s go around the world and find [Unknown Name] from France or something, or track down some people we really like to hear and would normally not be able to bring, I think that’s one quality of it. And another quality is on the shows online. I think it would be worthwhile getting people talking, among, to each other, at the beginning of the show or at the end or something like that, or intermission just to keep part of that spirit alive. Cuz I just notice people actually like to be with each other, and they like to talk and flirt and get huffy or nod or go through all the kinds of experiences they can go through with both with people they know and the joy of total strangers, not knowing who that person is and what they’re gonna bring. [Start Music: Guitar Instrumental, Ian Ferrier, “Rail Music”]\n01:05:00\tJason Camlot:\tThere is a stubbornness of imagination. One might say a resilience of imagination to use a popular COVID period word that characterizes our continued willingness and will to keep creating, gathering, and sharing sounds and stories. It’s not so much that the Words and Music Shows must go on. It’s just a given. The show goes on.\n01:05:32\tAudio Recording, Ian Ferrier, “Rail Music”:\t[Singing] You wake up, find yourself on a train, no memory of how you got on. No knowledge of where you’re going…[Music Instrumental Fades].\n01:06:46\tHannah McGregor:\t[Start Music: SpokenWeb Podcast Theme Music] SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. Our producer this month is SpokenWeb Director Jason Camlot of Concordia University. Our podcast project manager and supervising producer is Judith Burr. Our episodes are transcribed by Kelly Cubbon. A special thanks to Ian Ferrier, and all of the hosts and organizers, artists, performers, and audience members who have engaged in online literary events over the past two years, when we have been unable to gather in person. To find out more about Spokenweb visit: spokenweb.ca and subscribe to The Spokenweb Podcast on Apple Podcasts, Spotify, or wherever you may listen. And if you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Stay tuned to your podcast feed later this month for ShortCuts with Katherine McLeod, mini stories about how literature sounds. [End Music: SpokenWeb Podcast Theme Music]\n\n"],"score":1.0},{"id":"9620","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S3E6, Listening, Sound, Agency: A Retrospective Listening to the 2021 SpokenWeb Symposium, 7 March 2022, Aubin and Ricci"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/listening-sound-agency-a-retrospective-listening-to-the-2021-spokenweb-symposium/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 3"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Mathieu Aubin","Stéphanie Ricci","Stéphanie Ricci"],"creator_names_search":["Mathieu Aubin","Stéphanie Ricci","Stéphanie Ricci"],"creators":["[{\"url\":\"\",\"name\":\"Mathieu Aubin\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Stéphanie Ricci\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"Stéphanie Ricci\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/907a6097-2e63-4d18-91c3-879fad904e7e/audio/2c7d91e4-3dcd-4c88-bfef-e21e495d7ffd/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"swp-s3e6-listeningsoundagency.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:51:44\",\"precision\":\"\",\"size\":\"49,736,351 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"swp-s3e6-listeningsoundagency\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/listening-sound-agency-a-retrospective-listening-to-the-2021-spokenweb-symposium/\"}]"],"Dates":["[{\"date\":\"2022-03-07\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\" Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":[" Concordia University McConnell Building"],"City":["Montreal, Quebec"],"contents":["This is a mixed format episode presenting SpokenWeb members Mathieu Aubin and Stéphanie Ricci’s critical commentary after taking part in the organization of and attending the Listening, Sound, Agency Symposium. Bridging techniques from journalism and oral history, this episode includes sounds from the conference, interviews, and critically reflective discussions between Mathieu and Stéphanie. This episode was produced by Mathieu Aubin and Stéphanie Ricci, with audio engineering by Scott Girouard.\n\nThis episode explores the Symposium from the perspective of a first-time conference attendee coupled with a veteran attendee; these join the voices of multiple conference participants. Mathieu and Stéphanie focus on the process of organizing, holding, and listening to the 2021 SpokenWeb Symposium, and they discuss its themes of listening, sound, and agency as they emerge through the presentations and discussions. \nThe episode begins with the theme of listening ethically and intentionally, before diving into a discussion of issues surrounding sound politics. It concludes with the topic of agency in relation to the amplification of sound as a potential means of empowerment. \n\nA special thanks to the 2021 Listening, Sound, Agency organizing committee, especially Jason Camlot, Klara DuPLessis, Deanna Fong, Katherine McLeod, Angus Tarnawsky, and Salena Wiener, whose voices are featured at the beginning of the episode.\n\n"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Audio Credits:\\n\\nKvelden Trapp from Blue Dot Sessions:\\nhttps://app.sessions.blue/browse/track/94421\\n\\nCitations:\\n\\nBergé, Carole. 1964. The Vancouver Report. FU Press.\\n\\nBrittingham Furlonge, Nicole. May 19, 2021. “‘New Ways to Make Us Listen’: Exploring the Possibilities for Sonic Pedagogy.” \\n\\nDu Plessis, Klara. May 21, 2021. “From Poetry Reading to Performance Art: Agency of Deep Curation Practice.” \\n\\nMcLeod, Dayna. May 18, 2021. “Queerly Circulating Sound and Affect in Intimate Karaoke, Live at Uterine Concert Hall. \\n\\nRobinson, Dylan. May 19, 2021. “Giving/Taking Notice.” \\n\\nSun Eidsheim, Nina. May 20, 2021. “Re-w\\nriting Algorithms for Just Recognition: From Digital Aural Redlining to Accent Activism.”\"}]"],"_version_":1853670549717254144,"timestamp":"2026-01-07T14:59:54.290Z","score":1.0},{"id":"9622","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S3E7, ‘The archive is messy and so are we’: Decoding the Women and Words Collection, 4 April 2022, Mofatt and Sharren"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/the-archive-is-messy-and-so-are-we-decoding-the-women-and-words-collection/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 3"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Kate Moffatt","Kandice Sharren"],"creator_names_search":["Kate Moffatt","Kandice Sharren"],"creators":["[{\"url\":\"\",\"name\":\"Kate Moffatt\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Kandice Sharren\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/67ec6133-5296-49c5-9c61-bdd8872657fb/audio/f4d8cb13-a39c-4b77-8445-413a9cfcbfe5/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"swp-s3e7-archiveismessy.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:46:14\",\"precision\":\"\",\"size\":\"44,464,214 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Mp3 audio\",\"title\":\"swp-s3e7-archiveismessy\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/the-archive-is-messy-and-so-are-we-decoding-the-women-and-words-collection/\"}]"],"Dates":["[{\"date\":\"2022-04-04\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/3725404708\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"515 West Hastings Street Vancouver, B.C, V6B 5K3\",\"latitude\":\"49.2824032\",\"longitude\":\"-123.1085513\"}]"],"Address":["515 West Hastings Street Vancouver, B.C, V6B 5K3"],"Venue":["Simon Fraser University"],"City":["Vancouver, British Columbia"],"contents":["Simon Fraser University’s Special Collections and Rare Books holds the rich Women and Words Collection, which contains more than one hundred recordings from the Women and Words Conference in 1983, a decade of WestWord writing retreats and workshops, and a number of other readings, meetings, workshops, and events. Although the audio in this collection has a significant paper archive to accompany it, the absence of pre-existing metadata made it difficult to identify the recordings. This episode is framed by how two research assistants, Kandice Sharren and Kate Moffatt, encountered the collection—one physically, in the archive, and the other solely with digitized audio recordings and scanned print materials—and takes us behind-the-scenes of their work to make sense of both its depths and the Women and Words Society’s history.\n\nSpecial thanks to Tony Power, librarian and curator of the Contemporary Literature Collection at Simon Fraser University, and to SFU’s Special Collections and Rare Books.\n\nImage Gallery\nPage 2 of the Women and Words Conference from 1983, containing a note from the organizers. Photo credit: courtesy of SFU Bennett Library Special Collections & Rare Books.\nFirst page of a timeline outlining WestWord retreat organization, application, and admittance processes. Photo credit: taken by Kandice Sharren, courtesy of SFU Bennett Library Special Collections & Rare Books.\nPress release for WestWord III from February 1987. Photo credit: taken by Kandice Sharren, courtesy of SFU Bennett Library Special Collections & Rare Books.\nPoster for the WestWord III public events, readings, and panels, including a reading by Sharon Thesen. Photo credit: Taken by Kandice Sharren, courtesy of SFU Bennett Library Special Collections & Rare Books.\nThe tape holding the Sharon Thesen reading from August 18, 1987 (MsC23-85). Photo credit: courtesy of SFU Bennett Library Special Collections & Rare Books.\nPoster for WestWord V public events, readings, and panels. Photo credit: Taken by Kandice Sharren, courtesy of SFU Bennett Library Special Collections & Rare Books.\nPoster for WestWord VI public events and readings. Photo credit: Taken by Kandice Sharren, courtesy of SFU Bennett Library Special Collections & Rare Books.\n"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Beverly, Andrea. “Traces of a Feminist Literary Event.” CanLit Across Media, MQUP, 2019, p. 221, https://doi.org/10.2307/j.ctvscxtkg.15.\\n\\n“Castor Wheel Pivot.” Blue Dot Sessions. Accessed 2 April 2022. https://app.sessions.blue/browse/track/100713\\n\\n“Dust Digger.” Blue Dot Sessions. Accessed 27 March 2022. https://app.sessions.blue/browse/track/99584.\\n\\n“Flipping through a book.” Free Sound. Accessed 2 April 2022. https://freesound.org/people/Zeinel/sounds/483364/\\n\\nHeavenly choir singing sound, “Ahhh.” Free Sound. Accessed 2 April 2022. https://freesound.org/people/random_intruder/sounds/392172/\\n\\n“Palms Down.” Blue Dot Sessions. Accessed 15 March 2022. https://app.sessions.blue/browse/track/96905\\n\\n“Record Scratch.” Free Sound. Accessed 2 April 2022.  https://freesound.org/people/simkiott/sounds/43404/\\n\\nRooney, Frances. “activist; Gloria Greenfield.” Section15, 22 May 1998. Accessed 31 March 2022. http://section15.ca/features/people/1998/05/22/gloria_greenfield/.\"}]"],"_version_":1853670549718302720,"timestamp":"2026-01-07T14:59:54.290Z","score":1.0},{"id":"9623","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S3E8, Academics on Air, 2 May 2022, Kroon, Beauchesne and Miya"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/academics-on-air/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 3"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Ariel Kroon","Nick Beauchesne","Chelsea Miya"],"creator_names_search":["Ariel Kroon","Nick Beauchesne","Chelsea Miya"],"creators":["[{\"url\":\"\",\"name\":\"Ariel Kroon\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Nick Beauchesne\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"http://viaf.org/viaf/9162060349751401864\",\"name\":\"Chelsea Miya\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/4d8a0871-f27e-4d7f-825d-1b9962330239/audio/5c6123d8-1c4b-451b-941a-8b331156eb91/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"swp-s3e8-academicsonair.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:50:55\",\"precision\":\"\",\"size\":\"48,954,349 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"swp-s3e8-academicsonair\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/academics-on-air/\"}]"],"Dates":["[{\"date\":\"2022-05-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/10238561\",\"venue\":\"University of Alberta\",\"notes\":\"\",\"address\":\"11121 Saskatchewan Drive, North West Edmonton, Alberta T6G 2E5\",\"latitude\":\"\\t53.52682\",\"longitude\":\"-113.5244937350756\"}]"],"Address":["11121 Saskatchewan Drive, North West Edmonton, Alberta T6G 2E5"],"Venue":["University of Alberta"],"City":["Edmonton, Alberta"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Sound FX/Music\\n\\nBBC Sound Effects. “Communications – Greenwich Time Signal, post January 1st 1972.” BBC Sound Effects, https://sound-effects.bbcrewind.co.uk/search?q=07042099.\\n\\nBBC Sound Effects. “Doors: House – House Door: Interior, Larder, Open and Close.” BBC Sound Effects, https://sound-effects.bbcrewind.co.uk/search?q=07027090.\\n\\nBBC Sound Effects. “Footsteps Down Metal Stairs – Footsteps Down Metal Stairs, Man, Slow, Departing.” BBC Sound Effects, https://sound-effects.bbcrewind.co.uk/search?q=07037171.\\n\\nBBC Sound Effects. “Industry: Printing: Presses – Electric Printing Press operating.” BBC Sound Effects, https://sound-effects.bbcrewind.co.uk/search?q=07041078.\\n\\nBertrof. “Audio Cassette Tape Open Close Play Stop.” Freesound, https://freesound.org/s/351567/.\\n\\nConstructabeat. “Stop Start Tape. Player.” Freesound, https://freesound.org/people/constructabeat/sounds/258392/.\\n\\nCoral Island Studios. “28 Cardboard Box Open” Freesound, https://freesound.org/people/Coral_Island_Studios/sounds/459436/.\\n\\nGis_sweden. “Electronic Minute No 97 – Multiple Atonal Melodies.” Freesound, https://freesound.org/people/gis_sweden/sounds/429808/.\\n\\nGJOS. “PaperShuffling.” Freesound, https://freesound.org/people/GJOS/sounds/128847/.\\n\\nIESP. “Cage Rattling.” Freesound, https://freesound.org/people/IESP/sounds/339999/.\\n\\nInspectorJ. “Ambience, Children Playing, Distant, A.” Freesound, https://freesound.org/people/InspectorJ/sounds/398160/.\\n\\nJohntrap. “Tubes ooTi en Vrak.” Freesound, https://freesound.org/people/johntrap/sounds/528291/.\\n\\nKern PKL. “Limoncello.” Blue Dot Sessions, https://app.sessions.blue/browse/track/104864.\\n\\nKyles. “University Campus Downtown Distant Traffic and Nearby Students Hanging Out Spanish +Some People and Groups Walk by Steps Cusco, Peru, South America.” Freesound, https://freesound.org/people/kyles/sounds/413951/.\\n\\nLillehammer. “Arbinac.” Blue Dot Sessions, https://app.sessions.blue/album/9f32a891-6782-4a63-8796-cafa323b711e.\\n\\nMichaelvelo. “Packing Tape Pull.” Freesound, https://freesound.org/people/Michaelvelo/sounds/366836/.\\n\\nNix Nihil. “Vocal Windstorm.” Psyoptic Enterprises, 2016.\\n\\nOymaldonado. “70’s southern rock mix loop for movie.” Freesound, https://freesound.org/people/oymaldonado/sounds/507242/.\\n\\nPsyoptic. “Forest of Discovery.” Thought Music. Psyoptic Enterprises, 2006.\\n\\nSagetyrtle. “Cassette.” Freesound, https://freesound.org/people/sagetyrtle/sounds/40164/.\\n\\nSuso_Ramallo. “Binaural Catholic Gregorian Chant Mass Liturgy.” Freesound, https://freesound.org/people/Suso_Ramallo/sounds/320530/.\\n\\ntonywhitmore. “Opening Cardboard Box.” Freesound, https://freesound.org/s/110948/.\\n\\nZiegfeld Follies of 1921. “Second hand Rose” [restored version]. George Blood, LP. Internet Archive. https://archive.org/details/78_second-hand-rose_fanny-brice-grant-clarke-james-f-hanley_gbia0055858a/Second+Hand+Rose+-+Fanny+Brice+-+Grant+Clarke-restored.flac\\n\\n \\n\\nArchival Audio\\n\\nCarlin, George. “Seven Words You Can Never Say on Television.” Indecent Exposure. Little David Records, 1978.\\n\\n“Dorothy Livesay.” Celebrations. Dept. of Radio and Television and CKUA, 8 Feb. 1984.\\n\\n“Douglas Barbour.” Celebrations. Dept. of Radio and Television and CKUA, 10 Oct. 1983.\\n\\n“Margaret Atwood.” Celebrations. Dept. of Radio and Television and CKUA, 12 Oct. 1983.\\n\\n“Marian Engel.” Celebrations. Dept. of Radio and Television and CKUA, 18 Jan. 1984.\\n\\n“Linguistic Taboos and Censorship in Literature.” Voiceprint. Dept. of Radio and Television and CKUA, 8 April 1983.\\n\\n“Phyllis Webb.” Celebrations. Dept. of Radio and Television and CKUA, 16 Nov. 1983.\\n\\n“Poetry: The Sullen Craft or Art.” Paper Tygers. Dept. of Radio and Television and CKUA, 1 Jan. 1982.\\n\\n“Robert Kroetsch.” Celebrations. Dept. of Radio and Television and CKUA, 23 Nov. 1983.\\n\\n“Rudy Wiebe.” Celebrations. Dept. of Radio and Television and CKUA, 21 March 1984.\\n\\n“Stephen Scobie.” Celebrations. Dept. of Radio and Television and CKUA, 26 Oct. 1983.\\n\\n“Women’s Language and Literature: A Voice and a Room of One’s Own.” Voiceprint. Dept. of Radio and Television and CKUA, 4 March 1981.\\n\\n“Speech and Its Characteristics.” Voiceprint. Dept. of Radio and Television and CKUA, 18 March 1981.\\n\\n \\n\\nWorks Cited\\n\\nThe Canadian Communications Foundation, https://broadcasting-history.com/in-depth/brief-history-educational-broadcasting-canada.\\n\\nBashwell, Peace. “Weird and Wonderful Scenes from the Bardfest.” The Gateway, November 10, 1981, pg. 13. Peel’s Prairie Provinces, http://peel.library.ualberta.ca/newspapers/GAT/1981/11/10/13/.\\n\\nThe Canadian Communications Foundation (CCF). “CKUA-AM.” History of Canadian Broadcasting, https://broadcasting-history.com/listing_and_histories/radio/ckua-am.\\n\\nFauteux, Brian. “The Canadian Campus Radio Sector Takes Shape.” Music in Range: The Culture of Canadian Campus Radio. Wilfrid Laurier University Press, 2015, pp. 37-64.\\n\\nKostash, Myrna. “Book View.” The Edmonton Journal, 17 Jan. 1981.\\n\\nKirkman, Jean. “CKUA: Fifty years of growth for the university’s own station.” University of Alberta Alumni Association: History Trails, March 1978, https://sites.ualberta.ca/ALUMNI/history/affiliate/78winCKUA.htm.\\n\\nRemington, Bob. “Banning of Radio Show Called Cowardly.” The Edmonton Journal, 26 May 1983.\\n\\n \\n\\nFurther Reading\\n\\nArmstrong, Robert. “History of Canadian Broadcasting Policy, 1968–1991.” Broadcasting Policy in Canada, Second Edition. University of Toronto Press, 2016, pp. 41-56.\\n\\nThe Canadian Communications Foundation (CCF). “A Brief History of Educational Broadcasting in Canada.” History of Canadian Broadcasting, https://broadcasting-history.com/in-depth/brief-history-educational-broadcasting-canada.\\n\\nDeshaye, Joel. The Metaphor of Celebrity : Canadian Poetry and the Public, 1955-1980. University of Toronto Press; 2013.\\n\\nGil, Alex. “The User, the Learner and the Machines We Make” [blog post]. Minimal Computing, 21 May 2015, https://go-dh.github.io/mincomp/thoughts/2015/05/21/user-vs-learner/.\\n\\nMacLennan, Anne F. “Canadian Community/Campus Radio: Struggling and Coping on the Cusp of Change.” Radio’s Second Century: Perspectives on the Past, Present and Future, edited by John Allen Hendricks, Rutgers University Press, 2020, pp. 193-206.\\n\\nRubin, Nick. “‘College Radio’: The Development of a Trope in US Student Broadcasting.” Interactions: Studies in Communication & Culture, vol. 6, no. 1, Mar. 2015, pp. 47–64.\\n\\nWalters, Marylu. CKUA: Radio Worth Fighting For. University of Alberta Press, 2002.\"}]"],"_version_":1853670549718302721,"timestamp":"2026-01-07T14:59:54.290Z","contents":["In the early 1980s, the University of Alberta funded a series of experimental literary radio programs, which were broadcast across the province on the CKUA community radio network. At the time, CKUA station had just been resurrected through a deal with ACCESS and was eager for educational programming. Enter host and producer Jars Balan – then a masters student in the English department with limited radio experience. For five years, Balan produced three radio series, Voiceprint, Celebrations, and Paper Tygers, which explored the intersection of language, literature, and culture, and he interviewed some of the biggest names in the Canadian literary scene, including Margaret Atwood, Maria Campbell, Robert Kroetsch, Robertson Davies, and many others.\n\nThis episode is framed as a “celebration” of those heady days of college radio in the early 80s. In it, clips from Jars’s radio programs, recovered from the University of Alberta Archives, supplement interviews with Balan and audio engineer Terri Wynnyk. Special tribute will be given to the recently departed Western Canadian poets Doug Barbour and Phyllis Webb through the inclusion of their in-studio performances recorded for Balan’s own Celebrations series. By looking back on the pioneering days of campus radio, this episode sheds light on the current moment in scholarly podcasting and how the genre is being resurrected and reimagined by a new generation of “academics on air.”\n\nSpecial thanks to Arianne Smith-Piquette from CKUA and Marissa Fraser from UAlberta’s Archives and Special Collections, and to SpokenWeb Alberta researcher Zachary Morrison, who worked behind the scenes on this episode.\n\n00:06\tSpokenWeb Podcast Theme Music:\t[Instrumental Overlapped With Feminine Voice] Can you hear me? I don’t know how much projection to do here.\n00:18\tHannah McGregor:\tWhat does literature sound like? What stories will we hear if we listen to the archive? Welcome to The SpokenWeb Podcast: Stories about how literature sounds. My name is Hannah McGregor, and each month I’ll be bringing you different stories of Canadian literary history, and our contemporary responses to it, created by scholars, poets, students, and artists from across Canada. \nVoiceprint. Celebrations. Paper Tygers. These are the names of three campus radio shows produced in the late 70s and early 80s at the University of Alberta, and broadcast province-wide. All three explored how literature, culture, and politics intersect: Voiceprint was the first and longest-running of the three, about poetics, speech, and communications theory; “Celebrations” celebrated the 75th anniversary of the University of Alberta in 1983; and “Paper Tygers” was about the practical ins-and-outs of being a writer. They were created by University of Alberta Masters student Jars Balan, and had production teams and guests that ranged from other students—like the show’s audio engineer and production assistant, Terri Wynnyck—to librarians, professors, and writers. \n\nIn today’s episode, SpokenWeb contributors Ariel Kroon, Nick Beauchesne, and Chelsea Miya celebrate and share the history of these three campus radio shows they found preserved in the University of Alberta archives. As Jars himself says in this episode, campus radio was an opportunity to share the kinds of thinking and conversations happening inside the university with those outside of it, too. But where were these campus radio shows produced, and how? What, exactly, were the circumstances of their creation? How were they received? And what echoes of campus radio do we hear in scholarly podcasting today? Featuring interviews with producer Jars Balan and audio engineer Terry Wynnyck, and archival audio of Western Canadian poets Doug Barbour and Phyllis Webb, Ariel, Nick, and Chelsea dive into the rich history of campus radio, from conception and script-writing to the physical cutting and editing of tape. \n\nWe invite you to listen to this episode with us and celebrate those early campus radio shows, and the people who made them. Here are Ariel Kroon, Nick Beauchesne, and Chelsea Miya with Episode 8 of our third season of the SpokenWeb Podcast: “Academics on Air”. [Music Interlude: SpokenWeb Podcast Theme Song]\n\n02:55\tJars Balan\tHello and welcome to “Celebrations”. [Trumpet Fanfare]\n03:33\tMichael O’Driscoll, Zoom, 21 June 2021:\tEvery great Spoken Web story starts with a box of something or other…\n03:37\tChelsea Miya:\tIt’s June, 2021. The Spoken Web Alberta team has gathered together over Zoom. We’re here to witness the unboxing of the archive. Michael O’Driscoll, director of Spoken Web U Alberta, is sitting next to a cardboard box.\n03:52\tMichael O’Driscoll, Zoom, 21 June 2021:\tI got these by the way, directly from Jars. I had to drive by his house and picked them up from his front porch and we had a nice socially distanced talk about things. I have been very well behaved. I haven’t even peeked. I have no idea. Ooh, what is in here? And they’ve been sitting here in my office next to me for a, for weeks now. And I, and I have resisted the urge to check.\n04:16\tAriel Kroon:\tThis is me Ariel.\n04:19\tChelsea Miya:\tAnd this is me Chelsea.\n04:21\tNick Beauchesne:\tThis is Nick reporting.\n04:23\tAriel Kroon:\tThe three of us are the producers of this SpokenWeb Podcast episode. We’re also researchers at the University of Alberta where we’ve been digitizing the “Voiceprint” series. Over hours of listening, we feel like we’ve gotten to know this forgotten campus radio show, and its host Jars, pretty well. We’re fans.\n04:41\tChelsea Miya, Zoom, [21 June 2021]:\tIt makes it feel more…\n04:45\tArielKroon, Zoom, [21 June 2021]:\tTangible?\n04:45\tChelsea Miya, Zoom, [21 June 2021]:\tTangible, yeah. And I think it’ll give us a sense of the amount of work but also that the chaos and energy that went into this. [Laughter]\n04:53\tAriel Kroon:\tMichael peels back the cardboard flaps and reaches inside [Sound Effect: Box Opening, Papers Shuffling] He pulls out a stack of tapes.\n04:58\tMichael O’Driscoll, Zoom, 21 June 2021:\tSo these are cassette recordings [Papers Shuffling] I would assume of some of the voice of nine different “Voiceprint” broadcasts, some of which we currently have a record of and some of which are entirely new.\n05:15\tAriel Kroon:\tHe also finds stacks of brown manila folders, which resemble case files. Scribbled across each folder is the name of a different episode. And they are stuffed with material.\n05:28\tMichael O’Driscoll, Zoom, 21 June 2021:\t[Papers Shuffling Throughout] So these are clearly the background research papers that were being used to develop ideas and the concepts for the different “Voiceprint” issues that Jars was developing at the time. So there’s a lot here in terms of the context for the developmental stuff, which I think is pretty interesting. Some library reference materials, some background on the history of the printed word, cognitive relations to the printed word. So, all kinds of interesting things, for sure. What else do we have in here? And some time codes for the materials that he was working with… a handwritten set of interview questions for Phyllis Webb [Unknown Voice: Oh that’s cool!] [Pause] –Wow.\n06:25\tAriel Kroon:\t[Start Music: Ambient Atmospheric Music] When we first stumbled upon this archive, or rather were handed it in a cardboard box, we thought the celebrity guests were the coup. We had hours of interviews and performances from Canadian literary stars like Phyllis Webb. These recordings hadn’t been played in decades and hardly anyone knew about their existence. But as we listened to the tapes, we realized that Jars, the host of the show, was himself a fascinating character. Rather than centring on the poets, our episode looks back on the heyday of campus radio culture… and tells the story of how students like Jars and radio aide Terri Wynnyck broke ground by experimenting with radio as a form of public scholarship. [End Music: Ambient Atmospheric Music]\n07:17\tChelsea Miya:\t[Audio Clip: Digital Musical Notes] [Audio Clip: Students Walking, Chatting] There are about 80 different college and university-affiliated campus radio stations across Canada. And each of these stations has their own unique story and history. CKUA radio is Canada’s first public broadcaster. [Start Music: Fanny Brice’s “Second Hand Rose”] It’s story begins on the University of Alberta campus in 1927. The school received a grant from the province to start its own radio station setting up shop in the Department of Extension.Over the next fifty years, CKUA became more than just a campus radio station. From the beginning, they experimented with new formats: radio dramas, square-dancing lessons, even an Alcoholics Anonymous program. The station broadcasts to remote areas, reaching everyone from farmers to fur trappers. But even as listenership expanded, CKUA still maintained close ties with the University. [End Music: Fanny Brice’s “Second Hand Rose”] Brian Fauteux, Professor of Music at UAlberta, explains…\n08:18\tAudio Recording, Brian Fauteux, Interview, [2 Feb 2022]:\tThe university still maintains a couple hours a week for programming, maintaining that sort of focus on radio talks and lectures as well as what they were calling good music, classical music often. This idea that they were uplifting listeners or passing on something that was the domain of the university. So it’s a very unique station in that sense. It’s sort of education as framed by showcasing arts and culture that maybe you wouldn’t hear on commercial radio.\n08:50\tChelsea Miya:\t[Start Music: Rock Music] Then the 70’s arrive. A time of self-expression and rebelling against the man. In Quebec and Alberta, separatism is in the air. The federal and provincial governments clash over broadcasting rights, and CKUA gets caught in the middle. [End Music: Rock Music] At this point, CKUA is operated by Alberta Telephones, which is illegal under federal rules. [Start Music: Instrumental] But just as things are looking dire, ACCESS, The Alberta Educational Communications Corporation, is created. Educational programs have special status under new broadcast regulations. And ACCESS offers CKUA a new license. And so the station was reborn. [End Music: Instrumental]\n09:39\tNick Beauchesne:\t[Sound Effect: Radio Signal Test Tone] CKUA was back on air and better than before! Originally, CKUA had only aired on AM frequencies, which transmit farther, but have poorer sound quality and are best suited for talk radio. [Start Music: Electronic Instrumental] Now, CKUA could broadcast with 100,000 watt transmitters, which were 200 times more powerful than what they had before, and the station aired on the higher bandwidth FM frequencies. With these new transmitters, everyone in Alberta could tune into their shows, and every note could be heard, clear and crisp. It was during this period of intense expansion and revitalization that Jars Balan joined the station. [End Music: Electronic Instrumental]\n10:25\tAudio Recording, Jars Balan, Interview, [24 May 2021]:\tNow I did my undergraduate work uh in at the University of Toronto. I did an Honours BA in English Literature there. And my plan was to take two or three years off with a friend and fix up his van and drive to the West Coast, work at the sawmill, make a pile of money, go to Mexico, hang out, smoke a lot of pot, party, and then come back and enter an MA program. It all kind of fell through because when we got to BC the forestry industry was in the doldrums, there was no work and we came back here. I ended up working on a farm near the international airport. In the meantime I found out there were a couple of profs in the English department who are very sympatico to my literary interests: Stephen Scobie and Doug Barbour. So I met with them and I decided, well this a good place to do my MA. So I signed up for an MA in ‘77 and entered the MA program in English/Creative Writing.\n11:21\tAriel Kroon:\tThe Executive Producer of the University’s Department of Radio and Television was Roman Onifrijchuck.\n11:26\tArchival Recording, Jars Balan, Voiceprint, 4 Mar 1981:\tThe problem of sexist language is perhaps most frequently encountered by people working in the field of publishing.\n11:32\tArielle Kroon:\tAs it turned out, Jars and Roman were old friends. They had spent several summers working together as camp counselors at a Ukrainian summer camp.\n11:41\tAudio Recording, Jars Balan, Interview, [24 May 2021]:\t[Sound Effect: Children Playing] It was kind of a bunch of us 60’s guys running a camp, a summer camp, the way we thought we should have gone to summer camp and never did at the, you know, it was pretty loosey goosey, but it was very successful and popular, but we became very good friends.\n11:55\tAriel Kroon:\tJars had just entered UAlberta’s masters program in English, when Roman approached him to ask if he had an idea for a show.\n12:02\tAudio Recording, Jars Balan, Interview, [4 Jan 2022]:\tThe whole purpose of CKUA was to produce programming that highlighted and showcased the work of scholars at the U of A. And so I sketched out this concept for a show called “Voiceprint”. Because I was trying to work towards a materialist approach to poetics [Start Music: Instrumental] by which I meant poetics based on a knowledge of linguistics, communications theory, nuts and bolts sort of use of language and communication strategy and how that can be translated into making poetry more effective. And so Voiceprint for me became that working document that enabled me to work out my theories. Roman liked the idea. They gave me 13 half-hour shows. We started with that in ’79 and that was considered successful. So I said, you know, I can do, I really could use an hour. And they agreed to that. And I fleshed it out into what then became 39 one hour shows in the Voiceprint series.\n13:09\tAriel Kroon:\tBefore he knew it, one show became three. Jars also hosted the “Celebrations” series, interviewing the university’s writers-in-residence, authors like Marian Engel and Margaret Atwood. [End Music: Instrumental]\n13:20\tArchival Audio, Jars Balan, 1983-84:\t[Sound Effect: Trumpet Fanfare] Our guest tonight is the novelist and short story writer Marian Engel… Robert Kroetsch… Margaret Atwood… Dorothy Livesay… poet Phyllis Webb…\n13:28\tAudio Recording, Jars Balan, Interview, [4 Jan 2022]:\tAnd so we took advantage of the fact that they were on campus in Edmonton for me to be able to interview them. It was like shooting fish in a barrel.\n13:37\tAriel Kroon:\tHis third radio show, “Paper Tygers”, was about the ins and outs of being a writer. For example, advice on how to find an agent and land a book deal.\n13:46\tArchival Audio, Jars Balan, [1 Jan. 1982]\t“Paper Tygers”, a program for creative and working writers.\n13:50\tAriel Kroon:\tWhile completing his masters, Jars was also producing these three radio shows. It was like having another full-time gig.\n13:57\tAudio Recording, Jars Balan, Interview, [24 May 2021]:\tI was very lucky. I basically used the shows to pay for my education. I didn’t have to take any tutorials or anything like that. So I wasn’t beholden to my professors for any work. For me it was very important. I wanted to be independent. I was spared the agony of having to mark undergraduate papers which I hated to read and do even though I was an undergraduate once myself. By the time I finished my MA I was supporting myself freelance writing so – I was paid for the Voiceprint, they were $750 bucks a show and I got pretty good at turning out a show a week, which in those dollars was pretty good money and I was able to pay off my student debt and support myself.\n14:41\tAriel Kroon:\t“Voiceprint” was his biggest “hit.” The show was subtitled “Speech, language, communications technology, and the Literary Arts in a Changing World.”\n14:51\tArchival Audio, Jars Balan, [4 March 1981]\t[Digital Musical Notes] “Voiceprint”.\n14:54\tAriel Kroon:\tThe topic seemed to strike a chord with listeners, finding a wider audience outside of the university campus. “Voiceprint” ran for three years on CKUA’s Access Radio station. At its peak, it aired every week on Wednesdays at 7pm. This is prime-time for radio shows.Voiceprint earned a glowing review in the Edmonton Journal. The reviewer, quoting Roman, calls it “Sesame Street for adults.” Voiceprint invited the public to confront the ways in which language, politics, and culture intersect. This radio series was unafraid to tackle controversial subjects, such as the subtleties of sexism in language, with a nuanced, academic perspective. As the critic from the Edmonton Journal put it…\n15:35\tAudio Recording, Re-enactment of Edmonton Journal Review:\t[Sound Effect: Typewriter keys] These programs are most assuredly not straight lectures, not a solitary patrician male voice droning on into the fog of the airwaves. “Voiceprint” is, in the jargon of electronic media, a magazine show. The format is the montage: many voices, recurring theme segments, a bit of music, readings, interviews. Jars Balan, an Edmonton poet and editor, is the producer and host. He asks the questions we want to ask of linguists, anthropologists, doctors, classicists, writers…\n16:07\tAudio Recording, Jars Balan, Interview, [24 May 2021]:\tWhen you think about it, the concept from the university’s view is a good one! All this work goes on at the university and if you’re not reading academic journals and you aren’t attending lectures, you don’t know what the hell these people are doing. And so this was an attempt to sort of get that out into a wider audience. You’d get somebody, I remember somebody saying, “so I caught your show was driving to Lethbridge from Calgary”… it obviously did reach an audience.\n16:33\tNick Beauchesne:\tJars was the host of “Voiceprint”. But the show was a collaborative effort. At least ten people worked on the production team. Some were students, like Jars. Others were UAlberta staff and professors, whom Jars recruited to produce special segments.\n16:48\tAudio Recording, Jars Balan, Interview, [4 Jan 2022]:\tI took advantage. There were people already involved in producing things in the Department of Radio and Television and I would use them for my program too for voices. So, Anna Altmann, who was a librarian, was somebody who was doing some other recording stuff and I said oh great, would you read these portions of the show, the scripted portions, and did various sound work, narrative work with us.\n17:13\tNick Beauchesne:\tAnna stood out to us, as listeners, because she speaks with a distinct affectation called “received pronunciation.” As heard in this clip, Anna hosted a bibliographic segment, where she would recommended “must-read” books about the different episode topics.\n17:31\tAudio Recording, Anna Altmann, “Voiceprint”, 1981:\tIf you’d like to learn more about language and problem of sexism, probably the best place to begin reading is a very accessible book, titled Words and Women.\n17:41\tNick Beauchesne:\tIt turns out her mind was as noteworthy as her voice; she went on to become director of UAlberta’s School of Library and Information Science. And then there was Richard Braun who provided the definitions for some key words. Here he is discussing how sexism is ingrained in language.\n18:02\tArchival Record, Roman Onifrijchuck, “Voiceprint”, 1981:\tLet’s look at those two words: male and female.\n18:03\tArchival Record, Richard Braun, “Voiceprint”, 1981:\tMale, female. A very annoying thing that happens in English. An intentional misspelling, mispronunciation, to make it appear that “male” is the basic thing and upon it you add the meaningless “fe.”\n18:20\tAudio Recording, Jars Balan, Interview, [4 Jan 2022]:\tRichard Braun was an unusual character that I found in the classics department. He taught classics, but his real passion was etymology and he was great and he was quite eccentric, both looking and just in his manner. But he really enjoyed –I’d give him a list of words that I thought related to the theme of the show and he would look them up, the history of the word and whatever, and talk about it in a very engaging way. I wish I had a picture of him because he looked like a professor [Laughs]. Terri was the person probably I worked most closely with.\n18:57\tNick Beauchesne:\tTerri Wynnyk, the Production Assistant, was also a student at UAlberta, and the tech guru of the team.\n19:04\tAudio Recording, Terri Wynnyk, Interview, [7 Jan 2022]:\t[Audio of Tape Recording Stopping and Starting Throughout] I think I was the tech guru for Jars because Jars was so technically incompetent. Jars was always living in his head, and he couldn’t figure out how to use a tape recorder.\n19:17\tNick Beauchesne:\tShe remembers the day that she got recruited to work for the campus radio station.\n19:22\tAudio Recording, Terri Wynnyk, Interview, [7 Jan 2022]:\tSo I was studying political science and economics at the University of Alberta. And and one of my sociology classes, the sociology of sex roles, I met this wild and crazy guy named Manfred Loucat who said, “Hey you’ve got to come and work at the university radio station. We’re just opening it up, we’re just opening it up, it’s been closed for a year, It’s been mothballed and we’re going to start it up.” So I ended up being the news director.\n19:49\tNick Beauchesne:\tAnd before she knew it, Terri got promoted.\n19:53\tAudio Recording, Terri Wynnyk, Interview, [7 Jan 2022]:\tThis guy, this bear of a guy with a big beard and wild and crazy hair, cigarettes hanging out of his mouth named Roman Onufrijchuk, showed up one day at CJSR. And said, “Do you want a job? Would you like to freelance for me?” And I said, “Sure, what are you paying?”\n20:17\tNick Beauchesne:\tTerri and Jars worked on multiple shows, spending countless hours in the radio studio, which became like a second home.\n20:28\tChelsea Miya:\t[Sound Effect: Audio Crackling] Today’s podcasts can be recorded anywhere. The three of us who worked on this SpokenWeb episode live in different parts of the country: Kitchener, Calgary, and Kamloops. We worked on this show remotely, conducting interviews from home on Zoom. But in the past, campus radio was very much rooted in a specific sense of place. Jennifer Waits is a campus radio historian and a producer of the Radio Survivor podcast. Like Jars and Terri, Jennifer worked on a campus radio station in the early 80s. Only in her case, she was based at Haverford College outside Philadelphia. Her radio program had a smaller following than CKUA. It only aired during lunch-hour in the cafeteria hall. But she still remembers how excited she was, hearing her shows broadcast over the school speakers…\n21:18\tAudio Recording, Jennifer Waits, Interview, [3 Feb 2022]:\tSo I did college radio starting when I was a freshman in college and didn’t really pay any attention to college radio history at the time. But I think what happened was I must have come back to a reunion at some point and had heard sad tales about the radio station falling on hard times… like somebody sold off a bunch of the record collection that I remember being a part of lovingly kind of restoring service from major record labels when I was there in the 80s. And, and so I had this sadness about pieces of the history getting sold off and I think it’s at that point that I got really interested in digging into the history of the radio station. So I kind of embarked on this project and interviewed people from Haverford College’s radio past going as far as the 1940s.\n22:07\tChelsea Miya:\tSince then, Jennifer made it her quest to celebrate and preserve campus radio culture. She’s visited hundreds of stations across America, documenting their different stories. As Jennifer explains, the campus radio studio is a sacred space. It has its own distinct aura.\n22:25\tAudio Recording, Jennifer Waits, Interview, [3 Feb 2022]:\t[Start Music: Ambient Electronic] There’s often a community feeling at a college radio station, so you might have a couch that’s been there forever. Sometimes I’ve been warned to not sit on a particular couch because of nefarious things that might have happened on said couch. Often you’ve got layers of history on the walls of radio stations, so you might have stickers from bands and from other radio stations, you might have flyers from concerts that have happened or you know, material that has been sent in with records. So promotional items like glossy photos of bands and posters. So you’ll see stuff all over the walls, you’ll often see cabinets that have stickers all over them. What I love are just sort of funky pop culture artifacts. [Laughs] So there might be a troll doll in the record library or a lava lamp. I’ve seen skulls at a lot of radio stations, I don’t really know why. [End Music: Ambient Electronic]\n23:21\tChelsea Miya:\tLike Jennifer, Jars and Terri also spent a lot of time in their campus radio studio. And as they explained, the studio space became part of university lore.\n23:31\tAudio Recording, Terri Wynnyk, Interview, [7 Jan 2022]:\tDid Jars tell you physically where we were located? The Department of Radio and Television was two floors below ground in the basement of the biological sciences building.\n23:40\tAudio Recording, Jars Balan, Interview, [7 Jan 2022]:\tWeIl it was a special place come to think of it because it was in the bowels of the biological sciences building and literally in the bowels, not in the basement, but in the second basement or sub basement. [Laughter] So you went right down to the bottom. And I mean, the building itself is this gargantuan building and you know, as all these biological specimens and in display cases on different floors.\n24:06\tAudio Recording, Terri Wynnyk, Interview, [7 Jan 2022]:\tIt was a warren. It was a rabbit’s warren of offices in this nether world. [Sound Effect: Cages Rattle] We once found a boa constrictor that had escaped. Because up above us was all sorts of science labs and buildings and rabbits and cockroaches and we had so much wildlife [Sound Effect: Animal Noises] two floors below ground.\n24:32\tAudio Recording, Jars Balan, Interview, [4 Jan 2022]:\tPeople didn’t know about it. You would really have to know where – people were shocked when they learned about it. When we’d tell ’em to come and I’d have to have a map to explain to them how to get to the studios.\n24:43\tNick Beauchesne:\tWe asked Terri to elaborate on her duties as the resident tech guru and production assistant.\n24:49\tAudio Recording, Terri Wynnyk, Interview, [7 Jan 2022]:\tJars, I think, would edit the programs and he designed them, but my job was to put them together. We had a Uher tape recorder which was rarely used–it was a small, portable recorder. We had a Nagra which is a Swiss built small recorder that took small reels, but it was portable so we could take that out into the field. And I have a really strong memory of going in the dead of winter with my arm in a cast and this heavy tape recorder trudging through the snow from the Biological Sciences building to the Humanities to interview Rudy Wieb and it took me forever to get there and get my parka off and get the reels done. Poor Rudy. But he was such a prince, such a king of a man, you know, he gave me this fantastic interview. And then he helped me pack up and he even zipped me up because I couldn’t zip myself up with my hand. That tape recorder provided the best recording. Then we had two Ampex decks, reel-to-reel decks. The Ampex were used for editing, so we would listen to the interview first once across, make our notes, and then begin editing out what we didn’t want. We would cut on the diagonal, a little metal bar, it had a slot in it for the tape and a sliced whole. And we would use clear splicing tape to put the ends together. [Sound Effect: Stretching Tape, Cutting Tape] And tape them across. And then we had two Revox reel-to-reel players that handled the large ten-inch reels, and we used them for mastering. So once we had our show complete and edited, we would record the master tape from one deck to the other. The problem with the Revoxes were they had light-sensitive heads. So, if a splice was not very well done and you had a gap and the light came through and hit the head that was playing back, the playback head, it would stop, but only the take up reel would stop, not the letting-down reel. So you get this dump of tape. You just sit and babysit those.\n27:40\tNick Beauchesne:\tToday, podcast producers have access to online sound libraries with countless sound effects available at the click of a mouse. But in the heyday of alternative radio, sound design was done by hand. Campus radio producers like Jars and Terri would have to create sound effects themselves in the studio or track down physical recordings and transfer them from a record onto reel-to-reel tapes. The magnetic tape could then be sliced by hand into samples and remixed. We asked Jars and Terry about the eclectic musical stings and sound effects samples used in “Voiceprint”, “Celebrations”, and “Paper Tygers”.\n28:20\tArchival audio, “Voiceprint”, 1981:\t[Electronic sound effects]\n28:26\tAudio Recording, Jars Balan, Interview, 4 Jan 2022]:\tThe sounds we used for the different subheadings of the show, were a collective effort. Some of them were my ideas. I’d go looking for something that I thought would work well there. Roman Onofrijchuk was very good, I think Terri helped out. We decided early on with “Voiceprint” [Music: Funky Electronic Reverberation] it was a funky, technical thing that we were doing to go with the sound effects for that. “Celebrations” was just my choice. I thought, well, okay, so it’s called Celebrations.\n28:49\tArchival audio, “Celebrations” Intro Music, 1983:\t[Trumpet Fanfare]\n28:50\tAudio Recording, Jars Balan, Interview, [4 Jan 2022]:\tA fanfare was perfect, that brassy upbeat. I was a member of the Edmonton public library and you could take out records and so I took a whole bunch of classical records that I thought I might find something on and found that particular fanfare which is identified at the end of the show. It was a combination of talents, I guess, that came in to contribute towards it.\n29:24\tAudio Recording, Terri Wynnyk, Interview, [7 Jan 2022]:\tWe listened to different programming on BBC and NPR. We had a library of albums [Sound: Flipping Through Tapes] at radio and TV and of course I had I sort of had access to the stuff over at CJSR, as well. We had things like tubular bells [Bells Chime]. For “Sacred Circle”, I think we had a lot of really mystical and choral music [Choral Singing].\n29:54\tNick Beauchesne:\t[Choral Singing Continues] “Sacred Circle”, by the way, is another UAlberta radio show that Terri worked on. But that is a story for another podcast episode, another paper.\n30:04\tAudio Recording, Terri Wynnyk, Interview, [7 Jan 2022]:\tAnd something would come up from the stuff that was being done at Convocation Hall because, although often they performed –my favourites were the old classics they also performed new music. And new music is very exciting because it could be atonal, [Music: Atonal Sounds] it can be twelve-tone. [Music: Twelve-Tone Sounds] We had a few sound effects albums because now you can get anything you want from the internet. But we actually had a couple of records where you that you could queue up. We got a lot of that. We nearly wore those sound effects albums out using them for every kind of sound we needed. [Music Fades]\n30:55\tNick Beauchesne:\tThese sound effects tapes are probably still gathering dust in the University of Alberta archives. The library’s inventory includes cassettes from 1979, with labels like “English meadow, night in the country,” “ultimate thunderstorm,” and “shell and gun fire.” The experimental sound design of late 1970s campus radio programs also coincides with the rise of the Canadian avant-garde sound poetry scene. The literary guests that Jars invited on air brought their own unique flavours to the show. For instance, as part of the “Celebrations” series, Jars interviewed poets Stephen Scobie and Douglas Barbour. At the time, Scobie and Barbour were both professors in the English Department. They performed poetry on campus under the shared stage name “Re:Sounding.” And their live shows had quite the reputation. A reviewer for The Gateway student paper describes Scobie and Barbour’s spoken word shows as “unforgettable madness.” The following is my dramatic re-enactment of the performance review:\n32:06\tAudio Recording, Re-enactmnet of The Gateway \t[Sound Effect: Typewriter Clacking] These two English professors think and act primal barbarism (pun intended)… I looked out accompanied by the sound of explosive static in the speakers to find Barbour hopping from one box to another repeatedly yelling something like “B-Bible dible-u,” while Scobie made a long spitting hiss into the microphone… this atavism went on for ten minutes. I was amazed at their vocal stamina… a crude finale to what had been for the most part a tasteful evening.\n32:38\tNick Beauchesne:\t[Sound Effect: Recording Buzz] Here’s a clip from their performance of their poem “What the One Voice” recorded live-in-studio for the “Celebrations” program in 1985.\n32:50\tArchival audio, “What the One Voice,” Stephen Scobie and Douglas Barbour, Re:Sounding, 1983:\t\n[Overlapping Voices] What the one voice affirms the other denies. What the one voice conceals, the other displays. When the one voice says yes the other says no. When the one voice is silent, the other voice cries. What the one voice believes, the other voice doubts. [Repetition, Voices Diverging and Swapping Lines] The voice of the left mind, the voice of the right. The voice of the right mind, the voice of the left. [Repetition, Volume Increasing and Then Dropping to Whispers]\n33:58\tNick Beauchesne:\tWhen we first heard this clip, Chelsea, Ariel and I wondered if Jars had attended Barbour’s live poetry reading series, hosted in the English Department. His answer caught us by surprise!\n34:10\tAudio Recording, Jars Balan, Interview, [28 Mar 2022]:\tI not only watched them perform. I performed at events with them.\n34:14\tNick Beauchesne:\tJars had created a collection of sound poems for his thesis project. Scobie and Barbour were his supervisors. Under their tutelage, he rubbed shoulders with the rock stars of the Canadian sound poetry scene. Jars remembers taking the stage with the Four Horsemen, fronted by bpNichol and Steve McCaffery, who were like the Pink Floyd of avant garde poetry. Jars had invited his family to the event.\n34:40\tAudio Recording, Jars Balan, Interview, [24 Mar 2021]:\tAll these Ukrainians came, my grandmother among them. And I mean they sat there with their jaws on the floor. [Laughs]They thought these people are crazy! Making these sounds and jumping around on stage and everything like that. Sound poetry explores that area between music vocalizations and literature. I’m interested in these gray areas, I guess, which may be the best way to put it.\n35:06\tNick Beauchesne:\tOne of the great achievements of the “Celebrations” series is a very personal touch to discussing individual authors and poets, their works and their lives – especially as more time passes, and more and more of these people are leaving this world. They leave behind a special “voice print” in the form of Jars’s “Celebrations”. The “Re:Sounding” clip hits that much harder, knowing of Douglas Barbour’s passing in 2021, just a few months before this podcast episode was produced. Another clip from the CKUA archive that touched us was a reading of “Stellar Rhyme,” a poem by the great Phyllis Webb, who also passed in the year 2021.\n35:52\tArchival audio, “Stellar Rhyme,” Phyllis Webb, “Celebrations”, 1983: \t\n[Page Flipping] A ball star, tiny columns and plates falling from very cold air, a quick curve into sky. My surprised winter breath, a snowflake caught midway in your throat.\n36:15\tAriel Kroon:\tJars was also a talented interviewer, and he had a special knack for getting the guests on his shows to open up. He explains that he realized early on that being interviewed for a radio show, even a lesser-known campus show with a studio in the biology basement, could be intimidating. Once he placed a microphone in someone’s face and did a sound check, people would freeze up. So, he took a different approach.\n36:38\tAudio Recording, Jars Balan, Interview, [4 Jan 2022]:\tOne of the things I learned was how to ease them into the interviews. I would meet them when they came in and help them take off their coat and start chatting with them and stuff. We’d sit down, and I’d click on the microphones. And we’d just keep talking about this, that. You know, their time at the university. General stuff. Get them comfortable talking. And I’d just ask, “So tell me how did you get interested in psycholinguistics?” A light would come on in their heads saying, like, oh wow, the interview has begun! And it made it much more smooth.\n37:04\tAriel Kroon:\tOne of Jars’ most memorable guests was poet Ann Cameron. He interviewed Cameron for an episode of Voiceprint called “Women’s Language and Literature: a Voice and a Room of One’s Own.” Only a few clips made it into the final episode. But the raw interview file is riveting. They talked for almost an hour. We were captivated by her candid discussion of everything from sexism to motherhood to her contempt for the label of “poetess.”\n37:32\tArchival audio, Jars Balan, “Voiceprint”, 1981:\tDo you object to being identified as a woman writer?\n37:37\tArchival audio, Ann Cameron, “Voiceprint”, 1981:\tNo, I am a woman, and I am a writer.\n37:40\tArchival audio, Jars Balan, “Voiceprint”, 1981:\tYou don’t mind having… I mean there are a lot of people who…\n37:43\tArchival audio, Ann Cameron, “Voiceprint”, 1981:\tI object to being referred to as a “poetess.”\n37:46\tArchival audio, Jars Balan, “Voiceprint”, 1981:\tMm-hmm\n37:47\tArchival audio, Ann Cameron, “Voiceprint”, 1981:\tSomehow a poet, semantically or whatever, a poet has has dignity and pride and has an ability to use words and move people, and a poetess is hung on a hook of iambic pentameter and nobody bothers [Laughs].\n38:12\tArchival audio, Jars Balan, “Voiceprint”, 1981:\tWell, it’s the ending is a… the suffix is a… has a diminutive, derivative quality to it.\n38:21\tArchival audio, Ann Cameron, “Voiceprint”, 1981:\tIt…what does really piss me off is when someone comes up and says, “Oh, I read the thing you wrote. My, you write just like a man!” And I used to choke, just choke! And now, I smile demurely and say, “Oh shit, I hope not!” [Laughs].\n38:45\tAriel Kroon:\tThe campus radio shows in the University of Alberta archive are full of gems like these, from Canadian authors who often engage with Jars on a deeply personal level, sharing stories about their work and their lives. These audio artifacts transport us back to a particular moment in the history of Canadian literature, and also a particular moment in the history of alternative radio.\n39:13\tArchival audio, “Voiceprint”, 1983:\t[Sound Effect: Warning Tone] [Announcer Voice] Warning. The following program candidly examples the subject of pornography, censorship, and linguistic taboos. Listener discretion is advised.\n39:23\tArchival audio, Jars Balan,“Voiceprint”, 1983:\tMy name is Jars Balan. And tonight I’ll be exploring the delicate issue of profanity in language and literature. Our guests include several people fascinated by four-letter words, including comedian George Carlin.\n39:36\tChelsea Miya:\tThe final episode of Voiceprint never made it to air. The subject of the episode was “Linguistic Taboos and Censorship”. Ironically, this episode about censorship was what got the show kicked off CKUA. Jars had included a clip from comedian George Carlin’s infamous monologue. You might have heard it. It’s about the “seven words you can’t use in television.”\n39:58\tArchival Audio, \nGeorge Carlin, “Seven Words You Can Never Say on Television,” 1978: \n\nArchival audio, George Carlin, “Seven Words You Can Never Say on Television,” 1978: Bad words! That’s what they told us they were, remember? That’s a bad word! You know: bad words, bad thoughts, bad intentions… and words! You know the seven, don’t you? That you can’t say on television: Shit, piss, fuck, cunt, cocksucker, motherfucker, and tits. Huh? [Audience Laughter, Applause].\n40:26\tChelsea Miya:\tFor the ACCESS-run CKUA station, remember this is the ACCESS that emphasized “educational programming,” airing the Carlin clip crossed a line. They said Jars had “contravened the station’s policy on obscene language.” The Edmonton Journal criticized CKUA for being “too sensitive” about the whole issue. In the editor’s view, the “program in question was a sober academic discussion.” Jars himself is quoted in the article. And he laments the decision as “truly unfortunate.” “Voiceprint” was, he says, “serious radio” and they’d been “castrated!” Again, Jars’s words, not mine. [Sound Effect: Electronic Beeping]. And so… Voiceprint came to an end. Until, that is, it was rediscovered, four decades later, by the SpokenWeb research team. [Boxes Opening] With a little help from Jars..\n41:22\tAudio Recording, Jars Balan, Interview, [24 May 2021]:\tWell I think I got about two bankers boxes’ worth of stuff. Because I’ve got stuff in the shed and I’ve got stuff here. So, I could bring this to campus. [Tape Recording Starting]\n41:32\tAriel Kroon:\tJars gave us additional recordings of “Voiceprint”, and folders upon folders of handwritten production notes. Sifting through this material, we were amazed at the sheer amount of work each participant put into producing these shows, often without knowing who (if anyone) would be listening. Nowadays, the lived reality of campus radio from 40 years ago seems so foreign to those of us working on podcasts. For example, we are able to access listener metrics with the click of a mouse through podcasting hosting platforms, and insert audio very easily without having to cut up the physical recording media.\n42:09\tAudio Recording, Stacey Copeland, Interview, [2 Feb 2022]:\tWe often hear [Laughs] all the different terms like “knowledge mobilization,” getting thrown around as really important. Well, what does that actually look like? If we’re thinking about those kinds of aspects of projects being important, we need to start seriously thinking about how we can change our research into more publicly accessible work.\n42:29\tAriel Kroon:\tThis is Stacey Copeland, one of the producers of the Amplify Podcast Network. One of the Amplify Podcast Network’s goals is to have podcasting recognized by academic institutes as legitimate scholarly work.\n42:43\tAudio Recording, Stacey Copeland, Interview, [2 Feb 2022]:\tWhat Amplify is interested in doing is not only bringing scholarly podcasts to light, but thinking about how to make them count as scholarship in more formal ways as well through peer review. So, thinking about the podcast equivalent to a manuscript.\n43:01\tAriel Kroon:\t[Sound Effect: Printing Press Mechanizations] The printed journal or book has long been held up as the gold standard of academic research, how a scholar measured the impact of their research. But these traditional forms of scholarly production can be alienating. As academics, we’re removed from the process of “making knowledge” in a material, hands-on way. Much like Jars and Terri did with campus radio shows like “Celebrations” and “Voiceprint”, today scholars are using podcasting to reconnect with their research and, at the same time, find an audience outside of academia.\n43:35\tAudio Recording, Stacey Copeland, Interview, [2 Feb 2022]:\tFor me it often means learning how to better articulate my research, in general. If you can’t talk about your research with your grandma [Laughs] then you really need to start rethinking what your scholarship’s bringing to the world and what it’s actually contributing beyond your specific discipline. And, when you start to engage in something like making a podcast, it brings up a lot of those bigger conversations and bigger questions.\n44:03\tAriel Kroon:\tIn addition to her work with the Amplify Podcast Network, Stacey researches the history of queer and feminist radio. She points out how campus and community radio in the 70s and 80s pushed back against the mainstream. In this sense, shows like Voiceprint paved the way for podcasts, as a more experimental alternative to major public and commercial broadcasters.\n44:25\tAudio Recording, Stacey Copeland, Interview, [2 Feb 2022]:\tWhen we’re looking at pre-Internet era, community radio and campus radio in particular played a huge role in creating any sort of space for community and any sort of political discussion that didn’t fit CBC or private commercial radio. So, spaces to have those more local-oriented conversations and also conversations around queer act activism, around racial activism, and politics and movements across different decades in Canada that just didn’t get the airtime on, say, a CBC. And when the Internet didn’t exist, these were the only spaces we could have those conversations.\n45:06\tNick Beauchesne:\t[Start Music: Ambient Music] Jars did not win his battle with ACCESS, and “Voiceprint” was ultimately banned. But he has no regrets. As Jars himself put it, the show “concluded with an exclamation point, which wasn’t necessarily a bad way to go out.” Through ups and downs, highs and lows, Jars still cherishes the memories of his time as a campus radio host. [End Music: Ambient Music]\n45:30\tAudio Recording, Jars Balan, Interview, [4 Jan 2022]:\tRadio is no longer the same thing that it was when these shows were produced. When I think back on the way we edited with a razor blade and tape to do the splicing and how now all of that just done with dials, digitally and you don’t have a tape even is a world of difference. And I enjoyed the tactile thing of of doing the cuts. And I got good at it.\n45:54\tNick Beauchesne:\tFor Jars, campus radio is a chance for academics to connect with the public in a meaningful way, to lend voice to larger social and political conversations which affect us all.\n46:06\tAudio Recording, Jars Balan, Interview, [4 Jan 2022]:\tOne of the things that’s changed about the university is that in an attempt to combat this image of being an ivory tower, academics now realize it’s important to reach out into a wider audience. That if society is going to support universities financially, morally, politically, they need to be able to show the worth of the learning that goes on at the university. And so sharing that knowledge, sharing that experience is very important. And I think more scholars realize that.\n46:35\tNick Beauchesne:\tAfter graduating from UAlberta, Jars continued to write and perform sound poetry. He also went on to teach remote learning courses in Australia. This was before the internet, so Jars would record his lectures on tape, and those tapes would then be mailed to students. To his surprise, being a distance educator was a lot like being a radio host.\n46:59\tAudio Recording, Jars Balan, Interview, [24 May 2021]:\tThe fact that I had to record these in a studio and sit for three hours, they are three-hour lectures, it really helped the fact that I was used to sitting in front of a microphone in a studio [Sound Effect: Recording Sounds] , and I could hold forth. I just make notes, spread them out on the thing, and talk.\n47:15\tNick Beauchesne:\tJars later returned to the University of Alberta where he was hired by the Canadian Institute of Ukrainian Studies.\n47:22\tChelsea Miya:\tAs for Terri, she made the leap from radio to film, devoting her life to telling stories about social justice, women’s rights, and the arts.\n47:31\tAudio Recording, Terri Wynnyk, Interview, [7 Jan 2022]:\tAfter I left radio, I became a documentary filmmaker and I’ve spent my entire career doing that. But I did love radio first and foremost: that was my passion, my heart.\n47:43\tChelsea Miya:\tWe asked Terri if she had any advice for the next generation of aspiring academic podcast.\n47:50\tAudio Recording, Terri Wynnyk, Interview, [7 Jan 2022]:\t[Start Music: “Limoncello” by Kern PKL] Voiceprint was fun! Voiceprint was so rigorous. The first thing I would pass on is: listen to people, and listen with an open mind. Don’t bring your prejudices to what you’re listening to. Listen with an open mind. And I would say, always speak. Always speak your truth. Be respectful when you speak it, but speak so that you can articulate yourself. Speak so that you can make yourself understood. Speak so that you can express your frustrations in a way that are respected, speak so that you’re not just a dumb human being on this planet, but you contribute to the rest of society. [End Music: “Limoncello” by Kern PKL]\n49:02\tAriel Kroon:\t[Music Starts: “Celebrations” Fanfare] With that, we conclude this brief profile from the campus radio history archives at the University of Alberta. We’d like to thank Arianne Smith-Piquette from CKUA and Marissa Fraser from UAlberta’s Archives and Special Collections. We’d also like to give a special shout out to SpokenWeb Alberta researcher Zachary Morrisson, who worked behind the scenes on this episode. All works cited and contributors can be found in the show notes for this episode. This is myself, Ariel Kroon, on behalf of my colleagues Chelsea Miya, and Nick Beauchesne, bidding you a pleasant good evening. [End Music: “Celebrations” Fanfare]\n49:50\tHannah McGregor:\t[Start Music: SpokenWeb Theme Music] SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. Our producers this month are SpokenWeb contributors Ariel Kroon, Nick Beauchesne, and Chelsea Miya of the University of Alberta. Our podcast project manager and supervising producer is Judith Burr—and next month, this position will be taken over by our new supervising producer, Kate Moffatt. Our episodes are transcribed by Kelly Cubbon. To find out more about Spokenweb visit: spokenweb.ca and subscribe to The Spokenweb Podcast on Apple Podcasts, Spotify, or wherever you may listen. If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Stay tuned to your podcast feed later this month for ShortCuts with Katherine McLeod, mini stories about how literature sounds. [End Music: SpokenWeb Theme Music]"],"score":1.0},{"id":"9626","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S3E9, Talking Transcription: Accessibility, Collaboration, and Creativity, 6 June 2022, McLeod and Cubbon"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/talking-transcription-accessibility-collaboration-and-creativity/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 3"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod","Kelly Cubbon"],"creator_names_search":["Katherine McLeod","Kelly Cubbon"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Kelly Cubbon\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/bb5674c6-4e0b-4112-ba6a-59dd5d5d384e/audio/a5e862c2-6eaf-4e05-9fde-70a956dedb18/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"s3e9-mp3.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"01:04:22\",\"precision\":\"\",\"size\":\"61,798,653 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s3e9-mp3\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/talking-transcription-accessibility-collaboration-and-creativity/\"}]"],"Dates":["[{\"date\":\"2022-06-06\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"‘About Us’, Queer ASL\\n\\nAIM Lab: an experimental research hub concerned with disability, access, and affordances, based at Concordia University.\\n\\nAlt Text Poetry Project by Shannon Finnegan and Bojana Coklyat. Plus, the Alt Text work at the Banff Centre for the Arts: Distinct Aggregations.\\n\\nAmanda Monthei’s Life with Fire podcast\\n\\nBara Hladik – poet. artist. Facilitator.\\n\\nPlace an order for Bára’s first book New Infinity published June 2022.\\nListen to Bára’s ambient electronic album Cosmosis here on Bandcamp.\\nJoin Bára for Dreamspells (@dream_spells), a collaborative project with Malek Robbana (@melekyamalek) with a monthly new moon dreamspells event\\nregistration: https://us06web.zoom.us/meeting/register/tJMpc-ygqTouHtaiP7HfwXvhxLi-GXljKu8o\\nBodies in Translation: Activist Art, Technology, and Access to Life (BIT)\\n\\nCarmen Papalia, An Accessibility Manifesto for the Arts\\n\\nDaniel Britton on typeface design\\n\\nDisability Art is the Last Avante Garde with Sean Lee, Secret Feminist Agenda S4E22\\n\\nSoundBox Signals podcast (UBCO)\\n\\nSpokenWeb Podcast Transcription Style Guide\\n\\nTalila A. Lewis, “Working Definition of Ableism January 2022 Update” \\n\\n‘Terminology’, Critical Disability Studies Collective, University of Minnesota\\n\\n“The Show Goes On: Words and Music in a Pandemic” produced by Jason Camlot for The SpokenWeb Podcast\\n\\n“The Voice That is the Poem, ft. Kaie Kellough” produced by Katherine McLeod for ShortCuts on The SpokenWeb Podcast, 03:10.\\n\\nTranscription Tools\\n\\nDescript (audio and video editing through text, paid), https://www.descript.com/\\n\\nExpress Scribe (speech to text, free), https://www.nch.com.au/scribe/index.html\\n\\nOtter AI (speech to text and real-time transcription, paid), https://otter.ai/\\n\\nTEMI (speech to text transcription, paid), https://www.temi.com/\\n\\nMusic Credits\\n\\n“Wavicles” from Cosmosis by Zlata (Bára Hladík)\\n“Erudition” from Cosmosis by Zlata (Bára Hladík)\\n“Atmosphere” from Cosmosis by Zlata (Bára Hladík)\\n“Scarlett Overpass” by Kajubaa via Blue Dot Sessions\\nCloud Cave by Kajubaa via Blue Dot Sessions\\nPacific Time by Glass Obelisk via Blue Dot Sessions\\nSound Effects\\n\\n“campfire in the woods” by craftcrest, ​​https://freesound.org/people/craftcrest/sounds/213804/\\n\\n“Page turn over, Paper turn over page turning” by flag2, https://freesound.org/people/flag2/sounds/63318/\\n\\n“Wall clock ticking” by straget, https://freesound.org/people/straget/sounds/405423/\\n\\n“Mechanical Keyboard Typing” by GeorgeHopkins https://freesound.org/people/GeorgeHopkins/sounds/537244/\"}]"],"_version_":1853670549723545600,"timestamp":"2026-01-07T14:59:54.290Z","contents":["Transcriptions of podcasts provide visual renderings of audio that increase accessibility. But what are the best practices for transcribing a podcast, specifically a podcast about literary audio? In this episode, Katherine McLeod of ShortCuts and Kelly Cubbon, transcriber of The SpokenWeb Podcast, explore the role of transcription in the making of podcasts and how responsible transcription unfolds through collaboration and conversation. In fact, their episode uncovers just how much transcription is collaboration and conversation.\n\nPart One starts with reflections from Katherine and Kelly about how they came to the work of transcription and key concepts that have influenced their thinking throughout the process of making this episode, such as accessibility and ableism. This section also features an interview with Dr. Maya Rae Oppenheimer, a studio arts professor at Concordia University and a regular user of podcast transcripts.\n\nPart Two consists of an interview with Judith Burr, the Season 3 SpokenWeb Podcast supervising producer and project manager, about generative challenges that have come up during collaboration on podcast transcription for the podcast and how decision making has evolved over time.\n\nAnd Part Three is an interview with Bára Hladík, a poet, writer, and multimedia artist, about  the convergence of disability, accessibility, technology, and poetics. Here, Bára discusses the healing possibilities of sound and the creative potential of transcripts.\n\n \n\n00:00:19\tSpokenWeb Podcast Theme Music:\t[Instrumental Overlapped With Feminine Voice] Can you hear me? I don’t know how much projection to do here.\n \n\n00:00:19\tHannah McGregor:\tWhat does literature sound like? What stories will we hear if we listen to the archive? Welcome to the SpokenWeb Podcast: stories about how literature sounds. [End Music: SpokenWeb Podcast Theme Music].\n \n\n00:00:35\tHannah McGregor:\tMy name is Hannah McGregor, and each month I’ll be bringing you different stories of Canadian literary history, and our contemporary responses to it, created by scholars, poets, students, and artists from across Canada. How do we make sound accessible across different forms of media? How do we read and interpret sound? What can it look like? At the SpokenWeb Podcast, we create and release transcripts for every episode. These are written versions of the audio we produce that are publicly available on the SpokenWeb website. But why do we create transcripts —and what is involved in transcribing a podcast about literary audio that often includes archival recordings and experimental audio performances? This episode is produced by Katherine McLeod (ShortCuts producer and host) and Kelly Cubbon (SpokenWeb Podcast transcriber). Together they explore the role of transcription in the making of podcasts and how responsible transcription unfolds through collaboration and conversation. They also reflect on transcription as an accessibility practice, scholarly practice, and creative practice. As the producers themselves share, podcasting is a space where we encounter ideas—where we find opportunities to contribute to dialogue and engage in ongoing conversations and creative practices. And so an episode of a podcast by producers who are part of the podcasting production team is, in so many ways, the perfect space to investigate the how and why of transcripts. Our team has often asked: what kinds of editorial choices need to be made when making transcripts for a podcast about literary sound? And how does ethical listening inform these decisions? In conversation with Dr. Maya Rae Oppenheimer, Assistant Professor of Studio Arts at Concordia University; Judith Burr, the Season Two SpokenWeb Podcast project manager and supervising producer; and Bára Hladik, multimedia artist and disability advocate, Katherine and Kelly spend this episode thinking through transcription—and how transcription itself is a way to “think through” sound and be transparent about accessibility goals in podcast production. And so whether you’re listening to the audio of this episode, reading the accompanying transcription, or both we invite you to “think through” transcription with us—here are Katherine McLeod and Kelly Cubbon with Episode 9 of the third season of the SpokenWeb Podcast: “Talking Transcription: Accessibility, Collaboration, and Creativity.” [Musical Interlude: SpokenWeb Podcast Theme Music]\n \n\n00:03:18\tKelly Cubbon:\t[Start Music: Flowing Electronic Instrumental] Transcript. What is a transcript?\n \n\n00:03:22\tKatherine McLeod:\tIf you are reading the words of this podcast episode, you are reading a transcript of it.\n \n\n00:03:28\tKelly Cubbon:\tTo transcribe. To create a visual written version of something originally presented in another medium.\n \n\n00:03:34\tKatherine McLeod:\tTrans: across. Scribe: to write. Writing across\n \n\n00:03:40\tKelly Cubbon:\tTranscription, a writing across that creates new points of access.\n \n\n00:03:45\tKatherine McLeod:\tIt has come to mean a written copy, but really it is a creative process along with being a form of recording.\n \n\n00:03:56\tBára Hladik, Zoom interview, February 2022:\tI love transcription because it is part of the making and it creates it into a new medium, so then it becomes, it almost becomes a new piece or version.\n \n\n00:04:08\tJudith Burr, Zoom interview, February 2022:\t[…] and then to say, what does it mean to have a written version of this? And I was absolutely co-learning with Kelly as we developed best practices around some of these hard points.\n \n\n00:04:22\tMaya Rae Oppenheimer, Zoom interview, March 2022:\t[…] and maybe with how folks use transcriptions, there’s traces and evidence of how reading is inherently collaborative, be that audio reading or visual reading, tactile reading. And sometimes we take that for granted when we centre visual modes of reading. When we then make more inclusive sensory receptions, then there’s different ways of reading that trace of collaboration.\n \n\n00:04:54\tKelly Cubbon:\tHi. I’m Kelly Cubbon. I’m a Master of Publishing student at Simon Fraser University and a Research Assistant for the SpokenWeb Project. I’ve been transcribing the SpokenWeb Podcast since Season 2 and working behind the scenes of the podcast with our team to think through the possibilities and responsibilities of transcription.\n \n\n00:05:11\tKatherine McLeod:\tAnd I’m Katherine McLeod. You may recognize my voice from ShortCuts, or other past episodes, and I work with Kelly monthly on the transcripts for that audio. Making this episode together has given us the chance to really reflect on this process, and to ask ourselves: what are the best practices for transcribing a podcast about literary audio?\n \n\n00:05:35\tKelly Cubbon:\tPart One of this episode starts with reflections from me and Katherine about how we came to the work of transcription and key concepts that have influenced our thinking throughout the process of making this episode. We will talk about what role transcription plays within podcast production and within podcast studies. This section features some of our conversation with Dr. Maya Rae Oppenheimer, a studio arts professor at Concordia University and a regular user of podcast transcripts. In Part Two we chat with Judith Burr, the outgoing SpokenWeb Podcast supervising producer, about generative challenges that have come up during our collaboration on podcast transcription for this podcast and how transcription within this podcast has evolved. And in Part Three we’ll join Bára Hladík – a poet, writer, and multimedia artist – to have a conversation about the convergence of disability, accessibility, technology, and poetics.\n \n\n00:06:24\tKatherine McLeod:\tThanks for joining us on this journey into the sounds of transcription. Let’s get started! [End Music: Flowing Electronic Instrumental].\n \n\n00:06:30\tKatherine McLeod:\tTranscription increases accessibility. And increased accessibility is the first and foremost reason to transcribe a media format like a podcast episode.\n \n\n00:06:43\tKelly Cubbon:\tTo grasp the work of accessibility, it is important to understand the systems and barriers that make the world inaccessible. Abolitionist community lawyer and social justice consultant TL Lewis defines ableism as: [Quote] “A system that places value on people’s bodies and minds based on societally constructed ideas of normalcy, intelligence, excellence and productivity. These constructed ideas are deeply rooted in anti-Blackness, eugenics, colonialism, and capitalism. This form of systemic oppression leads to people and society determining who is valuable and worthy based on a person’s appearance and/or their ability to satisfactory [re]produce, excel and ‘behave.’ You do not have to be disabled to experience ableism.” [Unquote]. [Start Music: Atmospheric Instrumental] Assumptions about how people engage with media information and stories or expectations that there is only one right way to do so places restrictions on audiences, communities, and creative possibilities, and also excludes the vital contributions of people with diverse and changing access needs. At face value, podcasts are an auditory medium. But there are many reasons why someone may find podcast transcripts useful or vital to engaging in the world of podcasting, a now ubiquitous source of media and education. As podcast creators, we should always be asking ourselves: what space are we trying to create? Who is it for? Transcripts make podcasts more accessible for: – Deaf and Hard of Hearing people, – Neurodivergent people, such as those with dyslexia, autism, ADHD, and more, – People with disabilities and illnesses. Transcripts are also useful for people with different learning styles. Working online, in hybrid or virtual settings during the pandemic has heightened some of our attention to how access needs at work and school can shift and change. Two quotes related to access we’ve come across that we’d like you to keep in mind as you listen or read along to this episode are: Access is [Quote] “the power, opportunity, permission, or right to come near or into contact with someone or something… the relationship between the disability bodymind and the environment. [Unquote] – Historian Bess Williams\n \n\n00:08:56\tKatherine McLeod:\tAs Carmen Papalia states at the opening of “An Accessibility Manifesto for the Arts”: [Quote] “Let’s try thinking of accessibility as a creative, long-term process. It’s not just about the built environment, but about ideas of agency and power” [unquote]\n \n\n00:09:17\tKelly Cubbon:\tWhen I began transcribing for SpokenWeb a key accessibility goal was working towards the simultaneous release of transcripts with the audio for each episode. Improving accessibility is an ongoing effort, but this is something we are now able to do on a regular basis. Part of my motivation for working on this podcast episode about transcription with Katherine has been to document some of our team’s learnings about transcription best practices, workflow, and decision making as a way to share our learning, as well as be accountable to our communities. When we release this episode, we will also be sharing our transcription style guide. [See show notes for details.] This is a living document that we regularly add to. I inherited it from Natasha Tar, another SFU student who was working on transcription. The style guide supports consistent formatting, but it is also a place where we provide context for collective decisions we’ve made when encountering common transcription challenges – we’ll touch on this more when we chat about collaboration with Judee.\n \n\n00:10:16\tKatherine McLeod:\tOur work on this podcast exists within the larger research activities of SpokenWeb. [End Music: Atmospheric Instrumental] Within SpokenWeb, there are so many examples of transcription taking place, such as: student researchers listening to recordings of literary events are often transcribing as they listen [Sound Effect: Typing] or checking transcriptions while listening — timestamping or describing the extra-poetic speech [Sound Effect: Page Turning] — all of which are forms of creating a written record of an audio object. Transcription of oral history interviews is another example. Or artists transcribing, notating and scoring. Then, stepping back into the world of the podcast, producers transcribe their audio and script their voice overs. In making this episode, we ourselves transcribed our interviews, wrote a script, and now are creating an audio file which we will be transcribing again in order to post it on the website with the launch of this episode. For myself, having published and presented work on poetry scores for overlapping voices, I’ve always been fascinated by the interplay between performance and transcription. That approach, not to mention all of the new technologies out there for transcription, will only be touched upon in this episode, but we hope that future episodes might dive into all of these sounds of transcription. [Start Music: Atmospheric Instrumental] In this episode, Kelly and I focus on transcription as collaboration, conversation, and as an unfinished process.\n \n\n00:11:58\tKelly Cubbon:\tAnd that approach lets us focus on the format of the podcast itself, how it reaches its audiences and its potential to reach across modes of sensory engagement.\n \n\n00:12:08\tKatherine McLeod:\tPodcast listening can be podcast reading. And what does that reading experience feel like? That is the question that Kelly and I wanted to talk about and we decided to do a call out on social media to hear from regular users of podcast transcripts. By the way, if you would like to share your story of how you use podcast transcripts, check the show notes for how to get in touch. [End Music: Atmospheric Instrumental]\n \n\n00:12:35\tKelly Cubbon:\tDr. Maya Ray Oppenheimer uses transcripts in her personal creative and educational practices. She responded to our call on social media and we were grateful to have a virtual chat.\n \n\n00:12:47\tMaya Rae Oppenheimer, Zoom interview, March 2022:\t[Sound Effect: Zoom Door Bell] My name is Maya Rae Oppenheimer, and I’m from treaty one territory, Middlechurch, Manitoba, which is near Winnipeg. And I’ve moved around since leaving Winnipeg, but I’m now living and working in Tiohtià:ke / Mooniyang / Montreal and am an assistant professor in the department of Studio Arts with a cross appointment to Interdisciplinary Studies in Fine Arts. And perhaps, an additional item of introducing myself is that I identify as disabled. I have several diagnosed neurodivergencies. So, one of my neurodivergencies is dyslexia. And for those who don’t know about dyslexia, it’s often described as a learning difficulty, but it’s, you know, that takes us to a social model of disability where, you know, it’s, it’s a learning difficulty because dyslexic folks have different learning tendencies. So for some that might mean that letters move on the page, words hop and jump and skip around. One thing that happens to me is I’ll often conceive of a word, but I’ll say a different one. So you can imagine in someone who works as an academic and had to go through the rigours of getting a PhD, that’s really presented some emotional and intellectual and physical challenges. And over the years, as I was trying to figure out manners and modes of consuming information and engaging with language, I found that listening to written texts was really, really helpful. And also just listening constantly to the radio, to podcasts, to soak up intonation, to soak up emphasis on language and to get a sense of the effect behind written words when I’m reading, because that’s also something that can sometimes happen with dyslexic folks is missing the ordering of language on the page to infer emphasis. So poetry can also be a wild experience! [Laughs] So in my writing practice and reading practice, I find listening as well as reading simultaneously very, very interesting because what will sometimes happen and say, for example, here, moving to a podcasting example, if I’m listening to an episode and reading the transcript at the same time, I won’t always read the word that’s being vocalized at the same time, or with the same impression. So it opens up this kind of textured moment of language, what you might describe as like a third text or maybe even elision. But I started using the word errant, which I kind of like, because errant is sort of like this wandering meaning, but it’s also very close to the word errata, but it’s not wrong. It’s just wandering in meaning. So I refer to this as my errant reading practice. As one does accruing notes I thought, well, what else can I do with this aside from considering it as something that’s been consumed. Can I analyze my own weird habit here? And then I started writing using the marginalia as text for writing my own thing. So I guess what I’m trying to say is like the errant reading of things sort of became like a transcript for writing a responsive text.\n \n\n00:16:28\tKelly Cubbon, Zoom interview, March 2022:\tWhat does an effective transcript look like to you? And like what would be kind of red flags for a misleading or frustrating or ineffective or unworkable transcript?\n00:16:41\tMaya Rae Oppenheimer, Zoom interview, March 2022:\tWell, I suppose if I had to emphasize some of the qualities that can be a bit alienating are aloof transcripts [Laughs] or rigid transcripts. But very quickly by aloof, I mean, you know, if you have to search out where the transcript lives with an audio documentation. Is it even available? Do you have to ask if it’s available, do you have to get special permission if it’s available? And I feel like that’s maybe linked to the rigidity of transcripting or transcription [Laughs], which is, I think, a concern from content creators that people will copy and paste intellectual content. But what I think is an inclusive standpoint on that from a social model of disability is if you are welcoming more people into your content, then that’s the way to go. So the rigidity: I see that coming in terms of transcripts being downloaded sometimes not entirely. So maybe only the first five to 10 minutes or the beginning 30% of the content is transcribed in this weird translation of printed word publishing copyright at 30% to audio transcriptions. I also find PDFs sometimes difficult because again, everything’s locked in unless you have particular software access. I also wish that there were more open access audio to text and text to audio softwares. One that I use and recommend to students a lot, perhaps you use is Otter AI, which has a certain amount of free use. But then a lot of other apps and services are under a price point. And I think as soon as software that is meant to be inclusive is also barred by a price bracket, then that’s a problem. So I guess, you know, when I reflect on my answer to that, the rigidity relates a lot to capitalism [Laughs] and fear of misuse of content. And that’s a trouble.\n \n\n00:19:06\tKelly Cubbon, Zoom interview, March 2022:\tYeah. When you were sharing, um, the kind of aloof versus rigid, that kind of was exciting to me to hear that those, that framing, because I feel like that’s a useful framing to have in mind to almost even add to a style guide that we kind of pass on to other people in a team of like, kind of almost like a, a check-in point of you know. But I was also thinking, I think a lot about like, how do we make our process transparent to others? Because, you know, a style guide can be kind of technical things like we remove and ums and uhs so that the transcript is more readable for people, in these cases, but maybe having a style guide, visible for people who use transcripts to say, you know, that’s actually not something we like, or that’s something that we would like you to include this instead. And making that almost more open access in terms of showing that our decisions are, for us to have some sort of standardization, but they need to be flexible to meet people’s needs and evolve, to meet people’s needs as well.\n \n\n00:20:09\tMaya Rae Oppenheimer, Zoom interview, March 2022:\tYeah. And I think what you’re bringing up Kelly is an interesting aspect of archiving and transcripts because transcripts is such a user interface, and often there’s perhaps a flow from the cultural producer/host to the user, but then that user is making a layer of interpretation and meaning. And that’s why I think having a workable document is such a hospitable mode of transcription. And I mean, I have, I take that almost to an extreme [Laughs], I realize where in, I’m not only marking the, but I do have to move things around because of my associative way of drawing, meaning and dyslexia, and really needs that mobility on the page that then does sometimes make a collaborative transcript. And I think that’s a really important piece in a conversation like this for accessibility, and maybe with how folks use transcriptions, there’s traces and evidence of how reading is inherently collaborative, be that audio reading or visual reading, tactile reading. [Start Music: Upbeat Electronic Instrumental] And sometimes we take that for granted when we center visual modes of reading, when we then make more inclusive sensory receptions, then there’s different ways of reading that trace of collaboration.\n \n\n00:21:38\tKatherine McLeod:\tWe’ll hear from Maya again at the end of the episode. But, for now, after thinking about transcripts in the contexts of broader communities, we’d like to invite you into our community of the SpokenWeb Podcast, and to hear from Judee Burr, supervising producer and project manager of the SpokenWeb Podcast about transcription as collaboration.\n \n\n00:22:03\tJudith Burr, Zoom interview, February 2022:\tI’m Judee Burr. I use she/her pronouns. I am here on Syilx Okanagan land, and what is often now called Kelowna in BC where I’m a master’s student at UBC Okanagan. I’m in the interdisciplinary graduate studies program in the digital arts and humanities theme. For my thesis podcast, I’m working on an academic podcast about wildfire and living with fire in the Okanagan Valley where I am right now. And I’m also the supervising producer and project manager of the SpokenWeb Podcast, which is how I know you guys and how we’ve all been thinking about transcription together.\n \n\n00:22:44\tKatherine McLeod, Zoom interview, February 2022:\tThank you Judee and thank you for joining us this afternoon to talk about transcription. How did you start to work with sound?\n \n\n00:22:53\tJudith Burr, Zoom interview, February 2022:\tI took a class at the Podcast Garage in Boston, Massachusetts. It was podcasting that got me really interested in doing audio work and it was The Heart is the podcast that sucked me in [End Music: Electronic Instrumental] and spoke to my queer soul and that made me want to think about what heartfelt storytelling and audio storytelling could do for environmental stories. I had been doing a lot of report writing and research that took on this tone that I felt is dry on a topic that actually feels so deeply heartbreaking and hard, and really difficult to know how to communicate about in a way it’s like move, going to move people.\n \n\n00:23:42\tKelly Cubbon, Zoom interview, February 2022:\tThanks for sharing that. It’s always fascinating to hear about your work and what you’re thinking about kind of emotion and connecting people to stories, just really spoke to me because I’ve been thinking about the emotional experience of transcribing, particularly around the most recent episode of the SpokenWeb Podcast. Jason did an episode on reflecting on pandemic events and experiences and it was incredibly overwhelming to be sitting in my apartment by myself, for the purposes of my job transcribing something, but being really affected by the project itself [Start Music: Piano Instrumental] and the intentions around the project, as well as these kind of clips of people, banding together like we all have during this difficult to time to create community and a sense of continuity with what they’ve been doing. So, I just wanted to mention that because I’ve been thinking about that a lot recently.\n \n\n00:24:33\tJudith Burr, Zoom interview, February 2022:\tI feel like every time I get a first draft as the supervising producer to just listen to and think about ways to give feedback and react to, I am so moved. Even though the episodes are so different from each other, they each reflect this really heartfelt engagement with whatever our producers are working on. And yeah, I feel a similar way when I’m reviewing a first draft as it sounds like you feel when you’re listening to it and transcribing it, Kelly. [End Music: Piano Instrumental]\n \n\n00:25:00\tKelly Cubbon, Zoom interview, February 2022:\tYes, definitely. I think that kind of leads into our first question quite nicely. Can you tell us a little bit about your dual role as the SpokenWeb Podcast supervising producer and project manager, are these kind of different hats you put on at different times or is it kind of a hybrid role?\n \n\n00:25:17\tJudith Burr, Zoom interview, February 2022:\tYeah, I think it’s all smooshed together [Laughter] in the experience. So I’m the main touch point for the episode producers– we tend to have different producers every month that come to me with questions that I can then answer or reflect on with the task force and work with producers to make sure they feel supported. So, I’ll give producers feedback on a first audio draft, thenI’ll work with Hannah to script an introduction that we feel is appropriate for introducing the episode in the context of the overall podcast and project. Then, when I get that recorded introduction and final draft of the episode I mix and master it and then send it to you, Kelly for a transcription. Working with you and the producers to make any edits to that, doing the work of just putting all of the content, including the transcript and the audio on our website and on our simplecast tool that we used to release it onto all these podcasting platforms and organizing a listening party, where then as a larger community of SpokenWeb people and fans, we can listen to the episodes together and talk about them.\n \n\n00:26:32\tKatherine McLeod, Zoom interview, February 2022:\tIt makes me think too about the amount of listening you would have to be doing in that role. And in my work with you, especially on ShortCuts, I’ve always been really struck by how you’re such an attentive listener to the audio. In listening to one piece, you’re really able to pull out the overarching threads. Kelly, I was interested, for you, in hearing Judee, describe the workflow, what, from your perspective, what does it feel like on your side?\n \n\n00:27:01\tKelly Cubbon, Zoom interview, February 2022:\tYeah, I think for me the first few months of working on transcription for this particular type of podcast as an academic podcast with lots of archival material and experimental audio kind of – audio collage, different things like that was a real steep learning curve. I’ve done transcription of interviews where there might be one or two voices, maybe three voices max but trying to figure out how to use an existing style guide – which was an excellent tool, provided by the team, that had done this before – but trying to apply that to lots of different I guess use cases or scenarios that needed me to make some decisions. Chatting with Judy was very instrumental –just reframing transcription problems as kind of points of inquiry or kind of a jumping off point for our conversation of me asking Judy, “oh, does the producer maybe have any notes about the archival clip that they used? Was that something that re-occurred throughout that they were using as a theme, or was that a different track?” Things like music cues or overlapping audio or things like that, without the context myself, I could go down a rabbit hole of trying to listen 20 times to see if maybe there was a hidden thing I hadn’t heard, where in fact it was, there was often context from the people with the expertise around the episode, or the kind of academic expertise about certain archives or certain events in communities that was kind of instrumental for providing the context clues for a reader of a transcript. So it became not just technical information, but also information that would make the transcription more beneficial to people down the line for understanding what they were listening to.\n \n\n00:28:57\tKatherine McLeod, Zoom interview, February 2022:\tAs you were talking there, I was struck by how, in the case of this podcast, because of using so many archival audio clips, there is this question around how much information to include as to where the sound is from, or what is the sound in relation to the archives, in addition to just representing the sound in a visual format for a reader. The SpokenWeb Podcast in its sort of remixing of archival sounds raises these questions for transcription, because, again, in representing the sound is when also representing the source of the sound.\n \n\n00:29:36\tJudith Burr, Zoom interview, February 2022:\tYeah, it’s so challenging with so many of our podcast episodes to think about translating it from its audio form that we produce it to be this audio product. And then to say, what does it mean to have a written version of this? And I think I was absolutely co-learning with Kelly, like, as we like went through some of these tough, like, what do we do for this part or this part? Yeah, we really were doing some co-learning there and trying to figure out: how do we develop best practices around some of these hard points?\n \n\n00:30:14\tKatherine McLeod, Zoom interview, February 2022:\tYeah, and also realizing too that a transcript of say a SpokenWeb Podcast episode, that there could almost be, there could almost be multiple transcripts of it. That brings me to […] something that I was also struck by in the summer workshop. In hearing people’s responses to some of the examples, it was really interesting to hear […] different ways of approaching transcription.\n \n\n00:30:37\tKelly Cubbon, Zoom interview, February 2022:\tYeah, I think the two key examples that I used in the July workshop — and the workshop was kind of to take a peek behind the scenes of the decision making and the people involved in transcription and just say, we’re actively learning this and what our kind of primary motivations are, are first and foremost accessibility. And that, that is kind of a necessarily incomplete and ongoing project. And so it is never fixed [Laughs] and we’re kind of always learning ways to improve and be receptive to other people’s tools and resources and perspectives. But I think the two examples that I chose for that workshop, which were really illuminating and kind of spurred quite a lot of conversation, one involved an experimental sound and musical performance that was quite lengthy. [Archival Audio Clip: the Four Horsemen performing “Mayakovsky”: Several Voices Chanting] I believe it’s the Four Horsemen that the clip was from and we had people in the Zoom chat doing their own transcription and seeing what came of it. And, one person might have in square brackets: “a performance happens and there’s various voices.” Another person might do a paragraph long description of the different types of overlap of these voices. And I kind of just spurred that conversation that you were mentioning Katherine of writing something verbatim versus giving a context clue about something that happens and not overly worrying with the details. And I think for me that was illuminating of trying to balance what would be the most useful to someone reading a script. And I think, by and large, having a condensed description of something to represent a performance has been I think more useful than spending ages to interpret something that people are going to interpret in lots of different ways, and we can’t capture exactly what that sounded like for someone on a transcript.\n \n\n00:32:43\tJudith Burr, Zoom interview, February 2022:\tYeah. I also appreciate that point about the interpretations of each listener or reader. In this case, we use different words. We have different like embodied experiences of what the sound is.\n \n\n00:32:56\tKelly Cubbon, Zoom interview, February 2022:\tDefinitely. And things kind of like – do we call this the name of the musical file or what it sounds like? When does it become an interlude, when does it fade into the background? And sometimes that feels really significant to the listening experience, but also I’ve definitely looked back on transcriptions and thought this is – I’m possibly interrupting the reading experience of that conversation or that, archival clip or moment with too many instances of trying to be very faithful to the music coming in and out of things. So I think over time, I’ve learned to be a bit more decisive about where it would be useful to frame things like that and still indicate that there’s music happening without being overly descriptive of it.\n \n\n00:33:46\tJudith Burr, Zoom interview, February 2022:\tAre some of those interruptions actually good in a podcast transcript? I’m still not sure about this. Because when a magazine or something publishes an interview with someone that’s a publication that’s meant for print, it’s never existed to be published as an audio work necessarily. But for a podcast transcript, we’re claiming to be facilitating this written version of the episode. And so I still wonder… I think it’s great to have a ranking of priorities in that and our conversations that lead us to accessibility as the main thing that we really wanna get right in our transcripts feels really good because then we can have a lot more interesting questions while still remaining faithful to the things that feel like a big priority. But, as we do this work, there have been so many interesting questions that have come up.\n \n\n00:34:46\tKatherine McLeod, Zoom interview, February 2022:\tEspecially for overlapping sounds. It sounds like with the music too, again, thinking of if it’s, if the music is there [Start Music: Electronic Instrumental] but it’s not sort of interfering with the experience of hearing the conversation then is it worth mentioning, but it’s also it’s there as a layer and if it’s sort of continuing it’s hard to indicate that something is sort of constant cause again, in print it’s like you can mention it, but then how to, you almost want visually for it to be a sort of painted, like an ocean underneath the words [Laughs]…\n \n\n00:35:19\tJudith Burr, Zoom interview, February 2022:\tYeah. Maybe we should have a graphic novel for each episode, instead of a transcript. Like a painting. The sound can be a painting — the sound could be like a portrait behind that thing. That’ll be easy for you to do right, Kelly, and our standard timeline. [Laughter] [End Music: Electronic Instrumental]\n \n\n00:35:39\tKelly Cubbon, Zoom interview, February 2022:\tThe overlapping sound is one thing, but I think also overlapping context for lack of a better word has been something I’ve I think we’ve been working to indicate such as if someone appears in an episode in a Zoom interview and then in an archival recording of them, and that archival recording includes them speaking to the audience as an aside and then performing poetry. And then maybe they’re in kind of a more formal voiceover audio. There might be four instances of like slightly different context to indicate.\n \n\n00:36:14\tKatherine McLeod:\tIn a recent ShortCuts episode, my conversation with Kaie Kellough included overlapping voices and overlapping contexts. Here’s Kellough performing and then listening back to his own voice and to the context of those recordings.\n \n\n00:36:31\tKaie Kellough, ShortCuts 3.5, February 2022:\tSo, eventually the voice would start to like – it would sound like tape delay is nowhere. [Distorted Tape, Recording of Kaie reciting poetry: “This Prairie, this periphery is intoxicated…” ] You asked me what it was like, what I thought about when hearing it. And um, it’s, it’s strange. It’s strange to hear that kind of reflection of yourself.\n \n\n00:36:50\tJudith Burr, Zoom interview, February 2022:\tYeah. That’s, it brings up a question I have in just good storytelling in general in audio. And I think about this with every podcast episode, how much do we need to say upfront about what the listener should expect to hear? And I think this is what you’re saying about transcripts. Is there something we should say upfront about what the reader should expect to read that makes it easier? But then also remembering how sometimes in some of these episodes it works, somehow it works not having that information up front and we’re really brought along with the story that the episode is telling…\n \n\n00:37:36\tKelly Cubbon, Zoom interview, February 2022:\tDefinitely, and I think maybe after wrestling for a few episodes with the music question or the overlapping voices question it was important to me to capture that in the style guide and also explain how it – the decision was made and how it relates to the mission of the podcast and the mission of accessibility, as you mentioned, so that, when that Google doc is shared with somebody else, they’re also learning about our decision making and about the podcast, not just how do I kind of fix this one thing in this one transcript. So I think that’s been really valuable to me in these, this kind of transition from season two to season three, kind of coming together to figure out what were the sticking points or the circular conversations we were having in Google docs and various notes and emails and stuff and how do we reflect those so that we can be a bit more confident about how we’re gonna approach those instances when they come up later and having that kind of option in our back pocket.\n \n\n00:38:41\tJudith Burr, Zoom interview, February 2022:\tThat also makes me just think about in taking on any of these roles with the podcast, especially as graduate students, where we’re planning to have certain amounts of turnover in these roles, you’ve put so much thoughtfulness into that guide, that transcription guide that you’ll be able to pass onto a new person, but also in thinking about transitions for the producer role, I’ve been reflecting on that there was just a learning period that I don’t think I could have read my way out of either. And I want –do you feel, because as we were talking about, I think earlier some of this stuff is like a judgement call, like do – is us music important to transcribe right here? Or should I check in with the producers about this? Or certain questions. And in the judgement calls, in my role, I feel like, okay, I just needed to be in this role for a few months to be comfortable making them. Do you feel like the judgement calls and transcription are also something that they’ll –the person can read the style guide and then they also have to kind of get used to the judgement call part of it? How does that feel for you, Kelly??\n00:40:00\tKelly Cubbon, Zoom interview, February 2022:\tYeah, I completely agree. I think that kind of steep learning curve I was talking about was also the order of listening to things, and pausing to read the transcripts that I had written. And maybe that sounds completely obvious but I was so devoted to listening verbatim and just really trying my best and getting really tangled in spending far too much time listening to particular bits of audio because I was worried I wasn’t gonna be faithful to people’s work. And I felt quite a lot of responsibility to that and making sure it was legible and something that was valuable for people reading the transcript. But I think it was in that July workshop when we were having these kinds of exercises and discussions around this faithful verbatim versus interpretation versus what is legible to people reading a transcript and one of the participants said, “well, what is it like to read the transcript?” And it just like was a lightbulb for me of oh [Laughs] the context clues need to be at the start and not tangled up throughout.\n \n\n00:41:11\tJudith Burr, Zoom interview, February 2022:\tYeah. And I think you and Megan Butchart really led that workshop. And that was an opportunity for me to see both the way that you framed those examples from a podcast as some in that problem space of “how do we think through this?” And then also learn from Megan Butchart’s work transcribing the Sound Box collection and be able to just see the different problems that people are grappling with and how to think about ethical transcription, caring transcription, accessible transcription in these different contexts. And that was a fun way for us to think about what is unique to podcast transcription and some of the problems we’ve been working through.\n00:41:55\tKatherine McLeod, Zoom interview, February 2022:\n \n\nThank you so much for joining us today.\n \n\n00:41:57\tJudith Burr, Zoom interview, February 2022:\tYeah. I’m so glad that all three of us were able to be here to talk about it together because it does, it just is such a nice representation of the work we’ve done together.\n \n\n00:42:10\tKelly Cubbon:\t[Start Music: Ambient Electronic, Wavicles from the album Cosmosis by Bára Hladik] Bára Hladík is a Czech-Canadian writer and multimedia artist. Bára’s poetic practices often integrate found poetics from sources such as medical texts, self-help books, and medical paperwork as a gesture of transformation and reclamation amongst information that is attributed to complex bodies. She often works in multimedia arts through text, illustration, animation, video, performance and sound, exploring themes of healing, dreams, desire, care, and the body. Katherine and I were thrilled to get the chance to talk to Bára. In this conversation we talk about accessibility as an integrated practice, the healing power of sound, and transcription as a creative opportunity.\n \n\n00:42:52\tBára Hladik, Zoom interview, February 2022:\tI’m Bára Hladík and thanks so much for having me. I’m a Czech Canadian writer, editor, and multimedia artist. I have a bachelor of arts in literature from UBC and I work in many different mediums of art since then and I am tuning in from Esquimalt territory.\n \n\n00:43:17\tKatherine McLeod, Zoom interview, February 2022:\tThank you so much for joining us Bára. So we’re going to start off with a few questions about how you came to work with sound and the role that sound plays in your life. So we’re wondering what drew you to working with sound? [End Music: Ambient Electronic, Wavicles from the album Cosmosis by Bára Hladik]\n \n\n00:43:34\tBára Hladik, Zoom interview, February 2022:\tI grew up playing music around the fire with my dad and my family [Sound Effect: Fire Crackling, Musical Instruments] So like singing and guitar and just kind of collective folk music and often just humming along or shaking shakers or whatnot. So I definitely have a very instrumental background. I learned some sound production skills from someone I used to date and it was at a time where my arthritis was affecting my hands so it was difficult to play with sound in the traditional ways. So I got really into more keyboards and ambient kind of experimental sound and I definitely am drawn to sound as a way of –as I was accepting and learning the new conditions of my chronic illness and becoming okay with how I need to slow down and really, really change pace and sit with things and still transform and process without kind of like the same exertional ways we’re traditionally taught to process things. [Start Music: Ambient Electronic, Wavicles from the album Cosmosis by Bára Hladik] So sound became a way to discographies or very long ambient pieces as a way to just really heal on like a cellular level. So I think sound has a really, really amazing function to affect our bodies and our consciousness and spirits and whatnot. And retune us. [End Music: Ambient Electronic, Wavicles from the album Cosmosis by Bára Hladik]\n \n\n00:45:33\tKatherine McLeod, Zoom interview, February 2022:\tWhen you’re talking about sound as slowing down and just something that is, as you said, kind of like retuning it makes me think of a quotation that Kelly pulled up that you shared on Twitter by Ursula K. LeGuin.\n \n\n00:45:52\tKelly Cubbon, Zoom interview, February 2022:\n \n\nAnd it is “listening is an act of community, which takes space, time, and silence. Reading is a means of listening.”\n \n\n00:46:01\tKatherine McLeod, Zoom interview, February 2022:\tYeah, we were intrigued, what made you share it? Because there was lots that resonated for us, but we were wondering what, what made you share that quote?\n \n\n00:46:10\tBára Hladik, Zoom interview, February 2022:\tI was just reading that book [Sound Effect: Page Turning] and it grounds connection between literature and sound and listening and how reading is a way of listening through time. And, yeah, I think just the idea of art practice as a community form and how the connections between literature and sound and just being with each other as a act of resistance in the time where we are constantly overwhelmed with information and things are happening so fast and our bodies are expected to uphold a very rapid capitalist pace [Music: Bass Plucking] [Sound Effect: Ticking Clock] and our time is monetized. So I think these forms of creativity that are very old, have always been a way for us to create community and connect and communicate beyond just day to day dialogue. [End Music: Bass and Ticking Clock]\n \n\n00:47:23\tKatherine McLeod, Zoom interview, February 2022:\tYeah. And even the way in that quote too, though, the idea that listening –really emphasizing that listening in the making of community, it takes time, it takes time and space and that’s something that’s not just gonna happen instantaneously. And then it’s sort of reminding one that of the time and effort and the work that is involved to make those things happen.\n \n\n00:47:46\tBára Hladik, Zoom interview, February 2022:\tAnd every form has its own value and accessibility. Reading and listening are so tied and it, something may be sound in a way that isn’t so literary, but it’s still valuable. And part of reading can be quite laborious. So I find, I turn to sound when I’m too tired to read or I’ve taken in too much of that type of information but there’s stillI feel like they’re tied.\n \n\n00:48:30\tKelly Cubbon, Zoom interview, February 2022:\tIn podcasting written transcriptions are often a common entry point for people to start thinking about accessibility. People might ask, why do people create transcriptions if this is an audio medium? It is quite a labour intensive process to create them. It’s something that we obviously value and prioritize, but it kind of gets people asking questions sometimes about accessibility and learning about accessibility. So I was wondering, as someone who works in lots of literary and art spaces, what do you find people tend to understand or misunderstand about disability and accessibility in the arts?\n \n\n00:49:11\tBára Hladik, Zoom interview, February 2022:\tI think people often think of it as an afterthought. They’re like, okay, we’ve got this project. Okay. Like how do we make it accessible now? And it’s kind of thought of as extra. And I think that the process of creation in itself and production and development and whatnot it benefits a lot from like, if you’re thinking about it from the get go and it’s an integrative design. And I think people kind of think of it a oh, we’ll make it more accessible to this small group. But I think it actually enhances the piece for everyone, like for – in a transcript for a podcast makes it more accessible, but it also makes it really good for archival purposes. You can repurpose the information in a different way. You can make a Zine. There’s different ways that even people who are listening to the podcast and they forget just one word, they didn’t quite get it, they can go to the transcript. And I think it’s just – it’s a lot simpler than people expect, even if it’s more laborious. Because it’s more creative to share something in multiple ways, and broaden your audience and that may broaden your audience to more than people with disabilities.I feel like accessibility is often simply thought of in the terms of disability, but I think it should be thought of in terms just accessibility to people without disabilities as well. I love transcription because, even though it’s part of the making and it creates it into a new medium, so then it becomes, it almost becomes a new piece or version. And yeah, then it lends like — I almost see it as an opportunity because I’m a poet and a writer and a researcher, so I’m like, “yes, this is the juice! This is the meat.” As much as it’s good to have a recording of something is to be able to view it and listen to it. I’m probably not gonna do that, but I can glance over the transcript, pull out a few ideas. It’s just like, I feel like, a transcript is a creative opportunity. [Start Music: Ambient Electronic, Wavicles from the album Cosmosis by Bára Hladik]\n \n\n00:51:33\tKelly Cubbon:\tThe music that plays throughout Bára’s interview comes from her 2021 ambient electronic album Cosmosis. During our Zoom chat, we took a cue from Bára’s work to take a break from our screens, pause, and listen. Afterwards, Bára was kind enough to share her process for creating the album. Here, she reflects on the creative benefits of working in multiple mediums, disability, and the healing power of sound.\n \n\n00:52:06\tBára Hladik, Zoom interview, February 2022:\tWell, this particular album – I’ve done so many different things over the years and I often work in many mediums because with my arthritis I have to be very flexible with what I’m doing. So sometimes I can’t write at the same pace so I’ve learned to work with many different mediums interchangeably so I can adjust to my body’s needs as I go. But yeah, that particular album was made over a few years. I –the process of making that album was very much using sound as a way to attune and wanting to facilitate a half hour of a process of someone just being able to be with their body and move or be with their self and their thoughts. Yeah. Very intentionally don’t have any sound –sorry, voice or words in it because I wanted it to just be very self in cosmos kind of communication. I finished the album while I was undergoing radioactive treatment at a traditional spa in Czech in the Czech Republic. And so it would be a daily schedule of different treatments, laser, magnet, hydrotherapy, but the main therapy is the radium bath. And it’s just like a bath with water from this ancient well that’s very high in radium and basically it ionizes your cells to have a rejuvenating effect. [Start Music: Ambient Electronic with Water Sounds, Erudition from the album Cosmosis by Bára Hladik] And yeah, like I said, as part of the medical system there, so people with my illness actually have a month a year covered to go get this treatment because it’s so successful. So, a lot of the sound, the water sounds I actually recorded there. The whole production part of it was I had all the sound, many of the synthesizer sounds prerecorded, but the whole production sound part was like a roadblock for me. So I focused in while I was at treatment, and added a bunch of ambient sounds and whatnot. But yeah, that was very cool. And that the sound definitely of the album reminds me of being there and of going through that experience.\n \n\n00:54:37\tKelly Cubbon, Zoom interview, February 2022:\tYeah. Again, thank you for sharing that. And thanks for putting that into the world. It’s meant a lot to me, the album to listen to it over the course of the pandemic and I returned to it a lot. So thank you.\n \n\n00:54:48\tBára Hladik, Zoom interview, February 2022:\n \n\nOh, that’s so nice to hear!\n \n\n00:54:49\tKelly Cubbon, Zoom interview, February 2022:\tYeah. [Laughs] Definitely. It’s an exhale moment of returning to the body. And again, thank you for sharing the details of where you recorded and captured that sound and what it means to you as well.\n \n\n00:55:11\tKatherine McLeod, Zoom interview, February 2022:\tMaybe to frame my question about music and poetry just a little differently of the connections between your sort of your approaches to music, poetry, how they’ve influenced your role as a facilitator, as a community organizer, and advocacy work that you’ve been doing there. [End Music: Ambient Electronic with Water Sounds, Erudition from the album Cosmosis by Bára Hladik]\n \n\n00:55:30\tBára Hladik, Zoom interview, February 2022:\tYeah, I mean, having skills and sound has been really great for accessibility because then it’s pretty intuitive to be like, oh, of course we’re gonna have a sound version and a text version, bare minimum. And yeah, seeing how to make sound more accessible, cuz often people are like, oh, if it’s read by a screen reader, therefore it’s accessible. ButI have an eye condition where sometimes the laptop’s too bright and I use a screen reader. But the screen reader in itself is very alienated because it’s very robotic. It’s very monotone. It’s not, it doesn’t feel accessible to me. It doesn’t make me feel the same as reading a piece. So thinking about sound – I’m seeing a lot of literary magazines doing this, starting to do this too, like the Hamilton Arts and Letters did a disability poetics issue and they had folks read every single piece. So there was audio recordings and the transcript is the piece. So that connection between text and sound was really cool because it really brought you into the work as well, instead of being able to experience it with a screen reader, but it being quite alienating and I think, yeah, it’s suddenly when everything has to be in this robotic tone, it can be quite discouraging. So thinking about, yeah, even making – adding ambience in the background to make it more podcast-style there’s many ways to think of the forms and I think it’s cool the connections between sound and music and poetry because they really lend a creative lens to approaching these mediums. [Start Music: Ambient Electronic with Water Sounds, Erudition from the album Cosmosis by Bára Hladik]\n \n\n00:57:36\tKatherine McLeod, Zoom interview, February 2022:\tYeah. That’s fantastic to hear about because you work across disciplines, you’re sort of attuned to the different potentials within those and always thinking about how you can bring them together. So it can really hear that in all of your work it’s inspiring. So thank you.\n \n\n00:57:58\tBára Hladik, Zoom interview, February 2022:\n \n\nWell, thank you so much for having me. It really means a lot.\n \n\n00:58:04\tKelly Cubbon:\tFor more of Bára’s art, writing, music, and facilitation, see her website. Her newly released book New Infinity is available from Metatron Press. See show notes for links.\n \n\n00:58:18\tKatherine McLeod:\tListening back to our interview with Bára made me think about our conversation with Maya Rae Opphenheimer, who we heard from at the start in response to a question that you asked Kelly about community building. [End Music: Ambient Electronic with Water Sounds, Erudition from the album Cosmosis by Bára Hladik]\n \n\n00:58:31\tKelly Cubbon, Zoom interview, March 2022:\tSo this question is about transcripts as part of community building. And I’ll just preface it by saying, when you were sharing earlier about having life hacks for your own dyslexia, it really resonated with me as a neurodivergent person as well. And I think when we share these things, it kind of can be a light bulb for connecting to others. And having a way of like, oh I wasn’t just doing this alone, or I wasn’t doing this kind of strange thing by myself, there’s actually people being incredibly creative and connecting to each other through these things as well. So, we are wondering how transcripts have been part of community building for you. You’ve shared some about your classroom experiences, but maybe in online spaces as well for like discussions around transcripts as a way to connect to other people rather way to be, to connect to other people’s creative practices as well maybe.\n \n\n00:59:25\tMaya Rae Oppenheimer, Zoom interview, March 2022:\tYeah, well maybe – it’s an experience I share, but I definitely would love to point attention towards a project, but it’s a duo Shannon Finnegan and Bojana Coklyat: the Alt Text Poetry Project. And I first came across their work when Shannon Finnegan was at the Banff Centre on the west coast and was looking at alt poetry as a way of writing about sculpture. And their work is very interesting that, when, you know, Shannon and Bojana are working together and thinking about alt text, it’s not just as descriptive text, but also as critical and creative writing in its own sense. So shouldn’t be dismissed as a necessary provision, I mean, or even like an optional provision [Laughs], it’s progress if we see it as necessary. But it is a valid mode of creative and intellectual writing. And I know Carmen Papalia, who identifies as a non-visual learner and as a performance artist, as well as sculptor and activist, is advocating for different ways of writing about art and engaging with art. And the idea of making a transcript for an artwork that is usually read through visual means only is very cool [Laughs]. And how we can then bring in different resonances of texture and context and association and haptics and smell — that I find as a way of extending how art is often thought to already build community, but it, sometimes, really leaves out community. So the idea of transcription, not just for audio podcasting, which I think in itself is, in the definition of a podcast, is a community building media, [Start Music: Flowing Instrumental] but to do that with art and to then think about those as gateway moments of transcribing and documenting. But as you said, not viewing that as — okay, transcription done, this is the thing — but that it’s another iteration of reading culture.\n \n\n01:01:35\tKatherine McLeod:\tIn making this episode. And listening back to these conversations about transcription, what have we learned about what transcription sounds like?\n \n\n01:01:45\tKelly Cubbon:\tWell, the process of transcription sounds like collaboration, like a conversation. And I think that you could really hear that in our interviews. We were all thinking aloud together about the process. And that’s what happens when putting together a transcript.\n \n\n01:02:00\tKatherine McLeod:\tIt is a process that invites access to content through multiple voices and multiple senses. We could just as easily be asking, what does transcription feel like, Smell like, look like, taste like? It makes us think about how we are experiencing content.\n \n\n01:02:19\tKelly Cubbon:\tIt also makes me think about how much this episode is about making the processes of collaboration more transparent, and being able to actively share the production decisions of a podcast episode and its accompanying transcription to show that this work is ongoing and evolving.\n \n\n01:02:32\tKatherine McLeod:\tIt’s not a finished product at all in that the transcript is something that is in dialogue with the media that accompanies it. And in dialogue with those who engage with it.\n \n\n01:02:43\tKelly Cubbon:\tThe transcript is there as a point of access into the material. But really that is only the start of the conversation. [End Music: Flowing Instrumental]\n \n\n01:03:11\tHannah McGregor:\t[Start Music: SpokenWeb Podcast Theme Music] SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from and created using Canadian literary archival recordings found at universities across Canada. Our producers this month are SpokenWeb contributors, Katherine McLeod and Kelly Cubbon. Our podcast project manager and supervising producer is Kate Moffatt. And we are excited to welcome to the team, our new sound designer and audio engineer Miranda Eastwood. Our episodes are transcribed by Kelly Cubbon. To find out more about SpokenWeb visit SpokenWeb.ca and subscribe to The SpokenWeb Podcast on Apple podcasts, Spotify, or wherever you may listen. If you love us, let us know, rate us and leave a comment on Apple podcasts or say hi on our social media @SpokenWebCanada. We’d particularly love to hear your thoughts and suggestions on improving transcription accessibility. And stay tuned to your podcast feed later this month for ShortCuts with Katherine McLeod, mini stories about how literature sounds. [Start Music: SpokenWeb Podcast Theme Music]\n \n\n \n\n\n"],"score":1.0},{"id":"9627","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S3E10, “starry and full of glory”: Phyllis Webb, in Memoriam, 4 July 2022, Collis"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/starry-and-full-of-glory-phyllis-webb-in-memoriam/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 3"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Stephen Collis"],"creator_names_search":["Stephen Collis"],"creators":["[{\"url\":\"http://viaf.org/viaf/61873157\",\"name\":\"Stephen Collis\",\"dates\":\"1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/616261ad-c0b6-4d7d-8634-17bbd4d166e8/audio/af1aede3-b3a7-4498-8c72-a223ddb811b8/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"s3e10-mp3.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:49:26\",\"precision\":\"\",\"size\":\"71,197,047 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s3e10-mp3\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/starry-and-full-of-glory-phyllis-webb-in-memoriam/\"}]"],"Dates":["[{\"date\":\"2022-07-04\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/3725404708\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"515 West Hastings Street Vancouver, B.C, V6B 5K3\",\"latitude\":\"49.2824032\",\"longitude\":\"-123.1085513\"}]"],"Address":["515 West Hastings Street Vancouver, B.C, V6B 5K3"],"Venue":["Simon Fraser University"],"City":["Vancouver, British Columbia"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Camus, Albert. The Myth of Sisyphus and Other Essays. Trans. Justin O’Brien. New York: Knopf, 1961.\\n\\nDuncan, Robert. Quoted in Thom Gunn, “Adventurous Song: Robert Duncan as Romantic Modernist.” The Three Penny Opera no. 47 (Autumn 1991): 9-13.\\n\\nKeats, John. Letter to George and Tom Keats, 21 December 1817. https://www.poetryfoundation.org/articles/69384/selections-from-keatss-letters\\n\\nLibrary and Archives Canada. Item: Webb, Phyllis – Library and Archives Canada (bac-lac.gc.ca)\\n\\n“The Coast is Only a Line: Phyllis Webb reading at the SFU Art Gallery on July 9, 1981.” Audio recording (cassette) in Reading in BC Collection, Simon Fraser University.\\n\\nRobinson, Erin. Wet Dream. Kingston: Brick Books, 2022.\\n\\nWebb, Phyllis. Peacock Blue: The Collected Poems of Phyllis Webb. Ed. John Hulccop. Vancouver: Talonbooks, 2014.\\n\\n—. Talking. Quadrant Editions, 1982.\"}]"],"_version_":1853670549727739904,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This episode is a commemoration of the life and work of Canadian poet Phyllis Webb (1927-2021). Drawing upon archival recordings of Webb’s readings, poet Stephen Collis, a friend of Webb’s, charts a path through the poet’s work by following the “stars” frequently referred to in her poetry—from the 1950s through the 1980s. Included in the podcast are two interviews, discussing specific poems, with former Canadian Parliamentary Poet Laureate Fred Wah, and poet Isabella Wang, with whom Collis discusses a recorded reading of an unpublished, uncollected poem.\n\nSpecial thanks to Kate Moffatt for her production support in the making of this episode, and to Simon Fraser University’s Special Collections and Rare Books and Library and Archives Canada for the archival recordings featured.\n\n00:19\tSpokenWeb Podcast Theme Music:\t[Instrumental Overlapped With Feminine Voice] Can you hear me? I don’t know how much projection to do here.\n00:19\tHannah McGregor:\tWhat does literature sound like? What stories will we hear if we listen to the archive? Welcome to the SpokenWeb Podcast: stories about how literature sounds. [End Music: SpokenWeb Podcast Theme Music].\n \n\nMy name is Hannah McGregor, and each month I’ll be bringing you different stories of Canadian literary history and our contemporary responses to it created by scholars, poets, students, and artists from across Canada. “She was someone I needed to know, someone who made the writing of my own poetry possible.” That is one of the ways that SFU English professor Stephen Collis remembers Canadian poet Phyllis Webb. Webb passed away on November 11th, 2021. Steve has created this episode as a site of thinking through and thinking with Webb’s poetry and her long and acclaimed career as her friend and her literary executor. This is another podcast episode that shows us how ideas and literary learning communities can be cultivated by preserving and caring for archival recordings. Those recorded writers continue to be vocal teachers. Phyllis Webb’s voice resounds through this episode. We hear her in the archival recordings of her beautiful and deliberate poetry readings. We hear her work flowing through Steve’s memories, analysis, and reflections. And we hear her animating the conversations that Steve records with poet Isabella Wang and former Canadian parliamentary poet laureate Fred Wah to discuss their memories and interpretations of her life and work. This episode allows you to engage with the presence and power of Webb’s legacy in these audible scenes of remembering. Steve invites us to participate in the constellations of ideas and people that are connected through Webb’s life and poetry.\n\n \n\nStephen Collis is the author of a dozen books of poetry and prose, including Almost Islands: Phyllis Webb and the Pursuit of the Unwritten, a memoir of his friendship with Webb. He created this episode with production support from Kate Moffatt and with additional audio courtesy of Special Collections and Rare Books at Simon Fraser University and Library and Archives Canada. Here is Episode 10 of Season Three of the Spoken Webb podcast, ‘Starry and full of Glory’: Phyllis Webb, In Memoriam. [Musical Interlude: SpokenWeb Podcast Theme Music]\n\n \n\n03:08\tStephen Collis:\t[Start Music: Atmospheric Tones] When Phyllis Webb, Canadian poet and former broadcaster, passed away last year, it felt like a cosmic event. She died on November 11 2021—remembrance day—just as a massive storm—an atmospheric river, in fact—arrived out of the Pacific, flooding farmland, overwhelming river banks, and sending hillsides, weakened by the summer’s forest fires, rushing down into gorges, washing out bridges and sweeping away homes on the floodplain. It has been a wet and grey winter. Whenever I can, I look for the stars’ rare appearance in the nighttime sky. “Passed away” is such a strange expression. Into the stars, we sometimes have imagined—that’s where the dead go, “starry and full of glory,” as Phyllis wrote.\n \n\nWhere to begin? Phyllis Webb began in Victoria, in 1927, where she was raised by her mother, later attending the University of British Columbia, studying literature and philosophy; was the youngest person, at 22 years old, to run for elected office in Canada, as a candidate for the socialist Co-operative Commonwealth Federation, lost, began to write poetry, publishing many volumes in the decades ahead, worked for the CBC, co-founding the long-running radio program Ideas, stopped writing when words “abandoned her”, as she said, in her sixties, began to make collages and to paint, carrying this practice into her 80s. That’s the one-sentence biography.\n\n \n\nBut, that’s not where I want to begin either.\n\n“There Are the Poems,” Phyllis Webb titled one of her poems, offering an answer to my question. Start with the poems. I leafed through the almost 500 pages of Peacock Blue, her Collected Poems, published by Vancouver’s Talonbooks in 2014. I felt like I was star-gazing—just looking in wonder at the familiar and fixed, constellations of words that had long guided me. I visited Phyllis at her Salt Spring Island home, three or four times a year, for the last two decades of her life. I don’t know that I can call her a mentor. That word is both too large and too small. She was someone I needed to know and enjoyed knowing, someone who made the writing of my own poetry possible—just by being there. Just by existing—and being reachable, by letter, phone, or ferry. In returning to her poems after her death, I wasn’t sure what might rise to the surface this time. The atmospheric river passed on, the night skies cleared. I saw—stars\n\n06:15\tArchival Recording, Phyllis Webb, 1964:\t[Sound Effect: Tape Clicking In] It’s called “The Glass Castle”. The glass castle is my image for the mind that if out motive has its public beauty, it can contain both talisman and leaf and private action, homely disbelief. And I have lived there as you must and scratched with diamond and gathered diamond dust have signed the castle tents and fragile glass and heard the antique cause and stoned Cassandras call me and I answered in the one voice I knew: I am here. I do not know, but move the symbols and polished up the view. For who can refrain from action. There is always a princely kiss for the sleeping beauty. When even to put out the light takes a steady hand for the rewarded darkness in the glass castle is starry and full of glory. I do not mean I shall not crack the pain. I merely make a statement judicious and polite that in this poise of crystal space I balance and I claim the five gods of reality to bless and keep me sane. [Sound Effect: Tape Finishing, Clicking Out]\n07:49\tStephen Collis:\tThe stars were everywhere in Phyllis’s work, it turned out. If one polished the mind, however fragile it might be, however likely to increase the darkness surrounding thought, the reward was starry and glorious. [Start Music: Atmospheric Tones] Stars often spangle the darkest passages of Webb’s poetry—they are there in the closing lines of her poem of existential crisis, “To Friends Who Have Also Considered Suicide,” where she invokes “the bright crustaceans of the oversky.” Poetry, for this poet, is a crucial mode of thought—and living. Her “consideration” of suicide here is related to French philosopher Albert Camus’s claim that whether to end or continue one’s life was the “only” philosophical question. Luckily Webb also had other questions to ask of her stars.\n \n\nThey are connectors, bridges, means of relating the above and below, the distant and the near—the unfathomably long reaches of spacetime that cosmic light crosses and the immediacies of the days and nights of humble human lives. So “the star in the cold, staring sky” (this is from an early poem called “Double Entendre”) is also “the star reflected in the human eye.” In a poem written over three decades later, Webb is in a more playful mood, willing to “tangle with invisible / superstrings” as she entertains quantum theory “while the planets burn” (this from the poem “A Model of the Universe,” from her final, 1990 collection, Hanging Fire). Poetry, despite being, as Webb writes, quote, “cloaked in sheer / profundities of otherness,” is about the reach over and towards that otherness. I think Webb would have agreed with the contemporary American poet Tongo Eisen-Martin, who describes poets as, quote, “the healers of the continuum.” Stars provide healing light. [End Music: Atmospheric Tones]\n\n10:04\tStephen Collis:\tNot long ago, Simon Fraser University student Isabella Wang brought an unpublished, and to me previously unknown poem of Webb’s to my attention. That poem was under the influence of the stars too. Isabella is a fine poet in her own right, author of the wonderful debut collection Pebble Swing, which contains a sequence of poems written in response to Webb’s Ghazals from her book Water and Light. I spoke to Isabella in my office at SFU, where we also listened to the poem, “Here I Am, Reading at the Planetarium.”\n \n\n10:40\tStephen Collis, Interview, 3 Feb 2022:\tIsabella, how did you find this poem?\n10:42\tIsabella Wang, Interview, 3 Feb 2022:\tSo I was working as an RA for SpokenWeb in my first or second year. And so I was introduced to the BC Readings Archive of over 5,000 tapes in the Special Collections vault. And of course, the first tapes that I gravitated towards, that I searched for were tapes of Phyllis Webb. And, this was a poet whom I had studied significantly in classes and stuff and heard so much about through other poets’ stories. And for someone I had never met and someone who doesn’t do live readings anymore, who doesn’t publish anymore, it was just surreal. And it was astounding. I couldn’t believe it when I put it into a type player [Sound Effect: Tape Clicking] and her voice came up and her readings came up of poems I had actually read. It was just amazing.\n11:42\tArchival Audio, Phyllis Webb, at  SFU Art Gallery, 9 July 1981:\t[Sound Effect: Tape Clicking, In] Here I am reading at the planetarium. The planet – arium. Arium. The planet I have just discovered in downtown Toronto. Stars, stars, stars, stars. Give me poets a handfull of dust before the skies fall down. [Sound Effect: Tape Clicking, Out]\n12:15\tIsabella Wang, Interview, 3 Feb 2022:\n \n\n[Music Interlude: Atmospheric Tones] And so later on, I had the idea to make recordings, 30 minute long recordings of her readings at past events, into individual playlist of poems so that each poem would be titled and be cut into their own kind of playlist. So that instead of going into the 30 minute long recording not knowing what to look for they could just look up any poem they wanted to listen to.\n12:44\tStephen Collis, Interview, 3 Feb 2022:\tNice.\n12:44\tIsabella Wang, Interview, 3 Feb 2022:\n \n\nSo I had the idea of doing that. So “Here I Am, [Reading] at the Planetarium” was the first poem that came up for the first recording that I worked with, cuz I was cutting the poems in order. And this was the first one that she came up and of course it makes sense cuz she read this as a preface to her reading.\n13:07\tStephen Collis, Interview, 3 Feb 2022:\tYeah.\n13:08\tIsabella Wang, Interview, 3 Feb 2022:\n \n\nBut when I heard it, I was like, [Start Music: Atmospheric Tones] I don’t ever remember reading it in the Collected Poems. And then I looked back and I couldn’t find the title anywhere in the table of contents. So of course I wrote to you and I was like, “Do you remember this poem? Have you ever read it anywhere?” And at first you thought you had read it somewhere. But then when we tried to look for it on paper, we just couldn’t find it.\n13:34\tStephen Collis, Interview, 3 Feb 2022:\n \n\nYeah. So my suspicion was that maybe I’d read it in the archive once in Ottawa, but I can’t be sure. And we don’t have a paper copy and don’t have access to that archive right now. [End Music: Atmospheric Tones]So we’re in this position of having to reconstruct a poem on paper that we’ve never seen if we wanna create a written copy. So how do you think we go about figuring out things like line breaks or layout or anything like that with the poem?\n13:55\tIsabella Wang, Interview, 3 Feb 2022:\n \n\nYeah. So we had the cool and fun idea of just listening to this poem separately and then coming up with our own version or two of this transliterated poem on paper and then comparing it with each other. So it’s kind of like a surprise and reveal. And we had, we ended up with really different versions of what the poem might look like, but we kind of had similar approaches. We looked, we listened to the recording, we looked at the metadata of the tape. So we knew when this reading took place. And then in that recording, Phyllis did mention that she wrote this poem for another reading that happened recently, quote, “recently”. So we knew it kind of happened between, I think The Sea is also a Garden and her book Wilson’s Bow. So we knew kind of the forms that she was working with, her styles and her line breaks her kind of, her voice. And the flow of her voice at the time. And that was one approach that we took.\n15:11\tStephen Collis, Interview, 3 Feb 2022:\tLike I think we had similar line breaks didn’t we?\n15:13\tIsabella Wang, Interview, 3 Feb 2022:\tWe did have similar line breaks.\n15:14\tStephen Collis, Interview, 3 Feb 2022:\tDifferent layouts, but similar, like she reads with such emphasis, you could sort of hear where a line break would go.\n15:20\tIsabella Wang, Interview, 3 Feb 2022:\n \n\nYeah. So the way I structured my version was more like in the traditional stanzas. Everything is aligned to the left. We – it had traditional line breaks. And I just worked with where her voice kind of emphasized and paused and all that. You had the idea of transcribing it in a version that kind of flows a bit more kind of in terms of the form as well. And kind of moves across the page to almost like a painting it’s more free flowing. And that was really cool because this poem actually precedes her poem. What was it? Snowflakes?\n16:03\tStephen Collis, Interview, 3 Feb 2022:\tSnow crystals…What is it? Field Guide to Snow Crystals.\n16:05\tIsabella Wang, Interview, 3 Feb 2022:\n \n\nField Guide to Snow Crystals.\n \n\nYeah. So in the reading, she read this as a preface. And the right after she read that poem. [Start Music: Chimes Instrumental] And the thing is, we do have a transcription of this poem published in her book Talking. And the way Field Guide to Snow Crystals. is structured is also in that similar free flowing form, you know, lines kind of move kind of organically across the page. And so we were able to go on that a bit and see, okay, where did she emphasize and pause while reading “Snow Crystals” poem and then yeah. And so we ultimately worked with and decided to go with your version more. [End Music: Chimes Instrumental]\n\n16:53\tStephen Collis, Interview, 3 Feb 2022:\tI win. [Laughs].\n16:54\tIsabella Wang, Interview,3 Feb 2022:\tYes. You win.\n16:55\tStephen Collis, Interview,3 Feb 2022:\tWell, you know what, the other thing I find interesting is in snow crystals, it’s kind of one of those sciencey poems.\n17:01\tIsabella Wang, Interview, 3 Feb 2022:\tYes.\n17:01\tStephen Collis, Interview, 3 Feb 2022:\n \n\nShe uses scientific language and has this flow all over the page, like she’s thinking her way through these complicated sounds and words. There’s other poems like that too. I think whenever she’s dealing with scientific kind of things. The form becomes more fluid and less, you know, traditionally poetic and more exploratory maybe. And so that’s kind of what I was thinking. And I think you agreed that with this poem that might make sense.\n \n\nAnd just, just finally, what do you like about this poem? What attracts you to it? Or what do you find interesting in it?\n\n17:28\tIsabella Wang, Interview, 3 Feb 2022:\n \n\nFirst of all, it’s such a concise poem. It’s one of her shorter poems and yet it packs so much, it just, those last lines just grabs at me The sense that this was a poem she had composed for a festival at the planetarium. Yeah. And just that alone. Right. Poets gathered to read it none other than the planetarium feels so dreamy. [Start Music: Atmospheric Tones]\n17:54\tStephen Collis, Interview, 3 Feb 2022:\tUnder the stars. [Laughs]\n17:55\tIsabella Wang, Interview, 3 Feb 2022:\tExactly. I wish we had that all the time here.\n17:59\tStephen Collis, Interview, 3 Feb 2022:\t[Laughs] Right.\n18:00\tIsabella Wang, Interview, 3 Feb 2022:\n \n\nAnd then, so, and in some ways she captures that exact feeling, not only of kind of the stariness of the planetarium itself, but also the feeling of being held and supported and connected with poets, other poets kind of like a community of constellations, individual poets. And then that line, right. “Give me poets a handful of dust before the skies fall down.” It lands with that community. It lands in that burning moment.\n18:35\tStephen Collis, Interview, 3 Feb 2022:\tYeah. And that feeling of danger and the need for each other and a fragile world. Yeah it’s Lovely.\n18:42\tIsabella Wang, Interview, 3 Feb 2022:\n \n\nYeah. For me, it’s like that –the planetary of it, it’s supposed to be such a big space, but maybe it’s because it’s a short poem it just feels really small. It feels compact.\n18:51\tStephen Collis, Interview, 3 Feb 2022:\tYeah. I love that. [End Music: Atmospheric Tones]\n \n\n19:04\tStephen Collis:\tI like Isabella’s description of the way words, in the Planetarium poem, “flow across the page” irregularly, as she said, like a painting [Start Music: Strings Instrumental] (that is, like paint on a painting—the surface of the page or canvas taken as a spatial field where the elements can be arranged relationally). I suggested this was “exploratory”—a way of using the poem, perhaps, to discover something—and then, in a brilliant turn of phrase, suggested you could see this in Webb’s “sciency poems.” [End Music: Strings Instrumental] That’s a technical, literary term—“sciency.” [Clears Throat]\n \n\nLet’s have a listen to one of those “sciency” poems, one Isabella mentioned too—“Field Guide to Snow Crystals,” which Webb included in her 1982 collection of essays and radio commentary, Talking.\n\n19:58\tArchival Audio, Phyllis Webb,  SFU Art Gallery, 9 July 1981:\t[Sound Effect: Tape Clicking, In] Field Guide to Snow Crystals. Stellar rime,/ star crystals. In a sunfield / of snow. No/ two crystals exactly alike, like / me and the double I’ve never known / or the four-leaf clover./ A down drifting / of snow. Spatial dendrites,/ irregular germs,/ snow grows, scales, skeletons fernlike extensions,/ needles, scrolls / and sheathes, branches./ Lightly or heavily/ rimed / Stars on cold ground shining./ Ice lattice! For the field guides me/my / flutterhand to a fistful of/ plates, clusters, minute columns./ Graupel-like snow of lump type/ solid and hollow bullets / cup / Cupped in my hand / thrown across a fiel / “or… a series of fields folded.” A ball, star (“tiny columns and plates fallen from very cold air”)/ a quick curve into/ sky/my / surprised/ winterbreath/ a snowflake / caught midway in your throat. [Sound Effect: Tape Clicking, Out]\n21:49\tStephen Collis:\t[Start Music: Atmospheric Tones] I suggest that poetic thinking—relational thinking—thinking by intuitive leaps and links—lateral connections and sudden shifts of scale, position and voice—allows not logic nor rational argument but embodied and felt movement over and through and in and along the contours of language. Webb, like many poets, works under the assumption that there is a valid pursuit of knowing that is lateral, oblique, latent, and relational and that is the work of poetry. I like how poet Erin Robinsong phrases this in her forthcoming book, Wet Dream:“we must work across realms / and poetry will be how.” In her “sciency” poems, Webb is doing just this: working across realms. [End Music: Atmospheric Tones]\n \n\nWebb’s “Field Guide” poem takes its title, and quotes liberally throughout, from a book of the same title published by Edward Lachapelle in 1969. The use of source material this way—a kind of repurposing of found material—is such a common poetic practice that is hardly bears mentioning, although it’s clear this particular book was a rich resource, as Webb [Start Music: Chime Instrumental], in an almost painterly way, applies the unique lexicon to her page. If stars are to be my guide through Webb’s work in this podcast, the stars, here, are playing a game of as above / so below—a chemical transformation where falling or fallen snow crystals and the stars above “rime,” as she writes several times in the poem. This is an expanded sense of “rime,” which Webb adapts from poet Robert Duncan: things that look alike, or mean alike, as well as things that sound alike, can “rime.” There’s also the play on r-i-m-e rime—the accumulation of ice tufts on frozen surfaces. [End Music: Chime Instrumental] Okay—I could get carried away with a close reading of this poem; let me just draw attention to its gorgeous concluding lines—where the speaker’s “surprised / winterbreath” (all one word—winterbreath) is likened to “a snowflake / caught midway in your throat.” [Start Music: Chime Instrumental] And that’s it, the poem leaving us there, with its words in our throat, melting like a snowflake on the tongue—or a star fading out as the sun begins to blue the morning sky. [End Music: Chime Instrumental] ]\n\n \n\nI asked poet Fred Wah if he’d be willing to talk about Phyllis’s work with me for this podcast, and he immediately said yes, and that he wanted to talk about one poem and one poem only. It’s called “Leaning,” from Webb’s book of Ghazal’s, Water and Light. The ghazal or [pronounces] ghazal is a Persian form—a poem written in couplets, but in its traditional practice, following numerous other rules, including subject matter (they are usually about love). Webb’s poems are, as she often called them, “anti-ghazals.” “Leaning” is perhaps the most anti- of all the poems in Webb’s book—especially in terms of subject matter\n\n25:13\tArchival Audio, Phyllis Webb,  ibrary and Archives Canada:\t[Sound Effect: Tape Clicking, In] I am halfway up the stairs/ of the Leaning Tower of Pisa. // Don’t go down. You are in this/ with me too.// I am leaning out of the Leaning/ Tower heading into the middle distance// where a fur-blue star contracts, becomes/ the ice-pond Brueghel’s figures are skating on.// North Magnetic pulls me like a flower/ out of the perpendicular// angles me into outer space/ an inch at a time, the slouch// of the ground, do you hear that? /the hiccup of the sludge about the stone.// (Rodin in Paris, his amanuensis, a torso …)/ I must change my life or crunch over// in vertigo, hands/ bloodying the inside tower walls// lichen and dirt under the fingernails/ Parsifal vocalizing in the crazy night// my sick head on the table where I write/slumped one degree from the horizontal // the whole culture leaning…// the phalloi of Mies, Columbus returning/ stars all short out – //And now this. Smelly tourist/ shuffling around my ears// climbing into the curvature. /They have paid good lira to get in here. //So have I. So did Einstein and Bohr./ Why should we ever come down, ever?// And you, are you still here // tilting in this stranded ark/ blind and seeing in the dark. [Sound Effect: Tape Clicking, Out]\n27:21\tStephen Collis:\tFred calls it “one of the best poems in Canadian literature.” And I think he should know. Fred Wah—he will cringe at me saying this—is a treasure of Canadian letters. He has had a huge influence on me and many other poets, writers and artists of the past few generations. A founding member of the TISH group of student poets at UBC at the beginning of the 1960s, Fred has gone on to a distinguished teaching career, writing dozens of books of poetry and prose. He has been recognized with a Governor General’s Award for poetry, and served a term as Canada’s Parliamentary Poet Laureate. Fred and I have visited Phyllis together several times, and it feels like we are deep into a many-years long conversation about her life and work. We spoke at Fred’s Strathcona home in East Vancouver.\n \n\n28:10\tFred Wah, Interview, East Vancouver, 8 March 2022:\tOne of the things I’m realizing about, you know, when you said you wanted to talk about the poem. And you start thinking more and more about it, you and you can’t – I can’t stop thinking about it. It just goes on and on. How aware Phyllis [Laughs] I keep thinking of SpokenWeb, spoken Webb. Webb.\n28:29\tStephen Collis, Interview, East Vancouver, 8 March 2022:\t[Shared Laughter] Exactly.\n28:30\tFred Wah, Interview, East Vancouver, 8 March 2022:\tBut, Phyllis was so compositionally aware of what she was doing. That her kind of composition mentality, if you like, her cognitive ability to just putting things together. So, you know, the book at the poem “Leaning” is just, it’s part of the section middle distance.\n \n\nSo the proposition is, if you start looking at like, and Pauline in her book on Webb, she did a lot of, she did some research on this from a particular point of view. [Start Music: Atmospheric Tones] But, you find that Phyllis has really been thinking about this in a larger context. This is an – this’t just an incidental poem. This is a poem that fits into a kind of discourse that she’s sort of in, in a large scale thing, over years.\n\n29:28\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tThat’s right. I totally agree.\n29:30\tFred Wah, Interview, East Vancouver, 8 March 2022:\tAnd it starts fitting into all kinds of other things. And I hadn’t, I mean, I didn’t realize, Pauline mentioned this to me that Virginia Woolf’s essay “Leaning”. [End Music: Atmospheric Tones]\n29:45\tStephen Collis, Interview, East Vancouver, 8 March 2022::\tOh my gosh. I didn’t think of that either.\n29:46\tFred Wah, Interview, East Vancouver, 8 March 2022:\tYou know? And it’s an incredible thing. I know this is Paula doing research, but…\n29:52\tStephen Collis, Interview, East Vancouver, 8 March 2022::\t[Laughs] Presumably, so.\n29:54\tFred Wah, Interview, East Vancouver, 8 March 2022:\t“The Leaning Tower” was a paper that Woolf presented to the Workers Educational association. Brighton May, 1940.\n30:01\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tAmazing.\n30:01\tFred Wah, Interview, East Vancouver, 8 March 2022:\tShe describes the privileged socioeconomic position of contemporary British writers as a leaning tower, quote, “trapped by their education, pinned down by their capital. They remained on top of their leaning tower and their state of mind as we see it reflected in their poems and plays and novels is full of discord and bitterness, full of confusion and of compromise.” And further that “they are trapped on a leaning tower from which they cannot descend.”\n30:28\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tThat’s amazing. That’s perfect.\n30:29\tFred Wah, Interview, East Vancouver, 8 March 2022:\tSo this is, I’m sure Phyllis would be very aware of this, right? Yeah. Okay. This is an address to that whole patriarchal construct. And there are more feminist links in there. But the fact that she’s, this is a whole thing, like it’s whole, it’s a, there’s kind of a whole cloth here. So although I love the poem “Leaning” because of its poem-ness –\n31:03\tStephen Collis, Interview, East Vancouver, 8 March 2022::\t[Shared Laughter] Right, right.\n31:04\tFred Wah, Interview, East Vancouver, 8 March 2022:\t– it’s such a great, it’s so well written. And I can read it without even paying any attention to the – or much attention to the references. Cuz the poem is constructed so musically so beautifully that I’m just – I don’t really need to pay attention to the reference. I know they’re there. Of course, once you get into the references, the thing just like [Vocalizes Expanding Sounds] – goes on and on and on.\n31:29\tStephen Collis, Interview, East Vancouver, 8 March 2022::\tWell they’re all men. Right. And which goes with, maybe Pauline’s reading here in this kind of patriarchal context for that leaning. Right. Cause you’ve got, I mean, what we’ve got, we’ve got, Rodin, [Start Music: Low String Tones] we’ve got Brueghel. We’ve got, you’ve got Rilke, I think hiding behind Rodan. Because Rilke was Rodin’s secretary and Phyllis loved Rilke and there’s that “I must change my life” line in the poem. It sounds – that’s pretty much Rilke right there. But then also Columbus, Mies van der Rohe, the architect and on and on. Right. Einstein. Bohr. It’s all men that we mention the poem. Yeah. I love that idea of yours and I totally agree. But you can read the poem without noticing or thinking about its references. You can read it for its poem-ness.\n32:15\tFred Wah, Interview, East Vancouver, 8 March 2022:\tYeah. And just, you can just say, well, oh, they’re all men. This is just this sort of, yeah. She’s kind of hitting these guys for different things, but it’s all very particular. But then as we can discover, Pauline pulled this up, in an interview with Ann Mutton, Webb explains the link between “Leaning” and “Following”,  another poem –\n32:41\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tYeah. Yeah. Yeah. Amazing!\n32:41\tFred Wah, Interview, East Vancouver, 8 March 2022:\t– that isn’t – that she kept out of middle distance. She says, the leaning tower is a phallic image and once I wrote that poem, a similar image kept flashing and that was a woman from Botticelli. I then wrote a poem called “Leaning”, dealing with Botticelli and the women. However, Webb adds that it’s not a very good poem. It doesn’t have the weight. It may be fatal for me to give up this male oppression on my psyche.\n33:06\tStephen Collis, Interview, East Vancouver, 8 March 2022:\t[Shared Laughter] Right. You need your demons sometimes like again, going back to Rilke, Rilke famously a friend said, “Hey, I can get you a session with Freud.” Cuz he was having all sorts of depressive issues and Rilke said, “No, I don’t wanna be cured. This is how I write poetry.” [Shared Laughter]\n33:25\tFred Wah, Interview, East Vancouver, 8 March 2022:\tWell, I think Webb is very aware of this – is playing around and that this is really a middle distance for her –\n33:31\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tYeah. Yeah. Let’s come back to that.\n33:34\tFred Wah, Interview, East Vancouver, 8 March 2022:\t– in so many ways, and there, I mean there is this of course the feminist thing. And she does write to –it is – there’s a correspondence with Daphne. And the poem, “Leaning” is dedicated to Daphne.\n33:48\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tThat’s right.\n33:48\tFred Wah, Interview, East Vancouver, 8 March 2022:\tSo, there’s that. But there’s also a whole bunch of other –the way I take it, the way I played with it was through Negative Capability.\n \n\n33:59\tStephen Collis:\tNegative Capability was poet John Keats term for, as he wrote in a letter to his brothers in 1817, the creative state of [Start Music: String Instrumental] “being in uncertainties, mysteries, and doubts, without any irritable reaching after fact and reason.” In other words, it is the ability to reside in between doubt and certainty, to carry on thinking about a problem that you don’t know the answer to. Poet Robert Duncan had something similar in mind when he spoke of poetry as “the intellectual adventure of not knowing.” [End Music: String Instrumental]\nPerhaps Fred and I get a little carried away here—we had a lot to say about this poem. In the second part of this interview we discuss what Fred calls the “germ of thought we’re still trying to unravel” which lies at the heart of Webb’s poem—“all these binaries,” as Fred says, going on to discuss the possibly dialectical space of the between—here’s Negative Capability again—and the idea that “betweenness is a place to be”—maybe the place to be.\n\n \n\n35:06\tFred Wah, Interview, East Vancouver, 8 March 2022:\tAnd I’m attracted to “Leaning” because of it’s playing around with this, between-ness.\n35:13\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tI was gonna say – the space between. Yeah, exactly.\n35:15\tFred Wah, Interview, East Vancouver, 8 March 2022:\tBut there are so many other ways to play with this poem too. There’s that feminist thing which is very obvious once you start realizing that yes, these are guys, they’re all guys here. But then because we’re now in a kind of –we’re trying to address the entropy of our social climate. And I’m thinking of all the [Start Music: Atmospheric Tones] sort of microrisal structures, the networks, the plants and the fungus, the mycellial networks –\n35:58\tStephen Collis, Interview, East Vancouver, 8 March 2022::\tThat’s in there too.\n35:59\tFred Wah, Interview, East Vancouver, 8 March 2022:\t– and all of this requires, as the ecologists tell us, we have to learn how to balance these things, balance these contradictions. And so the poem is right in bed– and this is what, 1982, she’s writing this poem I think?\n36:15\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tYeah, yeah. About that.\n36:18\tFred Wah, Interview, East Vancouver, 8 March 2022:\tShe’s right in this. She’s got a sense of that germ of thought. That we’ve now come to where we’re still trying to unravel this, all these contradictions, all these binaries.\n36:37\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tAbsolutely.\n36:38\tFred Wah, Interview, East Vancouver, 8 March 2022:\tAnd we keep – the poet, I think, is reminding us of this. I don’t think she’s finding, she’s not offering a solution. She’s just reminding us that it’s very imbalanced. And am I gonna have to remain under this patriarchal mindset just to keep going…or?\n37:01\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tIt’s even right there in that mentioning Einstein and Bohr, which I don’t think accidental that those two have a big argument in the early 20th century about basically reality essentially. Quantum physics and Einstein was a holdout, not loving the conclusions of quantum mechanics and Bohr was the advocate and they were not in agreement and this whole spiraling leaning tower, you know, it seems so cosmological in some ways.\n37:30\tFred Wah, Interview, East Vancouver, 8 March 2022:\tBut also Bohr on the atomic thing, like entropy is–\n37:34\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tEntropy. Exactly.\n37:34\tFred Wah, Interview, East Vancouver, 8 March 2022:\t– is the basis of the atomic physics. And so, [Laughs] …\n37:41\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tAnd it’s even here as a colonial process that entropy and that apocalyptic Columbus returning, stars all shot out. [Shared Laughter] He’s blown that cosmology away in sense. So, and we should come back to your “fur-blue stars” [Start Music: Chime Instrumental] and the “middle distance”. I think we’re in a realm of aesthetics. That’s one interpretation of middle distance, right. Is that it’s an aesthetic painterly term. If you’re looking at a painting what’s in the foreground, there might be figures in the foreground, there’s a background, you know, Renaissance painting, you’ll see maybe mountains or towers or a town in the far away, but there’s a middle distance, or who knows what it could be like animals in a field portrayed or something.\n \n\nBut the art historians will talk about and use those terms. So middle distance is also an art historical term, an aesthetic term for interpreting a painting. So I think right after, is it right after it’s first mentioned that we get…? Yeah. The next line after the mention of middle distance, is “the fur blue star” and Brueghel. And I wonder if that’s a description of a painted star, right. That might look fur blue might look, I mean, think even Van Gogh – those kind of crazy fuzzy, blurry looking stars.\n\n38:53\tFred Wah, Interview, East Vancouver, 8 March 2022:\tYeah. It could be. I mean, I still, as I said earlier, I don’t still don’t know what fur blue star, if it’s a particular reference in the sky. You know, if there is a fur blue star that’s in some story.\n39:10\tStephen Collis, Interview, East Vancouver ,8 March 2022:\tOr in Brueghel’s painting [Laughs].\n39:11\tFred Wah, Interview, East Vancouver, 8 March 2022:\tBut that becomes – the fact that it becomes the ice pond Brueghel’s figures are skating on. In other words, that all of these perceptions are all this the sky and the earth. Another binary. Earth and sky.\n39:28\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tYes. Yes.\n39:30\tFred Wah, Interview, East Vancouver, 8 March 2022:\tTrying to find that. “A north magnetic pulls me…” So it’s a – there’s a directional thing, a geometric or a geo thing here.\n39:40\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tThat’s right.\nSo part of what I see you describing here Fred, is that you constantly transform [Start Music: String Instrumental] from one reference to the next couplet. Couplet by couplet. This constant movement and shaping in the poem going on. Constant shifting and moving to different locations, but always working with kinds of binaries. And when you get to Rodin it’s Rodin and his “amanuensis”.\n\n40:01\tFred Wah, Interview, East Vancouver, 8 March 2022:\tRight. Right. [Shared Laughter]\n40:02\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tYeah. So you constantly got these, this pairing or binary working through of things.\n40:08\tFred Wah, Interview, East Vancouver, 8 March 2022:\tYeah. Yeah. And she’s – I think she’s realizing that this middle distance is, the dynamics of this middle distance is rife just with all these binaries [End Music: String Instrumental] and the equivocation that we find ourselves in trying to deal with the binary aspect of our world.\n40:31\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tYeah.\n40:31\tFred Wah, Interview, East Vancouver, 8 March 2022:\tSo this, like the ground, the here, this it’s “angles me into outer space an inch at a time”, “the slouch of the ground, do you hear that?”, “the hiccup of the sludge about the stone”.\n40:44\tStephen Collis, Interview, East Vancouver, 8 March 2022:\t[Shared Laughter] To that the hardness of that phallic tower and the wooshing of the ground or something, another binary.\n40:55\tFred Wah, Interview, East Vancouver, 8 March 2022:\tAnd at the back of mine, mine is [ostranenie?]. The stone makes the stone, the stone stoney. [Laughs]\n41:05\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tYeah, yeah. Right. Oh amazing! [Laughs] I love that.\n41:05\tFred Wah, Interview, East Vancouver, 8 March 2022:\tI don’t know. [Laughs]\n41:12\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tBut there’s even a binary or a relationality, I guess we could say too, and then focus on the idea of the, of the middle or the, between, and that relational space. But in between the speaker of the poem and the reader, right. You, this directedness right. Are in this with me too. And at the end, and you, are you still here? That’s another really interesting betweeness.\n41:32\tFred Wah, Interview, East Vancouver, 8 March 2022:\tMm-hmm <affirmative>. Yes.\n41:33\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tAddresser and addressee or something.\n41:36\tFred Wah, Interview, East Vancouver, 8 March 2022:\tBut it’s also that – it’s the one and the many.\n41:39\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tYes!\n41:41\tFred Wah, Interview, East Vancouver, 8 March 2022:\tOkay. It’s the paradox. Well, not so much a paradox. I think she’s trying to – she doesn’t pose it as a paradox. She’s just posing it as a condition of this “I” and “you”. The local, the universal. The sky, the earth, the… [Laughs] –\n41:58\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tExactly.\n41:59\tFred Wah, Interview, East Vancouver, 8 March 2022:\t– all these oppositions. And so even these – I guess what you’re suggesting is perhaps even all these men are part of this. They’re both, they’re both part of it. They’re also part of that accusation from Virginia Woolf that they’re caught in this leaning tower.\n42:18\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tYes. Yeah, absolutely.\n42:19\tFred Wah, Interview, East Vancouver, 8 March 2022:\tAnd they can’t come down. [Laughs]\n42:20\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tYeah, exactly. Yeah. Does the – is the speaker gonna walk away at the end? [Laughs]\n42:25\tFred Wah, Interview, East Vancouver, 8 March 2022:\tWell, so I guess, in a sense, this sort of goes to buttress up my notion that between this is a place to be. Right. And that we’re actually – there are that, we’re kind of – like my metaphor of it is the cafe door.\n42:47\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tExactly.\n42:47\tFred Wah, Interview, East Vancouver, 8 March 2022:\tCaught in the doorway. And I’ve always been interested in trying to, or for a long time, I’ve been interested in trying to describe, or trying to figure out the character or the dynamics of where you are when you’re caught in the doorway, you’re standing the doorway. The advantage is you can see both rooms at the same time, so you see a larger view. The disadvantage is, is that you’re in the way! [Laughs]\n43:12\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tRight, right. [Laughs]\n43:13\tFred Wah, Interview, East Vancouver, 8 March 2022:\tGet outta the way!\nSo there’s lots of – there’s both. There’s both, once again, you’re in a middle place. Yeah. So there’s both things going on. Yeah. And trying to negotiate. So how to negotiate between this. And I’m not so sure – I don’t know if she’s coming up, thinks she’s coming up with an answer to her. I don’t think so. But that “And you, are you still here/tilting in this stranded ark /blind and seeing in the dark.” Well, the ark is, that is what the collectivity, it’s the kind of humanity all collected together. Everything’s together. But it’s stranded. [Laughs]\n\n43:56\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tNot getting anywhere, not getting outta the flood. [Shared Laughter]\n44:00\tFred Wah, Interview, East Vancouver, 8 March 2022:\tEven that. That “I” and “you” that becomes “we” is still stranded. So it’s in that sense, I suppose one could say it’s perhaps, not a negative statement, but she’s not coming up with an answer to this problem of balancing the binaries. I think she’s simply pointing out that there are binaries there. And we have to find some, or we’re in it. That’s what we’re in. It’s not –there is no, you know, polar black and white. [Laughs]\n44:41\tStephen Collis, Interview, East Vancouver, 8 March 2022:\tRight. Well, I dunno if it’s anyone’s job to decide this, but I certainly don’t think it’s the poet’s job to decide that right. The poet’s job is to be in, well, I always think these days of entanglement. The post job is to identify and illuminate our entanglements. [Start Music: Atmospheric Tones] Here’s where we are. Here’s where, we’re what we’re all bound up and what we can’t get out of.\n44:58\tFred Wah, Interview, East Vancouver, 8 March 2022:\tYeah. And reacting to it with language.\n45:09\tStephen Collis:\tThere’s something of the very essence of poetry, for me, in this matter of the stars in Webb’s work—something of the supercharged task of grasping at the ungraspable—of rendering in words—what tries to escape words. To “see in the dark,” as the speaker is doing at the end of “Leaning,” is perhaps to see by starlight—faintly, but gloriously, luminously. And while the coldness of that starlight might sometimes read as isolating, I was glad to see both Isabella and Fred take up the image of the constellation in their comments—the constellation of poets in the planetarium, as Isabella had it, making vast cosmic space smaller, more intimate, and Fred’s sense of Webb’s “compositional awareness,” as he called it, of how everything in the poem fits together seamlessly, and how the poem itself fits into larger “constellations” through its wide field of references.\nBut what about that “fur blue star”? Well, for one thing, it’s an image of “betweenness” once again—of something touching both furry animals and burning cosmic bodies in their deep space orbits—that which is above, and that which lies below—and the strangeness of being human, with our capacity to partake of both the furry world and starry contemplation, shuttling between with our poems and stories.\n\nBut I’m also tempted to connect the “fur blue star” from “Leaning” with the “starry rime” (r-i-m-e) from “Field Guide to Snow Crystals.” If stars seem fuzzy to the human eye—if they radiate blurry halos in certain atmospheres—why not furry? Why not blue? Or, at the end of the day, why not … just not know, for sure, and let the image’s Negative Capability pulse on in thought and undecidability?\n\nI think, I will always be in media res, in a state of betweenness, when it comes to Phyllis Webb and her poetry. If this podcast is a tribute to her, it necessarily takes the form of an in-progress thinking through and thinking with the example of her life and work—and with other poets similarly caught midway in their thinking through her life and work. That’s the thing—despite often cutting the image of an isolato, alone on her island for all those years, Phyllis Webb was always forming constellations of poets, always a part of important poetic constellations, and always allowing new poets into her orbit. That was her star power. Thanks for listening. [End Music: Atmospheric Tones]\n\n48:15\tHannah McGregor:\t[Start Music: SpokenWeb Podcast Theme Music] SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from and created using Canadian literary archival recordings found at universities across Canada. Our producer this month is Stephen Collis English professor at Simon Fraser University.\n \n\nOur podcast project manager and supervising producer is Kate Moffatt. And our sound designer and audio engineer is Miranda Eastwood. Our episodes are transcribed by Kelly Cubbon, and thanks to Judith Burr for hanging around and continuing to help us out. A special thanks to Special Collections and Rare Books at Simon Fraser University and Library and Archives Canada.\n\n \n\nTo find out more about SpokenWeb, visit SpokenWeb.ca and subscribe to the SpokenWeb Podcast on Apple podcasts, Spotify, or wherever you may listen. If you love us, let us know, rate us and leave a comment on Apple podcasts or say hi on our social media @SpokenWeb Canada, stay tuned to your podcast feed later this month for shortcuts with Katherine McLeod, many stories about how literature sounds.\n"],"score":1.0},{"id":"9628","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S3E11, The WPHP Monthly Mercury Presents “Collected, Catalogued, Counted”, 1 August 2022, Moffatt and Sharren"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/the-wphp-monthly-mercury-presents-collected-catalogued-counted/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 3"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Kate Moffatt","Kandice Sharren"],"creator_names_search":["Kate Moffatt","Kandice Sharren"],"creators":["[{\"url\":\"\",\"name\":\"Kate Moffatt\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Kandice Sharren\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/6080ec77-e13a-430d-a98b-4ceca70315bb/audio/e49a4567-fbbc-4581-9c84-c312cadf060f/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"s3e11-mp3.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"01:23:32\",\"precision\":\"\",\"size\":\"80,203,485 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s3e11-mp3\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/the-wphp-monthly-mercury-presents-collected-catalogued-counted/\"}]"],"Dates":["[{\"date\":\"2022-08-01\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/3725404708\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"515 West Hastings Street Vancouver, B.C, V6B 5K3\",\"latitude\":\"49.2824032\",\"longitude\":\"-123.1085513\"}]"],"Address":["515 West Hastings Street Vancouver, B.C, V6B 5K3"],"Venue":["Simon Fraser University"],"City":["Vancouver, British Columbia"],"contents":["This month on the SpokenWeb Podcast we are excited to share an episode from The WPHP Monthly Mercury, hosted by Kandice Sharren and our very own podcast supervising producer, Kate Moffatt. First aired on July 21, 2021, this episode of The WPHP Monthly Mercury features an interview with Dr. Kirstyn Leuner, director and editor-in-chief of The Stainforth Library of Women’s Writing. You can read more about the episode, and about Dr. Leuner’s project, on the Women’s Print History Project website.\n\nThe WPHP Monthly Mercury is the podcast of the Women’s Print History Project, a digital bibliographical database that recovers and discovers women’s print history for the eighteenth- and nineteenth-centuries. Inspired by the titles of periodicals of the period, The WPHP Monthly Mercury investigates women’s work as authors and labourers in the book trades.\n\n"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Music by Ignatius Sancho, “Sweetest Bard”, A Collection of New Songs (1769) from https://brycchancarey.com/sancho/bard.jpg, and played by Kandice Sharren\\n\\n*\\n\\nWorks Cited:\\n\\n“Francis Stainforth.” Wikipedia, https://en.wikipedia.org/wiki/Francis_Stainforth, accessed 21 July 2021.\\n\\nLeuner, Kirstyn. “Restoring Authority for Women Writers: Name Authority Records as Digital Recovery Scholarship” in Huntington Library Quarterly, vol. 84, no. 1, Spring 2021, pp. 13–26.\\n\\nLeuner, Kirstyn. “Dynamic Cross Reference Links in Catalog Browsing.” The Stainforth Library of Women’s Writing, February 2020, https://stainforth.scu.edu/dynamic-cross-reference-links-in-catalog-browsing/. Accessed 21 July 2021.\\n\\nThe Monument of Matrones. Compiled by Thomas Bentley. London: Henry Denham, 1582.\\n\\nMoss, Celia and Marion. Early Efforts. A Volume of Poems by the Misses Moss, of the Hebrew Nation. Aged 18 and 16. London: 1839.\\n\\nCatalogue of the Extraordinary Library, Unique of its Kind, Formed by the Late Rev. F. J. Stainforth. London: Sotheby, Wilkinson & Hodge, printed by J. Davy and Sons, 1867. Google Books, https://www.google.com/books/edition/Catalogues_of_Items_for_Auction_by_Messr/3T5bAAAAQAAJ/.\\n\\nWalker, Cheryl. American Women Poets of the Nineteenth Century. Rutgers UP, 1992.\"}]"],"_version_":1853670549730885632,"timestamp":"2026-01-07T14:59:54.290Z","score":1.0},{"id":"9592","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S4E1, Listening to Fire Knowledges in and around the Okanagan Valley Presents “Challenging, beautiful bioregion”, 3 October 2022, Burr"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/listening-to-fire-knowledges-in-and-around-the-okanagan-valley-presents-challenging-beautiful-bioregion/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 4"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Judith Burr"],"creator_names_search":["Judith Burr"],"creators":["[{\"url\":\"\",\"name\":\"Judith Burr\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/31248cf9-be05-49e8-9e8a-b28ed3022a72/audio/c94c3c7a-5e2d-423d-b2b2-3a77183099eb/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"s4e1-crossover-fire-knowledges.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"01:00:33\",\"precision\":\"\",\"size\":\"58,128,971 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s4e1-crossover-fire-knowledges\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/listening-to-fire-knowledges-in-and-around-the-okanagan-valley-presents-challenging-beautiful-bioregion/\"}]"],"Dates":["[{\"date\":\"2022-10-03\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"University of British Columbia Okanagan Creative and Critical Studies Building\",\"notes\":\"\",\"address\":\"1148 Research Road, Kelowna, BC, V1V 1V7\",\"latitude\":\"49.93921425\",\"longitude\":\"-119.39841307186015\"}]"],"Address":["1148 Research Road, Kelowna, BC, V1V 1V7"],"Venue":["University of British Columbia Okanagan Creative and Critical Studies Building"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"In this episode, we hear clips from a cover of Bob Dylan’s “All Along the Watchtower” from the Lent Fraser Wall Trio’s album “Shadow Moon.” Used throughout this episode with permission from John Lent. The rest of the music in this episode is from Blue Dot Sessions, and you can find specific tracks cited in the transcript: https://app.sessions.blue.\\n\\nCatherine Owens, Locations of Grief: An Emotional Geography (Hamilton: Wolsack & Wynn, 2020).\\n\\n“It is clear that a successful record of fire suppression has led to a fuel buildup in the forests of British Columbia. The fuel buildup means that there will be more significant and severe wildfires, and there will be more interface fires, unless action is taken.” Filmon, G. (2004). Firestorm 2003: Provincial Review. Government of British Columbia, https://www2.gov.bc.ca/assets/gov/public-safety-and-emergency-services/wildfire-status/governance/bcws_firestormreport_2003.pdf.\\n\\n“Master Plan for Okanagan Mountain Provincial Park.” 1990. Kamloops, B.C.: B.C. Parks, Southern Interior Region.\\n\\nMy analysis of B.C. Wildfire Service data using QGIS. Okanagan watershed defined by watershed atlas polygons and compiled by fellow Living with Wildfire researcher Renée Larsen. Area burned data from: “Fire Perimeters – Historical.” Statistics and Geospatial Data. BC Wildfire Service. Available at https://www2.gov.bc.ca/gov/content/safety/wildfire-status/about-bcws/wildfire-statistics.\\n\\nXwisten et al., “Xwisten Report Executive Summary,” Revitalizing traditional burning: Integrating Indigenous cultural values into wildfire management and climate change adaptation planning (Department of Indigenous Services Canada (DISC) First Nations Adapt Program, 2019), Accessed April 2022 at https://www.fness.bc.ca/core-programs/forest-fuel-management/first-nations-adapt-program.; Eli Hirtle, Xwisten (Bridge River Indian Band) (Masinipayiwin Films, 2019), Accessed April 2022 at https://vimeo.com/383104228.; Shackan Indian Band et al., “Shackan Indian Band Report Executive Summary,” Revitalizing traditional burning: Integrating Indigenous cultural values into wildfire management and climate change adaptation planning (Department of Indigenous Services Canada (DISC) First Nations Adapt Program, 2019), https://www.fness.bc.ca/core-programs/forest-fuel-management/first-nations-adapt-program.; Eli Hirtle, Shackan Indian Band (Masinipayiwin Films, 2019), https://vimeo.com/383108850.\\n\\nForest Enhancement Society of BC, “Projects,” Accessed May 2022, https://www.fesbc.ca/projects.\\n\\nAmy Thiessen, “Sharon Thesen’s ‘The Fire’,” English Undergraduate Honours Thesis, 2020, https://sharonthesenthefire.omeka.net/about.\\n\\n\\nMore Resources: \\nFireSmart Canada, https://firesmartcanada.ca/; Blazing the Trail, https://firesmartcanada.ca/product/blazing-the-trail-celebrating-indigenous-fire-stewardship.; Nature Conservancy, Prescribed Fire Training Exchanges (TREX), http://www.conservationgateway.org/ConservationPractices/FireLandscapes/HabitatProtectionandRestoration/Training/TrainingExchanges/Pages/fire-training-exchanges.aspx; Karuk Climate Change Projects, “Fire Works!,” https://karuktribeclimatechangeprojects.com/fire-works; NC State University, “Prescribed Burn Associations,” https://sites.cnr.ncsu.edu/southeast-fire-update/prescribed-burn-associations; Firesticks Alliance, https://www.firesticks.org.au.\\n\\nMore Fire Podcasts: Amy Cardinal Christianson and Matthew Kristoff (Hosts), Good Fire Podcast, https://yourforestpodcast.com/good-fire-podcast; Amanda Monthei (host), Life with Fire Podcast, https://lifewithfirepodcast.com; Adam Huggins and Mendel Skulski (hosts), “On Fire: Camas, Cores, and Spores (Part 1),” Future Ecologies Podcast, August 29, 2018, https://www.futureecologies.net/listen/fe1-5-on-fire-pt-1.\"}]"],"_version_":1853670549774925824,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This month, the SpokenWeb Podcast features an episode created by our former supervising producer and project manager Judith Burr. This audio is part of Judith’s podcast, “Listening to Fire Knowledges in and around the Okanagan Valley,” which she produced as her master’s thesis at UBC-Okanagan. While Judith was working on The SpokenWeb Podcast, she was also working on the research methodology of making a podcast as thesis and on the compiling of interviews and tape that would become the sound of this representation and intervention in ecological thinking. The episode features a number of Judith’s interviews about living with wildfires in the Okanagan, including the story and poetry of Canadian poet Sharon Thesen. Listeners of the SpokenWeb Podcast might remember Thesen from past episodes, including Episode 7 of last season about the Women and Words Collection, or from episodes of our sister podcast SoundBox Signals produced by the Audio-Media-Poetry Lab at UBCO. In Judee’s conversations with Sharon and other interviewees, we hear first-hand perspectives of those who have witnessed and lived through the dangers of these wildfires. We hear about challenges of resource management and land-use planning in fire-prone geographies. And we hear about the role that storytelling may have to play in helping us reckon with these challenges.\n\n\n00:19\tSpokenWeb Podcast Theme Music:\n \n\n[Instrumental Overlapped With Feminine Voice] Can you hear me? I don’t know how much projection to do here.\n00:36\tKatherine McLeod:\tWhat does literature sound like? What stories will we hear if we listen to the archive? Welcome to the SpokenWeb Podcast: stories about how literature sounds. [End Music: SpokenWeb Podcast Theme Music]\nMy name is Katherine McLeod, and each month I’ll be bringing you different stories of Canadian literary history and our contemporary responses to it created by scholars, poets, students, and artists from across Canada. For our first episode of this season, we’re bringing you sound work by someone who has been instrumental to The SpokenWeb Podcast as a team member: Judith Burr. Judith Burr is our former supervising producer and project manager, and she’s now off to embark on a PhD in geography at UBC. During her work on our podcast, she was also hard at work on a podcast that she called, “Listening to Fire Knowledges in and around the Okanagan Valley.” That podcast was her master’s thesis project in the Digital Arts & Humanities theme of the Interdisciplinary Graduate Studies program at the University of British Columbia Okanagan. You heard Judith Burr’s voice on the episode “Talking Transcription: Accessibility, Collaboration, Creativity” that I co-produced with Kelly Cubbon.\n\nWe interviewed Judith back in February 2022, when she was in the early stages of conducting oral histories for her podcast. At that point, she had so many sounds – clips from news reports of the Okanagan wildfires – long conversations with wildfire experts – and was planning to speak with poet Sharon Thesen about how the environment finds its way into the sound of her writing. Sharon Thesen is a poet who the UBCO Amp Lab, as part of SpokenWeb, has previously featured in a collective reading of her work. Hearing Thesen on this podcast feels like a bringing together of Judith’s work her master’s thesis and on The SpokenWeb Podcast. Along with Thesen, you’ll hear from foresters Daryl Spencer, Dave Gill, and Gord Pratt; UBCO Living with Wildfire project lead Mathieu Bourbonnais; forest technologist Jeff Eustache; and FireSmart program lead Kelsey Winter. The SpokenWeb Podcast starts season with Judith’s podcast because it is a timely call to reflect on how we listen and live within our complex and challenging ecosystems. [Music Interlude]\n\n03:05\tJudee Burr, Narration:\tHi, it’s Judee. This is the second episode of my thesis podcast, Listening to Fire Knowledges. This episode includes a number of conversations about surviving wildfire events and living in their aftermath. My heart and thoughts go out to those who have lost something in a disastrous wildfire event, including to my aunt and uncle who lost their home in the California Camp Fire in 2018. I know conversations about wildfire disasters can be challenging to hear, so I hope you can take care of yourself, and listen when you are ready. Thanks for being here.\n \n\n03:45\tSharon Thesen, Interview, January 2022:\tWell, I love the dry heat [Music Starts] I love the smell of the earth. I love the blue and gold, the blue sky and the gold grass. I love the orchards. They always seemed so beautiful in an almost biblical way: these orchards with all this fruit hanging, the gift of that. And the gift of its warmth, its welcoming warmth. Maybe it’s the smell of the pines too, that resinous perfume. I mean, you come from a different place and so you would have your experience of this place too.\nMy name is Sharon Thesen. I’m Professor Emeritus of Creative Writing at UBC’s Okanagan campus. I’ve been a writer, a poet, a critic, and an editor for many decades in the Canadian, BC, and Cascadian worlds – Cascadia being the bioregion that encompasses most of BC, including the Okanagan and the coast and Washington State and Oregon and part of Northern California. It’s an extremely unstable region – geologically – prone to fire, tsunami, earthquake, volcano, flood, avalanche. It’s a landscape that’s very vibrant, very beautiful, but also dangerous. It creates challenges for sure. And in this challenging beautiful bioregion, I’ve been living for most of my life.\n\nLiving in Vancouver, I was always aware, as a writer, of being in a different zone from the rest of Canada. It seemed that we writers – a lot of us poets in Vancouver – had deeper aesthetic and poetic connections with our counterparts in the States. But the quote-unquote “rest of Canada” was not involved in these poetics. There was always an east-west stretch. There was a sense of not belonging, really, to either of them. Okay, so then what do you belong to? So here is this very prominent geography and landscape. [Music Ends]\n\nBut I always had a soft spot for the Interior. I spent probably about 10 years of my young life, living in the Kamloops and Vernon areas, and always wanted to come back. I appreciated the spectacular landscape on the coast, but my body, my heart, was here. So, when we started coming back here, I would feel at home. Because I could smell it. I could recognize the weeds –when you’re a little kid, you’re closer to the ground and you’re seeing the weeds and all that small stuff. It’s all about those weeds, right? And it still is. [Start Music] It still is the place of my heart, and my deepest being is this landscape.\n\n07:39\tJudee Burr, Interview, January 2022:\tYou sat down with another student Amy Thiessen almost two years ago, who was another student in the AMP Lab, like I am, to record a digital edition of your poem “The Fire,” which was really wonderful to listen to. You talked about your experience of living through the 2003 Okanagan Mountain Park fire, and I’m really grateful that you’re willing to revisit these experiences again. It sounds like that was the year that you move to Kelowna was the year of this fire. I wonder, if you, if you’re comfortable talking about it again, talk about what you remember of that fire happening and the experience of having to be evacuated at that time. [Music Shifts]\n08:24\tSharon Thesen, Interview, January 2022:\tWe had moved into this new subdivision. We were thrilled to be able to live in a beautiful house that was new, and certainly didn’t cost nearly as much money as a house like that would on the coast at the time, especially then. I did have doubts about it, but, anyway, we moved there. On every side of the house, was forest. And it was beautiful. We had these two dogs, I’d take them to walk every morning. There was trees, forest, coyotes. There was a little lake. It was really, really hot for a couple of weeks prior to the fire starting, but we didn’t mind. We liked it.\nCan I read this little paragraph?\n\n09:10\tJudee Burr, Interview, January 2022:\tPlease do.\n09:10\tSharon Thesen, Interview, January 2022:\t[Reading from Locations of Grief] Hundreds. The subdivision was called South Ridge and there were about 40 houses off a t-shaped roadway. “A park” was made somewhere in the middle and a new road was already being built just above ours. Hundreds of acres of woods, streams, and meadows flourished just beyond where the roads ended, having not yet succumbed to the inferno that would engulf the landscape a couple of months later. – That’s when we first moved. – June and her husband David lived a little farther up the hill, while we were closer to cherry orchards and large, old properties that until then had been somewhat out of town. Deer hunters still stalked the woods not far from our houses back in 2003 when I first met June. Late one night after a lengthy heat wave, we were awakened by a thunderclap and, in the morning, a plume of smoke could be seen rising into the sky to the south. This plume, by the time June and I got to the beach that afternoon for our regular swim, was starting to develop an ominous anvil shape on its eastern edge. Two days later, you could hardly see or breathe for the smoke. And there were reports of houses burning in a residential area far to the south. But, for some reason, we weren’t quite sure about that, even though evacuation alerts were being handed out in neighborhoods farther down from us. We tried to stay calm as falling embers burned holes in our lawn chairs. Paul – that’s my husband – Paul and I had made a casual arrangement just in case, with friends who lived in Penticton should the worst come to the worst which we didn’t think was possible. Surely the fire wouldn’t jump the blocks-wide clearing where the big power lines were. [Stops reading]\n11:02\tSharon Thesen, Interview, January 2022:\tBy the time they started trying to put it out, it was out of control. [Music changes] And the wind was blowing. And the wind is the worst thing that can happen with a fire. When a fire gets really bad, as this one did, it became the worst level of fire you could have, a Rank 6 firestorm. People even farther north than us were getting evacuation alerts. So we’re just thinking “oh, well, they must think we’re going to be okay then,” right? Because we didn’t get one. But it got to a point where I was starting to get really nervous. I was starting to think maybe we should pack some things up. To go through that process is horrible. We phoned our friends in Penticton, and Paul said, “you go and I’ll stay here and hold the fort.” And – it was that afternoon – it was pitch dark from smoke, and driving down to Penticton you saw the whole east side of Okanagan Mountain Park, from Kelowna to Naramata, on fire. That side of Okanagan Lake used to be green and forested. There was that little railway near the top. [Music ends] Paul went down to June and David’s for dinner\n12:34\tJudee Burr, Interview, January 2022:\tWho lived in that same subdivision, nearby?\n12:36\tSharon Thesen, Interview, January 2022:\tYeah, nearby. So they were eating dinner inside, and June went out to see how things were. And there was the fire coming right down the hill. So, Paul jumped in the car, drove back to our place. I had packed some stuff and he was throwing it in. The police were going up and down and saying get out right now, right now, right now… So…\n13:01\tJudee Burr, Interview, January 2022:\tAnd you hadn’t received an evacuation alert prior to that?\n13:04\tSharon Thesen, Interview, January 2022:\tNo.\n13:05\tJudee Burr, Interview, January 2022:\tWow. It was moving that fast.\n13:07\tSharon Thesen, Interview, January 2022:\tIt was moving that fast, and, also, I think that the authorities didn’t really even know we were still there, because it was such a new development. We probably weren’t even on the map. So he had to drive down through what was an old quarry, and is now called “The Quarry.” June and David decided to go back to White Rock, and they stayed overnight at our friends in Penticton in their car. [Start Music]\n13:39\tSharon Thesen, Interview, January 2022:\tThere was a period of time when they thought the whole town was going to go up in flames. The whole town. And there was still so much chaos, and the fire still wasn’t really out for quite a long time. It was the Winfield fire department that saved our place. I still see the tracks of their boots in our little flower beds around the house where they were working, but they had given up. The fire was coming. It was too hot. It was terrifying. They could have died. But the wind changed. The wind changed and took the fire north to an area called Crawford and burned up most of the houses there. Ours were left standing. But we didn’t know that for a long time.\n14:29\tJudee Burr, Interview, January 2022:\tSo, when did you find out that – when were you able to return back to your house?\n14:35\tSharon Thesen, Interview, January 2022:\tThe fire department held a meeting in the big Trinity Baptist Church downtown, because they were not saying what areas had burned. There were roadblocks keeping people out from the badly affected neighbourhoods. All those people were to sit in Trinity Baptist Church while whoever it was pointed out all the lots on a map, which houses burned and which were still standing and which were damaged. And so, can you imagine that meeting? [End Music]\n15:30\tJudee Burr, Interview, January 2022:\tNo.\nDo you remember anyone talking about fire danger before the, um, fire?\n\n15:38\tSharon Thesen, Interview, January 2022:\tNo.\n15:46\tJudee Burr, Narration:\tAnyone who was living in the Okanagan in 2003 remembers the firestorm. It was a season stoked by drought. This fire started in a park where people had been warning of the accumulating fuels and fire danger for years, but little had been done. The Okanagan Mountain Park Fire burned more than 25,000 hectares, caused 33,000 residents to be evacuated, damaged or destroyed 238 homes, and caused $200 million in damages. It was one fire of many in “Firestorm 2003,” a summer that set a record high number of forest fires burning in British Columbia. [Music Ends] A Provincial Review team was established after this fire season was over to evaluate the response to these fires and make recommendations for the future. The resulting Filmon Report explicitly linked the severe wildfires of 2003 to the build-up of fuels caused by decades of fire suppression. Between then and the time I write this in early 2022, the Okanagan Valley has experienced even larger fire seasons. Here is Matthieu Bourbonnais again.\n17:12\tJudee Burr, Interview, January 2022:\tDo you have any specific fires that have happened in the Okanagan that you point to, to explain what our wildfire situation is here in the Valley? Or examples you use to think through how we live with wildfire and what the challenges are?\n17:12\tMathieu Bourbon, Interview, January 2022:\tYeah, the Okanagan, the communities here, have a lot of like experience with fire. The 2003 Okanagan Mountain Fire was – if we look back over the last 20 years – it was one of those fires that put fire as a big threat to communities back in people’s minds. We lost few hundred homes, there was thousands of people evacuated for over a month, and it’s something that it’s ingrained in the mentality here in the Okanagan. You hear people who lived through it still talk about the 2003 fire. And if you go up into that area where it burned, there’s infographics and signs talking about the fire and what happened. So that’s one that people that have been here for a long time, they remember it.\n18:13\tDaryl Spencer, Interview, January 2022:\tIt was unpleasant to understate it. Yeah, it was quite smoky and fiery and scary. Houses were being burned, and it was really kind of apocalyptic. And I remember seeing the fire, the smoke start. When the fire first started and I heard about the lightning strike and the fire started burning, and people were out looking at and it just kept burning northward and northward and started destroying homes. [Music begins] So yeah, it was quite a scary occurrence to happen. And at the same time there are some health risks too – I was into different athletic events back then, that was when I was into marathons and running and so forth, and it really interrupted my training schedule which wasn’t good. [Both Laugh] Either that, or I was going to just be smoking all day while I run through this smoke. I remember the smoke being so thick at times you couldn’t see more than 20 feet through it.\nSo, my name is Daryl Spencer. I’ve been a registered professional forester since 1985, so it’s been a few years. I’ve done fire management and planning amongst other things in the Okanagan Valley for the past 20 years. My current role – I work for the government. I work with the Forest Practices Board, which is an environmental watchdog for the Province. We look at various things that fall under the Forest and Range Practices Act and the Wildfire Act.\n\nCertainly there was fires, but not as predominant as say, 2003 was like a fulcrum kind of point where fire seemed to take off for me anyway. I think that fire, like I said earlier, was a launching point or staging point for more awareness with municipalities, the parks, and the government and served as a bit of a wake-up call for, say the city of Kelowna, BC Parks, and the Ministry of Forests. And it raised awareness of the importance of managing interface fuels and so forth. So that was a key thing there. And I mentioned all those homes were burned down. It was a situation where Okanagan Mountain Park which was back then a Class A park – I think it still is – and Class A parks are left unto themselves to evolve ecologically. So there’s huge mats of pine needles on the forest floor up to two or three feet thick and gathers in areas. So a lightning strike in that fuel – which is readily burnable and burns quite rapidly – started that fire and all these homes were being developed adjacent to this park without the thought of fuel management. So that resulted in a lot of these homes burning up. So that was kind of a wake-up call for city planners and parks and so forth to start setting up interface and buffer areas and so forth to protect homes. [Music ends]\n\n20:57\tDave Gill, Interview, February 2022:\tThe night the fire started, our oldest who’s 20 now…it was a thunderstorm on a Saturday night, I think it was, or a Friday night. And it woke her up. I remember walking around, holding her and tried to console her and get her to go back to sleep. We saw these flashes of lightning, and I was thinking to myself exactly about this guy that was on his horseback in that area just a few weeks before that. And thinking, wow, you know, it’s been so dry all summer, this is going to start something. And the next morning, yes, for sure, [Music Begins] it had cleared off and there was this wisp of smoke going right over our house. It was this odd yellowy color, and it was just a thin strip of smoke. And it was fairly hot, and I thought, ‘Oh, man. It did, it started.’ My name is Dave Gill. I am a registered professional forester, and I work for Westbank First Nation, a company called Ntityix Resources, which is Westbank’s forest management company.\nWe heard them on it, we could hear the helicopters on the fire. We thought that they’d bring it under control, but within a couple days, we realized it was much more than that. It wasn’t long before people were starting to crowd on the streets around us, and higher up on the hill behind us, just looking at this thing. A few days later we were told to leave.\n\nThat was the way I was initiated to fire in the Okanagan, and that in itself changed the way I thought about fire [Music Ends] – from what I learned to, you know, on the ground what I’ve been hearing from people that that live here, rather than what I had learned in school. From there, we had the Filmon Report, and we had a lot of other, I guess for the most part, high-level reports that came out about fire. And that maybe we’ve been taking the wrong approach with fire for about 100 years. [Music Begins]\n\n23:28\tMathieu Bourbonnais, Interview, January 2022:\tMore recently, just even the last few years – Mount Christie fire, White Rock Lake Fire – again fires that really, really quickly came right to our doorstep. These aren’t fires that – oh, there’s an evacuation alert, or you need to be kind of prepared. It was just, pretty quickly, it was right there. That’s the situation that we have in the Okanagan where oftentimes there are really dry conditions that are really conducive to fire spreading quite quickly. And what we should be expecting moving forward is really more of that. It’s unfortunate, again people lost homes. It disrupted a lot of people’s lives. You always try to take that into context, but those are examples you can point to – like this is what we should be expecting, and we need to kind of prepare better for that. From 2003 to now, we look at this last year: the heat dome, these extreme kind of weather conditions that regardless of where you are, if there are those kind of conditions, there is a good chance that if a fire happens, you’re going to have a lot of problems. [Music ends] Yeah, definitely landscape management is a part of it, but also just our legacy and our history of how we’ve managed this Valley combined with how our climate is changing. You can see the progression now as you look back over the last kind of 20 years. [Music Begins]\n25:11\tJudee Burr, Interview, January 2022:\tJust hearing about that experience of really not having a lot of conversations about fire and then having this massive fire happen, I wonder how fire seasons since then have been for you. Do you hear more conversations happening about fire preparedness and FireSmart? Also, what’s it been like for you for these past fire seasons that have been bad, again, to have to live through those kind of smoky summers again?\n25:45\tSharon Thesen, Interview, January 2022:\tSmokey summers. It’s true, I’m extremely anxious every summer. We moved to Lake Country. I guess it felt like a new start or a fresh start. Or to go somewhere where there hadn’t been that kind of destruction and damage. Yes, Smokey summers, the heat, the wind, extreme anxiety. Then it gets cooler in the fall and you kind of forget about it. Then everybody says, “oh, it’s not going to happen here.” Or “oh, they know enough about it now that they will make sure that there’s protection.” But anyway, last May, half of the fire departments from around the Okanagan, were in our very neighborhood practicing putting out forest-interface zone fires. [Music Begins] And I’m sort of like “ha ha, just practice! not rehearsal I hope!” This last summer, because we live in a place where we can see northward up the lake toward Vernon, there was that Monte Lake fire that was burning for about a month and a half.\n27:16\tJeff Eustache, Interview, February 2022:\tYeah, there’s a lot of work needed. Just speaking to the Okanagan Band lands here and the fire that they experienced last summer was quite devastating for the community and the loss could have been a lot worse. But if you look at the landscape, from about a kilometer from here, I’m on the north end of the Reserve, to the south end, which is probably at least 10 kilometers in length – once you get off the lake you get into interface forest and it’s quite thick. Very dead, decayed, pine and fir. I know they do fuel reduction projects, but you’re talking 10, 20 hectares at a time. [Music changes]] And you probably need 50,000 hectares to be done along the whole interface to make a difference.\nMy name’s Jeff Eustache, I’m a registered Forest technologist. I’m from the Simpcw First Nation just north of Kamloops, but I live and reside on the Okanagan Indian Band lands. And I work as the emergency program manager for IPO West, Natural Resources Canada.\n\n28:29\tJudee Burr, Narration:\tBefore moving over to Natural Resources Canada recently, Jeff had worked for the First Nations Emergency Services Society of British Columbia since the mid-2000s. That’s how I found his work. As head of the Fuel Management Department, Jeff supported First Nations communities in taking care of wildfire hazards on their land. This also included working on the “Revitalizing Cultural Burning” project in 2019 with the BC Wildfire Service, the Bridge River Indian Band, and the Shackan Indian Band. This project provided funding for these First Nations communities to conduct cultural burns and document their Indigenous fire stewardship knowledge in videos, reports, and infographics. I’ll put the link to those projects in the show notes. In all of my interviews including this one with Jeff, we talked about much more than you’ll hear in this podcast. But it was significant for me to hear Jeff – someone with extensive wildfire hazard management experience – reflect on living through the White Rock Lake fire last summer on Okanagan Indian Band land.\n29:30\tJeff Eustache, Interview, February 2022:\tThat fire that came through here last year, it started at Monte Lake, which is about, I don’t know, 30 kilometers from here. When they kept on talking about it, I said well it’s never going to get here. They’ll knock it down over there somewhere. The next thing you know, we’re getting evacuated. I was pretty surprised at even how it came into the community, because I know there’s some what I thought would have been pretty good fire breaks. I was pretty surprised that it made it that far. [Music Changes] We got kind of lucky; we’re a little bit further away from where the fire actually was. We got displaced maybe three times over the summer, but some were displaced for probably most of the summer. Unfortunately, some haven’t been able to go home because they lost their homes, right.\nSo, you can see the need for higher-level, landscape-level treatments. You can do the fuel reduction outside at the doorstep there, but once it starts rolling like it did, it takes a lot more than a 50, 100 metre fuel treatment to stop that. I think it’s going to require a lot more aggressive fuel reduction treatments. I know my wife’s family members, they actively go out – and it’s really about, I would say, not even five kilometers from here – they would actually go out every spring and do some burning outside of their property. I’m fairly sure that resulted in a few of their structures being saved, because it didn’t have that understory that could have ignited and swept through there. I was pretty surprised there was not a lot more losses along the Valley here where it came down. It hit pretty hard, but I’m fairly sure that the burning practices of that family really helped. Because they would go in the forest, it wasn’t just grass burning, and they’d go up the hillside and that really, I think, resulted in some protective measures for them. You need to try to increase that more and more. Otherwise, like I said, once it starts rolling that quickly, it’s pretty hard to stop. [Music Changes] You actually can’t stop it.\n\n32:09\tGord Pratt, Interview, January 2022:\tI’m Gord Pratt. A professional forester who works as an operations manager with the Forest Enhancement Society of BC. [Music Ends] And yeah, just happy to be able to join you here today, Judee.\nI was actually on the Peachland fire, back in 2012, I believe. I remember being in Kamloops that day, and it was one of those hot, early September days where, you know what, you’re starting to think you’re past the fire season in many ways. But, it was windy, super windy. I actually remember having a conversation with a friend of mine who was pretty active with BC Wildfire, who said, ‘this isn’t a good day. If we get a start, it’s going to be a problem somewhere.’ Right? And, sure enough, later that weekend, Peachland was on evacuation. It started up, I believe, in the top end on the Coq [Coquihalla Highway] and it ripped down through the community. [Music Begins]\n\nIt’s hard to predict where it will happen. My philosophy is reduce the fuels where there’s likelihood of starts. Where’s that fire behavior going, and what’s the typical weather going to move it towards – and that’s where we need to do it.\n\n33:40\tJudee Burr, Interview, January 2022:\tI wonder if you could just introduce the FESBC for folks who might not know what that is, and talk about your role in this work now. And maybe we could talk about some of the projects in the Okanagan too.\n33:50\tGord Pratt, Interview, January 2022:\tFor sure. The Forest Enhancement Society was formed by government back in 2016. It’s really about a good opportunity to invest back in the province good stewardship projects going forward. Those stewardship projects are governed by our five primary purposes…\n34:12\tJudee Burr, Narration:\tThe Forest Enhancement Society of BC has been a major funder of fuel management projects. I spoke with the foresters I interviewed extensively about fuel management practices. This refers to work to remove combustible layers of woody debris and brush and other material that is accumulating in forested areas where fire has been suppressed and excluded. Sometimes these projects involve removing material from the forest floor, sometimes they involve cutting down some trees to open up a forested canopy to reduce the likelihood of a wildfire spreading from tree to tree, and sometimes they include prescribed burns. We’ll hear a lot more about fuel treatments in the next episode. I asked Gord about some of these projects in the Okanagan.\n34:54\tGord Pratt, Interview, January 2022:\tI think hats off to the Okanagan-Shuswap District, who applied for funding through us to do a lot of work, primarily in the Southeast Kelowna area. And it’s fit into the Ministry’s Wildfire Risk Reduction Program, which is their own internal program that started after FESBC initiated these projects to continue that good work. Because there’s a lot of work that needs to happen throughout the Okanagan.\n35:26\tJudee Burr, Interview, January 2022:\tHave you noticed a change in the way people perceive these projects? [Music ends] Are people able to see a thinning project as ‘this is actually making my home a lot safer’ – from your time in Kelowna, even, through now?\n35:44\tGord Pratt, Interview, January 2022:\tWe have. I think people are pretty sensitive and, I hate to say it, but sometimes an event like 2003 makes it easier. The events of ‘17, ‘18, and ‘21 makes it easier for people to believe us. But, that being said that, there’s definitely a need for that balance. We fund a project in the Joe Rich area. That’s an area, I guess it would be southeast of Kelowna on the highway towards Rock Creek. Gee, what year was that? 2017, 2018 – Joe Rich had a significant fire of note. I think it was four to six hundred hectares. That scared everybody there. The need for a treatment in there probably changed the perception of the people. That project came as an application to us in ’17, ’18, somewhere in there. But I was involved with the high-risk concern of the Joe Rich area when I was in wildfire from 2009 to 2014. Difficult, you know – what do you do there? There’s so much work to do that you kind of need the partnership of industry to do it. And then, you know, maybe that’s too much. [Music Begins]\n37:07\tGord Pratt, Interview, January 2022:\tNone of these things can happen overnight, Judee. And, I guess that’s the other thing, is it takes time to get these things done, to plan it right, get it all done. I always encourage our industry partners to be part of our project because you and me and everybody in BC – we can’t afford to do all this. Well, it’s expensive for us all to do. We can’t afford not to do it, but it’s expensive for us to do, I guess is probably a better way to put it. We need the assistance of our forest industry.\nOne of the balancing acts of some of the projects that we have funded is the importance of the irrigation districts and the watershed groups in and around the Okanagan. We’ve funded some planning and some treatments that either we have done or have been picked up by the wildfire risk reduction program by the Province, to recognize how important the watersheds are – not only for the public but your agricultural industry in the Okanagan.\n\nI am so excited and happy to see that the importance of wildfire risk reduction is getting out in the public eye. Because it can be forgotten so quickly. I saw that in my career as a fuels management specialist – if we didn’t have a fire last year, nobody cared. All I care about is I’m going to go canoeing and camping have a campfire. And, all of a sudden, we get smoked out. It’s a really lousy summer. You know, in Kamloops, I think in Kelowna it was the same there: we got robbed of a summer. In so many different ways. Either we knew somebody who was impacted from an evacuation, or, in my household, people had trouble breathing. It was just one of those things. So, you know what, I think this is critical that we’re getting this out to the public eye, and I think it’s important to all of us who live near, in, around the wildfire-urban interface, those who recreate in BC’s forests: we all have a role in reducing the starts and supporting the activities that our leaders actually want to get done to reduce the likelihood of fire in your neighborhood. That’s the key thing for me. [Music Changes]\n\n39:28\tJudee Burr, Interview, January 2022:\tDid you ever work on any fires in the Okanagan?\n39:31\tKelsey Winter, Interview, January 2022:\tYes. [Laughs] Of course. As a firefighter in British Columbia, that’s like a rite of passage. There’s fires in the Okanagan season, right, it’s just an eventuality, right?\nMy name is Kelsey Winter. I work for the BC Wildfire Service in the Province of British Columbia in Canada. And I’m also the chair of the BC FireSmart Committee.\n39:57\tJudee Burr, Interview, January 2022:\tDo you have any stories from some of the first fires that you worked on?\n40:02\tKelsey Winter, Interview, January 2022:\tYeah, I have quite a few stories. I’m trying to think of a good one. We got a report of a fire way, way up a Forest Service Road. No helicopters. It’s the middle of the fire season. There’s more important targets elsewhere. We’re probably on day 12 of working, so people are pretty tired. We drove up there regardless. It took us quite a while. This was not a very well-maintained FS, Forest Service, road. So there’s potholes that could sink your entire vehicle if you weren’t careful. Got up to where it was, thankfully not a big hike from the forest service road – no water anywhere. And we’re talking anywhere. A helicopter that was bucketing on another fire was able to come by and say, yeah, the best place to get water is way back down the road you just drove up on. And so we went all the way back down, filled up our tank and then on the way up, got a flat tire. Got a flat tire. So we’re perched on a super steep section of the road, obviously can’t change the tire without emptying the tank. So all of the water we just went and got, we dumped all over the road so that we could change the tire. Drove all the way back down. Thank goodness the fire was like in some pretty gnarly slash and some bigger growth. So it hadn’t taken off – because it we were not very quick on our initial attack. But yeah, we did it, went back down, got more water, drove all the way back. It was challenging. But that was one of my very first ones too – I was like, are they all going to be like this? Holy…\nThe one I think of the most, Smith Creek, fire in the Okanagan, I was there with an incident management team. We were pretty sure we’re going to lose neighborhoods. It’s scary. It’s a scary place to fight fire because it’s so populated, right, and the fuel type there is not an easy one to stop when it’s hot and dry and windy, right?\n\n42:09\tJudee Burr, Interview, January 2022:\tIs there anything that stands out to you from working in this Valley?\n42:13\tKelsey Winter, Interview, January 2022:\tI think for me, in my job now too as the FireSmart Program Lead, the Okanagan for me is always like – if we’re succeeding in the Okanagan, that’s a really good indicator that we’re succeeding. [Music Changes] Because it’s somewhere that’s always going to be impacted by fire. Somewhere that historically has had some of the worst fires that have really heavily impacted the populations. It’s a tourist center. It’s economically a super important area of British Columbia. I think it’s kind of where all of those things converge. One of the things with FireSmart that I say all the time – that everybody that lives and breathes FireSmart does – is that it’s not a disaster unless homes are involved. And in the Okanagan homes are involved. You know, it’s populated, there’s people, everybody lives in the wildland-urban interface..\n43:06\tJudee Burr, Interview, January 2022:\tYeah. Can you think of any particular stories or projects that are happening in the Okanagan with FireSmart? I don’t know if there’s any like specific, place-based stories that you have of doing this work in this area.\n43:25\tKelsey Winter, Interview, January 2022:\tYeah, so in BC our primary funding program for FireSmart is the Community Resiliency Investment Program, and it’s run through UBCM, which is the Union of BC Municipalities. But basically it provides up to 150 thousand dollars per community to do FireSmart work or fuel management work, which is amazing. And the eligible activities within that program, you know, you can do assessments, you can replace the cedar shake on your roof, you can make those small changes that – you can change bylaws, you know. Create a position that’s dedicated to FireSmart. Cross-train, so you get your fire department staff out with your wildfire staff and make sure that they know how to handle each other’s equipment, that kind of thing. And the Okanagan has quite a few areas that have been involved in that that grant funding for a long time. Penticton has probably one of the best FireSmart programs in British Columbia. They have a van that’s a FireSmart van, they have community events, they have year-round positions. They have by-laws that are in place that enforce FireSmart principles if you live in Penticton. So they’ve really gone above and beyond.\nKelowna is really involved in the program. They have the Home Partners program there, which is detailed mitigation assessment of individual homes. The homeowners are provided a report, and then they are able to go do those mitigation recommendations on their property, and then they get a certificate at the end that says you’re a FireSmart property that they can then use for their insurance. So Kelowna is really involved. I can’t list all of them. But there’s a ton of great areas in the Okanagan that have really adopted the program, and I think that’s, like you were saying earlier, that’s because of living in the Okanagan. They understand it’s something that’s always going to be there, right? [Music ends]\n\nThere’s a project that we started last year through the BC FireSmart committee and it’s doing research in the wildland-urban interface on structure ignition. So, basically, getting more data on why some structures ignite and why some don’t. So when a wildfire moves through a community, why are there those – you see the pictures, especially more out of the US, but even in Lytton – of that one house on that row that’s still standing, and the others that are gone. And I went to a couple fires this summer in the Okanagan with the research team, and it was crazy to see the little things. Like – maintained green grass. So, someone who just mowed their grass, you know, might make a huge difference, might be the reason why that house was still there and the one beside it was gone. Or things like, all their lawn furniture was pulled away off their deck, or their deck was sheathed in. And so, to me, being there and actually seeing those structures – the one that’s just ash and all you can see is bricks that were there on the chimney stack and everything else is gone – next to the one that is still there. That’s some pretty powerful stuff. I was saying to the researchers, you’re coming home and you’re walking down your driveway, and you have this idea of what’s going to be at the end of your driveway. It would be so I think reassuring to a member of the public – and we talked to a few of them – that were like, ‘I did everything I could like. When I left that house, when I was told to evacuate, it was FireSmart to the best of my abilities.’ Like, ‘I was confident leaving that house that I had given it the best chance I had of coming back to it.’ Versus someone who is thinking ‘Oh man, the propane tank was right up against the house’ or, you know, those little changes. Or ‘the windows were open’. I think that was pretty powerful for me this summer, just seeing what people were going to end up coming home to right. [Music Begins] And what we can do as a program to encourage them to make those changes ahead of time, right? When they still have time to do it.\n\n47:52\tRecording, Sharon Thesen:\t[Thesen reading the final sections of her poem “The Fire,” from Amy Thiessen’s digital edition of the poem.] … And now once more the wind is blowing [Music ends] and the fire surges upon the town and the countryside the dear historic what was lovely the firs and the pines, etc. the brown rabbit hopping the canyon road to the railway trestles where we took our brother and our mother on a Sunday or a Wednesday with its tall ears standing up I would comfort if I could but would have to wrestle it down and feel its sacred heart pounding A stubble of blackened shards where magpies fly, try to settle—in autumn light pine sap looks blue against bark’s carbonic crust and a spray of brown needles on the forest floor we pretend are a carpet of grass and not a scorch of tears upon the miles of roots that smolder still in molten maze where a bluish haze appears to mark [Music begins] the transit of ghosts and giants who left an arsonist’s hoard heaped extinct to matchsticks leaning tip to tip\n49:34\tMusic Interlude:\tJohn Lent singing a cover of Bob Dylan’s “All Along the Watchtower” from the Lent Fraser Wall Trio’s album “Shadow MoonThere\n50:12\tJudee Burr, Interview, January 2022:\t[Music Ends] I’m curious to hear more about this homemaking in a fire-prone place. Can you say more about actually writing “The Fire,” and about how home and making a home in the Okanagan came through in the poem?\n50:30\tSharon Thesen, Interview, January 2022:\tI think my sense of being at home in the Okanagan at the time that I wrote that poem was still really new and fresh, because we had more or less just moved there. We didn’t know that many people, except for June and David. And there’s another little section of my little piece that I call “My Friend June” that I can read – because for me, home is people too. It isn’t just my house. My memory of that time is as much about June as it is about the fire, and the two events coincide so deeply in my memory of the time.\n51:22\tJudee Burr, Interview, January 2022:\tSharon read from her essay “My Friend June”, which is published in a collection called Locations of Grief. June got sick with cancer and passed away two and a half years after she and Sharon lived through the Okanagan Mountain Park Fire together. Sharon and I talked about the importance of her friendship with June, and Sharon told me about an event that she and June organized to bring people together after the fire.\n51:48\tSharon Thesen, Interview, January 2022:\tSo after the fire, June and I decided we should get some people together. Because everybody, this entire city, had been traumatized and then we’re just all kind of sitting there. So why don’t we get some people together to talk about their experiences, share their experiences of the fire? I don’t know why. So, we organized this and made posters and sold tickets. I got on the phone to the local helicopter company and asked if somebody be willing to speak about being a helicopter pilot, putting out fires. Indeed, this one fellow did come, and it was fascinating. We got Patrick Lane, who used to live in the Okanagan. Wonderful poet who was living on Vancouver Island, but he came up and read. John Lent’s quartet came and played afterwards – and the place was packed. It was just a relief. It was a relief, to be with other people and talk about this. Cry, and everything.\n52:56\tJudee Burr, Interview, January 2022:\tI keep thinking about what is powerful about poetry and art and literary work that has to do with fire, and why it’s important to have a space for these kind of fire humanities reflections. This gathering that you organized seems to embody a lot of what feels powerful about it. Like, this ability to use language to notice together, and also the way that poetry can bring people together, and literature and music. Do you have other reflections on what the humanities have to offer and what poetry has to offer in communities that are fire-adapted and live with fire?\n53:41\tSharon Thesen, Interview, January 2022:\tI think what writing does and maybe poetry even more so is [Music begins] it brings to life the particulars of an experience. Not just the generalities about it or some aspect of it, but actual, real particular things. From particular feelings, to particular objects, to particular relationships. Where there isn’t this sense that okay, if it’s a poem about the fire, it has to be about “the fire.” When the fire is just part of what’s happening. So, I think what poetry does is restore us to the real. Restore us to who we are as feeling, perceiving, spiritual beings – and reminds us of the value of that. And that’s not a trivial thing. Like I was saying earlier, what we care about is tremendously significant. And we have to keep remembering what we care about. Because we’re often misled by things that are impossible to care about. Who can care about an abstraction? Who can care about some general office language about this, that, and the other? Maybe the people working there need it to do whatever they have to do. But it’s just an aspect. It isn’t the fullness of the real. What we share are these particularities in our experience. And that’s what holds us together. I don’t know. It just seems that sometimes these terrible things happen. When we were together at the Rotary Centre afterwards, we were together again, as human beings who’d experienced a calamity. But I think what is at risk now is precisely that separation of home and people. And I think when that happens it’s very hard to restore. [Music Changes]\n56:52\tJudee Burr, Narration:\tThe Okanagan based Lent Fraser Wall Trio played music at the gathering that Sharon and June organized in 2003. You’ve been hearing parts of their cover of Bob Dylan’s “All Along the Watchtower” in this episode, used here with permission of John Lent. The rest of the music in this episode is from Blue Dot Sessions. You also heard a selection from Sharon Thesen’s poem The Fire in this episode, recorded for the digital edition of the poem created by UBC Honours English graduate, Amy Thiessen. You can view the digital edition of the poem and hear Amy’s interview with Sharon at sharonthesenthefire.omeka.net. In this episode, you been listening to my conversations with Sharon Thesen, Mathieu Bourbonnais, Daryl Spencer, Dave Gill, Jeff Eustache, Gord Pratt, and Kelsey Winter. We spoke about living through severe wildfire events and about how to protect communities from wildfire danger. You can get going today to prepare yourself and your home for wildfire events, and there is great information on the FireSmart Canada website about this, at firesmartcanada.ca. You can listen to many of my full interviews on my thesis project website, listeningtofirepodcast.ca. You can also find the transcripts of those interviews there, and transcripts of each of these episodes. The episode transcripts include citations for my research. This research was supported in part by the Government of Canada’s New Frontiers in Research Fund through UBC Okanagan’s “Living with Wildfire” Project. I’m Judee Burr, and thanks for listening. [Music continues and fades]\n58:56\tKatherine McLeod:\t[Start Music: SpokenWeb Theme Music] The Spoken Web podcast is a monthly podcast produced by the Spoken web team as part of distributing the audio collected from and created using Canadian literary archival recordings found at universities across Canada. Our producer this month is Judith Burr, PhD student in geography at the University of British Columbia. You can listen to her full podcast by searching “Listening to Fire Knowledges in and around the Okanagan Valley” in your favorite podcast app. Our supervising producer is Kate Moffatt, our sound designer and audio engineer is Miranda Eastwood, and our production manager and transcriptionist is Kelly Cubbon. Judee would like to extend a special thanks to the SpokenWeb project team for teaching her so much about podcasting, and to her thesis co-supervisors Karis Shearer and Greg Garrard, who encouraged her and supported her as she created a thesis in the form of a podcast. To find out more about SpokenWeb visit: spokenweb.ca and subscribe to The SpokenWeb Podcast on Apple Podcasts, Spotify, or wherever you may listen. If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Stay tuned to your podcast feed later this month for ShortCuts with me, Katherine McLeod—mini stories about how literature sounds."],"score":1.0},{"id":"9593","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S4E2, The Night of the Living Archive, 7 November 2022, Makarova"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/the-night-of-the-living-archive/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 4"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Liza Makarova"],"creator_names_search":["Liza Makarova"],"creators":["[{\"url\":\"\",\"name\":\"Liza Makarova\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/fb141e0b-924d-4e1f-8ea4-d1b28a057963/audio/c5a844a6-1623-443d-ba91-bb326cefe213/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"s4e2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:49:16\",\"precision\":\"\",\"size\":\"47,303,828 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s4e2\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/the-night-of-the-living-archive/\"}]"],"Dates":["[{\"date\":\"2022-11-07\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"},{\"date\":\"2022-11-07\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"In For Instance Radio Show: Literary Arts Program Interviewing Fred Wah, https://fredwah.ca/node/431\\n\\nPoetry Reading – March 8, 1979, https://new.fredwah.ca/node/438\\n\\nFred Wah: Classroom Conversation on March 9, 1979\\n\\nWah, Fred. Mountain. Buffalo, NY: Audit/East-West, 1967. Print.\\n\\nhttps://fredwah.ca/content/mountain\\n\\nWah, Fred. Limestone Lakes Utaniki. Red Deer, AB: Red Deer College P, 1989. Print.\\n\\nhttps://fredwah.ca/content/limestone-lakes-utaniki\\n\\nWah, Fred.”Limestone Lakes Utaniki.” Karabiner: the Journal of the Kootenay Mountaineering Club 30 (1987): 9-12. Print. https://fredwah.ca/content/karabiner-journal-kootenay-mountaineering-club-30\\n\\nWah, Fred. “Limestone Lakes Utaniki” So Far. Vancouver: Talonbooks, 1991. Print.\\n\\nhttps://fredwah.ca/content/so-far\\n\\nWah, Fred. “Don’t Cut Me Down” Tree. Vancouver: Vancouver Community, 1972. Print.\\n\\nhttps://fredwah.ca/content/tree\"}]"],"_version_":1853670549780168704,"timestamp":"2026-01-07T14:59:54.290Z","contents":["What better way to understand the archival state of a poem than to ask it? \n\n“The Night of the Living Archive” is an audio drama/mock interview between research assistant Liza Makarova and Fred Wah’s poems Mountain (1967), Limestone Lakes Utaniki (1987, 1989, and 1991),  and Don’t Cut Me Down (1972), which currently live in the Fred Wah Digital Archive (fredwah.ca). \n\nPoems within the archive are independent documents that live incredibly interesting lives that are celebrated within this episode. Over a series of three interviews, Liza invites these poems, drifting in “the Great Universal Archive,” to speak about their existence in the digital realm. These poems are given the opportunity to speak their minds  on topics such as how digital archives are treated, the poems’ complex histories, and their relationships with each other on a literal and literary level.\n\nThis episode will also present excerpts of Fred Wah’s archive of audio recordings, ranging from his 1979 Poetry Reading Series to an interview which aired at a literary arts radio show in Calgary. As an artist, educator, and writer, Wah has built an incredible social network throughout generations through his poetry, which has the capacity to tell its own story.\n\n\n(00:04):\tSpokenWeb Podcast Theme Music:\t[Instrumental Overlapped With Feminine Voice] Can you hear me? I don’t know how much projection to do here.\n \n\n(00:19):\tKatherine McLeod\tWhat does literature sound like? What stories will we hear if we listen to the archive? Welcome to the Spoken Web Podcast, stories about how literature sounds. [End music: SpokenWeb Podcast Theme Music].\nMy name is Katherine McLeod and each month I’ll be bringing you different stories of Canadian literary history and our contemporary responses to it created by scholars, poets, students, and artists from across Canada. Do you ever wonder what a piece of literature is thinking? What better way to find out research assistant Liza Makarova realized, than to ask?\n\nAnd in this episode of The SpokenWeb Podcast, Liza does exactly that. Three of Fred Wah’s works that live in the Fred Wah Digital Archive are given voice as Liza interviews them about their lives. Mountain from 1967, Limestones Lakes Utaniki from 1987, 1989 in 1991, and “Don’t Cut Me Down” from Tree in 1972. What is a typical day in a digital literary archive? In this episode, Liza imagines how the preservation of a digital archive can impact the works that it holds and what the relationship between multiple versions of a work in an archive could look like and sound like.\n\nThe episode cleverly and creatively examines the shape of print and digital archives and their preservation and engages in questions of textuality and performance. It dives into the lives of these literary works and how they have shifted and changed over time, and how they feel about this new age they live in. Our producer, Liza Makarova is an undergraduate student at Concordia University in the honors English and Creative Writing Program, and a research assistant on the SpokenWeb affiliated project, “Mapping social bibliography in the Fred Wah Digital Archive.”\n\nThe Fred Wah Digital Archive is a bibliography and repository for the works of Canadian writer Fred Wah. This episode features archival audio of Wah and the voices of the students, researchers, and scholars on the “Aapping social bibliography in the Fred Wah Digital Archive” Project. Here is episode two of season four of the SpokenWeb Podcast, “The Night of the Living Archive.”\n\n \n\n(03:25):\tArchival Recording Fred Wah In Class Conservations – March 9,1979\t[Sound Effect: Sound of a tape clicking shut]\nSteve McCaffery, a Toronto sound poet, and I have been having discussions about the mutations or mutability of a poem. He is now writing poems which, at a certain point, the poem reaches the pages and he admits that: “Okay, at one stage in a poem’s life it belongs in a book or on a page in type, but there are further stages to that poem’s life.”\n\n[Sound Effect: Tape Clicking Shut]\n\n(04:07):\tLiza Makarova\t[Start Music: Upbeat Percussion]\nHello, SpokenWeb Podcast listeners! My name is Liza and I am an RA for a Spoken Web-Affiliated Project called “Mapping Social Bibliography in the Fred Wah Digital Archive” led by the brilliant literary editor, researcher, Concordia doctoral candidate, and archivist, Deanna Fong. Fred Wah is an extraordinary experimental poet, professor, literary critic, editor, and community literary legend currently based in British Columbia but he has connections all throughout Western Canada.\n\nHis poetry, prose, and scholarly work has been in circulation since the 1960s. Various researchers, developers, and academics have been involved with his digital archive, building off the work of Susan Rudy, who initially started the Fred Wah Digital Archive around 2006 after starting the paper archive in the late 80s/early 90s. Working on the archive of a writer who is still active is a curious and special thing. If we have a question about something or need more context, we can directly contact Fred for support.\n\nPlus, the archive is still growing as we add his recent collections. I used to think of an archive as something purely historical, out of date, a storage room. But ever since I started working on the Fred Wah Digital Archive I realized that archives are incredibly dynamic and ongoing spaces. I would even go as far as to say that most digital archives… [End Music:Upbeat Percussion] are living. //\n\nI first noticed it when I was organizing a dataset in the backend of the site. I was having some trouble with finding older entries so I could update them, nothing was coming up when I was searching for a couple of his poems. I decided to refresh the page when all of a sudden I heard a voice. I thought I was hallucinating from too many all nighters but then I heard it again. “Hey! Don’t do that! We’re trying to bring our brother over from our old place. He’s stuck in the search box,” I looked and the site URL was replaced by the text for one of Fred’s poems called “Artknot 14”.\n\nI quickly copied and pasted him into a new entry and heard cries of joy from the reunion. They asked how they could repay me and I said by letting me interview a couple of them…for research. They said okay, if Fred said okay and Fred said okay as long as the poems get back before 8am the next day because they have a lecture to attend together. Today, I have the deepest honor and pleasure of speaking to three of Fred Wah’s collections and poems from the Digital Archive. First off, I would like to introduce Mountain, a collection of Wah’s poems from 1967.\n\n(06:44):\tComputerized Voice:\t[Music Interlude: Synthesizer] Hello and welcome to the Fred Wah Digital Archive. Please sit closer to your device to proceed onto the liminal speaking platform.\n(06:53):\tLiza Makarova\tUh, like this?\n(06:55):\tComputerized Voice:\tExactly. Who can I connect you with today, past, present, or future?\n(07:00):\tLiza Makarova\tI would like to speak to Mountain, please. From 1967.\n(07:04):\tComputerized Voice:\tUnderstood. Mountain is now loading. [Sound Effect: Computer whirring]\n(07:14):\tMountain\tUh, hello?\n(07:16):\tLiza Makarova\tHello, and welcome to the podcast.\n(07:18):\tMountain\tHello. Hello.\n(07:20):\tLiza Makarova\tOh, what’s up? How’s it going?\n(07:22):\tMountain\tI’ve been good. Coasting. What about you?\n(07:26):\tLiza Makarova\tYeah. Mm-hmm. Not much, but, but good. Okay. I’m just gonna jump right in. How long have you been in the archive?\n(07:34):\tMountain\tThat’s a difficult question.\n(07:36):\tLiza Makarova\tHow so?\n(07:37):\tMountain\tWhat archive are you talking about?\n(07:39):\tLiza Makarova\tOh, well, the Fred Wah Digital Archive.\n(07:42):\tMountain\tAh, okay. You see, saying the archive without specifying which one usually signifies the whole universe.\n(07:49):\tLiza Makarova\tThe archive is the whole universe?\n(07:52):\tMountain\tPrecisely. As soon as something is made, even if it was just a second ago, it becomes part of the archive.\n(07:59):\tLiza Makarova\tThe great universal archive. It seems vast and overwhelming.\n(08:05):\tMountain\tIt is, but that’s why you exist, right? To keep it all organized?\n(08:10):\tLiza Makarova\tYeah, and I guess it is.\n(08:12):\tMountain\tAnyway, to answer your question, I’ve been around since the beginning of Fred’s archive, but not the archive. Moving from platform to platform since 2008. Then in 2015, and now again in 2022.\n(08:23):\tLiza Makarova\tBy platform you mean website, right?\n(08:26):\tMountain\tMm-hmm.\n(08:27):\tLiza Makarova\tWhat’s it like in Drupal 9 in general, but also compared to previous platforms?\n(08:33):\tMountain\tSo far it’s not too much different from other places we’ve lived. Think of moving from a duplex to a townhouse.\n(08:39):\tLiza Makarova\tInteresting. What about the jump from Drupal 5 to Drupal 7?\n(08:43):\tMountain\tWe call that period… [Ominous music starts and then ends] the dark times. The age of Link Rot.\n(08:55):\tLiza Makarova\tLink Rot? Can I ask what happened?\n(09:00):\tMountain\tNovember 6th, 2013. It was a Wednesday and we were getting quite a lot of visitors because of “Diamond Grill”, Fred’s 1996, semi-fictional biography. Since everyone was trying to figure out that Lorde song by looking up the lyrics, “I’ve never seen a diamond in the flesh.” It was at the top of the charts, you know? That was our last normal day for a while.\nWe noticed something was wrong right away after that, Susan Rudy, Darren Weshler, derek beaulieu, Bill Kennedy and a group of researchers like you were always active on the site. In fact, from 2009 to 2013, even the public could submit pitches and bibliographic material to the site. We became accustomed to this very caring community. We knew something was wrong when sections of the archives started to get dark. We literally could not see them. Poems, which were friends of ours, literally started to disappear.\n\nNothing seemed to work properly and the quality of our space gradually decreased as no human was working on the archive at the time. By working, I mean what you humans call maintaining the site by updating it to the right versions of Drupal, editing data sets and uploading new ones. As our website link died, so did our connection to the digital ecosystem. We were lost in space and time. For a human it would be like if you were stranded and then your phone dies.\n\n(10:16):\tLiza Makarova\tAnd that’s Link Rot? It almost sounds like a  loss of identity or not being able to properly take care of yourself.\n(10:24):\tMountain\tIt’s exactly that. But one day it all changed. We don’t celebrate a lot of holidays over here at the Fred Wah Digital Archive, but we do celebrate the summer of 2014. [Calming, ethereal music begins]\nSuddenly two new users logged into the site and then a huge group of student researchers, archivists, and designers followed. After a month or so, we were launched onto a whole new platform.\n\n(10:46):\tLiza Makarova\tWell, yeah. Hearing  the project start up again in 2015 from your perspective is so special. I’m really touched. Thank you.\n(10:54):\tMountain\tOf course. We’re very, very lucky to have been supported and taken care of for so long, and that there were people like Deanna Fong and Ryan Fitzpatrick who were able to get more funding and get us back on our URL. [Music ends]\nIt’s hard to imagine the number of archives, especially ones about tracking social relationships in the literary world that go under. All of those fellow poems suddenly go dark and disappear.\n\n(11:16):\tLiza Makarova\tAnd why do you think that Fred Wah’s Digital Archive has lasted so long?\n(11:21):\tMountain\tOur versatility, our literary community, the longest breath of all.\n(11:27):\tLiza Makarova\tWhat was the best part about being rebooted?\n(11:30):\tMountain\tI would say the most special part was being reunited with collections who were still in the process of being digitized in 2013. Seeing them in the digital realm was miraculous.\n(11:40):\tLiza Makarova\tAw, one big family reunion.\n(11:43):\tMountain\tYes. It was such a happy but interesting day.\n(11:47):\tLiza Makarova\tOh?\n(11:48):\tMountain\tWell, Fred wrote, recorded and performed new work while the archive was down. There were a lot of first time introductions to be made as this new work, which was very well received and known in the public, was unknown to us in the archive. Making space for them in Drupal 9 was easy though.\n(12:04):\tLiza Makarova\tYou know, that’s actually something the current team is working on right now.\n(12:07):\tMountain\tOh, are you digitizing more archival material?\n(12:11):\tLiza Makarova\tYeah. Over the summer, the humans working on the archive went to Vancouver to work in the SFU Special Collections. We went over the digital archive and found what didn’t have a cover or a textual scan, pulled it from the collections and scanned it. While we were there, we formally met the SFU Fred Wahl Archival human team and hosted a public talk about what it was like to work on a “so-called” living archive. We called the conversation “Mountain Many Voices: The Archival Sounds of Fred Wah.”\n(12:39):\tMountain\tHow original [Mountain and Liza laugh] That’s super sweet.\n(12:44):\tLiza Makarova\tYeah, we mostly talked about Fred Wah’s audio fonds, which are a collection of his audio tapes and recordings. At the end of the trip, we brought home a lot of good memories, new scholarly knowledge, and a USB full of archival material.\n(12:57):\tMountain\tI’m looking forward to the reunion as well as a new design of the site. We’ve all been chatting about this a lot. I’m most excited for the audio recordings to get their own page. They do not respect after hours noise regulations. [Mountain and Liza laugh]\n(13:12):\tLiza Makarova\tSpeaking about having a page of one’s own, how does the way we organize the archive affect the relationships between the various poems on the site? Do you feel like being represented on separate pages/links isolates you from specific contexts?\n(13:26):\tMountain\tI mean, not really. We already represent different places and time periods depending on when we were created.\n(13:32):\tLiza Makarova\tCould you clarify what you mean by created? Do you mean when/where you were published or when/where you were written?\n(13:40):\tMountain\tDo you really think there’s a difference? Where do you think we came from?\n(13:45):\tLiza Makarova\tI guess from Fred Wah, but the thing about his work, about you, I guess, is that his writing is really inspired and contextualized by the environments he grew up in. His Chinese Canadian heritage, the politics of the time and the social groups, he was, and still is a part of.\nI’m a writer myself, so I really like to compare it to the textual art of embroidery. You have this base, which is like a book website or even a single poem, and you’re using all these threads that you’ve collected by living life to weave together these art forms. Oh, sorry. That was really long winded.\n\n(14:22):\tMountain\tNot at all. I quite miss the wind actually.\n(14:30):\tLiza Makarova\t[Liza blows into the mic to simulate the sound of wind blowing] Is this helping?\n(14:32):\tMountain\tIt’s the thought that counts. You’re really making me think about my home and my fellow poems. We’re all so different from each other, in conversation with each other, but also in comparison or reference to other pieces of art, music and writing. These influences can be hard to highlight in print, but the vastness of a digital archive creates a lot of space for these intimate connections to receive the attention they deserve.\n(14:55):\tLiza Makarova\tI would love to know more about what it’s like in the actual digital space.\n(14:58):\tMountain\tWell, we live in a five story house. Each floor is labeled by sections A through E.\n(15:04):\tLiza Makarova\tRight. We call that the bibliography. For those who might want more clarification, a bibliography is essentially a list of everything a writer ever wrote. What are your thoughts on how you’re currently organized?\n(15:15):\tMountain\tI really like it. It’s what I’m used to, you know? Archival work has always kind of been a thing, but digital archival work is super new. Susan, as in Susan Rudy, started this digital archive with a team of researchers in 2006. Fred has always had an organizational system, so we got used to who we were surrounded with, who’s in the neighborhood. Thankfully, Susan made sure that when we got digitized, the same system was put in place, hence our bibliography. [Soft warm music begins to play]\nI’ll never forget the feeling of being scanned for the first time. I think you can imagine it as an x-ray. I’m pretty old, so I’m not used to any of those things. I thought that laser scanning would be the end of me, but instead it was the beginning.\n\n(15:59):\tLiza Makarova\tI can only imagine how that might have felt. [music ends]\nWhat about migrating? What is it like to migrate onto version 2.0? How did it feel?\n\n(16:07):\tMountain\tKind of feels like a huge family road trip.\n(16:10):\tLiza Makarova\tOh, that’s really sweet.\n(16:12):\tMountain\tYeah. Yeah. I’m pulling your leg. Assuming that it is pullable. It was quite a long process since we can’t all just move at once. There are a lot of steps involved to make sure everything goes smoothly. Think of migrating from site to site like this. You’re moving boxes from one shelf to another, but the other shelf has slightly different dimensions, so you have to make certain adjustments to make sure everything fits again. Then again, these spaces can be filled with new software updates that improve the overall functionality of the site. It’s like moving into a bigger house, so now you have space for that vintage standing lamp you’ve always wanted.\n(16:47):\tLiza Makarova\tWow. I just love hearing your thoughts on all this. As we discussed, digital archives are a really incredible tool to showcase and disseminate the oeuvre of writers who use multimedia such as audio, visual arts, and small press publishing. You mentioned earlier that due to the age of Link Rot, newer material didn’t get on the site until a couple years after they were published, so I’m not quite sure who makes the calls inside the archive, if someone or something like that exists for you, but out here we have something called for-profit publishing companies.\n(17:21):\tMountain\tHmm, Yes, the InPrint books or the LabuorLeaflets, if you’re trying to be a part of the open source movement.\n(17:28):\tLiza Makarova\tThe movement… [Liza hesitates before going on] [whispering]  Can we talk about this near a recording device?\n(17:33):\tMountain\tOf course. I think more people should know about this. Here in the archive, no one is in charge, no anthology name or chatbook is more important than the community that we make up. But it’s true that outside of the archive, some work is still in print and therefore under institutional control.\n(17:50):\tLiza Makarova\tRight. We can’t scan or upload anything still circulating for the public to purchase. Does that make you sad or feel anything in particular?\n(18:00):\tMountain\tIt’s simply a phase of our lives and the archive is hopefully the next.\n(18:04):\tLiza Makarova\tWould you consider the archive as your home at the moment?\n(18:08):\tMountain\tIt’s definitely not a permanent home. I don’t think something like that exists for anything. Like for you, where would you consider home? Where you were born, where you grew up, where you are now, or where you’ll end up? Like a retirement home. Nothing and no one stays somewhere forever, or at least a part of them is always somewhere else.\n(18:28):\tLiza Makarova\tCould you expand on what you mean by a part of them is always somewhere else? [Mountain sighs deeply]\nOh, are you? Are you talking about, I don’t know if I’m allowed to say this…\n\n(18:42):\tMountain\tOh, just say it.\n(18:43):\tLiza Makarova\tAre you talking about your body?\n(18:46):\tMountain\t[Soft piano music begins to play] Yes. I miss it a little.\n(18:50):\tLiza Makarova\tHardcover or paperback?\n(18:53):\tMountain\tWell, that’s a little personal. [Music ends]\n(18:54):\tLiza Makarova\tI’m, I’m sorry. So your body, your physical presence on earth. Would you consider that your home? Okay. Maybe a better question would be what about the present digital archive feels like home compared to the physical one?\n(19:07):\tMountain\tThe relationship is a little tense. I mean, my physical body is kept in a temperature controlled room in the Simon Fraser Special Collections. While my contents and consciousness have been bloated to a nebulous space. I really can’t tell which is more permanent, the internet or the real world. What I like about being in a digital archive, that I hope you humans listening can also appreciate, is how open it is. There are no clear boundaries about where I start and where I end.\nPlus maintaining a literary archive in the real world can be a lot of work. I mean, I can only imagine how hard it is to keep 50 books open at the same time, or even worse, to never be opened again. In the digital space, we keep ourselves alive, always ready. There is no rest for the digital archival poem. The internet is a busy place. Sometimes it’s nice to dissociate for a little and reconnect with my physical form. [Soft piano music begins to play] To feel the chill of my spine, to stretch out my pages when someone brushes by. Sadly, in a physical archive, I’m not relevant until someone needs something from me. [Music ends]\n\n(20:15):\tLiza Makarova\tThat’s not true. You’re an artifact. You’ve survived so much. We don’t need to be needed in order to be important. The fact that you still exist and people who didn’t even exist in the sixties can interact with you is really special.\n(20:30):\tMountain\tThank you for that.\n(20:31):\tLiza Makarova\tOf course, I don’t do this just because I like to keep the great universal archive organized. I’m also passionate about the preservation of literature.\n(20:41):\tMountain\tI actually have a question for you now.\n(20:43):\tLiza Makarova\tOkay. Go ahead.\n(20:44):\tMountain\tWhy do you have to put our dimensions and everything up on the digital archive? Do people really need to know how much I weigh, and how truthful is it to say that I’m 22 pages long when the PDF actually compresses me down to 20?\n(20:57):\tLiza Makarova\tWell, that’s metadata.\n(20:58):\tMountain\tData can be existential.\n(21:00):\tLiza Makarova\tNo, it’s data about data.\n(21:02):\tMountain\tThat’s kind of existential.\n(21:04):\tLiza Makarova\tI guess so. The reason why archivists and researchers need to collect and display metadata is so that it’s easier for users to find the information they’re looking for. The process of creating metadata from large and various sets of data is kind of like creating a dating profile.\nA person, just like a data set, is complex and often holds a lot of information at once. Metadata is specific details about information rich material that is formatted and categorized so it’s accessible, easy to find and descriptive.\n\n(21:36):\tMountain\tWell, when you put it that way, I can see how it reduces the amount of smalltalk I have to do when someone new comes to the site.\n(21:42):\tLiza Makarova\tExactly. By using the search bar, any user can just type in what they’re looking for in terms of genre, length, or collaborator, or all the information can be found just by looking at you.\n(21:53):\tMountain\tI gather slightly similar information about our users.\n(21:56):\tLiza Makarova\tOh, like what?\n(21:58):\tMountain\tWell, I know that you all have good taste. [Mountain and Liza laugh]\n(22:03):\tLiza Makarova\tWell, it has been an absolute pleasure to speak with you, Mountain 1967. Before I let you go, I have one last question to ask you. Can you describe existing in a digital archive in one or two words, even?  If you can, of course?\n(22:22):\tMountain\t[Mountain takes a deep breath] Freedom. [Soft piano music plays briefly and then fades out]\n(22:36):\tFred Wah, In Class Conversations – March 9, 1979\t[Sound effect of a tape being put into a tape player]\nAnd maybe you, maybe, maybe people have some opinions on, you know, paying for literature or poetry. Uh, I mean there, you know, there’s a pretty good argument for saying that poetry belongs, because it’s language, it belongs to everyone. It belongs to all of us. [Sound effect of a tape ending]\n\n(22:54):\tLiza Makarova\tUh, hello? um, com-computer voice?\n(22:58):\tComputerized Voice:\tHi.\n(22:59):\tLiza Makarova\tMay um, may I please speak to “Limestone Lakes Utaniki?”?\n(23:03):\tComputerized Voice:\tWell, does it wanna speak to you?\n(23:06):\tLiza Makarova\tOh, yes? It agreed to meet with me, so I think…\n(23:11):\tComputerized Voice:\tOkay, I see you on the list. “Limestone Lakes Utaniki” is loading.\n(23:15):\tLiza Makarova\tThank you.\n(23:18):\tComputerized Voice:\t[Whirring noise begins] They have now been loaded. [Whirring noise ends]\n(23:20):\tLiza Makarova\tThey? [Music begins]\n(23:25):\tLLU x3\t[Three voices speaking at once] Hello?\n(23:26):\tLiza Makarova\tOh, am I speaking to “Limestone Lakes Utaniki?”\n(23:29):\tLLU x3\t[Three voices speaking at once] Yes.\n(23:30):\tLiza Makarova\tOh, hello. There are so many of you.\n(23:34):\tLLU x3\t[Three voices speaking at once] Yes, but…\n(23:37):\tLLU 1\tUh, yes, but we are not all the same.\n(23:41):\tLLU 2\tWe’re like identical twins with slightly different features.\n(23:45):\tLLU 3\tI like to think of myself as an individual, a lone wolf even, distant from the pack.\n(23:50):\tLLU 2\tOh, so you went from first to second person in 1987, and now you think you’re so different from us.\n(23:56):\tLLU x3\t[Three voices speaking at once] That’s not true!\n(23:58):\tLLU 3\tWow.\n(24:00):\tLiza Makarova\tWell, I’m still so excited to speak with all of you today. It completely slipped my mind that there are so many versions of this collection. My first question for all of you, I guess, is this: The Fred Wah Digital Archive is more than an archive, right? It also explores mapping a social bibliography. So from your perspectives, how does this mapping appear for you?\n(24:25):\tLLU 1\tSo the social bibliography is, well, like a list of everyone who has worked on a project with Fred. Each person is housed under us as either an editor, contributor artist, or as, uh,  someone who was published alongside Fred. However, archival materials are, uh, also housed under the contributor.\n(24:51):\tLLU 2\tOkay. Okay. You’re getting a little wordy. To summarize there’s—\n(24:55):\tLLU 1\tWordy! Aren’t you the one with three extra passages?\n(25:00):\tLLU 2\tTo summarize, you can’t search for information about a specific contributor without also learning about different archival material and vice versa.\n(25:08):\tLiza Makarova\tSo for you, being an independently published poem, as well as appearing in a few different publications means you’ve come across a lot of people.\n(25:16):\tLLU 2\tI’m not sure if “come across” is the right word to describe the relationship the social bibliography has with the literary bibliography.\n(25:25):\tLLU 1\tOh! Oh, I agree. Oh, we’re, we’re not just passing through. The poem is part of the community, just as much as the poets.\n(25:33):\tLiza Makarova\tHmm, I see. So perhaps you could say that you’re not only personally connected to each contributor, but you also make up the bonds that connect people in the Wah-verse.\n(25:42):\tLLU 3\tInside and outside of the Fred Wah Digital Archive.\n(25:46):\tLiza Makarova\tHuh? What do you mean?\n(25:47):\tLLU 2\tWell, think about yourself, for example.\n(25:49):\tLLU 3\tOr the cooler, [clears throat] I mean, cool people that worked on the Fred Wah Digital Archive before you.\n(25:55):\tLLU 1\tOh, we’re always meeting new and familiar researchers as the project gets new team members or when it moves to a different province.\n(26:05):\tLiza Makarova\tWait. So, like you, you know our location?\n(26:08):\tLLU 3\tUm, we weren’t created in a vacuum.\n(26:10):\tLLU 2\tOf course we have a sense of spatiality.\n(26:13):\tLLU 1\tYou could even say that, that spatiality is our specialty.\n(26:21):\tLLU x3\t[Three voices speaking at once] [All three laugh] Good one.\n(26:21):\tLiza Makarova\tOkay. So I know that one of the main features of the archive is to plot and display geographical metadata based on the framework of Fong and Fitzpatrick who revived the Fred Wah Digital Archive in the 2010s. We know how the text, you all, circulated throughout Canada in various time periods. In their words, this sort of research adds another layer of relational information that illuminates literary sociality in a spatial sense.\n(26:48):\tLLU 2\tRight.\n(26:49):\tLLU 1\tI think I know what you’re getting at.\n(26:52):\tLiza Makarova\tBut you’ve also developed a sense of present sociality.\n(26:56):\tLLU 3\tIn order to be in the Fred Wah Digital Archive, you have to have been outside of it at some point.\n(27:01):\tLiza Makarova\tHuh. So since your positionality is currently inside of the archive, how or in what ways are you connected to the um, I guess non-archival space?\n(27:13):\tLLU 2\tCapturing the present is also a way of capturing the past.\n(27:16):\tLLU 1\tI mean, couldn’t every space be considered an archival space?\n(27:21):\tLiza Makarova\tOh yeah, yeah. Right. Sorry. The great universal archive. Oh, okay. So let’s break it down a little bit. You’re all in the Fred Wah Digital Archive, like within the code that’s projected as a legible image in text. But you also exist in various library archives that are in British Columbia and Montreal, because Fred Wah donated his reel to reel tape collections and books to SFU, UBCO and Concordia. But you also absorb information in the homes of everyone who has ever bought, bartered or stole a copy of you- your material.\n(27:57):\tLLU 2\tThere’s a movie like that, right?\n(27:59):\tLLU 1\tLike, um… Everywhere…\n(28:01):\tLLU 3\tAt once.\n(28:02):\tLLU 2\tAt once everything is…\n(28:04):\tLiza Makarova\tEverything Everywhere All At Once-, anyway, what I’m trying to understand is how you feel about your positionality as digitized archival material. In the many places where you are at the moment you are simultaneously in the digital archive, which is a very dynamic place in terms of temporality. How does this huge angle inform your sense of self and how you feel about all the places and people you are connected to?\n(28:29):\tLLU 3\tThe Fred Wah Digital Archive is just like any other place that’s been passed down over time. You always know what kind of person lived prior to you based on how they left the space, and you’re going to be aware of the contributions you personally make in the space.\nSame thing goes for an archive. The research group in Vancouver at SFU are very different from you all in Montreal. They have access to material you don’t, and vice versa. We take note of these distinctions quite literally since it affects how we are presented, but also how people interpret us\n\n(28:57):\tLLU 2\tBy working on the Fred Wah Digital Archive with someone in the same position as you from Vancouver in 2016, automatically makes you affiliated to them in some way, even if you’ve never met before. Internally, we see that by comparing your organization of metadata, use of punctuation, and what information you think should and shouldn’t appear in the archive.\n(29:18):\tLiza Makarova\tHmm. There is definitely a connection between how you track the variation of archival interaction and how we track the development of Fred Wah’s work and community as he moved within different literary milieu’s.\n(29:29):\tLLU 1\tYes, exactly! So to go back to the question about the social bibliography, it is a list of people, but it also represents a network, one that spans across generations and miles, genres and styles, friendships and camaraderie.\n(29:51):\tLiza Makarova\tSo there is an archive of contemporary interconnections within so-called Canada inside of the archive of Fred Wah’s collected works.\n(29:58):\tLLU 3\tIt’s super layered. It’s not exactly clear where the archival text ends and where the social bibliography begins.\n(30:05):\tLiza Makarova\tWhat are your thoughts on being in conversation with so many different people, texts, and environments?\n(30:10):\tLLU 2\tIt’s exciting.\n(30:11):\tLiza Makarova\tI’m so glad. Personally, I think I would feel a little overwhelmed. It’s a lot of information that overlaps. I would be scared of getting lost.\n(30:19):\tLLU 2\tI would say that’s why it’s important to be precise, specific and to display a variety of labels in the way you organize things. An editor of Fred’s work could also show up as an artist. As part of the collected work taxonomy, we became accustomed to being called “Limestone Lakes Utaniki” without any note about us being different versions.\n(30:39):\tLLU 3\tFor the longest time we were just listed as the same poem.\n(30:42):\tLLU 2\tAnd in some ways we are, different variations of it.\n(30:47):\tLLU 1\tBut it’s important to track these changes over time.\n(30:51):\tLiza Makarova\tWe actually found out through an audio recording from March 9th, 1979 that the reason why there are so many versions of the same poem is because Fred Wah edited them before sending them off for publications.\n(31:03):\tLLU x3\t[Three voices speaking at once] Oh, we know!\n(31:05):\tLiza Makarova\t[Liza laughs]  I wonder if there are any other versions that we don’t know about that were specifically edited for readings.\n(31:10):\tLLU x3\t[Three voices speaking at once] Oh, we wouldn’t know.\n(31:12):\tLiza Makarova\tWait, you have never heard yourself be read aloud?\n(31:16):\tLLU x3\t[Three voices speaking at once] Nope.\n(31:16):\tLiza Makarova\tWell, would you like to?\n(31:18):\tLLU x3\t[Three voices speaking at once, talking amongst themselves]\nI, I’m not sure. Like… I think it’d be, I think we could…\n\n(31:22):\tLLU 2\tLet’s do it.\n(31:25):\tLLU 1\tThe thing is… I don’t think there is a recording of us being read.\n(31:28):\tLLU 2\tWe actually haven’t ever heard an audio recording of Fred read before. Like at all.\n(31:36):\tLiza Makarova\tHmm. Okay, let me see. [Sound effect of someone typing on a computer]\nOh, here. Let’s listen to this clip of Fred reading “What does Qu’ Apelle mean?” for the 1985 TISH celebration. A bunch of poets like George Bowering, Frank Davey, David Dawson, Gladys Hindmarch, Lionel Kearns, Peter Auxier and Warren Tallman were there reading as well.\n\n(32:02):\tFred Wah reading in “TISH: A Celebration (1985)”\tI was in, uh, I was in, uh, Fort Sand this summer, Fort Qu’ Apelle and, uh, a few poems out of that. This was a letter, a letter back home.\nWhat does Qu Apelle mean?/ Did you know I watered the Japanese cherry out front?/ The manchurian plum too./ How late did Jennifer sleep on Sunday?/ I talked to my mum about using the wormy cherries for wine./ Tell her about the worm in the tequila./ What did Erica do at Gray Creek?/ I picked two cocoon-like burs off the apricot tree./ What do you think they are?/ I think we should plant more flatter sugar peas from now on./ I cook that halibut with some veggies in the leftover burnt brown rice./ I’m trying to remember a particular and specific rotten two by four on the deck or a blemished shingle/. So I can take us there by mentioning to you like that piece that’s soft to the touch of my foot when I turn to the left on Slant Trans Canada./\n\nYou can’t swim in the lake here because of the algae./ I don’t have a printer for my computer, so I’m using a typewriter./ There’s a girl here who was an old Smith Corona portable of her mother’s, which is just like yours only in better shape./ This place is full of noise because it’s a band camp and there’s a black lab right outside my window howling all night, every night./ When I flew over Invermere, the fires were really chugging out. Huge smoke stacks./ So you could tell the mountains were in control./ They have mosquitoes here./ Is life work?/ Where’s my olive green tank top?/ I don’t know if my grandmother’s ever talked to one another./ Do you know that idea about if you image something, it will be true?/ There are probably images in our lives which will never be actualized, particularly ones above the north./ Information is definitely not narrative or maybe narrative isn’t narrative./ Could someone, and I don’t mean in the Japanese sense at all, clean out the culverts on the road in case it’s a real deluge./ The food’s mediocre./ I’m too academic./ This worries me, but I, but maybe it’s okay./ Like I don’t think it’s a serious problem./ But if it becomes part of a life force blow, I’ll really wonder./ Don’t forget to check the water in the batteries in this hot weather/ What does Qu’apelle mean?\n\n(34:22):\tLiza Makarova\tWhat did you think?\n(34:25):\tLLU 2\tI could feel the air flowing through the spaces between each letter, the warmth of breath propelling us towards the microphone and seeping into the tape.\n(34:34):\tLLU 1\tI felt like I was there. As soon as you played it, I was transported to 1985. Being inhaled [LLU 1 inhales] and exhaled,[LLU 1 exhales]  riding each sound wave to the present.\n(34:51):\tLiza Makarova\tRecording poetry readings was really important for Fred Wah’s generation in the sixties all the way into the eighties. It wasn’t just for the sake of preserving or capturing the work of prolific poets on tape, but it’s also a way for work to be shared or even gifted.\n(35:05):\tLLU 2\tThat isn’t to imply that we were some commodity either. A huge part of sharing tapes was keeping the contemporary writing ecosystem alive. Poets from the west could hear poets from the east read and vice versa. After this exposure, writers from one side of the country could respond to the work of their distant peers, and it would also circulate throughout their local literary communities.\n(35:27):\tLLU 3\tThe Digital Archive is similar in that way. Instead of being transferred from the hands of one artist to the next, we’re easy to access for the entire world. Obviously, we don’t wanna compete with people buying books, but for some people it’s hard to find copies of older material, especially if a bookstore doesn’t carry our publisher.\n(35:44):\tLiza Makarova\tHmm. I hope there’s a time when literature on the public domain and independent publishers can work together. Literary artists and editors deserve to be paid for their work, but Digital Archives shouldn’t be neglected in the process.\n(35:57):\tLLU 1\tEspecially one like the Fred Wah Digital Archive. It’s a homage to all the care that goes into creating a generative literary community with a lot of significance placed on the people who made it possible.\n(36:14):\tLLU 2\tHaving one’s memory and work be celebrated and sustained is an important non-monetary contribution to a writer’s career.\n(36:22):\tLiza Makarova\tI feel like that’s the reason why the legacy of this specific archive is so vital to the Canadian literary scene. It isn’t just about the bibliography and access to Fred’s work, but it’s also about the possibility of interacting with people in literature you otherwise wouldn’t be exposed to. Do you think that this sort of openness or convenience affects the personal connections between writers and their work?\n(36:44):\tLLU 3\tMm, I can speak on that, I guess. I would argue that putting these relationships into context is a way to preserve their intimate nature. Fred Wah widely wrote for his community and vice versa. Making sure the users of the archive know who these people are, where they’re from, and how often they’re connected is a great way to situate them in a closed network.\n(37:02):\tLiza Makarova\tTo clarify, are you saying that us as users of the archive and researchers are situated as outsiders? From this position we can view this network but not really consider ourselves as part of it.\n(37:14):\tLLU 1\tMm, no. That would be a little harsh. I guess it has more to do with ensuring that the network of writers and artists and editors and others are represented in the temporal and spatial realm when and where they had strong ties. The beauty of mapping a social bibliography is that these connections are only framed by our knowledge of them. Rather than thinking of them as a box, someone who is not, well, let’s say a part of the network, someone who grew up in a different setting or time period has a different perspective and sociality.\n(38:05):\tLLU 2\tSo you’re not outsiders. Actually quite the opposite. You’re insiders! By using the archive and inspecting the relationship network, you’re getting an in on the details, which develops your understanding of the archival material you are trying to analyze. It brings you closer to us.\n(38:22):\tLiza Makarova\tI definitely feel closer to all of you after this interview. Thank you so much for inviting me into your space.\n(38:29):\tLLU 1\tThank you for having us.\n(38:31):\tLLU 2\tIt was a pleasure.\n(38:32):\tLLU 3\tIt was nice to have someone different to talk to— Someone like me—\n(38:34):\tLLU 1 and LLU 2\t[LLU 1 and LLU 2 speak over each other.] Oh. Oh, Come, come on, on you. This is the last time we’re oh, oh, this. Why are you making such a scene? Jeez! [Music begins to play and then quickly ends]\n(39:00):\tFred Wah reads “Don’t Cut Me Down”\t[Sound effect of a tape player starting plays ] So I’ll read a few poems from the book, Tree.\nDon’t Cut me down/ I don’t want any of this tree poetry shit from you/ You don’t know what a fucking tree is/ If you think it’s only in your head, you’re full of shit/ Trees is trees and, and the only thing they’re good for is lumber, so don’t give me any crap about them being something else/ For Christ’s sake, you think the rest of us don’t know sweet fuck all all compared to you/ But you don’t know nothing until you go out there and bust your back on a set and chokers break your so fast, you wouldn’t even wanna look at a tree, let alone and write about it/ Then you’d know what a tree was ‘stead of yapping about it.\n\nThat’s essentially what was said to me in a bar, obviously, when I said I’m a writer and I write, I’m writing poems about trees.\n\n(39:37):\tClip of Fred Wah speaking  “In For Instances – Literary Arts Program on CJSW” \tLanguages, I see language as quite an organic, uh, moving thing. We really don’t have, uh, you know, individually, uh, a lot of control over what language does. Um, and I, I’m, I’m a believer in the notion that really the poem writes itself or the poem writes me. [Sound effect of tape player stopping]\n(40:01):\tLiza Makarova\tHello? May I please speak to, “Don’t Cut Me Down” from Tree?\n(40:06):\tComputerized Voice\tAre you sure?\n(40:08):\tLiza Makarova\tUh, yes? It will be my last interview, I promise.\n(40:14):\tComputerized Voice\tAll right. If you’re sure. [Sound effect of whirring begins] “Don’t Cut Me Down” has now been loaded. [Whirring ends] [music begins and ends]\n(40:27):\tLiza Makarova\tHi, my name is Liza and welcome to the podcast.\n(40:30):\tDCMD\tHuh? What the hell is a podcast?\n(40:32):\tLiza Makarova\tOh, it’s like a radio show.\n(40:34):\tDCMD\tAll, right. Then why don’t you just call it a radio show?\n(40:36):\tLiza Makarova\tI mean, it’s not technically a radio show since we’re not on air.\n(40:40):\tDCMD\tWell then what the hell are we breathing?\n(40:43):\tLiza Makarova\tUh, no. To be on air means-\n(40:45):\tDCMD\tDon’t explain to me what a radio show is. I know what a radio show is. So in 2022, you have no radio shows and no sense of humor. Typical. What do you wanna talk about?\n(40:56):\tLiza Makarova\tI would love to know what a day in a life of a digital literary archive looks like. What do you usually get up to?\n(41:02):\tDCMD\tSit around. Mind my business. Load once in a while, if I feel like it.\n(41:07):\tLiza Makarova\tWould you say you sit around more in a digital archive or in a material archive?\n(41:11):\tDCMD\tMaybe we’d be sitting around more if you’d bother to code some damn chairs.\n(41:15):\tLiza Makarova\tOh… I’m not the web developer.\n(41:18):\tDCMD\tWho do I talk to to get a chair around here?\n(41:21):\tLiza Makarova\tI’ll let our web developer know as soon as possible. Okay. Here’s a question I think you’ll like. What are some things digital archive poems don’t appreciate? I’m talking, boundaries.\n(41:33):\tDCMD\tJust don’t talk to me about feeling complete.\n(41:35):\tLiza Makarova\tYou don’t feel complete? Do you feel like a draft?\n(41:38):\tDCMD\tDidn’t you hear me? Do you feel complete? Aren’t you sort of a draft? See? Don’t go asking things if they feel complete, you’re gonna get in a lot of trouble.\n(41:49):\tLiza Makarova\tOkay. Fair. Noted. I’m sorry.\n(41:51):\tDCMD\tIn terms of boundaries, I’ll narrow it down to two. Number one is close your damn tabs. I know you’re reading, researching, rambling, but be mindful of those tabs. You have me open in three different browsers and you don’t even realize, and then you complain that I’m slow. Then you refresh, refresh, refresh. It’s hard to keep up.\nNumber two, don’t forget about that Fred blog, new updates thing, on the site. You people are digging deep into the archives, but forget what’s happening in the present. If you do, then you’re really not grounding yourself. It really grinds my metaphysical gears, tightens my syntax. I don’t like it.\n\n(42:27):\tLiza Makarova\tWell, thank you for bringing that up. [Music begins] Another aspect of the Fred Wah Digital Archive that’s very unique is that it informs users on what Fred Wah is doing in the now, as well as the creative contemporary writing that is inspired by him, his older works, and even the archive itself.\n(42:43):\tDCMD\tAnd that’s what I like to see people exploring. I know what Fred has done, but I wanna know what he’s doing right now. Hopefully not writing any more tree poems.\n(42:52):\tLiza Makarova\tI can assure you he’s doing a lot of interesting writing and revisions since your publication. Bringing up tree poems and the theme of experimenting with the temporal clash of digital archives and material archives, I’m wondering about your thoughts on immortality. You were written and published in 1972, but you’ve honestly not aged a bit.\n(43:09):\tDCMD\tI want everyone to know that I’ve gotten zero work done, by the way, and I say that because you can’t say the same for some of these revised poems.\n(43:18):\tLiza Makarova\tGetting some touch ups isn’t a bad thing.\n(43:20):\tDCMD\tYou know what I don’t like?\n(43:21):\tLiza Makarova\tWhat’s that?\n(43:22):\tDCMD\tInstall updates. I hate moving, migrating, whatever you call it. We’re not birds, we’re poems. We belong somewhere. We need to be treated with more respect Now, everything’s a mess. We have duplicated poems, couplets, if you’re trying to be all fancy, all these new functions. But, oh, don’t you dare marvel at new technology because once you blink, there’s something out there that’s newer. And that’s what I’m talking about. Who is paying for all of these moves? Are we really getting that popular? That’s what I wanna know.\n(43:51):\tLiza Makarova\tYes, actually! You are. I can completely understand how migrating can be tough, especially after experiencing two big overhauls. Maintaining and updating a digital archive is both a very slow, yet simultaneously overwhelming process.\n(44:05):\tDCMD\tMhm, I hate being hurried and I also hate feeling stuck.\n(44:08):\tLiza Makarova\tStuck? Do you feel stuck in the Digital Archive?\n(44:11):\tDCMD\tDon’t put words into my mouth.\n(44:12):\tLiza Makarova\tI just wanna know your thoughts on what it means for a piece of literature to end up in a literary archive.\n(44:18):\tDCMD\tEnd up?\n(44:20):\tLiza Makarova\tYeah. There’s a general misconception, I feel, in the public opinion that an archive, digital or not, is a place where old books are left to collect dust or take up space.\n(44:31):\tDCMD\tAnd who are you? Some hero? Why do you feel the need to prove them wrong?\n(44:34):\tLiza Makarova\tBecause I think there’s a lot of value to preserving the work of our predecessors. It’s a way to be a part of the conversation and interact with media we wouldn’t have been able to interact with otherwise.\n(44:45):\tDCMD\tSo you think you can just waltz into any old archive and listen to a couple of tapes and you’re just like the greats?\n(44:51):\tLiza Makarova\tNo, it isn’t a hierarchy. Without getting too stoic, I, I think it’s a duty of contemporary writers, artists and academics to be critical of, listen to, and take care of archival material, their future is our future. Plus we as researchers wouldn’t have this deep connection to prolific writers from the past if  archives like this one weren’t maintained.\n(45:12):\tDCMD\tYou don’t know what an archive is.\n(45:14):\tLiza Makarova\tHuh?\n(45:15):\tDCMD\tYou’re pulling all this nonsense out of the website’s backend. I’ll do you a favor by telling you some difficult truths by asking you some questions now. How do you decide what makes it onto the digital archive and what doesn’t?\n(45:25):\tLiza Makarova\tSelection criteria is subjective.\n(45:27):\tDCMD\tWell, that’s what I’m asking you, subject!\n(45:30):\tLiza Makarova\tOkay. Well, personally, I don’t think I’m the one to say. This isn’t my body of work, but in general, I think that everything deserves to be preserved one way or another. Either through a library, a special collections room, in art, a digital archive, or even in memory.\n(45:47):\tDCMD\tYou know, not everything is up on that archive.\n(45:50):\tLiza Makarova\tI know that. We can’t track down everything Fred Wah has ever written.\n(45:54):\tDCMD\tAnd you’re okay with that?\n(45:56):\tLiza Makarova\tI mean, no. Call me a perfectionist, but I love the satisfaction of knowing there are no gaps when I’m looking at a bibliography, especially in the sense of mapping out a social sphere. No interaction, inspiration or contribution is too small.\n(46:11):\tDCMD\tMm, interesting.\n(46:13):\tLiza Makarova\tWhat, what is it?\n(46:19):\tDCMD\t[Music begins] Did you really think that you could preserve everything? [Music ends]\n(46:49):\tClip from “Fred Wah In Class Conservations – March 9,1979”\t[Sound effect of a person’s footsteps and a tape player being started]\nFred: It’s a line printer, so it only prints out how many copies are requested. They don’t have to print a whole edition.\n\nAudience Member: Well, all this stays in the computer, in other words.  Say, I’d like a copy, it would run one off whatever edition it is now. Second, second draft, or whatever.\n\nFred: To a certain extent, I agree with you except that, that I also like, uh, I like books. I like the feeling of something, uh, of a statement, um, of a, I like monuments too, but I like the possibility that monuments can be, uh, destroyed. [Sound effect of tape player stopping]\n\n(47:42):\tKatherine McLeod\tSpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collective from and created using Canadian literary archival recordings found at universities across Canada. Our producer this month is Liza Makarova, undergraduate student at Concordia University and research assistant on the mapping social bibliography in the Fred Wah Digital Archive Project. Our supervising producer is Kate Moffatt and our sound designer and audio engineer is Miranda Eastwood. Kelly Cubbon is our production manager and transcriber. And I’m your host, Katherine McLeod.\nSpecial thanks to Deanna Fong, the principal investigator of the Fred Wah Digital Archive and the entire Fred Wah Digital Archive RA team. And an extra special thanks to Fred Wah for giving us permission to use his recordings, text, and the overall support he has provided us through the creation of this podcast episode.\n\n[SpokenWeb theme music begins] To find out more about SpokenWeb, visit spokenweb.ca and subscribe to the SpokenWeb Podcast on Apple Podcasts, Spotify, or wherever you may listen. If you love us, let us know. Rate us and leave a comment on Apple Podcasts or say hi on our social media at SpokenWeb Canada. Stay tuned to your podcast feed later this month for shortcuts with me, Katherine McLeod: Short stories about how literature sounds.\n\n[SpokenWeb theme ends]"],"score":1.0},{"id":"9664","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 4.1, Archival Listening, 17 October 2022, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/archival-listening/"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://spokenweb.ca/podcast/episodes/archival-listening/\",\"file_path\":\"\",\"filename\":\"shortcuts-4-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:10:29\",\"precision\":\"\",\"size\":\"10,059,067 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"shortcuts-4-1\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/archival-listening/\"}]"],"Dates":["[{\"date\":\"2022-10-17\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"content_notes":["Interim Transcript"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Katherine McLeod, from ShortCuts 3.1 “Sounds”: https://spokenweb.ca/podcast/episodes/sounds/\\n\\nKatherine McLeod, from ShortCuts 3.9 “Re-Situating Sound”: https://spokenweb.ca/podcast/episodes/re-situating-sound/\\n\\nArchival audio, Dionne Brand, 1988 reading, from ShortCuts 3.3 “Communal Memories”: https://spokenweb.ca/podcast/episodes/communal-memories/\\n\\nArchival audio: Douglas Barbour, from Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977; Douglas Barbour introducing Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977; Douglas Barbour introducing Leona Gom at the University of Alberta, February 21, 1980; Douglas Barbour, from John Newlove at the University of Alberta, March 19, 1981 — all from ShortCuts 3.6 “Listening Communities: The Introductions of Doug Barbour” (guest produced by Michael O’Driscoll): https://spokenweb.ca/podcast/episodes/listening-communities-the-introductions-of-douglas-barbour/\\n\\nArchival audio, Daphne Marlatt, 1970, from ShortCuts 3.4 “Sonic Passages”: https://spokenweb.ca/podcast/episodes/sonic-passages/\\n\\nDaphne Marlatt interview with Karis Shearer and Megan Butchart played on “SoundBox Signals presents Performing the Archive” an episode of SoundBox Signals that was aired on The SpokenWeb Podcast (co-produced by Karis Shearer, Megan Butchart, and Nour Sallam), clipped on ShortCuts 3.4: https://spokenweb.ca/podcast/episodes/sonic-passages/\\n\\nInterview with Kelly Cubbon, “Talking Transcription: Accessibility, Collaboration, Creativity,” (co-produced by Kelly Cubbon and Katherine McLeod), S3E9 The SpokenWeb Podcast, June 2022: https://spokenweb.ca/podcast/episodes/talking-transcription-accessibility-collaboration-and-creativity/\\n\\nInterview with Kaie Kellough, ShortCuts 3.5 “The Voice that is the Poem”: https://spokenweb.ca/podcast/episodes/the-voice-that-is-the-poem-ft-kaie-kellough/\\n\\nArchival audio, Oana Avasilichioaei, from ShortCuts 3.8: https://spokenweb.ca/podcast/episodes/the-event/\\n\\nArchival audio, bpNichol, November 1968, from ShortCuts 3.2: “What the Archive Remembers”: https://spokenweb.ca/podcast/episodes/what-the-archive-remembers/\\n\\nArchival audio, Phyllis Webb, from ShortCuts 3.7 “Moving, Still”: https://spokenweb.ca/podcast/episodes/moving-still/\"}]"],"_version_":1853670549784363008,"timestamp":"2026-01-07T14:59:54.290Z","contents":["In this first episode of Season 4, SpokenWeb’s ShortCuts continues the tradition of starting a new season by diving into its own archives. What kinds of new stories and audio criticism can be produced through short archival clips? Join host and producer Katherine McLeod to listen to clips from Season 3 of ShortCuts as a way of asking what literary criticism sounds like through cutting and splicing sound. It is a short exercise in archival listening, and archival making.\n\n[Music: Piano Overlaid With Distorted Beat] ]\n\nKatherine McLeod: Welcome to ShortCuts. My name is Katherine McLeod. Join me, each month on alternate fortnights (that’s every second week following the monthly SpokenWeb Podcast episode) for SpokenWeb’s ShortCuts. Short stories about how literature sounds.\n\n[End Music: Piano Overlaid With Distorted Beat]\n\nOn ShortCuts, we explore what you can make by cutting up [scissor cut] and splicing sound digitally. What kinds of new stories and audio criticism can be produced through these short archival clips? If you’re a researcher with the SpokenWeb Project, do think about joining me on ShortCuts to discuss an archival clip that has impacted your work, especially if you’re a student who has been digitizing and cataloguing recordings and there’s a sound that stands out to you after all those hours of listening. Get in touch! Write to SpokenWebPodcast@gmail.com\n\nNow, as I’ve always done to start each season, let’s dive into the archives of ShortCuts. We’ll listen to clips from the previous season, Season 3, in order to hear what ShortCuts sounds like… We’ll do this as is an exercise in listening – an exercise in archival listening. From now on…\n\nKatherine McLeod, from ShortCuts 3.1: All of the sounds will be clips from Season Three of ShortCuts, and that includes my voiceover. [Overlapping] My Voiceover, my voiceover.\n\nKatherine McLeod, from ShortCuts 3.9: And I say that while holding out my arms gesturing as though I’m attempting to hold the sound.\n\n[Tape rewinding]\n\nKatherine McLeod, from ShortCuts 3.9: I am holding the sound carefully, knowing how difficult it can be to take a recorded voice, with all of its situated affect attached to it, out of the archives. To unarchive carefully.\n\n[Tape rewinding ends]\n\nArchival audio, Dionne Brand, 1988 Reading, from ShortCuts 3.3: Lee read the epigram back to me in Montreal. And I was very honoured too, that she had written it back to me and I’ve been trying to write her back an epigram. We might make a book [Audience Laughter]. So I haven’t got very far with the epigram except to say: “Write me out of this epigram, Lee, you are so much water. You are too much water, too much rock, so much eagle. Write me out of this epigram, Lee. I am so much bush, so much ocean, so much rage…” And that’s just the beginning. [Laughter] It’s not finished. [Clapping] It’s supposed to go and like “write us out of this goddamn epigram.” [Audience Laughter]. I want to read a couple poems about South Africa.\n\nKatherine McLeod, from ShortCuts 3.3: Brand starts her reading after Maracle with a poem for South Africa. And that is exactly how Maracle had started hers. I am taking all of these audio clips out of their contexts, out of their linear order in which they would’ve been heard in the reading, but, in doing so, I’m trying to bring to the forefront, the connections that are embedded within it and the conversation happening between poets in the reading itself.\n\nArchival Audio, Douglas Barbour, from Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977, from ShortCuts 3.6: They’ll be right up to your feet but that won’t be too bad.\n\nArchival Audio, Douglas Barbour introducing Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977, from ShortCuts 3.6: …Penny is the author of Most Recently Transformed, which is a marvelous looking book, as well as a very, very fine book…\n\nArchival Audio, Douglas Barbour introducing Leona Gom at the University of Alberta, February 21, 1980, from ShortCuts 3.6: [Audience Chatter] …still a bit of… Not much [Audience Laughter]. We’re happy to welcome Leona Gom. [Audience Applause]\n\nArchival Audio, Douglas Barbour, from John Newlove at the University of Alberta, March 19, 1981, from ShortCuts 3.6: [Audience Chatter] …there’s your friend. There’s a little bit of room if you wanna sit on the floor here!\n\nAudio recording, Daphne Marlatt, 1970, from ShortCuts 3.4: This is a poem that I wrote when I was about… oh I don’t know, seven or eight months pregnant… [Pause] …Bird of Passage. I wrote it in Vancouver… spring time again…. Bird of Passage.\n\nKatherine McLeod, from ShortCuts 3.4: Here, was Marlatt in 1970 saying that she had written this poem ‘Bird of Passage’ while she was pregnant. That is significant in and of itself when thinking of the body but now I was hearing it with the full resonance of her recent conversation with Shearer and Buchart from the podcast and what Marlatt says when the date of the recording, July 1969, is mentioned…\n\nArchival audio played on “SoundBox Signals presents Performing the Archive”, 2019, from ShortCuts 3.4: Interesting that date, because I had given birth to my son at the beginning of May. So, I was a young mother, my body had gone through a major experience. That was not the experience that I’d had when I wrote those poems. What was interesting to me hearing last night at the reading – there was so much – my voice was so much more present in those poems than I had remembered my voice being…\n\nKelly Cubbon, S3E9, SpokenWeb Podcast: […] I think also overlapping context for lack of a better word has been something I’ve I think we’ve been working to indicate such as if someone appears in an episode in a Zoom interview and then in an archival recording of them, and that archival recording includes them speaking to the audience as an aside and then performing poetry. And then maybe they’re in kind of a more formal voiceover audio. There might be four instances of slightly different context to indicate.\n\nZoom interview with Kaie Kellough, from ShortCuts 3.5: : You asked me [Start Music: ShortCuts Theme Music] what it was like, what I thought about when hearing it and it’s strange to hear that kind of reflection of yourself and to – I didn’t realize it was as far back as 2016, because it feels a lot sooner. I remember what I was thinking about. I remember what my poetry, my poetic preoccupations were at the time. I remember how far that poem came because it was young and sentimental when I wrote it, and then it was not like that by the time it was published. It took on a different sort of personality by the time it was published. But yeah, I remember everything that I was thinking about. I remember how excited I was about it. Yeah. It’s just a — so thank you.\n\nZoom interview, Katherine McLeod, from ShortCuts 3.5: Thank you so much.\n\nArchival audio, Oana Avasilichioaei, from ShortCuts 3.8: [Performing “Chambersonic”] Let form be oral / a foundation / sonority / an impossible lone sound / recording / the ghost of sound [whispered] the ghost of sound. Let form be oral. A foundation of phonemes. Distorted – [overlapping voice] fragments. Re-assemblages. [Whispered] The ghost of sound…\n\nKatherine McLeod, from ShortCuts 3.8: This. This is a setting on music. This is. What is this? It is as though she is asking us to consider: what is this this-ness of sonority? Of an impossible lone sound? Of the ghost of sound?\n\nArchival Audio, bpNichol, November 1968, from ShortCuts 3.2: [Reading poem] Wanting you, I forgot you. You erased my name. Erasing you, the wanting forgot, I tried your name.\n\nKatherine McLeod, from ShortCuts 3.2: The emotional weight of archives.\n\nArchival audio, Phyllis Webb, from ShortCuts 3.7: [Reading from “Naked Poems”] In the gold darkening light / you dressed / I hid my face in my hair. / The room that held you is still here. / You brought me clarity / gift after gift I wear / poems / naked, in the sunlight / on the floor [sound of pages turning]…\n\nKatherine McLeod, from ShortCuts 3.2: To what extent are we trying, trying to remember or trying to erase a memory that may not be ours in the first place –\n\nArchival Audio, bpNichol, November 1968, from ShortCuts 3.2: [Reading a poem] I wanted to forget you, so I tried to erase your name.\n\nKatherine McLeod, from ShortCuts 3.2: — and yet having heard it, that memory can never be forgotten. The feeling of having heard it is still there.\n\n[Ambient music begins]\n\nKatherine McLeod, from ShortCuts 3.9: You’ve been listening to ShortCuts. ShortCuts is transcribed by Kelly Cubbon, mixed and mastered by Miranda Eastwood, and written and produced by me, Katherine McLeod. Thanks for listening.\n\n[End of music]"],"score":1.0},{"id":"9665","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 4.2, ShortCuts Live! Talking with Sarah Cipes about Feminist Audio Editing, 21 November 2022, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/shortcuts-live-talking-with-sarah-cipes-about-feminist-audio-editing/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[]"],"Dates":["[{\"date\":\"2022-11-21\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"content_notes":["Draft transcript."],"Note":["[{\"note\":\"The wrong file is linked on the podcast site, so this episode cannot be listened to/downloaded and some information is missing.\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Cipes, Sarah. “It’s more of a feeling… Digitizing Reel-to-Reel for the SpokenWeb SoundBox Collection.” AmpLab, online.\\n\\nFong, Deanna and Shearer, Karis. “Gender, Affective Labour, and Community-Building Through Literary Audio Recordings.” SPOKENWEBLOG, 21 April, 2022.\\n\\nHeld, Virginia. The Ethics of Care. Oxford University Press, 2005.\\n\\nHobbs, Catherine. “Personal Ethics: Being an Archivist of Writers.” Basements and Attics, Closets and Cyberspace: Explorations in Canadian Women’s Archives. Eds. Linda M. Morra and Jessica Schagerl, Wilfrid Laurier University Press, 2012, pp. 181–92.\\n\\nWanting Everything: The Collected Works of Gladys Hindmarch. Eds. Deanna Fong and Karis Shearer.  Vancouver: Talonbooks, 2020.\"}]"],"_version_":1853670549786460160,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This month, it is ShortCuts Live! We’ll still take a deep dive into the SpokenWeb archives through a short ‘cut’ of audio, but, in these ShortCuts Live! episodes, ShortCuts host and producer Katherine McLeod takes ShortCuts out of the archives and into the world. This month’s episode was recorded on-site at the SpokenWeb Symposium and Sound Institute in May 2022 at Concordia University. It is a conversation with UBCO doctoral candidate Sarah Cipes. \n\nAt the time of recording this conversation, Sarah had just presented a paper called “Finding Due Balance: Sound Editing as a Feminist Practice in Literary Archives.” In fact, this paper was already in conversation – that is, part of a collaborative article in development with Dr. Deanna Fong and Dr. Karis Shearer who have developed feminist listening methodologies in their introduction to Wanting Everything: The Collected Works of Gladys Hindmarch and to their article, “Gender, Affective Labour, and Community-Building Through Literary Audio Recordings.” Listen to ShortCuts Live! to hear Sarah talk with Katherine about feminist redaction when working with sensitive materials in audio archives, and where this collaborative research will take her next.\n\nShortCuts, Live! Talking with Sarah Cipes about Feminist Audio Editing\n\n[Theme music]\n\nKatherine McLeod [host intro]: Welcome to ShortCuts. This month, it is ShortCuts Live! We’ll still take a deep dive into the SpokenWeb archives through a short ‘cut’ of audio, but, in these ShortCuts Live! episodes, ShortCuts host and producer Katherine McLeod takes ShortCuts out into the world and records them as conversations, live. This month’s episode was recorded on-site at the SpokenWeb Symposium and Sound Institute in May 2022 at Concordia University in Montreal.\n\n[Theme music ends]\n\nAmid the bustle of a packed week of talks and workshops, it was such a treat to sit down with some of the presenters and have a conversation about their archival audio. It was especially meaningful considering how ShortCuts started in 2020 and so nearly all of its episodes have been recorded during the pandemic, and mostly in my closet. It felt great to be sitting down with folks at our microphones in the same space, and to embrace the background noise around us – after all, it was all happening live! In this ShortCuts Live, you’ll hear my conversation with UBCO doctoral candidate Sarah Cipes. At the time of the recording, Sarah had just presented a paper called “Finding Due Balance: Sound Editing as a Feminist Practice in Literary Archives.” We sat down together at microphones set up in Concordia’s 4th Space, and you can hear the buzz of the symposium behind us – reminding us that this is being recorded live…\n\nKatherine: Welcome to ShortCuts. We’re recording this ShortCuts, live, in 4th Space at Concordia University during the SpokenWeb Sound Institute. I’m here with Sarah Cipes. Thanks so much for joining me, Sarah!\n\nSarah: Thanks so much for having me. This is very exciting.\n\n \n\nKatherine: Well, the reason that I asked Sarah to join me is that, during the SpokenWeb Symposium she delivered a paper that was really based on an audio clip. It was really all about one audio clip, which seemed perfect for ShortCuts because we love diving into the complexity of a single audio clip. So I thought that one way of starting would be for Sarah and I to listen to the clip together…\n\n \n\nArchival audio,Warren Tallman: \n\nNow one thing I’m curious about [inaudible – distortion]….\n\n \n\nArchival audio, Gladys Hindmarch:\nThat the young recognize, the elders two years older.\n\n \n\nArchival audio, Warren Tallman:\nAnd they’re both, they’re both and, but now…\n\n \n\nKatherine: So rather than starting with a question of “What are we listening to?” I’m going to ask you, Sarah, what it’s like to listen to that clip – here and now in this moment…\n\n \n\nSarah: That was a really lovely refresher and a nice moment – and, I don’t know if you noticed I was smiling while I was listening to it. I am really pleased with what we were able to sort of tease out of the sound that was left when the voices are gone. And I – I actually said something in my talk on Tuesday that I hadn’t planned to say – and that I hadn’t thought of previously – but I was being sparked by all of these amazing questions and thoughtful comments from the audience – and that is that I wanted people to feel, when they’re listening to it, uncomfortable, as if they’re trying to listen in onto a conversation that they shouldn’t be listening to, like trying to listen through a door. I think that even though this is a preliminary version of the idea of the feminist edit, I think that I was able to bring home that feeling of discomfort and of tonal variance… And, yeah, tonal discomfort for the listener that you should feel when you’re trying to hear other people’s gossip <laugh>.\n\n \n\nKatherine: You refer to this as a feminist edit, and what do you mean by that, generally?\n\n \n\nSarah: So when I initially started working with the idea of feminist edits, it was really, it’s really a large idea. It can, it can really incorporate anything that comes within the idea of feminist ethics of care. So, I looked at Virginia Held’s Ethics of Care, as a big proponent of my understanding of what to do with feminist edits. And I also looked at Catherine Hobbs’s discussions and scholarship about literary archives and what it means to be respectful when you’re archiving.\n\n \n\nKatherine: Mm-Hmm. <affirmative>\n\n \n\nSarah: And so bringing that into audio was a really interesting idea for me because redaction restriction and censorship and all of these things that have a lot of negative feelings around them for researchers can actually be turned into positive things, I think, particularly within audio that actually allow users to listen to tapes that they might otherwise be totally barred from.\n\n \n\nKatherine: Mm-Hmm. <affirmative>.\n\n \n\nSarah: And so my desire was to create sound edits that allow the listener to hear the vast majority of the tape while also protecting the privacy of those on the tape, or even in this case, someone who’s mentioned who’s not there. But really a feminist edit could also be about amplifying voices that are not usually central to the microphone.\n\n \n\nKatherine: Yeah, I can imagine – it makes me think of in the 1963 Poetry Conference that was recorded by Fred Wah’s tape recorder. That now is at UBCO <laugh> I think you have that recorder. When listening to those recordings it’s so interesting to hear a question asked, and you can tell that it’s a voice from very far back in the room, and often those voices are women because – you know, you really hear it – the men are up front, closest to the mic. And, you know, hearing say a question asked by a voice that is, say, quite soft in terms of the recording and the placement in the room, and just like literally amplifying that voice, let alone all of the other ways that voices could be amplified. That just just makes me think of the, the potential there for centering voices through audio edits – making them clearer, making them louder – on a very technical level.\n\n \n\nSarah: There really is so much that that could be done. And that’s why I love the idea of the feminist edit within archives because archiving itself is such an intuitive practice and sound editing. These kinds of sound edits have all been very intuitive and very personal. And I think that every single person who encountered and tried to edit this tape would’ve ended up with a different edit, which is really, it’s really cool. It allows you to think about how people’s brains work in terms of what: Do you want the listener to feel when they can’t hear specific kinds of audio?\n\n \n\nKatherine Yes, and you’ve been working with Dr. Karis Shearer and, I believe, [Dr.] Deanna Fong as well, and could you speak to a little bit about that collaboration?\n\n \n\nSarah: It’s been really wonderful. I am lucky enough to have Dr. Karis Shearer as my supervisor. She has just been such an amazing, inspiring person leading me through this. I tend to focus more on the practical, and in those ways I sometimes leave the theoretical behind and I forget to ground my work in theory. And so working with Karis and Deanna has been really amazing and really important for me because it has pushed me to step back and say: Okay, I’m trying to create this practical edit, but what am I grounding my work in? Where is this coming from? Instead of just assuming that everyone understands my desire to do a feminist edit. You have to express, you know, why that’s necessary. Where does this work already exist? Where did it begin? Where am I? Where am I pulling from?\n\n \n\nKatherine: Mm-Hmm. <affirmative>.\n\n \n\nSarah: So in terms of understanding how to ground my work within feminist ethics of care, Deanna and Karis have been there sort of showing me the light <laugh> – and giving me readings!\n\n \n\nKatherine: Yes <laugh> I can imagine that augmenting and building upon your training in library sciences and just really bringing that theoretical richness to the technical skills that you have already. It makes me think too that the way that like redaction works in the archives and say in the print archives or maybe something is redacted. Here you are redacting through audio editing, but the important thing is that you’re keeping that audio somewhere else. Could you explain how that works? How does the audio remain while also being redacted?\n\n \n\nSarah: Yes. This is something that’s really important to me based on my work in archives, I think I may have overly expressed this actually in my talk because it’s so necessary, but transparency is key in every archive. And I now realize it’s not just necessary for the practical reasons that you would – that I generally – think of, but also for ethical reasons.\n\n \n\nKatherine: Mm-hmm. <Affirmative>.\n\n \n\nSarah: And so I have been working with digitizing audio digitizing the sound box collection, specifically the reel-to-reels at UBCO at the AMP Lab. And that has been – that is my joy. I love, love working with reel-to-reel. It’s actually been really interesting because a lot of people at this conference have been talking about sound as ephemeral. And to me it’s, it’s very physical.\n\n \n\nKatherine: Right\n\n \n\nSarah: It’s attached to this whole, to working with this machine to being so careful with these amazing tapes. And so the way that we are maintaining them is obviously we are keeping the original magnetic tape recordings, very carefully. And they’ve been archived and gently babied because they are – I call them my babies <laugh> – and then also, upon digitizing them, you have to work to a specific. There’s audio specifications – within, that’s just understood – that’s necessary within archival maintenance of digitized recordings. And so you digitize the tape, which means that you play the tape on its original on a playback machine that’s able to do that; put it through a secondary, a mix-preamp or some other secondary source, and then directly into your computer; and you digitize it at a high enough rate and specificity that it sounds almost exactly the same. And in fact, if it’s done to the highest standards, sounds exactly the same. So you can’t differentiate. And then you maintain that. That’s your master access copy, and you do not edit that copy. You save that, and it’s for no one, it <laugh> it exists solely in case of emergency. Really, and then you can make copies of that, and edit them. So what I’m playing with is not the original.\n\n \n\nKatherine: Right, okay.\n\n \n\nSarah: For its own safety. <Laughter> And then you can also save those. Your copied files as lower quality so that you can make them more accessible. Because not everyone has the ability to play wav files.\n\n \n\nKatherine: That makes sense. You have original or the preservation copy and then you’re making the edits on the digital files. I also love what you said about sound as being very, very physical, tangible and just, you know, the way that you described working with these recordings. I think as a last question or reflection. We’ve talked… We’ve moved closer and closer to the sound through our conversation, and I’m wondering if you could speak to the difference between for you, for the difference between editing and leaving silence versus editing and leaving some suggestion of sound, whether that’s visual – looking at the sound waves – or audible in what we’re listening to.\n\n \n\nSarah: I love having both available. I love being able to look at the wave forms and listen to the audio at the same time. They’re visually beautiful and that’s a big part of it, but also it’s sort of, it’s sort of lets you know what to expect, like what’s coming up when you’re looking at the waveform and playing the sound. At the same time. I personally prefer to have ambient sound occurring during the silences, during the redactions, if you want to call them that. I think that it is more implicative of like, the world is still continuing, we’re holding space for this to happen, and just because you can’t hear the words doesn’t mean that the conversation has stopped.\n\n \n\nKatherine: Mm-hmm. <Affirmative>.\n\n \n\nSarah: So I think that’s really important. I also showed a clip in which I just had the, I had the sound removed, all of the vocals removed. And because the tape that I used didn’t have a lot of ambient noise, it was actually really beautifully recorded. It ended up being essentially silent, in the, in the background of that. But for a lot of archives, if you are listening to tapes that were recorded in loud areas or there’s a lot of background noise, if you do remove the vocals, you’re still going to have all of this delicious background sound. So it’s really as with everything each, each object is, is so unique.\n\n \n\nKatherine: So how do you remove the vocals? What tool do you use?\n\n \n\nSarah: It’s so easy. It’s actually, it’s so – Audacity’s most recent version, which is 3.1.3, and I use Audacity because it’s free and it’s open source software, so it’s always improving. And it’s also available to archives even that have a lot of financial constraints and staffing constraints. There’s literally a tool called Vocal Isolation and Removal, and you just high highlight, that’s it. You just highlights the part that you want. So that’s how it leaves, it leaves the background noise. That’s, Yeah. That, So what, what, what we were listening to in that that middle portion that was background or was that, That was distortion. <Laugh>. That was distortion. So in the, in the final edit that I liked the most, the way that I was able to maintain the sound of the conversation because there was so little background noise was to use a distortion element called the VO coder. And so while I still had the vocals in there, I added the VO coder, which added distortion around the vocals, kind of fuzzed them up a little, and then you remove the vocals, and so the, the sound is still there. It didn’t, I think I expressed this. I need to, I would like to do further work because what I really wanted was sort of a smoother conversation tone where you can hear it you can hear it sounds more like speech. I think I did this in my, in my discussion, but sort of like the Charlie Brown teacher.\n\n \n\nKatherine: Right.\n\n \n\nSarah: That’s what I was going for…\n\n \n\nKatherine: Hearing that intonation of speech up the, the fluctuations up and down it, well, we could hear it a bit there, but it, it’s, Yeah, I can imagine then you’re even more, you’re aware that you’re not hearing something, but you’re also hearing something and you can, you’re – you’re hearing the fluctuations in the conversation, but not the conversation itself, not the content. It’s so important to know that there’s audio there – there are things to listen to – but also that you know, it’s we don’t have to have access to everything. And in fact, ethically it, it’s not right to have access to everything. And so how to be able to make audio accessible, while still respecting that, respecting the communities that the recordings are from, respecting the individuals and the voices on them, on those recordings because it, it so easily the recordings could just get shelved away and they’re then never listened to. So trying to balance that it’s really exciting that you’re, you’re doing this work. When we know that something’s there, it’s also, it’s tempting to want to hear it. And so it, I think what you talked about about uncomfortableness too, it’s also this sense of even catching oneself, being like: Oh, I want to hear it! And then thinking: Well, wait – am I, am I the listener for this? And realizing that actually you’re, you’re maybe not the person. You’re not in that room, you’re not listening, you’re not privy to that conversation. But that, that sort of checking our impulse of wanting to know everything as researchers and recognizing that that is actually that can actually be problematic too.\n\n \n\nSarah: What you’re speaking to is actually a larger archival issue in terms of wanting to have everything.\n\n \n\nKatherine: Mm-Hmm. <affirmative>.\n\n \n\nSarah: And the idea of leaving space was actually something that came out of archival theory surrounding the archive, the capital ‘A’ – Archive – you know, the institution as not necessarily being a place that should have everything. And that, as opposed to maintaining collections that really belong elsewhere, what they should do is hold space and tell researchers: we don’t have that because it doesn’t belong to us. That’s not ours. And so I’ve tried to take that idea of sort of thoughtfulness and space and bring that down to the level of the personal – to the individual – and, and now to audio.\n\n \n\nKatherine: Yes, I think what you’ve, what you’re working on, it is holding space in sound. And thank you for sharing this with me today here live and shortcuts live and with our listeners. So thank you so much, Sarah.\n\n \n\nSarah: Thank you, Katherine. This has been great.\n\n \n\n[Music begins]\n\n \n\nKatherine McLeod [Outro]: You’ve been listening to ShortCuts. A special thanks to this month’s guest, Sarah Cipes. Thanks to supervising producer Kate Moffatt, sound designer Miranda Eastwood, and transcriber Kelly Cubbon. ShortCuts is written and produced by me, Katherine McLeod. Thanks for listening.\n\n \n\n[Music ends]"],"score":1.0},{"id":"9671","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S4 Trailer, Welcome to Season 4!, 19 September 2022, Moffatt, Eastwood, McGregor, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/welcome-to-season-4/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 4"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod","Kate Moffatt","Hannah McGregor","Miranda Eastwood"],"creator_names_search":["Katherine McLeod","Kate Moffatt","Hannah McGregor","Miranda Eastwood"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Kate Moffatt\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Hannah McGregor\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Miranda Eastwood\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/aa749423-c429-48b9-8aaf-c150b5c0a869/audio/a0e73918-a5b1-4e35-aa6e-320e73a87208/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"s4-trailer.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:03:37\",\"precision\":\"\",\"size\":\"3,484,987 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s4-trailer\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/welcome-to-season-4/\"}]"],"Dates":["[{\"date\":\"2022-09-19\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Simon Fraser University Maggie Benston Centre\",\"notes\":\"\",\"address\":\"8888 University Drive, Burnaby, BC, V5A 1S6\",\"latitude\":\"49.276709600000004\",\"longitude\":\"-122.91780296438841\"}]"],"Address":["8888 University Drive, Burnaby, BC, V5A 1S6"],"Venue":["Simon Fraser University Maggie Benston Centre"],"City":["Burnaby, British Columbia"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670549795897345,"timestamp":"2026-01-07T14:59:54.290Z","contents":["Hello and welcome to another season of The SpokenWeb Podcast! We’re back with a new line-up of exciting episodes created by researchers across the SpokenWeb network. The SpokenWeb Podcast asks, “What does literature sound like? What stories do we hear when we listen to the archive?” In this season, we have episodes that dive into the lives of archival objects—university poetry events—what it means to read an audiobook—and so much more. This season has something for everyone from lovers of literature and history to sound studies scholars, so come and join us as we continue listening to literature and the archives.\n\nWe would love to hear your reactions and ideas to our stories. If you appreciate the podcast, leave us a rating and a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.\n\n00:00\tHannah McGregor:\tWhat does The SpokenWeb Podcast sound like? [Start Music: Acoustic Strings] In our third season, we revisited Myra Bloom’s episode about Elizabeth Smart from Season 1—\n \n\n00:11\tMyra Bloom, S3E1 “Podcasting Literary Sound: Revisiting ‘The Agony and the Ecstasy of Elizabeth Smart’”\tIt suddenly occurred to me that I actually never heard her voice. (Underlaid Archival Audio of Elizabeth Smart: “I thought, if it was agreeable to you, that I’d read a chapter from By Grand Central Station I Sat Down and Wept.”\n \n\n00:17\tHannah McGregor:\t— heard the voices of poets and writers across Canada —\n \n\n00:21\tArchival Audio, Phyllis Webb, in S3E10 “‘starry and full of glory’: Phyllis Webb, in Memoriam”:\n \n\n…stars, stars, stars! [Repeats, fading out]\n \n\n00:23\tInterview Excerpt, S3E2 “Lisa Robertson and the Feminist Archive”:\tIs it the glimpse of mortality that makes you feel a bit differently about it?\nWell, it’s quite literally seeing your friends die.\n\n \n\n00:29\tFaith Paré, S3E5 “The Show Goes On: Words and Music in a Pandemic”:\tThis is not the poem I wanted / It is the poem I could.\n \n\n00:33\tHannah McGregor:\tAnd thought about how we listen.\n \n\n00:36\tStéphanie Ricci:, S3E6: “Listening, Sound, Agency: A Retrospective Listening to the 2021 SpokenWeb Symposium”:\n \n\nHow do we discuss the sounds of human beings\n \n\n00:38\tHannah McGregor:\tWe asked, what does scholarship sound like? and revisited last year’s virtual SpokenWeb Symposium—\n \n\n00:46\tStéphanie Ricci:, S3E6: “Listening, Sound, Agency: A Retrospective Listening to the 2021 SpokenWeb Symposium”:\n \n\nHow do we listen virtually?\n \n\n00:48\tMathieu Aubin, S3E6: “Listening, Sound, Agency: A Retrospective Listening to the 2021 SpokenWeb Symposium”:\n \n\nHow do you listen virtually to a conference about listening?\n00:52\tHannah McGregor:\t—and the 1983 Women and Words conference held in Vancouver.\n \n\n00:56\tArchival Audio from S3E7 “The archive is messy and so are we”:\t“[…]our subject this morning is women facing traditional criticism, criticizing criticism.” (Clip continues under Hannah and resurfaces, underlaid with the next clips)\n \n\n01:01\tHannah McGregor:\tWe explored how collaboration and conversation are central to the research and work that we do.\n \n\n01:07\tKelly Cubbon, S3E9 “Talking Transcription: Accessibility, Collaboration, and Creativity”:\tKelly: Well, the process of transcription sounds like collaboration, like a conversation\n \n\n01:12\tKatherine McLeod, S3E9 “Talking Transcription: Accessibility, Collaboration, and Creativity”:\n \n\nIt is a process that invites access to content through multiple voices and multiple senses.\n01:18\tKate Moffatt, S3E7 “The archive is messy and so are we”:\t[Warped Archival Clip Plays With Some Words Audible] And it’s funny, cuz you can almost hear it. Like you can almost hear something being said.\n \n\n01:26\tHannah McGregor:\tThis past season took us to new places and spaces, from the plains of Northern Alberta–\n \n\n01:32\tMichelle, S3E3 “Forced Migration”:\t[Michelle and a low, gravely voice recite simultaneously] But the bull dragged the man, and the rope lacerated his hands, cutting to the bone.\n \n\n01:37\tHannah McGregor:\t–back to the 80s, to the student-run campus radio shows of the CKUA network.\n \n\n01:44\tTerri Wynnyk, S3E8 “Academics on Air”:\n \n\nWe once found a boa constrictor that had escaped. Because up above us was all sorts of science labs and buildings and rabbits and cockroaches […]\n01:52\tHannah McGregor:\tMy name is Hannah McGregor, and I’ve been the host of the SpokenWeb Podcast since its inception. But I’m stepping out of this role for the next year, and I have the pleasure of passing the mic to this season’s host: Katherine Mcleod.\n \n\n02:08\tKatherine McLeod:\tThank you Hannah! [Music Swells to Atmospheric Chords] My name is Katherine McLeod, and I am so excited to host this new season of the SpokenWeb Podcast. You’ll recognize my voice from ShortCuts – our deep dive into the SpokenWeb archives that you can find right here on the same podcast feed.\n \n\nThis season on the podcast, we have a line-up of episodes that we can’t wait to share: we’re going to hear more about the “Drum Codes” we listened to in Season 2; we’ll be thinking about audiobooks as a literary medium: what is it like to read an audiobook? What is it like to teach with an audiobook in the classroom?\n\n \n\nWe’ll be re-listening to university poetry events, diving into the archives to converse with the archival objects themselves. We’re going to experience environmental sound with an episode on fire and ecopoetics; and we’ll be thinking about literary environmental sound, and even exploring the soundscapes of libraries. Whether you’re a lover of literature or a sound studies scholar, this podcast has something to share with you. Subscribe and join us for Season Four of the SpokenWeb Podcast, coming to your podcast feeds on October 3rd."],"score":1.0},{"id":"9984","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 3.4, Sonic Passages, 17 January 2022, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/sonic-passages/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/db88c6e3-2a5c-41d6-a316-c3e74f9165c7/audio/aabfa4af-a82c-4737-b0b4-e3c8388c83f3/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"shortcuts-3-4-sonic-passages.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:11:18\",\"precision\":\"\",\"size\":\"10,928,423 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"Full Episode_Shortcuts 3.4\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/sonic-passages/\"}]"],"Dates":["[{\"date\":\"2022-01-17\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"AUDIO\\n\\nAudio in this episode is from a 1970 recording of Daphne Marlatt reading in Montreal at the Sir George Williams Poetry Series, and from a 2019 interview with Marlatt conducted by Karis Shearer and Megan Butchart and that aired on The SpokenWeb Podcast’s sister podcast, Soundbox Signals, and re-aired on The SpokenWeb Podcast. \\n\\nListen to the full recording of Daphne Marlatt reading in Montreal (1970): https://montreal.spokenweb.ca/sgw-poetry-readings/daphne-marlatt-at-sgwu-1970/.\\n\\nListen to the previous episode of The SpokenWeb Podcast, “SoundBox Signals presents Performing the Archive”: https://spokenweb.ca/podcast/episodes/soundbox-signals-presents-performing-the-archive/.\\n\\nListen to the previous ShortCuts on Marlatt, “Then and Now” mentioned in this episode: https://spokenweb.ca/podcast/episodes/audio-of-the-month-then-and-now/.\\n\\nRESOURCES\\n\\n“Daphne Marlatt & Diane Wakoski: Performing the SpokenWeb Archive.” SpokenWeb. Concordia University, 21 November 2014,  https://montreal.spokenweb.ca/oral-literary-history/daphne-marlatt-diane-wakoski-performing-the-spokenweb-archive/.\\n\\nMarlatt, Daphne. “Afterword: Immediacies of Writing.” Rivering: The Poetry of Daphne Marlatt. Ed. Susan Knutson. Wilfrid Laurier University Press, 2014. \\n\\n— “Bird of Passage.” Origin, vol. 3, no. 16, Cid Corman, Jan. 1970, pp. 1–68, https://jstor.org/stable/community.28042112.\\n\\nMcLeod, Katherine. “Daphne Marlatt reading ‘Lagoon’.” SPOKENWEBLOG, 28 November, 2019, https://spokenweb.ca/daphne-marlatt-reading-lagoon/.\\n\\nShearer, Karis. “Performing the Archive: Daphne Marlatt, leaf leaf/s, then and now.” The AMP Lab. UBC-Okanagan, 17 November 2019, https://amplab.ok.ubc.ca/index.php/2019/11/17/performing-the-archive-daphne-marlatt-leaf-leaf-s-then-and-now/.\\n\\n\"}]"],"_version_":1853670549809528833,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This ShortCuts episode responds to poet Daphne Marlatt’s conversation with Karis Shearer and Megan Butchart in the recent SpokenWeb Podcast episode “SoundBox Signals presents Performing the Archive.” By listening to audio from Marlatt’s previous archival performances, ShortCuts producer Katherine McLeod considers how we remember feelings attached to reading a poem out loud. What does it feel like to hear a recording of your own voice? Are you reminded of how you were feeling while speaking, and can the archive ever hold the memory of those feelings?\n\n*\n\n“Sometimes, unknowingly, one writes a few lines that continue to\nreverberate as some kind of pointer for future years of writing.”\n— Daphne Marlatt, “Afterword” (Rivering)\n\n00:09\tShortCuts Theme:\t[Piano Overlaid With Distorted Beat]\n \n\n00:09\tHannah McGregor:\tWelcome to SpokenWeb ShortCuts. Each month on alternate fortnights (that’s every second week following the monthly SpokenWeb Podcast episode) join me, Hannah McGregor and our minisode host and curator, Katherine McLeod for SpokenWeb’s ShortCuts mini-series. We’ll share with you specially curated audio clips from deep in the SpokenWeb archives to ask: what does it mean to cut and splice digitally? What kinds of new stories and audio criticism can be produced through these short archival clips? An extension of the ShortCuts blog posts on Spoken Web blog, this series brings Katherine’s favourite audio clips each month to the SpokenWeb Podcast feed. So if you love what you hear, make sure to head over to SpokenWeb.ca for more. without further ado. [End Music: Piano Overlaid With Distorted Beat] Without further ado, here is Katherine McLeod with SpokenWeb ShortCuts, mini-stories about how literature sounds. [SpokenWeb Podcast Theme Music: Instrumental Overlapped with Feminine Voice]\n \n\n01:17\tKatherine McLeod:\tWelcome to SpokenWeb’s ShortCuts. In this ShortCuts, our listening will be inspired by the previous full episode of The SpokenWeb Podcast. That means we’ll be drawing our inspiration from Daphne Marlatt’s conversation with Karis Shearer and Megan Butchart in the recent episode “SoundBox Signals presents Performing the Archive.” They talk with Marlatt about poetry readings and about her performance with the archive in a poetry reading that had taken place the night before the interview — in 2019. In that reading, Marlatt had read alongside recordings of her past self — a recording from 1969.\n \n\n02:02\tKatherine McLeod:\tThis ShortCuts is inspired by the question of what it feels like to hear a recording of your past self – and asks: how can an archive contain traces of what the self – the body – behind the voice was feeling? In the case of Marlatt, she is a poet who has graciously accepted the invitation by SpokenWeb to listen to recordings of her past self and past voice more than once. I was there in the audience at a previous one. That was a reading that Marlatt gave in 2014 in Montreal. She read along with a recording of her reading in Montreal in 1970. What strikes me in listening back to that 1970 recording after hearing Marlatt’s conversation with Shearer and Butchart on the podcast is the extent to which a recording captures a person in a moment in time in their body. I’m thinking here of the difference between what she thought her voice sounded like in that recording and what she could remember feeling. I had listened to that 1970 recording for a previous ShortCuts with my listening attuned to place — check the show notes for Then and Now — but this time I was listening to that 1970 recording with my attention attuned to where the body was present in this recording. I noticed how she introduces the poem “Bird of Passage.” What she says before reading “Bird of Passage” is quite short but it contains so much, both said and unsaid.\n \n\n03:41\tKatherine McLeod:\tShe says, this is a poem that I wrote.\n \n\n03:44\tAudio recording, Daphne Marlatt, 1970:\tThis is a poem that I wrote when I was about… oh I don’t know, seven or eight months pregnant… [Pause] …Bird of Passage. I wrote it in Vancouver… spring time again…. Bird of Passage.\n \n\n04:03\tKatherine McLeod:\tHere, was Marlatt in 1970 saying that she had written this poem ‘Bird of Passage’ while she was pregnant. That is significant in and of itself when thinking of the body but now I was hearing it with the full resonance of her recent conversation with Shearer and Buchart from the podcast and what Marlatt says when the date of the recording, July 1969, is mentioned…\n \n\n04:30\tAudio Recording, Daphne Marlatt, “SoundBox Signals presents Performing the Archive”, 2019:\tInteresting that date, because I had given birth to my son at the beginning of May. So, I was a young mother, my body had gone through a major experience. That was not the experience that I’d had when I wrote those poems. What was interesting to me hearing last night at the reading – there was so much – my voice was so much more present in those poems than I had remembered my voice being, and I think it’s because of the giving birth experience…\n \n\n05:09\tKatherine McLeod:\tHer comment is about a memory of how the body had felt when she was writing those poems. And her comment is also about how she remembers feeling in her body when she was reading those poems out loud. I wonder, then, how would it have felt to read “Bird of Passage” out loud to an audience in 1970. Only she will know that. The archive cannot answer that question. But what we can hear in the archive is the sound of the poem and how it resonates now in relation to Marlatt’s writing. Listen to the sound of passage vibrating in this poem, “Bird of Passage,” not only in the title but in phrases like this one:\n \n\n05:56\tAudio recording, Daphne Marlatt, 1970:\t[Reading “Bird of Passage”] “…eave swallows cliff, passerine, which I thought meant passing as passenger sails, through an isthmus, time does not constrict…”\n \n\n06:05\tKatherine McLeod:\tIt is as though the poem is moving towards what passage comes to mean in Marlatt’s poems — passage, passing, a moving towards, language as the medium of passage, a passage between…\n \n\n06:19\tAudio recording, Daphne Marlatt, 1970:\tI cannot grasp your sound, breath, stone, you turn dumb, and will not speak, of what sticks at, feathers, uneasy nest, unease, a restlessness, tonight, drips in, passing in return, perhaps light airs, we begin again…\n \n\n06:43\tKatherine McLeod:\tThat is how she ends the poem, and we’re about to listen to it from the beginning in its entirety together, but I’ve played these clips from it in advance to attune ourselves to the poem. It is a poem that one could pass over while listening to the reading, but her brief introductory words made it stand out especially because I was listening with the question of: how can we hear feelings of embodiment in the recording of this reading? Recently, in the afterward to Rivering, Marlatt has written this observation — quote: “Sometimes, unknowingly, one writes a few lines that continue to reverberate as some kind of pointer for future years of writing.” Here is Marlatt reading “Bird of Passage” in 1970. I invite you to hear the resonances of moving forward, the sound of her voice as passage, surging towards her future poems, her “future years of writing” …\n \n\n07:50\tAudio recording, Daphne Marlatt, 1970:\tThis is a poem that I wrote when I was about – I don’t know –seven or eight months pregnant. “Bird of Passage” I wrote it in Vancouver, springtime again. Bird of Passage. [Reading poem, transcribed as heard – see Show Notes for a link to the poem as published.] Thaw begins tonight, Eaves drip incessant strain rings, wind bell spring brought forward out of time. This bird, dive bird, nestle, why stop nested under the eave of flesh or strong wet bird’s wings. Turned as I am against your anonymous hip, in sleep some cliff must be negotiated. Swallow. Eave swallows cliff passerine, which I thought meant passing as passenger sails through an isthmus, time does not constrict. Helpless, constriction in my throat seeing the picture of oil slick bird, will die. Fixed, its feathers mark coming out of yoke, this black stuff. Fix of its own birth. So a month’s accumulation of tears into icicles, vesicles, leaves, roots. Incessant release can be nothing more than alone, urine past, warm, squat by the window’s cold. Only to lie, quote, alone. Not ceasing its skim in serous medium light as air to us gravity-bound. Head over heels or wing bones supplied to test its limit extent, passage, passing, passenger. Temporary nest high in the air. Hirundinidae, hirondelle in graceful flight and regular migration. Fathered by a bird too sought definition for its passage, bird of sea, bird of passage or, quote, a rolling stone. Jumps in the  womb for joy. A recognition, cognition, knowing whence sound came a rhythm per-vades rocking waves under the face of his, fight to be over the din. We are all born in risk, mute, cliff. I cannot grasp your sound, breath, stone. You turn dumb and will not speak of what sticks at feathering. An uneasy nest, unease, a restless. Tonight, drips in passing in return, perhaps light airs. We begin, again.\n \n\n10:57\tKatherine McLeod:\t[Start Music: ShortCuts Theme Song] ShortCuts is mixed and mastered by Judith Burr, hosted by Hannah McGregor, transcribed by Kelly Cubbon, and produced by me, Katherine McLeod. Check SpokenWeb.ca to find out more about the sounds of these recordings. Thank you for listening. [End Music: ShortCuts Theme Song]\n "],"score":1.0},{"id":"9985","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 3.5, The Voice That Is The Poem, ft. Kaie Kellough, 21 February 2022, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/the-voice-that-is-the-poem-ft-kaie-kellough/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/84e938cc-2b23-4f14-b878-f316ed90368b/audio/a1afdd87-27b6-41a9-b7c9-3b8355079a60/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"shortcuts-3-5.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:20:06\",\"precision\":\"\",\"size\":\"19,369,108 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"ShortCuts 3.5\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/the-voice-that-is-the-poem-ft-kaie-kellough/\"}]"],"Dates":["[{\"date\":\"2022-02-21\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Archival audio in this episode is excerpted from a recording of The Words and Music Show on November 20, 2016 (Casa del Popolo, Montreal). \\n\\nThe performers that night were Eve Nixen, Kaie Kellough, Tawhida Tanya Evanson’s Zenship [Tawhaida Tanya Evanson (voice); Mark Haynes (bass); Ziya Tabassian (percussion); Caulder Nash (keyboards), with guest performance by Nina Segalowitz (Inuit throat singing)], Paul Dutton, and pianist Stefan Christoff.\\n\\nSHOW NOTES\\n\\nKellough, Kaie.\\nMagnetic Equator\\n. McClelland and Stewart, 2020. \\n\\n—“Rough Craft: Notes on the creation of the audio / visual / textual work Small Stones.”\\nSPOKENWEBLOG,\\n22 May, 2021,\\nhttps://spokenweb.ca/rough-craft-notes-on-the-creation-of-the-audio-visual-textual-work-small-stones/\\n.\\n\\n“The Show Goes On.” Producer Jason Camlot.\\nThe SpokenWeb Podcast\\n, 7 Feb 2022.\\nhttps://spokenweb.ca/podcast/episodes/the-show-goes-on-words-and-music-in-a-pandemic/\"}]"],"_version_":1853670549810577408,"timestamp":"2026-01-07T14:59:54.290Z","contents":["On ShortCuts this month, producer Katherine McLeod talks with poet, novelist, and sound performer Kaie Kellough about a memorable recording from The Words & Music Show.  \n\nWhat are we listening to? Kellough unpacks what we are listening to — which turns out to be a highly technical, performative, and polyphonic sonic object, along with it being an early version of a passage from his Griffin Prize-winning book of poetry,\nMagnetic Equator\n. \n\nListen to this ShortCuts for the story behind one archival recording, and what this story reveals about how we remember the feelings infused within live performance. \n\n00:09\tShortCuts Theme Music:\t[Piano Overlaid With Distorted Beat]\n \n\n00:09\tHannah McGregor:\tWelcome to SpokenWeb ShortCuts. Each month on alternate fortnights (that’s every second week following the monthly SpokenWeb Podcast episode) you can join me, Hannah McGregor, and our minisode host and curator, Katherine McLeod, for SpokenWeb’s ShortCuts mini-series. We’ll share with you specially curated audio clips from deep in the SpokenWeb archives to ask: what does it mean to cut and splice digitally? What kinds of new stories and audio criticism can be produced through these short archival clips? ShortCuts is an extension of the ShortCuts blog posts on SpokenWeb blog [Sound Effect: Wind Chime]. So if you love what you hear, make sure to head over to spokenweb.ca for more. If you’re a researcher with the SpokenWeb Project, think about joining Katherine on ShortCuts to discuss an archival clip that has impacted your work. Especially if you are a student who has been digitizing and cataloguing recordings and there is a sound that stands out to you after all those hours of listening — let Katherine know! Pitch Katherine your audio by emailing spokenwebpodcast@gmail.com. [End Music: ShortCuts Theme Music] Now, here is Katherine McLeod with SpokenWeb ShortCuts: mini stories about how literature sounds. [SpokenWeb Podcast Theme Music: Instrumental Overlapped with Feminine Voice]\n \n\n01:29\tKatherine McLeod:\tWelcome to ShortCuts, where we listen closely and carefully to a shortcut [Sound Effect: Scissors] from SpokenWeb’s audio collections. On this episode, we’ll be listening to an audio clip from a performance by Griffin poetry prize-winning poet, Kaie Kellough. It’s a recording of him reading at The Words & Music Show in Montreal, back in November, 2016. You may even remember this clip. It was featured previously on ShortCuts. It’s a memorable recording in which Kellough’s introduction to a poem becomes the poem. I thought I’d return to this clip, partly as a response to the most recent full episode of The SpokenWeb Podcast — and do check that out if you haven’t already — and also because I’ve always wanted to ask Kellough about that performance. What are we listening to? And what does it feel like for him to listen to that recording? So let’s travel back in time to the Words & Music Show at Casa Del Popolo in 2016. Kaie Kellough is on stage and he is thanking host Ian Ferrier for the introduction and he’s about to start his set. We’ll hear a recording of that first. And then we’ll jump into my recent conversation on Zoom with Kaie Kellough. We started that conversation by listening to the same recording. Or, as I said to him, I’ll play this very short clip and we’ll listen to it together…\n \n\n02:59\tKatherine McLeod, Zoom recording:\tWe we’ll play the very short clip and we can listen to it together.\n \n\n03:02\tKaie Kellough, Zoom recording:\tSounds good.\n \n\n03:03\tKatherine McLeod, Zoom recording:\tAnd so let me just share this.\n \n\n03:06\tAudio Recording, Kaie Kellough, Words & Music Show, 2016:\tHello, thanks Ian, for that introduction. And… thanks to all of the other artists tonight… It’s been a very nice night. I’mmmmm going to present something to you, for you, that is… somewhat narrative, I guess… but it isn’t related to my novel. It’s some other narratives and… the narratives are related to adolescence… which is a peculiar time in life…. and I think that they’re relevant nowadays because [Recorded speech begins overlapping, legible words will appear in square brackets] they’re related to adolescence in a particular place in time…in Alberta behind in the [I want to forget] 1980s [high school fever forever] in the moment of [black hair, teens from the] heavy evangelical who drank themselves to activity extreme conservatism [trying to prove themselves that they exist] that they, some of the challenge is that arise growing up [I want to forget my stupid conviction] and trying to live oneself in a climate like that, which seems to be a climate that had to reemerging in spite of that [amber alcohol, all of the DNA] all of the [seeped down centuries of slavery] all of the appearances to the contrary that had appeared [in a far flung] in the past [suburb of empire]. The idea [that slum above] born yesterday was finished [or that born yesterday] was finished [or a bubble] or [a burden was seat and, and done suddenly a wave [a froth that was archived by teenage brains] a wave of [autobiography of conservatism] of conservatism has, has has [crashed] crashed [Oldsmobile Cutlass Supreme, the jaws of life rend and pry it open] suddenly a wa— [like a tuna can] suddenly a [everybody is unconscious] suddenly a wave [is bleeding] has crashed…\n \n\n05:22\tKatherine McLeod, Zoom recording:\tThat was recorded at The Words and Music Show back in 2016. And I’m wondering, what, what are we listening to there? What are we hearing?\n \n\n05:34\tKaie Kellough, Zoom recording:\tWow. 2016! I didn’t realize it was that long ago. Actually, what you’re listening to is a passage from the manuscript of Magnetic Equator. I mean, that was a very, very, very early iteration of that. And it was – one of the themes that became a sort of major thread in the book, which was writing about adolescence in Western Canada in the 80s and 90s. But what I was trying to do in the performance was – you know, in live vocal performance one of the things that is a huge concern is that you only have one voice at a time, right. So how do you multiply that? How do you get to have maybe two voices or three voices at a time, or half a voice? How does that work? So you can multiply or divide voice. And that instantly makes, I think, the sonic field and the vocal field a little bit richer. And then if you can overlap them or layer them, or have them speak across one another — and sometimes sync-up and sometimes diverge — then it becomes not just multiple voices but it becomes an interplay among multiple voices, a sort of directed movement. So one problem was, how do you get around having just one voice in performance? And then what happens when you have multiple voices? What do you do with them? Then another other concern is that, sometimes in live oral performance, the poet, or the presenter plays these dual roles and sort of toggles between them. There’s the role of the poet — the, how can I put this? The MC, the master of ceremonies where you, you say, “okay, so now this next poem that I’m going to present is about”….and, and it’s you, right? The human being. You crack a couple of jokes, you present the poem, or you say something important about it, and then you present the poem. But when you read the poem, you shift into another persona. That’s the performer. That kind of movement back and forth — I’ve always liked to kind of try to subvert that and not to emphasize that too much, or find ways of blending it. So the introduction becomes the poem, or the introduction, in this case, winds up entering into dialogue with the poem. The voice that was the poem was recorded into a Zoom recorder. And then that Zoom was — so I had a bunch of electronics in front of me at the time. So there’s a visual part of the performance that can’t be seen in that intro clip.\n \n\n08:15\tKaie Kellough, Zoom recording:\tAnd so it’s sort of the playing up the part of sort of the befuddled button, electronic button tweaker, right? Trying to say something, meanwhile, being distracted by the machine and your voice gets overtaken by the machine, but also –so there’s my voice going through a clean microphone. And then there’s a second voice which been recorded into a Zoom and that’s being played through — actually, no, there are three voices. So there’s my voice, introducing the poem. There’s a second voice that’s going through a mixer and out to the house, and that’s a recorded voice. And then there’s a third recorded voice that’s going back into an effects pedal and then out. So there can always – from the recording there can always be a clean channel and a channel that is run through effects. And I was running it through this really the interesting analog delay pedal that doesn’t sound like your usual delay, but it sort of breaks up and fragments the source sound.[Recorded audio of fragmented sound effect plays in the background] So eventually the voice started to – it would sound like tape delay, like scribing and fragmenting and breaking. [Fragmented Voice: “Wandering out of time / This ship built by oil money / this fort for raw tobacco]\n \n\n09:42\tKaie Kellough, Zoom recording:\tSo potentially the voice would start to sound like tape delay, like squiggling and fragmenting and breaking up. But yeah, so there could potentially be three voices, mine, the clean recorded, and the broken.\n \n\n09:48\tKatherine McLeod, Zoom recording:\tAnd I guess the fact that Ian Ferrier recorded every Words and Music Show, then we have this version, all three voices are captured in Ian’s recording in an interesting way that then –.\n \n\n10:03\tKaie Kellough, Zoom recording:\tYes.\n \n\n10:03\tKatherine McLeod, Zoom recording:\t– it’s like we have one iteration of it, but it would never have been performed the same way twice.\n \n\n10:10\tKaie Kellough, Zoom recording:\tThere was another thing — I remember this performance and what I was thinking about was — was also having the introduction to the poem, be sort of halting and… failing to progress fluidly. I wanted to have the work come up under that. So to give the impression that I didn’t know exactly what I might be doing and then have the poem take over in a moment of uncertainty. But yeah, thanks to Ian for recording that stuff, because it was an experiment. I’d been playing with it at home and we decided — I got the chance to experiment— I think that might have been a bill that Paul Dutton was on too.\n \n\n10:52\tKatherine McLeod, Zoom recording:\tTo imagine then hearing that alongside one of Paul Dutton’s performances too. That adds even more. I think too thinking about when – what you talked about the, almost like the hesitant introduction, it felt like that worked so well too with the poem, because it felt like of thinking back —ok back to adolescence, and hesitating kind of feeling like do I wanna go back or do, and so it sort of felt like that hesitancy was also connected to a bit of the emotional distance from that time too, and really, really hearing that process. It really, yeah – it feels like we’re listening to a process unfolding in the way that the introduction moves into the poem. It feels like a very important part of the process of how the poem evolved eventually to become what it is on the page.\n \n\n11:47\tKaie Kellough, Zoom recording:\tYeah. No, the poem changed a lot between that iteration into 2016, and what was later, what was the edited version that was wound up being published. The one that was performed in 2016 — I can definitely say that the poem had probably been written within weeks of that performance. I was trying to — I was trying to, trying to play with the idea that…the sense that maybe the person who was presenting the poems was not fully competent. Their confidence was wavering. And those are not things that you’re supposed to perform, right. Once you get up in the moment of performance, it’s supposed to be pure expertise and excellence. And difficulty, hesitancy — those things are not supposed to be there. Those are supposed to be –you’re supposed to gloss those over with a sense of know-how and knowing what to do in the moment. And so how do you approach a performance and get around the need for constant expertise throughout? Because those other experiences are part of the experience of performing. Even if you don’t perform them, you feel them while you’re performing. You feel hesitant, your brain is racing. You’re not sure what to say next. You don’t necessarily always feel totally capable when you go up there to perform. So how do you emphasize that in a way that works within the context of the performance?\n \n\n13:35\tKatherine McLeod, Zoom recording:\tHearing this now in the archive, how does this recording sit for you in time?\n \n\n13:40\tKaie Kellough, Zoom recording:\tYeah, it’s interesting because it does sit – I mean, it does sit as something that is — it’s like a board tap from a live event. So there’s a raw quality to it. If this were made in a studio, it would’ve been a different piece because it would’ve been created for audio. Right. It would’ve been created exclusively as an audio piece and there would’ve been really limited emphasis on the visual aspect of performance and that communication and with an audience. It would’ve been elaborate in a different way as a sonic object. So, I mean, that does cross my mind, and that’s not necessarily a negative thing. What I mean by that is that just kind of establishes the further context for what it was.\n \n\n14:29\tKaie Kellough, Zoom recording:\tAnd that was one of the nice things about, about Wired on Words. If you wanted, you could accept Ian’s invitation to go to the show and you could repeat the same work that you repeated two months before that. And three months before that and six months before that. I accepted a lot of Ian’s invitations, and I always tried to take them as opportunities to attempt something slightly different. And so, I might have repeated myself sometimes, but I was really, really trying to move away from that. And that helped me because there was a thought that I could consistently develop new work and it didn’t have to be perfect and flawless to go out to be presented to the public, but it could be developed and developing towards something, and, in the moment of performance, if I could communicate that well enough people would grasp that. That was also — it also felt like it was the context of the show. There was a looseness to it that kind of allowed for that. It was –I mean, it was a show. So you were presenting somewhat finished works to the public, but the thing about it was that there’s something very casual about it too.\n \n\n15:59\tKatherine McLeod, Zoom recording:\tI feel that The Words and Music Show still feels that way, and it’s amazing to continue having that spirit through — such a long — through over 20 years of having the show.\n \n\n16:11\tKaie Kellough, Zoom recording:\tYeah, especially thinking about it now. I mean we’re in the fourth or fifth wave the pandemic and everything shut down again. The literary world has, and the world of literature and performance has kind of migrated online, with varying degrees of success. I don’t think — like the world of performance — I mean, it’s difficult to feel any inspiration toward performance when you’re sitting in your living room — right? [Laugher] It just seems so ridiculous. And, so to think back on the freedom to just roll out to a venue close by home and to be able to perform and to benefit from what you were talking about earlier about — I mean, that’s what we don’t benefit from with online events, the being able to mill about and talk with people after the event. Like when with an online event, you’re there for the event.\n \n\n17:14\tKatherine McLeod, Zoom recording:\tYeah.\n \n\n17:15\tKaie Kellough, Zoom recording:\tAnd there may be some back and forth in the comments or in the chat, but generally you’re there for the event and with live events, you were partly there for the event, but then there was all of the other stuff that went on in between. In between, in between performances, in between sets, like if I would bring a bunch of gear there, like pedals and synths and stuff like that, other musicians would come up on stage and we would chat about the equipment and about the gear. And, “Oh, what can this panel in your synth do? How did you use this pedal? Oh, I have one that does this” And so on. And so there would also be some casual, impromptu learning that would take place. Someone might ask you if you’ve ever used one of your pieces of equipment in such and such a way, and might show you how to do something with it. So that possibility too was really very much a part of those, those. Or, how did you get that sound, you know? And then you could share information about that. And that learning was a big part of those events too\n \n\n18:22\tKatherine McLeod, Zoom recording:\tHmm. Yeah, we’re definitely missing it. [Sigh] Well, I think that’s a beautiful note to end on. I want to thank you. Thank you so much, Kaie, for joining me and talking about this clip from Words and Music Show and what we’re listening to.\n \n\n18:40\tKaie Kellough, Zoom recording:\tOh, thanks. Thanks for having me. And thanks for asking me and reminding me of the clip. You asked me [Start Music: ShortCuts Theme Music] what it was like, what I thought about when hearing it and it’s strange to hear that kind of reflection of yourself and to – I didn’t realize it was as far back as 2016, because it feels a lot sooner. I remember what I was thinking about. I remember what my poetry, my poetic preoccupations were at the time. I remember how far that poem came because it was young and sentimental when I wrote it, and then it was not like that by the time it was published. It took on a different sort of personality by the time it was published. But yeah, I remember everything that I was thinking about. I remember how excited I was about it. Yeah. It’s just a — so thank you.\n \n\n19:34\tKatherine McLeod, Zoom recording:\tThank you so much.\n \n\n19:39\tKatherine McLeod:\tYou’ve been listening to ShortCuts. My guest this month was poet Kaie Kellough. ShortCuts is mixed and mastered by Judith Burr, hosted by Hannah McGregor, transcribed by Kelly Cubbon, and produced by me, Katherine McLeod. Thanks for listening. [End Music: ShortCuts Theme Music]"],"score":1.0},{"id":"9986","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 3.6, Listening Communities: The Introductions of Douglas Barbour, 21 March 2022, O’Driscoll"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/listening-communities-the-introductions-of-douglas-barbour/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Michael O’Driscoll"],"creator_names_search":["Michael O’Driscoll"],"creators":["[{\"url\":\"\",\"name\":\"Michael O’Driscoll\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/92fcd7b7-f420-4290-92bb-dc203c24e20e/audio/a0916f80-9412-430b-86c4-bdf060a54182/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"shortcuts3-6-listeningcommunities.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:22:28\",\"precision\":\"\",\"size\":\"21,576,865 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"ShortCuts3.6_ListeningCommunities\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/listening-communities-the-introductions-of-douglas-barbour/\"}]"],"Dates":["[{\"date\":\"2022-03-21\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/10238561\",\"venue\":\"University of Alberta\",\"notes\":\"\",\"address\":\"11121 Saskatchewan Drive NW, Edmonton, Alberta, T6G 2E5\",\"latitude\":\"53.52682\",\"longitude\":\"-113.5244937350756\"}]"],"Address":["11121 Saskatchewan Drive NW, Edmonton, Alberta, T6G 2E5"],"Venue":["University of Alberta"],"City":["Edmonton, Alberta"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"AUDIO\\n\\nAudio played in this ShortCuts is excerpted from the SpokenWeb’s audio collections held by the University of Alberta. The audio is currently being catalogued by SpokenWeb researchers. \\n\\nAudio of Douglas Barbour reading “The Gone Tune” is from the cassette tape recording of The Bards of March (15 March 1986). \\n\\nAudio of Douglas Barbour’s introductions are selected from readings recorded in 1977-1981. The poets introduced are, in order of audio appearance: Tom Wayman, Phyllis Webb, Fred Wah, Maxine Gadd, George Bowering, Roy Kiyooka, Penn Kemp, Leona Gom, John Newlove, Sheila Watson, Robert Kroetsch, and bpNichol.\\n\\nRESOURCES\\n\\nNeWest Press: IN MEMORIAM: DOUGLAS BARBOUR (1940-2021),\\nhttps://newestpress.com/news/in-memoriam-douglas-barbour-1940-2021\\n\\nDouglas Barbour (March 21, 1940 – September 25, 2021),\\nhttps://robmclennan.blogspot.com/2021/09/douglas-barbour-march-21-1940-september.html\\n\\n“\\nSounds of Trance Formation: An Interview with Penn Kemp.\\n” Produced by Nick Beauchesne & Penn Kemp for\\nThe SpokenWeb Podcast\\nand starts with a clip from the\\nTrance Form\\nreading hosted by Douglas Barbour at the University of Alberta (1977).\\n\\n\"}]"],"_version_":1853670549812674560,"timestamp":"2026-01-07T14:59:54.290Z","contents":["Our guest-producer this month, Michael O’Driscoll, invites us to listen to the introductions of the late Douglas Barbour\n(March 21, 1940 – Sept 25, 2021)\nfrom readings held at the University of Alberta. What are we listening to when we hear introductory remarks from past readings spliced together? By asking us to listen to remember, this episode remembers Barbour in his element —in sonic performance — and what we hear in the selected recordings is a combination both of poetic sound and sounds of deep care as he welcomes each writer to the microphone. \n\n00:09\tShortCuts Theme Music\t[Piano Overlaid with Distorted Beat]\n \n\n00:09\tHannah McGregor:\tWelcome to SpokenWeb ShortCuts. Each month on alternate fortnights (that’s every second week following the monthly SpokenWeb Podcast episode) you can join me, Hannah McGregor and our minisode host and curator, Katherine McLeod for SpokenWeb’s ShortCuts mini-series. We’ll share with you specially curated audio clips from deep in the SpokenWeb archives to ask: what does it mean to cut and splice digitally? What kinds of new stories and audio criticism can be produced through these short archival clips? ShortCuts is an extension of the ShortCuts blog posts on Spoken Web blog, so if you love what you hear be sure to head over to spokenweb.ca for more. If you’re a researcher with the Spoken Web Project, think about joining Katherine on shortcuts to discuss an archival clip that has impacted your work. Especially if you’re a student who has been digitizing and cataloging recordings, and there’s a sound that stands out to you after all those hours of listening, let Katherine know! Pitch Katherine, your audio by emailing SpokenWebPodcast@gmail.com. Now here is Katherine McLeod with SpokenWeb ShortCuts, mini-stories about how literature sounds. [SpokenWeb Podcast Theme Music: Instrumental Overlapped with Feminine Voice]\n \n\n01:28\tKatherine McLeod:\tWelcome back to ShortCuts where we take a deep dive into the archives through a short ‘cut’ [Sound Effect: Scissor Clip] or ‘cuts’ [Sound Effect: Scissor Clip x2] from the sounds of the SpokenWeb audio collections. This month, we have a guest producer, Michael O’Driscoll. He’ll be taking us on a sonic journey into recordings that are part of SpokenWeb’s collections held by the University of Alberta. So I’ll keep my own introduction brief here, but I do want to share the story of how this episode came about because it really does shape what you will hear. Throughout this third season of ShortCuts, I’ve been asking: How does the archive remember? Back in the November episode (and do listen back to it afterwards as it really is a place where many of the questions asked in this episode began) I had just finished making that episode and I was so heartbroken as many of us were to hear the news that writers Phyllis Webb and Lee Maracle had passed away. I happened to be in a SpokenWeb meeting with Michael O’Driscoll the following week and we started talking about what it means to listen to archives as a kind of communal remembrance — for Michael, the writer on his mind was the late Douglas Barbour. And after that meeting, we decided to talk more about ShortCuts as one of many places to explore a kind of listening as remembrance. By the time this episode was made we started to call this “listening to remember.” So here we are now in March 2022 and Michael has created an episode which is both a celebration of the multi-faceted sounds of Barbour’s poetry, and a reflection upon what community and care can sound like in the archives. Let’s listen together to “Listening Communities: The Introductions of Douglas Barbour”.\n \n\n03:33\tMichael O’Driscoll:\t[Start Music: ShortCuts Theme Music] Hello, I’m Michael O’Driscoll, and in this ShortCuts episode we’re going to explore a most under-rated audio-textual genre: the introduction to a literary reading. And to do that we’re going to jump into the University of Alberta’s SpokenWeb collection, and listen in on a master of the genre: poet, professor, critic, and publisher Douglas Barbour. [End Music” ShortCuts Theme Music] If you’re familiar with Doug’s creative work, then you probably know him as one of Canada’s great sound poets…\n \n\n04:08\tArchival Recording, Douglas Barbour, The Bards of March, 1986:\tThis is called “That Gone Tune” and it began when I was at the well known and noted Yardbird suite listening to the Dave Holland Quintet. “That Gone Tune”. [Opening clip of Barbour performing the sound poem “That Gone Tune,” starting with nonlinguistic vocalizations ranging in loudness and then settling into utterances that are mostly vowel-sounds.]\n \n\n05:28\tMichael O’Driscoll:\tThat’s Doug performing in 1986 at Edmonton’s Jubilee Auditorium at The Bards of March event, a celebration of NeWest Press. I first heard Doug’s sound poetry one year earlier at the Bookshop Café in Guelph, Ontario. It was, without exaggeration, life changing—as a young undergraduate student, I’d never witnessed anything like it. Over ten minutes time, in exacting, breathtaking, and sometimes humorous detail, Doug performed the words “full” and “moon” by carefully articulating, extending, and distorting the consonants and vowels of each word—teasing out and making so strange a motif that otherwise, so often, has been the subject of much more conventional lyric poetry. Sadly, we don’t have a copy of Doug performing “Full Moon,” but what we do have in the University of Alberta’s SpokenWeb collection are many, many instances of Doug introducing his visiting guests to a local audience. And that’s where I’d like us to pause briefly today.\n \n\n06:42\tArchival Audio, Douglas Barbour introducing Tom Wayman at the University of Alberta, approximately 1978:\tIndeed, a pleasure to introduce Tom Wayman to you today. He is our writer in residence this year and a great fellow to have around. I can tell you, I’ve been enjoying talking to him and listening to him for the past few months and look forward to that in the future. Today, I’m afraid he’s gonna hack and cough his way through a fairly short reading since he’s come down with a very bad cold in the last couple weeks. But, as various of his titles indicate he is the person who likes to communicate to live audiences, Money and Rain, a title I love, Tom Wayman Live is one of his books and always enjoyed him when I listen to him. I hope you will too today, Tom Wayman. [Audience Applause]\n \n\n07:25\tMichael O’Driscoll:\tI eventually came to know Doug when I joined him as a faculty member at the University of Alberta in 1997. Doug, who quickly became a friend, was passionate about many things: he was an inveterate jazz enthusiast, and he was an avid reader and critic of science fiction and fantasy in addition to being astonishingly expert on all things poetic. He was a founding member and President of NeWest Press; he was, along with Stephen Scobie, half of the Re: Sounding performance duo that performed around the world, and he was, at heart, a generous teacher and mentor. I can’t possibly capture his dynamic character in the space of this short account, so I want to focus on one thing: Doug’s cultivation of community. When Doug passed away last September at the age of 81, his life partner Sharon Barbour heard an outpouring of grief and support and memory from hundreds of friends, writers, artists, collaborators, and students from quite literally around the world. So many of us were compelled to express our deep admiration and gratitude for this man with whom we each felt connected. This was, in part, because Doug worked relentlessly to gather together a community of listeners—through collaborative writing and creation—such as the “Continuations” series he wrote with poet Sheila Murphy—by generously sharing and circulating the work of others, in his passionate commitment to teaching and learning, in supporting and nurturing artists near and far, and by opening up their home to visiting writers here in Edmonton. If you search “Barbour” in the University of Alberta’s SpokenWeb collection of literary sound recordings, Doug’s name comes up a couple of dozen times. That’s because year in and year out, there was Doug, pushing the “record” button on a reel to reel or cassette tape recorder, and introducing the authors under his care. Many of my other colleagues shared in the organizing and hospitality that went into building not only UAlberta’s annual reading series, but also what is now the oldest, continuous Writer in Residence program in the country. But as custodians of literary audio, the SpokenWeb collective owes Doug a particular debt of gratitude for helping to capture so many of these moments in creative time. And perhaps nothing better represents Doug’s spirit of hospitality and community building than his introductions to those guests. And that provides us with a unique opportunity to listen to community in the making. Here’s what that sounded like, for Doug.\n \n\n10:22\tArchival Audio, Douglas Barbour introducing Phyllis Webb at the University of Alberta, January 29, 1981:\t[Collage of intros and background audio, sometimes inaudible and ranging in sound quality.] Well, it’s my pleasure to welcome you to the first of what I hope will be five readings this term. We haven’t heard from everybody yet, but the next there’ll be two in February and two in March. I have had the pleasure of introducing Phyllis Webb to audiences at U of A before, but my pleasure is really great this time, since she is also our writer in residence this year, something of which I’m very proud. Also for the first time at least here, she’ll be reading, not only from the manuscript for her new book, but from the new book itself, Wilson’s Bowl, which has just been published by Coach House. Alas quick boning around the book store has revealed that it had not yet come in, but it will soon be available in stores in Edmonton. And it’s an incredibly good book indeed. Already available in a very fine book is her selected poems, which is in the bookstore, hither and yawn. Anybody who’s read the journal recently will know I think very highly of Phyllis Webb so I’ll say nothing more than: Phyllis Webb. [Audience Applause].\n \n\n11:26\tArchival Audio, Douglas Barbour introducing Fred Wah at the University of Alberta, March 8, 1979:\t[Tape Click] I’s a real pleasure for me to introduce Fred Wah today, he’s a poet I’ve been reading for a number of years. I actually did read his first work in New Wave Canada in 1966 and although I never did find a copy of lardo or a mountain, which were his first books and are probably very rare by now, I have managed to get hold of his later books published in Canada, Trees, among which is a kind of selected poems from 60s and an amazingly beautiful book from Town Books, pictograms from the interior of BC, which is both very fine poems and a beautiful example of book making, I think. Fred is now working on a book which bpNichol said is easy enough for him to say, but very difficult for people like me and you Doug, because it’s very hard to breathe Nichol or Barbara out that easily, but breathing my name with a sigh is very easy when your name is Fred WAH! So, I look forward to hearing from that book as well as some of his other work today and with no further ado I’ll let Fred Wah read. [Audience Applause]\n \n\n12:39\tArchival Audio, Douglas Barbour introducing Maxine Gadd at the University of Alberta, February 16, 1979:\t[Inaudible Sounds] There’s somebody from Vancouver, but Maxine has been putting up very well with frozen cars and everything this morning. She’s published only three books, but she’s been writing for a long time. And as you can see here written a great deal. She doesn’t like to be published. And it seems from what she said to me this morning that the reason two of those books were published… [Recording Drops Out] … grabs some manuscript and ran with it as fast as he could to his blewointment press, uh, those books. However, are guns of the west, the book of Practical Knowledge and how do you pronounce it? Hochelaga?\n \n\n13:07\tArchival Recording Maxine Gadd at the University of Alberta, February 16, 1979:\tHochelaga. Yeah, I published Practical Knowledge myself.\n \n\n13:09\tArchival Audio, Douglas Barbour introducing Maxine Gadd at the University of Alberta, February 16, 1979:\tAnd, Westerns was published in 1975, a collection of those three books. I’m looking really forward to this reading and I hope you are too, Maxine Gadd.\n \n\n13:18\tArchival Recording Maxine Gadd at the University of Alberta, February 16, 1979:\tThanks.\n \n\n13:18\tArchival Audio, Douglas Barbour introducing George Bowering at the University of Alberta, February 12, 1980:\tI have George Bowering here today to read to us. He is recently published another [inaudible] but I tend to think of him as the author of A Short Sad Book, Allophanes, and casting backwards a long distance, Touch, and many other works. George was once poet, but now he says he calls himself simply a writer. And he’s a very good writer. I’m glad to have him here. [Audience Applause].\n \n\n13:43\tArchival Audio, Douglas Barbour introducing Roy Kiyooka at the University of Alberta, February 11, 1977:\t…Stood among what I thought were the extraordinarily evocative photographs of his stone gloves and gave a reading at the University of Alberta. He hasn’t been back since, since that time, the book Stone Gloves has been published and last year Talon Books brought out a huge monumental transcanada letters, a book, which is delightful, engaging, and all the things that Roy Kiyooka is, which means multiplex and full of many, many wonders. It is my pleasure to introduce Roy Kiyooka to you today. [Audience Applause]\n \n\n14:15\tArchival Audio, Douglas Barbour, from Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977:\tThey’ll be right up to your feet but that won’t be too bad.\n \n\n14:18\tArchival Audio, Douglas Barbour introducing Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977:\t…Penny is the author of Most Recently Transformed, which is a marvelous looking book, as well as a very, very fine book…\n \n\n14:27\tArchival Audio, Douglas Barbour introducing Leona Gom at the University of Alberta, February 21, 1980:\t[Audience Chatter] …still a bit of… Not much [Audience Laughter]. We’re happy to welcome Leona Gom. [Audience Applause]\n \n\n14:36\tArchival Audio, Douglas Barbour, from John Newlove at the University of Alberta, March 19, 1981:\t[Audience Chatter] …there’s your friend. There’s a little bit of room if you wanna sit on the floor here!\n \n\n14:40\tArchival Audio, Douglas Barbour introducing John Newlove at the University of Alberta, March 19, 1981:\t….Just published a body of poetry, which has been seen to be very, very important to Canadian writing: John Newlove. [Audience Applause]\n \n\n14:50\tArchival Audio, Douglas Barbour introducing Sheila Watson at the University of Alberta, January 28, 1977:\t… I don’t think I have to tell you the pleasure I have in introducing Sheila Watson into this series of readings, so I would just present her with the greatest pleasure I can to you today: Sheila Watson. [Audience Applause]\n \n\n15:03\tArchival Audio, Douglas Barbour introducing Robert Kroetsch at the University of Alberta, November 23, 1978:\t…approach but I feel that the need for an introduction is less than apparent in an audience like this, but it’s nice to have him back again, alumni of this university and one of the best writers, I think, in Canada today. Robert Kroetsch has written numerous novels, The Words of my Roaring, The Stud Horseman, Going Indian, and his most recent one available right now in your bookstore, What the Crow Said, and many books of poetry, including Seed Catalogue and the Stone Hammer Poems. And I don’t think I need to say anything more except welcome Robert Kroetsch. [Applause]\n \n\n15:40\tArchival Audio, Douglas Barbour introducing bpNichol at the University of Alberta, March 22, 1979:\t[Inaudible] I think I – [Laughs] yeah, those of you who aren’t quite as close to as I am. I wanna say that it’s a great pleasure to have him back at the University of Alberta for a reading today. He won the Governor General’s Award in 1971 for as both an editor, a prose writer, and a poet. And since that time, as well as before, he’s been carrying on in all those areas. He’s a member of the editorial board of Coach House Press, one of the leading little presses in the country. As a prose writer in the past year has seen the publication of Craft Dinner, A Bunch of Proses from 1966 to 1976 collection of his shorter works, including one of the works that helped him win that Governor General’s Award, The True Eventual Story of Billy the Kid. He – as a prose writer he also published this year journal, a long work of great complexity and emotional, hard hitting-ness I suppose I can say. And as a poet, of course, he is known as both a sound poet and a concrete poet – as a sound poet, a concrete poet, and as he likes to put a trad poet. In sound poetry in the past year, I have seen him perform solo in Glasgow and with The Four Horseman at the 11th International Poetry Sound Festival – sound poetry in Toronto. And as a concrete poet he is also known internationally for his work in that field. And as a trad poet so to speak, The Ongoing Martyrology amongst as many other work stands as testament to the incredible amount of work and the value of it, I think to us all. So with that, bpNichol.\n \n\n17:28\tMichael O’Driscoll:\tThose samples come from the years 1977 to 1981. Doug’s style—as always—is exemplary: warm, exuberant, welcoming; but, also, each time he affirms at least three important things: the relationships that bind a network of poets and writers cross Canada; his careful attention to the work of others; and the joy of celebrating a shared community of practice. Little did I know that evening in Guelph, as my friends and I sat and listened, jaws agape, to Doug’s 1985 performance of “Full Moon,” that we were being invited into something very, very special that was already in the making: a community of listeners, and a mode of listening, to each other, to ourselves, and to the world around us\n \n\n18:29\tArchival Recording, Douglas Barbour, The Bards of March, 1986:\t[End of the recording played earlier of Barbour performing “That Gone Tune.” Nonlinguistic and songlike utterances compose most of the poem but these words are heard clearly at the end: “Go with it, go with it! If you’re lucky then you’re sounding, and you’re gone,” with a stretching of the word “gone”.] [Audience Applause] Thank you.\n \n\n22:05\tKatherine McLeod:\t[Start Music: ShortCuts Theme Music] You’ve been listening to ShortCuts. Our guest this month was Michael O’Driscoll. ShortCuts is mixed and mastered by Judith Burr, hosted by Hannah McGregor, transcribed by Kelly Cubbon, and hosted by me, Katherine McLeod. Thanks for listening. [End Music: ShortCuts Theme Music]\n \n\n\n"],"score":1.0},{"id":"9987","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 3.7, Moving, Still, 18 April 2022, McLeod "],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/moving-still/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/023b5797-abed-48ca-ba69-1868d7cacb3c/audio/0fb8f4d8-ae79-48dd-b220-44cfbb8e03b1/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"shortcuts-3-7.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:17:17\",\"precision\":\"\",\"size\":\"16,663,659 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"ShortCuts 3.7\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/moving-still/\"}]"],"Dates":["[{\"date\":\"2022-04-18\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"ARCHIVAL AUDIO\\n\\nPhyllis Webb reading (with Gwendolyn MacEwen) in Montreal on November 18, 1966, https://montreal.spokenweb.ca/sgw-poetry-readings/phyllis-webb-at-sgwu-1966-roy-kiyooka.\\n\\nShortCuts 2.7: Moving, 19 April 2021, https://spokenweb.ca/podcast/episodes/moving.\\n\\nRESOURCES\\n\\nCollis, Stephen. Almost Islands: Phyllis Webb and the Pursuit of the Unwritten. Talonbooks, 2018.\\n\\nMcLeod, Katherine. “Listening to the Archives of Phyllis Webb.” In Moving Archives. Ed. Linda Morra. Wilfrid Laurier University Press, 2020. 113-131.\\n\\nWebb, Phyllis. Naked Poems. Periwinkle Press, 1965.\\n\\nWebb, Phyllis. Peacock Blue: The Collected Poems. Ed. John Hulcoop. Talonbooks, 2014.\\n\"}]"],"_version_":1853670549814771712,"timestamp":"2026-01-07T14:59:54.290Z","contents":["In this episode, ShortCuts returns to a recording of Phyllis Webb in order to re-listen through this season’s question of how the archive remembers. What is held in the ‘room’ of the recording, and how does that differ from the room where reading took place? Or from the room of personal memory? What exceeds those rooms? And what does it feel like to hear their contours? Join producer Katherine McLeod as she reflects upon these questions while listening to a 1966 recording of Phyllis Webb reading from Naked Poems.\n\n00:09\nShortCuts Theme Music:\n[Piano Overlaid with Distorted Beat]\n\n00:10\nHannah McGregor:\nWelcome to SpokenWeb ShortCuts. Each month on alternate fortnights (that’s every second week following the monthly\nSpokenWeb Podcast\nepisode) you can join me, Hannah McGregor and our minisode host and curator, Katherine McLeod for SpokenWeb’s ShortCuts mini-series. We’ll share with you specially curated audio clips from deep in the SpokenWeb archives to ask: what does it mean to cut and splice digitally? What kinds of new stories and audio criticism can be produced through these short archival clips? ShortCuts is an extension of the ShortCuts blog posts on Spoken Web blog, so if you love what you hear make sure to head over to spokenweb.ca for more. If you’re a researcher with the Spoken Web Project, think about joining Katherine on shortcuts to discuss an archival clip that has impacted your work. Especially if you’re a student who has been digitizing and cataloging recordings, and there’s a sound that stands out to you after all those hours of listening, let Katherine know! Pitch Katherine, your audio by emailing SpokenWebPodcast@gmail.com. Now here is Katherine McLeod with SpokenWeb ShortCuts, mini-stories about how literature sounds. [\nSpokenWeb Podcast\nTheme Music: Instrumental Overlapped with Feminine Voice]\n\n01:28\nKatherine McLeod:\nWelcome to ShortCuts, a monthly minisode in which we listen closely and carefully to a shortcut [Sound Effect: Scissors] from the Spoken Web archives. This month it is April, the month of poetry. The audio that we’ll be listening to is a poem by Canadian poet, Phyllis Webb. It is in fact, a series of poems from\nNaked Poems\n, poems that open up space and leave room for the listener to listen, to listen quietly, or to fill up that space with their listening. The space is audible in her reading of the poems, and it is visible on the page, as Webb comments on when she introduces\nNaked Poems\nto her Montreal audience in 1966.\n\n02:15\nArchival Audio, Phyllis Webb, 1966:\nI want to move on now to my latest book, which is called Naked Poems, in which one of your local critics – or at least he wrote for the\nMontreal Star\nthis particular point – exclaimed of the price because there are so few words in the book. [Audience Laughter] It’s $2.25. [Audience Laughter] These poems are very small and therefore very expensive [Audience Laughter] and – came at a bitter price, I may say. To me. They came quite as a surprise and I didn’t know what I was doing when I wrote them the first 14 or so. I thought, my goodness, what are these little things doing here? And I couldn’t quite take them seriously. And then I began to see the order that really was intrinsic in them and realized that here was something almost a new form for me to work on. And it’s very bare, naked, undecorated. And I wanted to get rid of all my affectations. And so I decided to to write, oh a couple hundred of them. And I wrote about a hundred and then got hung up on a technical problem and finally reduced them to, I dunno, 40 or so that are in this book. So this is a distillation, let’s say. [Pages Turning] I’m going to read the first 14, which comprised a total poem. In the sense the whole book is a poem. And then I’ll read a few more, as long as my voice and your patience will hold out.\n\n04:31\nKatherine McLeod:\nIn listening to how Phyllis Webb tells her audience about Naked Poems we hear what it would’ve been like to be there in the room. We hear the audience and their laughter. The feeling as though she is holding the pages of Naked Poems in her hands, as she is telling us about them. We can almost feel the touch of the page, the small distilled poems, how they came to her at a bitter price. What does she mean by that? Now, if all of this is sounding somewhat familiar it’s because the clips that I’m playing are from recordings of Webb reading Naked Poems that were the focus of April’s ShortCuts last season. We are returning to this recording for a number of reasons, but most of all as a remembrance of Webb. Last year in April, I created the ShortCuts based on the Webb recording as a gift for her. April was her birthday month and I imagined it reaching her ears on the West Coast. In November 2021 Webb passed away at a glorious old age and even with such a full long life, it still felt like such a loss. This season of ShortCuts, there has been an ongoing theme of listening to remember. And if you listen back through each episode, you’ll hear it developing. I produce each episode in the month it is released. And so that development was not planned at the outset. Each episode has been a way to dive deeper and deeper into one of the stories told in that first episode, “What the Archive Remembers”. In that, I talk about an interaction at a conference in which someone told me that they’d really felt the weight and impact of hearing bp nichol’s voice in a recording that I had played. What strikes me now is that we are in a position in which we have vast amounts of recorded materials of poets, and that those recordings are perhaps more accessible then they have ever been before. That’s thanks to the internet, but also thanks to large scale audio digitization projects such as SpokenWeb, among others. What I’m getting at here is that we’ve had recordings of poets voices for a long time now, but have we ever had them so readily available and with a record of their voice from throughout their career, throughout their lives? It is with this in mind that I invite all of us to return back to that recording of Phyllis Webb, reading in Montreal in 1966. And you’ll hear my voice from last year, commenting on that audio followed by my voice now at the end.\n\n07:22\nArchival Audio, Phyllis Webb, 1966:\nAnd then I’ll read a few more, as long as my voice [Pages Flipping] and your patience were hold out.\n\n07:29\nKatherine McLeod, ShortCuts 2.7:\nThe reading was recorded in 1966 in Montreal at Sir George Williams University, now Concordia. At that reading, the second reader was Gwendolyn MacEwen. Imagine hearing Phyllis Webb and Gwendolyn McEwen reading in person on the same night. MacEwen would’ve been sitting in the audience, listening to Webb read. Here is Webb reading “Suite I” and “Suite II” from Naked Poems.\n07:58\nArchival Audio, Phyllis Webb, 1966:\n[Webb Reading] “Suite I” Moving to establish distance between our houses. It seems I welcome you in. Your mouth blesses me all over. There is room. And here. And here. And here. And over. And over. Your. Mouth. Tonight, quietness in me and the room. I am enclosed by a thought and some walls. The bruise. Again, you have left your mark. All we have. Skin shuttered secretly. [Page Turning] Flies. Tonight in this room, two flies on the ceiling are making love quietly or so it seems down here. [Audience Laughter]. Your blouse. I people this room with things, a chair, a lamp, a fly. Two books by Mary Ann Moore. I have thrown my gloves on the floor. Was it only last night? You took with so much gentleness, my dark. Sweet tooth. While you were away, I held you like this in my mind. It is a good mind that can embody perfection with exactitude. The sun comes through plum curtains. I said, the sun is gold in your eyes. It isn’t the sun. You said. [Page Turning] On the floor, your blouse. The plum light falls more golden, going down. Tonight, quietness in the room. We knew. [Page Turning] Then you must go. I sat cross-legged on the bed. There is no room for self pity, I said. I lied. In the gold darkening light you dressed. I hid my face in my hair. The room that held you is still here. [Page Turning] You brought me clarity. Gift after gift I wear. Poems naked. In the sunlight. On the floor. [Page Turning]\n\n11:31\nKatherine McLeod, ShortCuts 2.7:\nIn that reading, we hear the space of the poem and we feel the presence of that space. We see the sun beam shining through the air. We see the blouse sitting on the floor of the room. We feel the air thick with eros, between objects, between people, between the poet and subject. What would it be like to hear this in the room in 1966? This expression of female desire to be contained within the archives of this reading series?\n\n12:04\nArchival Audio, Phyllis Webb, 1966:\nWhile you were away. I held you like this in my mind.\n12:10\nKatherine McLeod, ShortCuts 2.7:\nWe hear this holding. The quietness of each page.\n12:14\nArchival Audio, Phyllis Webb, 1966:\nQuietness in the room. We knew. [Page Turning].\n12:19\nKatherine McLeod, ShortCuts 2.7:\nWe hear the turning of the page. The room.\n12:23\nArchival Audio, Phyllis Webb, 1966:\nThe room that held you is still here.\n12:27\nKatherine McLeod, ShortCuts 2.7:\nWe are listening to desire in the making every time we press play on this recording, as though we were returning to the same room, the room of the poem, the room of the reading, the voice moving –\n\n12:41\nArchival Audio, Phyllis Webb, 1966:\n[Ambient Room Sounds].\n12:41\nKatherine McLeod:\n– I hear how in last year’s ShortCuts, I was so interested in that space of the room and what it could hold. I hear that now as speaking to what I was exploring of ShortCuts, as a method of feminist placemaking. A room, an audible place in which to hear women’s voices from the archives. For them to take up sonic space and for us to hear what feelings are made through those sounds. I was interested in and how that related to my role as producer curating this space. How much does one hold up voices by framing them or does one simply press play? One tries (or rather I try) to strike the right balance between supporting the voice with care in how it is introduced, why that voice has been pulled out of the archives, and then letting the listener and the voice embark on their own dance. That is how last year I was hearing the line…\n\n13:53\nArchival Audio, Phyllis Webb, 1966:\nThe room that held you is still here.\n13:57\nKatherine McLeod:\nThis year, I still hear it that way but I also hear the room as a precursor to the room that was far from Webb in 1966, but would be the room in which I met her when I visited her on Salt Spring Island in 2017. I think of that room because I wish I could have visited her once more again. And yet I’m also grateful for that time in which I was there. That room in a senior’s care facility was her room. It was her home. In that room of her own we talked about the 1960s. We sat amid her paintings. Her art was holding us in that room, along with the warmth of her smile and generosity. I thought to myself, this is a woman who knows how to live. I say that in the present tense, because it feels like she is still living. The room that held you is still here. And it is still here. We are still listening. What a word still. It implies a pause in motion, and yet at the same time, it implies a persistence. Still moving. Moving. That is what I called ShortCuts last year. Phyllis Webb is still moving. I say that thinking of these words that I wrote at the end of a chapter about Webb in [the book]\nMoving Archives\n, and they feel like some of the only words that can wrap up, that can hold together an episode that does not want to end.\n\n15:42\nKatherine McLeod\n[Start Music: ShortCuts Theme Music] [Reading out loud from the book\nMoving Archives\n] Only Phyllis Webb inhabits the place where her voice dwells. A reminder of this appeared to me by chance while typing these lines. When I noticed that Stephen Collis had posted a photo to Twitter with the caption “Phyllis Webb’s hands”. The camera looks down at an angle at Webb holding her entire body of poetic work\nPeacock Blue: The Collected Poems\n. The book lies open, the table of contents on her lap, a tray of olives and brie sit next to her, ready to be consumed throughout what promises to be a long conversation with Collis about poetry. [Music Pauses] Webbs right hand is held up, long fingers spread wide and flexed as though she is about to turn the page. Quietly, she is moving. [Music Restarts] You’ve been listening to ShortCuts. It was recorded in the city of Montreal or what is known as Tiohtià:ke in the language of the Kanien’kehá:ka nation. ShortCuts is hosted by Hannah McGregor transcribed by Kelly Cubbon, mixed and mastered by Judith Burr and Kate Moffatt and produced by me, Katherine McLeod. Thanks for listening. [End Music: ShortCuts Theme Music]"],"score":1.0},{"id":"9988","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 3.8, The Event, 16 May 2022, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/the-event/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://the-spokenweb-podcast.simplecast.com/episodes/the-event\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:22:55\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/the-event/\"}]"],"Dates":["[{\"date\":\"2022-05-16\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"ARCHIVAL AUDIO\\n\\nAudio excerpted in this ShortCuts is from a recording of The Words & Music Show, online, on May 23, 2021, with readings by symposium participants Kevin McNeilly, Klara du Plessis, SpokenWeb community members Cole Mash and Erin Scott, and a featured performance by Montreal-based poet and SpokenWeb collaborator Oana Avasilichioaei.\\n\\nRESOURCES\\n\\nWatch the filmpoem “Tracking Animal (an extemporization)” by Oana Avasilichioaei.\\n\\nRead and listen to an early version of “Chambersonic (I)” published in The Capilano Review.\\n\\nRead and explore Oana Avasilichioaei’s “Living Scores” (Blackwood Gallery).\\n\\nSee FONDS (Anstruther) by Klara du Plessis and read her book Hell Light Flesh (Palimpsest).\\n\\nLearn more about The Words & Music Show by listening to “The Show Goes On: Words & Music in a Pandemic,” produced by Jason Camlot for The SpokenWeb Podcast (Feb 2022).\\n\\nLearn more about the 2021 SpokenWeb Symposium by listening to “Listening, Sound, Agency: A Retrospective Listening to the 2021 SpokenWeb Symposium,” produced by Mathieu Aubin and Stephanie Ricci for The SpokenWeb Podcast (March 2022).\"}]"],"_version_":1853670549815820288,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This month, ShortCuts will be released on the first day of the 2022 SpokenWeb Symposium. Diving into a recording that concluded last year’s symposium, producer Katherine McLeod plays excerpts from Oana Avasilichioaei’s live performance of “Chambersonic (IV)” and Klara du Plessis’s reading of “Post-Mortem of the Event.” What is the sound of this event? Listening to the recording now invites reflections on what this event sounds like: how do we hear its affect, its traces, and how it shifts in time?\n\n00:10\nHannah McGregor:\n[Start Music: ShortCuts Theme Music] Welcome to SpokenWeb ShortCuts each month on alternate fortnights (that’s every second week) following the monthly\nSpokenWeb Podcast\nepisode, you can join me, Hannah McGregor and our minisode host and curator, Katherine McLeod for SpokenWeb’s ShortCuts mini series. We’ll share with you specially curated audio clips from deep in the SpokenWeb archives to ask: what does it mean to cut and splice digitally? What kinds of new stories and audio criticism can be produced through these short archival clips? ShortCuts is an extension of the ShortCuts blog posts on Spoken Web blog. So if you love what you hear, make sure to head over to SpokenWeb.ca for more. If you’re a researcher with the SpokenWeb Project, think about joining Katherine on ShortCuts to discuss an archival clip that has impacted your work. Especially if you’re a student who has been digitizing and cataloguing recordings, and there’s a sound that stands out to you after all those hours of listening, let Katherine know pitch Katherine, your audio by emailing SpokenWebPodcast@gmail.com. [End Music: ShortCuts Theme Music] Now here is Katherine McLeod with SpokenWeb ShortCuts, mini stories about how literature sounds. [Music Interlude:\nSpokenWeb Podcast\nTheme Music] \n01:27\nKatherine McLeod:\nWelcome to ShortCuts. When this ShortCuts comes out, it will be in the same week of this year’s SpokenWeb Symposium and Sound Institute. At the end of last year’s symposium called “Listening, Sound, Agency” there was an online Words & Music Show. Here is SpokenWeb’s Jason Camlot, welcoming those tuning in and explaining the relationship between this event and the symposium week that was coming to an end.\n01:58\nAudio Recording, Jason Camlot, Words & Music Show, 2021:\nWell, we’re gonna get things started. I just, I wanted to say a few words before I turn things over to the host of the evening and of all Words and Music Shows – Ian Ferrier – who you just saw. I’m Jason Camlot. I’m a co-host of this show. I’ve actually been co-hosting these, or background hosting them with Ian, since March 2020, when pandemic forced us onto Zoom, out of the Casa del Popolo, which you see in the background of my screen, my fake background. This event was imagined as a celebration of that symposium, and as a way of bringing the local community in touch with some of the participants in the symposium. For me, it’s a really fun way to finish what’s been an amazing week of activity and thinking and sharing.\n02:48\nKatherine McLeod:\nAlong with SpokenWeb and Symposium poets – Kevin McNeilly, Cole Mash, Erin Scott, and Klara du Plessis who performed that night – the special guest for that show was poet and intermedia artist Oana Avasilichioaei. Oana had performed live at the 2019 SpokenWeb Symposium in Vancouver, along with participating in various SpokenWeb events in Montreal. In 2021, her book\nEight Track\nhad just received great acclaim and was nominated for the Governor General’s Award for poetry. Featuring her on that night was part of a way of making a connection between the symposium and local Montreal poets. At the symposium, I had, in fact, presented a paper with Dr. Emily Murphy about Oana’s poetry as notation. For that presentation we had been working with a recording of\nChambersonic\nthat is published digitally in visual and audio formats on the\nCapilano Review\n. But Oana’s performance of a version of\nChambersonic\non that night of the online Words & Music Show was its own version. It was performed live. And, after listening, again, to this performance by Oana, I was struck by what Klara du Plessis chooses to read, following Oana’s performance. In listening to the recording, we are hearing a listening taking place within the event. And so in this ShortCuts we’ll be listening to Oana – and then we’ll be listening to Klara – as a listening to the event. What the event sounds like, what it feels like. What are its traces left behind, and its shifts in time? Here’s Ian Ferrier introducing Oana Avasilichioaei.\n04:37\nAudio Recording, Ian Ferrier, Words & Music, 2021:\n…our star performer of the evening. Her work interweaves poetry, sound, photography, and translation to explore an expanded idea of language, polyphonic structures and borders of listening. Her six collections of poetry and poetry-hybrids include\nEight Track\nfrom Talonbooks, which is the finalist for the Klein prize for poetry and the Governor General’s Award, and\nLiminal\nfrom Talonbooks in 2015. She’s created many performance and sound works, written a libretto for a one act opera called\nCells of Wind\nin 2020, and translated 10 books of poetry and prose from French and Romanian, most recently Bertrand Laverdure’s\nThe Neptune Room\nwhich is also a finalist for the Governor General’s literary award for translation. She’s performed a number of times in our show and each time has brought amazing work. So please welcome Oana tonight. Yeah.\n05:33\nAudio Recording, Oana Avasilichioaei, Words & Music, 2021:\nThank you, thank you so much, Ian. Thank you so much for having me and I’m super happy to be here. So I’m going to share two pieces. The first piece is a video piece that I made last fall, which I call a filmpoem. It’s called “Tracking Animal (an extemporization)”, and it uses some text from the long work in this – in a track called “Tracking Animal.” And in fact, it will take us back outside. I’m just going to share my screen here and play it for you.\n06:14\nKatherine McLeod:\nWhen Oana said those words, she did take us back outside. The visuals then showed her standing and walking in recognizable local Montreal spaces. She had recorded this video alone during the early times of the pandemic. You could see and feel that aloneness. The tracking of the self. It’s also quite moving that the spaces that she recorded in are spaces that many Montrealers have used to create art on their own during the pandemic — and that those spaces will soon, once again, be vibrant with arts events happening in them this summer outside. It is a beautiful piece, this video, and you can find a link to it in the show notes. The fact that she took us outside resonated with me as a listener, because I remember that when I was tuning into this show, I was listening on my balcony. I took a photo that night of my listening with my computer and Oana and the moon shining above. I sent that photo to her the next day as a form of thanks. And I look at it again now to remind myself that it was live. I stress the word live because the next piece she performed and the one that we’ll listen to was a version of\nChambersonic\n, and it was performed live.\n07:45\nAudio Recording, Oana Avasilichioaei, Words & Music, 2021:\nThe second piece I’m going to do is actually going to be a live work. It’s new, it’s from a new body of work that I’m working on called\nChambersonic\n— the larger project. And each piece I’m doing is numbered. So this is “Chambersonic (IV)”, and it’s based on a score, “Chambersonic (I)”, that looks like this [Shows Page to Audience] , and it was a version of both the score and the sound piece that was published in\nThe Capilano Review\nin their fall issue. So, I’m going to need to change some audio settings. And then I’m going to start the piece… [Oana Performing, Voice Effect Reverberates, Sounds Play in Background] This, this is a lecture on phonetics. This is a setting on music. This is a sounding of silence. This is a manifest of now, this is a variant of being, this is a lecture on phonetics. This is a setting on music. This is a sounding of silence. This is a manifest of now. This is a variant of being… Let form be oral. A foundation…. [Singing] Sonority… An impossible lone sound… —netic … Recording… [Whispered] The ghost of sound. Let form be oral. A foundation… [Voices overlap] Corporeal, phonetic, fragments, re-assemblages. [Whispered] The ghost of sound…\n10:45\nKatherine McLeod:\nThis, this is a setting on music. This is. What is this? It is as though she is asking us to consider what is this this-ness — of sonority? Of an impossible lone sound? Of the ghost of sound? It is as though she is saying, I am performing now. This is the performance. This. We hear this even while knowing that there is an accompanying score. Is that too a this? She conveys an assertion of presence in the performance itself, which is why it feels so powerful to remember that it is happening live. As you are listening to this recording. How does listening now differ from me listening on my balcony under the moon to the live-stream? Where is the event now? [Audio of Oana’s Performance Begins] Let’s re-enter the sound and we’ll hear Ian Ferrier take us from Oana’s performance into Klara du Plessis’s reading that follows, and you’ll hear why I let the tape play and where Klara’s reading takes us…\n11:56\nAudio Recording, Oana Avasilichioaei, Words & Music, 2021:\n[Oana Performing, Voice Effect Reverberates, Sounds Play in Background] Voice… Of timbre… The voice. Fills the void. The activity of sound, quieter, and louder, longer, and shorter… [Overlapping voice] The activity of sound — and quieter. Higher, and lower. Longer, and short. The activity of sound, louder and quieter, higher and lower… where silence differentiates.\n13:36\nAudio Recording, Ian Ferrier, Words & Music, 2021:\nOh, that was lovely. Yeah. So nice to hear. And I love the sung voice and the talking voice and the whisper voice and the industrial sound beneath it. That’s really just a beautiful piece. Thank you so much.\n13:51\nAudio Recording, Oana Avasilichioaei, Words & Music, 2021:\nThank you. Thank you. Took me a moment to get back. [Laughs]\n13:57\nAudio Recording, Ian Ferrier, Words & Music, 2021:\nYeah, it took me a moment too. I’m still [Sings] louder [Laughs] right. So thank you so much for that.\n14:07\nAudio Recording, Oana Avasilichioaei, Words & Music, 2021:\nThanks so much for having me again.\n14:09\nAudio Recording, Ian Ferrier, Words & Music, 2021:\nYeah. Nice to see you. Yeah, yeah. And next up we have a person who’s been working quite a bit through the symposium as well. Her name is Klara du Plessis. She’s a poet, a critic, a literary curator too. And she resides in Montreal. She’s the winner of the 2019 Pat Lowther Memorial award for her debut collection\nEkke\n, which was published with Palimpsest Press. Her second book, which was released in the fall of 2020 is\nHell Light Flesh\n, and Klara is currently a PhD candidate at Concordia University researching the recent, contemporary, and experimental curation of poetry readings. Please welcome Klara du Plessis.\n14:54\nAudio Recording, Klara du Plessis, Words & Music, 2021:\nThank you so much for that really generous introduction, Ian. I’m still astounded by Oana’s performance and everything that came before. And so I feel like I’m still in a transitional phase, trying to get my bearings. It’s also the end of an incredible symposium week that’s been running since Tuesday night, and maybe as a result of that, I made a couple of decisions. One of them is to read new work. I’ve decided to try out some works that are in what I would call a draft and a half [Laugh]. So they’ve been lying around for a while they’re maybe six months or eight months old. But I only really edited them very lightly. I’m reading it because I feel like I kind of trust the people here and feel comfortable with a kind of tradition that Words & Music seems to have for people to try things. But the second reason that I am I’ve decided to read from this work is because I feel like it emanates from the research I’ve been doing at Concordia. And very much is a result of me reading works on archives and doing work in audio, audio and digital, both analog and digital archives. And, it’s a short, long poem. The kind of character in the poem is the event. But while I was writing it, because I was kind of thinking of postmortem and anatomy and so on, I did at some point look at that famous old Rembrandt painting of the anatomy table, which has the kind of famous, strange hand, like the hand, if you look at that painting, it’s got a hand that’s supposed to be the right hand, but it’s actually a left hand or a reverse. Um, and that kind of made its way into this poem also. So it’s called “Post-mortem of the event.” [Klara reading poem] The event lies on the table with its left hand and frontal arm dissected, sinuses and muscles, and maybe one disposable bone strumming like lines from a poem, pink inner exposeé, rationalizes the soul from vessel to enlightenment the latter so mystical, who knows how the verse becomes a multidimensional grid. Logic of the luminous skin of the other hand, intact pale rams brawn of the Cartesian Caucasian corpse. The event opened undocumented archive over the table, displayed, displayed, played, and atomically laid out to rest resist laboratory pages white as coats. Only thing is that the left hand is not the left, but the right, but not the right hand, but a second right hand, multifarious body mirroring itself in hands in hand rippling along its definitions of progress, usage and control. On the one hand, and on the other hand as wingspan on the one hand and on the one hand or on the other hand, and on the other hand, the archive of hands fans out fingers replicating selves, look, really look at this artwork. So strange armoured in mourning like the night…\n18:49\nKatherine McLeod:\nThe poem that Klara is reading from will be part of a forthcoming book in 2024.\nPost-mortem of the Event\nis, in fact, the working title of that collection. Oana’s performance that night is also a work-in-progress. It’s one version of “Chambersonic (IV)” of\nChambersonic\nand the written textual material traces of that project will be coming out as a book also in 2024 under the title,\nChambersonic\n. Let’s hear how Klara’s poem ends, and then we’ll hear Ian’s voice again, asking what comes next?\n19:25\nAudio Recording, Klara du Plessis, Words & Music, 2021:\n[Klara reading poem] …with eight men and an extra dead struck still in time in the instant before darkness hits before bodies speed up moving the event, rapid fire and risqué rinsing themselves in light and a handshake with air. Thank you.\n19:48\nAudio Recording, Ian Ferrier, Words & Music, 2021:\nWhat a great piece. And that’s in progress?\n19:53\nAudio Recording, Klara du Plessis, Words & Music, 2021:\nYeah, this is new stuff. [Laughs]\n19:55\nAudio Recording, Ian Ferrier, Words & Music, 2021:\n[Laughs] Yeah, it’s really great. It’s really, really, really stunning all the different parts connecting around the event. So thank you very much for that. And thank you for your work on this conference and to Jason and to Ali as well. It’s been an amazing journey, which I guess you get to relax from tomorrow. Or do you do a post-mortem, or what happens at the end of all this?\n20:22\nKatherine McLeod:\nWhen Ian asks Klara about the post-mortem of the event, it’s quite funny to hear that now because our symposium committee for listening sound agency has gone on to produce many collaborative outputs. The event has not ended. There’s an art book called\nQuotes\nedited by Klara and Emma Telaro about to be at this year’s symposium; also to be launched is a vinyl record with sounds from symposium participants, compiled by Deanna Fong, Angus Tarnowsky and Jason Camlot; a podcast episode has been released about the symposium and it was produced by Mathieu Aubin and Stephanie Ricci. And there will be a forthcoming issue of English Studies in Canada called “New Sonic Approaches to Literary Studies” edited by Jason Camlot and me, Katherine McLeod. So when you hear the end of this event, know that it is not the end, just like the poems that we have listened to continue to be in progress. This, this too is the event. [Start Music: ShortCuts Theme Music]\n21:32\nAudio Recording, Ian Ferrier, Words & Music, 2021:\nSo nice to see everybody tonight. Thanks for your performances to Klara, to Cole, to Erin, to Oana, to Kevin. It’s been a really fun ride tonight. So thank you.\n21:43\nAudio Recording, Klara du Plessis, Words & Music, 2021:\nThank you. Thank you both.\n21:46\nAudio Recording, Kevin McNeilly, Words & Music, 2021:\nThanks so much. It’s terrific.\n21:49\nAudio Recording, Ian Ferrier, Words & Music, 2021:\nGoodnight, everyone. Thanks for sharing. Thanks for coming.\n21:51\nAudio Recording, Jason Camlot, Words & Music, 2021:\nWe’ll see you all soon.\n21:58\nKatherine McLeod:\nYou’ve been listening to ShortCuts. If you want to learn more about where the sounds you’ve heard have come from head to SpokenWeb.ca and check the show notes for ShortCuts. If you’re listening to this on the release day, and you want to tune-in to SpokenWeb’s Symposium this year, head to spoken web.ca and click on “Symposia.” Plus you can find the podcast episode based on last year’s symposium by checking previous episodes of The SpokenWeb Podcast. You’ll find “Listening, Sound, Agency: a retrospective listening to the 2021 SpokenWeb Symposium” as the March, 2022 episode. ShortCuts is hosted by Hannah McGregor transcribed by Kelly Cubbon mixed and mastered by Judith Burr, Kate Moffatt, and Miranda Eastwood, and produced by me, Katherine McLeod. Thanks for listening. [End Music: ShortCuts Theme Music]\n\n"],"score":1.0},{"id":"9989","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 3.9, Re-Situating Sound, 20 June 2022, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/re-situating-sound/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/d0f241a4-bbfd-4525-b10d-8a184654074b/audio/e47ee535-70b1-413b-a11a-88e60ed939b2/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"shortcuts-3-9.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:16:58\",\"precision\":\"\",\"size\":\"28,592,110 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"ShortCuts_3.9\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/re-situating-sound/\"}]"],"Dates":["[{\"date\":\"2022-06-20\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"ARCHIVAL AUDIO\\n\\nArchival audio excerpted in this episode is from “radiofreerainforest 3 & 28 July and 7 August, 1988” held in Gerry Gilbert radiofreerainforest Collection: SFU Digitized Collections, https://digital.lib.sfu.ca/radiofreerainforest-357/radiofreerainforest-3-28-july-and-7-august-1988.\\n\\nSound effect is “Automatic tapedeck rewind, fastforward, play” (stecman) Free Sound. 6 January 2017. https://freesound.org/s/376058/.\\n\\nRESOURCES\\n\\nBrand, Dionne. Chronicles: Early Works. Wilfrid Laurier University Press, 2011.\\n\\nCamlot, Jason and Katherine McLeod. “Unarchiving the Literary Event.” CanLit Across Media: Unarchiving the Literary Event. Eds. Jason Camlot and Katherine McLeod. McGill-Queen’s University Press, 2019. 3-31.\\n\\n“Gerry Gilbert radiofreerainforest Collection.” SFU Digitized Collections, https://digital.lib.sfu.ca/gerry-gilbert-radiofreerainforest-collection.\\n\\nKinesis. Periodicals. Vancouver : Vancouver Status of Women, 1 Sept. 1988. https://open.library.ubc.ca/collections/kinesis/items/1.0045699.\\n\\nOur Lives. Toronto: Black Women’s Collective. Volume 2 5.6 (Summer/Fall 1988), https://riseupfeministarchive.ca/publications/our-lives-canadas-first-black-womens-newspaper/ourlives-02-0506-summer-fall-1988/.\\n\\n“radiofreerainforest 3 & 28 July and 7 August, 1988.” Gerry Gilbert radiofreerainforest Collection: SFU Digitized Collections,  https://digital.lib.sfu.ca/radiofreerainforest-357/radiofreerainforest-3-28-july-and-7-august-1988.\\n\\n“radiofreerainforest 7, 25 August, 1988 and 30 October, 1988.” Gerry Gilbert radiofreerainforest Collection: SFU Digitized Collections, https://digital.lib.sfu.ca/radiofreerainforest-90/radiofreerainforest-7-25-august-1988-and-30-october-1988.\\n\\n“ShortCuts 2.9: Situating Sound.” Produced by Katherine McLeod. The SpokenWeb Podcast. 21 June 2021. https://spokenweb.ca/podcast/episodes/situating-sound/.\\n\\n“Talking Transcription: Accessibility, Collaboration, and Creativity.” Produced by Kelly Cubbon and Katherine McLeod. The SpokenWeb Podcast. 6 June 2022. https://spokenweb.ca/podcast/episodes/talking-transcription-accessibility-collaboration-and-creativity/.\"}]"],"_version_":1853670549815820289,"timestamp":"2026-01-07T14:59:54.290Z","contents":["In the making of ShortCuts, series producer Katherine McLeod often talks about how recorded sound is held not only within archives but also by the work of contextualizing whenever one selects an archival audio clip and presses play. Returning to an audio recording of Dionne Brand played in ShortCuts 2.9 “Situating Sound” (June 2021), Katherine reminds us that the process of unarchiving sound is an embodied one. We listen as bodies to the archive. Moreover, how we choose to contextualize sound impacts any listening to it, and written transcripts too frame our understanding of the audio content. Building upon the most recent episode of The SpokenWeb, “Talking Transcription: Accessibility, Collaboration, and Creativity,” this episode of ShortCuts explores the transcript as another version of holding the sound, while, at the same time, invites a listening to that which exceeds that holding.\n\n“…even those that do not hold a wind’s impression”\n– Dionne Brand from Primitive Offensive\n\n00:09\tShortCuts Theme Music:\t[Piano Overlaid With Distorted Beat]\n \n\n00:09\tHannah McGregor:\tWelcome to SpokenWeb ShortCuts. Each month on alternate fortnights (that’s every second week following the monthly SpokenWeb Podcast episode) join me, Hannah McGregor and our minisode host and curator, Katherine McLeod for SpokenWeb’s ShortCuts mini-series. We’ll share with you, especially curated audio clips from deep in the SpokenWeb archives to ask, what does it mean to cut and splice digitally? What kinds of new stories and audio criticism can be produced through these short archival clips? ShortCuts is an extension of the ShortCuts blog posts on SPOKENWEBLOG, so if you love what you hear, make sure to head over to SpokenWeb.ca for more. If you’re a researcher with the SpokenWeb Project, think about joining Katherine on ShortCuts to discuss an archival clip that has impacted your work, especially if you’re a student that has been digitizing and cataloguing recordings that there’s a sound that stands out to you after all those hours of listening. Let Katherine know! Pitch Katherine your audio by emailing SpokenWebPodcast@gmail.com [End Music: Piano Overlaid With Distorted Beat] Now here is Katherine McLeod with SpokenWeb ShortCuts, mini-stories about how literature sounds.\n \n\n00:58\tSpokenWeb Podcast Theme Music:\n \n\n[Instrumental Overlapped with Feminine Voice]\n01:27\tKatherine McLeod:\tWelcome to ShortCuts. Last month we immersed in the world of the SpokenWeb symposium. The ShortCuts episode called “The Event” included audio that resonates with both this year’s and last year’s symposium and institute. And if you were at the symposium you’ll know that I was recording ShortCuts Live! A new type of ShortCuts episode recorded live on site with various researchers within the SpokenWeb network. Stay tuned for ShortCuts Live! in the next season. This month, we continue the season’s theme of how the archives remembers. We’ll be listening to a clip from a past ShortCuts – one from last June, exactly one year ago – and we’ll listen to it again in the context of the transcription episode on The SpokenWeb Podcast released at the start of this month. In that episode, Kelly Cubbon and I talk about transcription as a process that is rooted in conversation and collaboration. Do check it out – Episode 9 “Talking Transcription: Accessibility, Collaboration, and Creativity”. After making that episode, I thought I’d take a look back at some of the transcripts for ShortCuts. When Kelly transcribes the audio, it is usually quite straightforward but when there are questions they’re often questions related to providing further context as to where the sound is coming from, or if we should put a cue for the reader as to where that voice is from, or where it was recorded, right in the transcript. To quote Kelly herself making one of my favourite points in our episode…\n \n\n03:08\tKelly Cubbon, S3E9, SpokenWeb Podcast:\tThe overlapping sound is one thing, but I think also overlapping context for lack of a better word has been something I’ve I think we’ve been working to indicate such as if someone appears in an episode in a Zoom interview and then in an archival recording of them, and that archival recording includes them speaking to the audience as an aside and then performing poetry. And then maybe they’re in kind of a more formal voiceover audio. There might be four instances of slightly different context to indicate.\n \n\n03:42\tKatherine McLeod:\tKelly and I have talked so much about how these questions are not transcription problems but rather generative transcription challenges and situations to learn from. Another challenge that can emerge in ShortCuts is how to transcribe words from a poem read out loud. What we have gone with is an approach that transcribes the words as spoken out loud (though including in brackets that the speaker is reading a poem since often the tone of the voice has changed.) That way the transcript is not attempting to reproduce the poem on the page as it is published – rather, the transcript aims to represent the sounds heard in the podcast and to make them more accessible. Those examples of what can come up in the process of transcription speak to what I’ve described in past ShortCuts as a figuring out, a navigating of how much to frame the archival audio clips that I play for you here. How much do I explain their context? Or do I simply press play? A phrase that captures this balancing act (at least for me!) is one that emerged out of the partial replay that we’ll be hearing in this ShortCuts. [Sound Effect: Tape Rewinding and Stopping] … is what kind of a framework does audio clipped out of context need to feel supported? And I say that while holding out my arms, gesturing as if I’m attempting to hold the sound. [Sound Effect: Tape Rewinding and Stopping] I’ve returned to this image and to this phrase and to this act in many moments in these episodes when thinking about as place held, supported, with my arms outstretched, as an embodied experience – an audible place created as a feminist placemaking. Holding with arms outstretched conveys that the work of framing is my intervention in it – I am not neutral in how I frame the sound even if I am also offering it to you to do what you wish with it, letting you know that the sound is there ready to be listening to. I Am holding the sound carefully, knowing how difficult it can be to take a recorded voice, with all of its situated affect attached to it, out of the archives. To unarchive carefully. That got me thinking, a transcript is also an attempt to hold the sound – it attempts to hold the sound in such a way that increases accessibility to the content while also recognizing that the transcript is, in some way, mediating the experience. With all of this in mind, let’s return to the episode aptly titled “Situating Sound” and hear it again in this moment in time. It is an episode that could be situated in the context of “Communal Memories” which I produced afterwards in December 2021, and that is based on the second part of this recording with the voice of late Stolo writer Lee Maracle. Hearing “Situating Sound” now makes me feel there’s no episode that necessarily comes before or after, but that these episodes continue to cycle around each other. With that let’s dive into “Situating Sound” from June 2021. [Sound Effect: Tape Fast Forwarding] And you’ll hear a recording of Dionne Brand reading in 1988. I invite you to think of how the transcript holds the sound, how the information I provide holds the sound, [Sound Effect: Tape Stops, Presses Play]. And how my voice holds the sound in that I am telling you about what you are going to hear, and to listen for moments when sound exceeds this holding… [Start Music: Piano Instrumental]\n \n\n07:39\tKatherine McLeod, S2E9, ShortCuts:\t…and she had also written about this solidarity in a 1988 issue of the Black women’s newspaper Our Lives that Brand had helped to edit. These pieces of context are only the beginning of unpacking the significance of these two women reading together. And unravelling this history all started by wanting to know more about one archival recording. [End Music: Piano Instrumental]So as we listen to this reading, what would it be like to be there in that room with Dionne Brand and Lee Maracle in 1988? Now in June, 2021, what does it feel like when you hear this recording wherever you might be listening from? How do we understand this recording in relation to the archive that holds it? I am recording this a week after Brand read from The Blue Clerk at an annual meeting of the Association of Canadian Archivists. How does Brand hear time? When she introduces what she reads from Primitive Offensive in the recording we’re about to hear she says that the poetry is made out of the pieces of history, a history that as she says, if you are Black in the Americas, you have to dig for it. How does that resonate with the lines where she chooses to end?\n \n\n08:57\tArchival Audio, Dionne Brand, 1988:\t… [Ambient Background Noise] [Reading Poetry] I won’t take any evidence of me, even that carved in the sky by the fingerprints of clouds every day. Even those that do not hold a wind’s impression. [Aside to Audience] Okay, that’s it. [Audience applause].\n \n\n09:14\tKatherine McLeod, S2E9, ShortCuts:\tAs we could hear in that recording, there are noises in the background. We’ll be hearing what sound like cars passing outside, we’ll hear some voices and might wonder if those are people talking outside the bookstore window, or perhaps this recording has been recorded over another one and we’re actually hearing the voices of another time bleeding through the tape. Here is Dionne Brand reading from her book, Primitive Offensive in a recording that was broadcast on radiofreerainforest on August 7th, 1988, and now that recording is held by and shapes an archive.\n \n\n10:00\tArchival Audio, Dionne Brand, 1988:\t[Static and various background noises throughout] I’m going to read a poem for my grandmother, a poem for my ancestors, really. I wrote this book Primitive Offensive because, for whatever history has left you, if you were Black in the Americas, you have to dig and dig and dig and memorize and memorize and learn and learn it and redo it and recover it and re– you know, because it isn’t anywhere else. And so this was my history book. Sometimes you arrive and find what seems to be nothing, and you have to dig for it. And this is a call to my ancestors about this history. And I looked for my ancestors and I found what there was. And so – and sometimes you find nothing and you make it anyway. [Laughs] You know, you find a piece of cloth, a bit of this, whatever, but you make it human. So –[Start of reading] Ancestor dirt/ ancestor snake/ ancestor lice / ancestor whip/ ancestor fish/ ancestor slime/ ancestor sea/ ancestor stick/ ancestor iron/ ancestor bush/ ancestor ship/ ancestor old woman, old bead/ let me feel your skin, old muscle, old stick/ where are my bells?/ my rattles/ my condiments, my things to fill houses and minutes/ The fat is starting, where are my things?/ My mixtures, my bones, my decorations/ old bread, old tamarind switch./ Will you bathe me in oils?/ Will you tie me in white cloth?/ Call me by my praise name/ Sing me Oshun song./ Oya against this clamour [Background Noise Rises; Inaudible Voices] / Ancestor old woman/ Send my things after me./ One moment, old lady more questions./ What happened to the ship in your leap? The boatswain, did he scan the passage’s terrible wet face/ The navigator, did he blink?/ Or steer that ship through your screaming night?/ The captain did he lash two slaves to the rigging, for example?/ Lady! My things/ Water leaden, my maps, my compass/ After all, what is the political position of stars? Drop your crusted cough, where you want./ My hands make precious things out of phlegm./ Ancestor wood/ Ancestor dog/ Ancestor ancestor, old man, dry stick, mustache, skin, and bone./ Why didn’t you remember? /Why didn’t you remember the name of our tribe?/Why didn’t you tell me before you died?/ Old horse, you made the white man ride you/ You shot off your leg for him./ Old man, the name of our tribe is all I wanted./ Instead, you went to the swamps and bush and rice paddies for the trading company and they buried you in water/ Crocodile, tears. /It would have been better to remember the name of our tribe./ Now, mosquitoes dance a ballet over your grave and the old woman buried with you wants to leave./ One thing for sure, dismembered woman, when you decide you are alone/ When you decide you are alone, /when you dance, it’s your own broken face. When you eat your own plate of stones/ For damn sure you are alone./ Where do you think you are going dismembered woman?/ Limbs chopped off at the ankles./ When you decide, believe me, you are alone./ Sleep, sleep, tangential phase, sleep,/ Sleeping, or waking/ Understand you are alone./ Diamonds pour from your vagina,/ and your breasts drip healing copper/ But listen, women, dismembered continent/ You are alone./See crying fool,/ You want to talk in gold/ You will cry in iron./ You want to dig up stones./ You will bury flesh./ You think you don’t need oils and amulets compelling powder and rely on smoke./ You want to throw people in cesspits./ Understand dismembered one, ululant /You are alone./ When waterfalls work, land surfaces./ I was sent to this cave./ I went out one day like a fool to find this cave, to find clay, to dig up metals to decorate my bare and painful breasts./ Water and clay for a poultice for this gash to find a map an imprint of me anywhere would have kept me calm./ Anywhere with description./ Instead, I found a piece of this/ A tooth, a bit of food hung on. /A metatarsal, which resembled mine./ Something else like a note. Musical. /ting ting, but of so little pitch so little lasting perhaps it was my voice./ And this too, a suggestion and insinuation so slight, it may be untrue./ Something moving over the brow as with eyes close to black/ a sensate pull/ Phantom! Knocks the forehead back in the middle of a dance. /No, I can’t say dance. It exaggerates./ Phantom. A bit of image./ A motion close to sound, a sound imaged on the retina resembling sound/ A sound seen out of the corner of my eye./ Emotion heard on my inner ear./ I poured over these like a paleontologist./ I dusted them off like an archeologist/ A swatch of cloth./ Skin, atlas, coarse utility, but enough./ Still only a bit of paint, of dye on the stone./ I can not say crude, but a crude thing./ A hair, a marking. That a fingernail to rock an ancient wounded scratch./ I handle these like a papyrologist contours/ A desert sprung here./ Migrations, suggestions, lies./ Phantom. A table and jotting up artful covert mud./ I noted these like a geopolitical scientist./ I will take any evidence of me even that carved in the sky by the fingerprints of clouds every day. Even those that do not hold a wind’s impression. [End of reading] [Aside to audience] Ok. That’s it. [Audience Applause]\n \n\n16:09\tKatherine McLeod, S2E9, ShortCuts:\tThat was the Dionne Brand reading from her book, Primitive Offensive. The recording was played on Vancouver’s co-op radio on August 7th, 1988 and the recording is held by the archives of radiofree rainforest. Now part of SFU library’s digital collections. [Start Music: ShortCuts Theme Music].\n \n\n16:33\tKatherine McLeod:\tYou’ve been listening to ShortCuts. It was recorded in Montreal or what is known as Tiohtià:ke in the language of the Kanien’kehá:ka nation. ShortCuts is hosted by Hannah McGregor, transcribed by Kelly Cubbon, mixed and mastered by Miranda Eastwood, and produced by me, Katherine McLeod. Thanks for listening. [End Music: ShortCuts Theme Music]\n "],"score":1.0},{"id":"9990","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 3.10, [Replay] Moving, Still, 18 July 2022, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/replay-moving-still/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/d939009b-0129-4515-85b9-34a39f7b18fd/audio/25ff9391-8f6a-4558-b9e0-9ca82e415aa9/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"shortcuts-3-10-mp3.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:18:49\",\"precision\":\"\",\"size\":\"18,073,435 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"shortcuts-3-10-mp3\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/replay-moving-still/\"}]"],"Dates":["[{\"date\":\"2022-07-18\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"content_notes":["*Transcript In Progress*"],"contents":["This month, ShortCuts is replaying a past episode as a response to this month’s full episode of The SpokenWeb Podcast. That episode – “starry and full of glory”: Phyllis Webb, in Memoriam (produced by Stephen Collis) – is a moving commemoration of the life and work of Canadian poet Phyllis Webb. Along with archival clips, the episode features conversations with two poets – Isabella Wang and Fred Wah – in which they talk about an unpublished poem of Webb’s. Listen to this replay of ShortCuts Ep. 3.7 “Moving, Still” and then, listen to Collis’s episode about Webb as a collective listening. What does the archive remember?"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"ARCHIVAL AUDIO\\n\\nPhyllis Webb reading (with Gwendolyn MacEwen) in Montreal on November 18, 1966, https://montreal.spokenweb.ca/sgw-poetry-readings/phyllis-webb-at-sgwu-1966-roy-kiyooka.\\n\\nShortCuts 2.7: Moving, 19 April 2021, https://spokenweb.ca/podcast/episodes/moving.\\n\\nRESOURCES\\n\\nCollis, Stephen. Almost Islands: Phyllis Webb and the Pursuit of the Unwritten. Talonbooks, 2018.\\n\\nMcLeod, Katherine. “Listening to the Archives of Phyllis Webb.” In Moving Archives. Ed. Linda Morra. Wilfrid Laurier University Press, 2020. 113-131.\\n\\nWebb, Phyllis. Naked Poems. Periwinkle Press, 1965.\\n\\nWebb, Phyllis. Peacock Blue: The Collected Poems. Ed. John Hulcoop. Talonbooks, 2014.\"}]"],"_version_":1853670549816868864,"timestamp":"2026-01-07T14:59:54.290Z","score":1.0}]