[{"id":"1253","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":[" Margaret Atwood at Sir George Williams University, The Poetry Series, 18 October 1974"],"item_title_source":["Cataloguer"],"item_title_note":["\"MARGARET ATWOOD\" written on the spine of the tape's box. \"I006-11-008\" written on sticker on the reel. \"MARGARET ATWOOD 5780 H. FINK ENGLISH 18-10-74 Weisman Gallery OP-Gvadnay?\" written on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_identifiers":["[]"],"access":["Closed"],"creator_names":["Atwood, Margaret"],"creator_names_search":["Atwood, Margaret"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"Internationally acclaimed novelist, poet, critic and activist Margaret Atwood was born in Ottawa, Ontario, November 18, 1939. She lived in Ottawa until 1946, when her family settled in Leaside, a suburb of Toronto. Atwood entered Victoria College, University of Toronto, graduating with honours in 1961. Her first published collection of short stories was Double Persephone (Hawkshead Press, 1961). By 1962 she had received her MA in English from Radcliffe College in the United States, working on further graduate work at Harvard University between 1962-3 and in 1965-7. Atwood published her second collection, The Circle Game (Anansi, 1966), which won the Governor General Award for Poetry. She wrote articles and reviews for Alphabet, Canadian Literature and Poetry among other publications, and poems for Kayak, Quarry and the Tamarack Review. Poems published in her book The Animals in That Country (Oxford University Press, 1968) won first prize in Canada’s 1967 Centennial Commission poetry competition. In 1970, she published three books, Procedures for Underground (Oxford University Press), Time, and The Journals of Susanna Moodie (Oxford University Press). Between 1971 and 1973, Atwood worked as an editor and on the board of directors for the House of Anansi press in Toronto, which in 1972 published Power Politics. Upon the discovery at Harvard that there was no published critical study of Canadian literature, she herself wrote and published Survival: A Thematic Guide to Canadian Literature (Anansi, 1971), which created a stir of controversy, but by 1982 it had sold more than 85,000 copies. Since 1973, she has lived with novelist and activist Graeme Gibson, producing one daughter, Eleanor Jess in 1967. Atwood taught and lectured at several Universities across Canada, the US and Australia, including University of British Columbia, University of Alberta, Sir George Williams University (now Concordia) (1967-68) and at York University, Toronto. A selection of her publications include Surfacing (Simon & Schuster, 1972), You Are Happy (Harper & Row, 1974), Selected Poems (Oxford University Press) in 1976, Two-Headed Poems (Simon & Schuster, 1978), True Stories (Oxford University Press, 1981) and Second Words (Anansi, 1982). Her 1985 novel, The Handmaid’s Tale (McClelland & Stewart) became one of her most popular and critically acclaimed works. In 1986 she was appointed the Berg Chair at New York University, as well as serving as writer-in-residence at several other Universities. She co-founded and served as chair to the Writer’s Union of Canada in 1982-3, and served as president of the Canadian Centre of International PEN from 1984-6. She has subsequently published dozens of books, including Cat’s Eye (McClelland & Stewart, 1988), The Robber Bride (Doubleday, 1993), Alias Grace (Nan A. Talese, 1996), The Blind Assassin (Nan A. Talese, 2000), Oryx and Crake (2003), The Penelopiad (Canongate, 2005) and The Tent (Bloomsbury, 2006). Along with many other publications of her critical essays, Curious Pursuits: Occasional Writing 1970-2005 (Verago) came out in 2005. Her many prizes and honours include the Booker Prize, the E.J. Pratt Medal (1961), The Radcliffe Medal (1980), the Commonwealth Writers Prize (1992), and she is a Companion of the Order of Canada. Atwood continues to work as spokesperson on behalf of human rights and the environment.\",\"nation\":[],\"role\":[\"Author\",\"Performer\",\"Speaker\"]}]"],"contributors_names":["Beissel, Henry, 1929-","Francis, Wynne","Fink, Howard,"],"contributors_names_search":["Beissel, Henry, 1929-","Francis, Wynne","Fink, Howard,"],"contributors":["[{\"url\":\"http://viaf.org/viaf/5489879/#Beissel,_Henry\",\"name\":\"Beissel, Henry, 1929-\",\"dates\":\"1929-\",\"notes\":\"Identity of this speaker confirmed in oral history interviews by Jason Camlot with Henry Beissel (over zoom), conducted on 2020-03-27 and 2020-05-05.\",\"nation\":[],\"role\":[\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/77926194\",\"name\":\"Francis, Wynne\",\"dates\":\"1918-2000\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/6332801\",\"name\":\"Fink, Howard, \",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\"]}]"],"Presenter_name":["Beissel, Henry, 1929-","Francis, Wynne"],"Series_organizer_name":["Francis, Wynne","Fink, Howard, "],"Speaker_name":["Fink, Howard, "],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"Notes on tape box include: CENTRE FOR INSTRUCTIONAL TECHNOLOGY; Prod. No: 5789; Professor/Initiator H. Fink; DEPT. English; venue noted is Weisman Gallery; Op. [operator or recordist] G Uadnay [?]; check box indicates this is MASTER of the recording (not a copy); \",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"Cardboard tape box\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1974 10 18\",\"type\":\"Performance Date\",\"notes\":\"Date written on the front of the tape's box. This date was confirmed in. the Oct 18, 1974 issue of The Georgian.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Weismann Art Gallery\",\"notes\":\"Location written on the front of the tape's box indicates the venue was the Weisman Gallery.\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Weismann Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Margaret Atwood reads from You Are Happy (Oxford University Press, 1974) and Power Politics (Anansi, 1971). Atwood also answers audience questions about her work. "],"contents":["margaret_atwood_i006-11-008.mp3\n\nHenry Beissel\n00:00:00\nOne moment... problem that we have here at Sir George [https://www.wikidata.org/wiki/Q326342]. We did try to get a larger hall but it was impossible. To accommodate the overflow, we have set up loudspeakers in the little gallery here, Howard, and in the other one too?\n \nHoward Fink\n00:00:21\nOutside.\n \nHenry Beissel\n00:00:22\nOutside, there are loudspeakers. So please don't all crowd into the room. If you are going to lean against the paintings, we shall never be able to get this room again for poetry readings. Because this, this is a gallery which belongs to the Fine Arts department, we had great difficulty getting it, these paintings are very precious, particularly to the artists themselves [audience laughter]. I would ask you please to stay away from the paintings. That must have been the artist [audience laughter]. We are also waiting for the arrival of someone else, so please be patient. Howard--[audience laughter] can you ask the security people to turn on the cooling system, the hall is going to be too hot.\n \nUnknown\n00:01:22\nAmbient Sound [voices].\n \nHenry Beissel\n00:01:25\nWe may get 927.\n \nMargaret Atwood\n00:01:30\nWhat do you mean, we may, I think they're also--okay. What would you like to do? Let us stay here or move?\n \nAudience\n00:01:41\nStay here.\n \nMargaret Atwood\n00:01:44\nOkay, with the people, there are some people who are at the back of the door, there is some space up here at the front if you'd like to come up.\n \nHenry Beissel\n00:01:54\nNo more than ten.\n \nMargaret Atwood\n00:01:58\nAbout ten. It'll make more room at the back too...If everybody on the chairs would shift over this way, um, and sit on, sort of as if it were a bench, then some more people can sit on the edges there. Or just move the chairs all that way. Move the rows forward. They're all shifting over anyway. Could you all move your chairs forward to make the rows as close together as possible. Okay, it's alright. \n\nUnknown\n00:03:17\nAmbient Sound [voices].\n\nMargaret Atwood\n00:04:41\nThere are these uhh--woohoo--there are these speakers outside and you might be more comfortable if you went out and listened over the speakers, some of the people are really jammed in there. I don't see any reason why this thing should resemble a steam bath, for all of us. If you're--what? what?...I don't think I can, what is it that they do? [Audience laughter].\n \nWynne Francis\n00:05:19\n[Laughter]. Miss Atwood [https://www.wikidata.org/wiki/Q183492] has just upstaged the introducer. Good evening ladies and gentlemen. It's not often that an artist excels in two medium such as poetry and fiction as our guest tonight does. Miss Atwood's reputation as a superior poet was established in the 60's with her first collections, The Circle Game [https://www.wikidata.org/wiki/Q7723073] and The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]. And while continuing to write fine poetry, six major collections to date, she's given  us two novels in the last five years, The Edible Woman [https://www.wikidata.org/wiki/Q7731579] and Surfacing. With the second novel, published late in 1972, within a few months of a controversial work of criticism, Margaret Atwood became one of Canada's [https://www.wikidata.org/wiki/Q16] best known literary artists. The hypothesis of Survival, a study of patterns in Canadian lit is that Canadians see themselves as victims. I was remind of Survival recently when I came across a nineteenth-century curiosity written by one John McTaggart [https://www.wikidata.org/wiki/Q463553]. It was a book published in London [https://www.wikidata.org/wiki/Q84] in 19-- excuse me--1829. McTaggart wrote \"There's a melancholy which is peculiar to Canadians which must be combatted. People who labor under it must be encouraged, the soothing language, good treatment and now and then as circumstances require, a little assistance gratis as a stimulant.\" McTaggart's third point about the helpful effects of a little assistance as a recent theory has been taken up by the Canada Council [https://www.wikidata.org/wiki/Q2993809], to whom we are in part indebted for her appearance tonight. Margaret Atwood's work constitutes an exploration of what it means to be a Canadian, to be a woman and to be a human being. She writes about our totems, our tapestry of manners, our progressive insanities. She taught at Sir George in 67-68, and it's a great pleasure to have her return to us tonight. After her reading, she'll be open to questions from the audience. Ladies and gentlemen, Margaret Atwood.\n\nAudience\n00:07:27\nApplause [cuts out briefly].\n\nMargaret Atwood\n00:07:38\nLet's see now, if the mic starts to get funny, let me know...Too loud?...Not too loud, I'm afraid it isn't a very good mic and also I'm afraid I'm going to have to hold it the whole time which is a bore...I don't think it'll work very well, is that better? Does that work? Higher? Lower? Okay, how's that? Okay, I'm going to read entirely from my new book which is called \"This is\"--oh, what is it called? [audience laughter]. It's called You Are Happy. Somebody who has been photographing me says that a friend of hers was in a bookstore and picked out this book and thought at first that this was one of these \"I'm Okay, You're Okay\" books. Until I saw who wrote it. [Audience laughter]. But it has a happy ending, you'll be pleased to know. And I'm going to begin at the beginning and end at the end. Skipping portions along the way. I'm also going to make this reading fairly short because we are all in this rather constricted situation. I used to tell people when people in the States [https://www.wikidata.org/wiki/Q30] used to ask me “do you live in an igloo” and other questions like that, I used to think to myself that being a Canadian was sort of like living in a chicken coop in the middle of the desert. That everybody was all together in one place but there are these huge spaces around. I wish that  we had been provided with one of them. [Audience laughter]. I have a chicken coop, and you're nicer. But there are more of you. I think we will all have to be very, very patient, unlike the chickens. I'm going to begin by reading a poem called \"Newsreel: Man and Firing Squad\".\n \nMargaret Atwood\n00:10:04\nReads \"Newsreel: Man and Firing Squad\" from You Are Happy.\n \nMargaret Atwood\n00:11:42\nReads \"Useless\" from You Are Happy.\n \nMargaret Atwood\n00:12:35\nThis is--the image in this next poem comes from, begins with the fact that I have a sheep and one of them died. The poem is called \"November\".\n \nMargaret Atwood\n00:12:48\nReads \"November\" from You Are Happy.\n \nMargaret Atwood\n00:13:52\nReads \"Repent\" from You Are Happy.\n \nMargaret Atwood\n00:14:47\n\"Tricks with Mirrors\". How are you doing? Is it hot and steamy? Has anybody died yet?\n \nMargaret Atwood\n00:15:05\nReads \"Tricks with Mirrors\" from You Are Happy.\n \nMargaret Atwood\n00:17:45\nThis is the title poem, \"You Are Happy\".\n \nMargaret Atwood\n00:17:50\nReads \"You are Happy\" from You Are Happy.\n \nMargaret Atwood\n00:18:48\nReads \"First Prayer\" from You Are Happy.\n \nMargaret Atwood\n00:20:25\n\"Is / Not: 1\". Oh boy, is it ever hot in here. I can't stand it. Light. I wonder if we could--well, then I can't see, you see. I wonder if we could turn off--would it be better if we turn off those lights that are grilling you over there...I could what?...Where's the light switch anyway? Howard, turn off the lights?...Well, maybe in a few minutes the lights will go off. Where did…\n\nUnknown\n00:21:36\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n\nMargaret Atwood\n00:21:37\nHooray, wonderful. Actually, there's a light under here. It's like the Saturday movies [audience laughter]. No, I can read with this, yeah. Maybe I'll just read a little something else here, because it's the Saturday Movies.\n \nMargaret Atwood\n00:22:18\nReads [\"You take my hand\" from Power Politics; audience laughter throughout].\n \nMargaret Atwood\n00:23:13\nAnd since we were talking about the war between Superman [https://www.wikidata.org/wiki/Q79015] and Captain Marvel [https://www.wikidata.org/wiki/Q534153] at dinner, my favourite was Plastic Man [https://www.wikidata.org/wiki/Q746838], but that was an esoteric taste. I'll read this one.\n \nMargaret Atwood\n00:23:28\nReads \"They Eat Out\" [from Power Politics].\n \nMargaret Atwood\n00:24:44\nI go to--I can't resist this. This is from the new book, it's called \"Siren Song\". Students of Seventeenth Century Literature are always asking themselves and each other, what song the sirens sang, and this is the ultimate answer.\n \nMargaret Atwood\n00:25:06\nReads \"Siren Song\" from You Are Happy.\n \nMargaret Atwood\n00:26:12\nThe imminent critic, Allen Pearson, who was once known when he lived in Montreal [https://www.wikidata.org/wiki/Q340] as the Montreal Poet, now that he lives in Toronto [https://www.wikidata.org/wiki/Q172], he's probably known as the Toronto Poet, says the following: \"Siren Song tells how boring it is for a woman to be obliged to attract men by appealing to them for help\". [Audience laughter]. Um, since I'm on the subject of people in capes and costumes, I'll read...\n \nUnknown\n00:26:56\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nAnnotation\n00:26:57\nReads [untitled poem from the “Circle/Mud Poems” section in You Are Happy].\n \nMargaret Atwood\n00:28:20\nReads \"Is / Not\" from You Are Happy.\n \nMargaret Atwood\n00:30:37\nI think I'd better read just three more poems, before we all die. The first one is called \"There is Only One of Everything\".\n \nMargaret Atwood\n00:30:54\nReads \"There is Only One of Everything\" from You Are Happy.\n \nMargaret Atwood\n00:32:30\nReads \"Late August\" from You Are Happy.\n \nMargaret Atwood\n00:33:26\nThis is the last poem, called \"Book of Ancestors\".\n \nMargaret Atwood\n00:33:33\nReads \"Book of Ancestors\" from You Are Happy. \n \nAudience\n00:36:31\nApplause [cuts out briefly].\n\nWynne Francis\n00:36:47\nThank you, it's really not so hot if you sit still. Miss Atwood is prepared to discuss, for a little while.\n \nMargaret Atwood\n00:37:04\nIf you would like to, uh, I can't see a thing of course, I can sort of see hands if you stick them up and wave them around. Would that be better than turning back on the lights which I'd prefer not to do?\n \nWynne Francis\n00:37:22\nThere's no way we can get mics in the audience, so please speak loudly.\n \nMargaret Atwood\n00:37:23\nI see a hand.\n \nAudience Member 1\n00:37:28\nHow did your nickname of a witch get originated?\n \nMargaret Atwood\n00:37:30\nHow did my nickname of a witch? Are you referring to the speech I gave the other night at Loyola? Oh, it's, I was talking about a couple of reviews, that seemed to credit me with having these supernatural powers, you know, the ability to hypnotize my readers and things like that, and what I was saying was that in fact I don't in fact possess the powers of hypnotism or I'd use them on my bank manager and be quite rich. Um, I was talking about a pattern that seems to crop up from time to time in a certain kind of review usually written by men. [Audience laughter]. I heard that there were a couple of people in the audience at Loyola who before the speech, were convinced that I was a witch and that I was going to talk about witchcraft, and when I said that I wasn't one, they left. [Audience laughter]. You see, if I were a witch, I wouldn't be able to wear the cross. So that's how you can tell I'm not. Wards off vampires. Um, yes?\n \nAudience Member 2\n00:38:54\nUm, [unintelligible] and as well as the Edible Woman, I seem to get this idea of an emergence from greyness, or darkness and I was wondering if it's through this emergence from greyness that you have any reference to Blake [https://www.wikidata.org/wiki/Q41513] in his emergence from chaos.\n \nMargaret Atwood\n00:39:17\nI'll be very flattered, if I did. I'm afraid I suffer by the comparison. I think that you're right in spotting it, I think I would say that it's more like this, that if you want to think in terms of colour, that you start with a grey, and then you go down. Down into, well, it depends on the poem or the book or whatever of what's happening in your life. And, but you have to go down before you come up again otherwise you stay just in the grey part. If you want a real pattern for this, it's Dante's [https://www.wikidata.org/wiki/Q1067] Inferno [https://www.wikidata.org/wiki/Q4509219], where the man starts in a wandering wood, you know he starts in a kind of state of being lost, and then he goes down into hell. The further down he goes the more tortured souls he sees, but when he gets right to the bottom he finds that he's going up again. And then he comes out the other side.\n \nAudience Member 2\n00:40:19\nYeah, but, in this other side-ness in the Edible Woman you come up through colours, a very [unintelligible] of colours and I was wondering if this is the complete emergence of man?\n \nMargaret Atwood\n00:40:29\nNot complete--I would say no, no beginning.\n \nAudience Member 2\n00:40:32\n[Unintelligible] complete--into his universal aspect, but into an emergence of man. Into the colours of life.\n \nMargaret Atwood\n00:40:39\nYour choice of the word 'man' is interesting. Since the heroine is a woman. [Audience laughter and applause]. Um, I think you have the pattern right. I wouldn't like to attach any sort of universal meaning to it.\n \nAudience Member 2\n00:40:56\nNo I'm not attaching a universal meaning, I'm attaching more or less a universal meaning to the colour of darkness or greyness.\n \nMargaret Atwood\n00:41:04\nNo, that's right, you're correct. Yes.\n \nAudience Member 2\n00:41:07\nI'm not trying to express a universal meaning into these colours, this is where you're taking it wrong.\n \nMargaret Atwood\n00:41:14\nWell, I'm not too sure what we're talking about  to tell you the truth. You've spotted a correct pattern and I'm not too sure how one interprets it because I don't like to be the critic of  my own work in a way if you know what I mean. Yes.\n \nAudience Member 3\n00:41:34\nI know you're writing a screenplay for [unintelligible]. Will it ever become a film?\n \nMargaret Atwood\n00:41:39\nWill it ever? Let's see now, I finished it at the end of July. Now, what is--the stages of making a film are these: first somebody takes out an option on it, which means they pay you X dollars to have the sole right to try to make the movie for a certain period of time. If they fail to make it to renew the option or to require the rights at the end of that period, you get it back and you can then sell it to anybody else or back to them if you want. That's different from buying the rights which means they've got it. And you can't get it back. An option has been taken out, a script has been written. They are now doing whatever it is they do, who knows. To try to put together what is called a package, that is, they try to interest a director or they pick out a director and they try to put a director together with a script together with some money. And that's all going on, I don't know what's happening with it because they don't tell. Yes.\n \nAudience Member 4\n00:42:42\nAre those people American or Canadian?\n \nMargaret Atwood\n00:42:47\nThese people are. [Audience laughter]. Once upon a time there was an English Canadian film industry. Not very hard. I mean it's trying very hard but not many results are being had. And I wanted very much to make Surfacing in Canada with Canadian everything, but I was about two years too late. And also Canadians are quite timmerus about this book because they said “well, it'll never be able to sell a film in the States” because of all that strange American symbolism in it. They--the two people I'm working with are two American independent producers, not to be confused with MGM [https://www.wikidata.org/wiki/Q179200], who want to make the book as it is, that is, they like the book, they want to be faithful to it, they don't want to transport it to Maine [https://www.wikidata.org/wiki/Q724] or wherever and make it into an American film, which of course you couldn't do without ruining the symbolic pattern. They want to make it in Canada, they want to put in all that stuff because they say “wow, dynamite”. [Audience laughter]. They're not worried about selling it in the States. So that's how we're proceeding right now and we have not yet had a falling out on any of the crucial matters such as what's in the screenplay. And so that's been fine. They would like to make it here. And what stage they're at right now I don't know. Now if they don't put it together, then I get it back and then I have another go. And I'll try it ‘round Canada again, once more, and I'll probably with the same results--\n \nAudience Member 4\n00:44:26\nYou have tried?\n \nMargaret Atwood\n00:44:30\nOh yes, everybody tries. I've written four or five screenplays, none of them have been made. They've all been for Canadians. One thing has happened, I got one television play done, but of course everything you do for the CBC [https://www.wikidata.org/wiki/Q461761] pretty well gets done. [Audience laughter]. As you know. I wrote a screenplay for Edible Woman that didn't get done. I wrote one for Marie-Claire Blais [https://www.wikidata.org/wiki/Q298358], Mad Shadows, we had high hopes for that, that was a Canadian director, Canadian producer all the rest of it. No deal. Film development corporations said it wasn't commercial enough. I mean, you don't go outside before you've been through it for a while. It's a problem that novelists used to face when trying to get their novels published here.\n \nWynne Francis\n00:45:22\nI'd like to ask a question, and I can't see what competition I've got, I can't see anything out there. On Wednesday at Loyola, you gave comic tags to some of your critical opponents taken from Koestler [https://www.wikidata.org/wiki/Q78494], Yogis and Komisars are critics that are formalists and culturally and politically aware and I wondered, do you see the ideal critic or type of criticism as combining these two?\n \nMargaret Atwood\n00:45:51\nWell, I think that people have certain talents, you know, and they should exercise what talents they have, and that all kinds of criticism should be available to the reader. I don't think that every critic has to do everything, I think that would be asking a singer to be a dancer. \n \nWynne Francis\n00:46:08\nI remember you saying it was good to have both kinds, I wondered if you think they could be combined?\n \nAudience Member 5\n00:46:16\nIs it possible that the body of knowledge turns into the knowing body?\n \nMargaret Atwood\n00:46:20\nIs it possible that the body of knowledge turns into the knowing body? Um, I'll let you answer that. If such a person could do it, I'd like to see it, I've never seen anybody who could do both at the same time. Frye [https://www.wikidata.org/wiki/Q354256], for instance, does one kind in one book and then another kind in another book, but he usually doesn't usually do them both in the same book. I would say that Yogi-ism is necessary to be able to read a poem, just period pure and simple. To see what is happening in it. But Komasarism is necessary to place it in a larger context. Why not do both? Yes, I see. Back there, you\n \nAudience Member 6\n00:47:08\nDo you think that Quebec [https://www.wikidata.org/wiki/Q176] is a part of Canada?\n \nMargaret Atwood\n00:47:09\nOh that's such a good question.\n \nAudience Member 6\n00:47:11\nDo you think that a Quebecois is a Canadian?\n \nMargaret Atwood\n00:47:15\nI think I'll leave that to the Quebecois to decide for themselves. They're the people concerned. [Audience applause]. I was talking with one not so long ago, Marie-Claire Blais, and I asked her that question. I said, “well, what do you think of yourself as? Do you think of yourself as a Quebecoise? or a Canadian? or a North-American, or part of Western European culture or a universalist?” And she said, “I am from Quebec”. [Audience laughter]. Does that answer your question? Yes.\n \nAudience Member  7\n00:47:58\nWhat is your opinion of the introductions in the New Canadian Library [https://www.wikidata.org/wiki/Q16998703] Series?\n \nMargaret Atwood\n00:48:03\nWell, they vary. [Audience laughter]. Do you mean the one? Well, I thought that it was, it was like a, well, the only thing I can think of is something fairly vulgar, um, but I don't mean that I think it was bad. I mean that I think it was quite a ponderous organization, being brought to bear on what I consider to be a fairly light piece of writing. That is, at the front of my book, I have a quotation from the Joy of Cooking which tells how to make puff pastry. And then I have you know, critical sort of, really big critical apparatus coming in and talking about the symbolic structuring and the this and the that, and I think it's nice, I'm glad to know about those things, but [audience laughter] it's somehow, I thought my novel was a bit more comic than that. If you know what I mean.\n \nAudience Member 8\n00:49:09\nYeah, I wanted to ask a question. Yeah, I was wondering to what degree you consider yourself to be an ironist because you're talking about [unintelligible] irony, it seems to me that irony is the point I’m most attracted to in your work anyway.\n \nMargaret Atwood\n00:49:22\nYeah, well, you can have both of course, as a matter of fact you usually do.\n \nAudience Member 8\n00:49:31\nYou were talking about anger, and \"permit me the present tense\" kind of thing, seems to me that that was ironic.\n \nMargaret Atwood\n00:49:41\nAmbigu--it has a double meaning. But that's not always irony, I think irony has been...Well, somebody defined irony as a kind of literature in which the reader knows more about what's going on with the character than the character knows himself, shall we say. So, yes, of course, I think that happens in an awful lot of modern literature. Yes.\n \nAudience Member 9\n00:50:14\nI understand you're working on Survival Two?\n \nMargaret Atwood\n00:50:16\nNot working, exactly.\n \nAudience Member 9\n00:50:22\nI was wondering whether you could, or would like to elaborate on that.\n \nMargaret Atwood\n00:50:25\nYeah, okay. There was to have been something called Survival Two, which was to have been this really dynamite anthology. Which would have incorporated many of the short pieces mentioned in Survival, plus other ones that were appropriate and we did assemble this and then we had it priced as to how much it would cost for permissions and how much it would cost us to print it and it was just astronomically expensive. So we had to shelf that, and that was what Survival Two was to have been. Now I'll probably publish the proposed table of contents sometime and you can see what would have been in it. [Audience laughter]. You know, but a small publisher cannot afford to do this kind of thing. However, I am, I won't say working on because I'm working on it in the same sense that I'm working on my Ph.D. thesis, what I'm really doing is writing a novel. But I will, should I live that long, write a second edition of Survival, in which I hope to have five new chapters and additions to the ones that already exist. I think the thing about Survival that sometimes gets forgotten was that it was based on what was available in paperback at the time. A lot more things are available in paperback now, we have General Publishing coming on the scene, with Paper Jacks,  and New Canadian Library expanding itself and Macmillan's [https://www.wikidata.org/wiki/Q2108217] paperbacks expanding. So there's just a lot more around that you can put in and also new books have been published that I would like to talk about and I've discovered older ones that I didn't know about before. So, all of these things, plus a new introduction and maybe a few things at the back, I would like to do. However, I'm not quite ready to do it yet. I took a kind of holiday after I finished Survival One, and I'm still in that, it's a holiday devoted to writing other things. Yes,\n \nAudience Member 10\n00:52:30\nWho are your favourite poets?\n \nMargaret Atwood\n00:52:33\nI tend to have favourite poems, rather than favourite poets, but I can tell you the names of some people who've written some of my favourite poems. One of them is Margaret Avison [https://www.wikidata.org/wiki/Q6759152], one of them is P.K. Page [https://www.wikidata.org/wiki/Q2755960], they're poems by all kinds of people that I really like, for instance, I really like some of A.M. Klein's [https://www.wikidata.org/wiki/Q2778027] poems. I think they're just super. And more modern people, for instance, Michael Ondaatje [https://www.wikidata.org/wiki/Q313593], I like his work, Al Purdy [https://www.wikidata.org/wiki/Q4704621] I was reading in the early to middle Sixties, Doug Jones [https://www.wikidata.org/wiki/Q5203595] at that time. It covers a very wide range. I'm a kind of omnivorous reader, I'll read anything, including the backs of Cornflake boxes, so that you just never know, and it also changes, you know, because you read somebody for a while and then you've done that so you go and read somebody else.\n\nAudience Member 10\n00:53:31\n[Unintelligible].\n\nMargaret Atwood\n00:53:33\nOh yeah, I get various little magazines come floating in through the mail to me, for some reason. And right now, for instance, I'm reading a lot of Adrienne Rich [https://www.wikidata.org/wiki/Q270705], because I'm about to write a review of her latest book. This kind of thing, I mean it varies from month to month. If you ask me the same question in January the question would be different...Yeah.\n \nAudience Member 11\n00:54:02\n[Unintelligible] Is Surfacing more than vaguely autobiographical?\n \nMargaret Atwood\n00:54:11\nIt's vaguely, if you're talking about the plot--no. The setting, yes, and this is generally true of fiction, that people write from a setting that they know. They generally create characters out of some people that they've known plus they throw things in and invent them and make mosaics out of various things and the characters are fictional. The plot is usually a total invention. I mean, my parents are still alive and well, all of that. No, I have never been a paranoid schizophrenic with amnesia. [Audience laughter]. And as for the Edible Woman, I've never gone off food, but all kinds of other people have. You know, they come up to me and say, “Gee, how did you know the story of my life” and “that's happened to me and let me tell you it was awful, I used to throw up on busses”. I was kind of shocked, actually, I thought it was all a big comic invention of my own. I see one waving at the back.\n \nAudience Member 12\n00:55:20\nUm, excuse me, would you say that you base your characters on some type of psychological background?\n \nMargaret Atwood\n00:55:25\nUm, I try to make them believable insofar as it will fit the plot. That is, I try to make what they do believable to myself, but they have to do what they do if you see what I mean. Yes.\n \nAudience Member 13\n00:55:46\nWould you say the Edible Woman is a comical invention of your own?\n \nMargaret Atwood\n00:55:49\nI said I thought it was, yeah.\n \nAudience Member 13\n00:55:51\nWell, how would you define that, as a comedy?\n \nMargaret Atwood\n00:55:54\nOh, okay, if you wanna be technical. Um, the Edible Woman is actually an anti-comedy. Because a comedy is a form in which usually a young couple goes through a series of misadventures and blokings and gets married at the end. Now in the Edible Woman, a young couple goes through a series of misadventures and blokings and somebody else gets married at the end. [Audience laughter]. Yes. \n \nAudience Member 14\n00:56:24\nCould you tell us anything about the novel you're writing now?\n \nMargaret Atwood\n00:56:26\nNot a thing, that's my one superstition--well, it's one of my superstitions. I can't talk about work that I'm doing, it uses up the energy. It's true. Yeah.\n \nAudience Member 15\n00:56:41\nI read the Edible Woman right after reading a book by Robertson Davies [https://www.wikidata.org/wiki/Q545375], about [unintelligible].\n \nMargaret Atwood\n00:56:49\nOkay, the question is I read the Edible Woman right after reading a book by Robertson Davies, Fifth Business [https://www.wikidata.org/wiki/Q5447489]?\n \nAudience Member 15\n00:56:58\nNo, an earlier book.\n \nMargaret Atwood\n00:57:00\nManticore [https://www.wikidata.org/wiki/Q7750230]?\n \nAudience Member 15\n00:57:00\nIt was a comedy\n \nMargaret Atwood\n00:57:01\nOh, okay.\n \nAudience Member 15\n00:57:02\nAbout a couple in a town [unintelligible] resolve it and they get married. And I wondered why he wasn't mentioned in Survival at all.\n \nMargaret Atwood\n00:57:15\nWell, I think probably because I wasn't doing humour and I wasn't doing magic. But since I am doing humour and magic in the next two chapters, then he will be in those. Samuel Marchbanks [https://www.wikidata.org/wiki/Q7412104] will be in under humour and Fifth Business and Manticore will be in under magic. I find the magician figure in Fifth Business very interesting from this particular advantage point. Why do Canadian magicians have to disguise themselves as foreigners in order to be thought of as magic. [Audience laughter.] You find this in Gwen MacEwen [https://www.wikidata.org/wiki/Q4276487] too. Specifically in the book called No Man.\n \nAudience Member 16\n00:58:04\nIs that a novel?\n \nMargaret Atwood\n00:58:04\nIt is a series of short stories, but there's sort of a central one in which you have the same pattern. Okay, let's have one more if there is one more. There isn't one more, there's one more.\n \nAudience Member 17\n00:58:22\nUm, the poems that you read tonight, would you consider those the best or the most significant ones from your collection, and if neither of those things, why did you select the ones that you read? The reason that I've asked that is because I've read your latest book quite carefully and I think that you read the, some of the best poems from it. I was wondering if you thought they were some of the best poems.\n \nMargaret Atwood\n00:58:45\nYeah. I think that one of the best things in it is section number three, but that consists of twenty four poems, which seem to me to be too long. I read some of them that I like quite a lot, yes, this is true, but I left out some others that I also like quite a lot because it seemed to me that they were too long and at this particular night anyway I felt that I should get through as quickly as possible because we were all stifling to death. Um, and with that I think that I will now end the question period and we can all go out and have a drink of water. \n\nAudience\n00:59:24\nApplause [cuts out briefly].\n \nWynne Francis\n00:59:38\nI'd just like to thank Margaret Atwood very much for being with us tonight--\n\nAudience\n00:59:40\nLaughter.\n \nEND\n00:59:46\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1974, Atwood was living in Alliston, Ontario and had finished a year as the writer-in-residence at the University of Toronto. You Are Happy came out in 1974, and she was working on collecting her Selected Poems which were published in 1976.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAtwood became an important award-winning poet and critic in Canada by the late 60‘s. Sir George Williams’ English Department hired Atwood in 1967 as an English lecturer, after she had graduated from Harvard. \",\"type\":\"General\"},{\"note\":\"Additional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://margaretatwood.ca/index.php>\",\"citation\":\"Atwood, Margaret.  Margaret Atwood Website. June 29, 2010. \\n\"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/977851868&referer=brief_results\",\"citation\":\"Atwood, Margaret. Selected Poems. Toronto: Oxford University Press, 1977.\"},{\"url\":\"https://www.worldcat.org/title/selected-poems-1965-1975/oclc/455883593&referer=brief_results\",\"citation\":\"Atwood, Margaret. Selected poems, 1965-1975. Toronto: Oxford University Press, 1976. \"},{\"url\":\"https://www.worldcat.org/title/the-circle-game/oclc/1007821877&referer=brief_results\",\"citation\":\"Atwood, Margaret. The Circle Game. Toronto: House of Anansi, 1966. \"},{\"url\":\"https://www.worldcat.org/title/power-politics/oclc/1043970047&referer=brief_results\",\"citation\":\"Atwood, Margaret. Power Politics. Toronto: Anansi, 1971. \"},{\"url\":\"https://www.worldcat.org/title/you-are-happy/oclc/878900780&referer=brief_results\",\"citation\":\"Atwood, Margaret. You are Happy. Toronto: Oxford University Press, 1974.\"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/802667762&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-volume-1/oclc/636622714&referer=brief_results\",\"citation\":\"Findley, Timothy. “Atwood, Margaret (1939-)”. Routledge Encyclopedia of Post-Colonial         Literatures in English. Benson, Eugene; L.W. Connolly (eds). London: Routledge, 1994. 2 vols.\"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1988.\"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970-edited-and-with-an-introduction-by-eli-mandel/oclc/1202953921&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-the-novel/oclc/807436716&referer=brief_results\",\"citation\":\"Rowland, Susan. “Margaret Atwood 1939- (Canadian)”. Encyclopedia of the Novel. Schellinger, Paul (ed.); Christopher Hudson, Marijke Rijsberman (asst. eds.). Chicago: Fitzroy Dearborn Publishers, 1998. 2 vols. \"},{\"url\":\"http://news.google.com/newspapers?id=waYtAAAAIBAJ&sjid=u58FAAAAIBAJ&pg=7250,4345207&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"Stephens, Anna. “Poetry- Anywhere, Anytime”. Montreal: The Gazette. 20 October 1967, page 10. \"},{\"url\":\"\",\"citation\":\"Kibble, Matthew. “Atwood, Margaret Eleanor, 1939-”. Literature Online biography. Proquest Information and Learning Company, H.W. Wilson Company, 2006. \"}]"],"_version_":1853670548644560896,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0008_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006-11-0008_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Atwood Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0008_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006-11-0008_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"notes\":\"\",\"title\":\"Margaret Atwood Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006-11-0008_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006-11-0008_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Margaret Atwood Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/margaret_atwood_i006-11-008.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"margaret_atwood_i006-11-008.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:59:46\",\"precision\":\"\",\"size\":\"143.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"margaret_atwood_i006-11-008.mp3\\n\\nHenry Beissel\\n00:00:00\\nOne moment... problem that we have here at Sir George [https://www.wikidata.org/wiki/Q326342]. We did try to get a larger hall but it was impossible. To accommodate the overflow, we have set up loudspeakers in the little gallery here, Howard, and in the other one too?\\n \\nHoward Fink\\n00:00:21\\nOutside.\\n \\nHenry Beissel\\n00:00:22\\nOutside, there are loudspeakers. So please don't all crowd into the room. If you are going to lean against the paintings, we shall never be able to get this room again for poetry readings. Because this, this is a gallery which belongs to the Fine Arts department, we had great difficulty getting it, these paintings are very precious, particularly to the artists themselves [audience laughter]. I would ask you please to stay away from the paintings. That must have been the artist [audience laughter]. We are also waiting for the arrival of someone else, so please be patient. Howard--[audience laughter] can you ask the security people to turn on the cooling system, the hall is going to be too hot.\\n \\nUnknown\\n00:01:22\\nAmbient Sound [voices].\\n \\nHenry Beissel\\n00:01:25\\nWe may get 927.\\n \\nMargaret Atwood\\n00:01:30\\nWhat do you mean, we may, I think they're also--okay. What would you like to do? Let us stay here or move?\\n \\nAudience\\n00:01:41\\nStay here.\\n \\nMargaret Atwood\\n00:01:44\\nOkay, with the people, there are some people who are at the back of the door, there is some space up here at the front if you'd like to come up.\\n \\nHenry Beissel\\n00:01:54\\nNo more than ten.\\n \\nMargaret Atwood\\n00:01:58\\nAbout ten. It'll make more room at the back too...If everybody on the chairs would shift over this way, um, and sit on, sort of as if it were a bench, then some more people can sit on the edges there. Or just move the chairs all that way. Move the rows forward. They're all shifting over anyway. Could you all move your chairs forward to make the rows as close together as possible. Okay, it's alright. \\n\\nUnknown\\n00:03:17\\nAmbient Sound [voices].\\n\\nMargaret Atwood\\n00:04:41\\nThere are these uhh--woohoo--there are these speakers outside and you might be more comfortable if you went out and listened over the speakers, some of the people are really jammed in there. I don't see any reason why this thing should resemble a steam bath, for all of us. If you're--what? what?...I don't think I can, what is it that they do? [Audience laughter].\\n \\nWynne Francis\\n00:05:19\\n[Laughter]. Miss Atwood [https://www.wikidata.org/wiki/Q183492] has just upstaged the introducer. Good evening ladies and gentlemen. It's not often that an artist excels in two medium such as poetry and fiction as our guest tonight does. Miss Atwood's reputation as a superior poet was established in the 60's with her first collections, The Circle Game [https://www.wikidata.org/wiki/Q7723073] and The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]. And while continuing to write fine poetry, six major collections to date, she's given  us two novels in the last five years, The Edible Woman [https://www.wikidata.org/wiki/Q7731579] and Surfacing. With the second novel, published late in 1972, within a few months of a controversial work of criticism, Margaret Atwood became one of Canada's [https://www.wikidata.org/wiki/Q16] best known literary artists. The hypothesis of Survival, a study of patterns in Canadian lit is that Canadians see themselves as victims. I was remind of Survival recently when I came across a nineteenth-century curiosity written by one John McTaggart [https://www.wikidata.org/wiki/Q463553]. It was a book published in London [https://www.wikidata.org/wiki/Q84] in 19-- excuse me--1829. McTaggart wrote \\\"There's a melancholy which is peculiar to Canadians which must be combatted. People who labor under it must be encouraged, the soothing language, good treatment and now and then as circumstances require, a little assistance gratis as a stimulant.\\\" McTaggart's third point about the helpful effects of a little assistance as a recent theory has been taken up by the Canada Council [https://www.wikidata.org/wiki/Q2993809], to whom we are in part indebted for her appearance tonight. Margaret Atwood's work constitutes an exploration of what it means to be a Canadian, to be a woman and to be a human being. She writes about our totems, our tapestry of manners, our progressive insanities. She taught at Sir George in 67-68, and it's a great pleasure to have her return to us tonight. After her reading, she'll be open to questions from the audience. Ladies and gentlemen, Margaret Atwood.\\n\\nAudience\\n00:07:27\\nApplause [cuts out briefly].\\n\\nMargaret Atwood\\n00:07:38\\nLet's see now, if the mic starts to get funny, let me know...Too loud?...Not too loud, I'm afraid it isn't a very good mic and also I'm afraid I'm going to have to hold it the whole time which is a bore...I don't think it'll work very well, is that better? Does that work? Higher? Lower? Okay, how's that? Okay, I'm going to read entirely from my new book which is called \\\"This is\\\"--oh, what is it called? [audience laughter]. It's called You Are Happy. Somebody who has been photographing me says that a friend of hers was in a bookstore and picked out this book and thought at first that this was one of these \\\"I'm Okay, You're Okay\\\" books. Until I saw who wrote it. [Audience laughter]. But it has a happy ending, you'll be pleased to know. And I'm going to begin at the beginning and end at the end. Skipping portions along the way. I'm also going to make this reading fairly short because we are all in this rather constricted situation. I used to tell people when people in the States [https://www.wikidata.org/wiki/Q30] used to ask me “do you live in an igloo” and other questions like that, I used to think to myself that being a Canadian was sort of like living in a chicken coop in the middle of the desert. That everybody was all together in one place but there are these huge spaces around. I wish that  we had been provided with one of them. [Audience laughter]. I have a chicken coop, and you're nicer. But there are more of you. I think we will all have to be very, very patient, unlike the chickens. I'm going to begin by reading a poem called \\\"Newsreel: Man and Firing Squad\\\".\\n \\nMargaret Atwood\\n00:10:04\\nReads \\\"Newsreel: Man and Firing Squad\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:11:42\\nReads \\\"Useless\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:12:35\\nThis is--the image in this next poem comes from, begins with the fact that I have a sheep and one of them died. The poem is called \\\"November\\\".\\n \\nMargaret Atwood\\n00:12:48\\nReads \\\"November\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:13:52\\nReads \\\"Repent\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:14:47\\n\\\"Tricks with Mirrors\\\". How are you doing? Is it hot and steamy? Has anybody died yet?\\n \\nMargaret Atwood\\n00:15:05\\nReads \\\"Tricks with Mirrors\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:17:45\\nThis is the title poem, \\\"You Are Happy\\\".\\n \\nMargaret Atwood\\n00:17:50\\nReads \\\"You are Happy\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:18:48\\nReads \\\"First Prayer\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:20:25\\n\\\"Is / Not: 1\\\". Oh boy, is it ever hot in here. I can't stand it. Light. I wonder if we could--well, then I can't see, you see. I wonder if we could turn off--would it be better if we turn off those lights that are grilling you over there...I could what?...Where's the light switch anyway? Howard, turn off the lights?...Well, maybe in a few minutes the lights will go off. Where did…\\n\\nUnknown\\n00:21:36\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n\\nMargaret Atwood\\n00:21:37\\nHooray, wonderful. Actually, there's a light under here. It's like the Saturday movies [audience laughter]. No, I can read with this, yeah. Maybe I'll just read a little something else here, because it's the Saturday Movies.\\n \\nMargaret Atwood\\n00:22:18\\nReads [\\\"You take my hand\\\" from Power Politics; audience laughter throughout].\\n \\nMargaret Atwood\\n00:23:13\\nAnd since we were talking about the war between Superman [https://www.wikidata.org/wiki/Q79015] and Captain Marvel [https://www.wikidata.org/wiki/Q534153] at dinner, my favourite was Plastic Man [https://www.wikidata.org/wiki/Q746838], but that was an esoteric taste. I'll read this one.\\n \\nMargaret Atwood\\n00:23:28\\nReads \\\"They Eat Out\\\" [from Power Politics].\\n \\nMargaret Atwood\\n00:24:44\\nI go to--I can't resist this. This is from the new book, it's called \\\"Siren Song\\\". Students of Seventeenth Century Literature are always asking themselves and each other, what song the sirens sang, and this is the ultimate answer.\\n \\nMargaret Atwood\\n00:25:06\\nReads \\\"Siren Song\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:26:12\\nThe imminent critic, Allen Pearson, who was once known when he lived in Montreal [https://www.wikidata.org/wiki/Q340] as the Montreal Poet, now that he lives in Toronto [https://www.wikidata.org/wiki/Q172], he's probably known as the Toronto Poet, says the following: \\\"Siren Song tells how boring it is for a woman to be obliged to attract men by appealing to them for help\\\". [Audience laughter]. Um, since I'm on the subject of people in capes and costumes, I'll read...\\n \\nUnknown\\n00:26:56\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nAnnotation\\n00:26:57\\nReads [untitled poem from the “Circle/Mud Poems” section in You Are Happy].\\n \\nMargaret Atwood\\n00:28:20\\nReads \\\"Is / Not\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:30:37\\nI think I'd better read just three more poems, before we all die. The first one is called \\\"There is Only One of Everything\\\".\\n \\nMargaret Atwood\\n00:30:54\\nReads \\\"There is Only One of Everything\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:32:30\\nReads \\\"Late August\\\" from You Are Happy.\\n \\nMargaret Atwood\\n00:33:26\\nThis is the last poem, called \\\"Book of Ancestors\\\".\\n \\nMargaret Atwood\\n00:33:33\\nReads \\\"Book of Ancestors\\\" from You Are Happy. \\n \\nAudience\\n00:36:31\\nApplause [cuts out briefly].\\n\\nWynne Francis\\n00:36:47\\nThank you, it's really not so hot if you sit still. Miss Atwood is prepared to discuss, for a little while.\\n \\nMargaret Atwood\\n00:37:04\\nIf you would like to, uh, I can't see a thing of course, I can sort of see hands if you stick them up and wave them around. Would that be better than turning back on the lights which I'd prefer not to do?\\n \\nWynne Francis\\n00:37:22\\nThere's no way we can get mics in the audience, so please speak loudly.\\n \\nMargaret Atwood\\n00:37:23\\nI see a hand.\\n \\nAudience Member 1\\n00:37:28\\nHow did your nickname of a witch get originated?\\n \\nMargaret Atwood\\n00:37:30\\nHow did my nickname of a witch? Are you referring to the speech I gave the other night at Loyola? Oh, it's, I was talking about a couple of reviews, that seemed to credit me with having these supernatural powers, you know, the ability to hypnotize my readers and things like that, and what I was saying was that in fact I don't in fact possess the powers of hypnotism or I'd use them on my bank manager and be quite rich. Um, I was talking about a pattern that seems to crop up from time to time in a certain kind of review usually written by men. [Audience laughter]. I heard that there were a couple of people in the audience at Loyola who before the speech, were convinced that I was a witch and that I was going to talk about witchcraft, and when I said that I wasn't one, they left. [Audience laughter]. You see, if I were a witch, I wouldn't be able to wear the cross. So that's how you can tell I'm not. Wards off vampires. Um, yes?\\n \\nAudience Member 2\\n00:38:54\\nUm, [unintelligible] and as well as the Edible Woman, I seem to get this idea of an emergence from greyness, or darkness and I was wondering if it's through this emergence from greyness that you have any reference to Blake [https://www.wikidata.org/wiki/Q41513] in his emergence from chaos.\\n \\nMargaret Atwood\\n00:39:17\\nI'll be very flattered, if I did. I'm afraid I suffer by the comparison. I think that you're right in spotting it, I think I would say that it's more like this, that if you want to think in terms of colour, that you start with a grey, and then you go down. Down into, well, it depends on the poem or the book or whatever of what's happening in your life. And, but you have to go down before you come up again otherwise you stay just in the grey part. If you want a real pattern for this, it's Dante's [https://www.wikidata.org/wiki/Q1067] Inferno [https://www.wikidata.org/wiki/Q4509219], where the man starts in a wandering wood, you know he starts in a kind of state of being lost, and then he goes down into hell. The further down he goes the more tortured souls he sees, but when he gets right to the bottom he finds that he's going up again. And then he comes out the other side.\\n \\nAudience Member 2\\n00:40:19\\nYeah, but, in this other side-ness in the Edible Woman you come up through colours, a very [unintelligible] of colours and I was wondering if this is the complete emergence of man?\\n \\nMargaret Atwood\\n00:40:29\\nNot complete--I would say no, no beginning.\\n \\nAudience Member 2\\n00:40:32\\n[Unintelligible] complete--into his universal aspect, but into an emergence of man. Into the colours of life.\\n \\nMargaret Atwood\\n00:40:39\\nYour choice of the word 'man' is interesting. Since the heroine is a woman. [Audience laughter and applause]. Um, I think you have the pattern right. I wouldn't like to attach any sort of universal meaning to it.\\n \\nAudience Member 2\\n00:40:56\\nNo I'm not attaching a universal meaning, I'm attaching more or less a universal meaning to the colour of darkness or greyness.\\n \\nMargaret Atwood\\n00:41:04\\nNo, that's right, you're correct. Yes.\\n \\nAudience Member 2\\n00:41:07\\nI'm not trying to express a universal meaning into these colours, this is where you're taking it wrong.\\n \\nMargaret Atwood\\n00:41:14\\nWell, I'm not too sure what we're talking about  to tell you the truth. You've spotted a correct pattern and I'm not too sure how one interprets it because I don't like to be the critic of  my own work in a way if you know what I mean. Yes.\\n \\nAudience Member 3\\n00:41:34\\nI know you're writing a screenplay for [unintelligible]. Will it ever become a film?\\n \\nMargaret Atwood\\n00:41:39\\nWill it ever? Let's see now, I finished it at the end of July. Now, what is--the stages of making a film are these: first somebody takes out an option on it, which means they pay you X dollars to have the sole right to try to make the movie for a certain period of time. If they fail to make it to renew the option or to require the rights at the end of that period, you get it back and you can then sell it to anybody else or back to them if you want. That's different from buying the rights which means they've got it. And you can't get it back. An option has been taken out, a script has been written. They are now doing whatever it is they do, who knows. To try to put together what is called a package, that is, they try to interest a director or they pick out a director and they try to put a director together with a script together with some money. And that's all going on, I don't know what's happening with it because they don't tell. Yes.\\n \\nAudience Member 4\\n00:42:42\\nAre those people American or Canadian?\\n \\nMargaret Atwood\\n00:42:47\\nThese people are. [Audience laughter]. Once upon a time there was an English Canadian film industry. Not very hard. I mean it's trying very hard but not many results are being had. And I wanted very much to make Surfacing in Canada with Canadian everything, but I was about two years too late. And also Canadians are quite timmerus about this book because they said “well, it'll never be able to sell a film in the States” because of all that strange American symbolism in it. They--the two people I'm working with are two American independent producers, not to be confused with MGM [https://www.wikidata.org/wiki/Q179200], who want to make the book as it is, that is, they like the book, they want to be faithful to it, they don't want to transport it to Maine [https://www.wikidata.org/wiki/Q724] or wherever and make it into an American film, which of course you couldn't do without ruining the symbolic pattern. They want to make it in Canada, they want to put in all that stuff because they say “wow, dynamite”. [Audience laughter]. They're not worried about selling it in the States. So that's how we're proceeding right now and we have not yet had a falling out on any of the crucial matters such as what's in the screenplay. And so that's been fine. They would like to make it here. And what stage they're at right now I don't know. Now if they don't put it together, then I get it back and then I have another go. And I'll try it ‘round Canada again, once more, and I'll probably with the same results--\\n \\nAudience Member 4\\n00:44:26\\nYou have tried?\\n \\nMargaret Atwood\\n00:44:30\\nOh yes, everybody tries. I've written four or five screenplays, none of them have been made. They've all been for Canadians. One thing has happened, I got one television play done, but of course everything you do for the CBC [https://www.wikidata.org/wiki/Q461761] pretty well gets done. [Audience laughter]. As you know. I wrote a screenplay for Edible Woman that didn't get done. I wrote one for Marie-Claire Blais [https://www.wikidata.org/wiki/Q298358], Mad Shadows, we had high hopes for that, that was a Canadian director, Canadian producer all the rest of it. No deal. Film development corporations said it wasn't commercial enough. I mean, you don't go outside before you've been through it for a while. It's a problem that novelists used to face when trying to get their novels published here.\\n \\nWynne Francis\\n00:45:22\\nI'd like to ask a question, and I can't see what competition I've got, I can't see anything out there. On Wednesday at Loyola, you gave comic tags to some of your critical opponents taken from Koestler [https://www.wikidata.org/wiki/Q78494], Yogis and Komisars are critics that are formalists and culturally and politically aware and I wondered, do you see the ideal critic or type of criticism as combining these two?\\n \\nMargaret Atwood\\n00:45:51\\nWell, I think that people have certain talents, you know, and they should exercise what talents they have, and that all kinds of criticism should be available to the reader. I don't think that every critic has to do everything, I think that would be asking a singer to be a dancer. \\n \\nWynne Francis\\n00:46:08\\nI remember you saying it was good to have both kinds, I wondered if you think they could be combined?\\n \\nAudience Member 5\\n00:46:16\\nIs it possible that the body of knowledge turns into the knowing body?\\n \\nMargaret Atwood\\n00:46:20\\nIs it possible that the body of knowledge turns into the knowing body? Um, I'll let you answer that. If such a person could do it, I'd like to see it, I've never seen anybody who could do both at the same time. Frye [https://www.wikidata.org/wiki/Q354256], for instance, does one kind in one book and then another kind in another book, but he usually doesn't usually do them both in the same book. I would say that Yogi-ism is necessary to be able to read a poem, just period pure and simple. To see what is happening in it. But Komasarism is necessary to place it in a larger context. Why not do both? Yes, I see. Back there, you\\n \\nAudience Member 6\\n00:47:08\\nDo you think that Quebec [https://www.wikidata.org/wiki/Q176] is a part of Canada?\\n \\nMargaret Atwood\\n00:47:09\\nOh that's such a good question.\\n \\nAudience Member 6\\n00:47:11\\nDo you think that a Quebecois is a Canadian?\\n \\nMargaret Atwood\\n00:47:15\\nI think I'll leave that to the Quebecois to decide for themselves. They're the people concerned. [Audience applause]. I was talking with one not so long ago, Marie-Claire Blais, and I asked her that question. I said, “well, what do you think of yourself as? Do you think of yourself as a Quebecoise? or a Canadian? or a North-American, or part of Western European culture or a universalist?” And she said, “I am from Quebec”. [Audience laughter]. Does that answer your question? Yes.\\n \\nAudience Member  7\\n00:47:58\\nWhat is your opinion of the introductions in the New Canadian Library [https://www.wikidata.org/wiki/Q16998703] Series?\\n \\nMargaret Atwood\\n00:48:03\\nWell, they vary. [Audience laughter]. Do you mean the one? Well, I thought that it was, it was like a, well, the only thing I can think of is something fairly vulgar, um, but I don't mean that I think it was bad. I mean that I think it was quite a ponderous organization, being brought to bear on what I consider to be a fairly light piece of writing. That is, at the front of my book, I have a quotation from the Joy of Cooking which tells how to make puff pastry. And then I have you know, critical sort of, really big critical apparatus coming in and talking about the symbolic structuring and the this and the that, and I think it's nice, I'm glad to know about those things, but [audience laughter] it's somehow, I thought my novel was a bit more comic than that. If you know what I mean.\\n \\nAudience Member 8\\n00:49:09\\nYeah, I wanted to ask a question. Yeah, I was wondering to what degree you consider yourself to be an ironist because you're talking about [unintelligible] irony, it seems to me that irony is the point I’m most attracted to in your work anyway.\\n \\nMargaret Atwood\\n00:49:22\\nYeah, well, you can have both of course, as a matter of fact you usually do.\\n \\nAudience Member 8\\n00:49:31\\nYou were talking about anger, and \\\"permit me the present tense\\\" kind of thing, seems to me that that was ironic.\\n \\nMargaret Atwood\\n00:49:41\\nAmbigu--it has a double meaning. But that's not always irony, I think irony has been...Well, somebody defined irony as a kind of literature in which the reader knows more about what's going on with the character than the character knows himself, shall we say. So, yes, of course, I think that happens in an awful lot of modern literature. Yes.\\n \\nAudience Member 9\\n00:50:14\\nI understand you're working on Survival Two?\\n \\nMargaret Atwood\\n00:50:16\\nNot working, exactly.\\n \\nAudience Member 9\\n00:50:22\\nI was wondering whether you could, or would like to elaborate on that.\\n \\nMargaret Atwood\\n00:50:25\\nYeah, okay. There was to have been something called Survival Two, which was to have been this really dynamite anthology. Which would have incorporated many of the short pieces mentioned in Survival, plus other ones that were appropriate and we did assemble this and then we had it priced as to how much it would cost for permissions and how much it would cost us to print it and it was just astronomically expensive. So we had to shelf that, and that was what Survival Two was to have been. Now I'll probably publish the proposed table of contents sometime and you can see what would have been in it. [Audience laughter]. You know, but a small publisher cannot afford to do this kind of thing. However, I am, I won't say working on because I'm working on it in the same sense that I'm working on my Ph.D. thesis, what I'm really doing is writing a novel. But I will, should I live that long, write a second edition of Survival, in which I hope to have five new chapters and additions to the ones that already exist. I think the thing about Survival that sometimes gets forgotten was that it was based on what was available in paperback at the time. A lot more things are available in paperback now, we have General Publishing coming on the scene, with Paper Jacks,  and New Canadian Library expanding itself and Macmillan's [https://www.wikidata.org/wiki/Q2108217] paperbacks expanding. So there's just a lot more around that you can put in and also new books have been published that I would like to talk about and I've discovered older ones that I didn't know about before. So, all of these things, plus a new introduction and maybe a few things at the back, I would like to do. However, I'm not quite ready to do it yet. I took a kind of holiday after I finished Survival One, and I'm still in that, it's a holiday devoted to writing other things. Yes,\\n \\nAudience Member 10\\n00:52:30\\nWho are your favourite poets?\\n \\nMargaret Atwood\\n00:52:33\\nI tend to have favourite poems, rather than favourite poets, but I can tell you the names of some people who've written some of my favourite poems. One of them is Margaret Avison [https://www.wikidata.org/wiki/Q6759152], one of them is P.K. Page [https://www.wikidata.org/wiki/Q2755960], they're poems by all kinds of people that I really like, for instance, I really like some of A.M. Klein's [https://www.wikidata.org/wiki/Q2778027] poems. I think they're just super. And more modern people, for instance, Michael Ondaatje [https://www.wikidata.org/wiki/Q313593], I like his work, Al Purdy [https://www.wikidata.org/wiki/Q4704621] I was reading in the early to middle Sixties, Doug Jones [https://www.wikidata.org/wiki/Q5203595] at that time. It covers a very wide range. I'm a kind of omnivorous reader, I'll read anything, including the backs of Cornflake boxes, so that you just never know, and it also changes, you know, because you read somebody for a while and then you've done that so you go and read somebody else.\\n\\nAudience Member 10\\n00:53:31\\n[Unintelligible].\\n\\nMargaret Atwood\\n00:53:33\\nOh yeah, I get various little magazines come floating in through the mail to me, for some reason. And right now, for instance, I'm reading a lot of Adrienne Rich [https://www.wikidata.org/wiki/Q270705], because I'm about to write a review of her latest book. This kind of thing, I mean it varies from month to month. If you ask me the same question in January the question would be different...Yeah.\\n \\nAudience Member 11\\n00:54:02\\n[Unintelligible] Is Surfacing more than vaguely autobiographical?\\n \\nMargaret Atwood\\n00:54:11\\nIt's vaguely, if you're talking about the plot--no. The setting, yes, and this is generally true of fiction, that people write from a setting that they know. They generally create characters out of some people that they've known plus they throw things in and invent them and make mosaics out of various things and the characters are fictional. The plot is usually a total invention. I mean, my parents are still alive and well, all of that. No, I have never been a paranoid schizophrenic with amnesia. [Audience laughter]. And as for the Edible Woman, I've never gone off food, but all kinds of other people have. You know, they come up to me and say, “Gee, how did you know the story of my life” and “that's happened to me and let me tell you it was awful, I used to throw up on busses”. I was kind of shocked, actually, I thought it was all a big comic invention of my own. I see one waving at the back.\\n \\nAudience Member 12\\n00:55:20\\nUm, excuse me, would you say that you base your characters on some type of psychological background?\\n \\nMargaret Atwood\\n00:55:25\\nUm, I try to make them believable insofar as it will fit the plot. That is, I try to make what they do believable to myself, but they have to do what they do if you see what I mean. Yes.\\n \\nAudience Member 13\\n00:55:46\\nWould you say the Edible Woman is a comical invention of your own?\\n \\nMargaret Atwood\\n00:55:49\\nI said I thought it was, yeah.\\n \\nAudience Member 13\\n00:55:51\\nWell, how would you define that, as a comedy?\\n \\nMargaret Atwood\\n00:55:54\\nOh, okay, if you wanna be technical. Um, the Edible Woman is actually an anti-comedy. Because a comedy is a form in which usually a young couple goes through a series of misadventures and blokings and gets married at the end. Now in the Edible Woman, a young couple goes through a series of misadventures and blokings and somebody else gets married at the end. [Audience laughter]. Yes. \\n \\nAudience Member 14\\n00:56:24\\nCould you tell us anything about the novel you're writing now?\\n \\nMargaret Atwood\\n00:56:26\\nNot a thing, that's my one superstition--well, it's one of my superstitions. I can't talk about work that I'm doing, it uses up the energy. It's true. Yeah.\\n \\nAudience Member 15\\n00:56:41\\nI read the Edible Woman right after reading a book by Robertson Davies [https://www.wikidata.org/wiki/Q545375], about [unintelligible].\\n \\nMargaret Atwood\\n00:56:49\\nOkay, the question is I read the Edible Woman right after reading a book by Robertson Davies, Fifth Business [https://www.wikidata.org/wiki/Q5447489]?\\n \\nAudience Member 15\\n00:56:58\\nNo, an earlier book.\\n \\nMargaret Atwood\\n00:57:00\\nManticore [https://www.wikidata.org/wiki/Q7750230]?\\n \\nAudience Member 15\\n00:57:00\\nIt was a comedy\\n \\nMargaret Atwood\\n00:57:01\\nOh, okay.\\n \\nAudience Member 15\\n00:57:02\\nAbout a couple in a town [unintelligible] resolve it and they get married. And I wondered why he wasn't mentioned in Survival at all.\\n \\nMargaret Atwood\\n00:57:15\\nWell, I think probably because I wasn't doing humour and I wasn't doing magic. But since I am doing humour and magic in the next two chapters, then he will be in those. Samuel Marchbanks [https://www.wikidata.org/wiki/Q7412104] will be in under humour and Fifth Business and Manticore will be in under magic. I find the magician figure in Fifth Business very interesting from this particular advantage point. Why do Canadian magicians have to disguise themselves as foreigners in order to be thought of as magic. [Audience laughter.] You find this in Gwen MacEwen [https://www.wikidata.org/wiki/Q4276487] too. Specifically in the book called No Man.\\n \\nAudience Member 16\\n00:58:04\\nIs that a novel?\\n \\nMargaret Atwood\\n00:58:04\\nIt is a series of short stories, but there's sort of a central one in which you have the same pattern. Okay, let's have one more if there is one more. There isn't one more, there's one more.\\n \\nAudience Member 17\\n00:58:22\\nUm, the poems that you read tonight, would you consider those the best or the most significant ones from your collection, and if neither of those things, why did you select the ones that you read? The reason that I've asked that is because I've read your latest book quite carefully and I think that you read the, some of the best poems from it. I was wondering if you thought they were some of the best poems.\\n \\nMargaret Atwood\\n00:58:45\\nYeah. I think that one of the best things in it is section number three, but that consists of twenty four poems, which seem to me to be too long. I read some of them that I like quite a lot, yes, this is true, but I left out some others that I also like quite a lot because it seemed to me that they were too long and at this particular night anyway I felt that I should get through as quickly as possible because we were all stifling to death. Um, and with that I think that I will now end the question period and we can all go out and have a drink of water. \\n\\nAudience\\n00:59:24\\nApplause [cuts out briefly].\\n \\nWynne Francis\\n00:59:38\\nI'd just like to thank Margaret Atwood very much for being with us tonight--\\n\\nAudience\\n00:59:40\\nLaughter.\\n \\nEND\\n00:59:46\\n\",\"notes\":\"Margaret Atwood reads from You Are Happy (Oxford University Press, 1974) and Power Politics (Anansi, 1971). Atwood also answers audience questions about her work. \\n                                                                                                                                      \\n00:00- Unknown introducer makes an announcement about the room. [INDEX: Sir George Williams University, larger hall, gallery, Howard Fink.]\\n00:21- Howard Fink answers question.\\n00:22- Unknown introducer continues to make announcements. [INDEX: loud speakers outside, paintings, Fine Arts Department, artists, Howard Fink, air conditioning.]\\n01:22- Audience talking\\n01:30- Margaret Atwood talks about room set up, it is recorded by the mic [INDEX: room      change.]\\n01:41- Audience responds, says they want to stay in the same room.\\n01:44- Margaret Atwood tries to arrange people in the room. [INDEX: chairs, bench, people, rows, room.]\\n04:41- Margaret Atwood continues to arrange audience.\\n05:19- Wynne Francis introduces Margaret Atwood. [INDEX: poetry, fiction, poet, 1960’s, The   Circle Game (Anansi, 1966), The Animals in that Country (Oxford University Press, 1968), Edible Woman (McClelland and Stewart, 1973), Surfacing (Anansi, 1971), 1972, controversial work of criticism, patterns in Canadian literature, nineteenth-century curiosity, John McTaggart quote, book published in London in 1829, victim, Canada Council, woman, human being, totems, manners, insanities, taught at Sir George Williams University between 1967-68, audience questions.]\\n07:38- Margaret Atwood introduces “Newsreel, Man and Firing Squad”. [INDEX:    \\tmicrophone, reading entirely from You are Happy (Harper & Row, 1974), photographer,      bookstore, order of reading, United States, what it’s like to live in Canada; from You Are    Happy (Oxford University Press, 1974).]\\n10:04- Reads “Newsreel, Man and Firing Squad”.\\n11:42- Reads “Useless”. [INDEX: from You Are Happy (Oxford University Press, 1974).]\\n12:35- Introduces “November”. [INDEX: image, sheep that died; from You Are Happy (Oxford University Press, 1974)]\\n12:48- Reads “November”.\\n13:52- Reads “Repent”. [INDEX: from You Are Happy (Oxford University Press, 1974).]\\n14:47- Introduces “Tricks with Mirrors”. [INDEX: from You Are Happy (Oxford University \\tPress, 1974).]\\n15:05- Reads “Tricks with Mirrors”.\\n17:45- Reads “You are Happy”. [INDEX: from You Are Happy (Oxford University Press,     1974).]\\n18:48- Reads “First Prayer”. [INDEX: from You Are Happy (Oxford University Press, 1974).]\\n20:25- Introduces “Is/Not” (but does not read it). [INDEX: hot in rom, Howard Fink. light,     Saturday movies; from You Are Happy (Oxford University Press, 1974).]\\n22:18- Reads unknown poem, first line “You take my hand and I’m suddenly in a bad movie...”.\\n23:13- Introduces “They Eat Out”. [INDEX: war between Superman and Captain Marvel,     dinner, Plastic Man, esoteric taste; from Selected poems, 1965-1975 (Oxford University    Press, 1976).]\\n23:28- Reads “They Eat Out”.\\n24:44- Introduces “Siren Song”. [INDEX: new book, students of seventeenth-century literature, answer; from Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n25:06- Reads “Siren Song”.\\n26:12- Introduces “Circe/Mud Poems”, which is cut mid-sentence “The heads of eagles no longer interest me...”[INDEX: critic Allen Pearson, Montreal, Montreal Poet, Toronto,   Toronto Poet, “Siren Song”, woman, attract men, capes, costumes; from Selected poems, 1965-1975 (Oxford University Press, 1976)]\\n26:57- Recording is CUT, repeats, begins mid-sentence reading unknown poem, which is cut mid-sentence “The heads of eagles no longer interest me...”, last line “They would rather be trees”.\\n28:20- Reads “It is Not”. [INDEX: perhaps “IS/Not”; from You are Happy (Oxford University Press, 1974) and Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n30:37- Introduces “There is Only One of Everything”. [INDEX: three last poems, heat; from You are Happy (Oxford University Press, 1974) and Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n30:54- Reads “There is Only One of Everything”.\\n32:20- Reads “Late August”. [INDEX: from You are Happy (Oxford University Press, 1974) \\tand Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n33:26- Introduces “Book of Ancestors”. [INDEX: last poem of the night; from You are Happy (Oxford University Press, 1974) and Selected poems, 1965-1975 (Oxford University Press, 1976).]\\n33:33- Reads “Book of Ancestors”.\\n36:47- Wynne Francis thanks Margaret Atwood and opens the floor to discussion.\\n37:04- Atwood asks for questions.\\n37:28- Audience #1 (female) asks first question about Atwood’s nickname ‘witch’. [INDEX: nickname “witch”]\\n37:30- Atwood answers question. [INDEX: speech given recently at Loyola, reviews,   \\tsupernatural powers, hypnotize readers, reviews written by men, witchcraft, cross,     \\tvampires.]\\n38:54- Audience #2 (male) asks question about the Edible Woman’s symbology of colours. [INDEX: Edible Woman, grayness, William Blake reference, emergence from chaos.]\\n39:17- Margaret Atwood answers question. [INDEX: comparison, colour, descending, poem, book, life, grey, pattern, Dante’s Inferno, wood, state of being lost, hell, tortured souls.]\\n40:19- Audience #2 (male) asks another question. [INDEX: Edible Woman, colours, complete emergence of man.]\\n40:29- Margaret Atwood responds. [INDEX: not complete, beginning.]\\n40:32- Audience #2 (male) responds. [INDEX: complete, universal aspect, emergence of man, colours, life.]\\n40:39- Margaret Atwood responds. [INDEX: man, female heroine, pattern, universal meaning.]\\n40:56- Audience #2 (male) responds. [INDEX: universal meaning, colour of darkness, greyness.]\\n41:04- Margaret Atwood responds. [INDEX: correct.]\\n41:07- Audience #2 (male) responds. [INDEX: universal meaning, colours, wrong.]\\n41:14- Margaret Atwood responds. [INDEX: truth, correct pattern, critic of her own work,        interpretation.]\\n41:34- Audience #3 (male) asks question about a screenplay. [INDEX: screen play, film.]\\n41:39- Margaret Atwood responds [INDEX: finished in July, stages of making films, taking out   an auction [option?], payment, movie, rights, sell, script, written, package, director, money.]\\n42:42- Audience #4 (female) asks question about film producers’ nationalities. [INDEX: American or Canadian]\\n42:46- Margaret Atwood responds to question. [INDEX: English Canadian film industry, struggle, book, American symbolism, American independent producers, not MGM,       \\tfaithful to the book, Maine, American film, ruining the symbolic pattern, Canada.]\\n44:26- Audience #4 (female) asks another question. [INDEX: attempt to sell script in Canada.]\\n44:30- Margaret Atwood responds to question. [INDEX: four or five screen plays which haven’t been made, Canadian, television play, CBC, screenplay for Edible Woman, Marie Clarie Blais, “Mad Shadows”, Canadian director and producer, film development corporations, commercial, novelists, publishing.]\\n45:22- Wynne Francis asks a question about criticism. [INDEX: question, competition, speech on Wednesday at Loyola, comic tags, critical opponents, Koestler, Yogi [?], Komisars [?], literary critics, formalism, cultural and political awareness, ideal critic or ideal type of criticism.]\\n45:51- Margaret Atwood responds. [INDEX: talents, criticism available to the reader, singer, dancer]\\n46:08- Wynne Francis asks another question. [INDEX: combined talents, formal or cultural criticism]\\n46:16- Audience Member #5 (male) asks question about body and knowledge. [INDEX: body of knowledge]\\n46:20- Margaret Atwood answers question. [INDEX: body of knowledge, [Northrop] Frye, books, Yogi-ism [sp?], reading poetry, Komasar-isim [sp?], context of a poem]\\n47:02- Margaret Atwood calls on audience member to ask question.\\n47:08- Audience #6 (male) asks question about Quebec’s relation to Canada. [INDEX: Quebec, Canada]\\n47:09- Margaret Atwood responds.\\n47:11- Audience #6 (male) asks question about Quebecer’s relation to Canada. [INDEX: Quebecois, Canadian]\\n47:15- Margaret Atwood responds. [INDEX: Quebecois, Marie Claire Blais, identity, Canadian, North-American, Western European culture, universalist]\\n47:58- Audience #7 (female) asks question about the New Canadian Library Series. [INDEX: opinion of the New Canadian Library Series introductions]\\n48:03- Margaret Atwood answers. [INDEX: quotation from the Joy of Cooking, puff pastry, critical apparatus, symbolic structuring, novel, comic]\\n49:09- Audience #8 (female) asks question about irony. [INDEX: ironist, irony]\\n49:22- Margaret Atwood answers question.\\n49:31- Audience #8 (female) asks question about one line of Atwood’s poem. [INDEX: anger, ironic]\\n49:41- Margaret Atwood answers question. [INDEX: double meaning, irony, definition of irony, character, modern literature]\\n50:14- Audience #9 (female) asks question about a second Survival book. [INDEX: Survival 2.]\\n50:16- Margaret Atwood answers question.\\n50:22- Audience #9 (female) asks Atwood to elaborate.\\n50:25- Margaret Atwood answers question. [INDEX: Survival 2, anthology, short pieces, permissions, expensive to produce, publish proposed table of contents, Ph.D. thesis, novel, second edition of Survival, paperback, General Publishing, Paper Jacks [?], New   Canadian Library, McMillan’s, publishing industry in Canada, new introduction]\\n52:30- Audience #10 (male) asks question about favourite poets. [INDEX: favourite poet]\\n52:33- Margaret Atwood answers question. [INDEX: favourite poet, favourite poems, Margaret Avison, P.K. Page, A.M. Klein, Michael Ondaatje, Al Purdy, mid-Sixties, Doug [Gordon] Jones, Cornflake boxes]\\n53:31- Margaret Atwood responds to inaudible question. [INDEX: little magazines, Adrienne Rich, January.]\\n54:02- Audience #11 (female) asks question about Surfacing being autobiographical. [INDEX: Surfacing, autobiographical.]\\n54:11- Margaret Atwood responds. [INDEX: vaguely, plot, fiction, setting, characters, invent part of characters, parents, paranoid schizophrenic, amnesia, Edible Woman, food, reader’s reactions, comic invention.]\\n55:20- Audience #12 (female) asks question about characters. [INDEX: psychological  \\tbackground, characters.]\\n55:25- Margaret Atwood responds to question. [INDEX: believable, plot.]\\n55:46- Audience #13 (male) asks question about Edible Woman. [INDEX: comical invention, Edible Woman.]\\n55:49- Margaret Atwood responds to question.\\n55:51- Audience #13 (male) asks question about the definition of comedy. [INDEX: definition of comedy.]\\n55:54- Margaret Atwood responds to question. [INDEX: technical, Edible Woman, anti-comedy, form, young couple, series of misadventures, marriage, ending.]\\n56:24- Audience #14 (male) asks question about latest writing. [INDEX: novel being written]\\n56:24- Margaret Atwood responds to question. [INDEX: superstition, work in progress.]\\n56:41- Audience #15 (female) asks question about Edible Woman [INDEX: Robinson Davies book.]\\n56:49-57:01- Margaret Atwood and audience try to figure out which book was written by        Robinson Davies. [INDEX: Fifth Busienss, Nanticore, comedy.]\\n57:02- Audience #15 (female) asks about selections in Survival. [INDEX: couple, town, married, Survival.]\\n57:15- Margaret Atwood responds to question. [INDEX: humour, magic, next two chapters of Survival 2, Samuel Marchbanks, Fifth Business, Nanticore, magician figure, Canadian magicians, foreigners, Gwen[dolyn] MacEwen’s book No Man.]\\n58:04- Audience #16 (female) asks question about No Man by Gwendolyn MacEwen. [INDEX: Novel.]\\n58:04- Margaret Atwood responds to question. [INDEX: series of short stories, central story, pattern.]\\n58:22- Audience #17 (male) asks question about selections made in Atwood’s reading [INDEX: poems read, best, most significant from the collection, selection choices.]\\n58:45- Margaret Atwood responds to question. [INDEX: section #3, consists of 24 poems, too long, time constraints.]\\n59:380 Wynne Francis thanks Margaret Atwood.\\n59:46.85- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\"}]"],"score":2.944487},{"id":"1263","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Margaret Atwood and Alden Nowlan at Sir George Williams University, The Poetry Series, 13 October 1967"],"item_title_source":["Cataloguer"],"item_title_note":["\"MARGARET ATWOOD & ALDEN NOWLAN Recorder October 13, 1967 3.75 ips on 1.mil tape, 1/2 track\" written on sticker on the back of the tape's box. \"ATWOOD & NOWLAN I006/SR36\" written on sticker on the spine of the tape's box. \"I006-11-036\" also written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 2"],"item_identifiers":["[]"],"creator_names":["Atwood, Margaret","Nowlan, Alden"],"creator_names_search":["Atwood, Margaret","Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"Internationally acclaimed novelist, poet, critic and activist Margaret Atwood was born in Ottawa, Ontario, November 18,  1939. She lived in Ottawa until 1946, when her family settled in Leaside, a suburb of Toronto. Atwood entered Victoria College, University of Toronto, graduating with honours in 1961. Her first published collection of short stories was Double Persephone (Hawkshead Press, 1961). By 1962 she had received her MA in English from Radcliffe College in the United States, working on further graduate work at Harvard University between 1962-3 and in 1965-7. Atwood published her second collection, The Circle Game (Anansi, 1966), which won the Governor General Award for Poetry. She wrote articles and reviews for Alphabet, Canadian Literature and Poetry among other publications, and poems for Kayak, Quarry and the Tamarack Review. Poems published in her book The Animals in That Country (Oxford University Press, 1968) won first prize in Canada’s 1967 Centennial Commission poetry competition. In 1970, she published three books, Procedures for Underground (Oxford University Press), Time, and The Journals of Susanna Moodie (Oxford University Press). Between 1971 and 1973, Atwood worked as an editor and on the board of directors for the House of Anansi press in Toronto, which in 1972 published Power Politics. Upon the discovery at Harvard that there was no published critical study of Canadian literature, she herself wrote and published Survival: A Thematic Guide to Canadian Literature (Anansi, 1971), which created a stir of controversy, but by 1982 it had sold more than 85,000 copies. Since 1973, she has lived with novelist and activist Graeme Gibson, producing one daughter, Eleanor Jess in 1967. Atwood taught and lectured at several Universities across Canada, the US and Australia, including University of British Columbia, University of Alberta, Sir George Williams University (now Concordia) (1967-68) and at York University, Toronto. A selection of her publications include Surfacing (Simon & Schuster, 1972), You Are Happy (Harper &Row, 1974), Selected Poems (Oxford University Press) in 1976, Two-Headed Poems (Simon & Schuster, 1978), True Stories (Oxford University Press, 1981) and Second Words (Anansi, 1982). Her 1985 novel, The Handmaid’s Tale (McClelland & Stewart) became one of her most popular and critically acclaimed works. In 1986 she was appointed the Berg Chair at New York University, as well as serving as writer-in-residence at several other Universities. She co-founded and served as chair to the Writer’s Union of Canada in 1982-3, and served as president of the Canadian Centre of International PEN from 1984-6. She has subsequently published dozens of books, including Cat’s Eye (McClelland & Stewart, 1988), The Robber Bride (Doubleday, 1993), Alias Grace (Nan A. Talese, 1996), The Blind Assassin (Nan A. Talese, 2000), Oryx and Crake (2003), The Penelopiad (Canongate, 2005) and The Tent (Bloomsbury, 2006). Along with many other publications of her critical essays, Curious Pursuits: Occasional Writing 1970-2005 (Verago) came out in 2005. Her most recent novel, Year of the Flood was published in 2009 by Doubleday Press. Her many prizes and honours include the Booker Prize, the E.J. Pratt Medal (1961), The Radcliffe Medal (1980), the Commonwealth Writers Prize (1992), and she is a Companion of the Order of Canada. Atwood continues to work as spokesperson on behalf of human rights and the environment. \",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"Poet Alden Nowlan was born in 1933, in a small rural community near Windsor, Nova Scotia. Nowlan worked as a young man on farms, lumbermills and as a sawmill helper before he left Nova Scotia for New Brunswick to take a position as editor at The Heartland Observer and the night-news editor of the Saint John Telegraph-Journal. Nowlan published his first book of poetry, The rose and the puritan (New Brunswick University) in 1958, which was followed closely by A darkness in the earth (Hearse Press, 1959), Wind in a rocky country (Emblem Books, 1961), Under the ice (Ryerson Press, 1961) and The things which are (Contact Press,1962). In 1967 he was awarded the Governor General’s Award for his collection Bread, wine and salt (Clarke, Irwin). Nowlan was offered a writer-in-residence position at the University of New Brunswick, which he held until his death in 1983. His other publications include The mysterious naked man (Clarke, Irwin, 1969), Between tears and laughter (Clarke, Irwin, 1971), I’m a stranger here myself (Clarke, Irwin, 1974), Smoked glass (Clarke, Irwin, 1977) and I might not tell everybody this (Clarke, Irwin, 1982). Nowlan was also involved in theatre, and wrote three stage plays with Walter Learning: Frankenstein (Clarke, Irwin, 1976), The incredible murder of Cardinal Tosca (Learning Productions, 1978) and The dollar woman (Borealis Press, 1981). Nowlan was awarded a Doctor of Letters from the University of New Brunswick, and a Guggenheim Fellowship. Nowlan has also published an autobiography, Various persons named Kevin O’Brien (Clarke, Irwin, 1973), a collection of short stories, Miracle at Indian River (Clarke, Irwin, 1968), a travel book Campobello, the outer island (Clarke, Irwin, 1975) and collected twenty-seven of his magazine articles in Double exposure (Brunswick Press, 1978). Numerous titles were published posthumously, including Alden Nowlan, early poems (Fiddlehead Poetry Books, 1983), The best of Alden Nowlan (Lancelot Press, 1993), Will ye let the mummers in? (Clarke, Irwin, 1984), An exchange of gifts: poems new and selected (Irwin, 1985), Alden Nowlan: selected poems (Irwin, 1985).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Kiyooka, Roy"],"contributors_names_search":["Kiyooka, Roy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1967 10 13\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Margaret Atwood reads from The Circle Game (House of Anansi, 1966) as well as poems later published in The Animals in that Country (Oxford University Press, 1968). Alden Nowlan reads from Bread Wine and Salt (Clarke, Irwin & Company, 1967) along with some poems from unknown sources.  "],"contents":["margaret_atwood_alden_nowlan_i006-11-036.mp3\n\nMargaret Atwood\n00:00:00\nI should apologize to begin with for my voice. I don't usually sound quite this much like Tallulah Bankhead [https://www.wikidata.org/wiki/Q255815]. I have the Montreal [https://www.wikidata.org/wiki/Q340] plague. The first poem is called \"This is a Photograph of Me,\" and it's the first poem in The Circle Game [https://www.wikidata.org/wiki/Q7723073].\n \nMargaret Atwood\n00:00:22\nReads \"This is a Photograph of Me\" from The Circle Game.\n \nMargaret Atwood\n00:01:35\nThe next poem is called \"Camera,\" and is dedicated to somebody I knew who liked to take pictures. \n \nMargaret Atwood\n00:01:44\nReads \"Camera\" [from The Circle Game].\n \nMargaret Atwood\n00:03:24\nAnd a small poem called \"Carved Animals\".\n\nMargaret Atwood\n00:03:28\nReads \"Carved Animals\" [from The Circle Game].\n \nMargaret Atwood\n00:04:25\nNow some more recent poems, which I should explain were mostly written in the United States [https://www.wikidata.org/wiki/Q30] when I was living there recently. The first one called \"At the Tourist centre in Boston\". Now Canada [https://www.wikidata.org/wiki/Q16] does have a Tourist centre in Boston [https://www.wikidata.org/wiki/Q100].\n \nMargaret Atwood\n00:04:50\nReads \"At the Tourist centre in Boston\" [published later in The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]].\n\nMargaret Atwood\n00:06:48\nAnd a poem called \"The Green Man\", which is dedicated to the Boston Strangler [https://www.wikidata.org/wiki/Q2855440]. \n \nMargaret Atwood\n00:06:56\nReads \"The Green Man\".\n \nMargaret Atwood\n00:08:03\nThis poem called \"A Fortification\".\n \nMargaret Atwood\n00:08:08\nReads \"A Fortification\" [published later in The Animals in that Country].\n\nMargaret Atwood\n00:09:17\nAnd this is a poem dedicated to my landlady who didn't remain my landlady for very long, called \"The Landlady\".\n \nMargaret Atwood\n00:09:29\nReads \"The Landlady\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:10:47\nAnd this poem called, \"A Foundling\".\n \nMargaret Atwood\n00:10:52\nReads \"A Foundling\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:11:41\nAnd this poem, which has no title.\n \nMargaret Atwood\n00:11:49\nReads [\"Untitled\"].\n \nMargaret Atwood\n00:12:58\nAnd a poem called \"Chronology\", which I wrote in one of my more paranoid states of mind. \n \nMargaret Atwood\n00:13:06\nReads \"Chronology\".\n \nMargaret Atwood\n00:14:39\nAnd here's my love poem to the, our large, friendly neighbour to the south. \n \nMargaret Atwood\n00:14:50\nReads \"Backdrop addresses cowboy\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:16:28\nThen a slightly happier poem called \"A Voice\".\n \nMargaret Atwood\n00:16:36\nReads \"A Voice\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:17:40\nAnd this one called, \"An Elegy for the Giant Tortoises\", which I wrote when I heard that they were planning to use a certain South Pacific island for the building of an airstrip. \n \nMargaret Atwood\n00:17:59\nReads \"An Elegy for the Giant Tortoises\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:19:19\nAnd this poem called, \"It is Dangerous to Read Newspapers\".\n \nMargaret Atwood\n00:19:26\nReads \"It is Dangerous to Read Newspapers\" [published later in The Animals in that Country].\n\nMargaret Atwood\n00:20:49\nReads \"I was reading a scientific article\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:22:20\nAnd the last poem. \n \nMargaret Atwood\n00:22:25\nReads \"The Reincarnation of Captain Cook\" [published later in The Animals in that Country].\n \nMargaret Atwood\n00:23:44\nThank you.\n \nAudience\n00:23:46\nApplause [cut off abruptly].\n \nUnknown\n00:23:49\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nRoy Kiyooka\n00:23:58\n...for quite a number of years as a journalist in the Maritimes [https://www.wikidata.org/wiki/Q731613], and this evening he is here with his wife and son and will be reading to you. Ladies and gentlemen, Alden Nowlan [https://www.wikidata.org/wiki/Q4713563].\n \nAudience\n00:24:17\nApplause.\n \nAlden Nowlan\n00:24:26\nThank you, Roy [https://www.wikidata.org/wiki/Q3445789]. First of all, I want to reassure everyone that I'm not going to read everything that's in this. I feel that probably there are some who are terrified when they see this, you know. It's really basically laziness that I haven't shortened anything out, I simply have wads of things here. \n \nAudience\n00:24:55\nLaughter.\n \nAlden Nowlan\n00:24:56\nNo no, not that one, I'm not going to read them all, definitely, definitely not. \n \nUnknown\n00:25:09\nSilence [pause].\n \nAlden Nowlan\n00:25:19\nFirst of all I have a very, very bad poem that I can't resist reading. I realized that it's sort of a bad beginning to start off with a poem that the poet himself considers a very bad one, but I wrote this when I arrived here this afternoon. To the natural egotism of a poet, you see, I can't resist offering it to this sort of captive audience here. [Audience laughter]. \"Poem for the Ritz Carlton\". [Audience laughter].\n \nAlden Nowlan\n00:26:06\nReads \"Poem for the Ritz Carlton\" [audience laughter throughout].\n \nAlden Nowlan\n00:26:30\nThat isn't really as critical of the Ritz Carlton as it sounds, because I sort of like the crypt of St. Paul's Cathedral [https://www.wikidata.org/wiki/Q173882], too, you see. [Audience laughter]. Next, I'd like to read some poems from my new book, Bread Wine and Salt, which is going to be published by Carter when, the first week in November, at three dollars and fifty cents. [Audience laughter]. That is the commercial.  \"I, Icarus\".\n \nAlden Nowlan\n00:27:15\nReads \"I, Icarus\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:28:34\nReads \"Sailors\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:30:06\nThis poem is entitled \"The Cinnamon Bears\", which sounds at first as if it were some sort of an animal cooking. But actually, what these cinnamon bears were, was back around the turn of the century in New Brunswick [https://www.wikidata.org/wiki/Q1965], as I've been told, there were all sorts of touring side-show type of things, you know, that, fortune tellers, and...people with a monkey, organ grinders with a monkey, and all this type of, sort of strolling pyres or wandering minstrels that existed up until the advent of radio and television. And it was a terrific thing, of course, in these backwoods communities. No doubt throughout Canada and the United States, when one of these people arrived. And among the, among these people were men who had trained bears, who, because of their colouration, were called cinnamon bears. And this poem actually is sort of a found poem, because it's not so much a creative thing as it is the transcription of a conversation which I happened to overhear between an old couple in northern New Brunswick. A man and his wife in their seventies, when they, suddenly something brought back these memories of these days of the organ grinders and the cinnamon bears. And as I say, I sort of made the poem more or less by simply transcribing the things which they said to one another, which it seemed to me was sort of a poetry, a form of poetry itself. \n \nAlden Nowlan\n00:32:20\nReads \"The Cinnamon Bears\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:33:21\nReads \"Britain Street, St. John, New Brunswick” [published as “Britain Street” in Bread, Wine and Salt].\n\nAlden Nowlan\n00:34:22\nThis is another, sort of a found poem, I'm not really terribly convinced that it's a poem at all. Last year, when I had a quite serious illness, one afternoon I was in the waiting room at the doctor's office, and the only thing that seemed to lay at hand for me to read was a copy of one of these Confessions magazines entitled Secret Life. [Audience laughter]. And as I glanced through it, it seemed to me, all that I actually read of it, you know, were these sort of captions at the top of the articles, and some of the big type in it. But it seemed to me really, as I glanced through it, that it had, that it contained sort of a crazy poetry of its own. At least, in the mood that I was in at the time, I sort of responded to it as though it were a crazy sort of poetry. And so as I sat there I sort of jotted down some of these things from the magazine, and ever since I've been trying to pass it off as a poem. \n \nAlden Nowlan\n00:35:37\nReads \"Secret Life\" [from Bread, Wine and Salt; audience laughter throughout].\n \nAudience\n00:36:39\nLaughter. \n \nAlden Nowlan\n00:36:57\nReads \"In Our Time\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:40:51\nReads \"The Changeling\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:41:49\nReads \"The Hollow Men\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:42:38\nThis poem is entitled \"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton [https://www.wikidata.org/wiki/Q2138], New Brunswick\". And I'm a little afraid that many of you will feel that it is sort of pointless. I'm not sure really but what you'd have to be completely immersed in the atmosphere of New Brunswick to get the real point of it, but. But that said, not implying any superiority on the part of New Brunswickers, unfortunately. Anyway.\n \nAlden Nowlan\n00:43:26\nReads \"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:44:36\nReads \"Every Man Owes God a Death\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:46:41\nThis poem, for no particular reason, is entitled \"The Loneliness of the Long-Distance Runner\". \n \nAlden Nowlan\n00:46:48\nReads \"The Loneliness of the Long-Distance Runner\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:48:23\nThis is a poem that came out of a serious illness that I had last year, and it's entitled \"In the Operating Room\". \n \nAlden Nowlan\n00:48:38\nReads \"In the Operating Room\" [from Bread, Wine and Salt].\n \nAlden Nowlan\n00:50:05\nI have a few other recent poems I'll dig out of these. \n \nUnknown\n00:50:12\nAmbient Sound [pause; Nowlan turning pages].\n\nAlden Nowlan\n00:50:47\nAs I sort through these, I'm silently cursing myself for not having done this before I came here. \n \nUnknown\n00:50:52\nAmbient Sound [pause; Nowlan turning pages].\n\nAlden Nowlan\n00:51:20\nHere's a fairly recent poem which isn't a political poem at all, but a human poem. And one that I wrote as a result of watching on television the debates in the United Nations [https://www.wikidata.org/wiki/Q1065] on the Middle East [https://www.wikidata.org/wiki/Q7204] crisis. And one of the horrible things I felt as I watched it was how completely dehumanized it all was, that the real, human issues had been lost sight of, and sort of drowned in an ocean of resolutions and memos from embassies and all this sort of things. And one night when they televised these sessions through until about four o'clock, the ambassador of Saudi Arabia [https://www.wikidata.org/wiki/Q851] spoke, and he delivered certainly a very bigoted speech, and one that as a speech I wouldn't have agreed with, but I felt an admiration for him, because it had seemed to me that he was the only really human thing that had happened there all day. You know, that certainly he was a bigoted old man, full of thousands of years of hatred, but it was a human hatred, expressed in a human manner, something that the rest of them had completely lost sight of. And as a result of this feeling I wrote this poem, \"For Jamil Baroody [https://www.wikidata.org/wiki/Q96384169], Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\".\n \nAlden Nowlan\n00:53:21\nReads \"For Jamil Baroody, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\".\n \nAlden Nowlan\n00:56:26\nReads \"Fireworks\".\n \nAlden Nowlan\n00:57:34\nReads \"Two Poems for the Nova Scotia Department of Highways\".\n \nAlden Nowlan\n00:59:31\nFinally, this is a poem entitled \"State Visit\", and the motivation of it, like one of the earlier ones I read, was sort of this same feeling of frustration at the complete dehumanization of politics as we feel it today, and particularly, this sort of apotheosis of world leaders into some sort of a symbol, so they even, I think, begin to think of themselves in these sort of abstract terms, rather than as a human being. And out of--this is sort of, I suppose, perhaps to a degree sort of a bitter little poem, but it stemmed from an emotion which I'm sure many of us feel. \n \nAlden Nowlan\n01:00:27\nReads \"State Visit\".\n \nEND\n01:01:39\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1967, Margaret Atwood had moved to Montreal and took a position at the Sir George Williams University English Department. She taught four courses, as well as working on The Animals in that Country, The Journals of Susanna Moodie, Procedures for Underground and finished The Edible Woman.\\n\\nIn 1967, Nowlan was awarded the Governor General’s Award for Bread Wine and Salt which was published the same year. He was also offered a position as writer-in-residence at the University of New Brunswick during this time.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAtwood became an important award-winning poet and critic in Canada by the late 60‘s. Sir George Williams English Department hired Atwood in 1967 as an English lecturer, after she had graduated from Harvard.  \\n\\nHis direct connection to Sir George Williams is unknown, but Nowlan was one of the most popular and important Maritime poets of the sixties and seventies.\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, print catalogue, research, introduction and edits by Celyn Harding-Jones.\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/nowlan_alden.html\",\"citation\":\"“Alden Nolan (1933-1983)”. One Zero Zero: A Virtual Library of English Canadian Small      Presses, 1945-2044. Centre for Contemporary Canadian Art: The Canadian Art Database. Toronto: York University. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/977851868&referer=brief_results\",\"citation\":\"Atwood, Margaret. Selected Poems. Toronto: Oxford University Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/animals-in-that-country/oclc/301739674&referer=brief_results\",\"citation\":\"Atwood, Margaret. The Animals in that Country. Toronto: Oxford University Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/circle-game/oclc/549399081&referer=brief_results\",\"citation\":\"Atwood, Margaret. The Circle Game. Toronto, House of Anansi, 1966. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/840722670&referer=brief_results\",\"citation\":\"Bartlett, Donald R. “Nowlan, Alden”. The Oxford Companion to Twentieth-Century Poetry in English. Hamiton, Ian (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/489958766&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\",\"citation\":\"Charny, Marty. “Georgantics.” The Georgian. Montreal: Sir George Williams University, 13 October 1967. \"},{\"url\":\"ttps://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Findley, Timothy. “Atwood, Margaret (1939-)”. Routledge Encyclopedia of Post-Colonial        Literatures in English. Benson, Eugene; L.W. Connolly (eds). London: Routledge, 1994. 2 vols. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. “Nowlan, Alden”. The Oxford Companion to Canadian Literature. Benson,       Eugene and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970/oclc/833713141&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart Limited, 1972. \"},{\"url\":\"https://www.worldcat.org/title/bread-wine-and-salt/oclc/4321706&referer=brief_results\",\"citation\":\"Nowlan, Alden. Bread, Wine and Salt. Toronto: Clarke, Irwin & Company, 1967. \"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/postgrad/Postgrad-1967-Spring.pdf\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 20. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\",\"citation\":\"“Poets Next Week:”. OP-ED. Montreal: Sir George Williams University, October 1967.\"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-the-novel/oclc/470223344&referer=brief_results\",\"citation\":\"Rowland, Susan. “Margaret Atwood 1939- (Canadian)”. Encyclopedia of the Novel. Schellinger, Paul (ed.); Christopher Hudson, Marijke Rijsberman (asst. eds.). Chicago: Fitzroy Dearborn Publishers, 1998. 2 vols.\"},{\"url\":\"http://news.google.com/newspapers?id=np8tAAAAIBAJ&sjid=PKAFAAAAIBAJ&pg=4195,2837932&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"“SGWU To Have Poetry Series”. The Gazette. 14 September 1967, page 15.\"},{\"url\":\"http://news.google.com/newspapers?id=waYtAAAAIBAJ&sjid=u58FAAAAIBAJ&pg=7250,4345207&dq=sir+george+williams+poetry&hl=en\",\"citation\":\"Stephens, Anna. “Poetry- Anywhere, Anytime”. The Gazette. 20 October 1967, page 10. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"},{\"url\":\"\",\"citation\":\"Kibble, Matthew. “Atwood, Margaret Eleanor, 1939-”. Literature Online biography. Proquest Information and Learning Company, H.W. Wilson Company, 2006. \"}]"],"_version_":1853670548812333056,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0036_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0036_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0036_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0036_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0036_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Atwood and Nowlan Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/margaret_atwood_alden_nowlan_i006-11-036.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"margaret_atwood_alden_nowlan_i006-11-036.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:01:39\",\"precision\":\"\",\"size\":\"148 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Margaret Atwood\\n00:00:00\\nI should apologize to begin with for my voice. I don't usually sound quite this much like Tallulah Bankhead [https://www.wikidata.org/wiki/Q255815]. I have the Montreal [https://www.wikidata.org/wiki/Q340] plague. The first poem is called \\\"This is a Photograph of Me,\\\" and it's the first poem in The Circle Game [https://www.wikidata.org/wiki/Q7723073].\\n \\nMargaret Atwood\\n00:00:22\\nReads \\\"This is a Photograph of Me\\\" from The Circle Game.\\n \\nMargaret Atwood\\n00:01:35\\nThe next poem is called \\\"Camera,\\\" and is dedicated to somebody I knew who liked to take pictures. \\n \\nMargaret Atwood\\n00:01:44\\nReads \\\"Camera\\\" [from The Circle Game].\\n \\nMargaret Atwood\\n00:03:24\\nAnd a small poem called \\\"Carved Animals\\\".\\n\\nMargaret Atwood\\n00:03:28\\nReads \\\"Carved Animals\\\" [from The Circle Game].\\n \\nMargaret Atwood\\n00:04:25\\nNow some more recent poems, which I should explain were mostly written in the United States [https://www.wikidata.org/wiki/Q30] when I was living there recently. The first one called \\\"At the Tourist centre in Boston\\\". Now Canada [https://www.wikidata.org/wiki/Q16] does have a Tourist centre in Boston [https://www.wikidata.org/wiki/Q100].\\n \\nMargaret Atwood\\n00:04:50\\nReads \\\"At the Tourist centre in Boston\\\" [published later in The Animals in that Country [https://www.wikidata.org/wiki/Q7713834]].\\n\\nMargaret Atwood\\n00:06:48\\nAnd a poem called \\\"The Green Man\\\", which is dedicated to the Boston Strangler [https://www.wikidata.org/wiki/Q2855440]. \\n \\nMargaret Atwood\\n00:06:56\\nReads \\\"The Green Man\\\".\\n \\nMargaret Atwood\\n00:08:03\\nThis poem called \\\"A Fortification\\\".\\n \\nMargaret Atwood\\n00:08:08\\nReads \\\"A Fortification\\\" [published later in The Animals in that Country].\\n\\nMargaret Atwood\\n00:09:17\\nAnd this is a poem dedicated to my landlady who didn't remain my landlady for very long, called \\\"The Landlady\\\".\\n \\nMargaret Atwood\\n00:09:29\\nReads \\\"The Landlady\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:10:47\\nAnd this poem called, \\\"A Foundling\\\".\\n \\nMargaret Atwood\\n00:10:52\\nReads \\\"A Foundling\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:11:41\\nAnd this poem, which has no title.\\n \\nMargaret Atwood\\n00:11:49\\nReads [\\\"Untitled\\\"].\\n \\nMargaret Atwood\\n00:12:58\\nAnd a poem called \\\"Chronology\\\", which I wrote in one of my more paranoid states of mind. \\n \\nMargaret Atwood\\n00:13:06\\nReads \\\"Chronology\\\".\\n \\nMargaret Atwood\\n00:14:39\\nAnd here's my love poem to the, our large, friendly neighbour to the south. \\n \\nMargaret Atwood\\n00:14:50\\nReads \\\"Backdrop addresses cowboy\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:16:28\\nThen a slightly happier poem called \\\"A Voice\\\".\\n \\nMargaret Atwood\\n00:16:36\\nReads \\\"A Voice\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:17:40\\nAnd this one called, \\\"An Elegy for the Giant Tortoises\\\", which I wrote when I heard that they were planning to use a certain South Pacific island for the building of an airstrip. \\n \\nMargaret Atwood\\n00:17:59\\nReads \\\"An Elegy for the Giant Tortoises\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:19:19\\nAnd this poem called, \\\"It is Dangerous to Read Newspapers\\\".\\n \\nMargaret Atwood\\n00:19:26\\nReads \\\"It is Dangerous to Read Newspapers\\\" [published later in The Animals in that Country].\\n\\nMargaret Atwood\\n00:20:49\\nReads \\\"I was reading a scientific article\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:22:20\\nAnd the last poem. \\n \\nMargaret Atwood\\n00:22:25\\nReads \\\"The Reincarnation of Captain Cook\\\" [published later in The Animals in that Country].\\n \\nMargaret Atwood\\n00:23:44\\nThank you.\\n \\nAudience\\n00:23:46\\nApplause [cut off abruptly].\\n \\nUnknown\\n00:23:49\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nRoy Kiyooka\\n00:23:58\\n...for quite a number of years as a journalist in the Maritimes [https://www.wikidata.org/wiki/Q731613], and this evening he is here with his wife and son and will be reading to you. Ladies and gentlemen, Alden Nowlan [https://www.wikidata.org/wiki/Q4713563].\\n \\nAudience\\n00:24:17\\nApplause.\\n \\nAlden Nowlan\\n00:24:26\\nThank you, Roy [https://www.wikidata.org/wiki/Q3445789]. First of all, I want to reassure everyone that I'm not going to read everything that's in this. I feel that probably there are some who are terrified when they see this, you know. It's really basically laziness that I haven't shortened anything out, I simply have wads of things here. \\n \\nAudience\\n00:24:55\\nLaughter.\\n \\nAlden Nowlan\\n00:24:56\\nNo no, not that one, I'm not going to read them all, definitely, definitely not. \\n \\nUnknown\\n00:25:09\\nSilence [pause].\\n \\nAlden Nowlan\\n00:25:19\\nFirst of all I have a very, very bad poem that I can't resist reading. I realized that it's sort of a bad beginning to start off with a poem that the poet himself considers a very bad one, but I wrote this when I arrived here this afternoon. To the natural egotism of a poet, you see, I can't resist offering it to this sort of captive audience here. [Audience laughter]. \\\"Poem for the Ritz Carlton\\\". [Audience laughter].\\n \\nAlden Nowlan\\n00:26:06\\nReads \\\"Poem for the Ritz Carlton\\\" [audience laughter throughout].\\n \\nAlden Nowlan\\n00:26:30\\nThat isn't really as critical of the Ritz Carlton as it sounds, because I sort of like the crypt of St. Paul's Cathedral [https://www.wikidata.org/wiki/Q173882], too, you see. [Audience laughter]. Next, I'd like to read some poems from my new book, Bread Wine and Salt, which is going to be published by Carter when, the first week in November, at three dollars and fifty cents. [Audience laughter]. That is the commercial.  \\\"I, Icarus\\\".\\n \\nAlden Nowlan\\n00:27:15\\nReads \\\"I, Icarus\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:28:34\\nReads \\\"Sailors\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:30:06\\nThis poem is entitled \\\"The Cinnamon Bears\\\", which sounds at first as if it were some sort of an animal cooking. But actually, what these cinnamon bears were, was back around the turn of the century in New Brunswick [https://www.wikidata.org/wiki/Q1965], as I've been told, there were all sorts of touring side-show type of things, you know, that, fortune tellers, and...people with a monkey, organ grinders with a monkey, and all this type of, sort of strolling pyres or wandering minstrels that existed up until the advent of radio and television. And it was a terrific thing, of course, in these backwoods communities. No doubt throughout Canada and the United States, when one of these people arrived. And among the, among these people were men who had trained bears, who, because of their colouration, were called cinnamon bears. And this poem actually is sort of a found poem, because it's not so much a creative thing as it is the transcription of a conversation which I happened to overhear between an old couple in northern New Brunswick. A man and his wife in their seventies, when they, suddenly something brought back these memories of these days of the organ grinders and the cinnamon bears. And as I say, I sort of made the poem more or less by simply transcribing the things which they said to one another, which it seemed to me was sort of a poetry, a form of poetry itself. \\n \\nAlden Nowlan\\n00:32:20\\nReads \\\"The Cinnamon Bears\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:33:21\\nReads \\\"Britain Street, St. John, New Brunswick” [published as “Britain Street” in Bread, Wine and Salt].\\n\\nAlden Nowlan\\n00:34:22\\nThis is another, sort of a found poem, I'm not really terribly convinced that it's a poem at all. Last year, when I had a quite serious illness, one afternoon I was in the waiting room at the doctor's office, and the only thing that seemed to lay at hand for me to read was a copy of one of these Confessions magazines entitled Secret Life. [Audience laughter]. And as I glanced through it, it seemed to me, all that I actually read of it, you know, were these sort of captions at the top of the articles, and some of the big type in it. But it seemed to me really, as I glanced through it, that it had, that it contained sort of a crazy poetry of its own. At least, in the mood that I was in at the time, I sort of responded to it as though it were a crazy sort of poetry. And so as I sat there I sort of jotted down some of these things from the magazine, and ever since I've been trying to pass it off as a poem. \\n \\nAlden Nowlan\\n00:35:37\\nReads \\\"Secret Life\\\" [from Bread, Wine and Salt; audience laughter throughout].\\n \\nAudience\\n00:36:39\\nLaughter. \\n \\nAlden Nowlan\\n00:36:57\\nReads \\\"In Our Time\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:40:51\\nReads \\\"The Changeling\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:41:49\\nReads \\\"The Hollow Men\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:42:38\\nThis poem is entitled \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton [https://www.wikidata.org/wiki/Q2138], New Brunswick\\\". And I'm a little afraid that many of you will feel that it is sort of pointless. I'm not sure really but what you'd have to be completely immersed in the atmosphere of New Brunswick to get the real point of it, but. But that said, not implying any superiority on the part of New Brunswickers, unfortunately. Anyway.\\n \\nAlden Nowlan\\n00:43:26\\nReads \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:44:36\\nReads \\\"Every Man Owes God a Death\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:46:41\\nThis poem, for no particular reason, is entitled \\\"The Loneliness of the Long-Distance Runner\\\". \\n \\nAlden Nowlan\\n00:46:48\\nReads \\\"The Loneliness of the Long-Distance Runner\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:48:23\\nThis is a poem that came out of a serious illness that I had last year, and it's entitled \\\"In the Operating Room\\\". \\n \\nAlden Nowlan\\n00:48:38\\nReads \\\"In the Operating Room\\\" [from Bread, Wine and Salt].\\n \\nAlden Nowlan\\n00:50:05\\nI have a few other recent poems I'll dig out of these. \\n \\nUnknown\\n00:50:12\\nAmbient Sound [pause; Nowlan turning pages].\\n\\nAlden Nowlan\\n00:50:47\\nAs I sort through these, I'm silently cursing myself for not having done this before I came here. \\n \\nUnknown\\n00:50:52\\nAmbient Sound [pause; Nowlan turning pages].\\n\\nAlden Nowlan\\n00:51:20\\nHere's a fairly recent poem which isn't a political poem at all, but a human poem. And one that I wrote as a result of watching on television the debates in the United Nations [https://www.wikidata.org/wiki/Q1065] on the Middle East [https://www.wikidata.org/wiki/Q7204] crisis. And one of the horrible things I felt as I watched it was how completely dehumanized it all was, that the real, human issues had been lost sight of, and sort of drowned in an ocean of resolutions and memos from embassies and all this sort of things. And one night when they televised these sessions through until about four o'clock, the ambassador of Saudi Arabia [https://www.wikidata.org/wiki/Q851] spoke, and he delivered certainly a very bigoted speech, and one that as a speech I wouldn't have agreed with, but I felt an admiration for him, because it had seemed to me that he was the only really human thing that had happened there all day. You know, that certainly he was a bigoted old man, full of thousands of years of hatred, but it was a human hatred, expressed in a human manner, something that the rest of them had completely lost sight of. And as a result of this feeling I wrote this poem, \\\"For Jamil Baroody [https://www.wikidata.org/wiki/Q96384169], Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\\\".\\n \\nAlden Nowlan\\n00:53:21\\nReads \\\"For Jamil Baroody, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967\\\".\\n \\nAlden Nowlan\\n00:56:26\\nReads \\\"Fireworks\\\".\\n \\nAlden Nowlan\\n00:57:34\\nReads \\\"Two Poems for the Nova Scotia Department of Highways\\\".\\n \\nAlden Nowlan\\n00:59:31\\nFinally, this is a poem entitled \\\"State Visit\\\", and the motivation of it, like one of the earlier ones I read, was sort of this same feeling of frustration at the complete dehumanization of politics as we feel it today, and particularly, this sort of apotheosis of world leaders into some sort of a symbol, so they even, I think, begin to think of themselves in these sort of abstract terms, rather than as a human being. And out of--this is sort of, I suppose, perhaps to a degree sort of a bitter little poem, but it stemmed from an emotion which I'm sure many of us feel. \\n \\nAlden Nowlan\\n01:00:27\\nReads \\\"State Visit\\\".\\n \\nEND\\n01:01:39\\n[Cut off abruptly].\",\"notes\":\"Margaret Atwood reads from The Circle Game (House of Anansi, 1966) as well as poems later published in The Animals in that Country (Oxford University Press, 1968). Nowlan reads from Bread Wine and Salt (Clarke, Irwin & Company, 1967) along with some poems from unknown sources.  \\n\\n00:00- Atwood introduces “This is a Photograph of Me”. [INDEX: Montreal plague, Tallula Bankhead, The Circle Game; from The Circle Game.]\\n00:22- Reads “This is a Photograph of Me”.\\n01:35- Introduces “The Camera”. [INDEX: dedication; published as “Camera” in The Circle \\tGame]\\n01:44- Reads “Camera”.\\n03:28- Reads “Carved Animals”. [INDEX: from The Circle Game, part III of “Some Objects of Wood and Stone”.]\\n04:25- Introduces “At the tourist center in Boston”. [INDEX: recent poems, written in the   United States, Canada’s Tourist Center in Boston; from The Animals in that Country.]\\n04:50- Reads “At the tourist centre in Boston”.\\n06:48- Introduces “The Green Man” [INDEX: dedicated to the Boston Strangler; from   unknown source.]\\n06:56- Reads “The Green Man”.\\n08:03- Reads “A fortification”. [INDEX: from The Animals in that Country]\\n09:17- Introduces “The landlady”. [INDEX: dedicated to Atwood’s landlady; from The Animals in that Country.]\\n09:29- Reads “The landlady”.\\n10:47- Reads “A foundling”. [INDEX: from The Animals in that Country.]\\n11:41- Reads “Untitled”.\\n12:58- Introduces “Chronology”. [INDEX: written in a paranoid state of mind; from unknown source.]\\n13:06- Reads “Chronology”.\\n14:39- Introduces “Backdrop addresses cowboy”. [INDEX: U.S.A.]\\n14:50- Reads “Backdrop addresses cowboy”. [INDEX: from The Animals in that Country.]\\n16:36- Reads “A voice”. [INDEX: from The Animals in that Country.]\\n17:40- Introduces “Elegy for giant tortoises”. [INDEX: South Pacific Island as airstrip; from The Animals in that Country.]\\n17:59- Reads “Elegy for giant tortoises”.\\n19:19- Reads “It’s dangerous to read newspapers”. [INDEX: from The Animals in that        Country.]\\n20:49- Reads “I was reading a scientific article”. [INDEX: from The Animals in that Country.]\\n22:25- Reads “The reincarnation of Captain Cook”. [INDEX: from The Animals in that      Country.]\\n23:44- End of Atwood’s Reading.\\n23:49- CUT in recording.\\n23:58- Roy Kiyooka introduces Alden Nowlan (recording starts mid-introduction). [INDEX: Journalist from the Maritimes, with wife and son.]\\n24:26- Alden Nowlan introduces the reading. [INDEX: shortened poems, poems for reading.]\\n25:19- Introduces “Poem for the Rich Carlton”. [INDEX: bad poem, written upon arrival in Montreal, egotism of poet, audience.]\\n26:06- Reads “Poem for the Rich Carlton”.\\n26:30- Explains “Poem for the Rich Carlton”. [INDEX: crypt of St Paul’s Cathedral.]\\n26:43- Introduces “I, Icarus”. [INDEX: from new book, Bread Wine and Salt, published by Carter at $3.50.]\\n27:15- Reads “I, Icarus”.\\n28:34- Reads “Sailors” [INDEX: from Bread, Wine and Salt.]\\n30:06- Introduces “The Cinnamon Bears”. [INDEX: animal cooking, turn of the century, New Brunswick, touring side-show, fortune tellers, monkey, organ grinders, strolling pyres, wandering minstrels, advent of radio and television, Canada, United States, trained bears, found poem, creative, transcription of a conversation, northern New Brunswick, form of poetry; from Bread, Wine and Salt.]\\n32:30- Reads “The Cinnamon Bears”.\\n33:21- Reads “Britain Street, St. John, New Brunswick”. [INDEX: published as “Britain     Street” in Bread, Wine and Salt.]\\n34:22- Introduces “The Secret Life”. [INDEX: found poem, maybe not a poem, serious illness, doctor’s office, Confessions magazines called Sacred Life, crazy poetry; from Bread, Wine and Salt.]\\n35:37- Reads “Secret Life”.\\n36:57- Reads “In Our Time” [INDEX: from Bread, Wine and Salt.]\\n40:51- Reads “The Changeling” [INDEX: from Bread, Wine and Salt.]\\n41:49- Reads “The Hollow Men”. [INDEX: from Bread, Wine and Salt.]\\n42:38- Introduces \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick.\\\" [INDEX: atmosphere of New Brunswick; from   Bread, Wine and Salt.].]\\n43:26- Reads \\\"Ancestral Memories Evoked by Attending the Opening of the Playhouse in Fredericton, New Brunswick.\\\"\\n44:36- Reads “Every Man Owes God a Death”. [INDEX: from Bread, Wine and Salt.]\\n46:41- Introduces “The Loneliness of the Long-Distance Runner”. [INDEX: title, from Bread, Wine and Salt.]\\n46:48- Reads “The Loneliness of the Long-Distance Runner”.\\n48:23- Introduces “In the Operating Room”. [INDEX: serious illness the previous year, from Bread, Wine and Salt.].]\\n48:38- Reads “In the Operating Room”.\\n51:20- Introduces “For Jamol Barudi, Saudi Arabian Ambassador to the United Nations on the Occasion of his Address to the Security Council, June 1967”. [INDEX: political      poem, human poem, television debates, United Nations, Middle East Crisis,    dehumanization, bigoted speech.]\\n53:21- Reads “For Jamol Barudi, Saudi Arabian Ambassador to the United Nations on    the Occasion of his Address to the Security Council, June 1967”.\\n56:26- Reads “Fireworks”.\\n57:34- Reads “Two Poems for the Nova Scotia Department of Highways”.\\n59:31- Introduces “State Visit”. [INDEX: dehumanization of politics, apotheosis of world     leaders into a symbol, abstract terms, emotion.]       \\n1:00:27- Reads “State Visit”.\\n1:01:27- RECORDING ENDS (suddenly).\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\"}]"],"score":2.944487},{"id":"4393","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Robert Hogg fonds"],"source_collection_label":["Robert Hogg fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2018.002"],"persistent_url":[""],"item_title":["CBC Learning Systems / \nMargaret Atwood / The Twist of Feeling"],"item_title_source":["Title written on artifact."],"item_title_note":["Cassette Box title: CBC Learning Systems / \nMargaret Atwood / The Twist of Feeling\n\nSide A title: Marg. Atwood The Twist of Feeling CBC\n\nSide B title: n/a"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret"],"creator_names_search":["Atwood, Margaret"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3910/UBCO_Hogg_2018_002_024_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"TDK D-60 IEC Type I Normal Position\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.024_MargAttwood_Thetwistoffeeling_CBC_SideA_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:22:48\",\"precision\":\"\",\"size\":\"755 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[]"],"Location":["[]"],"City":["Other"],"content_notes":["Contents entry temporary."],"contents":["Tape consists of a CBC radio broadcast featuring guest Margaret Atwood. Atwood reads from her collection Power Politics."],"Note":["[{\"note\":\"Digitization complete.\",\"type\":\"General\"},{\"note\":\"Side B blank.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Atwood, Margaret. Power Politics. House of Anansi Press, 1971.\"}]"],"_version_":1853670550770024448,"timestamp":"2026-01-07T14:59:55.332Z","score":2.944487},{"id":"4420","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Robert Hogg fonds"],"source_collection_label":["Robert Hogg fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2018.002"],"persistent_url":[""],"item_title":["Atwood Bannerman Gathering for Canadian Literary Review Spring '83"],"item_title_source":["Title written on artifact."],"item_title_note":["Box title: Atwood Bannerman Gathering for Canadian Literary Review Spring '83\n\nSide A title: M. Atwood\n\nSide B title: M. Bannerman\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret","Bannerman, Maja"],"creator_names_search":["Atwood, Margaret","Bannerman, Maja"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/93541732\",\"name\":\"Bannerman, Maja\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1983],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/5686/2018_002_051_a-resized.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Philips Fe*I 90 Type I Normal Bias\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.051_M._Atwood_SideA_(MA)_02-01.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:22:45\",\"precision\":\"\",\"size\":\"753 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.051_M._Bannerman_SideB_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:47:24\",\"precision\":\"\",\"size\":\"1.57 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1983\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on artifact.\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["Contents entry temporary. To be time stamped and transcribed."],"contents":["Side A of tape consists of Margaret Atwood reading her story \"The Salt Garden\" at the Canadian Literary Review reading in the Spring of 1983.\n\nSide B of tape consists of Maja Bannerman performing her piece \"Close Up on Cancer and Camera\" followed by various musical performances."],"Note":["[{\"note\":\"Digitization complete.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Atwood, Margaret. \\\"The Salt Garden.\\\" 1983\"},{\"url\":\"\",\"citation\":\"Bannerman, Maja. \\\"Close Up on Cancer and Camera.\\\"\"}]"],"_version_":1853670550779461632,"timestamp":"2026-01-07T14:59:55.332Z","score":2.944487},{"id":"9456","cataloger_name":["University of Alberta,"],"partnerInstitution":["University of Alberta"],"collection_source_collection":["Department of Radio & Television Broadcast Recordings "],"source_collection_label":["Department of Radio & Television Broadcast Recordings "],"collection_contributing_unit":["Department of Radio & Television Broadcast Recordings"],"source_collection_uri":["https://spokenweb.ualberta.ca/spokenweb-ualberta/exhibits/celebrations/"],"collection_image_url":[""],"collection_source_collection_description":["Reel to Reel recordings, each approximately 30 minutes in length, created for broadcast on CKUA Radio Station. Produced by the Department of Radio and Television and Department of English, University of Alberta"],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Celebrations: Margaret Atwood"],"item_language":["English"],"item_series_title":[" Celebrations Radio Program "],"item_series_description":["Celebrations was a University of Alberta campus radio show that aired on CKUA from 1983-84, and was a year-long series of interviews between host Jars Balan and past Writers-In-Residence, who had gathered in Edmonton to celebrate the universityu2019s 75th anniversary. For more information."],"item_series_uri":["https://spokenweb.ualberta.ca/spokenweb-ualberta/exhibits/celebrations/"],"item_identifiers":["[]"],"creator_names":["Atwood, Margaret","Atwood, Margaret","Balan, Jars"],"creator_names_search":["Atwood, Margaret","Atwood, Margaret","Balan, Jars"],"creators":["[{\"url\":\"\",\"name\":\"Atwood, Margaret\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Atwood, Margaret\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Balan, Jars\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors":["[]"],"Publication_Date":[1983],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"https://ualberta.aviaryplatform.com/r/c824b2z04t\"}]"],"Dates":["[{\"date\":\"1983-10-12\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"University of Alberta\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Venue":["University of Alberta"],"Note":["[{\"note\":\"Title Source: Title was written on tape.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552514854919,"timestamp":"2026-01-07T14:59:57.006Z","score":2.944487},{"id":"9545","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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Typewritten on CKUA reel sticker: 3 3/4 ips, Tape 2/2 (tape 1/2 SW005), Poetry Selections, February 20, '69. Handwritten from CKUA reel sticker: Humanities Reading, also Dorothy Livesay. Handwritten on slip of paper inside reel case: Tape I; \\\"The Forest\\\" 02; \\\"Two Versions of Sweaters\\\" 18; \\\"Women Skating\\\" 35; \\\"Even Here in the Cupboard\\\" 55; \\\"Christmas Tree Farm\\\" 62; \\\"Oro (?) Township\\\" 72. Tape II Dorothy Livesay 72, also talking about Nisei; reading also selections from her 30-minute poetic documentary on the Nisei on CBC (see over) \\\"The Fisherman\\\" excerpts with narrative connections by D. Livesay 100-62.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552743444481,"timestamp":"2026-01-07T14:59:57.226Z","score":2.944487},{"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. 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At the time of the recording, Life Before Man is an upcoming novel.  Atwood reads a long passage which presents both a female and male perspective\n\t\t413\tEnd\n\t\t420\tFred Wah takes the microphone\n\t\t425\t“Among”, title poem from the collection Among\n\t\t430\tEnd\n\t\t437\t“Hamill’s last stand”, from Tree\n\t\t466\tEnd\n\t\t475\t“Severance springwater” from Earth\n\t\t488\tEnd\n\t\t490\tUntitled poem\n\t\t496\tEnd\n\t\t498\t“How to be something” and “How to hunt”\n\t\t510\tEnd\n\t\t511\t“What to do when you get there”\n\t\t517\tEnd\n\t\t518\t“How to disappear”\n\t\t524\tEnd\n\t\t525\t“How to build a fire”\n\t\t534\tEnd\n\t\t539\tVarious ‘river’ poems – possibly untitled, unpublished, contemporary work\n\t\t572\tEnd.  End Side One\nTwo\t\t000\t\n\t\t007\tFred Wah continued.  Wah reads three short poems\n\t\t058\t“For the writers…”, “A Cretian translation”, “Hermes”\n\t\t060\t“A sleeping poem”\n\t\t082\tEnd\n\t\t085\tP.G. Jones takes the microphone, making some humorous comments\n\t\t110\t“Spring flowers” from Under the Thunder the Flowers Light Up the Earth\n\t\t135\tEnd\n\t\t140\t“These flowers”\n\t\t156\tEnd\n\t\t160\tJones explains to the audience that he will be reading 13 poems in sequence, without pause.  All taken from Under the Thunder\n\t\t223\tJones begins reading\n\t\t350\tEnd\n\t\t356\tJones reads an unidentified three-line poem\n\t\t360\tEnd\n\t\t382\t“Lines inscribed on a stone”\n\t\t388\tEnd\n\t\t395\t“That’s it”\n\t\t401\tEnd\n\t\t407\t“Three cast with the I Ching”\n\t\t414\tEnd\n\t\t417\t“13/9/75 (Ta Kuo: Excess)”\n\t\t422\t“16/9/75 (I: Nourishment)”\n\t\t430\tEnd\n\t\t443\t“Dilemmas”\n\t\t469\tEnd\n\t\t485\t“7/5/75”\n\t\t496\tEnd\n\t\t500\t“10/5/76”\n\t\t512\tEnd\n\t\t522\t“The diamond Sutra”\n\t\t550\tEnd\n\t\t556\t“For Malcolm Lowry”\n\t\t565\tEnd\n\t\t575\t“Eliminate the valietics”\n\t\t580\tEnd"],"Note":["[{\"note\":\"Liner Notes: Margaret Atwood reading form \\\"Life Before Man\\\" with Fred Wah and D. G.  Jones, #723\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552853544960,"timestamp":"2026-01-07T14:59:57.321Z","score":2.944487},{"id":"5419","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Robber Bride: Margaret Atwood at CBC\nMorning side on September 29 and Arts Week on October 3, 1993 #779\n"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret"],"creator_names_search":["Atwood, Margaret"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1993],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1322/Reading in BC_MsC199_779.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T00:43:22\",\"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\":\"779-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:31\",\"precision\":\"\",\"size\":\"64.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"779-side-2 - blank.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:42\",\"precision\":\"\",\"size\":\"63.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1993-10-03\",\"type\":\"Performance Date\",\"notes\":\"Artsweek\",\"source\":\"J-card\"},{\"date\":\"1993-09-29\",\"type\":\"Performance Date\",\"notes\":\"Morning side\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/50259713\",\"venue\":\"CBC studio\",\"notes\":\"We assume that this tape was recorded in Vancouver\",\"address\":\"700 Hamilton Street Vancouver, British Columbia V6B 4A2\",\"latitude\":\"49.27915495\",\"longitude\":\"-123.11434125336939\"}]"],"Address":["700 Hamilton Street Vancouver, British Columbia V6B 4A2"],"Venue":["CBC studio"],"City":["Hamilton, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\n1\t\t\tMorningside, Sept. 29, 1993\n2\t\t\tArtsweek, Oct. 3, 1993\n"],"Note":["[{\"note\":\"The Robber Bride, Margaret Atwood \\nCBC \\nMorningside September 29, 1993\\nArts week October 3, 1993 \\n23:45\\n19:37\\n#779\",\"type\":\"General\"},{\"note\":\"side two is empty.\\n\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553075843075,"timestamp":"2026-01-07T14:59:57.525Z","score":2.944487},{"id":"5439","cataloger_name":["Isabella,Wang"],"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":["Dorothy Livesay Tapes: George Bowering, Margaret Atwood, Pat Lane, and Alden Nowlan Reading, 1969 and 1970 #367"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret","Bowering, George","Lane, Patrick","Nowlan, Alden"],"creator_names_search":["Atwood, Margaret","Bowering, George","Lane, Patrick","Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/66513400\",\"name\":\"Lane, Patrick\",\"dates\":\"1939-2019\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1969],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1374/Readings in BC_MsC199_367.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"SFU\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"367-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:07\",\"precision\":\"\",\"size\":\"33.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"367-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:37\",\"precision\":\"\",\"size\":\"29.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1969-03-02\",\"type\":\"Production Date\",\"notes\":\"Bowering reads “Sir George computer university…”\",\"source\":\"J-card\"},{\"date\":\"[1970?]-10-30\",\"type\":\"Production Date\",\"notes\":\"Bowering reading was recorded on this date, and then it was sent to D.C.\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tChan.1\t005\tGeorge Bowering begins in mid-reading\n\t\t\t…climbing up Blue mountain\n\t\t022\t“Tuesday night…”\n\t\t039\tGeorge discusses the nature of this particular reading\n\t\t047\t“Walking poem”\n\t\t059\t“At Victory Square”\n\t\t073\t“Family”\n\t\t097\t“Grandfather”\n\t\t138\t“Wood”\n\t\t158\t“The hockey hero”\n\t\t174\t“Benzadrine”\n\t\t198\t“The bread”\n\t\t209\t“A metaphysic in things”\n\t\t335\t“Points on the grid”\n\t\t379\tThe speed of reading and ‘things’ in the last poems\n\t\t409\tUse of end line as punctuation\n\t\t430\tAdvantages of this type of punctuation\n\t\t446\t“The girl on the beach” as an example and explanation\n\t\t485\tReads from a selection of an essay on prosody\n\t\t\t“New American prosody in culture” in Culture No.15\n\t\t533\tPoem as a field of action\n\t\t549\tForm as nothing more than an extension of content\n\t\t588\tWilliams & prosody – Culture No.6\n\t\t606\tOlson’s essay Human Universe\n\t\t642\tEnd of George’s reading\n\t\t643\t“Sir George Williams university”\n\t\t\tBowering reads “Sir George computer university…”\n\t\t\tMarch 2 1969\n\t\t817\tEnd of George Bowering’s segment\n\t\t820\tMargaret Atwood begins – “After the flood we…”\n\t\t880\t“Kaleidoscopes, Baroque” (bad recording)\n\t\t930\tEnd of reading – tapes fades out\nTwo\tChan.1\t002\tThe house of the Sasquatch… (rec. off a radio?)\n\t\t\tCBC “anthology” – a poem for voices – Margaret Atwood\n\t\t288\tRecording ends abruptly\n\t\t294\tPat Lane begins reading\n\t\t299\t“The Carnival man” (for Fred Lane, a poet)\n\t\t621\tEnd of Pat Lane’s reading\n\t\t623\tAlden Nowlan begins – mid reading – bad recording\n\t\t656\tDiscussion of topics\n\t\t673\t“Gypsys”\n\t\t703\t“Darkness, the smell of birds…” a lot of volume fluctuations\n\t\t736\t“My cousins…”\n\t\t773\t“He’s wanted to go back...”\n\t\t801\t“Somebody loved…”\n\t\t806\tTape ends abruptly"],"Note":["[{\"note\":\"Liner Notes: Track 1 Time 23 George Bowering Reading and discussion his poems and a section of his article on prosody, culture no. 15 Recorded by G. B. and sent to D. C> Oct 30, Beginning lost. \\n\\nTime 4:15 on \\\"Sir George Williams\\\" March 2, 1969 -- Sunday Supplement \\n\\nTime 2 Margaret Atwood Reading\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553110446081,"timestamp":"2026-01-07T14:59:57.525Z","score":2.944487},{"id":"5440","cataloger_name":["Isabella,Wang"],"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":["Dorothy Livesay Tapes: Margaret Atwood, Dorothy Livesay, Ruby Wiebe, and Elizabeth Brewster, 1965, 1969, and 1970 part 1 of 2 #368a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Livesay, Dorothy","Brewster, Elizabeth","Wiebe, Ruby","Atwood, Margaret"],"creator_names_search":["Livesay, Dorothy","Brewster, Elizabeth","Wiebe, Ruby","Atwood, Margaret"],"creators":["[{\"url\":\"http://viaf.org/viaf/116854541\",\"name\":\"Livesay, Dorothy\",\"dates\":\"1909-1966\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/59125943\",\"name\":\"Brewster, Elizabeth\",\"dates\":\"1922-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/1904145857052022921210\",\"name\":\"Wiebe, Ruby\",\"dates\":\"1952-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1375/Readings in BC_MsC199_368a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"SFU\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"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\":\"368-part-1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:50\",\"precision\":\"\",\"size\":\"36.2 MB \",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"368-part-1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:52:29\",\"precision\":\"\",\"size\":\"51.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-03\",\"type\":\"Production Date\",\"notes\":\"Interview with Dorothy Livesay\",\"source\":\"J-card\"},{\"date\":\"1969-10-02\",\"type\":\"Production Date\",\"notes\":\"Panel discussion at Edmonton public library  \",\"source\":\"J-card\"},{\"date\":\"1970-03\",\"type\":\"Production Date\",\"notes\":\"Margaret Atwood's writing class\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/6502607713\",\"venue\":\"Edmonton Public Library\",\"notes\":\"Panel discussion with Margaret Atwood, Dorothy Livesay, Ruby Wiebe, and Elizabeth Brewster\",\"address\":\"119A Street SW, Heritage Valley Town Centre, Heritage Valley, Edmonton, Alberta, T6W 2Y1, Canada\",\"latitude\":\"53.40752\",\"longitude\":\"-113.53763\"}]"],"Address":["119A Street SW, Heritage Valley Town Centre, Heritage Valley, Edmonton, Alberta, T6W 2Y1, Canada"],"Venue":["Edmonton Public Library"],"City":["Edmonton, Alberta"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tChan.1\t003\tBegins mid reading… “Kaleidoscopes, Baroque”\n\t\t033\tDorothy Livesay interrupts to question Atwood about the splitting of phrases\n\t\t039\tAtwood on ignoring stanzas – breaking the visual line\n\t\t046\t“Descents”\n\t\t067\t“This is a photograph of me…”\n\t\t076\tConversational rhythm – the poem all of a piece\n\t\t091\t“Evening train station before departure”\n\t\t111\tEvidence of half rhyme\n\t\t119\tThe unconscious production of rhyme\n\t\t134\tNarrative structure as form\n\t\t157\tThe effect of music on poetry\n\t\t167\t“Nebethalanium”\n\t\t186\tStress and intonation\n\t\t202\tThe use of the semi-colon\n\t\t221\t“Camera”\n\t\t241\tEnd of first section\n\t\t243\tIntroduction to panel discussion at Edmonton Public Library: Dorothy Livesay, Rudy, Margaret Atwood, Elizabeth Brewster\n\t\t\tThe poets introduce each other – some bad sections in recording\n\t\t384\tThe discussion proper begins – Poetry in the prairies\n\t\t390\tFiction – the real prairie genre\n\t\t430\tPrairie poets\n\t\t451\tPainting analogy\n\t\t459\tThe difference between foreign and domestic poets and their ability to write about the prairies\n\t\t511\tPrairie literary publications\n\t\t551\tStudent publications – how to keep them going during periods of student apathy\n\t\t580\tThe lack of little magazines at the University of Alberta\n\t\t643\tCritics and the role of criticism in Canadian writing\n\t\t\tMargaret Atwood on the function and validity of critics\n\t\t675\tDorothy Livesay on the appalling lack of Canadian book reviews in Edmonton papers\n\t\t710\tElizabeth Brewster – the quality of “Canadianess” in poetry\n\t\t728\tAtwood – no doubt that there is a Canadian literature but not in a limiting sense – but in relation to space and time\n\t\t827\tThe artificiality of names – Atwood\n\t\t853\tTopics and motivations behind writing\n\t\t904\tElizabeth Brewster on poetic and prose forms\n\t\t950\tPoetry off the page – music – Livesay\n\t\t970\tEnd of side one"],"Note":["[{\"note\":\"Liner Notes: Track 1 Time 2.0 Reading and Interview March 1965 with Dorothy Livesay (beginning lost) Time 42 Panel Discussion: Edmonton Public Library, Oct. 20/1969 Dorothy Livesay, Margaret Atwood, Elizabeth Brewster, Rube Wiebe Track 2 Time 2.3 Panel Concluded Time 35 Margaret Atwood Writing Class--March 1970 Much mic rattling and hum Side 1: 31 min. Side 2: 32 min. Dolby B\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553111494656,"timestamp":"2026-01-07T14:59:57.525Z","score":2.944487},{"id":"5441","cataloger_name":["Isabella,Wang"],"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":["Dorothy Livesay Tapes: Margaret Atwood, Dorothy Livesay, Ruby Wiebe, and Elizabeth Brewster, 1965, 1969, and 1970 part 2 of 2 #368b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Livesay, Dorothy","Atwood, Margaret","Wiebe, Ruby-","Brewster, Elizabeth"],"creator_names_search":["Livesay, Dorothy","Atwood, Margaret","Wiebe, Ruby-","Brewster, Elizabeth"],"creators":["[{\"url\":\"http://viaf.org/viaf/116854541\",\"name\":\"Livesay, Dorothy\",\"dates\":\"1909-1966\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/1904145857052022921210\",\"name\":\"Wiebe, Ruby-\",\"dates\":\"1952-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/59125943\",\"name\":\"Brewster, Elizabeth\",\"dates\":\"1922-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1376/Readings in BC_MsC199_368b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"SFU\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"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\":\"368-part-2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:17\",\"precision\":\"\",\"size\":\"29 MB\",\"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\":\"368-part-2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:13\",\"precision\":\"\",\"size\":\"28.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-03\",\"type\":\"Production Date\",\"notes\":\"Interview with Dorothy Livesay\",\"source\":\"J-card\"},{\"date\":\"1969-10-20\",\"type\":\"Production Date\",\"notes\":\"Panel discussion\",\"source\":\"J-card\"},{\"date\":\"1970-03\",\"type\":\"Production Date\",\"notes\":\"Margaret Atwood's writing class\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/6502607713\",\"venue\":\"Edmonton Public Library \",\"notes\":\"Panel discussion with Margaret Atwood, Dorothy Livesay, Ruby Wiebe, and Elizabeth Brewster\",\"address\":\"119A Street SW, Heritage Valley Town Centre, Heritage Valley, Edmonton, Alberta, T6W 2Y1, Canada\",\"latitude\":\"53.40752\",\"longitude\":\"-113.53763\"}]"],"Address":["119A Street SW, Heritage Valley Town Centre, Heritage Valley, Edmonton, Alberta, T6W 2Y1, Canada"],"Venue":["Edmonton Public Library "],"City":["Edmonton, Alberta"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t004\tDiscussion continued from side one\n\t\t008\tPoetry as an oral tradition – Livesay\n\t\t011\tAtwood on her decision to use the poetic form – or rather the lack of decision\n\t\t020\tRudy on same topic\n\t\t041\tLivesay on works in progress – fights with publishers\n\t\t062\tAtwood on her publishing history\n\t\t089\tBrewster on new works\n\t\t105\tHardcover versus paperback publishing\n\t\t135\tAudience is invited to ask questions\n\t\t139\tQuestions begin – hard to hear\n\t\t277\tEnd of discussion and questions\n\t\t280\tAtwood’s lecture to a creative writing class\n\t\t\t-very difficult to hear – a lot of mic hum and noise\n\t\t857\tEnd of lecture"],"Note":["[{\"note\":\"Liner Notes: Dorothy Livesay Tapes--Margaret Atwood Concl. Side 3 29:40 Side 4 28:30 Dolby B\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553111494657,"timestamp":"2026-01-07T14:59:57.525Z","score":2.944487},{"id":"5681","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":["Vancouver CBC program: Margaret Atwood interview with Vicki Gabereau discussing The Handmaids Tale, Life in England, and The Canlit Cookbook, October 1985 #528"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret","Gabereau, Vicki"],"creator_names_search":["Atwood, Margaret","Gabereau, Vicki"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Author\"]},{\"url\":\"http://viaf.org/viaf/104844374\",\"name\":\"Gabereau, Vicki\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\",\"Presenter\"]}]"],"contributors":["[]"],"Publication_Date":[1986],"Performance_Date":[1985],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5861/528.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\":\"528-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:17\",\"precision\":\"\",\"size\":\"29.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"528-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:20:54\",\"precision\":\"\",\"size\":\"20.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-10\",\"type\":\"Performance Date\",\"notes\":\"Original recording happened on Oct 1985\",\"source\":\"J-card\"},{\"date\":\"1986-05-19\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/50259713\",\"venue\":\"CBC Vancouver\",\"notes\":\"\",\"address\":\"700 Hamilton Street Vancouver, British Columbia V6B 4A2\",\"latitude\":\"49.27915495\",\"longitude\":\"-123.11434125336939\"}]"],"Address":["700 Hamilton Street Vancouver, British Columbia V6B 4A2"],"Venue":["CBC Vancouver"],"City":["Hamilton, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tIntroduction by Vicki Gabereau\n\t\t023\tBeginning of discussion of The Hand Maid’s Tale\n\t\t032\tBook based on some real life developments, as reported in newspapers\n\t\t044\tStory set in Cambridge, Mass.; “the wall is the wall around Howard yard…”\n\t\t048\tDescription of Canadian and American covers\n\t\t068\tGroups like the “Moral Majority” would be eliminated by a powerful sect like the one depicted in the back\n\t\t080\tWhat would become of non-fertile women in such a regime\n\t\t\tWhat is going on in Canada While events unfold around Howard; the top of the “underground female-road”; Canada’s official position in neutral\n\t\t125\tPossible reactions to the book of U.S. women\n\t\t138\t“We take our freedom for granted…”\n\t\t157\tLiquid cash done away with in the book; any power group in control of appartatus can freeze individual’s assets over night\n\t\t174\t“A Coventry Carol” is introduced and played\n\t\t221\tInterview continues: Atwood wrote book in England\n\t\t274\tFinds it easier to write books outside of Canada\n\t\t302\tTalks about being a poor typist, taking Home Economics in school, etc.\n\t\t340\tAtwood introduces Offenbach piece, which is played\n\t\t403\tInterview resumes: Atwood’s involvement in P.E.N.; the Can-Lit Cookbook as a fundraiser\n\t\t450\tAnother fund raising idea\n\t\t477\tTalks about annoying questions from non-writing public\n\t\t511\tTalks about West Berlin where Atwood started The Handmaid’s Tale\n\t\t534\tTalks about learning German\n\t\t564\tTalks about current activities, past jobs, etc.\n\t\t608\tSong “I don’t want your millions, mister” is introduced and played (Atwood interview is over)"],"Note":["[{\"note\":\"Margaret Atwood on \\\"Gabereau\\\"\\nGabereau May 19, 1986\\nMargaret Atwood Discussing The Handmaids Tale, Life in England, The Canlit Cookbook\\nOriginally Broadcast October 1985 \\nHas some crackles due to thunderstorm\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553744834561,"timestamp":"2026-01-07T14:59:58.173Z","score":2.944487},{"id":"5724","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Margaret Atwood: The Journals of Susanna Moodie CBC Production on October 4, 1969 #440"],"item_title_source":["cassette and j-card"],"item_title_note":["Liner notes: see the photo in material description"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret"],"creator_names_search":["Atwood, Margaret"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1969],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6024/Reading in BC_MsC199_440.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"440-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:25:12\",\"precision\":\"\",\"size\":\"25.3 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\":\"440-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:46\",\"precision\":\"\",\"size\":\"24.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1969-10-04\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/3764261726\",\"venue\":\"CBC \",\"notes\":\"We don't know where CBC Vancouver located before 1975, now its address is  700 Hamilton Street\\nVancouver, British Columbia\\nV6B 4A2\",\"address\":\"Vancouver, British Columbia, Canada\",\"latitude\":\"49.27867\",\"longitude\":\"-123.11458\"}]"],"Address":["Vancouver, British Columbia, Canada"],"Venue":["CBC "],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t06\tIntroduction to The Journals of Susannah Moodie\n\t\t15\tJournal I 1832-1840 “Disembarking in Quebec”\n\t\t42\t“Further Arrivals”\n\t\t68\t“First Neighbours”\n\t\t109\t“The Planters”\n\t\t138\t“There Wereman”\n\t\t168\t“Paths and Thingscape”\n\t\t202\t“The Two Fires”\n\t\t242\t“Looking In a Mirror”\n\t\t280\t“Departure from the Bush”\n\t\t\tJournal II 1840-1871\n\t\t324\t“Death of A Young Son by Drowning”\n\t\t378\t“The Immigrants”\n\t\t446\t“Dream I: The Bush Garden”\n\t\t476\t“1837 War in Retrospect”\n\t\t512\t“Dream II: Brian the Still-Hunter”\n\t\t552\t“Charivari”\nTwo\t\t09\t“Dream III: Night Bear Which Frightens Cattle”\n\t\t41\t“Deaths of The Other Children”\n\t\t66\t“The Double Voice”\n\t\t\tJournal III 1871-1969\n\t\t94\t“Later in Belleville: Career”\n\t\t116\t“Daguerrotype Taken in Old Chair”\n\t\t145\t“Wish: metamorphosis to Heraldic Emblem”\n\t\t175\t“Visit to Toronto with Companions”\n\t\t216\t“Solipsism While dying”\n\t\t269\t“Thoughts From Underground”\n\t\t304\t“Alternate Thoughts From Underground”\n\t\t340\t“Resurrection”\n\t\t370\t“A Bus Along St. Clair: December”\n\t\t417\tEnd of recording"],"Note":["[{\"note\":\"Sound Quality: quiet echo words precedes the same louder words of the speaker, the recording is still clear\",\"type\":\"General\"},{\"note\":\"The description printed out on the j-card is incorrect, it is not a Broadcast from oct. 4, 1969 read by Mia Anderson. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553756368896,"timestamp":"2026-01-07T14:59:58.173Z","score":2.944487},{"id":"5726","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Margaret Atwood reads \"Landscape as image bank\" recorded at SFU on March 14, 1975 #443"],"item_title_source":["cassette and j-card"],"item_title_note":["Liner notes: see the photo in material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret"],"creator_names_search":["Atwood, Margaret"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6026/Reading in BC_MsC199_443.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"443-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:50:52\",\"precision\":\"\",\"size\":\"49.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"443-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:17\",\"precision\":\"\",\"size\":\"44.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-03-14\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tIntroduction\n\t\t015\tTalks about writing The Circle Game and its exploration of geography and landscape as metaphor\n\t\t039\tReads “This is a photograph of Me”\n\t\t079\tReads “An Attempted solution for chess problems”\n\t\t121\tReads “The City Planners”\n\t\t162\tReads “At the Tourist Centre in Boston”\n\t\t204\tReads “The Reincarnation of Captain Cook”\n\t\t224\tReads from Surfacing\n\t\t249\tReads from her work-in-progress Lady Oracle\n\t\t\t-\tChapter 9 of Lady Oracle\n\t\t684\tFinishes chapter 9.  Answers questions from audience\n\t\t717\tCritical response to a poet-novelist\n\t\t775\tSusan McFarlane asks about the length and procedures of the publishing process, and the status of women writers\nTwo\t\t000\tQuestions from Audience – regarding publishing procedures, and her thoughts about old writing\n\t\t072\tTalks about movie rights for Surfacing\n\t\t097\tQuestion “Is the end of Surfacing a mushroom trip”\n\t\t\tNo, famine\n\t\t119\tAlternate titles for Surfacing : “Where is Here” & “Forehead Eye”\n\t\t150\tHer attitude towards critical response\n\t\t182\tParallels between plot structures and landscapes\n\t\t211\tTape ends"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553756368898,"timestamp":"2026-01-07T14:59:58.173Z","score":2.944487},{"id":"5647","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Margaret Atwood reading at SFU on June 13, 1978 #397"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret","Vanel, Kurtis"],"creator_names_search":["Atwood, Margaret","Vanel, Kurtis"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Vanel, Kurtis \",\"dates\":\"1936-2017\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5825/Reading in BC_MsC199_397.jpg\",\"other\":\"\",\"extent\":\"\",\"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\":\"397-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:36\",\"precision\":\"\",\"size\":\"32.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"397-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:29\",\"precision\":\"\",\"size\":\"32.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-06-13\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178 \"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t006\t“This is a photograph of me”\n\t\t025\tTalks about The Journals of Susannah Moodie\n\t\t052\tReads “Death of a Young Son by Drowning”\n\t\t077\tReads “The Were-man”\n\t\t094\tTalks about The Journals of Susannah Moodie\n\t\t102\tReads “The woman who could not live with her faulty heart”\n\t\t136\t“Note from an Italian postcard factory”\n\t\t170\t“You begin”\n\t\t193\t“Dreams of the animals”\n\t\t240\tEnds "],"Note":["[{\"note\":\"This program is recorded for PEMC\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553957695489,"timestamp":"2026-01-07T14:59:58.384Z","score":2.944487},{"id":"6162","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. 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V of Lady Oracle – this is an early draft\n\t\t267\tEncounters with the Element Man – prose piece\n\t\t484\tAtwood reading poems\n\t\t\tThere is Only One of Everything\n\t\t505\tLate August\n\t\t624\tQuestions from the audience\n\t\t838\tDiscussion with Pierre Coupey’s creative writing class\n"],"Note":["[{\"note\":\"Liner Notes: Margaret Atwood, reading/interive Capilano College, March 12, 1975 Reading: 66 min Talk to Pierre Coupey's creative writing class: 37 min. 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It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Margaret Atwood reading and talking to Pierre Coupey's creative writing class at Capilano College on March 12, 1975 #151c"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret","Coupey, Pierre","Kiyooka, Roy","Marlatt, Daphne"],"creator_names_search":["Atwood, Margaret","Coupey, Pierre","Kiyooka, Roy","Marlatt, Daphne"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/96212091\",\"name\":\"Coupey, Pierre\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/717/Reading in BC_McS199_151c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"151c-side-a.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:44:59\",\"precision\":\"\",\"size\":\"44.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-03-12\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/485438830\",\"venue\":\"Capilano College\",\"notes\":\"\",\"address\":\"2055 Purcell Way, North Vancouver, BC V7J 3H5\",\"latitude\":\"49.3179\",\"longitude\":\"-123.0195\"}]"],"Address":["2055 Purcell Way, North Vancouver, BC V7J 3H5"],"Venue":["Capilano College"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\tA\t000\tContinuation of discussion with class\n\t\t095\tAtwood interview with Pierre Coupey, Daphne Marlatt\n\t\t\t-\tPatterns of composition in poetry and prose\n\t\t\t-\tProsody\n\t\t\t-\tPublishing industry\n\t\t\t-\tThe experimental novel\n\t\t\t-\tDiscussion of The Edible Woman and Surfacing\n"],"Note":["[{\"note\":\"The information about the time of the recording  on the cassette is incorrect, it is probably the time of 151a and 151b and 151c\",\"type\":\"General\"},{\"note\":\"Liner Notes: Margaret Atwood (conclusion), reading/interive Capilano College, March 12, 1975 Reading: 66 min Talk to Pierre Coupey's creative writing class: 37 min. Interview: 86 min\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554829062145,"timestamp":"2026-01-07T14:59:59.214Z","score":2.944487},{"id":"6175","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Readings at Sir George Williams: Margaret Atwood and Alden Nowlan reading on October 13, 1967 #160"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret","Nowlan, Alden"],"creator_names_search":["Atwood, Margaret","Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935- \",\"notes\":\"In the inventory it states that he is a Donor and we are not sure what it means\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1967],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/740/Reading in BC_McS199_160.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:00:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"160-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:03\",\"precision\":\"\",\"size\":\"45.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"160-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:36:22\",\"precision\":\"\",\"size\":\"38.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1967-10-13\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/103248053#map=16/45.4952/-73.5778\",\"venue\":\"Sir George Williams University (Concordia University)\",\"notes\":\"\",\"address\":\"1455 De Maisonneuve Blvd. W., Montreal, Quebec, Canada\",\"latitude\":\"45.4952\",\"longitude\":\"-73.5781\"}]"],"Address":["1455 De Maisonneuve Blvd. W., Montreal, Quebec, Canada"],"Venue":["Sir George Williams University (Concordia University)"],"City":["Montreal, Quebec"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tA\t005\tAtwood reading – This is A Photograph Of Me\n\t\t024\tCamera\n\t\t049\tCarved Animals\n\t\t069\tAt The Tourist Centre in Boston\n\t\t101\tThe Green Man\n\t\t120\tA Fortification\n\t\t140\tThe Landlady\n\t\t163\tA Foundling\n\t\t197\tChronology\n\t\t228\tBackdrop Addresses Cowboy\n\t\t255\tThe Voice\n\t\t274\tAn Elegy For The Giant Tortoises\n\t\t301\tIt Is Dangerous To Read Newspapers\n\t\t327\tI Was Reading A Scientific Article\n\t\t354\tThe Reincarnation of Captain Cook\nTwo\tA\t000\tIntroduction by Roy Kiyooka\n\t\t010\tPreamble by Nowlan\n\t\t027\tPoem For The Rich (?) Carleton\n\t\t044\tI, Icarus\n\t\t063\tSailors\n\t\t085\tThe Cinnamon Bears\n\t\t131\tBriton Street, St. John, New Brunswick\n\t\t164\tSecret Life\n\t\t195\tReport From Ottawa\n\t\t216\tA View From The Bridge\n\t\t244\tThe Changeling\n\t\t259\tThe Hollow Men\n\t\t273\tAncestral Memories Evoked By Attending The Opening of the Playhouse in Fredericton, New Brunswick\n\t\t305\tEvery Man Owes God A Debt\n\t\t339\tThe loneliness of the Long Distance Runner\n\t\t345\tA Boy In A Red Loincloth\n\t\t370\tIn The Operating Room\n\t\t450\tFor Jamil? Burundi?, Saudi Arabian Ambassador to the United Nations on the Occasion of His Address to The Security Council June, 1967\n\t\t515\tFireworks\n\t\t537\tTwo Poems For The Nova Scotia Department of Highways\n\t\t579\tState Visit"],"Note":["[{\"note\":\"Liner Notes: Side 1: 23 min (Margaret Atwood) Side 2: 37 min (Alden Nowlan)\",\"type\":\"General\"},{\"note\":\"Detailed information about the reading and transcription:https://montreal.spokenweb.ca/sgw-poetry-readings/margaret-atwood-and-alden-nowlan-at-sgwu-1967/\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554832207872,"timestamp":"2026-01-07T14:59:59.214Z","score":2.944487},{"id":"6372","cataloger_name":["Teddie,Brock"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["SFU Archives Readings"],"source_collection_label":["SFU Archives Readings"],"collection_contributing_unit":["SFU Archives and Records Management"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["A collection of poetry readings and panels that took place at SFU during the 1970s and are located in the SFU Archives. This group includes writers such as Margaret Atwood, Dorothy Livesay, Anne Marriott, Joy Kagawa, P. K. Page, and Irving Layton."],"collection_source_collection_id":["https://atom.archives.sfu.ca/f-231-1-2"],"persistent_url":["https://atom.archives.sfu.ca/f-231-1-2"],"item_title":["Canadian Landscapes Series: Margaret Atwood Poetry Reading at SFU on March 14, 1975"],"item_title_source":["documentation, archive entry"],"item_title_note":["Information taken from SFU Archives: see https://atom.archives.sfu.ca/f-231-1-2-0-0-13"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret"],"creator_names_search":["Atwood, Margaret"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939–\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7895/OBJ-274.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"OBJ-274.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:19:47\",\"precision\":\"\",\"size\":\"57.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-03-14\",\"type\":\"Production Date\",\"notes\":\"https://atom.archives.sfu.ca/f-231-1-2-0-0-13\",\"source\":\"documentation, archive entry\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132#map=19/49.28026/-122.91689\",\"venue\":\"Images Theatre, Robert C. Brown Hall (Simon Fraser University)\",\"notes\":\"Performed at Images Theatre in Robert C Brown Hall\",\"address\":\"888 University Dr, Burnaby, V5A 1S6\",\"latitude\":\"49.276709600000004\",\"longitude\":\"-122.91780296438841\"}]"],"Address":["888 University Dr, Burnaby, V5A 1S6"],"Venue":["Images Theatre, Robert C. Brown Hall (Simon Fraser University)"],"content_notes":["Sound quality: background hum on recording"],"Note":["[{\"note\":\"Information taken from SFU Archives: see https://atom.archives.sfu.ca/f-231-1-2-0-0-13\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555266318337,"timestamp":"2026-01-07T14:59:59.632Z","score":2.944487},{"id":"6374","cataloger_name":["Teddie,Brock"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["SFU Archives Readings"],"source_collection_label":["SFU Archives Readings"],"collection_contributing_unit":["SFU Archives and Records Management"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["A collection of poetry readings and panels that took place at SFU during the 1970s and are located in the SFU Archives. This group includes writers such as Margaret Atwood, Dorothy Livesay, Anne Marriott, Joy Kagawa, P. K. Page, and Irving Layton."],"collection_source_collection_id":["https://atom.archives.sfu.ca/f-231-1-2"],"persistent_url":["https://atom.archives.sfu.ca/f-231-1-2"],"item_title":["Margaret Atwood Poetry Reading: Q&A Segment at SFU on June 13, 1978"],"item_title_source":["archive entry, recording"],"item_title_note":["Information taken from SFU Archives: see  https://atom.archives.sfu.ca/f-231-1-2-0-0-23"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret"],"creator_names_search":["Atwood, Margaret"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939–\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7902/OBJ-284.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"OBJ-284.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:05:41\",\"precision\":\"\",\"size\":\"3.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-06-13\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"archive entry\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132#map=19/49.28026/-122.91689\",\"venue\":\"Simon Fraser University\",\"notes\":\"Specific building not identified \",\"address\":\"888 University Dr, Burnaby, V5A 1S6\",\"latitude\":\"49.276709600000004\",\"longitude\":\"-122.91780296438841\"}]"],"Address":["888 University Dr, Burnaby, V5A 1S6"],"Venue":["Simon Fraser University"],"content_notes":["Recording contains Q&A segment of reading"],"Note":["[{\"note\":\"Information taken from SFU Archives: see  https://atom.archives.sfu.ca/f-231-1-2-0-0-23\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555267366912,"timestamp":"2026-01-07T14:59:59.632Z","score":2.944487},{"id":"6419","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Gerry Gilbert Fonds"],"source_collection_label":["Gerry Gilbert Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Gerry Gilbert Fonds collects materials from Vancouver poet Gerry Gilbert. Gilbert was a multimedia artist and writer who published 19 books between 1960 and 2006. This collection contains poetry recordings of Gilbertu2019s, including a large number of tapes from u201cradiofreerainforest,u201d the radio show he hosted. radiofreerainforest [sic] aired on Vancouver co-op radio CFRO-FM Radio beginning in the spring of 1985 and ran well into the 1990s. The show consisted of interviews, readings, and discussions with local, national and international literary figures such as Maxine Gadd, Judith Copithorne, Steve McCaffery, bpNichol, and WIlliam Burroughs."],"collection_source_collection_id":["MsC 14"],"persistent_url":[""],"item_title":["radiofreerainforest 30 October, 1988 1/2"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"creator_names":["James, Kedrick","Karasick, Adeena","Bowering, George","Copithorne, Judith","Watts, Charles","Little, Billy","Phillips, David","Thesen, Sharon","Hindmarch, Gladys","Hindmarch, Gladys","Pass, John","Kiyooka, Roy","Gilbert, Gerry","Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Kearns, Lionel","Coupey, Pierre","Brown, Colin","Bissett, Bill","Atwood, Margaret","Miki, Roy"],"creator_names_search":["James, Kedrick","Karasick, Adeena","Bowering, George","Copithorne, Judith","Watts, Charles","Little, Billy","Phillips, David","Thesen, Sharon","Hindmarch, Gladys","Hindmarch, Gladys","Pass, John","Kiyooka, Roy","Gilbert, Gerry","Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Kearns, Lionel","Coupey, Pierre","Brown, Colin","Bissett, Bill","Atwood, Margaret","Miki, Roy"],"creators":["[{\"url\":\"https://viaf.org/viaf/106017797/#James,_Kedrick\",\"name\":\"James, Kedrick \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/76188856/#Karasick,_Adeena,_1965-\",\"name\":\"Karasick, Adeena \",\"dates\":\"1956-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/63020479\",\"name\":\"Copithorne, Judith\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/4094573\",\"name\":\"Watts, Charles \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/223141797\",\"name\":\"Little, Billy\",\"dates\":\"1943-2009\",\"notes\":\"Zonko\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/92376773/\",\"name\":\"Phillips, David\",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/115694373\",\"name\":\"Thesen, Sharon\",\"dates\":\"1946- \",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/38164256\",\"name\":\"Hindmarch, Gladys\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/38164256\",\"name\":\"Hindmarch, Gladys\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/29611411\",\"name\":\"Pass, John\",\"dates\":\"1947-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/13554305\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Producer\",\"Recordist\",\"Donor\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\" http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/30784380\",\"name\":\"Kearns, Lionel \",\"dates\":\"1937-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/96212091\",\"name\":\"Coupey, Pierre\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/105886216\",\"name\":\"Brown, Colin\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors_names":["Nichol, B.P."],"contributors_names_search":["Nichol, B.P."],"contributors":["[{\"url\":\"https://viaf.org/viaf/76350280\",\"name\":\"Nichol, B.P.\",\"dates\":\"1944-1988\",\"notes\":\"It's a memorial for B.P Nichol\",\"nation\":[],\"role\":[\"Author\"]}]"],"author_name":["Nichol, B.P."],"Production_Date":[1988],"Performance_Date":[1988],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1615/Gerry Gilbert Fonds_MsC14_132.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"Clear White and Black box with J insert\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/radiofreerainforest-121/radiofreerainforest-30-october-1988-part-1\",\"file_path\":\"\",\"filename\":\"MSC14-132A-Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:23\",\"precision\":\"\",\"size\":\"52.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/radiofreerainforest-122/radiofreerainforest-30-october-1988-part-2\",\"file_path\":\"\",\"filename\":\"MSC14-132A-Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:42:51\",\"precision\":\"\",\"size\":\"50.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1988-10-30\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"},{\"date\":\"1988-09-30\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://nominatim.openstreetmap.org/details.php?place_id=92340333\",\"venue\":\"Vancouver Co-op Radio CFRO 100.5 FM\",\"notes\":\"\",\"address\":\"370 Columbia St, Vancouver, BC V6A 4J1\",\"latitude\":\"49.2818703\",\"longitude\":\"-123.1022474\"},{\"url\":\"https://www.openstreetmap.org/way/135369791\",\"venue\":\"Waterfront Theatre\",\"notes\":\"Readings happen there.\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\"49.27005355\",\"longitude\":\"-123.135620409799\"}]"],"Address":["370 Columbia St, Vancouver, BC V6A 4J1","Vancouver, BC, Canada"],"Venue":["Vancouver Co-op Radio CFRO 100.5 FM","Waterfront Theatre"],"City":["Vancouver, British Columbia","Vancouver, British Columbia"],"Note":["[{\"note\":\"Liner Notes: see photo\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555280998402,"timestamp":"2026-01-07T14:59:59.632Z","score":2.944487},{"id":"6478","cataloger_name":["Isabella,Wang"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Gerry Gilbert Fonds"],"source_collection_label":["Gerry Gilbert Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Gerry Gilbert Fonds collects materials from Vancouver poet Gerry Gilbert. Gilbert was a multimedia artist and writer who published 19 books between 1960 and 2006. This collection contains poetry recordings of Gilbertu2019s, including a large number of tapes from u201cradiofreerainforest,u201d the radio show he hosted. radiofreerainforest [sic] aired on Vancouver co-op radio CFRO-FM Radio beginning in the spring of 1985 and ran well into the 1990s. The show consisted of interviews, readings, and discussions with local, national and international literary figures such as Maxine Gadd, Judith Copithorne, Steve McCaffery, bpNichol, and WIlliam Burroughs."],"collection_source_collection_id":["MsC 14"],"persistent_url":[""],"item_title":["radiofreerainforest 3 November, 1985"],"item_title_source":["item and box"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"creator_names":["Bull, Hank","Mitchell, Adrian","Culley, Peter","Creede, Gerald","Gilbert, Gerry","Atwood, Margaret"],"creator_names_search":["Bull, Hank","Mitchell, Adrian","Culley, Peter","Creede, Gerald","Gilbert, Gerry","Atwood, Margaret"],"creators":["[{\"url\":\"https://viaf.org/viaf/13817561/#Bull,_Hank\",\"name\":\"Bull, Hank\",\"dates\":\"1949-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/85486592/#Mitchell,_Adrian,_1932-2008\",\"name\":\"Mitchell, Adrian\",\"dates\":\"1932-2008\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/166436053\",\"name\":\"Culley, Peter\",\"dates\":\"1958-2015\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/11296961\",\"name\":\"Creede, Gerald\",\"dates\":\"1951-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/13554305\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Series organizer\",\"Producer\",\"Recordist\",\"Donor\"]},{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1985],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/2107/radiofreerainforest_222.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent \",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"\"}]"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Stereo"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/radiofreerainforest-295/radiofreerainforest-3-november-1985-part-1\",\"file_path\":\"\",\"filename\":\"MSC14-222-Side A.mp3\",\"channel_field\":\"2 (stereo)\",\"sample_rate\":\"44100 Hz\",\"duration\":\"T00:31:56\",\"precision\":\"\",\"size\":\"37.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/radiofreerainforest-296/radiofreerainforest-3-november-1985-part-2\",\"file_path\":\"\",\"filename\":\"MSC14-222-Side B.mp3\",\"channel_field\":\"2 (stereo)\",\"sample_rate\":\"44100 Hz\",\"duration\":\"T00:28:08\",\"precision\":\"\",\"size\":\"31.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-11-03\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"j-card\"}]"],"Location":["[{\"url\":\"https://nominatim.openstreetmap.org/details.php?place_id=92340333\",\"venue\":\"Vancouver Co-op Radio CFRO 100.5 FM\",\"notes\":\"\",\"address\":\" 370 Columbia St, Vancouver, BC V6A 4J1\",\"latitude\":\" 49.2818703\",\"longitude\":\" -123.1022474\"}]"],"Address":[" 370 Columbia St, Vancouver, BC V6A 4J1"],"Venue":["Vancouver Co-op Radio CFRO 100.5 FM"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Liner Notes: See photo attachment\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555602911235,"timestamp":"2026-01-07T14:59:59.951Z","score":2.944487},{"id":"6698","cataloger_name":["Kandice,Sharren"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Women and Words Fonds"],"source_collection_label":["Women and Words Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The West Coast Women and Words Society was incorporated in 1982 with the goal of supporting women's writing. The society held an influential conference in Vancouver from June 30 to July 3, 1983; participants included Canadian women writers, editors, publishers, critics, printers, typesetters, academics, playwrights, librarians, distributors, booksellers, translators, and educational and cultural organizers. The conference featured presentations of papers, panel discussions, workshops and interviews relevant to such themes as: feminism, power and alternative structures doing it (i.e. developing work strategies), traditions and new directions. Following the conference, the West Coast Women and Word Society continued to fulfil their mandate by organizing poetry competitions, hosting readings and events, editing and compiling anthologies of women's writing, and running a mentorship program designed to connect young women writers with more established ones."],"collection_source_collection_id":["MsC 23"],"persistent_url":[""],"item_title":["Women and Words - \"The Muse Figure\": Margaret Atwood, Phyllis Webb at UBC on July 1, 1983"],"item_title_source":["Conference Program"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret","Webb, Phyllis"],"creator_names_search":["Atwood, Margaret","Webb, Phyllis"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"Panel presenter\",\"nation\":[],\"role\":[\"Presenter\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/29847238\",\"name\":\"Webb, Phyllis\",\"dates\":\"1927-2021\",\"notes\":\"Panel presenter\",\"nation\":[],\"role\":[\"Presenter\",\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1983],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/8549/MSC23-020a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"copy\",\"Conservation\":\"good\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"90 min\",\"physical_condition\":\"good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"clear plastic case\",\"other_physical_description\":\"clear tape box\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/women-and-words-muse-figure-margaret-atwood-phyllis-webb-ubc-july-1-1983-part-1\",\"file_path\":\"\",\"filename\":\"MSC23-20-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:51\",\"precision\":\"\",\"size\":\"53.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/women-and-words-muse-figure-margaret-atwood-phyllis-webb-ubc-july-1-1983-part-2\",\"file_path\":\"\",\"filename\":\"MSC23-20-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:57\",\"precision\":\"\",\"size\":\"55.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1983-07-01\",\"type\":\"Performance Date\",\"notes\":\"Panel occurred at 11am-12:30pm\",\"source\":\"Conference Program\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/83433307\",\"venue\":\"Angus Building, University of British Columbia, Room A104\",\"notes\":\"\",\"address\":\"Vancouver, BC\",\"latitude\":\"49.26503765\",\"longitude\":\"-123.25386541436339\"}]"],"Address":["Vancouver, BC"],"Venue":["Angus Building, University of British Columbia, Room A104"],"City":["Vancouver, British Columbia"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670556042264576,"timestamp":"2026-01-07T15:00:00.367Z","score":2.944487},{"id":"7553","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Fred Wah Fonds"],"source_collection_label":["Fred Wah Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Fred Wah fonds collects materials from Vancouver-based poet Fred Wah, who was appointed as Canadau2019s fifth Parliamentary Poet Laureate in 2011 and has published 25 books between 1965 and 2016. Wah was born in Swift Current, Saskatchewan in 1939 and grew up in the West Kootenay region. His Chinese and Scots-Irish ethnic background and identity have a significant influence on his literary work. Wah completed an undergraduate degree in Literature and Music at the University of British Columbia, where he became a founding editor of the TISH newsletter in 1961, and has taught at Selkirk College, the David Thompson University Centre, and the University of Calgary. The fonds contains a number of interviews, conversations, lectures, and public readings recorded between the years 1976 and 2006, featuring local and national literary and media figures such as Lorna Crozier, bpNichol, Daphne Marlatt, and Stuart McLean."],"collection_source_collection_id":["MsC 17"],"persistent_url":[""],"item_title":["Canadian Poetry Festival at Buffalo – S.U.N.Y. (University at Buffalo) on October 15, 1980: Margaret Atwood and Michael Ondaatje reading"],"item_title_source":["Cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret","Tallman, Warren","Ondaatje, Michael","Creeley, Robert"],"creator_names_search":["Atwood, Margaret","Tallman, Warren","Ondaatje, Michael","Creeley, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"His voice is heard at the beginning of side one. He does not talk \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/111941870\",\"name\":\"Ondaatje, Michael\",\"dates\":\"1943-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"He introduces the readers \",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1980],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/7553/Fred Wah Fonds_MsC 17 g_67.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC17g-67 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:54\",\"precision\":\"\",\"size\":\"58.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC17g-67 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:01\",\"precision\":\"\",\"size\":\"57.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1980-10-15\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/68036581\",\"venue\":\"Buffalo – S.U.N.Y. (University at Buffalo)\",\"notes\":\"The State University of New York at Buffalo, commonly referred to as the University at Buffalo or SUNY Buffalo\",\"address\":\"Buffalo, NY 14260, United States\",\"latitude\":\"42.9533\",\"longitude\":\"-78.8181\"}]"],"Address":["Buffalo, NY 14260, United States"],"Venue":["Buffalo – S.U.N.Y. (University at Buffalo)"],"City":["Buffalo, New York"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670557235544069,"timestamp":"2026-01-07T15:00:01.509Z","score":2.944487},{"id":"7837","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Fred Wah Fonds"],"source_collection_label":["Fred Wah Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Fred Wah fonds collects materials from Vancouver-based poet Fred Wah, who was appointed as Canadau2019s fifth Parliamentary Poet Laureate in 2011 and has published 25 books between 1965 and 2016. Wah was born in Swift Current, Saskatchewan in 1939 and grew up in the West Kootenay region. His Chinese and Scots-Irish ethnic background and identity have a significant influence on his literary work. Wah completed an undergraduate degree in Literature and Music at the University of British Columbia, where he became a founding editor of the TISH newsletter in 1961, and has taught at Selkirk College, the David Thompson University Centre, and the University of Calgary. The fonds contains a number of interviews, conversations, lectures, and public readings recorded between the years 1976 and 2006, featuring local and national literary and media figures such as Lorna Crozier, bpNichol, Daphne Marlatt, and Stuart McLean."],"collection_source_collection_id":["MsC 17"],"persistent_url":[""],"item_title":["Margaret Atwood reading poetry at David Thompson University Centre (DTUC) on August 15, 1980 "],"item_title_source":["Cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Atwood, Margaret"],"creator_names_search":["Atwood, Margaret"],"creators":["[{\"url\":\"http://viaf.org/viaf/109322990\",\"name\":\"Atwood, Margaret\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1980],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/7837/Fred Wah Fonds_MsC 17 g_87.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC17g-87 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:18\",\"precision\":\"\",\"size\":\"40.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC17g-87 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:54\",\"precision\":\"\",\"size\":\"42 MB\",\"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\":\"1980-08-15\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/936493657\",\"venue\":\"David Thompson University Centre\",\"notes\":\"David Thompson University Centre got closed in Nelson in 1984; 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files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-137 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:55\",\"precision\":\"\",\"size\":\"66.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1988-10-30\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/135369791\",\"venue\":\"Waterfront Theatre\",\"notes\":\"\",\"address\":\"Waterfront Theatre, 1412 Cartwright St, Granville Island, Fairview, Vancouver, Metro Vancouver Regional District, British Columbia, Canada\",\"latitude\":\"49.270075\",\"longitude\":\"-123.135627\"}]"],"Address":["Waterfront Theatre, 1412 Cartwright St, Granville Island, Fairview, Vancouver, Metro Vancouver Regional District, British Columbia, Canada"],"Venue":["Waterfront Theatre"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Poets on this tape read from Martyrology\",\"type\":\"General\"},{\"note\":\"This tape is a duplicate of Tape #130 Part 1 (SWALLOW ID 8827) and #131 Part 2 (SWALLOW ID 8829), with the exception of the musical performance segments at the end of Side Two, beginning at 40:27 on this tape\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670557780803586,"timestamp":"2026-01-07T15:00:02.033Z","score":2.944487}]