[{"id":"1293","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["David McFadden and Gerry Gilbert at Sir George Williams University, The Poetry Series, 15 January 1971"],"item_title_source":["Cataloguer"],"item_title_note":["\"DAVID McFADDEN AND GERRY GILBERT Recorded January 15, 1971 3.75 ips on 1 mil. tape, 1/2 track Quality: Fair to poor. Poems read alternately\" written on sticker on the back of the tape's box. \"DAVID McFADDEN GERRY GILBERT I006/SR19\" written on sticker on the spine of the tape's box. \"I006-11-019\" written on sticker on the reel.\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["McFadden, David","Gilbert, Gerry"],"creator_names_search":["McFadden, David","Gilbert, Gerry"],"creators":["[{\"url\":\"http://viaf.org/viaf/7405434\",\"name\":\"McFadden, David\",\"dates\":\"1940-2018\",\"notes\":\"Writer David McFadden was born in 1940, in Hamilton, Ontario, where he spent his first thirty-nine years. He started Mountain, a mimeographed magazine in 1962, and his early work appeared in tish, Is, Evidence, Weed, and Talon. He became a proofreader for the Hamilton Spectator in 1962 and a reporter for the same in 1970. David McFadden’s first collections of poems were published in Letters from the earth to the earth in 1968 (Coach House Press), Poems worth knowing in 1971 (Coach House Press) and Intense pleasure in 1972 (McClelland and Stewart). His first novel was The great Canadian sonnet, published in 1970 (Coach House Press). In 1976 he resigned from the Hamilton Spectator to focus on freelance writing and editing. McFadden continued to publish his poems in A knight in dried plums in 1975 (McClelland and Stewart), and On the road again in 1978 (McClelland and Stewart). His short stories and novels include three from the ‘Great Lakes Series’, published from 1980 to 1988 (Coach House Press), and Animal spirits: stories to live by in 1983 (Coach House Press). McFadden has published over fifteen other novels and collections of poems from 1967 to 1995, which include My Body was Eaten by Dogs (McClelland and Stewart, 1981), selected poems edited and introduced by George Bowering, and The Art of Darkness (McClelland Stewart, 1984). Be Calm Honey (Mansfield Press, 2008) was a finalist for the 2009 Governor General’s Award and his final published book, What's the Score? (Mansfield Press, 2012) won the 2013 Canadian Griffin Poetry Prize. McFadden died in 2018.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/13554305\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"Canadian poet and photographer Gerry Gilbert, born in 1936, was one of the most experimental writers from Vancouver in the 60’s. He started as a television cameraman, and then concentrated on writing poetry. Gilbert founded and edited The B.C. Monthly, which published literary and political criticism. He was also the editor of Radio Free Rain Forest, published out of Vancouver. Gilbert’s publications are numerous, and include artful self-published books of poetry. White lunch: poems was published by Periwinkle Press in 1964, followed by The milk (Minimedia, 1967), Quote, New York, July 1965 (Ganglia Press, 1969), Phone book (Weed/Flower, 1969), On my face (G.Gilbert, 1970), The (Probable Latitude 76 ̊15' Longitude 113 ̊10'E, London, 1970), a film Doi,ngng (NFB, Ottawa, 1970), And a place in mind... (Hesheitworks, 1971), Apr. 35, 1978 (Hesheitworks, 1971), And (Blewointmentpress, 1971), Money (York Street Commune, 1971), Lease (Coach House Press, 1971), Journal to the East (Blewointmentpress, 1974), Bicycle (Caledonia Writing Series, 1977), New and used poems (G.Gilbert, 1980), Moby Jane (Coach House Press, 1987), The 1/2 of it (Wave 7 Press, 1989), Azure blues (Talon Books, 1991), Year off  (BC Monthly, 2001), and Poetrees (BC Monthly, 2006). Gilbert died in Vancouver in 2009.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1971 1 15\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["David McFadden reads from The Great Canadian Sonnet (Coach House Press, 1970), as well as poems published later in Poems Worth Knowing (Coach House Press, 1971) and Intense Pleasure (McClelland and Stewart, 1972). Gerry Gilbert reads from Money (York Street Commune, 1971) and Phone Book (Weed/Flower, 1969) and And (Blewointmentpress, 1971) as well as some poems from unknown sources."],"contents":["david_mcfadden_gerry_gilbert_i006-11-019.mp3\n\nGeorge Bowering\n00:00:08\nWe have two readers tonight, both Canadian poets, as you know, and, but in most cases when we have two poets as we did last time, we generally have one poet read for a while, then have a break, and then have the other poet read for a while, but we're not going to do it that way tonight. We're just going to throw the thing open to both David McFadden [https://www.wikidata.org/wiki/Q5237344] and Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] and they will work it out as it seems to work out for them. This makes a lot of sense, although they've never read together before, they're both published by the same publishing house, and published in the same magazines and know each other as they used to say in the old days in the ivy league by reputation. Gerry Gilbert is, as a lot of people we've had this year, is from the West Coast and has been involved for quite a while with an outfit in the coast that gobbles up your tax money called Intermedia [https://www.wikidata.org/wiki/Q39079179], that's why the screen is there, something might happen there occasionally. Gerry was at one time the editor of a seminal West Coast publishing venture called Radio Free Rain Forest, and is the author of a series of books and things that are like books, as for instance, White Lunch which came out several years ago in Vancouver [https://www.wikidata.org/wiki/Q24639] and Telephone Book which is published by Coach House Press, I think, no, Weed/Flower, sorry. David's also been published by Weed/Flower and the Coach House Press, and his forthcoming book is the second volume of the Big/Little Book novel, called The Great Canadian Sonnet with illustrations by a little-known London [https://www.wikidata.org/wiki/Q92561] artist named Greg Curnoe [https://www.wikidata.org/wiki/Q5605459]. His next book is going to be called Poems Worth Knowing, a title that anyone from Ontario [https://www.wikidata.org/wiki/Q1904] or British Columbia [https://www.wikidata.org/wiki/Q1974] will know. What we're going to do is they're going to operate for a little while, and then when they feel the need for a break there will be a short intermission, like about ten minutes, then we'll proceed again with what, as they say, the second set. So I'm not going to be able to say that somebody's reading first and somebody's reading second but what I will be able to say is that the readers will be David McFadden and Gerry Gilbert.\n \nUnknown\n00:02:39\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nDavid McFadden\n00:02:40\nReads unnamed poem. \n\nUnknown\n00:06:02\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nGerry Gilbert\n00:06:03\nReads \"Her white face where I have seen Her ride the last bus, before\" [from Money].\n \nGerry Gilbert\n00:07:14\nReads \"A moving picture moves, it's the truth about movies\" [from Money].\n \nDavid McFadden\n00:07:33\nReads unnamed poem. \n \nGerry Gilbert\n00:08:20\nReads \"I REMEMBER TOOTSIE ROLLS when they were only in American comic books\" [from Money].\n \nDavid McFadden\n00:09:46\nReads [“The Slippery Wig” published later in Intense Pleasure and collected in Why Are You So Sad?]. \n \nGerry Gilbert\n00:10:38\nReads \"London 1964\" [from Money]\n \nDavid McFadden\n00:12:28\nReads unnamed poem. \n \nGerry Gilbert\n00:13:37\nReads \"waitress calls the man in the corner, HARRY” [from Money].\n \nDavid McFadden\n00:14:30\nReads unnamed poem. \n \nGerry Gilbert\n00:14:53\nReads \"the pleasure. I said” [from Money].\n \nDavid McFadden\n00:16:14\nReads [“Titles I Have Heard Of But Not Read” published later in Intense Pleasure and collected in Why Are You So Sad?].\n \nGerry Gilbert\n00:18:26\nReads [\"Single Mens Unit\" from Money].\n \nDavid McFadden\n00:19:05\nReads unnamed poem. \n \nDavid McFadden\n00:21:03\nReads unnamed poem.\n \nGerry Gilbert\n00:23:13\nReads \"Goodness and mercy are following me across the lake\" [from Money].\n\nGerry Gilbert\n00:24:10\nReads \"Bicycle\" [from Money].\n \nGerry Gilbert\n00:24:55\nReads \"on the bed” [from Money].\n \nDavid McFadden\n00:25:32\nReads unnamed poem. \n \nDavid McFadden\n00:26:05\nReads unnamed poem.\n \nDavid McFadden\n00:26:18\nReads unnamed poem.\n \nGerry Gilbert\n00:26:49\nReads unnamed poem.\n \nGerry Gilbert\n00:28:03\nReads \"bone ring on my finger\" [from Money].\n \nDavid McFadden\n00:28:34\nReads unnamed poem. \n \nDavid McFadden\n00:31:05\nReads unnamed poem.\n \nGerry Gilbert\n00:32:10\nWe're reading Canadian history. A few of the poems from Phone Book.\n \nGerry Gilbert\n00:32:28\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:33:05\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:33:42\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:34:31\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:35:25\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:36:37\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:36:58\nReads untitled poem from Phone Book.\n \nGerry Gilbert\n00:37:29\nThis poem's called \"Garden\".\n \nGerry Gilbert \n00:37:35\nReads \"Garden\" [from Money].\n \nDavid McFadden\n00:38:38\nReads [“Journey To Love” published later in Poems Worth Knowing].\n \nDavid McFadden\n00:39:21\nReads [“A Poem Without A Title Is Like A Letter Without A Stamp” published later in Poems Worth Knowing].\n \nGerry Gilbert\n00:39:50\nReads \"find your birds\" [from Money].\n \nDavid McFadden\n00:41:32\nReads [“Art’s Variety” published later in Poems Worth Knowing].\n \nGerry Gilbert\n00:42:04\nReads \"sometimes I miss\" [from Money].\n \nDavid McFadden\n00:42:18\nReads [“Another Revolution” published later in Poems Worth Knowing].\n \nDavid McFadden\n00:42:57\nReads [“Chapter One” from The Great Canadian Sonnet].\n \nGerry Gilbert\n00:47:06\nDid I hear you say 'boiled skunks'? This is a little tale. \n\nGerry Gilbert\n00:49:24\nReads unnamed poem. \n\nGerry Gilbert\n00:49:45\nReads unnamed poem. \n \nGerry Gilbert\n00:51:42\nReads unnamed poem.\n \nDavid McFadden\n00:53:02\nReads \"Vital Statistics: Distances from Hamilton To...\" [from The Great Canadian Sonnet]. \n \nGerry Gilbert\n00:54:52\nReads unnamed poem.\n \nDavid McFadden\n00:54:52\nReads unnamed poem. \n \nDavid McFadden\n00:55:52\nReads unnamed poem [audience laughter throughout]. \n \nGerry Gilbert\n00:56:52\nReads [“SQUEEZE THRU THE TUBE” from And].\n\nGerry Gilbert\n00:57:08\nReads [“24.11.70. TORONTO” from And].\n\nGerry Gilbert\n00:57:59\nThe following is a Rochdale College [https://www.wikidata.org/wiki/Q14875408] council meeting. 23rd of November, 1970.\n\nGerry Gilbert\n00:58:08\nReads [“ROCHDALE COUNCIL MEETING 23.11.70” and other untitled sections from And].\n \nDavid McFadden\n01:01:24\nReads unnamed poem. \n \nDavid McFadden\n01:01:39\nReads unnamed poem. \n\nUnknown\n01:09:59\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nGerry Gilbert\n01:10:01\nReads [“QUIET” from And].\n\nGerry Gilbert\n01:10:28\nReads untitled poem [from And].\n\nGerry Gilbert\n01:10:41\nReads [“THE WEST IS ALONE SEA” from And].\n\nGerry Gilbert\n01:10:57\nReads “TICKET” [from And].\n\nGerry Gilbert\n01:11:33\nReads [“2.1.71” from And]. \n\nGerry Gilbert\n01:12:44\nReads [“49th week 1970” from And].\n\nGerry Gilbert\n01:12:49\nReads “FRIED EGG SANDWICH ON BROWN” [from And].\n\nDavid McFadden\n01:13:54\nReads unnamed poem. \n \nGerry Gilbert\n01:23:26\nReads [first section of “Babyland Blues” from Money]. \n \nGerry Gilbert\n01:27:05\nReads unnamed poem. \n \nGerry Gilbert\n01:27:52\nReads [section of “Babybland Blues from Money].\n \nGerry Gilbert\n01:28:44\nReads unnamed poem.\n \nGerry Gilbert\n01:29:04\nReads [final section of “Babyland Blues from Money].\n \nEND\n01:29:19\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1971, at the time of the reading, David McFadden was a reporter for the Hamilton Spectator, and his collection of poems, Poems Worth Knowing was to be published the same year. His novel, The Great Canadian Sonnet was published the year before, in 1970.\\n\\nIn 1971, Gerry Gilbert published And a place in mind... (Hesheitworks, 1971), Apr. 35, 1978 (Hesheitworks, 1971), And (Blewointmentpress, 1971), Money (York Street Commune, 1971), and Lease (Coach House Press, 1971).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMcFadden was heavily invested in Canadian writing, and lived his whole life in Ontario and British Columbia. He had connections with George Bowering, as Bowering published an interview with McFadden in 1971. McFadden and Bowering had met while Bowering was at the University of Western Ontario, between 1966 and 1967.\\n\\nGerry Gilbert was an important avant-garde poet and publisher in Vancouver in the 60’s through to today. His press, Blewointmentpress published poetry by other Canadian poets such as Maxine Gadd, bill bissett and bp Nichol. His direct connections to Sir George Williams University are unknown, however George Bowering or Roy Kiyooka might have known Gilbert from the Vancouver scene.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/476332314&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984\"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/1229534811&referer=brief_results\",\"citation\":\"Berry, Reg. \\\"McFadden, David\\\".  The Oxford Companion to Twentieth-Century Poetry in        English. Ian Hamilton. Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/858858596&referer=brief_results\",\"citation\":\"Davey, Frank. \\\"McFadden, David\\\", The Oxford Companion to Canadian Literature. Eugene Benson and William Toye. Oxford University Press 2001. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Davey, Frank. “Gerry Gilbert”. From There to Here: A Guide to English-Canadian Literature Since 1960, Our Nature-Our Voices II. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Davey, Frank. “David McFadden”. From There to Here: A Guide to English-Canadian Literature Since 1960, Our Nature-Our Voices II. Erin, Ontario: Press Porcepic, 1974.\\n\"},{\"url\":\"https://www.worldcat.org/title/money/oclc/427223207&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Money. Vancouver: York Street Commune Press, 1971.\"},{\"url\":\"https://www.worldcat.org/title/phone-book/oclc/92241&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Phone Book. Toronto: Weed/Flower Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/white-lunch-poems/oclc/869020598&referer=brief_results\",\"citation\":\"Gilbert, Gerry. White Lunch, Poems. Vancouver: Periwinkle Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/grounds-poems/oclc/1087483441&referer=brief_results\",\"citation\":\"Gilbert, Gerry. Grounds. Vancouver: Talonbooks, 1976. \"},{\"url\":\"https://www.worldcat.org/title/lease/oclc/729960668?referer=di&ht=edition\",\"citation\":\"Gilbert, Gerry. Lease. Toronto: Coach House Press, 1972. \"},{\"url\":\"https://www.worldcat.org/title/and/oclc/1005955202&referer=brief_results\",\"citation\":\"Gilbert, Gerry. And. Vancouver: Blewointmentpress, 1971.\"},{\"url\":\"https://www.worldcat.org/title/great-canadian-sonnet/oclc/301438651&referer=brief_results\",\"citation\":\"McFadden, David. The Great Canadian Sonnet. Toronto: Coach House Press, 1970. \"},{\"url\":\"https://www.worldcat.org/title/great-canadian-sonnet-the-great-canadian-sonnet/oclc/15750598&referer=brief_results\",\"citation\":\"McFadden, David. The Great Canadian Sonnet. Toronto: Coach House Press, 1974. \"},{\"url\":\"https://www.worldcat.org/title/great-lakes-suite/oclc/37490622?referer=di&ht=edition\",\"citation\":\"McFadden, David. Great Lakes Suite. Vancouver, Talonbooks, 1997. \"},{\"url\":\"https://www.worldcat.org/title/intense-pleasure/oclc/421732872&referer=brief_results\",\"citation\":\"McFadden, David. Intense Pleasure. Toronto: McClelland and Stewart, 1972. \\n\"},{\"url\":\"https://www.worldcat.org/title/poems-worth-knowing/oclc/422697370&referer=brief_results\",\"citation\":\"McFadden, David. Poems Worth Knowing. Toronto: Coach House Press, 1971. \"},{\"url\":\"https://www.worldcat.org/title/why-are-you-so-sad/oclc/899150333&referer=brief_results\",\"citation\":\"McFadden, David. Why Are You So Sad? Toronto: Insomniac Press, 2007. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548930822144,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0019_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0019_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"McFadden and Gilbert Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/david_mcfadden_gerry_gilbert_i006-11-019.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\" david_mcfadden_gerry_gilbert_i006-11-019.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:29:19\",\"precision\":\"\",\"size\":\"214.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:08\\nWe have two readers tonight, both Canadian poets, as you know, and, but in most cases when we have two poets as we did last time, we generally have one poet read for a while, then have a break, and then have the other poet read for a while, but we're not going to do it that way tonight. We're just going to throw the thing open to both David McFadden [https://www.wikidata.org/wiki/Q5237344] and Gerry Gilbert [https://www.wikidata.org/wiki/Q5552756] and they will work it out as it seems to work out for them. This makes a lot of sense, although they've never read together before, they're both published by the same publishing house, and published in the same magazines and know each other as they used to say in the old days in the ivy league by reputation. Gerry Gilbert is, as a lot of people we've had this year, is from the West Coast and has been involved for quite a while with an outfit in the coast that gobbles up your tax money called Intermedia [https://www.wikidata.org/wiki/Q39079179], that's why the screen is there, something might happen there occasionally. Gerry was at one time the editor of a seminal West Coast publishing venture called Radio Free Rain Forest, and is the author of a series of books and things that are like books, as for instance, White Lunch which came out several years ago in Vancouver [https://www.wikidata.org/wiki/Q24639] and Telephone Book which is published by Coach House Press, I think, no, Weed/Flower, sorry. David's also been published by Weed/Flower and the Coach House Press, and his forthcoming book is the second volume of the Big/Little Book novel, called The Great Canadian Sonnet with illustrations by a little-known London [https://www.wikidata.org/wiki/Q92561] artist named Greg Curnoe [https://www.wikidata.org/wiki/Q5605459]. His next book is going to be called Poems Worth Knowing, a title that anyone from Ontario [https://www.wikidata.org/wiki/Q1904] or British Columbia [https://www.wikidata.org/wiki/Q1974] will know. What we're going to do is they're going to operate for a little while, and then when they feel the need for a break there will be a short intermission, like about ten minutes, then we'll proceed again with what, as they say, the second set. So I'm not going to be able to say that somebody's reading first and somebody's reading second but what I will be able to say is that the readers will be David McFadden and Gerry Gilbert.\\n \\nUnknown\\n00:02:39\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nDavid McFadden\\n00:02:40\\nReads unnamed poem. \\n\\nUnknown\\n00:06:02\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nGerry Gilbert\\n00:06:03\\nReads \\\"Her white face where I have seen Her ride the last bus, before\\\" [from Money].\\n \\nGerry Gilbert\\n00:07:14\\nReads \\\"A moving picture moves, it's the truth about movies\\\" [from Money].\\n \\nDavid McFadden\\n00:07:33\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:08:20\\nReads \\\"I REMEMBER TOOTSIE ROLLS when they were only in American comic books\\\" [from Money].\\n \\nDavid McFadden\\n00:09:46\\nReads [“The Slippery Wig” published later in Intense Pleasure and collected in Why Are You So Sad?]. \\n \\nGerry Gilbert\\n00:10:38\\nReads \\\"London 1964\\\" [from Money]\\n \\nDavid McFadden\\n00:12:28\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:13:37\\nReads \\\"waitress calls the man in the corner, HARRY” [from Money].\\n \\nDavid McFadden\\n00:14:30\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:14:53\\nReads \\\"the pleasure. I said” [from Money].\\n \\nDavid McFadden\\n00:16:14\\nReads [“Titles I Have Heard Of But Not Read” published later in Intense Pleasure and collected in Why Are You So Sad?].\\n \\nGerry Gilbert\\n00:18:26\\nReads [\\\"Single Mens Unit\\\" from Money].\\n \\nDavid McFadden\\n00:19:05\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:21:03\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:23:13\\nReads \\\"Goodness and mercy are following me across the lake\\\" [from Money].\\n\\nGerry Gilbert\\n00:24:10\\nReads \\\"Bicycle\\\" [from Money].\\n \\nGerry Gilbert\\n00:24:55\\nReads \\\"on the bed” [from Money].\\n \\nDavid McFadden\\n00:25:32\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:26:05\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:26:18\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:26:49\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:28:03\\nReads \\\"bone ring on my finger\\\" [from Money].\\n \\nDavid McFadden\\n00:28:34\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:31:05\\nReads unnamed poem.\\n \\nGerry Gilbert\\n00:32:10\\nWe're reading Canadian history. A few of the poems from Phone Book.\\n \\nGerry Gilbert\\n00:32:28\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:33:05\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:33:42\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:34:31\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:35:25\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:36:37\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:36:58\\nReads untitled poem from Phone Book.\\n \\nGerry Gilbert\\n00:37:29\\nThis poem's called \\\"Garden\\\".\\n \\nGerry Gilbert \\n00:37:35\\nReads \\\"Garden\\\" [from Money].\\n \\nDavid McFadden\\n00:38:38\\nReads [“Journey To Love” published later in Poems Worth Knowing].\\n \\nDavid McFadden\\n00:39:21\\nReads [“A Poem Without A Title Is Like A Letter Without A Stamp” published later in Poems Worth Knowing].\\n \\nGerry Gilbert\\n00:39:50\\nReads \\\"find your birds\\\" [from Money].\\n \\nDavid McFadden\\n00:41:32\\nReads [“Art’s Variety” published later in Poems Worth Knowing].\\n \\nGerry Gilbert\\n00:42:04\\nReads \\\"sometimes I miss\\\" [from Money].\\n \\nDavid McFadden\\n00:42:18\\nReads [“Another Revolution” published later in Poems Worth Knowing].\\n \\nDavid McFadden\\n00:42:57\\nReads [“Chapter One” from The Great Canadian Sonnet].\\n \\nGerry Gilbert\\n00:47:06\\nDid I hear you say 'boiled skunks'? This is a little tale. \\n\\nGerry Gilbert\\n00:49:24\\nReads unnamed poem. \\n\\nGerry Gilbert\\n00:49:45\\nReads unnamed poem. \\n \\nGerry Gilbert\\n00:51:42\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:53:02\\nReads \\\"Vital Statistics: Distances from Hamilton To...\\\" [from The Great Canadian Sonnet]. \\n \\nGerry Gilbert\\n00:54:52\\nReads unnamed poem.\\n \\nDavid McFadden\\n00:54:52\\nReads unnamed poem. \\n \\nDavid McFadden\\n00:55:52\\nReads unnamed poem [audience laughter throughout]. \\n \\nGerry Gilbert\\n00:56:52\\nReads [“SQUEEZE THRU THE TUBE” from And].\\n\\nGerry Gilbert\\n00:57:08\\nReads [“24.11.70. TORONTO” from And].\\n\\nGerry Gilbert\\n00:57:59\\nThe following is a Rochdale College [https://www.wikidata.org/wiki/Q14875408] council meeting. 23rd of November, 1970.\\n\\nGerry Gilbert\\n00:58:08\\nReads [“ROCHDALE COUNCIL MEETING 23.11.70” and other untitled sections from And].\\n \\nDavid McFadden\\n01:01:24\\nReads unnamed poem. \\n \\nDavid McFadden\\n01:01:39\\nReads unnamed poem. \\n\\nUnknown\\n01:09:59\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nGerry Gilbert\\n01:10:01\\nReads [“QUIET” from And].\\n\\nGerry Gilbert\\n01:10:28\\nReads untitled poem [from And].\\n\\nGerry Gilbert\\n01:10:41\\nReads [“THE WEST IS ALONE SEA” from And].\\n\\nGerry Gilbert\\n01:10:57\\nReads “TICKET” [from And].\\n\\nGerry Gilbert\\n01:11:33\\nReads [“2.1.71” from And]. \\n\\nGerry Gilbert\\n01:12:44\\nReads [“49th week 1970” from And].\\n\\nGerry Gilbert\\n01:12:49\\nReads “FRIED EGG SANDWICH ON BROWN” [from And].\\n\\nDavid McFadden\\n01:13:54\\nReads unnamed poem. \\n \\nGerry Gilbert\\n01:23:26\\nReads [first section of “Babyland Blues” from Money]. \\n \\nGerry Gilbert\\n01:27:05\\nReads unnamed poem. \\n \\nGerry Gilbert\\n01:27:52\\nReads [section of “Babybland Blues from Money].\\n \\nGerry Gilbert\\n01:28:44\\nReads unnamed poem.\\n \\nGerry Gilbert\\n01:29:04\\nReads [final section of “Babyland Blues from Money].\\n \\nEND\\n01:29:19\\n\",\"notes\":\"David McFadden reads from The Great Canadian Sonnet (Coach House Press, 1970), as well as poems published later in Poems Worth Knowing (Coach House Press, 1971) and Intense Pleasure (McClelland and Stewart, 1972). Gerry Gilbert reads from Money (York Street Commune, 1971) and Phone Book (Weed/Flower, 1969) and And (Blewointmentpress, 1971) as well as some poems from unknown sources.\\n00:00- Unknown Male introduces David McFadden and Gerry Gilbert [INDEX: Gerry Gilbert: West Coast, radiofreerainforest, Intermedia, White Lunch, Vancouver, Phone Book published by Weed/Flower Press. David McFadden: Coach House Press, Weed/Flower Press, Big Little Book novel, The Great Canadian Sonnet with illustrations by Greg Curnoe, Poems Worth Knowing, Ontario, British Columbia]\\n02:40- David McFadden reads first line “They try to teach you things so fast in school...”\\n06:03- Gerry Gilbert reads first line “Her right face, where I have seen her ride the last bus before...”\\n07:14- Gerry Gilbert reads first line “A moving picture moves...” [INDEX: in the section “For Crying Out Loud” in Money]\\n07:33- David McFadden reads first line “At the vending machine, Garfield got a bag of...”\\n08:20- Gerry Gilbert reads first line “I remember tootsie rolls were only in American comic books...” [INDEX: in the section “For Crying Out Loud” in Money]\\n09:46- David McFadden reads first line “I sat next to her on the bus. She kept adjusting her black wig...”\\n10:38- Gerry Gilbert reads “London 1964” [INDEX: in the section “For Crying Out Loud”, in Money]\\n12:28- David McFadden reads “Received your postcard today and dropped it...”\\n13:37- Gerry Gilbert reads “The waitress calls the man in the corner Harry...” [INDEX: in the section “For Crying Out Loud” in Money]\\n14:30- David McFadden reads first line “Nine inches from navel to vulva...”\\n14:53- Gerry Gilbert reads first line “The pleasure, I said, I dreamed I was in    Vietnam...” [INDEX: in the section “For Crying Out Loud” in Money]\\n16:14- David McFadden reads first line “Dreams have become so full of intricate detail...”\\n18:26- Gerry Gilbert reads “Single Mens Unit” [INDEX: in Money]\\n19:05- David McFadden reads first line “The Bursby Police are a fine group of men...”\\n21:03- David McFadden reads first line “Napanee home for the aged Japanese Canadians...”\\n23:13- Gerry Gilbert reads first line “Goodness and Mercy are following me...” [INDEX: in the section “For Crying Out Loud” in Money]\\n24:10- Gerry Gilbert reads “Bicycle” [INDEX: in Money]\\n24:55- Gerry Gilbert reads first line “On the bed, we held, two hands a pot...”\\n25:32- David McFadden reads first line “The successful young alderman of ambition...”\\n26:05- David McFadden reads first line “The tub was dirty so I washed it out...”\\n26:18- David McFadden reads first line “I’m leaving on Saturday, Harry the sweeper talking...”\\n26:49- Gerry Gilbert reads first line “Blow by blow, solid, solid, short...”\\n28:03- Gerry Gilbert reads first line “Bone, ring on my finger, bell...” [INDEX: in section “For Crying Out Loud” in Money]\\n28:34- David McFadden reads first line “Spitting out the used up toothpaste...”\\n31:05- David McFadden reads first line “If you’re lucky enough to be there when your name is called...”\\n32:28- Gerry Gilbert reads first line “Mirror, mirror from Middle English...” [INDEX: in    \\tPhone Book]\\n33:05- Gerry Gilbert reads first line “Stabit, she’s big, her mom sed...” [INDEX: in Phone    Book]\\n33:42- Gerry Gilbert reads first line “Conductor, CN Conductor...” [INDEX: in Phone Book]\\n35:25- Gerry Gilbert reads first line “It began to rain, we sat on the hill...” [INDEX: in Phone Book]\\n36:37- Gerry Gilbert reads first line “The killer is at the top window...” [INDEX: in Phone    Book]\\n36:58- Gerry Gilbert reads first line “Can’t see the key, you have to reach...” [INDEX: in     Phone Book]\\n37:29- Gerry Gilbert reads “Garden” [INDEX: in Money]\\n38:38- David McFadden reads first line “No one knows his own potential for evil...”\\n39:21- David McFadden reads first line “I made a left turn from Houston onto King...”\\n39:50- Gerry Gilbert reads first line “Find your birds, ladies and gentlemen...” [INDEX: in the section “For Crying Out Loud” in Money]\\n41:32- David McFadden reads first line “She was small and pretty, my heart broke...”\\n42:04- Gerry Gilbert reads first line “Sometimes I miss the times I miss...” [INDEX: in the   section “For Crying Out Loud” in Money]    \\n42:18- David McFadden reads first line “Elege [sp?] expands to fill the vacuum left by loss of spirit...”\\n42:57- David McFadden reads first line “I’m Alabama-bound, my brain is firming round...”\\n47:24- END OF RECORDING\\n\\n00:02- Gerry Gilbert reads first line “I rolled down the slime trail after slug...”\\n01:59- Gerry Gilbert reads first line “Semitic origin, these etymological discussions...”\\n02:21- Gerry Gilbert reads “Spadina Salvation Army, December 1969”\\n04:27- David McFadden reads first line “Vital statistics, distances from Hamilton to \\tBoston...”\\n05:38- Gerry Gilbert reads first line “A place in mind clicks, switch...”\\n07:27- David McFadden reads first line “Joan was telling me how she was driving...”\\n08:28- David McFadden reads first line “The dog across the street is a little Pekinese...”\\n09:28- Gerry Gilbert reads series of poems starting with first lines “I was in Ottawa...” and “Matches, I never saw Eddie...”\\n10:09- Gerry Gilbert reads series of poems starting with first lines “I can’t find the sky...” and “I see you and baby...” and “9 or 10 council men and women...”\\n14:00- David McFadden reads first line “Collier's Encyclopedia says...”\\n14:15- David McFadden reads first line “Joan said she was miserable that day...”\\n22:35- Gerry Gilbert reads of series of short poems with first lines “Buddha, somebody stole...”, “I jacked-off..”, “We’ve been having technical...”, “Go sooner than you   expect...”. “If you like lots of food...”, “Ticket, way West...”, “Pictures of windows...”, “Pencil, don’t dry out...”, “Each a life, eat your wife...”, “Fried egg sandwich...”, “The world is so young...”, “Your own, a better night...”, “She loved me...”, “Hair, hooked behind my ears...”, “Your first is something nobody...”\\n26:29- David McFadden reads first line “The car was running very well...”\\n36:01- Gerry Gilbert reads first line “I know what I’m doing...”\\n39:40- Gerry Gilbert reads first line “Eagle, hear me coming...”\\n40:28- Gerry Gilbert reads first line “Water the garden after...”\\n41:19- Gerry Gilbert reads first line “Each size, big places...”\\n41:40- Gerry Gilbert reads first line “Sweet, sweet babyland bird...”\\n41:55.46- END OF RECORDING\\n \\n*Note about Transcript: because both readers read their work without any extra-poetic speech, there are no ‘annotated’ notes. The text that is spoken by the poets is marked by quotation marks. Poem titles are indicated, when available, in the [Indexed] sections. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/david-mcfadden-and-gerry-gilbert-at-sgwu-1971/\"}]"],"score":1.0},{"id":"1294","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Kenneth Koch at Sir George Williams University, The Poetry Series, 19 February 1971"],"item_title_source":["Cataloguer "],"item_title_note":["\"KENNETH KOCH Recorded February 19, 1971 3.75 ips on 1 mil. tape, 1/2 track Fair quality\" written on sticker on the back of the tape's box. KENNETH KOCH I006/SR39 written on sticker on the spine of the tape's box. I006-11-039 written on sticker on the reel.\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Koch, Kenneth"],"creator_names_search":["Koch, Kenneth"],"creators":["[{\"url\":\"http://viaf.org/viaf/110467351\",\"name\":\"Koch, Kenneth\",\"dates\":\"1925-2002\",\"notes\":\"Poet, playwright, author and teacher Kenneth Koch was born on February 27, 1925 in Cincinnati, Ohio. In 1943, after completing high school, Koch served in the United States Army until 1945. He then enrolled at Harvard University, and received his B.A. degree in 1948 in English literature and writing. Koch then entered the Ph.D. program at Columbia University in New York City, through which he traveled on a Fulbright scholarship to France to study avant-garde poetry. In New York, he met poets John Ashbery and Frank O’Hara, the three of whom would be coined the New York School of Poets. Koch published his first collection of poetry, Poems (Tibor de Nagy Gallery, 1953), and wrote a play, Little Red Riding Hood (1953), followed by Ko; or, A Season on Earth (Grove Press, 1959).  During this time Koch taught at Rutgers and Brooklyn Colleges before he completed his Ph.D. in 1959. Koch’s second play, Bertha, debuted in 1960, along with a third collection of poetry, Permanently (Tiber Press, 1960). In the early 60’s, Koch published plays, including George Washington Crossing the Delaware, The Construction of Boston (both in 1962), Guinevere; or, The Death of the Kangaroo, (1964). Koch was also a brilliant teacher, creating poetry and reading programs for grade school students in New York City public schools, which he won a Harbison Award for teaching. He published his experiences in Wishes, Lies and Dreams: Teaching Children to Write Poetry (Chelsea House, 1970) and Rose, Where Did You Get That Red?: Teaching Great Poetry to Children (Random House, 1973), which won a Ohioana Book Award and a Christopher Book Award. He also launched a similar program for the elderly, as described in I Never Told Anybody: Teaching Poetry Writing in a Nursing Home (Random House, 1977). During this time Koch published numerous books of verse, namely The Pleasures of Peace and Other Poems (Grove Press, 1969), When the Sun Tries to Go On (Black Sparrow, 1969), Sleeping with Women (Black Sparrow Press, 1969), the highly praised The Art of Love (Random House, 1975) which won the National Institute of Arts and Letters award in 1976, The Burning Mystery of Anna in 1951 (Random House, 1979). A prolific writer, Koch wrote over forty books and plays, including Days and Nights (Random House, 1982), On the Edge (Alfred A. Knopf, 1986) which won an Award of Merit for Poetry from the American Academy and Institute of Arts and Letters, Selected Poems, 1950-1982 (Random House, 1985), a book of short dramatic selections One Thousand Avant-garde Plays (Knopf, 1988) won a National Book Critic’s Circle nomination, Selected Poems, (Carcanet, 1991), On the Great Atlantic Rainway: Selected Poems, 1950-1988 (Knopf, 1994) and his last book, New Addresses (Knopf, 2000). 1995 was a big year for Koch, as he was awarded the Bollingen Prize for a lifetime achievement to poetry, and was elected to the American Academy of Arts and Letters. Subsequently, Koch received the Rebekah Johnson Bobbitt National Prize for Poetry in 1996, the Chevalier de l’ordre des arts et des lettres in France in 1999, and the Phi Beta Kappa Poetry Award. Kenneth Koch died of leukemia on July 6, 2002 in New York City.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1971 2 19\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement \\\"What Goes On!\\\"\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Kenneth Koch reads from Thank You and Other Poems (Grove Press, 1962), The Pleasures of Peace and Other Poems (Grove Press, 1969), works published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973) and from other unknown sources."],"contents":["kenneth_koch_i006-11-039.mp3\n\nGeorge Bowering\n00:00:00\nMost people will have seen, probably, the little promo sheet that went out about Kenneth [https://www.wikidata.org/wiki/Q2708628] talking about all his various books et cetera, so I'll keep this very short. Those that have been involved in reading American poetry over the past few years will naturally know who Kenneth Koch is, that he along with Frank O'Hara [https://www.wikidata.org/wiki/Q951010] probably invented modern American poetry in New York City [https://www.wikidata.org/wiki/Q60], and it's, and he's also been in the news lately in the various, Slick magazine in the United States [https://www.wikidata.org/wiki/Q30] as a teacher of poetry, a very important teacher of poetry to kids in schools. And he's the only man I know who's been able to write what I think is probably an epic in the American language. So I'd like to make this as fast as I can and introduce Mr. Kenneth Koch.\n \nAudience\n00:00:58\nApplause.\n \nUnknown\n00:01:03\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nKenneth Koch\n00:01:04\nThe first poem I'll read is called \"Spring\". \n \nKenneth Koch\n00:01:08\nReads \"Spring\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:02:36\nThe next poem I want to read is called \"Variations on a Theme by William Carlos Williams\". I love Williams' [https://www.wikidata.org/wiki/Q178106] work, and I usually only write parodies of people whose work I like a lot. This parody is based on a poem of Williams, well, actually, on a certain characteristic I saw in Williams' work for a long time which I like, which is sort of, the idea that if you really like something enough and if you want to do it enough, it's okay to do it. And I saw certain insane possibilities of this viewpoint. This is specifically a parody of a poem which goes, \"This is just to say I've eaten the plums in the icebox and which you were probably saving for breakfast. Forgive me, they were so cold and so delicious\". It's really a nice poem, but it seemed to me there was a little streak of insanity running through it. It's called, \"Variations on a Theme by William Carlos Williams\".\n \nKenneth Koch\n00:03:28\nReads \"Variations on a Theme by William Carlos Williams\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:04:33\nI'd like to read another short poem, this is called \"You Were Wearing\".\n \nKenneth Koch\n00:04:38\nReads \"You Were Wearing\" [from Thank You and Other Poems].\n \nKenneth Koch\n00:06:37\nI'm trying to find the ideal lights still, it’s--okay, I think that's probably a bit better. The next thing that I want to read is a play called \"E.KOLOGY\". It's...E.KOLOGY is the name of the hero, it's like capital \"E,\" period, capital \"KOLOGY.\" I'd like to say something about this play. I read it at the University of Chicago [https://www.wikidata.org/wiki/Q131252] last year, and some students thought that I was making fun of the ecology movement. I'm not, and I would see to it that if it were produced that that was not the case. It just seemed to me that the ecology movement was such a, like a natural cause for pleasure that it wouldn't really do to be totally solemn about it. The, I wrote this to be performed on Earth Day [https://www.wikidata.org/wiki/Q124473], in New York last year in April, but they were supposed to have all these things in Union Square [https://www.wikidata.org/wiki/Q110007] and it just ended up being a lot of light shows and speeches, I think, because they couldn't get the actors together and the lights and the stage and everything. It was done in Philadelphia [https://www.wikidata.org/wiki/Q1345], did anyone see it, by any chance? Probably not. I didn't see it. I didn't even know it was done. In any case. E.KOLOGY. \n \nKenneth Koch\n00:07:44\nReads E.KOLOGY - Act One, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:09:38\nReads E.KOLOGY - Act One, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:11:19\nReads E.KOLOGY - Act One, Scene Three [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:12:06\nReads E.KOLOGY - Act Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:13:54\nReads E.KOLOGY - Act Three, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:14:24\nReads E.KOLGOY - Act Three, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:16:04\nReads E.KOLOGY - Act Four [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:17:30\nReads E.KOLOGY - Act Five [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nAudience\n00:19:34\nApplause.\n \nKenneth Koch\n00:19:44\nWhile you're in the mood for theatre, I'll read a film script I wrote which I'd be delighted if someone would do. No one's ever done it. Apparently it would cost a great deal to do this, although it's very simple. It's called “Youth”.\n \nKenneth Koch\n00:19:57\nReads \"Youth\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:21:36\nI don't hear any takers unless...Let's see. This is a very short poem called, \"Poem\".\n \nKenneth Koch\n00:21:53\nReads \"Poem\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n00:22:11\nThis, this poem is called \"Ma Provence\", and my interest in writing it was the different way that French and English sound to me. \"Ma Provence\".\n \nKenneth Koch\n00:22:23\nReads \"Ma Provence\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n00:22:52\nI usually translate the French, but I guess here I don't really have to. I'll read a...the French is very banal, it means, \"In my Provence the wheat is always green, the girls are pretty, they love me madly, they never die in my Provence\". This poem is called \"Great Beauty\". \n \nKenneth Koch\n00:23:14\nReads \"Great Beauty\".\n \nKenneth Koch\n00:23:31\nThis poem is called \"Little Known Historical Fact\".\n \nKenneth Koch\n00:23:35\nReads \"Little Known Historical Fact\".\n \nKenneth Koch\n00:23:48\nCharlemagne [https://www.wikidata.org/wiki/Q3044] is an Italian. [Audience laughter]. This is called...\"Getting Back on Land\".\n \nKenneth Koch\n00:24:06\nReads \"Getting Back on Land\".\n \nAudience\n00:24:22\nLaughter. \n \nKenneth Koch\n00:24:29\nThis, the next thing I want to read is part of a long poem I've been writing in the last year. George [https://www.wikidata.org/wiki/Q1239280] mentioned an epic poem I wrote called “Ko”, which I wrote about, oh twelve or fourteen years ago, and it's a poem...that's “Ko”, there it is, and it's about a hundred and twenty pages, it's in ottava rima, which is a stanza that Ariosto [https://www.wikidata.org/wiki/Q48900] used in Orlando Furioso [https://www.wikidata.org/wiki/Q48922] and it's also the stanza that Byron [https://www.wikidata.org/wiki/Q5679] used in Don Juan [https://www.wikidata.org/wiki/Q1245187]. It rhymes ABABABCC. And...I really like “Ko” a lot. It's a poem about a, the main character is a Japanese baseball player, a pitcher, who throws the ball so hard he knocks the grandstand down with every pitch. And there are a lot of other characters in it. When I wrote the poem I really was very happy, I was living in Florence [https://www.wikidata.org/wiki/Q2044], in a villino, and, sort of outside of town on the Viale Michelangelo, and what I tried to do in “Ko” is like to put in every pleasant thing I'd ever experienced in my life, and the poem is kind of happy and optimistic. And I always wanted to continue it, because I liked writing that way. And I never could, because the continuation was always sort of in the style of “Ko” exactly and not as good. It sort of lost that particular feeling. Then I finally was able to start doing it again, recently, but I noticed as I went on writing the poem that it had changed a good deal, that my idea about life and the world was not quite the same, naturally, partly because it changes in me, and partly because it changes in the world, but I don't want to get into metaphysical questions. In any case, the first thing I want to read from this poem is the, like the “Prologue”, which explains my problems in continuing this very happy poem fourteen years afterwards. The only, I think the only thing that needs explaining that I haven't explained is that “Ko” ends with the line, \"Huddle, meanwhile, was flaking at the knees.\" Now Huddle is a, like an Englishman in “Ko” who dies of mold fever in Rome [https://www.wikidata.org/wiki/Q220], and when he dies he turns into a statue which is set up near the Villa Giulia [https://www.wikidata.org/wiki/Q964499] in Rome. And all of the other characters that have been killed sort of turn into statues and start coming back to life, and this is a sign that Huddle is coming back to life but he's flaking at the knees. In any case, that's referred to at the beginning of the “Prologue”.\n \nKenneth Koch\n00:27:00\nReads \"Prologue\".\n \nKenneth Koch\n00:34:08\nThat's the end of the “Prologue”. I want to read the first episode in the poem, now. I realize there was another, perhaps incomprehensible thing in the “Prologue”. Pana Grady...Pana Grady's apartment was a place on...Central Park West [https://www.wikidata.org/wiki/Q2738041] where a lot of parties were held for Upper and Lower Bohemia in the days...well, it was about five or six years ago. Anyway. That's the end of the “Prologue”, which I'm not sure I'm finally going to attach to the poem, since I usually eliminate prologues. And this is the beginning of the poem. \n \nKenneth Koch\n00:34:55\nReads [\"Episode I”].\n \nKenneth Koch\n00:41:07\nThat's the end of the first part. To tell you what happens in this poem would take as long as reading the whole poem, which I don't have time to do. I think I'd like to read some brief, improvisational plays. I wrote these plays to be done at The Living Theatre [https://www.wikidata.org/wiki/Q1202416], though I knew they wouldn't do them. Somebody asked me to write some improvisational plays, it's really, it's really great, you know, writes it with some actors that want to do it, and I'd, I'd seen some improvisational plays and it seemed to me that the only emotions that actors could improvise were...let's see, passion, nostalgia, self-hatred, anxiety, and then make narcissism and then make topical references, and I decide to really throw sort of a curve at actors and give them something that would really be hard to improvise. My penalty has been that these plays have never been done. The first one I'd like to read...I'd be very glad if they were, could be given a premiere here in Canada [https://www.wikidata.org/wiki/Q16]. \"Mexico City\".\n \nKenneth Koch\n00:42:18\nReads \"Mexico City\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:43:13\nThe next one is called \"The Lost Feed\".\n \nKenneth Koch\n00:43:16\nReads \"The Lost Feed\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:44:12\nThe next play is called \"Coil Supreme\".\n \nKenneth Koch\n00:44:17\nReads \"Coil Supreme\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:44:48\nThe last improvisational play I'll read is the one that has always moved me the most at the thought of production. It's called \"The Gold Standard\".\n \nKenneth Koch\n00:44:57\nReads \"The Gold Standard\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n00:45:54\nI think I'd like to read a rather long poem called...my present plan, which--I don't want to really ruin people's evening, since I didn't start until 9:30, I think the poems that I would like to read will last until 11. So, it's twenty-five after ten now, I don't want to keep anybody up to late or anything. [Audience laughter]. If...Don't feel bad about leaving if you have to go, I want to read these two rather long poems. This is called \"The Pleasures of Peace\". I should say something about this poem, I wrote it...I started to write it, oh, three years ago, or whenever it was, maybe it was four years ago, but it took me a long time to write it. I guess about three years ago I started. It was at the moment of the, when there really was a lot of happiness in the peace movement in the United States. And it was like the first Peace Marches on Fifth Avenue, and people were jumping up and down for peace, and dancing for peace, and it really seemed as though what people were doing was going to do some good. And I remember feeling very excited in the first set of mass peace activities I was in because, being a poet, and having been brought up in America and everything and like almost all the other poets and artists I knew I sort of felt like a social outcast a little bit. And then I found, in the midst of the peace movement, like there were hundreds of thousands of people who sort of felt the same way about a lot of things, it was nice. And there was something very sort of grand and exciting about the peace movement which does not have anything to do with the issues at all, it was just a lot of fun. In a way it was sort of...it was very pleasant. There were a few other things that motivated this poem. One was I was very annoyed at a lot of my fellow-poets who were going around, giving, in groups to colleges, giving poetry readings for peace. Now there were two things about this that annoyed me, three things. One was that I wasn't doing it. But that, I think, was a minor thing  A second thing was that...who did they really think they were trying to convert, like college students who came to poetry readings? I mean, college students who come to poetry readings are not usually in favour of war. And in the second-place, all the poems they read for peace were the sort of things that would make you want to go out and kill people, like \"Lyndon Johnson [https://www.wikidata.org/wiki/Q9640], you, fuck the pregnant woman who's lying with her guts streaming out,\" [audience laughter] and they weren't, they didn't really...they didn't really seem like peace poems to me. It...And I felt it was sort of exploitative on their part to do that. So I wanted to write a--I'd never written a political poem and I wanted very much to write a poem, I had very strong feelings about the Vietnam War [https://www.wikidata.org/wiki/Q8740], and I wanted to write a poem against the war but which really, was really a poem, a positive poem about peace. I found it terribly hard to do, and I never worked so long on any poem. The fact that I worked so long on it does not mean that it's any better than anything else I ever wrote, but it was just hard, because I kept trying to put in sort of, things about suffering and so on, and they would jump out of the poem the way an artificial heart, I mean the way a transferred heart is sometimes rejected by the body. And I realized I was sort of stuck with writing a poem that was, like, one of my poems, it was really sort of a positive poem about peace. Another problem is that if you write a poem about the pleasures of peace it means you're writing a poem about the pleasures of life. And it's endless, in any case. That's about enough of that for now. It took me over a year to write, it was mainly the last part I couldn't write, since I didn't want to have sort of a literary copout at the end, and I didn't want to sort of end up, oh well, anyway. It's just a poem. The only thing--I got varied reactions to the poem. One...some dopey poet friend of mine came over and said, \"Boy, you really put the peace movement down\". And I haven't spoken to him very much since then. But then, a better reaction was that I got, some guy called me up and asked me if he could use this poem as his draft resistance statement. And I said you're going to languish in prison for a long time because, you know, judges don't like poetry. But anyway. Now just forget everything I've said [audience laughter] and I'll read this poem. And there's a pause. \"The Pleasures of Peace\". Oh! Another thing. [Audience laughter]. I read this poem in London [https://www.wikidata.org/wiki/Q84] last year, and I got this dopey review in the Times [https://www.wikidata.org/wiki/Q50008] by, who was it....I'm not sure. And he said, \"Kenneth Koch's 'Pleasures of Peace' is a very interesting poem but since he mentions the name of all his friends which we can't be expected to know”--like about 90% of the people in this poem are imaginary. They, they're not my friends. [Audience laughter]. Okay. Like Georgio Finogo is not a real person, okay?. \"The Pleasures of Peace\".\n \nKenneth Koch\n00:51:15\nReads \"The Pleasures of Peace\" [from The Pleasures of Peace and Other Poems].\n \nAudience\n01:11:09\nApplause. \n \nKenneth Koch\n01:11:15\nThank you. \n \nKenneth Koch\n01:11:22\nI want to read another poem which will take about seven minutes, but just to rest up I'll read a short poem...I can't find one short enough...Oh, this is called \"An X-Ray of Utah\".\n \nKenneth Koch\n01:12:00\nReads \"An X-Ray of Utah\" [from The Pleasures of Peace and Other Poems].\n \nKenneth Koch\n01:12:08\nWell that's the shortest poem I ever wrote. [Audience laughter]. Except, there's one that's not in any of my books which is called \"Tennis\", which is the same length. \n \nKenneth Koch\n01:12:19\nReads \"Tennis\".\n \nKenneth Koch\n01:12:29\nOh, I think I'll read a few movie scripts. I'll just read a few. This is really for, this is from something called \"Ten Films\", but I'll just read a few of them, which are my favourites. One of the films is called \"Sheep Harbour\".\n \nKenneth Koch\n01:12:44\nReads \"Sheep Harbour\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:12:57\nLike, the camera could sort of show this for a long time.\n \nKenneth Koch\n01:13:03\nReads \"Oval Gold\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:13:19\nI'll just read one more of these films. This is called \"The Cemetery\".\n \nKenneth Koch\n01:13:24\nReads \"The Cemetery\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\n \nKenneth Koch\n01:13:49\nI'll read this one last poem which is called \"Sleeping with Women”.  \"Sleeping with Women\".\n \nKenneth Koch\n01:13:54\nReads \"Sleeping with Women\" [from The Pleasures of Peace and Other Poems].\n\nEND\n01:22:37\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nDuring this time, Koch published Wishes, Lies and Dreams: Teaching Children to Write Poetry (Chelsea House, 1970) and Rose, Where Did You Get That Red?: Teaching Great Poetry to Children (Random House, 1973), recounting his teaching experiences.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDirect connections to Kenneth Koch and Sir George Williams University are unknown, but Koch was an important and influential New York poet and educator.\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/change-of-hearts-plays-films-and-other-dramatic-works/oclc/469682283&referer=brief_results\",\"citation\":\"Koch, Kenneth. A Change of Hearts: Plays, Films and Other Dramatic Works, 1951-1971. New York: Random House, 1973. \"},{\"url\":\"https://www.worldcat.org/title/pleasures-of-peace-and-other-poems/oclc/256034641&referer=brief_results\",\"citation\":\"Koch, Kenneth. The Pleasures of Peace and Other Poems. New York: Grove Press, Inc, 1969. \"},{\"url\":\"https://www.worldcat.org/title/thank-you-and-other-poems/oclc/256035573&referer=brief_results\",\"citation\":\"Koch, Kenneth. Thank You and Other Poems. New York: Grove Press, Inc, 1962. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Koch, Kenneth [Jay]\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev.). Oxford University Press 1995.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/kenneth-koch-at-sgwu-1971/\",\"citation\":\"“What Goes On!”. The Georgian. Montreal: Sir George Williams University, 18 February 1971.\"},{\"url\":\"\",\"citation\":\"“Koch, Kenneth, 1925-”. Literature Online Biography. Cambridge: Chadwyck-Healey, Proquest, 2005.\"}]"],"_version_":1853670548932919296,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0039_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0039_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Kenneth Koch Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/kenneth_koch_i006-11-039.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"kenneth_koch_i006-11-039.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:22:37\",\"precision\":\"\",\"size\":\"103.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nMost people will have seen, probably, the little promo sheet that went out about Kenneth [https://www.wikidata.org/wiki/Q2708628] talking about all his various books et cetera, so I'll keep this very short. Those that have been involved in reading American poetry over the past few years will naturally know who Kenneth Koch is, that he along with Frank O'Hara [https://www.wikidata.org/wiki/Q951010] probably invented modern American poetry in New York City [https://www.wikidata.org/wiki/Q60], and it's, and he's also been in the news lately in the various, Slick magazine in the United States [https://www.wikidata.org/wiki/Q30] as a teacher of poetry, a very important teacher of poetry to kids in schools. And he's the only man I know who's been able to write what I think is probably an epic in the American language. So I'd like to make this as fast as I can and introduce Mr. Kenneth Koch.\\n \\nAudience\\n00:00:58\\nApplause.\\n \\nUnknown\\n00:01:03\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nKenneth Koch\\n00:01:04\\nThe first poem I'll read is called \\\"Spring\\\". \\n \\nKenneth Koch\\n00:01:08\\nReads \\\"Spring\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:02:36\\nThe next poem I want to read is called \\\"Variations on a Theme by William Carlos Williams\\\". I love Williams' [https://www.wikidata.org/wiki/Q178106] work, and I usually only write parodies of people whose work I like a lot. This parody is based on a poem of Williams, well, actually, on a certain characteristic I saw in Williams' work for a long time which I like, which is sort of, the idea that if you really like something enough and if you want to do it enough, it's okay to do it. And I saw certain insane possibilities of this viewpoint. This is specifically a parody of a poem which goes, \\\"This is just to say I've eaten the plums in the icebox and which you were probably saving for breakfast. Forgive me, they were so cold and so delicious\\\". It's really a nice poem, but it seemed to me there was a little streak of insanity running through it. It's called, \\\"Variations on a Theme by William Carlos Williams\\\".\\n \\nKenneth Koch\\n00:03:28\\nReads \\\"Variations on a Theme by William Carlos Williams\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:04:33\\nI'd like to read another short poem, this is called \\\"You Were Wearing\\\".\\n \\nKenneth Koch\\n00:04:38\\nReads \\\"You Were Wearing\\\" [from Thank You and Other Poems].\\n \\nKenneth Koch\\n00:06:37\\nI'm trying to find the ideal lights still, it’s--okay, I think that's probably a bit better. The next thing that I want to read is a play called \\\"E.KOLOGY\\\". It's...E.KOLOGY is the name of the hero, it's like capital \\\"E,\\\" period, capital \\\"KOLOGY.\\\" I'd like to say something about this play. I read it at the University of Chicago [https://www.wikidata.org/wiki/Q131252] last year, and some students thought that I was making fun of the ecology movement. I'm not, and I would see to it that if it were produced that that was not the case. It just seemed to me that the ecology movement was such a, like a natural cause for pleasure that it wouldn't really do to be totally solemn about it. The, I wrote this to be performed on Earth Day [https://www.wikidata.org/wiki/Q124473], in New York last year in April, but they were supposed to have all these things in Union Square [https://www.wikidata.org/wiki/Q110007] and it just ended up being a lot of light shows and speeches, I think, because they couldn't get the actors together and the lights and the stage and everything. It was done in Philadelphia [https://www.wikidata.org/wiki/Q1345], did anyone see it, by any chance? Probably not. I didn't see it. I didn't even know it was done. In any case. E.KOLOGY. \\n \\nKenneth Koch\\n00:07:44\\nReads E.KOLOGY - Act One, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:09:38\\nReads E.KOLOGY - Act One, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:11:19\\nReads E.KOLOGY - Act One, Scene Three [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:12:06\\nReads E.KOLOGY - Act Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:13:54\\nReads E.KOLOGY - Act Three, Scene One [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:14:24\\nReads E.KOLGOY - Act Three, Scene Two [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:16:04\\nReads E.KOLOGY - Act Four [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:17:30\\nReads E.KOLOGY - Act Five [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nAudience\\n00:19:34\\nApplause.\\n \\nKenneth Koch\\n00:19:44\\nWhile you're in the mood for theatre, I'll read a film script I wrote which I'd be delighted if someone would do. No one's ever done it. Apparently it would cost a great deal to do this, although it's very simple. It's called “Youth”.\\n \\nKenneth Koch\\n00:19:57\\nReads \\\"Youth\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:21:36\\nI don't hear any takers unless...Let's see. This is a very short poem called, \\\"Poem\\\".\\n \\nKenneth Koch\\n00:21:53\\nReads \\\"Poem\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n00:22:11\\nThis, this poem is called \\\"Ma Provence\\\", and my interest in writing it was the different way that French and English sound to me. \\\"Ma Provence\\\".\\n \\nKenneth Koch\\n00:22:23\\nReads \\\"Ma Provence\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n00:22:52\\nI usually translate the French, but I guess here I don't really have to. I'll read a...the French is very banal, it means, \\\"In my Provence the wheat is always green, the girls are pretty, they love me madly, they never die in my Provence\\\". This poem is called \\\"Great Beauty\\\". \\n \\nKenneth Koch\\n00:23:14\\nReads \\\"Great Beauty\\\".\\n \\nKenneth Koch\\n00:23:31\\nThis poem is called \\\"Little Known Historical Fact\\\".\\n \\nKenneth Koch\\n00:23:35\\nReads \\\"Little Known Historical Fact\\\".\\n \\nKenneth Koch\\n00:23:48\\nCharlemagne [https://www.wikidata.org/wiki/Q3044] is an Italian. [Audience laughter]. This is called...\\\"Getting Back on Land\\\".\\n \\nKenneth Koch\\n00:24:06\\nReads \\\"Getting Back on Land\\\".\\n \\nAudience\\n00:24:22\\nLaughter. \\n \\nKenneth Koch\\n00:24:29\\nThis, the next thing I want to read is part of a long poem I've been writing in the last year. George [https://www.wikidata.org/wiki/Q1239280] mentioned an epic poem I wrote called “Ko”, which I wrote about, oh twelve or fourteen years ago, and it's a poem...that's “Ko”, there it is, and it's about a hundred and twenty pages, it's in ottava rima, which is a stanza that Ariosto [https://www.wikidata.org/wiki/Q48900] used in Orlando Furioso [https://www.wikidata.org/wiki/Q48922] and it's also the stanza that Byron [https://www.wikidata.org/wiki/Q5679] used in Don Juan [https://www.wikidata.org/wiki/Q1245187]. It rhymes ABABABCC. And...I really like “Ko” a lot. It's a poem about a, the main character is a Japanese baseball player, a pitcher, who throws the ball so hard he knocks the grandstand down with every pitch. And there are a lot of other characters in it. When I wrote the poem I really was very happy, I was living in Florence [https://www.wikidata.org/wiki/Q2044], in a villino, and, sort of outside of town on the Viale Michelangelo, and what I tried to do in “Ko” is like to put in every pleasant thing I'd ever experienced in my life, and the poem is kind of happy and optimistic. And I always wanted to continue it, because I liked writing that way. And I never could, because the continuation was always sort of in the style of “Ko” exactly and not as good. It sort of lost that particular feeling. Then I finally was able to start doing it again, recently, but I noticed as I went on writing the poem that it had changed a good deal, that my idea about life and the world was not quite the same, naturally, partly because it changes in me, and partly because it changes in the world, but I don't want to get into metaphysical questions. In any case, the first thing I want to read from this poem is the, like the “Prologue”, which explains my problems in continuing this very happy poem fourteen years afterwards. The only, I think the only thing that needs explaining that I haven't explained is that “Ko” ends with the line, \\\"Huddle, meanwhile, was flaking at the knees.\\\" Now Huddle is a, like an Englishman in “Ko” who dies of mold fever in Rome [https://www.wikidata.org/wiki/Q220], and when he dies he turns into a statue which is set up near the Villa Giulia [https://www.wikidata.org/wiki/Q964499] in Rome. And all of the other characters that have been killed sort of turn into statues and start coming back to life, and this is a sign that Huddle is coming back to life but he's flaking at the knees. In any case, that's referred to at the beginning of the “Prologue”.\\n \\nKenneth Koch\\n00:27:00\\nReads \\\"Prologue\\\".\\n \\nKenneth Koch\\n00:34:08\\nThat's the end of the “Prologue”. I want to read the first episode in the poem, now. I realize there was another, perhaps incomprehensible thing in the “Prologue”. Pana Grady...Pana Grady's apartment was a place on...Central Park West [https://www.wikidata.org/wiki/Q2738041] where a lot of parties were held for Upper and Lower Bohemia in the days...well, it was about five or six years ago. Anyway. That's the end of the “Prologue”, which I'm not sure I'm finally going to attach to the poem, since I usually eliminate prologues. And this is the beginning of the poem. \\n \\nKenneth Koch\\n00:34:55\\nReads [\\\"Episode I”].\\n \\nKenneth Koch\\n00:41:07\\nThat's the end of the first part. To tell you what happens in this poem would take as long as reading the whole poem, which I don't have time to do. I think I'd like to read some brief, improvisational plays. I wrote these plays to be done at The Living Theatre [https://www.wikidata.org/wiki/Q1202416], though I knew they wouldn't do them. Somebody asked me to write some improvisational plays, it's really, it's really great, you know, writes it with some actors that want to do it, and I'd, I'd seen some improvisational plays and it seemed to me that the only emotions that actors could improvise were...let's see, passion, nostalgia, self-hatred, anxiety, and then make narcissism and then make topical references, and I decide to really throw sort of a curve at actors and give them something that would really be hard to improvise. My penalty has been that these plays have never been done. The first one I'd like to read...I'd be very glad if they were, could be given a premiere here in Canada [https://www.wikidata.org/wiki/Q16]. \\\"Mexico City\\\".\\n \\nKenneth Koch\\n00:42:18\\nReads \\\"Mexico City\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:43:13\\nThe next one is called \\\"The Lost Feed\\\".\\n \\nKenneth Koch\\n00:43:16\\nReads \\\"The Lost Feed\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:44:12\\nThe next play is called \\\"Coil Supreme\\\".\\n \\nKenneth Koch\\n00:44:17\\nReads \\\"Coil Supreme\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:44:48\\nThe last improvisational play I'll read is the one that has always moved me the most at the thought of production. It's called \\\"The Gold Standard\\\".\\n \\nKenneth Koch\\n00:44:57\\nReads \\\"The Gold Standard\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n00:45:54\\nI think I'd like to read a rather long poem called...my present plan, which--I don't want to really ruin people's evening, since I didn't start until 9:30, I think the poems that I would like to read will last until 11. So, it's twenty-five after ten now, I don't want to keep anybody up to late or anything. [Audience laughter]. If...Don't feel bad about leaving if you have to go, I want to read these two rather long poems. This is called \\\"The Pleasures of Peace\\\". I should say something about this poem, I wrote it...I started to write it, oh, three years ago, or whenever it was, maybe it was four years ago, but it took me a long time to write it. I guess about three years ago I started. It was at the moment of the, when there really was a lot of happiness in the peace movement in the United States. And it was like the first Peace Marches on Fifth Avenue, and people were jumping up and down for peace, and dancing for peace, and it really seemed as though what people were doing was going to do some good. And I remember feeling very excited in the first set of mass peace activities I was in because, being a poet, and having been brought up in America and everything and like almost all the other poets and artists I knew I sort of felt like a social outcast a little bit. And then I found, in the midst of the peace movement, like there were hundreds of thousands of people who sort of felt the same way about a lot of things, it was nice. And there was something very sort of grand and exciting about the peace movement which does not have anything to do with the issues at all, it was just a lot of fun. In a way it was sort of...it was very pleasant. There were a few other things that motivated this poem. One was I was very annoyed at a lot of my fellow-poets who were going around, giving, in groups to colleges, giving poetry readings for peace. Now there were two things about this that annoyed me, three things. One was that I wasn't doing it. But that, I think, was a minor thing  A second thing was that...who did they really think they were trying to convert, like college students who came to poetry readings? I mean, college students who come to poetry readings are not usually in favour of war. And in the second-place, all the poems they read for peace were the sort of things that would make you want to go out and kill people, like \\\"Lyndon Johnson [https://www.wikidata.org/wiki/Q9640], you, fuck the pregnant woman who's lying with her guts streaming out,\\\" [audience laughter] and they weren't, they didn't really...they didn't really seem like peace poems to me. It...And I felt it was sort of exploitative on their part to do that. So I wanted to write a--I'd never written a political poem and I wanted very much to write a poem, I had very strong feelings about the Vietnam War [https://www.wikidata.org/wiki/Q8740], and I wanted to write a poem against the war but which really, was really a poem, a positive poem about peace. I found it terribly hard to do, and I never worked so long on any poem. The fact that I worked so long on it does not mean that it's any better than anything else I ever wrote, but it was just hard, because I kept trying to put in sort of, things about suffering and so on, and they would jump out of the poem the way an artificial heart, I mean the way a transferred heart is sometimes rejected by the body. And I realized I was sort of stuck with writing a poem that was, like, one of my poems, it was really sort of a positive poem about peace. Another problem is that if you write a poem about the pleasures of peace it means you're writing a poem about the pleasures of life. And it's endless, in any case. That's about enough of that for now. It took me over a year to write, it was mainly the last part I couldn't write, since I didn't want to have sort of a literary copout at the end, and I didn't want to sort of end up, oh well, anyway. It's just a poem. The only thing--I got varied reactions to the poem. One...some dopey poet friend of mine came over and said, \\\"Boy, you really put the peace movement down\\\". And I haven't spoken to him very much since then. But then, a better reaction was that I got, some guy called me up and asked me if he could use this poem as his draft resistance statement. And I said you're going to languish in prison for a long time because, you know, judges don't like poetry. But anyway. Now just forget everything I've said [audience laughter] and I'll read this poem. And there's a pause. \\\"The Pleasures of Peace\\\". Oh! Another thing. [Audience laughter]. I read this poem in London [https://www.wikidata.org/wiki/Q84] last year, and I got this dopey review in the Times [https://www.wikidata.org/wiki/Q50008] by, who was it....I'm not sure. And he said, \\\"Kenneth Koch's 'Pleasures of Peace' is a very interesting poem but since he mentions the name of all his friends which we can't be expected to know”--like about 90% of the people in this poem are imaginary. They, they're not my friends. [Audience laughter]. Okay. Like Georgio Finogo is not a real person, okay?. \\\"The Pleasures of Peace\\\".\\n \\nKenneth Koch\\n00:51:15\\nReads \\\"The Pleasures of Peace\\\" [from The Pleasures of Peace and Other Poems].\\n \\nAudience\\n01:11:09\\nApplause. \\n \\nKenneth Koch\\n01:11:15\\nThank you. \\n \\nKenneth Koch\\n01:11:22\\nI want to read another poem which will take about seven minutes, but just to rest up I'll read a short poem...I can't find one short enough...Oh, this is called \\\"An X-Ray of Utah\\\".\\n \\nKenneth Koch\\n01:12:00\\nReads \\\"An X-Ray of Utah\\\" [from The Pleasures of Peace and Other Poems].\\n \\nKenneth Koch\\n01:12:08\\nWell that's the shortest poem I ever wrote. [Audience laughter]. Except, there's one that's not in any of my books which is called \\\"Tennis\\\", which is the same length. \\n \\nKenneth Koch\\n01:12:19\\nReads \\\"Tennis\\\".\\n \\nKenneth Koch\\n01:12:29\\nOh, I think I'll read a few movie scripts. I'll just read a few. This is really for, this is from something called \\\"Ten Films\\\", but I'll just read a few of them, which are my favourites. One of the films is called \\\"Sheep Harbour\\\".\\n \\nKenneth Koch\\n01:12:44\\nReads \\\"Sheep Harbour\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:12:57\\nLike, the camera could sort of show this for a long time.\\n \\nKenneth Koch\\n01:13:03\\nReads \\\"Oval Gold\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:13:19\\nI'll just read one more of these films. This is called \\\"The Cemetery\\\".\\n \\nKenneth Koch\\n01:13:24\\nReads \\\"The Cemetery\\\" [published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971].\\n \\nKenneth Koch\\n01:13:49\\nI'll read this one last poem which is called \\\"Sleeping with Women”.  \\\"Sleeping with Women\\\".\\n \\nKenneth Koch\\n01:13:54\\nReads \\\"Sleeping with Women\\\" [from The Pleasures of Peace and Other Poems].\\n\\nEND\\n01:22:37\\n\",\"notes\":\"Kenneth Koch reads from Thank You and Other Poems (Grove Press, 1962), The Pleasures of Peace and Other Poems (Grove Press, 1969), works published later in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973) and from other unknown sources.\\n\\n00:00- George Bowering introduces Kenneth Koch. [INDEX: ‘promo sheet’, American poetry, Frank O’Hara, modern American poetry in New York City, Slick magazine, teacher of poetry, epic in the American Language.]\\n01:04- Kenneth Koch introduces “Spring”. [INDEX: from Thank You and Other Poems (Grove Press, 1962).]\\n01:08- Reads “Spring”.\\n02:36- Introduces “Variations on a Theme by William Carlos Williams”. [INDEX: parodies, Williams poem “This is Just to Say”, insanity; from Thank You and Other Poems (Grove Press, 1962).]\\n03:28- Reads “Variations on a Theme by William Carlos Williams”.\\n04:33- Introduces “You Were Wearing”. [INDEX: short poem from Thank You and Other    Poems (Grove Press, 1962).]\\n04:38- Reads “You Were Wearing”.\\n06:37- Introduces “E. KOLOGY”. [INDEX: play, hero, capital letters, read at the University of Chicago, ecology movement, performed on Earth Day in New York in April, Union Square, Philadelphia; from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n07:44- Reads “E.KOLOGY”- Act 1 Scene 1.\\n09:38- Reads “E.KOLOGY”- Act 1 Scene 2.\\n11:19- Reads “E.KOLOGY”- Act 1 Scene 3.\\n12:06 -Reads “E.KOLOGY”- Act 2.\\n13:54- Reads “E.KOLOGY”- Act 3 Scene 1.\\n14:24- Reads “E.KOLOGY”- Act 3 Scene 2.\\n16:04- Reads “E.KOLOGY”- Act 4.\\n17:30- Reads “E.KOLOGY”- Act 5.\\n19:44- Introduces “Youth”. [INDEX: theatre, film script, costly to produce; from  A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n19:57- Reads “Youth”.\\n21:36- Introduces “Poem”. [INDEX: short poem; perhaps from The Pleasures of Peace and Other Poems (Grove Press, 1969)]\\n21:53- Reads “Poem”.\\n22:11- Introduces “Ma Provence”. [INDEX: interest in writing, English and French sound; from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n22:23- Reads “Ma Provence”.\\n22:52- Explains “Ma Provence”, introduces “Great Beauty”. [INDEX: translate to english,  here he reads in french; from unknown source.]\\n23:14- Reads “Great Beauty”.\\n23:31- Introduces “Little Known Historical Fact”. [INDEX: from unknown source]\\n23:35- Reads “Little Known Historical Fact”.\\n23:48- Explains “Little Known Historical Fact”, introduces “Getting Back on Land”. [INDEX: Charlemagne, Italian, from unknown source.]          \\n24:06- Reads “Getting Back on Land”.\\n24:29- Introduces “Prologue”. [INDEX: George Bowering, epic poem “Ko”, written 12-14    years before, 120 pages, ottava rima: stanza Ariosto used in Orlando Furioso, Byron’s   Don Juan, rhyme scheme ABABABCC, main character Japanese baseball player, pitcher, ball, grandstand, pitch, characters, happy, living in Florence, villino, town outside the Viale Michelangelo, happy and optimistic poem, continuation, change, life, end lie of “Ko”: “Huddle, meanwhile, was flaking at the knees”, Englishman, mold fever, Rome, killed, statues; from unknown source.]\\n27:00- Reads “Prologue”.\\n34:08- Explains “Prologue”, introduces beginning of “Long poem, episode 1”. [INDEX: Pana Grady’s apartment on Central Park West, parties for Upper and Lower Bohemia, \\tuncertainty about publishing “Prologue”; from unknown source.]\\n34:55- Reads “Long Poem, Episode 1”.\\n41:07- Introduces “Mexico City”. [INDEX: long poem, improvisational plays, Living Theatre, actors, emotions, passion, nostalgia, self-hatred, anxiety, narcissism, penalty, premiere in Canada; from “Six Inspirational Plays” in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n42:18- Reads “Mexico City”.\\n43:13.69- END OF RECORDING.\\n\\n00:00- Kenneth Koch introduces “The Lost Feed”. [INDEX: play; in “Six Improvisational     Plays”, from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 \\t(Random House, 1973).]\\n00:03- Reads “The Lost Feed”.\\n00:59- Introduces “Coil Supreme”. [INDEX: play; in “Six Improvisational Plays”, from A     Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973.]\\n01:03- Reads “Coil Supreme”.\\n01:34- Introduces “The Gold Standard”. [INDEX: improvisational play, production; in “Six        Improvisational Plays” from A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n01:43- Reads selection from “The Gold Standard”.\\n02:41- Introduces “The Pleasures of Peace”. [INDEX: reading started at 9:30, reading last until 11pm, started writing 3 or 4 years ago, peace movement in the United States, Peach Marches on Fifth Avenue, social outcast, fun, poetry readings for peace, college students, poems read like “Lyndon Johnson, you, fuck the pregnant woman who’s lying with her guts streaming out”, peace poems, exploitative, political poem, Vietnam War, positive poem about peace, working hard and long on a poem, suffering, artificial heart, rejected by the body, pleasures of life, literary copout, varied reactions, draft resistance statement, prison, London, review in the Times, made up names, Georgia Finogo; from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n08:01- Reads “The Pleasures of Peace”.\\n28:09- Introduces “An X-Ray of Utah”. [INDEX: short poem; from the poem “Three Short   Poems” in The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n28:46- Reads “An X-Ray of Utah”.\\n28:55- Explains “An X-Ray of Utah” introduces “Tennis”. [INDEX: shortest poem, “Tennis” not in any books.]\\n29:05- Reads “Tennis”.\\n29:15- Introduces “Sheep Harbor”. [INDEX: movie script, reads favourites; from “Ten Films” in A Change of Hearts: Plays, Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n29:30- Reads “Sheep Harbour”. [INDEX: from “Ten Films” in A Change of Hearts: Plays,   Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n29:49- Reads “Oval Gold”. [INDEX: from “Ten Films” in A Change of Hearts: Plays, Films, \\tand Other Dramatic Works 1951-1971 (Random House, 1973).]\\n30:10- Reads “The Cemetery”. [INDEX: from “Ten Films” in A Change of Hearts: Plays,     Films, and Other Dramatic Works 1951-1971 (Random House, 1973).]\\n30:40- Reads “Sleeping with Women” [INDEX: from The Pleasures of Peace and Other Poems (Grove Press, 1969).]\\n39:23.67- END OF RECORDING.\\n \\nHoward Fink List of Poems\\n“Kenneth Koch”\\nIntroduction by George Bowering\\nRecorded February 19, 1971.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/kenneth-koch-at-sgwu-1971/\"}]"],"score":1.0},{"id":"1296","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Jackson Mac Low at Sir George Williams University, The Poetry Series, 26 March 1971"],"item_title_source":["Cataloguer"],"item_title_note":["\"JACKSON MacLOW experiential poetry Recorded March 26, 1971 3.75 ips, 1/2 track 1 mil. tape Poorish technical quality\" written on sticker on the back of the tape's box. \"JACKSON MacLOW -1 I006/SR31.1\" written on sticker on the spine of the tape's box. \"Side 1 I006-11-031.1\" written on sticker on the reel.\n\n\"JACKSON MacLOW experiential poetry Recorded March 26, 1971 3.75 ips, 1/2 track 1 mil. tape Poorish technical quality\" written on sticker on the back of the tape's box. \"JACKSON MacLOW -2 I006/SR31.2\" written on sticker on the spine of the tape's box. \"I006-11-031.2\" written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[I006-11-031.1, I006-11-031.2]"],"creator_names":["Mac Low, Jackson"],"creator_names_search":["Mac Low, Jackson"],"creators":["[{\"url\":\"http://viaf.org/viaf/80245668\",\"name\":\"Mac Low, Jackson\",\"dates\":\"1922-2004\",\"notes\":\"Jackson Mac Low was born on September 12, 1922 in Chicago, Illinois, and became not only a poet, but a playwright, an editor, a literary critic, a translator, a teacher, a composer and a performer of verbal and theatrical works.  As a child, he studied music and poetry. Studying for an Associate in Arts degree in philosophy, poetics and literature at the University of Chicago from 1939 to 1943, Mac Low enrolled in Brooklyn College (now the City of University of New York) to pursue an A. B. degree in Greek, graduating cum laude. Jackson Mac Low was the poetry editor of Why? from 1950-1954. After holding a job as an editorial assistant at Funk & Wagnalls from 1957-1958, and again from 1961-1962, he taught at New York University for seven years. Mac Low married painter Iris Lezak in 1962 and had two children with her, however they divorced by 1978. Mac Low put on three plays, The Marrying Maiden: a play of changes from 1960-61, Verdurous Sanguinaria, 1961, and Questions & Answers...A Topical Play in 1963. He published his first set of plays The Twin Plays: Port-au-Prince & Adams County Illinois in 1963 (Something Else Press). The Pronouns- A Collection of 40 Dances-For the Dancers was first self-published in 1964, but was re-published numerous times in later years. Mac Low published a series of Light Poems, August Light Poems in 1967 (s.n. press), 22 Light Poems in 1968 (Black Sparrow Press), 23rd Light Poem: for Larry Eigner in 1969 (Tetrad Press), 38th Light Poem: In Memoriam Buster Keaton in 1975 (Permanent Press) and 54th Light Poem: For Ian Tyson in 1978 (Membrane Press). Stanzas for Iris Lezak, though written in 1968 was only published in 1972 (Something Else Press).  Publishing over twenty other books and performance pieces, Mac Low’s most noted works include Asymmetries 1-260: The First Section of a Series of 501 Performance Poems (Printed Editions, 1976), Antic Quatrains (Toothpaste Press for Bookslinger, 1980), Representative Works, 1938-1985 (Roof Books,1996) and Barnesbook: Four Poems Derived from Sentences by Djuna Barnes (Sun & Moon Press, 1996). Mac Low has won many awards, notably the American Academy of Arts and Sciences grant (1971), Creative Arts Public fellowship in multimedia (1973-1974) and in poetry (1976-77), Madeline Sadin Award in 1974, PEN American  Center grant 1974, National Endowment for the Arts fellowship (1979) and the Tanning Prize (1999). In 1990, he married the visual artist, poet and composer Anne Tardos. He then taught creative writing at numerous universities worldwide. Jackson Mac Low died of complications from a stroke on December 8, 2004.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Duplicate\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1971 3 26\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement \\\"SIR GEORGE WILLIAMS UNIVERSITY POETRY 5\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"What Goes On!\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. "],"contents":["jackson_maclow_i006-11-031-1.mp3 [File 1 of  2]\n \nUnknown\n00:00:02\nAmbient Sound [music; wood flute].\n \nJackson Mac Low\n00:00:36\nReads \"Glass Buildings\" accompanied by music. \n \nJackson Mac Low\n00:01:28\nReads “5.2.3.6.5., the 3rd biblical poem” [accompanied by music and other voices]. \n\nJackson Mac Low\n00:05:27\nFrom “Judges 6:4 to First Samuel 1:10”, written Saturday, 1st January 1955.\n \nJackson Mac Low\n00:05:40\nReads [“On the Glorious Burning of the Stars and Stripes in the Sheep Meadow in Central Park around about Noon on April 15, 1967 1967 May”].\n \nJackson Mac Low\n00:07:20\nNext is a “Word event for George Brecht” on the words 'anti-personnel bombs', this is a kind of poem that can be done on any words. I did it first on these words at a reading in New York [https://www.wikidata.org/wiki/Q60] where the Russian poet Voznesensky [https://www.wikidata.org/wiki/Q236619] joined some American poets in an anti-war reading.\n\nUnknown\n00:07:42\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n\nJackson Mac Low\n00:07:43\nPerforms “Word event for George Brecht” accompanied by recording.\n \nJackson Mac Low\n00:21:12\nAll the people who are going to read the \"Number to Symmetries\" please come up for the microphone...These were a group of a hundred poems, of the form that has holes in it, that is the format of the poems are used to indicate silences, where there's white space on the page, they're silences. Some of the phonemes on the ends of words are prolonged, and others are stuttered. I'm not sure that any of them that are stuttered are in this particular batch. I wrote about 500 of these in late 1961, early--late, let's see, late ‘60 and early ‘61. I wish you'd say your own names, because I didn't get all your names down in the book, be sure to write your names in my book when you leave. Would the people participating just tell their names to the audience because I don't know all of them?\n \nAudience Participants\n00:22:47\nPeter Boxer, [unintelligible], Walter Katjetski, Robert Graham, Jenny Burn, [unintelligible], Ivan [Lourd (?)].\n \nJackson Mac Low\n00:22:59\nRemember when you get to the end of one, then the next person will take the mic.\n\nAudience Member 1\n00:23:03\nDo we circulate while we’re off mic?\n\nJackson Mac Low\n00:23:06\nYeah, if you want. Yeah, that would be very nice.\n\nUnknown\n00:23:26\nAmbient Sound [voices].\n\nJackson Mac Low\n00:23:40\nYeah, just go after...Would you rather have these than the book? Would you rather have papers or the book? Probably easier for you to just put the book down and say “I’m here.”...No, I’m just going to do these. Alright, does anybody have a lot of short ones? I have a few more...So, you prolong those phonemes and [unintelligible] repeated this one...Yeah...Do you need any...Anybody have lots of short ones? Alright. [Unintelligible]. Okay, I would say move a little bit that way. Now those without mics, I think you might be picked up by the mics of those who have them to at least to get on the tape. Okay.\n \nJackson Mac Low\n00:25:23\nPerforms \"Number to Symmetries\" accompanied by audience members. \n \nJackson Mac Low\n00:41:01\nIn 1960, just before I wrote this group, I wrote a group of poems called the...Stanzas for Iris Lezak, they're--this is the summer of ‘60, they're presently being published this year by the Something Else Press [https://www.wikidata.org/wiki/Q2299703], which is nominally in New York and really in Newhall [https://www.wikidata.org/wiki/Q7018086], California [https://www.wikidata.org/wiki/Q99], at the centre of the earthquake. I'll first read a short group, solo, and then read one in a duet with the--of the earlier performance of it. \"Poe and Psychoanalysis\".\n \nJackson Mac Low\n00:42:30\nReads \"Poe and Psychoanalysis\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:42:57\nReads \"Marseille\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:11\nReads \"London\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:48\nReads \"Sydney\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:58\nReads \"Berlin\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:45:12\nReads \"Madrid\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:45:21\nReads \"Rome\" from Stanzas for Iris Lezak.\n\nUnknown\n00:45:59\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nUnknown\n00:46:00\nAmbient sound [music and voices].\n \nJackson Mac Low\n00:47:37\nI'll explain a bit, I took these from whatever I was reading from about April to October of 1960, the group of place-name poems were from scatter paper called The National Enquirer [https://www.wikidata.org/wiki/Q1814777]. This is from the, an article in the Scientific American [https://www.wikidata.org/wiki/Q39379]...\n\nUnknown\n00:48:05\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nJackson Mac Low\n00:48:06\nReads [“Asymmetry from Scientific American” from Stanzas for Iris Lezak]. \n\nAudience\n00:55:20\nApplause. \n\nJackson Mac Low\n00:55:27\nThis is a, a number of these are collages of various times and places, as well as spontaneity in this room here, on two of these tapes, you will hear a lady's voice along with my own. I did a concert of my works along with Jim Tenney [https://www.wikidata.org/wiki/Q715379] and Max Neuhaus [https://www.wikidata.org/wiki/Q2182711], in town hall, New York in September of 1966, and still earlier Max Neuhaus had realized this particular piece which is a piece produced by subjecting the electric typewriter keyboard to randomization by random numbers, so it looks like a lot of different characters from the electric typewriter, Neuhaus recorded it at the University of Illinois [https://www.wikidata.org/wiki/Q1145814] laboratory, I guess some time earlier in ‘66 or maybe ‘65 and then put it down four octaves. He and another guy were reading from--the readers read from this in any way they wish, now I'll have the live readers to come up here...So then in... in this ‘66 concert, I did it as a duet, reading through the negatives from which this was printed, the blinking light, and a Jeanne Lee [https://www.wikidata.org/wiki/Q274580], a very fine blues singer was in the various works that were performed in that concert, and she's on the duet that you hear, that you will hear. A year ago, or a little more, I guess in April of last year I performed this in a class at NYU [https://www.wikidata.org/wiki/Q49210] along with the-oh and the Neuhaus tape was along with that performance in NYU, then the town hall performance and the Neuhaus tape--all three were in the NYU performance along with the NYU performance, so now you'll hear it at least four different times, plus the present, something like that.\n \nJackson Mac Low\n00:58:23\nPerforms unnamed piece accompanied by recording. \n \nJackson Mac Low\n01:06:11\nI'll do a piece called \"Fifth Gatha'', which is another group piece, uh, the readers who learned it, please come up with copies, and I'll have to toss around tapes for a few minutes here. I might explain that this particular piece is one of a series I call \"Gathas\" that are written on graphed paper, they by chance operations. I take the mantra of one religion or another, this happens to be the great prajnaparamita mantra, which is basic to Northern Buddhism and Zen Buddhism, and it's arranged by the method so that it falls over an axis of 'a's, 'u's and 'm's that is the word 'aum', wherever a's, u's and m's appear in the mantra they may cross the mantra, there aren't many u's in this particular one, so there isn't any--nothing crossing the u-line, you may be able to see the empty gap there. The mantra in question is \"Gone, gone to the other shore, quite gone over the other shore, boldly, wisdom, spaha, pray. Guthe, guthe, paraguthe [unintelligible]...\" you may, those of you who know zen may be more familiar with it in its Japanese version, which is sort of a Japanization of the Sanskrit. The group version of it was done in the Chelsea Hotel [https://www.wikidata.org/wiki/Q240711], I think in '67, but the German editor and producer, Carl Weissner [https://www.wikidata.org/wiki/Q1040995], the whisper version you hear, I did at home, earlier, maybe in ‘66, ‘65, ‘66. \n \nJackson Mac Low\n01:09:35\nPerforms \"Fifth Gatha\" accompanied by audience members and recording.\n \nJackson Mac Low\n01:26:20\nThe last poem I read was also from Stanzas for Iris Lezak. It's based on the Tibetan prayer to the gurus and it's translated by W.Y. Evans-Wentz [https://www.wikidata.org/wiki/Q456451]. The next piece is all about bluebirds. It’s again--it uses the form of...In recent years I've gone back to writing poems in the form of the asymmetries that I wrote in ‘60 and ‘61, but these tended to cluster around one subject matter. There's one in the current Aspen Magazine [https://www.wikidata.org/wiki/Q4807826] about young turtles, no one really knows where they go once they've hatched, and they know when they come back, but they don't really know what they do in between hatching and there is a natural history magazine, there was a caption to a picture, and so there was a record in the current Aspen, that's of that group. This is the first one of this type that I did on bluebirds, was for a group event that a number of us, let’s see, Iris Lezak, Emmett Williams [https://www.wikidata.org/wiki/Q719185], Carol [Bouget (?)] and [Jet Yalka (?)] and I did a collective event for the University of Syracuse [https://www.wikidata.org/wiki/Q617433] at Utica [https://www.wikidata.org/wiki/Q2495519], which we called, which Emmett named for us [\"Jack-a-Jurismatics (?)”] and so one of the pieces I wrote for that was this bluebirds piece. Emmett Williams has a beautiful work that has bluebirds in it, it's a permutation poem that also appears in this anthology, although this is an anthology that La Monte Young [https://www.wikidata.org/wiki/Q432822] got together in ‘60 and we--‘60 and ‘61 I guess, and he had many difficulties between the time that it was designed and the time it was printed and finally got it out at first in 1963, it's called An Anthology of--well, various things--Chance Operations, and well I don't know what, concept art, anti-art, indeterminacy improvisation, meaningless work, natural disasters and so on. And well, just recently, our first edition is now a sort of a collector's item, sells around a hundred, but recently a German publisher re-published it for us and the current, the new editions is going for $8.50, so if anyone is--I don't have copies here but I'll be happy to send any to anybody. Contains work mostly, a lot of it is music, musical scores, there's some other poetry, including the Emmett Williams mention. The Emmett Williams poem does all the variations, does all the permutations of one group of things, \"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\", each of those is considered a run unit, and all the possible permutations of them are written out \"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\". I'd love to read it, but it's very long. Usually we read it with five different voices, each taking the unit and once in a while, people get through it without breaking down laughing. [Unintelligible]. This was taken from, the bluebird asymmetries were from two...were from two encyclopedia articles on bluebirds, one I think the Audubon Encyclopedia, and I've forgotten what the other one was. They're very complimentary. The voices you hear are, you heard in another performance of Leslie [Sixfin (?)], Amy [Spurling (?)] and Harvey [Lesain (?)], along with four of my students at the Mannes School of Music [https://www.wikidata.org/wiki/Q1519151] and about done in 1966, or 1967, I think it was May of 1967 that this was done. There's a specially gifted group I felt that I happened to get together in that class, just towards the end we were doing mostly, we were just doing ordinary grammar English, I'm an English teacher, for my bread.\n \nEND\n01:32:11\n\n\njackson_maclow_i006-11-031-2.mp3 [File 2 of  2]\n\nUnknown Speaker\n00:00:00\nThis is the one you wanted some light percussive stuff?\n\nJackson Mac Low\n00:00:04\nYeah, but very easy on it, not very, you know, keep the amplitude down to, no higher than mezzo piano. Did someone take one from here? I'm supposed to have one and ten. Try to start with the earlier ones and then go into the later ones if possible. Those with the first, the earlier numbers should be on mic first. Those with numbers between two and five I guess you would have. So that the [unintelligible] will hear the earlier ones more than the later ones. You can prolong any of the phonemes at the ends of lines. This is another piece called [unintelligible].\n \nUnknown\n00:01:49\nAmbient Sound [recorded performance plays; title uncertain].\n \nJackson Mac Low\n00:03:00\nPerforms \"Bluebird Asymmetries\" accompanied by audience members and recording.\n \nJackson Mac Low\n00:12:35\nI have one last one that none of these people have yet seen, and so this one has no rules, that is, the others have some rules for how you put in silences, these will, these...In the summer of ‘69 I did a project for the Los Angeles Museum of Art [https://www.wikidata.org/wiki/Q1641836], an art technology show that's going to open this May. Unfortunately, my machine was bombed out, the corporation seems to be on the rocks, they're not providing the machine, but luckily I had poems that appeared on cathode ray tubes or something called a programmable film reader, and the words appear at the same time we sent the same impulses through an audio system and they turned out to be, well the oboe family, everything down from sopranino oboe to double, double, double bass oboe according to how long the lines were and so I did quite a few poems, this particular one is \"The\", and it's the last one I did, and tried to grab I guess three pages each, just use whatever discretion you want to, and listen, listen, listen. Earlier I had very strict rules governed by chance operations and so on, in reading these, well, in reading these kind of simultaneous works, and more and more I came to the, well I always had the principal of the most important things was to listen hard to everything that was happening, including whatever was happening in the room, whatever’s happening outside and so on, but more and more I relied on the readers to judge when to come in, and in--perform--these I found, this is one very long print-out of this particular poem. I don't want to--I think in, I don't remember, someplace there's a description of the idea of how they were made and all that, but what I got was a number of messages that, of which the units were permuted, the earliest form of my program was simply permuting the words in each, single words in each message. Later on I was able to get carriage returns and things like that so that in this, each message is a group of short sentences, usually about the same thing, and you'll, so that on the page each message looks like a sort of a stanza or strophe, and the groups of sentences--any number of the groups of sentences from any one of these strophe units may appear at any time according to way the thing is programmed. Does everybody have about three pages? Let's just make it...\n \nJackson Mac Low\n00:16:24\nPerforms \"The\" accompanied by audience members.\n \nJackson Mac Low\n00:27:57\nThank you.\n \nEND\n00:27:57\n[Cut off abruptly].\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nJackson Mac Low was in the process of writing “Odes for Iris”, written after the breakup of his first marriage. He won the American Academy of Arts and Sciences grant, and The Pronouns was republished in 1971. Mac Low was the editor of WIN Magazine and an instructor at New York University at the American Language Institute.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMac Low’s direct connection to Sir George Williams University is unknown, however, Mac Low was an important American avant-garde poet, playwright and professor.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>3 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://www.jacksonmaclow.com/\",\"citation\":\"“Jackson Mac Low: Ten-Page Biography with Detailed Log of Activites 1985-1999”. Jackson Mac Low. Anne Tardos, 2009. \"},{\"url\":\"https://www.worldcat.org/title/stanzas-for-iris-lezak/oclc/795313792?referer=di&ht=edition\",\"citation\":\"Mac Low, Jackson. Stanzas For Iris Lezak. New York: Something Else Press, 1971. \"},{\"url\":\"\",\"citation\":\"Campbell, Bruce. \\\"Jackson Mac Low.\\\" American Poets Since World War II: Sixth Series. Joseph Mark Conte (ed). Dictionary of Literary Biography, Vol. 193. Detroit: Gale Research, 1998. \"},{\"url\":\"\",\"citation\":\"\\\"Jackson Mac Low.\\\" Contemporary Authors Online. Detroit: Gale, 2005.\"}]"],"_version_":1853670548943405056,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0031-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0031-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jackson Mac Low Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0031-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0031-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jackson Mac Low Tape Box 1 - 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Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/jackson_maclow_i006-11-031-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"jackson_maclow_i006-11-031-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:32:11\",\"precision\":\"\",\"size\":\"221.3 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"jackson_maclow_i006-11-031-1.mp3 [File 1 of  2]\\n \\nUnknown\\n00:00:02\\nAmbient Sound [music; wood flute].\\n \\nJackson Mac Low\\n00:00:36\\nReads \\\"Glass Buildings\\\" accompanied by music. \\n \\nJackson Mac Low\\n00:01:28\\nReads “5.2.3.6.5., the 3rd biblical poem” [accompanied by music and other voices]. \\n\\nJackson Mac Low\\n00:05:27\\nFrom “Judges 6:4 to First Samuel 1:10”, written Saturday, 1st January 1955.\\n \\nJackson Mac Low\\n00:05:40\\nReads [“On the Glorious Burning of the Stars and Stripes in the Sheep Meadow in Central Park around about Noon on April 15, 1967 1967 May”].\\n \\nJackson Mac Low\\n00:07:20\\nNext is a “Word event for George Brecht” on the words 'anti-personnel bombs', this is a kind of poem that can be done on any words. I did it first on these words at a reading in New York [https://www.wikidata.org/wiki/Q60] where the Russian poet Voznesensky [https://www.wikidata.org/wiki/Q236619] joined some American poets in an anti-war reading.\\n\\nUnknown\\n00:07:42\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n\\nJackson Mac Low\\n00:07:43\\nPerforms “Word event for George Brecht” accompanied by recording.\\n \\nJackson Mac Low\\n00:21:12\\nAll the people who are going to read the \\\"Number to Symmetries\\\" please come up for the microphone...These were a group of a hundred poems, of the form that has holes in it, that is the format of the poems are used to indicate silences, where there's white space on the page, they're silences. Some of the phonemes on the ends of words are prolonged, and others are stuttered. I'm not sure that any of them that are stuttered are in this particular batch. I wrote about 500 of these in late 1961, early--late, let's see, late ‘60 and early ‘61. I wish you'd say your own names, because I didn't get all your names down in the book, be sure to write your names in my book when you leave. Would the people participating just tell their names to the audience because I don't know all of them?\\n \\nAudience Participants\\n00:22:47\\nPeter Boxer, [unintelligible], Walter Katjetski, Robert Graham, Jenny Burn, [unintelligible], Ivan [Lourd (?)].\\n \\nJackson Mac Low\\n00:22:59\\nRemember when you get to the end of one, then the next person will take the mic.\\n\\nAudience Member 1\\n00:23:03\\nDo we circulate while we’re off mic?\\n\\nJackson Mac Low\\n00:23:06\\nYeah, if you want. Yeah, that would be very nice.\\n\\nUnknown\\n00:23:26\\nAmbient Sound [voices].\\n\\nJackson Mac Low\\n00:23:40\\nYeah, just go after...Would you rather have these than the book? Would you rather have papers or the book? Probably easier for you to just put the book down and say “I’m here.”...No, I’m just going to do these. Alright, does anybody have a lot of short ones? I have a few more...So, you prolong those phonemes and [unintelligible] repeated this one...Yeah...Do you need any...Anybody have lots of short ones? Alright. [Unintelligible]. Okay, I would say move a little bit that way. Now those without mics, I think you might be picked up by the mics of those who have them to at least to get on the tape. Okay.\\n \\nJackson Mac Low\\n00:25:23\\nPerforms \\\"Number to Symmetries\\\" accompanied by audience members. \\n \\nJackson Mac Low\\n00:41:01\\nIn 1960, just before I wrote this group, I wrote a group of poems called the...Stanzas for Iris Lezak, they're--this is the summer of ‘60, they're presently being published this year by the Something Else Press [https://www.wikidata.org/wiki/Q2299703], which is nominally in New York and really in Newhall [https://www.wikidata.org/wiki/Q7018086], California [https://www.wikidata.org/wiki/Q99], at the centre of the earthquake. I'll first read a short group, solo, and then read one in a duet with the--of the earlier performance of it. \\\"Poe and Psychoanalysis\\\".\\n \\nJackson Mac Low\\n00:42:30\\nReads \\\"Poe and Psychoanalysis\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:42:57\\nReads \\\"Marseille\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:11\\nReads \\\"London\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:48\\nReads \\\"Sydney\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:58\\nReads \\\"Berlin\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:45:12\\nReads \\\"Madrid\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:45:21\\nReads \\\"Rome\\\" from Stanzas for Iris Lezak.\\n\\nUnknown\\n00:45:59\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nUnknown\\n00:46:00\\nAmbient sound [music and voices].\\n \\nJackson Mac Low\\n00:47:37\\nI'll explain a bit, I took these from whatever I was reading from about April to October of 1960, the group of place-name poems were from scatter paper called The National Enquirer [https://www.wikidata.org/wiki/Q1814777]. This is from the, an article in the Scientific American [https://www.wikidata.org/wiki/Q39379]...\\n\\nUnknown\\n00:48:05\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nJackson Mac Low\\n00:48:06\\nReads [“Asymmetry from Scientific American” from Stanzas for Iris Lezak]. \\n\\nAudience\\n00:55:20\\nApplause. \\n\\nJackson Mac Low\\n00:55:27\\nThis is a, a number of these are collages of various times and places, as well as spontaneity in this room here, on two of these tapes, you will hear a lady's voice along with my own. I did a concert of my works along with Jim Tenney [https://www.wikidata.org/wiki/Q715379] and Max Neuhaus [https://www.wikidata.org/wiki/Q2182711], in town hall, New York in September of 1966, and still earlier Max Neuhaus had realized this particular piece which is a piece produced by subjecting the electric typewriter keyboard to randomization by random numbers, so it looks like a lot of different characters from the electric typewriter, Neuhaus recorded it at the University of Illinois [https://www.wikidata.org/wiki/Q1145814] laboratory, I guess some time earlier in ‘66 or maybe ‘65 and then put it down four octaves. He and another guy were reading from--the readers read from this in any way they wish, now I'll have the live readers to come up here...So then in... in this ‘66 concert, I did it as a duet, reading through the negatives from which this was printed, the blinking light, and a Jeanne Lee [https://www.wikidata.org/wiki/Q274580], a very fine blues singer was in the various works that were performed in that concert, and she's on the duet that you hear, that you will hear. A year ago, or a little more, I guess in April of last year I performed this in a class at NYU [https://www.wikidata.org/wiki/Q49210] along with the-oh and the Neuhaus tape was along with that performance in NYU, then the town hall performance and the Neuhaus tape--all three were in the NYU performance along with the NYU performance, so now you'll hear it at least four different times, plus the present, something like that.\\n \\nJackson Mac Low\\n00:58:23\\nPerforms unnamed piece accompanied by recording. \\n \\nJackson Mac Low\\n01:06:11\\nI'll do a piece called \\\"Fifth Gatha'', which is another group piece, uh, the readers who learned it, please come up with copies, and I'll have to toss around tapes for a few minutes here. I might explain that this particular piece is one of a series I call \\\"Gathas\\\" that are written on graphed paper, they by chance operations. I take the mantra of one religion or another, this happens to be the great prajnaparamita mantra, which is basic to Northern Buddhism and Zen Buddhism, and it's arranged by the method so that it falls over an axis of 'a's, 'u's and 'm's that is the word 'aum', wherever a's, u's and m's appear in the mantra they may cross the mantra, there aren't many u's in this particular one, so there isn't any--nothing crossing the u-line, you may be able to see the empty gap there. The mantra in question is \\\"Gone, gone to the other shore, quite gone over the other shore, boldly, wisdom, spaha, pray. Guthe, guthe, paraguthe [unintelligible]...\\\" you may, those of you who know zen may be more familiar with it in its Japanese version, which is sort of a Japanization of the Sanskrit. The group version of it was done in the Chelsea Hotel [https://www.wikidata.org/wiki/Q240711], I think in '67, but the German editor and producer, Carl Weissner [https://www.wikidata.org/wiki/Q1040995], the whisper version you hear, I did at home, earlier, maybe in ‘66, ‘65, ‘66. \\n \\nJackson Mac Low\\n01:09:35\\nPerforms \\\"Fifth Gatha\\\" accompanied by audience members and recording.\\n \\nJackson Mac Low\\n01:26:20\\nThe last poem I read was also from Stanzas for Iris Lezak. It's based on the Tibetan prayer to the gurus and it's translated by W.Y. Evans-Wentz [https://www.wikidata.org/wiki/Q456451]. The next piece is all about bluebirds. It’s again--it uses the form of...In recent years I've gone back to writing poems in the form of the asymmetries that I wrote in ‘60 and ‘61, but these tended to cluster around one subject matter. There's one in the current Aspen Magazine [https://www.wikidata.org/wiki/Q4807826] about young turtles, no one really knows where they go once they've hatched, and they know when they come back, but they don't really know what they do in between hatching and there is a natural history magazine, there was a caption to a picture, and so there was a record in the current Aspen, that's of that group. This is the first one of this type that I did on bluebirds, was for a group event that a number of us, let’s see, Iris Lezak, Emmett Williams [https://www.wikidata.org/wiki/Q719185], Carol [Bouget (?)] and [Jet Yalka (?)] and I did a collective event for the University of Syracuse [https://www.wikidata.org/wiki/Q617433] at Utica [https://www.wikidata.org/wiki/Q2495519], which we called, which Emmett named for us [\\\"Jack-a-Jurismatics (?)”] and so one of the pieces I wrote for that was this bluebirds piece. Emmett Williams has a beautiful work that has bluebirds in it, it's a permutation poem that also appears in this anthology, although this is an anthology that La Monte Young [https://www.wikidata.org/wiki/Q432822] got together in ‘60 and we--‘60 and ‘61 I guess, and he had many difficulties between the time that it was designed and the time it was printed and finally got it out at first in 1963, it's called An Anthology of--well, various things--Chance Operations, and well I don't know what, concept art, anti-art, indeterminacy improvisation, meaningless work, natural disasters and so on. And well, just recently, our first edition is now a sort of a collector's item, sells around a hundred, but recently a German publisher re-published it for us and the current, the new editions is going for $8.50, so if anyone is--I don't have copies here but I'll be happy to send any to anybody. Contains work mostly, a lot of it is music, musical scores, there's some other poetry, including the Emmett Williams mention. The Emmett Williams poem does all the variations, does all the permutations of one group of things, \\\"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\\\", each of those is considered a run unit, and all the possible permutations of them are written out \\\"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\\\". I'd love to read it, but it's very long. Usually we read it with five different voices, each taking the unit and once in a while, people get through it without breaking down laughing. [Unintelligible]. This was taken from, the bluebird asymmetries were from two...were from two encyclopedia articles on bluebirds, one I think the Audubon Encyclopedia, and I've forgotten what the other one was. They're very complimentary. The voices you hear are, you heard in another performance of Leslie [Sixfin (?)], Amy [Spurling (?)] and Harvey [Lesain (?)], along with four of my students at the Mannes School of Music [https://www.wikidata.org/wiki/Q1519151] and about done in 1966, or 1967, I think it was May of 1967 that this was done. There's a specially gifted group I felt that I happened to get together in that class, just towards the end we were doing mostly, we were just doing ordinary grammar English, I'm an English teacher, for my bread.\\n \\nEND\\n01:32:11\\n\",\"notes\":\"Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. \\n\\n00:00- Flute is being played, Jackson Mac Low speaks [inaudible]\\n00:36- Jackson Mac Low performs “Last Buildings” first line “When fiery water...”\\n01:28- Performs unknown poem first line “Sustenance...52365 the first biblical poem...”\\n05:27- Performs unknown poem first line “From Judges 6:4 to first Samuel 1:10...”\\n05:40- Performs unknown poem first line “And the glorious burning of the stars and    stripes...”\\n07:20- Introduces “Word event for George Brecht” using the words “anti-personnel  \\tbomb” [INDEX: George Brecht, word event on ‘anti-personnel bombs’, New York City,  \\tRussian poet Voznesensky, anti-war reading]\\n07:43- Performs “Word event for George Brecht”.\\n21:12- Introduces “Number to Symmetries” [INDEX: Audience participation readings,        intentional/quasi-intentional/non-intentional methods, chance methods of composing   \\tpoetry]\\n25:23- Performs “Number to Symmetries”\\n41:13.73- END OF RECORDING\\n\\n00:00- Introduces “Poem Psychoanalysis” [INDEX: Stanzas for Iris Lezak, Something Else Press, Newhall, California]\\n01:16- Reads “Poem Psychoanalysis”\\n01:44- Reads “Marseille”\\n02:57- Reads “London”\\n03:35- Reads “Sydney”\\n03:45- Reads “Berlin”\\n03:58- Reads “Madrid”\\n04:08- Reads “Rome”\\n06:23- Explains the last set of place-name poems, Introduces “Scientific American” poems [INDEX: National Enquirer Magazine, Scientific American Magazine]\\n06:52- Reads “Scientific American” poems\\n14:13- Introduces unknown performance [INDEX: NYU and Town Hall recordings]\\n17:09- Performs unknown performance [random numbers and letters] [INDEX: Jim (James) Newhouse, New York City Town Hall, University of Illinois, Jeanne  Lee (Blues Singer), New York University]\\n24:57- Introduces “Fifth Gata” [INDEX: Zen Mantras, Recording at the Chelsea Hotel, Karl Wiesner]\\n28:21- Performs “Fifth Gata”\\n44:48- Introduces unknown poem from Stanzas for Iris Lezak [INDEX: W.Y. Evan-Wentz, Tibetan Prayer, Aspen Magazine, Turtles, blue birds, reading by Emmett Williams, Carl Bouget, Jet Yalka [sp?] at the University of Syracuse Utica called “Jack-a-   Jurismatics” [sp?], permutation of poetry, Anthology of Chance Operations by La Monte   Young, concept art, anti-art, meaningless work, natural disasters, Emmett William’s  \\tbluebird permutation poems, Audubon Encyclopedia of Birds, Amy Sixfan, Amy         \\tSpurling, Harvey Lessah [sp?], Manne’s School of Music]\\n50:58.11- END OF RECORDING.\\n\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/jackson_maclow_i006-11-031-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"jackson_maclow_i006-11-031-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:27:57\",\"precision\":\"\",\"size\":\"67.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"jackson_maclow_i006-11-031-2.mp3 [File 2 of  2]\\n\\nUnknown Speaker\\n00:00:00\\nThis is the one you wanted some light percussive stuff?\\n\\nJackson Mac Low\\n00:00:04\\nYeah, but very easy on it, not very, you know, keep the amplitude down to, no higher than mezzo piano. Did someone take one from here? I'm supposed to have one and ten. Try to start with the earlier ones and then go into the later ones if possible. Those with the first, the earlier numbers should be on mic first. Those with numbers between two and five I guess you would have. So that the [unintelligible] will hear the earlier ones more than the later ones. You can prolong any of the phonemes at the ends of lines. This is another piece called [unintelligible].\\n \\nUnknown\\n00:01:49\\nAmbient Sound [recorded performance plays; title uncertain].\\n \\nJackson Mac Low\\n00:03:00\\nPerforms \\\"Bluebird Asymmetries\\\" accompanied by audience members and recording.\\n \\nJackson Mac Low\\n00:12:35\\nI have one last one that none of these people have yet seen, and so this one has no rules, that is, the others have some rules for how you put in silences, these will, these...In the summer of ‘69 I did a project for the Los Angeles Museum of Art [https://www.wikidata.org/wiki/Q1641836], an art technology show that's going to open this May. Unfortunately, my machine was bombed out, the corporation seems to be on the rocks, they're not providing the machine, but luckily I had poems that appeared on cathode ray tubes or something called a programmable film reader, and the words appear at the same time we sent the same impulses through an audio system and they turned out to be, well the oboe family, everything down from sopranino oboe to double, double, double bass oboe according to how long the lines were and so I did quite a few poems, this particular one is \\\"The\\\", and it's the last one I did, and tried to grab I guess three pages each, just use whatever discretion you want to, and listen, listen, listen. Earlier I had very strict rules governed by chance operations and so on, in reading these, well, in reading these kind of simultaneous works, and more and more I came to the, well I always had the principal of the most important things was to listen hard to everything that was happening, including whatever was happening in the room, whatever’s happening outside and so on, but more and more I relied on the readers to judge when to come in, and in--perform--these I found, this is one very long print-out of this particular poem. I don't want to--I think in, I don't remember, someplace there's a description of the idea of how they were made and all that, but what I got was a number of messages that, of which the units were permuted, the earliest form of my program was simply permuting the words in each, single words in each message. Later on I was able to get carriage returns and things like that so that in this, each message is a group of short sentences, usually about the same thing, and you'll, so that on the page each message looks like a sort of a stanza or strophe, and the groups of sentences--any number of the groups of sentences from any one of these strophe units may appear at any time according to way the thing is programmed. Does everybody have about three pages? Let's just make it...\\n \\nJackson Mac Low\\n00:16:24\\nPerforms \\\"The\\\" accompanied by audience members.\\n \\nJackson Mac Low\\n00:27:57\\nThank you.\\n \\nEND\\n00:27:57\\n[Cut off abruptly].\",\"notes\":\"Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. \\n\\n\\n00:00- Jackson Mac Low introduces poem “[inaudible word] and Ladders”\\n01:49- Performs “[inaudible word] and Ladders”\\n03:00- Performs “Blue Bird Asymmetries” [INDEX: from 21 Matched Asymmetries: The 10 Bluebird Asymmetries]\\n12:35- Introduces “The” [INDEX: Los Angeles Museum of Art project: Art and Technology program, 1969, reading permutations, chance operations, principals of Mac Low’s poetry \\treading techniques]\\n16:24- Performs “The”\\n27:57- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#2\"}]"],"score":1.0},{"id":"1297","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Charles Simic at Sir George Williams University, The Poetry Series, 19 November 1971"],"item_title_source":["Cataloguer"],"item_title_note":["\"POETRY READING CHARLES SIMAC #1 I006/SR115.1\" written on sticker on the spine of the tape's box. CHARLES SIMAC refers to Charles Simic. SIMAC is misspelled. |I006-11-115.1\" written on sticker on the reel.\n\n\"POETRY READING CHARLES SIMAC #2 I006/SR115.2\" written on sticker on the spine of the tape's box. CHARLES SIMAC refers to Charles Simic. SIMAC is misspelled. \"I006-11-115.2\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[I006-11-115.1, I006-11-115.2]"],"creator_names":["Simic, Charles"],"creator_names_search":["Simic, Charles"],"creators":["[{\"url\":\"http://viaf.org/viaf/22044\",\"name\":\"Simic, Charles\",\"dates\":\" 1938-\",\"notes\":\"Poet, essayist and teacher Charles Simic was born in Belgrade, Yugoslavia on May 9, 1938 to Serbian parents. During his childhood, Simic witnessed both the military occupation by the Nazis during the Second World War, and then by the Soviet Union. His family left Yugoslavia for Paris in 1953, and then to Chicago in 1954. His first poem was published in the Chicago Review in 1959 when Simic was 19 years old. In 1961, Simic was enlisted in the US Army, and served until 1963 when he moved to New York City and enrolled in New York University. Simic met his future wife, designer Helene Dubin, with whom he had two children. Upon graduation with a B.A. in Russian in 1966, he worked as an editorial assistant for Aperture, a photography magazine. Simic’s first collection of poems, What the Grass Says (Kayak) was published in 1967 and was followed in 1969 with Somewhere Among Us a Stone Is Taking Notes (Kayak), and a number of anthologies, including Young American Poets (Follett Publishing Co, 1968), Contemporary American Poets (World Publishing Company, 1969), and Major Young American Poets (World Publishing Co, 1971). In 1970, Simic began teaching English at the University of California at Hayward, and earned a PEN International Award for his translation of Fire Gardens (New Rivers Press), written by Ivan V. Lalic. At that time, Simic also published an anthology of translations Four Modern Yugoslav Poets: Ivan V. Lalic, Branko Miljkovic, Milorad Pavic, Ljubomir Simovic, translations of Vasko Popa’s The Little Box (Charioteer Press, 1970) and his own collection of poetry, Dismantling the Silence (G. Braziller, 1971). Simic then received a fellowship from the Guggenheim Foundation, published White (New Rivers Press, 1972) and took a position of associate professor at the University of New Hampshire in 1973, which he would hold for over thirty years. A wildly prolific writer, Simic published poetry, translations and non-fiction, including Charon’s Cosmology (G. Braziller, 1977) which won the National Book Award, School for Dark Thoughts (Banyan Press, 1978), Classic Ballroom Dances (G. Braziller, 1980) which won both the Harriet Monroe Poetry Award and the Di Castagnola Award, Austerities (G. Braziller, 1982), Weather Forecast for Utopia and Vicinity (Station Hill Press, 1983), Unending Blues (Harcourt Brace Jovanovich, 1986), Brooms: Selected Poems (Edge, 1978), Selected Poems 1963-1983 (G. Braziller, 1985), The World Doesn’t End (Harcourt Brace Jovanovich, 1989) which won the Pulitzer Prize for Poetry in 1990, The Book of Gods and Devils (Harcourt Brace, 1990) and Hotel Insomnia (Harcourt, 1992). The 1990s saw Simic publishing numerous translations from Yugoslavian poets. Collections of Simic’s essays and memoirs include The Unemployed Fortune-Teller (Michigan Press, 1994), Orphan Factory (University of Michigan, 1997), Walking the Black Cat (Harcourt Brace & Co, 1996) and his more recent poetry collection The Voice at 3:00 am: Selected Late and New Poems (A.W. Ellsworth, 2003). In 2007, Simic was appointed U.S. Poet Laureate. Simic resides in Strafford, New Hampshire.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1971 11 19\",\"type\":\"Performance Date\",\"notes\":\"Date specified by Richard Somner in I006-11-106.4\",\"source\":\"Previous recording \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Previous researcher\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Charles Simic reads mostly from Dismantling the Silence (G. Braziller, 1971) as well as  a selection of, at the time, new and unpublished poems from a notebook that would later be published in Return to a Place Lit by a Glass of Milk (G. Braziller, 1974) and Selected Early Poems (G. Braziller, 1999)."],"contents":["charles_simic_i006-11-115-1.mp3 [File 1 of 2]\n\nIntroducer\n00:00:05\nA short quotation which appears in the Contributors' Notes to Paul Carroll's [https://www.wikidata.org/wiki/Q15459057] anthology The Young American Poets. Quote: “As far back as I can remember there was a kind of dumbness within me, a need that sought expression. How it eventually materialized in the act of writing a poem belongs to a biography which I have only been able to recount in a few successful poems. As for the finished product, the poem, my need requires it to be of, as Whitman [https://www.wikidata.org/wiki/Q81438] said, the thoughts of all men in all ages and lands, and further, if they are not yours as much as mine, they are nothing, or next to nothing. On a subjective level, I write to give being to that vibration which is my life, and to survive in a hard time”. Charles Simic [https://www.wikidata.org/wiki/Q722555].\n \nCharles Simic\n00:00:57\nThank you. Is this mic also for the audience or just for the tape? Oh it is, okay. I'll be reading mostly from my third book, including also some more recent poems. And I'll start off with a very recent poem which is called \"Breasts\".\n \nCharles Simic\n00:02:07\nReads \"Breasts\" from Dismantling the Silence.\n \nCharles Simic\n00:05:05\nThis is not from the book. A series of poems really dealing with inanimate objects. And the first poem in the series is called \"Table\".\n \nCharles Simic\n00:05:27\nReads \"Table\" from Dismantling the Silence.\n \nCharles Simic\n00:06:55\nReads \"Stone\" from Dismantling the Silence.\n \nCharles Simic\n00:08:14\nThere's a poem about a fork, and also a poem about a spoon and knife, and I'll read \"The Fork\".\n \nCharles Simic\n00:08:26\nReads \"The Fork\" Dismantling the Silence.\n\nCharles Simic\n00:09:12\nReads \"My Shoes\" from Dismantling the Silence.\n \nCharles Simic\n00:10:42\nThe last one of these has not been included in the book. I only discovered it about a year ago, in a notebook, but it was written around the same time, and I've sort of been fooling around with it. It's called \"Brooms\".  There's five parts. I'll just make a little pause within each part.\n \nCharles Simic\n00:11:13\nReads \"Brooms\", Part I [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:11:43\nReads \"Brooms\", Part II [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:12:41\nReads \"Brooms\", Part III [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:13:24\nReads \"Brooms\", Part IV [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:14:06\nReads \"Brooms\", Part V [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:14:55\nI'll read you the last poem of, in the book of this particular series, which really has nothing to do with objects, but it's a poem in which I imagine what would happen if someone really penetrated one of these inanimate objects, like his pores, kind of a Christopher Columbus [https://www.wikidata.org/wiki/Q7322] of entering an ashtray or something. It's called \"Explorers\".\n \nCharles Simic\n00:15:33\nReads \"Explorers\" from Dismantling the Silence.\n \nCharles Simic\n00:17:13\nLet's see. This is, this is called \"The Inner Man\".\n \nCharles Simic\n00:17:40\nReads \"The Inner Man\" from  Dismantling the Silence.\n\nCharles Simic\n00:19:06\nThis poem, this next poem is called \"The Animals\". I wrote it in New York City [https://www.wikidata.org/wiki/Q60], after living in New York City for about five-six years, and lamenting the pastoral quality of my first book, and my inability to return to that kind of nature poetry. I realized that I hadn't seen a tree or an animal in about three or four years, and yet at the same time writing, you know, occasionally about some cows, or, you know, and I was saying, what are these animals, you know, these shadowy animals. Anyway, here's the poem. \"The Animals\".\n \nCharles Simic\n00:19:46\nReads \"The Animals\" from Dismantling the Silence.\n \nCharles Simic\n00:21:07\nLet's see. Sort of change to some different kinds of poems. Here's a poem about Chicago [https://www.wikidata.org/wiki/Q1297]. Going back to Chicago. And, to see my mother. And...it's all there anyway. Hopefully. There's seven parts.\n \nCharles Simic\n00:22:03\nReads \"Chicago\", Part I.\n \nCharles Simic\n00:22:43\nReads \"Chicago\", Part II.\n\nCharles Simic\n00:23:17\nReads \"Chicago\", Part III.\n \nCharles Simic\n00:23:57\nReads \"Chicago\", Part IV.\n \nCharles Simic\n00:24:35\nReads \"Chicago\", Part V.\n \nCharles Simic\n00:25:06\nReads \"Chicago\", Part VI.\n \nCharles Simic\n00:25:33\nReads \"Chicago\", Part VII.\n \nCharles Simic\n00:26:39\nLet's see. I can't find it. Maybe it's not written yet. Oh here it is, yeah. \n \nCharles Simic\n00:27:01\nReads \"Tapestry\" from Dismantling the Silence.\n \nCharles Simic\n00:28:15\nThis is a very different kind of poem. The material for the the poem is, are, cliches, working with, with awful cliches, things which were totally beaten to death and, you know, can't be used anymore. Or proverbs, popular wisdom, and I'm twisting it all around, trying to reverse the kind of universe that is implied by, by let's say proverbs, if you get up in the morning and such and such a thing happens. There is something very deterministic about it, and to reverse that, to give it a little fresh air, I'll turn it around. And so I have a sequence of six poems which are entirely made up of these things, and they're called, the common title is \"Concerning my Neighbors, the Hittites\", and the...why the Hittites [https://www.wikidata.org/wiki/Q5406]...why not? [Laughter]. Hittites were simply something that I had not the slightest idea about and I sort of saw ourselves one day becoming the Hittites, you know, somebody sitting one day in some future century and, our century being, sort of the Hittites, you know. And so there are six poems, and, I guess that's about all to be said.\n \nCharles Simic\n00:29:58\nReads \"Concerning My Neighbors, the Hittites\", Part I [published later in Selected Early Poems].\n \nCharles Simic\n00:31:21\nReads \"Concerning My Neighbors, the Hittites\", Part II [published later in Selected Early Poems].\n \nUnknown\n00:32:09\nSilence [pause].\n \nCharles Simic\n00:33:20\nReads \"Concerning My Neighbors, the Hittites\", Part III [published later in Selected Early Poems].\n \nCharles Simic\n00:34:20\nReads \"Concerning My Neighbors, the Hittites\", Part IV [ [published later in Selected Early Poems; includes extra stanzas not included in the published version of the poem].\n \nCharles Simic\n00:35:12\nReads \"Concerning My Neighbors, the Hittites\", Part V [published later in Selected Early Poems].\n \nCharles Simic\n00:36:14\nReads \"Concerning My Neighbors, the Hittites\", Part VI [published later in Selected Early Poems].\n\nCharles Simic\n00:36:23\nDo you, we need a break? Should we take a break? Huh? No, yes. No. Take a break. Yeah, let's take a ten-minute break.  \n\nAudience\n00:36:30\nApplause [cut off].\n \nEND\n00:36:39\n\n\ncharles_simic_i006-11-115-2.mp3 [File 2 of 2]\n\nCharles Simic\n00:00:00\nI was asking [Ksemi Rothers (?)] about, you know, who are my great grand-uncles, and great-grandfathers and so on, and I found out that they all were killed or disappeared in some completely forgotten nineteenth-century Balkan wars which no one knows anymore the cause or the reason or why they were started. And so this poem kind of happened out of that. It's called \"Marching\". \n \nCharles Simic \n00:00:47\nReads \"Marching\" from Dismantling the Silence.\n \nCharles Simic\n00:03:28\nThis is a kind of a, you could say that it's sort of an elegy for my father, in seven parts.\n \nCharles Simic\n00:03:47\nReads “George Simic” [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:07:44\nThis is a love poem. I have a series of love poems in the new book but this is one of them. And I might use the title of this poem as the title of the new book. The title is \"Return to a place lit by a glass of milk\".\n \nCharles Simic\n00:08:08\nReads \"Return to a place lit by a glass of milk\" [published later in Return to a place lit by a glass of milk].\n \nCharles Simic\n00:09:20\nI want to read a couple more poems now. \"Dismantling the Silence\".\n \nCharles Simicn\n00:09:54\nReads \"Dismantling the Silence\" from Dismantling the Silence.\n \nCharles Simic\n00:11:17\nThe last poem in this book is called \"Errata\" for the good reason that after I finished the book I felt again, you know, a sense of frustration. I didn't say everything. And so each of the lines in this particular poem are really, refer to actual lines in the book. I'm kind of correcting myself. \"Errata\".\n \nCharles Simic\n00:11:53\nReads \"Errata\" from Dismantling the Silence.\n \nCharles Simic\n00:13:20\nThank you.  \n\nAudience\n00:13:23\nApplause.\n \nIntroducer\n00:13:35\nThe next reading will be on January 14th. Dorothy Livesay [https://www.wikidata.org/wiki/Q1250325] will read that night.\n \nEND\n00:13:44\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1971, Simic was teaching at the University of California at Hayward, and had published his third book, Dismantling the Silence (G. Braziller, 1971).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAny specific connections Simic had with Montreal or Sir George Williams University are unknown at this point, but Simic was an important and influential figure in American poetry, which no doubt had an impact on Canadian writers.\",\"type\":\"General\"},{\"note\":\"Original transcript by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones \\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>CD>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/young-american-poets/oclc/1071394844&referer=brief_results\",\"citation\":\"Carroll, Paul. The Young American Poets. Chicago: Big Table Publishing, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"Hart, Henry. \\\"Simic, Charles\\\". The Oxford Encyclopedia of American Literature. Jay Parini (ed). Oxford University Press, 2004. \"},{\"url\":\"http://news.google.com/newspapers?id=H0EjAAAAIBAJ&sjid=36EFAAAAIBAJ&pg=6219,3330526&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“General: Poetry Reading”. The Gazette. 19 November 1971. \"},{\"url\":\"https://www.worldcat.org/title/concise-oxford-companion-to-english-literature/oclc/869601178&referer=brief_results\",\"citation\":\"\\\"Simic, Charles\\\". The Concise Oxford Companion to English Literature. Margaret Drabble and Jenny Stringer (eds). Oxford University Press, 2007. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/750769493&referer=brief_results\",\"citation\":\"\\\"Simic, Charles\\\". The Oxford Companion to American Literature. James D. Hart (ed), Phillip W. Leininger (rev). Oxford University Press, 1995. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-english-literature/oclc/937869384&referer=brief_results\",\"citation\":\"\\\"Simic, Charles”. The Oxford Companion to English Literature. Dinah Birch (ed). Oxford University Press, 2009. \"},{\"url\":\"https://www.worldcat.org/title/dismantling-the-silence/oclc/1154942465&referer=brief_results\",\"citation\":\"Simic, Charles. Dismantling the Silence. New York: Braziller, 1971. \"},{\"url\":\"https://www.worldcat.org/title/return-to-a-place-lit-by-a-glass-of-milk/oclc/1154834086&referer=brief_results\",\"citation\":\"Simic, Charles. Return to a place lit by a glass of milk. New York: Braziller, 1974.  \"},{\"url\":\"https://www.worldcat.org/title/charles-simic-selected-early-poems/oclc/1101269207&referer=brief_results\",\"citation\":\"Simic, Charles. Selected Early Poems. New York: Braziller, 1999. \"},{\"url\":\"\",\"citation\":\"“Simic, Charles, 1938-”. Literature Online Bibliography. Cambridge, UK: Proquest LLC, 2008.\"}]"],"_version_":1853670548945502208,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0115-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0115-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Simic Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0115-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0115-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Charles Simic Tape Box 1 - 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Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/charles_simic_i006-11-115-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"charles_simic_i006-11-115-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:36:39\",\"precision\":\"\",\"size\":\"88 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"charles_simic_i006-11-115-1.mp3 [File 1 of 2]\\n\\nIntroducer\\n00:00:05\\nA short quotation which appears in the Contributors' Notes to Paul Carroll's [https://www.wikidata.org/wiki/Q15459057] anthology The Young American Poets. Quote: “As far back as I can remember there was a kind of dumbness within me, a need that sought expression. How it eventually materialized in the act of writing a poem belongs to a biography which I have only been able to recount in a few successful poems. As for the finished product, the poem, my need requires it to be of, as Whitman [https://www.wikidata.org/wiki/Q81438] said, the thoughts of all men in all ages and lands, and further, if they are not yours as much as mine, they are nothing, or next to nothing. On a subjective level, I write to give being to that vibration which is my life, and to survive in a hard time”. Charles Simic [https://www.wikidata.org/wiki/Q722555].\\n \\nCharles Simic\\n00:00:57\\nThank you. Is this mic also for the audience or just for the tape? Oh it is, okay. I'll be reading mostly from my third book, including also some more recent poems. And I'll start off with a very recent poem which is called \\\"Breasts\\\".\\n \\nCharles Simic\\n00:02:07\\nReads \\\"Breasts\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:05:05\\nThis is not from the book. A series of poems really dealing with inanimate objects. And the first poem in the series is called \\\"Table\\\".\\n \\nCharles Simic\\n00:05:27\\nReads \\\"Table\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:06:55\\nReads \\\"Stone\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:08:14\\nThere's a poem about a fork, and also a poem about a spoon and knife, and I'll read \\\"The Fork\\\".\\n \\nCharles Simic\\n00:08:26\\nReads \\\"The Fork\\\" Dismantling the Silence.\\n\\nCharles Simic\\n00:09:12\\nReads \\\"My Shoes\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:10:42\\nThe last one of these has not been included in the book. I only discovered it about a year ago, in a notebook, but it was written around the same time, and I've sort of been fooling around with it. It's called \\\"Brooms\\\".  There's five parts. I'll just make a little pause within each part.\\n \\nCharles Simic\\n00:11:13\\nReads \\\"Brooms\\\", Part I [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:11:43\\nReads \\\"Brooms\\\", Part II [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:12:41\\nReads \\\"Brooms\\\", Part III [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:13:24\\nReads \\\"Brooms\\\", Part IV [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:14:06\\nReads \\\"Brooms\\\", Part V [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:14:55\\nI'll read you the last poem of, in the book of this particular series, which really has nothing to do with objects, but it's a poem in which I imagine what would happen if someone really penetrated one of these inanimate objects, like his pores, kind of a Christopher Columbus [https://www.wikidata.org/wiki/Q7322] of entering an ashtray or something. It's called \\\"Explorers\\\".\\n \\nCharles Simic\\n00:15:33\\nReads \\\"Explorers\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:17:13\\nLet's see. This is, this is called \\\"The Inner Man\\\".\\n \\nCharles Simic\\n00:17:40\\nReads \\\"The Inner Man\\\" from  Dismantling the Silence.\\n\\nCharles Simic\\n00:19:06\\nThis poem, this next poem is called \\\"The Animals\\\". I wrote it in New York City [https://www.wikidata.org/wiki/Q60], after living in New York City for about five-six years, and lamenting the pastoral quality of my first book, and my inability to return to that kind of nature poetry. I realized that I hadn't seen a tree or an animal in about three or four years, and yet at the same time writing, you know, occasionally about some cows, or, you know, and I was saying, what are these animals, you know, these shadowy animals. Anyway, here's the poem. \\\"The Animals\\\".\\n \\nCharles Simic\\n00:19:46\\nReads \\\"The Animals\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:21:07\\nLet's see. Sort of change to some different kinds of poems. Here's a poem about Chicago [https://www.wikidata.org/wiki/Q1297]. Going back to Chicago. And, to see my mother. And...it's all there anyway. Hopefully. There's seven parts.\\n \\nCharles Simic\\n00:22:03\\nReads \\\"Chicago\\\", Part I.\\n \\nCharles Simic\\n00:22:43\\nReads \\\"Chicago\\\", Part II.\\n\\nCharles Simic\\n00:23:17\\nReads \\\"Chicago\\\", Part III.\\n \\nCharles Simic\\n00:23:57\\nReads \\\"Chicago\\\", Part IV.\\n \\nCharles Simic\\n00:24:35\\nReads \\\"Chicago\\\", Part V.\\n \\nCharles Simic\\n00:25:06\\nReads \\\"Chicago\\\", Part VI.\\n \\nCharles Simic\\n00:25:33\\nReads \\\"Chicago\\\", Part VII.\\n \\nCharles Simic\\n00:26:39\\nLet's see. I can't find it. Maybe it's not written yet. Oh here it is, yeah. \\n \\nCharles Simic\\n00:27:01\\nReads \\\"Tapestry\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:28:15\\nThis is a very different kind of poem. The material for the the poem is, are, cliches, working with, with awful cliches, things which were totally beaten to death and, you know, can't be used anymore. Or proverbs, popular wisdom, and I'm twisting it all around, trying to reverse the kind of universe that is implied by, by let's say proverbs, if you get up in the morning and such and such a thing happens. There is something very deterministic about it, and to reverse that, to give it a little fresh air, I'll turn it around. And so I have a sequence of six poems which are entirely made up of these things, and they're called, the common title is \\\"Concerning my Neighbors, the Hittites\\\", and the...why the Hittites [https://www.wikidata.org/wiki/Q5406]...why not? [Laughter]. Hittites were simply something that I had not the slightest idea about and I sort of saw ourselves one day becoming the Hittites, you know, somebody sitting one day in some future century and, our century being, sort of the Hittites, you know. And so there are six poems, and, I guess that's about all to be said.\\n \\nCharles Simic\\n00:29:58\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part I [published later in Selected Early Poems].\\n \\nCharles Simic\\n00:31:21\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part II [published later in Selected Early Poems].\\n \\nUnknown\\n00:32:09\\nSilence [pause].\\n \\nCharles Simic\\n00:33:20\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part III [published later in Selected Early Poems].\\n \\nCharles Simic\\n00:34:20\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part IV [ [published later in Selected Early Poems; includes extra stanzas not included in the published version of the poem].\\n \\nCharles Simic\\n00:35:12\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part V [published later in Selected Early Poems].\\n \\nCharles Simic\\n00:36:14\\nReads \\\"Concerning My Neighbors, the Hittites\\\", Part VI [published later in Selected Early Poems].\\n\\nCharles Simic\\n00:36:23\\nDo you, we need a break? Should we take a break? Huh? No, yes. No. Take a break. Yeah, let's take a ten-minute break.  \\n\\nAudience\\n00:36:30\\nApplause [cut off].\\n \\nEND\\n00:36:39\\n\",\"notes\":\"Charles Simic reads mostly from Dismantling the Silence (G. Braziller, 1971) as well as  a selection of, at the time, new and unpublished poems from a notebook that would later be published in Return to a Place Lit by a Glass of Milk (G. Braziller, 1974) and Selected Early Poems (G. Braziller, 1999). \\n\\n00:00- Unknown introducer introduces Charles Simic. [INDEX: quotation from the Contributor's notes to Paul Carroll’s anthology, The Young American Poets, Walt Whitman.]\\n00:57- Charles Simic introduces reading, and “Breasts”. [INDEX: reading from his third book (Dismantling the Silence (G. Braziller, 1971)), as well as recent poems; this poem        published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974).]      \\n02:07- Reads “Breasts”.\\n05:05- Introduces “Table”. [INDEX: not from the book Dismantling the Silence, dealing with inanimate objects.]\\n05:27- Reads “Table”.\\n06:55- Reads “Stone”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n08:14- Introduces “The Fork”. [INDEX: poem about a spoon and a knife]\\n08:26- Reads “The Fork”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n09:12- Reads “My Shoes”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n10:42- Introduces “Brooms”, parts I-V. [INDEX: written in a notebook, not included in   published book with others; published in 1974 in Return to a place lit by a glass of milk \\t(G. Braziller, 1974).]\\n11:13- Reads “Brooms” Part I.\\n11:43- Reads “Brooms” Part II.\\n12:41- Reads “Brooms” Part III.\\n13:24- Reads “Brooms” Part IV.\\n14:06- Reads “Brooms” Part V.\\n14:55- Introduces “Explorers” [INDEX: last poem in book of particular series, Christopher Columbus entering an ashtray.] \\n15:33- Reads “Explorers”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n17:13- Reads “The Inner Man”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n19:06- Introduces “The Animals”. [INDEX: written in NYC, pastoral quality of first book,     inability to return to nature poetry, pastoral animals.]\\n19:46- Reads “The Animals”. [INDEX: in Dismantling the Silence (G. Braziller, 1971).]\\n21:07- Introduces “Chicago”, parts I-VII. [INDEX: about going back to Chicago, Simic’s      mother, perhaps not in Dismantling the Silence (G. Braziller, 1971).]\\n22:03- Reads “Chicago” Part I.\\n22:43- Reads “Chicago” Part II.\\n23:17- Reads “Chicago” Part III.\\n23:57- Reads “Chicago” Part IV.\\n24:35- Reads “Chicago” Part V.\\n25:06- Reads “Chicago” Part VI.\\n25:33- Reads “Chicago” Part VII.\\n27:01- Reads “Tapestry”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n28:15- Introduces “Concerning My Neighbors, the Hittites”, Parts I-VI. [INDEX: writing with cliches, proverbs, popular wisdom to twist them around, Hittites.]\\n29:58- Reads “Concerning My Neighbors, the Hittites” Part I.\\n31:21- Reads “Concerning My Neighbors, the Hittites” Part II.\\n33:20- Reading interrupted by pause, either Part II is continued or part III begins. [INDEX: discrepancies between published versions and the reading are noted here.]\\n34:20- Reads “Concerning my Neighbors, the Hittites” Part IV.\\n35:12- Reads “Concerning my Neighbors, the Hittites” Part V.\\n36:14- Reads “Concerning my Neighbors, the Hittites” Part VI.\\n36:39- Introduces “Marching”. [INDEX: Ksemi Rothers, Simic’s ancestors, Balkan wars, most likely in Dismantling the Silence (G. Braziller, 1971).]\\n37:27- Reads “Marching”.\\n40:08- Introduces “Elegy for my father” [INDEX: elegy for Simic’s father, seven parts; published in 1974 as “George Simic” in Return to a place lit by a glass of milk (G.   \\tBraziller, 1974).]\\n40:27- Reads “Elegy for my father”.\\n44:24- Introduces “Return to a place lit by a glass of milk”. [INDEX: love poem, might use title for title of new book.]\\n44:47- Reads “Return to a place lit by a glass of milk”. [INDEX: published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974)]\\n46:34- Reads “Dismantling the Silence”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n47:57- Introduces “Errata”. [INDEX: after finishing a book felt a sense of frustration of not being able to say everything, each line refers to actual lines in the book.]\\n48:33- Reads “Errata”.\\n50:15- Unknown speaker announces next reading [Dorothy Livesay on January 14.]\\n50:24.10- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/charles-simic-at-sgwu-1971/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/charles_simic_i006-11-115-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"charles_simic_i006-11-115-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:13:44\",\"precision\":\"\",\"size\":\"33 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"charles_simic_i006-11-115-2.mp3 [File 2 of 2]\\n\\nCharles Simic\\n00:00:00\\nI was asking [Ksemi Rothers (?)] about, you know, who are my great grand-uncles, and great-grandfathers and so on, and I found out that they all were killed or disappeared in some completely forgotten nineteenth-century Balkan wars which no one knows anymore the cause or the reason or why they were started. And so this poem kind of happened out of that. It's called \\\"Marching\\\". \\n \\nCharles Simic \\n00:00:47\\nReads \\\"Marching\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:03:28\\nThis is a kind of a, you could say that it's sort of an elegy for my father, in seven parts.\\n \\nCharles Simic\\n00:03:47\\nReads “George Simic” [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:07:44\\nThis is a love poem. I have a series of love poems in the new book but this is one of them. And I might use the title of this poem as the title of the new book. The title is \\\"Return to a place lit by a glass of milk\\\".\\n \\nCharles Simic\\n00:08:08\\nReads \\\"Return to a place lit by a glass of milk\\\" [published later in Return to a place lit by a glass of milk].\\n \\nCharles Simic\\n00:09:20\\nI want to read a couple more poems now. \\\"Dismantling the Silence\\\".\\n \\nCharles Simicn\\n00:09:54\\nReads \\\"Dismantling the Silence\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:11:17\\nThe last poem in this book is called \\\"Errata\\\" for the good reason that after I finished the book I felt again, you know, a sense of frustration. I didn't say everything. And so each of the lines in this particular poem are really, refer to actual lines in the book. I'm kind of correcting myself. \\\"Errata\\\".\\n \\nCharles Simic\\n00:11:53\\nReads \\\"Errata\\\" from Dismantling the Silence.\\n \\nCharles Simic\\n00:13:20\\nThank you.  \\n\\nAudience\\n00:13:23\\nApplause.\\n \\nIntroducer\\n00:13:35\\nThe next reading will be on January 14th. Dorothy Livesay [https://www.wikidata.org/wiki/Q1250325] will read that night.\\n \\nEND\\n00:13:44\\n\",\"notes\":\"Charles Simic reads mostly from Dismantling the Silence (G. Braziller, 1971) as well as  a selection of, at the time, new and unpublished poems from a notebook that would later be published in Return to a Place Lit by a Glass of Milk (G. Braziller, 1974) and Selected Early Poems (G. Braziller, 1999). \\n\\n00:00- Unknown introducer introduces Charles Simic. [INDEX: quotation from the Contributor's notes to Paul Carroll’s anthology, The Young American Poets, Walt Whitman.]\\n00:57- Charles Simic introduces reading, and “Breasts”. [INDEX: reading from his third book (Dismantling the Silence (G. Braziller, 1971)), as well as recent poems; this poem        published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974).]      \\n02:07- Reads “Breasts”.\\n05:05- Introduces “Table”. [INDEX: not from the book Dismantling the Silence, dealing with inanimate objects.]\\n05:27- Reads “Table”.\\n06:55- Reads “Stone”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n08:14- Introduces “The Fork”. [INDEX: poem about a spoon and a knife]\\n08:26- Reads “The Fork”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n09:12- Reads “My Shoes”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n10:42- Introduces “Brooms”, parts I-V. [INDEX: written in a notebook, not included in   published book with others; published in 1974 in Return to a place lit by a glass of milk \\t(G. Braziller, 1974).]\\n11:13- Reads “Brooms” Part I.\\n11:43- Reads “Brooms” Part II.\\n12:41- Reads “Brooms” Part III.\\n13:24- Reads “Brooms” Part IV.\\n14:06- Reads “Brooms” Part V.\\n14:55- Introduces “Explorers” [INDEX: last poem in book of particular series, Christopher Columbus entering an ashtray.] \\n15:33- Reads “Explorers”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n17:13- Reads “The Inner Man”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n19:06- Introduces “The Animals”. [INDEX: written in NYC, pastoral quality of first book,     inability to return to nature poetry, pastoral animals.]\\n19:46- Reads “The Animals”. [INDEX: in Dismantling the Silence (G. Braziller, 1971).]\\n21:07- Introduces “Chicago”, parts I-VII. [INDEX: about going back to Chicago, Simic’s      mother, perhaps not in Dismantling the Silence (G. Braziller, 1971).]\\n22:03- Reads “Chicago” Part I.\\n22:43- Reads “Chicago” Part II.\\n23:17- Reads “Chicago” Part III.\\n23:57- Reads “Chicago” Part IV.\\n24:35- Reads “Chicago” Part V.\\n25:06- Reads “Chicago” Part VI.\\n25:33- Reads “Chicago” Part VII.\\n27:01- Reads “Tapestry”. [INDEX: most likely in Dismantling the Silence (G. Braziller, 1971)]\\n28:15- Introduces “Concerning My Neighbors, the Hittites”, Parts I-VI. [INDEX: writing with cliches, proverbs, popular wisdom to twist them around, Hittites.]\\n29:58- Reads “Concerning My Neighbors, the Hittites” Part I.\\n31:21- Reads “Concerning My Neighbors, the Hittites” Part II.\\n33:20- Reading interrupted by pause, either Part II is continued or part III begins. [INDEX: discrepancies between published versions and the reading are noted here.]\\n34:20- Reads “Concerning my Neighbors, the Hittites” Part IV.\\n35:12- Reads “Concerning my Neighbors, the Hittites” Part V.\\n36:14- Reads “Concerning my Neighbors, the Hittites” Part VI.\\n36:39- Introduces “Marching”. [INDEX: Ksemi Rothers, Simic’s ancestors, Balkan wars, most likely in Dismantling the Silence (G. Braziller, 1971).]\\n37:27- Reads “Marching”.\\n40:08- Introduces “Elegy for my father” [INDEX: elegy for Simic’s father, seven parts; published in 1974 as “George Simic” in Return to a place lit by a glass of milk (G.   \\tBraziller, 1974).]\\n40:27- Reads “Elegy for my father”.\\n44:24- Introduces “Return to a place lit by a glass of milk”. [INDEX: love poem, might use title for title of new book.]\\n44:47- Reads “Return to a place lit by a glass of milk”. [INDEX: published in 1974 in Return to a place lit by a glass of milk (G. Braziller, 1974)]\\n46:34- Reads “Dismantling the Silence”. [INDEX: from Dismantling the Silence (G. Braziller, 1971)]\\n47:57- Introduces “Errata”. 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Dorn reading Gunslinger and Jeremy Prynne reading in Vancouver, 1971"],"item_title_source":["Title taken from back of box"],"item_title_note":["Title on box: 34.\n\nSide A title: n/a\n\nSide B title: n/a\n\nBack of box:\n3 3/4\n29. Side 1-A Dorn reading Gunslinger in Vancouver July 29-30-31/71\n0-369 - Book I\n370- Book II\n-1381 The Cycle\nSide 2-A Book III\n0-328 - Dorn reading from \"Day Report\"\n329-628 July 29/71\n30. 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Baby Thea 2. Mtl US Moon Shot - Warren + Kiyooka"],"item_title_source":["Title on front of box and content of tape."],"item_title_note":["Side A title: Baby Thea 1 week to 5 months\n\nSide B title: Warren, Roy, Moon, etc.\n\nTitle on case: Written on case:\n1. Baby Thea\n2. Mtl. US Moon shot\n-Warren + Kiyooka"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kiyooka, Roy","Bowering, Angela","Bowering, George","Tallman, Warren","Bowering, Thea"],"creator_names_search":["Kiyooka, Roy","Bowering, Angela","Bowering, George","Tallman, Warren","Bowering, Thea"],"creators":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/93542147\",\"name\":\"Bowering, Angela\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/299953775\",\"name\":\"Bowering, Thea\",\"dates\":\"1971-\",\"notes\":\"Thea Bowering was a child at the time of recording.\",\"nation\":[],\"role\":[]}]"],"contributors_names":["Collins, Michael","McCandless, Bruce","Armstrong, Neil","Aldrin, Buzz"],"contributors_names_search":["Collins, Michael","McCandless, Bruce","Armstrong, Neil","Aldrin, Buzz"],"contributors":["[{\"url\":\"http://viaf.org/viaf/84145408\",\"name\":\"Collins, Michael\",\"dates\":\"1930-2021\",\"notes\":\"Astronaut heard on the Apollo 11 moon landing television broadcast.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/300814769\",\"name\":\"McCandless, Bruce\",\"dates\":\"1937-2017\",\"notes\":\"Astronaut heard on the Apollo 11 moon landing television broadcast.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/111826406\",\"name\":\"Armstrong, Neil\",\"dates\":\"1930-2012\",\"notes\":\"Astronaut heard on the Apollo 11 moon landing television broadcast.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/110368892\",\"name\":\"Aldrin, Buzz\",\"dates\":\"1930-\",\"notes\":\"Astronaut heard on the Apollo 11 moon landing television broadcast.\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"Speaker_name":["Collins, Michael","McCandless, Bruce","Armstrong, Neil","Aldrin, Buzz"],"Performance_Date":[1971],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/1115/UBCO_Bowering_2019_003_002_d.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Almada Compact Cassette C-60\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"60 min each side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2019_003_002_moon_landing+BTstart_SideB_(MASTER_ACCESS).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:41:21\",\"precision\":\"\",\"size\":\"4.31 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2019_003_002_baby_thea+MLstart_(MASTER_ACCESS).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:20:46\",\"precision\":\"\",\"size\":\"2.0 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1971\",\"type\":\"Performance Date\",\"notes\":\"Year Thea Bowering was born.\",\"source\":\"\"},{\"date\":\"1969-07-20\",\"type\":\"Performance Date\",\"notes\":\"Date of US moon landing 1969.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/453998152\",\"venue\":\"George and Angela Bowering's home\",\"notes\":\"\",\"address\":\"Grosvenor Avenue, Montreal, Quebec, Canada\",\"latitude\":\"45.4872736\",\"longitude\":\"-73.619867\"}]"],"Address":["Grosvenor Avenue, Montreal, Quebec, Canada"],"Venue":["George and Angela Bowering's home"],"City":["Montreal, Quebec"],"content_notes":["Contents entry temporary. To be time stamped and transcribed."],"contents":["Side A: Tape consists of recording by George Bowering of daughter Thea Bowering age 1 week to 5 months.\n\nSide B: Tape consists of George Bowering, Angela Bowering, Roy Kiyooka, and Warren Tallman listening to the televised broadcast of the Apollo 11 moon landing and chatting."],"Note":["[{\"note\":\"Digitization complete.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550212182020,"timestamp":"2026-01-07T14:59:54.808Z","score":1.0},{"id":"4308","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Peter Quartermain fonds"],"source_collection_label":["Peter Quartermain fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Fonds consists of 180 cassette tapes."],"collection_source_collection_id":["2022.002"],"persistent_url":[""],"item_title":["Robert Duncan. 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Goldberg, 226 Assinniboia, March 3/71; 3 3/4 speed, 2 track; Speaker: Prof. Ondaatje, Sub Art Gallery, 2 hrs. Front of reel case also includes an \\\"Audio Visual Technical Services\\\" stamp. Handwritten from back of reel case: March 1971 Reading Poetry; 0000>0142 Stephen Scobie; 0146>0199 Doug Barbour; 0202>0293 Bert Almon; 0293>0319 Introduction; 0311>0685 Michael Ondaatje. 03 Scobie: \\\"Lenin at the Cabaret Voltaire\\\"; 30 \\\"February, Edmonton\\\"; 48 \\\"White Swimmers in Green Water\\\"; 54 \\\"Shoreline\\\"; 66 \\\"Gifts Broken at Her Door.\\\" 132 Barbour \\\"Smoke Pours...\\\"; \\\"Poem After Purdy: Philosophically\\\"; 170 \\\"Another Image\\\"; 176 \\\"The Upper Berth\\\"; 185 Almon \\\"Dr. Deadlock\\\"; 190 \\\"Storm Like Kananaskis\\\"; 195 \\\"Breaking Loose\\\"; 213 \\\"The Shock,\\\" \\\"The Weighing,\\\" \\\"The Catch,\\\" \\\"The Curtain,\\\" \\\"The Knot,\\\" \\\"The Breakup\\\"; 243 \\\"For nancy Going to War\\\"; 270 Barbour introduces Ondaatje; 288 Ondaatje \\\"We're at the Graveyard\\\"; 313 \\\"A House Divided\\\"; 324 \\\"Notes for the Legend of Salad Woman\\\"; 352 \\\"For John Falling\\\"; 361 \\\"Griffin of the Night\\\" [cont'd on card inside {reel case}] 367 \\\"Gold and Black\\\"; 376 \\\"A Strange Case\\\"; 398 Postcard from Picadilly St.\\\"; 412 \\\"Spider Blues\\\"; 462 \\\"Letters and Other Worlds\\\"; 520 \\\"White Dwarfs\\\"; 561 from Billy the Kid \\\"His First Murder\\\"; 578 \\\"In Boot Hill Their Are Over 400 Graves\\\"; 591 \\\"Miss Angela Duchenson of Tuscon\\\"; 600 \\\"With the Bowdnys\\\"; 613 \\\"I Have Seen Pictures of Great Stars\\\"\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552743444482,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"9547","cataloger_name":["University of Alberta,"],"partnerInstitution":["University of Alberta"],"collection_source_collection":["Department of English Recorded Events"],"source_collection_label":["Department of English Recorded Events"],"collection_contributing_unit":["Department of English and Film Studies"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Literary readings, lectures, panels, and interviews organized by members of the Department of English, University of Alberta, featuring local and visiting authors. 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Moodie [i.e. The Journals of Susanna Moodie]; c.25 talks about S. Moodie's origin; 98 \\\"Disembarking at Quebec\\\"; 106 \\\"Further Arrivals\\\"; 118 \\\"The Planters\\\"; 130 \\\"Death of a Young Son by Drowning\\\"; 151 \\\"The Immigrants\\\"; 181 \\\"Thoughts From Undergound\\\"; 199 \\\"Resurrection\\\"; 210 \\\"A Bus Along St. Claire in December\\\"; from Power Politics; 246 \\\"You Fit Into Me\\\"; 249 \\\"He Reappear[illegible due to case damage]; 265 \\\"They Eat Out\\\"; 280 \\\"After the Agony in the...Bedroom\\\"; 292 \\\"My Beautiful Wooden Leader\\\"; 307 \\\"You Want to Go Back...\\\"; 316 \\\"Their Attitudes Differ\\\"; 328 \\\"Because You Are Always Here\\\"; 336 \\\"After All You Are Quite Ordinary\\\"; 349 \\\"We Are Hard on Each Other\\\"; 365 \\\"At First I was Given Centuries\\\"; 388 \\\"You Refuse To Own Yourself\\\"; 404 \\\"You Did It...\\\"; 420 \\\"I am Sitting on the Edge...Bed\\\"; 430 \\\"Lying Here Everything Brittle\\\"; 443 \\\"This is a Mistake\\\"; 452 \\\"They Are Hostile Animals\\\"\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552744493056,"timestamp":"2026-01-07T14:59:57.226Z","score":1.0},{"id":"5380","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robin Blaser discussion on Bob Dylan, Jack Spicer at Warren Tallman’s House in Vancouver, [1971?] #757"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[RB_757]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin","Tallman, Warren"],"creator_names_search":["Blaser, Robin","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1255/Reading in BC_MsC199_757.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"757-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:44\",\"precision\":\"\",\"size\":\"30.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"https://digital.lib.sfu.ca/rbr-62/rb757a\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"757-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:26\",\"precision\":\"\",\"size\":\"40.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"https://digital.lib.sfu.ca/rbr-63/rb757b\"}]"],"Dates":["[{\"date\":\"1971\",\"type\":\"Performance Date\",\"notes\":\"Exact year is qualified by a question mark on the J-card, so is not completely certain: [1971?].\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/30880923\",\"venue\":\"Warren Tallman’s House\",\"notes\":\"In the '70s(?) he moved to 3504 Bella Vista in East Vancouver V5N 3W9 and lived there till his death.\",\"address\":\"3504 Bella Vista in East Vancouver V5N 3W9\",\"latitude\":\"49.25312\",\"longitude\":\"-123.07054\"}]"],"Address":["3504 Bella Vista in East Vancouver V5N 3W9"],"Venue":["Warren Tallman’s House"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\n½\t\t\tDiscussion\n"],"Note":["[{\"note\":\"Robin Blaser on Bob Dylan, Jack Spicer, The City, etc at Warren Tallman’s House, Vancouver BC, (1971?)\\n #757\",\"type\":\"General\"},{\"note\":\"I heard Warren Tallman's voice, so I added him as a creator. There are also other people attending this program\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553068503040,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5381","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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There are also other people attending this program\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553068503041,"timestamp":"2026-01-07T14:59:57.525Z","score":1.0},{"id":"5703","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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H.\",\"dates\":\"1936-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5999/Reading in BC_MsC199_542_2.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"542_2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:39\",\"precision\":\"\",\"size\":\"40.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"542_2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:34\",\"precision\":\"\",\"size\":\"42.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1971-07-29\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2767,-122.9178 \",\"longitude\":\"-122.9178 \"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t\tJeremy H. Prynne, Olson’s Maximus IV, V, VI\n\t\t000\tIntroduction\n\t\t024\tMaximus IV, V, VI, a “simple poem”.  It is not a lyric poem\n\t\t065\tHow a seemingly lyrical poem like “The Twist” avoids being lyrical\n\t\t071\t…poem is “simple” but Olson’s life dense and complex\n\t\t087\tDefinition of “cosmos”, “cosmology”\n\t\t100\t“Lyric” relies on metaphor; a condition “of the part”, not “of the whole”\n\t\t110\tFirst part of Maximus has a “lyrical” thrust outward into the ocean and cosmos; later part (IV, V, VI) man turns his back on the sea, back to the land\n\t\t148\tMaximus “folds back on itself”, from cosmos to land, from story to myth – “muthos”\n\t\t180\tMaximus a “circular” poem; when “lyric’ concludes, condition of myth takes over\n\t\t204\tMilton’s “Paradise Lost” a circular poem with a fault (original sin); Maximus a circular poem without a fault – “the world is an eternal event”\n\t\t240\tOlson gets away from the “lyric” by becoming “estranged from that which was most familiar”: the Earth, “home”\n\t\t288\t“Obscure LYRIC” IS PERMISSABLE; “OBSCURE EPIC” is a failed epic\n\t\t320\tSecond Maximus a simple part of an epic poem; describes “homecoming”\n\t\t340\tMaximus a “complete” poem\n\t\t389\t“We escape the metaphor… We participate in the condition of being… beyond the condition of meaning”\n\t\t406\t“The ‘love epic’” : Love for the “whole”, for the cosmos\n\t\t420\tOlson “nods to” Ezra Pound in his epic\n\t\t429\tKeats’ struggle to get out of “local” “lyrical” condition in “Hyperion”; struggle to do what Olson does\n\t\t467\t“the ‘curvature’ of the universe is love”\n\t\t502\tThe universe is simple as a whole, as is its language: a “capacity for love”\n\t\t576\tQuestions from the audience"],"Note":["[{\"note\":\"Released on Folkways FL 9738\\nSide 1 30:40\\nSide 1 30:55\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553750077442,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"5742","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jack Clarke lecture on Charles Olson on December 12, 1971 Tape 2 of 2 #543b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Olson, Charles","Clarke, John"],"creator_names_search":["Olson, Charles","Clarke, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"Jack Clarke discusses Charles Olson as an inspiration for FATHAR III\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/40837274\",\"name\":\"Clarke, John\",\"dates\":\"1933-1992\",\"notes\":\"John \\\"Jack\\\" Clarke\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6045/Reading in BC_MsC199_543_2.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:55\",\"precision\":\"\",\"size\":\"36.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:59\",\"precision\":\"\",\"size\":\"37.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1971-12-12\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tFATHAR III written in Buffalo & Oregon from Memorial Day 1970 to Memorial Day 1971\n\t\t030\t“property is solace to everyone”\n\t\t052\tIntroduces “We are the Gypsies of Coalsack Bluff”\n\t\t090\tReads “We are the Gypsies…”\n\t\t110\tIntroduces ‘THE CHALLENGE”\n\t\t168\tReads “THE CHALLENGE”\n\t\t200\tReads “ANIMAE SIMPLICISSIMAE”\n\t\t238\tReads “OXFORD GONE TO THE DOGS”\n\t\t255\tReads “JOB ONLY GOES THROUGH”\n\t\t274\tReads “CRYPTIC EMERGENCY”\n\t\t280\tReads “PURCHASE ORDER THE STATE OF NEW YORK NELSON ROCKYFELLER GOVERNOR”\n\t\t298\tReads “LOTS OF VESTURE”\n\t\t307\tReads “BREAD ALONE”\n\t\t330\tReads “AND ALL THE DARK PLACES WRE LIGHTED UP FOR WYNTON”\n\t\t345\tExplains the mythology of “AND ALL THE DARK…”\n\t\t409\tReads “THE DECADE IS COMPLETE”\n\t\t421\tReads “THE WARDER OF THE WOOD”\n\t\t445\tReads “THE DELINEATION”\n\t\t472\tQuestions from the audience"],"Note":["[{\"note\":\"\\nSide 3 36:15\\nSide 4 26:00\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553760563202,"timestamp":"2026-01-07T14:59:58.173Z","score":1.0},{"id":"6252","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jack Clarke lecture on Charles Olson on December 12, 1971 Tape 1 of 2 #543a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Olson, Charles","Clarke, John"],"creator_names_search":["Olson, Charles","Clarke, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"Jack Clarke discusses Charles Olson as an inspiration for FATHAR III\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/40837274\",\"name\":\"Clarke, John\",\"dates\":\"1933-1992\",\"notes\":\"John \\\"Jack\\\" Clarke\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7957/Reading in BC_MsC199_543_1.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:34\",\"precision\":\"\",\"size\":\"30.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:30\",\"precision\":\"\",\"size\":\"30.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1971-12-12\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tClarke is introduced\n\t\t027\tJack Clarke begins to discuss the context of FATHAR III, mentions D.H. Lawrence\n\t\t064\t“I’ve got a oem that begins with the word ‘pre’.”\n\t\t076\tClarke inspired by a poster of Charles Olson before he left on his 1970 sabbatical, wrote the poems in FATHAR III\n\t\t122\tThe source of these poems “unknown”, in Lawrence’s sense\n\t\t275\tTalks about the 60’s, tells story of woman who asks her husband where he comes from discusses marriage\n\t\t340\tMarriage, etc., different in the 70’s, burden on man to express “unknown”\n\t\t425\tStory of South American man who is charged with being a shaman\n\t\t571\tLawrence:”…marriage is further than death…”\n\t\t594\tReads “As a matter of fact, unless a woman is held by man safe within the bounds of belief…” (Lawrence)\n\t\t678\tDiscusses Lawrence’s writing about Pearl from The Scarlet Letter"],"Note":["[{\"note\":\"\\nSide 3 36:15\\nSide 4 26:00\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555059748865,"timestamp":"2026-01-07T14:59:59.437Z","score":1.0}]