[{"id":"4085","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Fred Wah fonds"],"source_collection_label":["Fred Wah fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2022.003"],"persistent_url":[""],"item_title":["30. Spicer Lecture and Reading, and Spicer, Blaser, Persky Reading in Vancouver 1965"],"item_title_source":["Title taken from back of box"],"item_title_note":["Title on case: 30.\n\nSide A title: n/a\n\nSide B title: n/a\n\nBack of box:\nSpicer lecture #2. 1A all\n2. 2A ->390\n#3. 2A 390-end\n1B 0-590\n24. Blaser, Spicer, Persky Reading 1B 590-end\n2B. 0-165\n25. Spicer Reading June 18th 2B 170- \n\nAccompanying information: n/a"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack","Blaser, Robin","Persky, Stan"],"creator_names_search":["Spicer, Jack","Blaser, Robin","Persky, Stan"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"Lecturer and reader.\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/57448780\",\"name\":\"Persky, Stan\",\"dates\":\"1941-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10998/2022.003.030a-Resize.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Award polyester base magnetic recording tape\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"4 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"None\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10998/2022.003.030b-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10998/2022.003.030c-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10998/2022.003.030d-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"Dates":["[{\"date\":\"1965-06\",\"type\":\"Performance Date\",\"notes\":\"Date of all recordings.\",\"source\":\"Date listed on box.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, B.C., Canada\",\"latitude\":\"49.2608724\",\"longitude\":\"-123.113952\"}]"],"Address":["Vancouver, B.C., Canada"],"City":["Vancouver, British Columbia"],"contents":["Jack Spicer lecture and reading, and Jack Spicer, Robin Blaser, and Stan Persky reading in Vancouver 1965"],"Note":["[{\"note\":\"Tape 30 in Fred Wah's catalogue.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550010855424,"timestamp":"2026-01-07T14:59:54.597Z","digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.030/audio\",\"filename\":\"2022.003.030_30.[Jack Spicer lecture and reading, and Jack Spicer, Robin Blaser, and Stan Persky reading in Vancouver 1965]_Side 1_1-4_part 1_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:34:01\",\"precision\":\"\",\"size\":\"1.18 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"This tape split several times during playback, and each side was separated into parts. 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Tape was repaired by digitizer.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.030/audio\",\"filename\":\"2022.003.030_30.[Jack Spicer lecture and reading, and Jack Spicer, Robin Blaser, and Stan Persky reading in Vancouver 1965]_Side 2_1-4_part 1_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T02:03:33\",\"precision\":\"\",\"size\":\"4.27 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"This tape split several times during playback, and each side was separated into parts. Tape was repaired by digitizer.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.030/audio\",\"filename\":\"2022.003.030_30.[Jack Spicer lecture and reading, and Jack Spicer, Robin Blaser, and Stan Persky reading in Vancouver 1965]_Side 2_3-2_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T02:03:33\",\"precision\":\"\",\"size\":\"4.27 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"This tape split several times during playback, and each side was separated into parts. Tape was repaired by digitizer.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.030/audio\",\"filename\":\"2022.003.030_30.[Jack Spicer lecture and reading, and Jack Spicer, Robin Blaser, and Stan Persky reading in Vancouver 1965]_Side 2_1-4_part 2_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:05:14\",\"precision\":\"\",\"size\":\"180 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"This tape split several times during playback, and each side was separated into parts. Tape was repaired by digitizer.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"score":4.4371457},{"id":"8378","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Robert Kroetsch fonds"],"source_collection_label":["Robert Kroetsch fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/robert-kroetsch-fonds"],"item_title":["Fine Lines #87, Robert Kroetsch interviews Dennis Cooley"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Fine Lines program, listing contents of recording."],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[29.12]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2052"],"creator_names":["Kroetsch, Robert"],"creator_names_search":["Kroetsch, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/120613489\",\"name\":\"Kroetsch, Robert\",\"dates\":\"1927-2011\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors_names":["Cooley, Dennis"],"contributors_names_search":["Cooley, Dennis"],"contributors":["[{\"url\":\"http://viaf.org/viaf/32011503\",\"name\":\"Cooley, Dennis\",\"dates\":\"-1944\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"Speaker_name":["Cooley, Dennis"],"Performance_Date":[2002],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Unknown acetate\",\"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\":\"RK_Acc_775_04.25.29-12\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T01:02:49\",\"precision\":\"\",\"size\":\"1.01 GB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2002\",\"type\":\"Performance Date\",\"notes\":\"Dates supplied through research for copyright.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"CFUV Radio, University of Victoria\",\"notes\":\"\",\"address\":\"Victoria, British Columbia, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Victoria, British Columbia, Canada"],"Venue":["CFUV Radio, University of Victoria"],"City":["Victoria, British Columbia"],"content_notes":["- Introduction of Robert Kroetsch and Cooley by Jim Andrews.\n- Discussion of his article “The Vernacular Muse.”\n- Reading of “Making Up” from Bloody Jack to use as an argument in relation to “Vernacular.” The centrality of pun. \n- Erotics between the poet and language, “You With the Stars…”. A great deal of silence in these poems, words surrounded by silence. Working off pauses and spaces.\n- “Strobic”: sitting in a barber’s chair, observing. Hearing and seeing. To what extent is the poem about poetry? To some extent every poem as metapoetic/metaliterary.\n- The range of subject matter in Cooley’s poems. What are the possible forms for poetry in our time? The challenge of writing is to find models to describe experience. Reading of other poems, that poems beget poems. Cooley argues that all poems are love poems (Robert Kroetsch wouldn’t go that far).\n- “Curse”: Someone arguing that Cooley only sees women as machines in Bloody Jack, writing this poem in response to what he considers a “pretty simple-minded” reading.\n- The poem almost forgetting its subject, getting caught up in the language\n- Excerpt from Cooley’s essay “Vernacular Muse” read by Andrews.\n- Crisis of audience in Canadian literature\n- “Sonia”: gains power by virtue of her sexuality. The audience looking at the object of the jar is very much like the audience of the poem, compelled yet somewhat resisting.\n- Connection between being a poet and working as an editor. Discussing small presses and the state of publishing in Canada.\n- “Muse”: How do you write an elegy which resists consolation? Grief as silence.\n- No acts are a-political, including literature.\n"],"contents":["Jim Andrews\n[00:00:00]\nIntroduces Robert Kroetsch and Dennis Cooley.\nRobert Kroetsch\n[00:04:08]\nBegins Interview with and Dennis Cooley.\nDennis Cooley\n[00:06:00]\nReads \"Making Up\" from Bloody Jack.\nDennis Cooley\n[00:10:25]\nReads \"You With the Stars in Your Eyes\".\nDennis Cooley\n[00:12:33]\nReads \"Strobic Flies\".\nDennis Cooley\n[00:21:55]\nReads \"A Curse on a Critic\".\nDennis Cooley\n[00:25:57]\nEND Side 1\nJim Andrews and second side.\nJim Andrews\n[00:27:30]\nReads \"Vernacular Muse\".\nRobert Kroetsch\n[00:33:35]\nResumes interview.\nDennis Cooley\n[00:35:36]\nReads \"Sonia Orlauski\".\nDennis Cooley\n[00:44:15]\nReads \"The Muse of Absence\"."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Bloody Jack\"}]"],"_version_":1853670558525292546,"timestamp":"2026-01-07T15:00:02.734Z","score":4.0400367},{"id":"1503","cataloger_name":["Emma,Telaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Alan Lord collection"],"source_collection_label":["Alan Lord collection"],"collection_contributing_unit":["SpokenWeb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Alan Lord collection contains all the archives regarding the Ultimatum poetry readings and the Ultimatum & Ultimatum II festivals, including film, sound and documentation."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Jack V at Ultimatum Festival 1985-05-01 "],"item_title_source":["Container and Brochure "],"item_title_note":["On tape \"U-1-4\" and festival schedule corroborated in brochure. "],"item_language":["French"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Jack V"],"creator_names_search":["Jack V"],"creators":["[{\"url\":\"\",\"name\":\"Jack V\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \\n\\n\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"Tracks 1-4. \",\"image\":\"../Uploads/5881/Screen Shot 2020-11-07 at 1.17.54 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 406\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs. Baked. \",\"equalization\":\"NAB. \",\"playback_mode\":\"Mono\",\"playing_speed\":\"15 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"8 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten notes on front and back. Sticker identifying tape as U-1-4.\",\"other_physical_description\":\"Reel U-1-4\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-4/U-1-4_t02_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-4_t02_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:24:26\",\"precision\":\"\",\"size\":\"402.67 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"\",\"notes\":\"This is track 2 of 8 tracks on tape U-1-4 containing a vocal track from Jack V. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-4/U-1-4_t01_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-4_t01_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:24:26\",\"precision\":\"\",\"size\":\"402.67 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 1 of 8 tracks on tape U-1-4 containing a vocal track from Jack V.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-4/U-1-4_t03_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-4_t03_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:24:26\",\"precision\":\"\",\"size\":\"402.67 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"\",\"notes\":\"This is track 3 of 8 tracks on tape U-1-4 containing a backing track from Jack V.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-4/U-1-4_t04_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-4_t04_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:24:26\",\"precision\":\"\",\"size\":\"402.67 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"\",\"notes\":\"This is track 4 of 8 tracks on tape U-1-4 containing a backing track from Jack V.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-05-01\",\"type\":\"Performance Date\",\"notes\":\"According to brochure, performance began at 21:30.\",\"source\":\"Container. Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Transcription by Emma Telaro. \n\nPerformance of \"Poésie Guerrière\" according to bilingual \"Ultimatum Programme\" pamphlet. "],"contents":["Ultimatum_Mixdown_Jack V_U-1-4_T1_T2_T3_T4.mp3\n\nThe following is a transcription of Jack V performance of “Poésie Guerrière” at Ultimatum, Monday May 1st, 1985 at the Foufounes Electriques. Alan Lord provides a description and interpretation of the performance in his memoirs: \n\n“For his performance—called Poésie guerrière—Jack read a few texts, then smashed a mirror, invoking \"seven years of bad luck!\" He then stripped down to the waist and smeared war paint on his face. He started dancing, prancing and swaying in abandon like a wild man, and soon a regiment of a dozen drummers joined him onstage one by one—a post-punk marching band—martially rat-tatting their snares. Jack was feline and menacing, irresistibly magnetic. This was poetry beyond words, like Alex nodding you his glass of Moloko Plus in A Clockwork Orange. When we watch Jack's clip we feel the shock of realizing his performance anticipates by some 35 years that of Joaquin Phoenix dancing down the stairs in Joker.”\n\nJack V entered the alternative scene by playing bass for Roro d’Haïti and later for Monty Casin, in First Aid Brigade. Lord determines that ultimately, Jack V “gave the most memorable performance of the festival”. \n\nTRANSCRIPT\n\nJack V\n00:00:00\nPerforms “Poésie Guerrière” [acapella singing, chanting and poetry over buzzing sound]. \n\nJack V\n00:58:00\nSmashes mirror, “7 ans de malheur!”.\n\nJack V\n00:01:02\nPerforms “Poésie Guerrière” [reads poem over musical track and electronic sounds] | Keywords: religieuse, avortement, écoliers, couronne, chagrin, intestin, l’inderteminable, absolu, chien, révolution, ange, violence, peur, alcohol, rock ’n roll, corps, tête, spectateur, sexe. \n\nJack V\n00:10:08\nContinues performance of “Poésie Guerrière” [chanting, singing, robot sounds, electronic sounds, human voices, poetry] | Keywords: trance, chapeau, taureau, habit, moine, guerre, sauvage, Zorro, Don Quixote, Pepino, radio. \n\nJack V\n00:13:12\nContinues performance of “Poésie Guerrière” [Jack V says a few words into the mic while music plays. Dancing, electronic sounds, drums, bass, guitar, keyboard] | Keywords: Rock n’Roll, Madonna.\n\nJack V\n00:16:52\nContinues performance of  “Poésie Guerrière” [repeats variations of “allons à la guerre” over sustained drum roll, keyboard and electronic sounds]. | Keywords: guerre, cause d’honneur, riche, pauvre, ridicule. \n\nEND\n00:19:02\nDrums and snares fade out. \n\n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"\",\"citation\":\"Alan Lord unpublished memoirs. \"},{\"url\":\"https://www.youtube.com/watch?v=dp5RbILEQpc\",\"citation\":\"Jack V performance at Ultimatum uploaded by Alan Lord on YouTube. \"},{\"url\":\"https://www.discogs.com/release/435530-Monty-Cantsin-First-Aid-Brigade-Mass-Media\",\"citation\":\"Discogs entry for Mounty Cantsin [Jack V on bass]. \"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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Ginsberg, John Montgomery, Caroline [sic Carolyn] Cassady, L. 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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":["George Bowering reading his novel \"The Short Sad Book\", and Jack Hodgins, Robert Kroetsch, and Gladys Hindmarch reading their books in Nanaimo"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George","Hodgins, Jack","Wah, Fred","Hindmarch, Gladys","Kroetsch, Robert"],"creator_names_search":["Bowering, George","Hodgins, Jack","Wah, Fred","Hindmarch, Gladys","Kroetsch, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, 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card"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Various Authors"],"creator_names_search":["Various Authors"],"creators":["[{\"url\":\"\",\"name\":\"Various Authors\",\"dates\":\"\",\"notes\":\"Hugh Hazelton, Jack Hannan, Leo Kennedy, Gerry Gilbert, Peter Culley\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Anderson, Fortner"],"contributors_names_search":["Anderson, Fortner"],"contributors":["[{\"url\":\"http://www.viaf.org/viaf/106026246\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"http://fortneranderson.com/\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Anderson, Fortner"],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"Dolby B noise reduction\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"TDK SA90\",\"generations\":\"Copy of 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Title card reads: A: Hugh Hazelton, Jack Hannan, Leo Kennedy, Gerry Gilbert, Peter Culley\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"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\":\"\"}]"],"Dates":["[{\"date\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Montreal, Quebec, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Montreal, Quebec, Canada"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670551185260546,"timestamp":"2026-01-07T14:59:55.742Z","score":3.1586208},{"id":"8267","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Parker, Jack + Donna #1 31.10.95"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Label on tape box: \"Parker, Jack + Donna #1 31.10.95\" and \"4\" sticker; label on tape, side B: \"AN & Parker's #1 31.10.95\""],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[2.32]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2045"],"creator_names":["Cook, Gregory, M."],"creator_names_search":["Cook, Gregory, M."],"creators":["[{\"url\":\"http://viaf.org/viaf/230841225\",\"name\":\"Cook, Gregory, M.\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors_names":["Parker, Jack (John)","Parker, Donna"],"contributors_names_search":["Parker, Jack (John)","Parker, Donna"],"contributors":["[{\"url\":\"\",\"name\":\"Parker, Jack (John)\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Parker, Donna\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"Speaker_name":["Parker, Jack (John)","Parker, Donna"],"Performance_Date":[1995],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"TDK\",\"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\":\"Nowlan_MsC_301_2.32\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T01:00:26\",\"precision\":\"\",\"size\":\"1.95 GB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-10-31\",\"type\":\"Performance Date\",\"notes\":\"Dates taken from container and/or accompanying material.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["Conversation with Jack (John) and Donna Parker about Alden Nowlan and the community."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670558430920704,"timestamp":"2026-01-07T15:00:02.646Z","score":3.0302432},{"id":"5307","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":["The Coast is Only a Line: Jack Hodgins Reading at the SFU Art Gallery on July 14, 1981 #335b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Hodgins, Jack","Mandel, Eli"],"creator_names_search":["Hodgins, Jack","Mandel, Eli"],"creators":["[{\"url\":\"http://viaf.org/viaf/114666696\",\"name\":\"Hodgins, Jack\",\"dates\":\"1938-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/59095399\",\"name\":\"Mandel, Eli\",\"dates\":\"1922-1992\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Vanel, Kurtis"],"contributors_names_search":["Vanel, Kurtis"],"contributors":["[{\"url\":\"\",\"name\":\"Vanel, Kurtis\",\"dates\":\"1936-2017\",\"notes\":\"no info in any directories, he was an SFU technician, also known as 'Doug Gysemen'\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Vanel, Kurtis"],"Production_Date":[1981],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1163/Readings in BC_MsC199_335b.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\":\"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\":\"335b-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:29\",\"precision\":\"\",\"size\":\"30.1 MB \",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"335b-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:22:03\",\"precision\":\"\",\"size\":\"22.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1981-07-14\",\"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":["Two\t\t001\tEli Mandel introduces Jack Hodgins\n\t\t025\tJack Hodgins discusses The Barclay family theatre\n\t\t085\tJack Hodgins reads chapter from The Barclay family theatre"],"Note":["[{\"note\":\"Liner Notes: The Coast is Only a Line Jack Hodgins Reading at the SFU Art Gallery, July 14, 1981 Side 1: 29:40 Side 2: 21:20 Recorded by Kurtis Vanel Dolby B\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552856690688,"timestamp":"2026-01-07T14:59:57.321Z","score":2.986947},{"id":"1058","cataloger_name":["Klara,du Plessis"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Véhicule Art (Montréal) Inc. fonds (P027)"],"source_collection_label":["Véhicule Art (Montréal) Inc. fonds (P027)"],"collection_contributing_unit":["Concordia University Library Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of ten series, many of them subdivided into sub-series. The documents cover the period 1972 to 1982, however, the great majority of the documents were created between 1973 and 1976. This finding aid deals with the administrative, financial files of this organization as well as the artist and exhibition files, the publicity material (posters, art catalogues), and photographs. There is little documentation for the activities of the Vu00e9hicule Art Inc. gallery from 1976 to 1982. During this time the gallery experienced both administrative and financial difficulties. Frequent changes of staff and insufficient funding contributed to the weakening of the gallery and its activities. The original order of the documents quite faithfully reflected the internal organization of the gallery. Thus, the documents dating from 1972 to 1975, were relatively well organized and required no further arrangement; on the other hand, those covering the 1976-1982 period needed complete reorganization. The fonds is organized into the following series: P027/01 Organization P027/02 Personnel P027/03 Finances P027/04 Programming P027/05 Artists, exhibitions and performances P027/06 Associations P027/07 Correspondence P027/08 Photographs P027/09 Sound recordings P027/10 Posters"],"collection_source_collection_id":["P027"],"persistent_url":["https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds"],"item_title":["Side Two 4th Poetry Marathon on slowspeed (2/2)"],"item_title_source":["Handwritten on back of box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright belongs to the creator(s).Reproductions are allowed for the purpose of research and private study. Use of material in a publication may only be done with written consent of the copyright owner(s).\"source: https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds"],"creator_names":["Unknown"],"creator_names_search":["Unknown"],"creators":["[{\"url\":\"\",\"name\":\"Unknown\",\"dates\":\"\",\"notes\":\"This is a marathon open mic event switching reader every few minutes. The presenter never introduces himself.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"Readers: Jack Nathanson; Michael Morré; Daniel Grimaud; Julie McNeil; Paul Smith; Kevin Laruche; Nathan Fong\",\"nation\":[],\"role\":[\"Author\"]}]"],"author_name":[""],"Publication_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/451/P0027-11-0003.png\",\"other\":\"Different fonds number on box than on reel, P027.9.SR3\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"1.5 Mil Polyester Base 7\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 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"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"P0027-11-0003.2\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:56:23\",\"precision\":\"\",\"size\":\"569.1 MB\",\"bitrate\":\"1,411 kbps\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-11-20\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Date taken from container\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Véhicule Art Inc.\",\"notes\":\"source of address: https://concordia.accesstomemory.org/vehicule-art-montreal-inc-fonds\",\"address\":\" 61, Ste. Catherine St. West, Montreal, Quebec, Canada\",\"latitude\":\"45.5095887 \",\"longitude\":\"-73.5647249\"}]"],"Address":[" 61, Ste. Catherine St. West, Montreal, Quebec, Canada"],"Venue":["Véhicule Art Inc."],"City":["Montreal, Quebec"],"contents":["00:00:08 Jack Nathanson reads “Alex in Wonderland”; 00:12:52 Michael Morré reads untitled poem; 00:17:56 reads “For Lee”; 00:22:21 Daniel Grimaud reads in French; 00:25:15 reads from “Poësie Complet”; 00:28:44 reads untitled poem; 00:29:41 does performance project, cuts himself with razors; 00:31:31 host makes statement about Véhicule and novelty; 00:33:05 Julie McNeil reads untitled poem; 00:34:08 reads “Contributors”; 00:35:02 reads a fairy tale about Virginia Woolf; 00:38:53 reads untitled poem; 00:40:26 Paul Smith reads “Companion Piece”; 00:42:30 reads two haikus; 00:43:27 reads “Notes 1”; 00:44:35 reads untitled poem; 00:45:55 reads a poem for Joe; 00:47:42 Kevin Laruche reads “The Binding”; 00:49:57 introduces haiku genre; 00:50:18 reads “Interviews with Water”; 00:53:17 Nathan Fong reads “Realism Paradise”; reel warps and trails out right at the end"],"Note":["[{\"note\":\"First half digitized as P0027-11-0003.1. This recording contains the second half of the Fourth Annual Spring Marathon, a series of short, open-mic-style readings. This recording has both narrative and poetic works, and notably a performance piece by French poet Daniel Grimaud during which he cuts himself with razors.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548132855808,"timestamp":"2026-01-07T14:59:52.745Z","score":2.9219532},{"id":"4606","cataloger_name":["Carolin,Huang"],"partnerInstitution":["ARCMTL"],"collection_source_collection":["Dial-A-Poem Montreal fonds"],"source_collection_label":["Dial-A-Poem Montreal fonds"],"collection_contributing_unit":["Arcmtl Archives & Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["PDP"],"persistent_url":[""],"item_title":["Dial-A-Poem Archives #4"],"item_title_source":["Transcribed from title card"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Various Authors"],"creator_names_search":["Various Authors"],"creators":["[{\"url\":\"\",\"name\":\"Various Authors\",\"dates\":\"\",\"notes\":\"Lawrence Hutchman, Jack Hannan, Brian Bartlett, Ian Ferrier, Sam, Noah Zacharis, Mohammed Togani, Robert Allen, Katherine Beeman, Hugh Hazelton\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Anderson, Fortner"],"contributors_names_search":["Anderson, Fortner"],"contributors":["[{\"url\":\"http://www.viaf.org/viaf/106026246\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"http://fortneranderson.com/\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Anderson, Fortner"],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"Dolby B noise reduction\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"TDK SA90\",\"generations\":\"Copy of microcassettes\",\"Conservation\":\"\",\"equalization\":\"High\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Hand-labeled title card\",\"other_physical_description\":\"Casette with title card in plastic case. Title card reads: B: Lawrence Hutchman, Jack Hannan, Brian Bartlett, Ian Ferrier, Sam, Noah Zacharis, Mohammed Togani, Robert Allen, Katherine Beeman, Hugh Hazelton\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"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\":\"\"}]"],"Dates":["[{\"date\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Montreal, Quebec, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Montreal, Quebec, Canada"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670551187357699,"timestamp":"2026-01-07T14:59:55.742Z","score":2.8968115},{"id":"4358","cataloger_name":["Sarah,Cipes"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Peter Quartermain fonds"],"source_collection_label":["Peter Quartermain fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Fonds consists of 180 cassette tapes."],"collection_source_collection_id":["2022.002"],"persistent_url":[""],"item_title":["Spicer - Vancouver LCTR # 1 (2)"],"item_title_source":["Cassette Case"],"item_title_note":["Jack Spicer Lecture 1 tape 2 13 June 1965"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"https://viaf.org/viaf/46807530/#Spicer,_Jack\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"AMPEX 291 90\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"45 minutes per side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Damaged. Cannot digitize.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-06-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on tape\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/search?query=vancouver%2C%20BC#map=12/49.2576/-123.1241\",\"venue\":\"\",\"notes\":\"Location in Vancouver not specified\",\"address\":\"Vancouver, B.C.\",\"latitude\":\"49.2576\",\"longitude\":\"-123.1241\"}]"],"Address":["Vancouver, B.C."],"City":["Vancouver, British Columbia"],"content_notes":["J-Card description:                                                                                                                    Jack Spicer                                                                                                                                                 Vancouver                                                                                                                                  Lecture [illegible] I                                                                                              Tape 2                            13 June 1965                                                                                                                                                                                                                                           "],"contents":["One of several cassette tapes containing recording of Jack Spicer's lecture in Vancouver, B.C. June 13, 1965."],"Note":["[{\"note\":\"Related tapes: \\n2014.002.011\\n2022.003.005\\n2022.003.030\\n2022.003.031\\n\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550762684416,"timestamp":"2026-01-07T14:59:55.332Z","score":2.8934283},{"id":"6048","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":["Jack Spicer reading in Vancouver and Charles Olson in [Buffalo?] both on June 17, 1965 #237"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack","Olson, Charles"],"creator_names_search":["Spicer, Jack","Olson, Charles"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/522/Readings in BC_MsC199_237.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\":\"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\":\"237-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:03\",\"precision\":\"\",\"size\":\"35.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"237-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:34\",\"precision\":\"\",\"size\":\"45.8 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\":\"1965-06-17\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada \",\"latitude\":\"49.2727\",\"longitude\":\"-123.1554\"},{\"url\":\"https://www.openstreetmap.org/way/68036581\",\"venue\":\"[Buffalo – S.U.N.Y. (University at Buffalo)?]\",\"notes\":\"This location is not confirmed\",\"address\":\"Buffalo, NY 14260, United States\",\"latitude\":\"42.9533\",\"longitude\":\"-78.8181\"}]"],"Address":["Vancouver, BC, Canada ","Buffalo, NY 14260, United States"],"Venue":["[Buffalo – S.U.N.Y. (University at Buffalo)?]"],"City":["Vancouver, British Columbia","Buffalo, New York"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tWater sounds – to 028 See “Letter 14,” Brian Fawcett, 5 Books of a North Manual\n\t\t028\tJack Spicer reading “Two poems for the nation” from Book of Magazine Verse\n\t\t\t1.\t“Pieces of the past…”\n\t\t038\t2.\t“These big trucks drive and in each one…”\n\t\t047\tSix poems for Poetry Chicago: 1. “Lemon tree very pretty…”\n\t\t056\t3.\t“Pieces of the past…” *(Spicer explains repetition of this poem)  \n\t\t285\tEnds in midst of “Seven Poems for the Vancouver Festival”, after 3.  “Nothing but the last sun falling in the last oily water by the docks.”\n\t\t286\tSound of water to 319\n\t\t320\tCharles Olson in middle of reading (at Buffalo?): “…They’re all written in what I call fivers (fibres)… The third one is called Capt. Christopher Levitt of York”\n\t\t363\t“7 years and you cld carry cinders in yr hand (Max 3)”\n\t\t379\t“…I’d like finally to end with the spirit of the world…”  (Reads from “The Song of Ulikumi”)\n\t\t450\tQuestions and remarks between audience and Olson\n\t\t518\tConversation breaks off…\n\t\t519\tOlson, reading, “Mellow and enclosed, both the local and the past…” \n\t\t530\tMoves back to discourse: “so I’m really suggesting how much this poem, which was written ’59, is very loaded again…”\n\t\t541\tReads “Astride the Cabot fault”\n\t\t569\t“What do you mean about the diorite stone lopped off at the left shoulder?”  (Question from audience)\n\t\t576\tSpeaks of Dan McLeod: “He showed me a thing in Vancouver I had never realized, that there’s a split in the Atlantic Ocean, a fault, which runs just where all my own intention has been.  Nor ‘east, and that it runs right through Gloucester…”\n\t\t597\t“That which exists through itself is called meaning…”\n\t\t609\t“I was very lucky once to have what poets call visions”\n\t\t630\tSpeaks of “the creature which the poem calls the diorite stone”\n\t\t661\tSound increases in volume rapidly\n\t\t670\t“The stone is the truest condition of creation.”\n\t\t692\t“The only interest of a spiritual exercise is production.”\n\t\t725\tReads “A little story about the condition of … two angels.”\n\t\t760\tSpeaks of the ‘double’.\n\t\t767\t“I want to end by reading a poem I read in front of Ezra Pound two weeks ago in honor of him – and it fell dead.”\n\t\t785\t“the Wall/to arise from the River, the Diorite Stone to be lopped off the Left Shoulder.”  (from “Astride/the Cabot/fault”)\n\t\t809\t“that there is no world except that we are the pictures of it…”\n\t\t826\t“the overt spiritual exercise of initiation in initiated in us… for having been born”\n\t\t835\tSound ends"],"Note":["[{\"note\":\"Liner Notes: Jack Spicer and Charles Olson Side 1: Sound of Water 2:30 Reading by Jack Spicer 20 More Water 2:30 Lecture by Charles Olson 3:30 Side 2: Olson continued, but incomplete 27:37 Dolby B\",\"type\":\"General\"},{\"note\":\"The first part of this tape duplicates J.S. reading The Book of Magazine Verse; see Tape #96 side 1 & 2 for better copy\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554725253124,"timestamp":"2026-01-07T14:59:59.119Z","score":2.8400762},{"id":"4359","cataloger_name":["Sarah,Cipes"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Peter Quartermain fonds"],"source_collection_label":["Peter Quartermain fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Fonds consists of 180 cassette tapes."],"collection_source_collection_id":["2022.002"],"persistent_url":[""],"item_title":["Spicer - Vancouver LCTR # 2 (1)"],"item_title_source":["Cassette Case"],"item_title_note":["Jack Spicer Vancouver Lecture 2, tape 1. 15 June 1965."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"https://viaf.org/viaf/46807530/#Spicer,_Jack\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"AMPEX 291 90\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"45 minutes per side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Peter_Quartermain/2022.002.186/audio\",\"filename\":\"2022.002.186_Spicer - Vancouver LCTR # 2 (1)_Side A_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:45:20\",\"precision\":\"\",\"size\":\"1.57 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A of master access file. Requires easy listening edit (poor sound quality).\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Peter_Quartermain/2022.002.186/audio\",\"filename\":\"2022.002.186_Spicer - Vancouver LCTR # 2 (1)_Side B(Incomplete)_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:18:59\",\"precision\":\"\",\"size\":\"656.1 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B of master access file. Incomplete due to cassette damage. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-06-15\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on tape\"}]"],"Location":["[{\"url\":\"-123.1241\",\"venue\":\"\",\"notes\":\"Location in Vancouver not specified\",\"address\":\"Vancouver, B.C.\",\"latitude\":\"49.2576\",\"longitude\":\"-123.1241\"}]"],"Address":["Vancouver, B.C."],"City":["Vancouver, British Columbia"],"content_notes":["J-Card description:                                                                                                                    Jack Spicer                                                                                                      Vancouver Lecture 2                                                                                                                                                                                                                                                                                                          \n15 June 1965                                                                                                                                                                                                                                                                                                           Tape 1                                                                                                                                                                                                                                                                     "],"contents":["One of several cassette tapes containing recording of Jack Spicer's lecture in Vancouver, B.C. June 15, 1965."],"Note":["[{\"note\":\"2014.002.011 ; 2022.003.005 ; 2022.002.185 ; 2022.003.030 ; 2022.003.031\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550762684417,"timestamp":"2026-01-07T14:59:55.332Z","score":2.8210118},{"id":"4360","cataloger_name":["Sarah,Cipes"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Peter Quartermain fonds"],"source_collection_label":["Peter Quartermain fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Fonds consists of 180 cassette tapes."],"collection_source_collection_id":["2022.002"],"persistent_url":[""],"item_title":["Spicer - Vancouver LCTR # 2 (2)"],"item_title_source":["Cassette Case"],"item_title_note":["Jack Spicer Vancouver Lecture 2, tape 2. 15 June 1965."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"https://viaf.org/viaf/46807530/#Spicer,_Jack\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"AMPEX 291 90\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"45 minutes per side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Cassette damaged. Cannot digitize.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-06-15\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on tape\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/search?query=vancouver%2C%20BC#map=12/49.2576/-123.1241\",\"venue\":\"\",\"notes\":\"Location in Vancouver not specified\",\"address\":\"Vancouver, B.C.\",\"latitude\":\"49.2576\",\"longitude\":\"-123.1241\"}]"],"Address":["Vancouver, B.C."],"City":["Vancouver, British Columbia"],"content_notes":["J-Card description:                                                                                                                    Jack Spicer                                                                                                      Vancouver Lecture 2                                                                                                                                                                                                                                                                                                          \n15 June 1965                                                                                                                                                                                                                                                                                                           Tape 2                                                                                                                                                                                                                                                                     "],"contents":["One of several cassette tapes containing recording of Jack Spicer's lecture in Vancouver, B.C. June 15, 1965."],"Note":["[{\"note\":\"2014.002.011\\n2022.003.005 \\n2022.002.185 \\n2022.002.186 \\n2022.003.030 \\n2022.003.031\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550762684418,"timestamp":"2026-01-07T14:59:55.332Z","score":2.8210118},{"id":"4810","cataloger_name":["Carolin,Huang"],"partnerInstitution":["ARCMTL"],"collection_source_collection":["Dial-A-Poem Montreal fonds"],"source_collection_label":["Dial-A-Poem Montreal fonds"],"collection_contributing_unit":["Arcmtl Archives & Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["PDP"],"persistent_url":[""],"item_title":["Jack V., \"Asshole\""],"item_title_source":["Transcribed from case and microcassette labels."],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"creator_names":["V., Jack"],"creator_names_search":["V., Jack"],"creators":["[{\"url\":\"\",\"name\":\"V., Jack\",\"dates\":\"\",\"notes\":\"From the Gilbert Duffy tape?\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Anderson, Fortner"],"contributors_names_search":["Anderson, Fortner"],"contributors":["[{\"url\":\"http://www.viaf.org/viaf/106026246\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"http://fortneranderson.com/\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Anderson, Fortner"],"Publication_Date":[1986],"material_description":["[{\"side\":\"B\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"Sony\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"15/16 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"Hand-labeled stickers on case and tape\",\"other_physical_description\":\"Microcasette with sticker label, in labelled plastic case that holds 1 tape.\"}]"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"1\",\"sample_rate\":\"192kHz\",\"duration\":\"0:03:36\",\"precision\":\"\",\"size\":\"125.1 MB\",\"bitrate\":\"24\",\"encoding\":\"WAVE\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1986-05\",\"type\":\"Publication Date\",\"notes\":\"Derived from information gathered from other recordings related to the launch of Zero Magazine.\",\"source\":\"Other\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Montreal, Quebec, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Montreal, Quebec, Canada"],"City":["Montreal, Quebec"],"contents":["<item label=\"Jack V., 'Asshole'\">\n  <span label=\"Jack V. reads his poem\" begin=\"00:00:03.00\" end=\"00:02:40.00\"/>\n  <span label=\"Anderson closes with a Dial-A-Poem message\" begin=\"00:02:41.00\" end=\"00:03:32.00\"/>\n</item> "],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670551630905351,"timestamp":"2026-01-07T14:59:56.167Z","score":2.7822304},{"id":"4953","cataloger_name":["Ivana,Jaworski"],"partnerInstitution":["ARCMTL"],"collection_source_collection":["Dial-A-Poem Montreal fonds"],"source_collection_label":["Dial-A-Poem Montreal fonds"],"collection_contributing_unit":["Arcmtl Archives & Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["PDP"],"persistent_url":[""],"item_title":["Jack Hannan, \"There Is a Piano\""],"item_title_source":["Transcribed from title card and microcassette label."],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Hannan, Jack"],"creator_names_search":["Hannan, Jack"],"creators":["[{\"url\":\"http://www.viaf.org/viaf/67734164\",\"name\":\"Hannan, Jack\",\"dates\":\"\",\"notes\":\"http://members.openbooktoronto.com/news/poets_profile_jack_hannan\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Anderson, Fortner"],"contributors_names_search":["Anderson, Fortner"],"contributors":["[{\"url\":\"http://www.viaf.org/viaf/106026246\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"http://fortneranderson.com/\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Anderson, Fortner"],"material_description":["[{\"side\":\"B2\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"Panasonic\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"15/16 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"Hand-labeled sticker and title card\",\"other_physical_description\":\"Microcasette with sticker labels, in plastic case with a title card that holds 4 tapes.\"}]"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"1\",\"sample_rate\":\"192kHz\",\"duration\":\"0:01:41\",\"precision\":\"\",\"size\":\"58.3 MB\",\"bitrate\":\"24\",\"encoding\":\"WAVE\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Montreal, Quebec, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Montreal, Quebec, Canada"],"City":["Montreal, Quebec"],"content_notes":["TAGS: moon"],"contents":["<item label=\"Jack Hannan, 'There Is a Piano'\">\n  <span label=\"Hannan reads his poem\" begin=\"00:00:02.00\" end=\"00:00:53.00\"/>\n  <span label=\"Anderson closes with a Dial-A-Poem message\" begin=\"00:00:56.00\" end=\"00:01:34.00\"/>\n</item> "],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670551744151553,"timestamp":"2026-01-07T14:59:56.269Z","score":2.7622077},{"id":"6046","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":["Jack Spicer reading from Language at Tallman's Residence on June 15, 1965 tape 6 of 6 #96"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Enomoto, Randy"],"contributors_names_search":["Enomoto, Randy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/256444645\",\"name\":\"Enomoto, Randy \",\"dates\":\"1944-\",\"notes\":\"In the inventory it states that he is a donor, but we do not know what it means\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/519/Reading in BC_MsC199_96.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\":\"T00:44:30\",\"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\":\"96-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T:00:28:31\",\"precision\":\"\",\"size\":\"26.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"96-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:16:16\",\"precision\":\"\",\"size\":\"15.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-06-15\",\"type\":\"Production Date\",\"notes\":\"There is some confusion with months on the tape, but it is June\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/487641396\",\"venue\":\"Tallman Residence\",\"notes\":\"Tallman and family lived in the '50s & '60s at 2527 West 37th Ave in Kerrisdale and this was where quite a few talks and reading were held and recorded.\",\"address\":\"2527 West 37th Avenue, Vancouver, British Columbia, Canada\",\"latitude\":\"49.23722\",\"longitude\":\"-123.11556\"}]"],"Address":["2527 West 37th Avenue, Vancouver, British Columbia, Canada"],"Venue":["Tallman Residence"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tA\t000\tConclusion of the first lecture at the Tallman’s\n\t\t\tA transcription of this session can be found in the journal Caterpillar #12\n"],"Note":["[{\"note\":\"Liner Notes: Jack Spicer. June 15, 1965 \\\"Dictation\\\" Side 1 28:30 Side 2 16:00\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554725253122,"timestamp":"2026-01-07T14:59:59.119Z","score":2.7459302},{"id":"9510","cataloger_name":["University of Alberta,"],"partnerInstitution":["University of Alberta"],"collection_source_collection":["Department of English Recorded Events"],"source_collection_label":["Department of English Recorded Events"],"collection_contributing_unit":["Department of English and Film Studies"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Literary readings, lectures, panels, and interviews organized by members of the Department of English, University of Alberta, featuring local and visiting authors. Original recordings on reel to reel and cassette, Edmonton and area, 1969-1988."],"collection_source_collection_id":[""],"persistent_url":["https://ualberta.aviaryplatform.com/collections/1783"],"item_title":["Jack Hodgins, William Stafford, and Wallace Stegner at Banff Centre, 1978"],"item_language":["English"],"item_identifiers":["[]"],"creator_names":["Hodgins, Jack","Hodgins, Jack","Stafford, William","Stafford, William","Stegner, Wallace","Stegner, Wallace"],"creator_names_search":["Hodgins, Jack","Hodgins, Jack","Stafford, William","Stafford, William","Stegner, Wallace","Stegner, Wallace"],"creators":["[{\"url\":\"\",\"name\":\"Hodgins, Jack\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Hodgins, Jack\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Stafford, William\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Stafford, William\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Stegner, Wallace\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Stegner, Wallace\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"Sony SLH-7-550-BL\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"https://ualberta.aviaryplatform.com/r/5t3fx74x50\"}]"],"Dates":["[{\"date\":\"1978-04-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Banff Centre (Banff)\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Venue":["Banff Centre (Banff)"],"Note":["[{\"note\":\"Handwritten from back of reel case: Crossing Frontiers, April 13/78, Readings by: Jack Hidgins, William Stafford, Wallce Stegner\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552526389252,"timestamp":"2026-01-07T14:59:57.006Z","score":2.728527},{"id":"6041","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":["Jack Spicer reading The Serial Poem at Tallman's Residence on June 15, 1965 tape 2 of 6 #93b"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors_names":["Enomoto, Randy"],"contributors_names_search":["Enomoto, Randy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/256444645\",\"name\":\"Enomoto, Randy \",\"dates\":\"1944-\",\"notes\":\"In the inventory it states that he is a donor, but we do not know what it means\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/504/Reading in BC_MsC199_93b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:12:15\",\"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\":\"93b-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T:00:38:11\",\"precision\":\"\",\"size\":\"25.5 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\":\"93b-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:05\",\"precision\":\"\",\"size\":\"24.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-06-15\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/487641396\",\"venue\":\"Tallman Residence\",\"notes\":\"Tallman and family lived in the '50s & '60s at 2527 West 37th Ave in Kerrisdale and this was where quite a few talks and reading were held and recorded.\",\"address\":\"2527 West 37th Avenue, Vancouver, British Columbia, Canada\",\"latitude\":\"49.23722\",\"longitude\":\"-123.11556\"}]"],"Address":["2527 West 37th Avenue, Vancouver, British Columbia, Canada"],"Venue":["Tallman Residence"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tFurther discussion of pleasure\n\t\t\t-more advice to young poets\n\n"],"Note":["[{\"note\":\"Liner Notes: Jack Spicer. June 15, 1965 Side 3 35:15 Side 4 37:00 Serial Poems - continued\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554416971776,"timestamp":"2026-01-07T14:59:58.804Z","score":2.7042377},{"id":"6044","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":["Jack Spicer reading The Book of Magazine Verse at Tallman's Residence on June 17, 1965 tape 4 of 6 #94b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors_names":["Enomoto, Randy"],"contributors_names_search":["Enomoto, Randy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/256444645\",\"name\":\"Enomoto, Randy \",\"dates\":\"1944-\",\"notes\":\"In the inventory it states that he is a donor, but we do not know what it means\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/517/Reading in BC_MsC199_94b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:00:00\",\"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\":\"94b-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T:00:29:57\",\"precision\":\"\",\"size\":\"28.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"94b-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:29:37\",\"precision\":\"\",\"size\":\"28.1 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\":\"1965-06-17\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/487641396\",\"venue\":\"Tallman Residence\",\"notes\":\"Tallman and family lived in the '50s & '60s at 2527 West 37th Ave in Kerrisdale and this was where quite a few talks and reading were held and recorded.\",\"address\":\"2527 West 37th Avenue, Vancouver, British Columbia, Canada\",\"latitude\":\"49.23722\",\"longitude\":\"-123.11556\"}]"],"Address":["2527 West 37th Avenue, Vancouver, British Columbia, Canada"],"Venue":["Tallman Residence"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t025\tThree Poems For Tish\n\t\t042\tFour Poems For Ramparts\n\t\t073\tFour Poems For St. Louis Sporting News\n\t\t104\tPoems For Vancouver Festival\n\t\t200\tDiscussion re reading, various aspects of writing\n\t\t\tLast part of this discussion is to be found on Tape #95 – Tallman’s\n"],"Note":["[{\"note\":\"Liner Notes: Jack Spicer. June 17, 1965 Side 7 30 min Book of Magazine verse Side 8 30 min\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554725253120,"timestamp":"2026-01-07T14:59:59.119Z","score":2.7036674},{"id":"6045","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":["Jack Spicer giving Lecture after The Serial Poem at Tallman's Residence on June 17, 1965 tape 5 of 6 #95"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Enomoto, Randy"],"contributors_names_search":["Enomoto, Randy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/256444645\",\"name\":\"Enomoto, Randy \",\"dates\":\"1944-\",\"notes\":\"In the inventory it states that he is a donor, but we do not know what it means\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/518/Reading in BC_MsC199_95.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\":\"T00:57:00\",\"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\":\"95-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T:00:29:41\",\"precision\":\"\",\"size\":\"27.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"95-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:27:21\",\"precision\":\"\",\"size\":\"25.7 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\":\"1965-06-17\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/487641396\",\"venue\":\"Tallman Residence\",\"notes\":\"Tallman and family lived in the '50s & '60s at 2527 West 37th Ave in Kerrisdale and this was where quite a few talks and reading were held and recorded.\",\"address\":\"2527 West 37th Avenue, Vancouver, British Columbia, Canada\",\"latitude\":\"49.23722\",\"longitude\":\"-123.11556\"}]"],"Address":["2527 West 37th Avenue, Vancouver, British Columbia, Canada"],"Venue":["Tallman Residence"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting\n"],"contents":["Side\tTrack\tNo.\tComments\nOne\t1\t000\tConclusion of June 17 lecture\n\t\t\tDiscussion re: baseball\n\t\t\t                          Tragedy\n\t\t\t                          Messages\n\t\t\t                          The ‘outside’\n\t\t\t                          Dictation\n\t\t\t                          Angel-messenger\nOne\t2\t000\tJack Spicer reading from Language\n\t\t\tThing Language\n\t\t\tLove Poems\n\t\t\tIntermissions\n\t\t\tTransformations\n\t\t\tMorphemics\n\t\t\tPhonemics\n\t\t\tGraphemics\n"],"Note":["[{\"note\":\"Liner Notes: Jack Spicer. June 17, 1965 Side 9 29:40 min  Side 10 27:20 min Conclusion of lecture Tape 5\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554725253121,"timestamp":"2026-01-07T14:59:59.119Z","score":2.6663942},{"id":"6214","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":["The Vancouver lectures: Jack Spicer Poetic Dictation at Tallman Residence on June 13, 1965 #1a\n\n\n\n"],"item_title_source":["J-card and inventory"],"item_title_note":["Liner notes: see the photo in the material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors_names":["Enomoto, Randy"],"contributors_names_search":["Enomoto, Randy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/256444645\",\"name\":\"Enomoto, Randy \",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Enomoto, Randy "],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1412/Reading in BC_MsC199_1a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:01:36\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and clear case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"1a-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T:00:30:58\",\"precision\":\"\",\"size\":\"20.7 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\":\"1a-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:41\",\"precision\":\"\",\"size\":\"20.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-06-13\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/487641396\",\"venue\":\"Tallman Residence\",\"notes\":\"Tallman and family lived in the '50s & '60s at 2527 West 37th Ave in Kerrisdale and this was where quite a few talks and reading were held and recorded.\",\"address\":\"2527 West 37th Avenue, Vancouver, British Columbia, Canada\",\"latitude\":\"49.23722\",\"longitude\":\"-123.11556\"}]"],"Address":["2527 West 37th Avenue, Vancouver, British Columbia, Canada"],"Venue":["Tallman Residence"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tA\t000\tIntroductory lecture\n\t\t235\tQuestions from audience\n\t\t540\tPrefatory remarks to The Textbook of Poetry\n\t\t595\tBegins to read The Textbook of Poetry\n"],"Note":["[{\"note\":\"Liner Notes: Jack Spicer, The Vancouver Lectures, Poetic Dictation Side 1 31 min Side 2 30:36 Recorded at the Tallman Residence by Randy Enomoto\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554842693633,"timestamp":"2026-01-07T14:59:59.214Z","score":2.6453261},{"id":"4093","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Fred Wah fonds"],"source_collection_label":["Fred Wah fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2022.003"],"persistent_url":[""],"item_title":["38. Jack Clarke in Vancouver"],"item_title_source":["Title taken from Fred Wah's catalogue"],"item_title_note":["Title on box: n/a\n\nSide A title: n/a\n\nSide B title: n/a\n\nBack of box: n/a\n\nAccompanying information: 1 index card. See image.\nJack Clark[sic]. Not usable. 1 7/8 ips."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Clarke, John \"Jack\""],"creator_names_search":["Clarke, John \"Jack\""],"creators":["[{\"url\":\"http://viaf.org/viaf/40837274\",\"name\":\"Clarke, John \\\"Jack\\\"\",\"dates\":\"1933-1992\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11018/2022.003.038a-Resize.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Charter Magnetic Tape\",\"generations\":\"\",\"Conservation\":\"Tape apparently \",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"1 7/8 ips\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"1 index card\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11018/2022.003.038b-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11018/2022.003.038c-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11018/2022.003.038d-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11018/2022.003.038e-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Tape requires conservation - digitization on hold (October 23, 2023).\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, B.C., Canada\",\"latitude\":\"49.2608724\",\"longitude\":\"-123.113952\"}]"],"Address":["Vancouver, B.C., Canada"],"City":["Vancouver, British Columbia"],"contents":["Recording of Jack Clarke in Vancouver. Tape may be damaged and unusable."],"Note":["[{\"note\":\"Tape 38 in Fred Wah's catalogue.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550014001153,"timestamp":"2026-01-07T14:59:54.597Z","score":2.6291082},{"id":"4396","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":["Jack Kerouac - Blues and Haikus"],"item_title_source":["Title written on artifact."],"item_title_note":["Cassette box title: Jack Kerouac - Blues and Haikus\n\nSide A title: J. Kerouac Blues & Haikus 1-6\n\nSide B title: J. Kerouac Last frag. Of Conclusion… R.R."],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kerouac, Jack"],"creator_names_search":["Kerouac, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/27066713\",\"name\":\"Kerouac, Jack\",\"dates\":\"1922-1969\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3913/UBCO_Hogg_2018_002_027_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"TDK D-90 IEC I Type I Normal Position\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.027_J_Kerouac_Blues_&_Haikus_1-6_SideA_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:47:23\",\"precision\":\"\",\"size\":\"1.57 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.027_J_Kerouac_Last_Frag_of_Conclusion_…_R.R._SideB_(MA)_02-01.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:01:23\",\"precision\":\"\",\"size\":\"46 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[]"],"Location":["[]"],"City":["Other"],"content_notes":["Contents entry temporary."],"contents":["Tape consists of a recording of Jack Kerouac's second studio-recorded Spoken Word album titled \"Blues and Haikus.\"\n\nJ-card lists the album's track list as follows:\n1. American Haikus (10:01)\n2. Hard Hearted Old Farmer (2:13)\n3. The Last Hotel & Some of Dharma (3:49)\n4. Poems from the unpublished 'Book of Blues' (14:08)\nBonus Tracks\n5. Old Western Movies (6:41)\n6. Conclusion of the Railroad Earth (10:04)\nContinued...\n6. Conclusion of the Railroad Earth (10:04)"],"Note":["[{\"note\":\"Digitization complete.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550770024451,"timestamp":"2026-01-07T14:59:55.332Z","score":2.627827},{"id":"5367","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jack Spicer discussion on serial poems and reading from \"The Holy Grail\" in Vancouver on June 15, 1965 part 1 of 2 #751\n"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack \",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1237/Reading in BC_MsC199_751.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T02:04:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"751-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:34:58\",\"precision\":\"\",\"size\":\"48.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"751-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:34:48\",\"precision\":\"\",\"size\":\"47.2 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\":\"1965-06-15\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\"49.2528\",\"longitude\":\"-123.1145\"}]"],"Address":["Vancouver, BC, Canada"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"Jack Spicer: serial poems, The Holy Grail Vancouver BC, June 15, 1965\\npart I\\nside 1: 34:10\\nside 2: 33:57\\n#751 \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553073745924,"timestamp":"2026-01-07T14:59:57.525Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t009\tIntroductory comments by Jack Spicer\n\t\t036\tThe Serial Poem was a kind of joke to begin with; the name of it, that is, not the poem itself.  Spicer refers to Robin Blaser’s poetics and the similarities between their serial poems’ style\n\t\t050\tSpicer refers to Duncan’s poems “Medieval Scenes” (Selected Poems) and “The Opening of the Field” as his two best poems that are also “pure honest-to-god serial poems”\n\t\t066\tSpicer reflects on what a serial poem is.  First you have to know what it isn’t in order to determine what it is\n\t\t082\tYou have to go into a serial poem not knowing what you are doing.  You have to be tricked into it.  You can’t do what D.H. Lawrence did in Birds, Beasts and Flowers and say that this is a serial poem\n\t\t096\tA serial poem has to be chronological\n\t\t107\tSpicer says Stevens’ Harmonium is closer to the serial poem.  His poems written over four years do connect and seem to proceed under their own laws\n\t\t117\tOlson and Pound are good examples of how the planned poem can get caught up in and become a serial poem.  Olson’s Maximus Poems changed as he began his writing\n\t\t140\tOlson started out as a man facing history and the poems have become something more than that, which Spicer is sure has scared Olson many times by the way that the poems go\n\t\t158\tThe real serial poem takes you on a path that you have no idea about, and which permits no looking backwards\n\t\t190\tSpicer says he wrote The Holy Grail being completely unsuspicious that what he started out to write would become a book of poems\n\t\t196\tWhen the first book was completed, Spicer experienced surprise at the form that took place in the book.  He discusses the voices in search of the Holy Grail and the Book of Percival\n\t\t227\tSpicer thinks what makes people (Duncan, Robin Blaser, himself) write serial poems is the fact of becoming focused on the individual part enough to have a better chance of being an empty vessel to be filled up by whatever is outside\n\t\t244\tSpicer discusses his process of writing the “dictated poem” in one sitting to avoid the poet later imposing a voice on the poem\n\t\t253\tSpicer is asked if in the meantime other poems are happening to him\n\t\t256\tSpicer responds that this is probably true, yet they rarely have anything to do with the poem, and can result in you dictating the path to the poem rather than the poem dictating to you\n\t\t290\tSpicer discusses “the Hunting of the Snark” as a narrative poem which in some ways resembles a serial poem\n\t\t299\tQuestioner notes that Spicer argues you cannot interfere with the pathway, you cannot look back.  Spicer interrupts question with a comment that the myth of Orpheus and Eurydice was an attempt to enter this concept into Greek poetry\n\t\t305\tQuestioner asks then when do you know you’re on the wrong path?\n\t\t313 \tSpicer responds by discussing his process with his “textbook of poetry”.  (The Heads of the Town, Up to the Author, (Homage to Creeley)\n\t\t326\tSpicer talks about Yeats coming closer to the serial poem than most other poets\n\t\t330\tSpicer says cheating at this game is permissible as long as it’s done at the right time\n\t\t339\tSpicer introduces The Holy Grail by referencing poems by Tennyson (Idylls of the King)\n\t\t349\tSpicer reads from The Holy Grail\n\t\t426\tPoem 4 fades out on recording and fades in again at Poem 5\n\t\t476\tSide one ends at Poem #6\nTwo\t\t007\tSide two begins at start of Poem 6\n\t\t342\tEnd of reading of The Holy Grail\n\t\t347\tSpicer invites questions about things not understood in the poem\n\t\t358\tQuestion asked if the medium of dictating ended after “The Book of Arthur”\n\t\t359\tSpicer says the dictation about the death of Arthur had to end with his death\n\t\t368\tWho are the Tony(s) in the poem?\n\t\t368\tSpicer responds that proper names are a disturbance in the poem that must be addressed then left behind\n\t\t383\tQuestion about the reference to ocean in “the Book of Lancelot”\n\t\t385\tSpicer talks about the reference in terms of Irish versus non-Irish and a lack of an ocean off the Irish Coast.  The ocean is always at the outside, the periphery of the legend although the Grail legend does not mention an ocean\n\t\t392\tWho was the Old Flash?\n\t\t392\tSpicer says it was a Frankie Trish quotation from a baseball game\n\t\t397\tQuestioner says he’s at a loss with  The Book of Lancelot, seventh poem\n\t\t399\tIn response to Spicer’s “why”, questioner says he has problem with the horse being called “Dada”\n\t\t400\tSpicer says the Book of Lancelot is the most laboured.  (Dada refers to the word hobby horse chosen by the Dadaists).  Spicer says many things in this Book are radically wrong, and the poet is conscious of himself during the poem.  The Book of Guinevere, however rescues it\n\t\t412\tSpicer repeats that Guinevere is a bitch and questioner asks why he keeps saying that\n\t\t423\tSpicer says the book took nine months to write and that all mammals have different gestation periods, all books do too\n\t\t438\tSpicer explains the Foolkiller, as a Western American Story meant to frighten children\n\t\t456\tSpicer discusses character of Percival as the best person in the Grail story\n\t\t465\tSpicer found it annoying when the character of Percival entered the dictation because he thought the poem was finished\n\t\t473\tTape Side two ends mid-sentence"],"score":2.6150358},{"id":"4950","cataloger_name":["Janice,Kerfoot"],"partnerInstitution":["ARCMTL"],"collection_source_collection":["Dial-A-Poem Montreal fonds"],"source_collection_label":["Dial-A-Poem Montreal fonds"],"collection_contributing_unit":["Arcmtl Archives & Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["PDP"],"persistent_url":[""],"item_title":["Jack Hannan, \"A Puzzle for the Badger\""],"item_title_source":["Transcribed from title card and microcassette label."],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Hannan, Jack"],"creator_names_search":["Hannan, Jack"],"creators":["[{\"url\":\"http://www.viaf.org/viaf/67734164\",\"name\":\"Hannan, Jack\",\"dates\":\"\",\"notes\":\"http://members.openbooktoronto.com/news/poets_profile_jack_hannan\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Anderson, Fortner"],"contributors_names_search":["Anderson, Fortner"],"contributors":["[{\"url\":\"http://www.viaf.org/viaf/106026246\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"http://fortneranderson.com/\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Anderson, Fortner"],"material_description":["[{\"side\":\"A1\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"Panasonic\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"15/16 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"Hand-labeled stickers and title card\",\"other_physical_description\":\"Microcasette with sticker labels, in plastic case with a title card that holds 4 tapes.\"}]"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"1\",\"sample_rate\":\"192kHz\",\"duration\":\"0:03:21\",\"precision\":\"\",\"size\":\"115.9 MB\",\"bitrate\":\"24\",\"encoding\":\"WAVE\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Montreal, Quebec, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Montreal, Quebec, Canada"],"City":["Montreal, Quebec"],"content_notes":["DETAILS MENTIONED IN RECORDING (by F. Anderson): \nSponsor: Robert Williams, running as the Green Party candidate of the Mont Royal riding  Next episode: Patrick Lane \n----------\nTAGS: language,conversation"],"contents":["<item label=\"Jack Hannan, 'A Puzzle for the Badger'\">\n  <span label=\"Hannan reads his poem\" begin=\"00:00:01.00\" end=\"00:02:31.00\"/>\n  <span label=\"Anderson closes with a Dial-A-Poem message\" begin=\"00:02:37.00\" end=\"00:03:08.00\"/>\n</item> "],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670551743102984,"timestamp":"2026-01-07T14:59:56.269Z","score":2.6090267},{"id":"4952","cataloger_name":["Ivana,Jaworski"],"partnerInstitution":["ARCMTL"],"collection_source_collection":["Dial-A-Poem Montreal fonds"],"source_collection_label":["Dial-A-Poem Montreal fonds"],"collection_contributing_unit":["Arcmtl Archives & Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["PDP"],"persistent_url":[""],"item_title":["Jack Hannan, \"A Pose of Nature\""],"item_title_source":["Transcribed from title card and microcassette label."],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Hannan, Jack"],"creator_names_search":["Hannan, Jack"],"creators":["[{\"url\":\"http://www.viaf.org/viaf/67734164\",\"name\":\"Hannan, Jack\",\"dates\":\"\",\"notes\":\"http://members.openbooktoronto.com/news/poets_profile_jack_hannan\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Anderson, Fortner"],"contributors_names_search":["Anderson, Fortner"],"contributors":["[{\"url\":\"http://www.viaf.org/viaf/106026246\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"http://fortneranderson.com/\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Anderson, Fortner"],"material_description":["[{\"side\":\"B1\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"Panasonic\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"15/16 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"Hand-labeled sticker and title card\",\"other_physical_description\":\"Microcasette with sticker labels, in plastic case with a title card that holds 4 tapes.\"}]"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"1\",\"sample_rate\":\"192kHz\",\"duration\":\"0:02:26\",\"precision\":\"\",\"size\":\"84.2 MB\",\"bitrate\":\"24\",\"encoding\":\"WAVE\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Montreal, Quebec, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Montreal, Quebec, Canada"],"City":["Montreal, Quebec"],"content_notes":["DETAILS MENTIONED IN RECORDING (by F. Anderson): \nSponsor: Cafe Santropol  Next episode: Renato Trujillo\n----------\nTAGS: dusk,dreams"],"contents":["<item label=\"Jack Hannan, 'A Pose of Nature'\">\n  <span label=\"Hannan reads his poem begin=\"00:00:01.00\" end=\"00:01:53.00\"/>\n  <span label=\"Anderson closes with a Dial-A-Poem message\" begin=\"00:02:02.00\" end=\"00:02:21.00\"/>\n</item> "],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670551744151552,"timestamp":"2026-01-07T14:59:56.269Z","score":2.6090267},{"id":"4395","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":["Readings by Jack Kerouac on \nthe Beat Generation"],"item_title_source":["Title written on artifact."],"item_title_note":["Cassette box title: Readings by Jack Kerouac on \nthe Beat Generation\n\nSide A title: J. Kerouac: Reading by J.K. On The\n Beat Generation 1 - 8\n\nSide B title: J.K. \"Is there a Beat Gen?\" 9"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kerouac, Jack"],"creator_names_search":["Kerouac, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/27066713\",\"name\":\"Kerouac, Jack\",\"dates\":\"1922-1969\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3912/UBCO_Hogg_2018_002_026_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"TDK D-90 IEC I 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\":\"2018.002.026_J.Kerouac_Reading_by_JK_on_the_Beat_Gen_1-8_SideA_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:44:04\",\"precision\":\"\",\"size\":\"1.46 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.026_JK_Is_there_a_Beat_Gen_9_SideB_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:13:09\",\"precision\":\"\",\"size\":\"435 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[]"],"Location":["[]"],"City":["Other"],"content_notes":["Contents entry temporary."],"contents":["Tape consists of a home recording of commercially-produced album of Jack Kerouac's third and final Spoken Word \nalbum titled \"Readings by Jack Kerouac on the Beat Generation\".\n\nJ-card includes the album's tract list as follows:\n1. The Beat Generation (3:09)\n2. Poems (3:17)\na) San Francisco\nb) Street Scene \nc) Money Honey\nd) Westinghouse Elevators\ne) Old Age\nf) Praised Be Man\ng) The Sad Turtle\n3. Lucien Midnight: the Sounds of the Universe in My Window, Pt. I (2:21)\n4. Lucien Midnight: the Sounds of the Universe in My Window, Pt. II (1:53)\n5. Fantasy: the Early History of Bop (10:53)\n6. Excerpts from 'The Subterraneans'\nV7. Visions of Neal: Neal and the Three Stooges, Pt. II (13:48)\nSIDE B\nBonus Track\n9. Is There A Beat Generation? (12:32)"],"Note":["[{\"note\":\"Digitization complete.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550770024450,"timestamp":"2026-01-07T14:59:55.332Z","score":2.6047437},{"id":"4361","cataloger_name":["Sarah,Cipes"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Peter Quartermain fonds"],"source_collection_label":["Peter Quartermain fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Fonds consists of 180 cassette tapes."],"collection_source_collection_id":["2022.002"],"persistent_url":[""],"item_title":["Spicer - Vancouver LCTR # 3 (2)"],"item_title_source":["Cassette Case"],"item_title_note":["Jack Spicer Vancouver Lecture 3, tape 2. No date, but likely on or around 15 June 1965."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"https://viaf.org/viaf/46807530/#Spicer,_Jack\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"45 minutes per side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Cassette damaged. Cannot digitize.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-06-15\",\"type\":\"Performance Date\",\"notes\":\"Date not written on cassette. Part of series of lectures taking place in June 1965. Confirm by listening.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/search?query=vancouver%2C%20BC#map=12/49.2576/-123.1241\",\"venue\":\"\",\"notes\":\"Location in Vancouver not specified\",\"address\":\"Vancouver, B.C.\",\"latitude\":\"49.2576\",\"longitude\":\"-123.1241\"}]"],"Address":["Vancouver, B.C."],"City":["Vancouver, British Columbia"],"contents":["One of several cassette tapes containing recording of Jack Spicer's lecture in Vancouver, B.C. June, 1965."],"Note":["[{\"note\":\"2014.002.011 \\n2022.003.005 \\n2022.002.185 \\n2022.002.186 \\n2022.002.187 \\n2022.002.189\\n2022.003.030 \\n2022.003.031\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550762684419,"timestamp":"2026-01-07T14:59:55.332Z","score":2.59618},{"id":"4362","cataloger_name":["Sarah,Cipes"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Peter Quartermain fonds"],"source_collection_label":["Peter Quartermain fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Fonds consists of 180 cassette tapes."],"collection_source_collection_id":["2022.002"],"persistent_url":[""],"item_title":["Spicer - Vancouver Lecture # 3 (3)"],"item_title_source":["Cassette Case"],"item_title_note":["Jack Spicer Vancouver Lecture 3, tape 3. No date, but likely on or around 15 June 1965."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Jack Spicer"],"creator_names_search":["Jack Spicer"],"creators":["[{\"url\":\"https://viaf.org/viaf/46807530/#Spicer,_Jack\",\"name\":\"Jack Spicer\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"AMPEX 291 90\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"45 minutes per side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Cassette damaged. Cannot digitize.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-06-15\",\"type\":\"Performance Date\",\"notes\":\"Exact date is uncertain: [1965-06-15?]. Date not written on cassette. Part of series of lectures taking place in June 1965.\",\"source\":\"Estimated\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/search?query=vancouver%2C%20BC#map=12/49.2576/-123.1241\",\"venue\":\"\",\"notes\":\"Location in Vancouver not specified\",\"address\":\"Vancouver, B.C.\",\"latitude\":\"49.2576\",\"longitude\":\"-123.1241\"}]"],"Address":["Vancouver, B.C."],"City":["Vancouver, British Columbia"],"content_notes":["J-Card description: n/a"],"contents":["One of several cassette tapes containing recording of Jack Spicer's lecture in Vancouver, B.C. June, 1965."],"Note":["[{\"note\":\"2014.002.011 \\n2022.003.005 \\n2022.002.185 \\n2022.002.186 \\n2022.002.187 \\n2022.002.188 \\n2022.003.030 \\n2022.003.031\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550762684420,"timestamp":"2026-01-07T14:59:55.332Z","score":2.59618},{"id":"5376","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":["Lecture #3: Jack Spicer at Tallman’s house in Vancouver on June 17, 1965 part 1 of 2 #753"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack \",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1251/Reading in BC_MsC199_753.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\":\"T02:10:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"753-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:51\",\"precision\":\"\",\"size\":\"58.1 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\":\"753-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:51\",\"precision\":\"\",\"size\":\"60.8 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\":\"1965-06-17\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/487641396\",\"venue\":\"Warren Tallman’s House\",\"notes\":\"Tallman and family lived in the '50s & '60s at 2527 West 37th Ave in Kerrisdale and this was where quite a few talks and reading were held and recorded.\",\"address\":\"2527 West 37th Avenue, Vancouver, British Columbia, Canada\",\"latitude\":\"49.23722\",\"longitude\":\"-123.11556\"}]"],"Address":["2527 West 37th Avenue, Vancouver, British Columbia, Canada"],"Venue":["Warren Tallman’s House"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"Jack Spicer: Lecture #3, \\nJune 17, 1965\\nRecorded at Tallman's\\npart I\\nside 1: 45:30\\nside 2: 45:10\\nMASTER\\nDOLBY B\\n #753 \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553066405892,"timestamp":"2026-01-07T14:59:57.525Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t008\tSide one begins with introduction by Spicer on talking about and reading a poem in process, with the possibility this could ruin the poem\n\t\t032\tHe will give some background to the process of his poem.  He asks the audience to imagine that he has started to write a poem that he is one quarter to halfway through and invites questions on the process of this poem and how he would treat a poem he was starting now\n\t\t093\tSomeone asks what Spicer is worried about\n\t\t094\tQuestions begin before the reading of the poem-in-process beginning with someone asking if he wants the audience to write his poem.  Spicer responds, no, but that it is a possible problem when reading an unfinished work\n\t\t095\tSpicer responds with a discussion of the previous Vancouver poems he wrote, one of which was a section of a long poem called The Book of Magazine Verse\n\t\t122\tSpicer describes his numbering and sectioning process\n\t\t145\tSpicer thought of writing poems for magazines that wouldn’t print them.  General laughter\n\t\t139\tQuestioner asks if at this point he sees several directions at once\n\t\t160\tSpicer says he tries many directions and that this book, although good, is not that good… it may go down the drain\n\t\t173\tThe first of many questions about the mind being an empty vessel\n\t\t188\tSpicer considers the necessity of the element of chance in a poet’s work\n\t\t189\tQ; Is it possible that the voice could tell you the third part first?\n\t\t212\tSpicer says he’s never changed chronological order, but it is possible and he would like to.  But then whatever you’d like to do, is a very bad idea in a poem\n\t\t220\tSpicer on the poet’s own rules.  Rules can be arbitrary you can have rules that you cheat from, you can change the rules\n\t\t238\tAre you cheating at this game if you use the dream?\n\t\t241\tSpicer explains this question is in reference to Vancouver poems that were almost edited directly from drams he had in Vancouver in May, 1965\n\t\t249\tSpicer thinks a dream is the same as any other piece of furniture in the room.  But he doesn’t see the dream as being a meditation thing\n\t\t285\tQuestions about dictated thoughts – where, when, how they came to Spicer\n\t\t347\tQ: Is dictation usually in words or images or combinations of these?\n\t\t348\tSpicer says it comes never in images, sometimes in rhythms\n\t\t350\tDorothy Livesay interjects that Hopkins heard the music and the rhythm and finally had to write The Wreck of the Deutschland\n\t\t354\tSpicer says his Arthur poem mentions the noise in the head of the poem which dictates itself in rhythm, which always is in rhythm you don’t want\n\t\t363\tSpicer says you can always get poems if you know how to empty yourself\n\t\t377\tQ: Where does the craft and the intelligence of the poet enter into the poem?\n\t\t380\tSpicer says intelligence is part of the furniture and craft is something you want to get out of the house so enough ghosts can get into the house.  You have to learn to take out the majority of your craft\n\t\t396\tSpicer turns to the poems (from Book of Magazine Verse) “Two Poems for The Nation”\n\t\t416\tEnds\n\t\t417\t“Six Poems for Poetry Chicago”\n\t\t425\tTwo\n\t\t437\tThree\n\t\t439\tTape fades out and seems to begin again at 425 (above)\n\t\t449\tFour\n\t\t457\tFive\n\t\t472\tEnd\n\t\t473\tTISH Poems 1\n\t\t482\tTwo\n\t\t489\tThree\n\t\t498\tEnd\n\t\t499\t“Four Poems for Ramparts”\n\t\t521\tThree\n\t\t529\tFour\n\t\t540\tEnds\n\t\t541\tFour Poems for The St. Louis Sporting News\n\t\t551\tTwo\n\t\t560\tThree\n\t\t569\tFour\n\t\t578\tEnds\n\t\t579\t“Poems for the Vancouver Festival”\n\t\t604\tTape ends in the middle of #3\n\t\t\tContinued on Side Two\nTwo\t\t005\tSide two begins mid-reading by Spicer\n\t\t013\tQuestions begin with wanting to know how long Spicer had been working on this poem\n\t\t018\tSpicer discusses writing The Vancouver poems in Vancouver.  Spicer says the current poems are in a mess, not knowing what they want to be\n\t\t056\tSpicer asks what is the audience’s reaction to the poems just read (presumably the Vancouver poems) – do the voices come through?\n\t\t058\tVarious subjective comments from audience\n\t\t113\tSpicer feels the poem will move closer toward building the city instead of the celebration of the city as the Textbook of Poetry did\n\t\t149\tJamie sees the Vancouver Poems as being intimately connected wi5th the baseball image of the city – the diamond image connected with the city’s pearl in the sea image\n\t\t175\tSpicer says he wrote the poem after going to “that awful place where the ferry boats are” – (Horseshoe Bay)\n\t\t188\tSpicer explains his use of the term ‘measure’ as it relates to the city and walking through it\n\t\t253\tQuestioner argues that there must be a voice which is inherently that of the poet and not the furniture cluttering the mind\n\t\t255\tSpicer disagrees\n\t\t276\tSpicer goes into music and Stravinsky to elaborate his point\n\t\t302\tQuestioner asks if not all of the questions directed at Spicer contain a doubt that Spicer’s skills, personality, accomplishment with language are ruled out when the upside is dictating the poem.  If people are not wondering if you’re there, Jack Spicer?\n\t\t313\tSpicer agrees that people don’t believe him, but that they may believe him if there were to try it\n\t\t329\tSpicer is asked – again – if he sees the dictation of the poem as a meditative process instead of some technique of poetry\n\t\t330\tSpicer says Cezanne (his favourite painter) likely never meditated a day in his life, but he managed to have his last 10 years of painting pure of anything which he intended which is something that Kandinsky (nice painter) never did\n\t\t339\tSpicer points out that he doesn’t expect anyone to take his word on it, but he would like to see people experiment with it\n\t\t347\tSpicer goes back to the discussion of his mind being a blank as he works.  It is an impossible process to make your mind a blank – He points to the process of playing an instrument as an example\n\t\t363\tInterjection from listener claiming Spicer to have given the best and most accurate description of the production of art he has ever heard\n\t\t376\tSame speaker says Copland once remarked that the best performances always are those just this side of disaster.  He says this is so much like Spicer’s idea of taking a change and risking it\n\t\t386\tSpicer says Ernst Block came to CAL and was pleased by the fact that Toscanini said he wouldn’t play anything by Block because it was too bloody.  Bloch realized he had to play the dance between the tensions of bloody and too bloody\n\t\t403\tQ: How do you judge what comes through to be a true message, what do you want to say?\n\t\t407\tSpicer uses the analogy of baseball again calling the poet a catcher who likes to think of himself as a pitcher.  Diverges into a baseball pitching anecdote denoting how a pitcher gets pleased with something he’s done\n\t\t457\tQ: about the magazine verse poem and Spicer’s comment about being becalmed or not becalmed\n\t\t474\tSpicer asks what people thought about the lemon.  Discussion ensues about oranges and lemons and oval as the wrong description of a lemon\n\t\t515\tStudent remarks that it seemed like a Romantic poem compared to the Heads of the Town Up to the Aether which gave Spicer’s bitterness\n\t\t526\tSpicer asks if anyone saw the connection with the oranges and the last baseball poem\n\t\t531\tSpicer says Abner Doubleday was one of the first inventors of baseball and the first president of the American Theosophical Society.  Debate continues as to whether baseball belongs to Vancouver, or to Canada, or not.  Discussion dissolves into laughter and general chaos.\n\t\t537\tDorothy Livesay suggests the poem is about Spicer, about the States, it’s not Canadian.  She says baseball is an American game; here they play soccer and cricket.  She is generally laughed and booed down"],"score":2.5951827},{"id":"4870","cataloger_name":["Carolin,Huang"],"partnerInstitution":["ARCMTL"],"collection_source_collection":["Dial-A-Poem Montreal fonds"],"source_collection_label":["Dial-A-Poem Montreal fonds"],"collection_contributing_unit":["Arcmtl Archives & Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["PDP"],"persistent_url":[""],"item_title":["Patrick Lane, \"The Carpenter\""],"item_title_source":["Transcribed from case and microcassette labels."],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Lane, Patrick"],"creator_names_search":["Lane, Patrick"],"creators":["[{\"url\":\"http://www.viaf.org/viaf/66513400\",\"name\":\"Lane, Patrick\",\"dates\":\"1939-2019\",\"notes\":\"https://en.wikipedia.org/wiki/Patrick_Lane\\nhttp://www.patricklane.ca\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Anderson, Fortner"],"contributors_names_search":["Anderson, Fortner"],"contributors":["[{\"url\":\"http://www.viaf.org/viaf/106026246\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"http://fortneranderson.com/\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Anderson, Fortner"],"material_description":["[{\"side\":\"B\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"Sony\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"15/16 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"Hand-labeled stickers on case and tape\",\"other_physical_description\":\"Microcasette with sticker label, in labelled plastic case that holds 1 tape.\"}]"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"1\",\"sample_rate\":\"192kHz\",\"duration\":\"0:01:51\",\"precision\":\"\",\"size\":\"64.6 MB\",\"bitrate\":\"24\",\"encoding\":\"WAVE\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Montreal, Quebec, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Montreal, Quebec, Canada"],"City":["Montreal, Quebec"],"content_notes":["DETAILS MENTIONED IN RECORDING (by F. Anderson): \nSponsor: Cafe Santropol  Next episode: Jack Hannan \n----------\nTAGS: carpentry,gentrification"],"contents":["<item label=\"Patrick Lane, 'The Carpenter'\">\n  <span label=\"Lane reads his poem\" begin=\"00:00:04.00\" end=\"00:01:21.00\"/>\n  <span label=\"Anderson closes with a Dial-A-Poem message\" begin=\"00:01:26.00\" end=\"00:01:44.00\"/>\n</item> "],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670551640342529,"timestamp":"2026-01-07T14:59:56.167Z","score":2.5885074},{"id":"5377","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":["Lecture #3, Jack Spicer at Tallman’s house in Vancouver on June 17, 1965 part 2 of 2 #754"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack \",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1252/Reading in BC_MsC199_754.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:52:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"754-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:10\",\"precision\":\"\",\"size\":\"29.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"754-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:29:07\",\"precision\":\"\",\"size\":\"28.2 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\":\"1965-06-17\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/487641396\",\"venue\":\"Warren Tallman’s house\",\"notes\":\"Tallman and family lived in the '50s & '60s at 2527 West 37th Ave in Kerrisdale and this was where quite a few talks and reading were held and recorded.\",\"address\":\"2527 West 37th Avenue, Vancouver, British Columbia, Canada\",\"latitude\":\"49.23722\",\"longitude\":\"-123.11556\"}]"],"Address":["2527 West 37th Avenue, Vancouver, British Columbia, Canada"],"Venue":["Warren Tallman’s house"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"Jack Spicer: Lecture #3, \\nJune 17, 1965\\nRecorded at Tallman's\\npart II\\nside 1: 29:25\\nside 2: 28:30\\nMASTER\\nDOLBY B\\n #754 \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553067454464,"timestamp":"2026-01-07T14:59:57.525Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t009\tQ: If you pitched an orange to your own catcher, you yourself writing, would you catch it?\n\t\t019\tSpicer: Is there a batter between the pitcher and the catcher?\n\t\t028\tSpicer goes into baseball metaphor to contend with this question\n\t\t047\tStudents ask about a play on the words lemon and pitcher, and various other word usages, ie. Oranges and lemons\n\t\t085\tQuestion regarding Yeats’s message of a non-tragic universe.  Does Spicer sense that the news coming to him is of a tragic or non-tragic nature?\n\t\t109\tA question about the fool to which Spicer responds on the catcher as the fool.  A long discussion baseball metaphors follows, which ends at 196 with Spicer saying he thinks the baseball metaphor has gotten them all confused\n\t\t202\tA return to the discussion with a question about how long it will take Spicer to finish the poem.  Spicer to finish the poem.  Spicer reflects on not wanting to leave Vancouver, not having a job, his reluctance to return to Berkeley\n\t\t217\tResponding to a question about a transition he is undergoing in his writing, Spicer uses radio metaphor to explain that one cannot separate writing from living\n\t\t226\tA question asking when Heads of the Town was written and several comments follow, including one by Dorothy Livesay, which agree that it seemed a different poem from others\n\t\t242\tA question on Spicer’s change of writing as it is affected by change in lifestyle\n\t\t245\tSpicer explains\n\t\t286\tEllen Tallman says the last part of the Vancouver festival poetry makes her feel that the questions and warnings that exist in Spicer’s other poems aren’t there in the last three poems\n\t\t292\tSpicer agrees that it scares him too\n\t\t294\tAn outburst of discussion on this point\n\t\t309\tQ: This change of geography – is it important to most poets and to yourself?\n\t\t317\tSpicer responds that gait is more important than measure to changes in geography\n\t\t333\tAnecdote about Valery going to a lecture about his own poems.  “I felt as though they were talking about a ghost of myself”\n\t\t345\tQuestioner returns to his inquiry into the tragic dimension of poetry and wants to pursue the discussion into what he sees as the comic dimension of Spicer’s poems\n\t\t348\tSpicer quotes Ogden Nash in response\n\t\t372\tA question about the lines of distinction between Spicer and the ghosts\n\t\t380\tSpicer complains that no one believes his belief in the ghost, that what he writes is outside of, rather than in his head\n\t\t383\tSomeone responds that it is not so much disbelief as the Vancouver writing community’s preoccupation with the handling of the language as prior, whereas Spicer’s method seems to reverse that\nSide\tTrack\tNo.\tComments\nOne\t\t397\tSide One ends in the middle of this discussion\nTwo\t\t006\tSide Two begins in the middle of a discussion about Spicer’s messages in his work\n\t\t050\tQ: At what point did Spicer begin to receive these messages\n\t\t056\tSpicer said they began halfway through the Lorca poems; before that he just wrote poems\n\t\t078\tLivesay questions Spicer about the importance of these messages to either Spicer or his readers wince Spicer says the messages are not important\n\t\t084\tSpicer qualifies his use of the term unimportant.  They are important to your life since you live it as something more than a human being\n\t\t107\tSpicer is asked if he is writing with any special purposes.  A debate ensues over Yeats\n\t\t156\tWarren Tallman asks if former poets can be part of the outside\n\t\t163\tSpicer discusses Dunbar’s Lament fort the Makers.  Says he got Lorca directly on the phone from the past.  But it’s difficult to know what is your reading of English literature and what is ghosts\n\t\t194\tSpicer describes Blaser’s ghosts and is less sure about Duncan’s ghosts\n\t\t213\tQuestion asked if the ghosts must be from or in the locale in which the writer works\n\t\t214\tSpicer says this makes sense.  A discussion of Lorca and Duende begins moving into a story about Billie Holiday\n\t\t311\tSpicer talks about TISH\n\t\t338\tTallman says that also in the summer of ’63 Olson had a visit from his angel – Did this make sense to Spicer?\n\t\t341\tSpicer says angel means messenger in Hebrew\n\t\t350\tLivesay asks if this is the same for Rilke’s angels\n\t\t351\tSpicer says Rilke’s angels come from things rather than the opposite way of Jacob’s wrestlers\n\t\t409\tSpicer invites one last question and is asked who he thinks will win the pennant.  His bet is Milwaukee\n\t\t427\tDiscussion dissolves"],"score":2.5865247},{"id":"5378","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robert Duncan speaks on Jack Spicer at Zen Center in San Francisco on April 13, 1980 part 1 of 2 #755\n"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert"],"creator_names_search":["Duncan, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1980],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1253/Reading in BC_MsC199_755.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"755-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:33:54\",\"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\":\"755-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:01\",\"precision\":\"\",\"size\":\"44.9 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\":\"1980-04-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/3439271\",\"venue\":\"Zen Center\",\"notes\":\"\",\"address\":\"300 Page St, San Francisco, CA 94102, United States\",\"latitude\":\"37.77391\",\"longitude\":\"-122.42612\"}]"],"Address":["300 Page St, San Francisco, CA 94102, United States"],"Venue":["Zen Center"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\n½\t\t\tRobert Duncan speaks on Jack Spicer"],"Note":["[{\"note\":\"Robert Duncan speaks on Jack Spicer \\nSan Francisco, Zen Center\\nApril 13, 1980\\nPart I \\n#755 \",\"type\":\"General\"},{\"note\":\"The first 14 minutes and 47 seconds of side 2 is empty.\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553067454465,"timestamp":"2026-01-07T14:59:57.525Z","score":2.5732465},{"id":"5379","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robert Duncan speaks on Jack Spicer at Zen Center in San Francisco on April 13, 1980 part 2 of 2 #756"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert"],"creator_names_search":["Duncan, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert \",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1980],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1254/Reading in BC_MsC199_756.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\":\"756-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:35:06\",\"precision\":\"\",\"size\":\"34.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"756-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:57\",\"precision\":\"\",\"size\":\"45.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1980-04-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/3439271\",\"venue\":\"Zen Center\",\"notes\":\"\",\"address\":\"300 Page St, San Francisco, CA 94102, United States\",\"latitude\":\"37.77391\",\"longitude\":\"-122.42612\"}]"],"Address":["300 Page St, San Francisco, CA 94102, United States"],"Venue":["Zen Center"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\n½\t\t\tRobert Duncan speaks on Jack Spicer\n"],"Note":["[{\"note\":\"Robert Duncan speaks on Jack Spicer \\nSan Francisco, Zen Center\\nApril 13, 1980\\nPart II \\n#756\",\"type\":\"General\"},{\"note\":\"The first 14 minutes and 42 seconds of side 2 is empty.\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553067454466,"timestamp":"2026-01-07T14:59:57.525Z","score":2.5732465},{"id":"6009","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":["Skookum Wawa reading: A Gathering of Writers introduced by Gary Geddes and reading of Jack Hodgins, John Marshall, Ken Cathers, and Carmichael Michael at Bayview Villa in Nanaimo on November 28, 1975 part 2 #244b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Geddes, Gary","Cathers, Ken","Carmichael, Michael","Marshall, John","Hodgins, Jack"],"creator_names_search":["Geddes, Gary","Cathers, Ken","Carmichael, Michael","Marshall, John","Hodgins, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/94290892\",\"name\":\"Geddes, Gary\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/45550284\",\"name\":\"Cathers, Ken\",\"dates\":\"1951-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Carmichael, Michael\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/5165149198299174940005\",\"name\":\"Marshall, John\",\"dates\":\"1941-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/114666696\",\"name\":\"Hodgins, Jack\",\"dates\":\"1938-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/445/Readings in BC_MsC199_244b.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\":\"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\":\"244b-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:42:13\",\"precision\":\"\",\"size\":\"40.8 MB \",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"244b-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:18\",\"precision\":\"\",\"size\":\"31.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-11-28\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/151323442\",\"venue\":\"Bayview Villa\",\"notes\":\"\",\"address\":\"Nanaimo, BC, Canada\",\"latitude\":\"49.18982\",\"longitude\":\"-123.95748\"}]"],"Address":["Nanaimo, BC, Canada"],"Venue":["Bayview Villa"],"City":["Nanaimo, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tJ.H.’s story resumes \n\t\t097\tG.G. announces a break\n\t\t101\tGlG. Introduces John _____________, editor of Island Magazine\n\t\t126\tJohn _________reads “Kennedy River Expedition”\n\t\t133\tReads “Ritual Poem no. 22-38”\n\t\t146\t“Differing Theories of Being Meat”\n\t\t154\t“We Meet Here”\n\t\t161\t“A poem called ‘They Never Come Home Yet’”\n\t\t209\tReads from Jack Spicer, “Thing Language”\n\t\t216\t“It turns out/my fear of/space…”\n\t\t223\t“On the lookout, her glassy eyes…”\n\t\t230\t“Pachina, Carmana, the Husiad…”\n\t\t236\t“Given six days and fifty miles of good book to pack…”\n\t\t242\t“As for the ancestral totem…”\n\t\t249\t“Squatting around the fire…”\n\t\t261\tG.G. Introduces Michael Carmichael\n\t\t268\tReads “Dirty Bob”\n\t\t292\tG.G. introduces Ken Cathers\n\t\t307\tK.C. reads “Morning”\n\t\t322\t“Playground”\n\t\t341\t“The Boat House”\n\t\t359\t“She Lets Me Drive”\n\t\t370\tDedicated to Gabriel Roy: “All night, below the living moon…”\n\t\t389\t“Salmon spawning…”\n\t\t410\t“Outlaw Bysshe”\n\t\t441\tGary Geddes reads:\n\t\t452\t“The Promised Land”\n\t\t475\t“Speaks of his new baby’s birth”\n\t\t483\t“Word”\n\t\t506\t“The letter of the Master of Horse”\n\t\t637\tReading ends"],"Note":["[{\"note\":\"Liner Notes: Skookum Wawa Part 2 Side 1: Jack Hodgins continued John Marshall 26:35 Side 2: Michael Carmichael Ken Cathers Gary Geddes 25:13 Dolby B\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554409631744,"timestamp":"2026-01-07T14:59:58.804Z","score":2.5459297},{"id":"1138","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Ian Ferrier fonds"],"source_collection_label":["Ian Ferrier fonds"],"collection_contributing_unit":["Ian Ferrier"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Words and Music at Casa Del Popolo 2015-11-22"],"item_title_source":["Cataloguer"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"creator_names":["Ferrier, Ian"],"creator_names_search":["Ferrier, Ian"],"creators":["[{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"contributors_names":["Hannan, Jack","Shea-Hannan, Molly","Girardin, Wolfe","Allison, Patricia","Clark, Moe","Kennedy, Kathy","Riley, Steven","Ferrier, Ian"],"contributors_names_search":["Hannan, Jack","Shea-Hannan, Molly","Girardin, Wolfe","Allison, Patricia","Clark, Moe","Kennedy, Kathy","Riley, Steven","Ferrier, Ian"],"contributors":["[{\"url\":\"http://viaf.org/viaf/67734164\",\"name\":\"Hannan, Jack\",\"dates\":\"1949-\",\"notes\":\"(With Molly Shea-Hannan)\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Shea-Hannan, Molly\",\"dates\":\"\",\"notes\":\"(With Jack Hannan)\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\" Girardin, Wolfe\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Allison, Patricia\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/317024729\",\"name\":\"Clark, Moe\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/316997401\",\"name\":\"Kennedy, Kathy\",\"dates\":\"\",\"notes\":\"(With Steven Riley and choir)\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/220833247\",\"name\":\"Riley, Steven\",\"dates\":\"1956-\",\"notes\":\"(With Kathy Kennedy and choir)\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"performer_name":["Hannan, Jack","Shea-Hannan, Molly"," Girardin, Wolfe","Allison, Patricia","Clark, Moe","Kennedy, Kathy","Riley, Steven"],"Presenter_name":["Ferrier, Ian"],"Production_Date":[2015],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1138/17cd4528-7a0c-442d-903a-03458eb00d3e-0.jpg\",\"other\":\" In folder: 5 audio, 5 docs, 7 images, 7 misc. \",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"Set of 4 event audio recordings (+ copies and edits)\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"STE-010W&M November 2015 KK CHoir.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:09:47\",\"precision\":\"\",\"size\":\"169.2 MB \",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2015/11/\",\"file_path\":\"\",\"filename\":\"STE-08W&M November 2015 Hannan Girardin Allison.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:34:46\",\"precision\":\"\",\"size\":\"33.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2015/11/\",\"file_path\":\"\",\"filename\":\"STE-009 W&M November 2015 Moe Clark.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:30:47\",\"precision\":\"\",\"size\":\"29.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2015/11/\",\"file_path\":\"\",\"filename\":\"KK Steve Riley Choir Nov 2015 .mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:06:27\",\"precision\":\"\",\"size\":\"6.2 MB \",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2015 11 22\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1570292450\",\"venue\":\"Casa Del Popolo\",\"notes\":\"\",\"address\":\"4873 St Laurent Blvd, Montreal, QC, H2T 1R6\",\"latitude\":\"45.5222118\",\"longitude\":\" -73.5905321\"}]"],"Address":["4873 St Laurent Blvd, Montreal, QC, H2T 1R6"],"Venue":["Casa Del Popolo"],"City":["Montreal, Quebec"],"content_notes":["A poster for the November 22nd 2015 edition of Words and Music announces an exciting show at the Casa del Popolo with performances by multidisciplinary Métis artist Moe Clark, poet/artist Wolfe Girardin, Kathy Kennedy & Friends, acclaimed Toronto choreographer Patricia Allison and a collaboration between Jack Hannan and Molly Shea-Hannan. In a document titled ‘Bios for November 2015 show” we learn more about these artists’ performances. For this event, poet Jack Hannan presents his own translations of troubadour poetry with an accompanying performance by contemporary dance artist Molly Shea-Hannan. Another collaboration - Kathy Kennedy (director of Maha Choir) sings “Olson III” with her ‘musical friends,’ a piece by minimalist composer Terry Riley from 1967. There exists 4 short audio clips that assemble into a full audio recording of the event. Doors at 8, show at 9. All this for 6$."],"contents":["STE-08W&M November 2015 Hannan Girardin Allison.mp3\n\nIan Ferrier [https://www.wikidata.org/wiki/Q87138884]\n00:00:00\nIntroduces event | Keywords: words; dance; Toronto Fringe [https://www.wikidata.org/wiki/Q7826392]; Patricia Allison; Wolfe Girardin; scateboard art; Chez Boris Café; Moe Clark; Jack Hannan [https://www.wikidata.org/wiki/Q75038431] ; translations; troubadour poets; Molly Shea-Hannan.\n\nAudience\n00:01:30\nApplause.\n\nJack Hannan\n00:01:56\nIntroduces project | Keywords: troubadour poets.\n\nMolly Shea-Hannan\n00:02:36\nPerforms project | Keywords: love; youth.\n\nJack Hannan\n00:03:58\nPerforms project.\n\nJack Hannan and Molly Shea-Hannan\n00:05:47\nPerforms project | Keywords: bodies; failing.\n\nJack Hannan and Molly Shea-Hannan\n00:11:01\nPerform [voices overlap] | Keywords: Muslim [https://www.wikidata.org/wiki/Q47740]; China [https://www.wikidata.org/wiki/Q148]; refugees; suicide.\n\nAudience\n00:12:34\nApplause [cheering].\n\nIan Ferrier\n00:12:52\nIntroduces Wolfe Girardin.\n\nAudience\n00:13:18\nApplause.\n\nWolfe Girardin\n00:13:24\nPerforms \"Indelible\" | Keywords: memorized; marriage; Tinder; Twitter; weed; private; public; diversity.\n\nAudience\n00:19:00\nApplause.\n\nWolfe Girardin\n00:19:09\nPerforms \"Passing Passion\" | Keywords: Australia [https://www.wikidata.org/wiki/Q408]; Skype; Sidney; yolo; IKEA.\n\nAudience\n00:24:40\nApplause.\n\nIan Ferrier\n00:24:54\nThanks Wolfe Girardin and introduces Patricia Allison | Keywords: exhibition; Chez Boris Café; Toronto Fringe; \"Pool in the Water\".\n\nAudience\n00:25:26\nApplause.\n\n00:26:10\nSilence.\n\nPatricia Allison\n00:26:30\nPerforms [dance].\n\nIan Ferrier\n00:34:06\nThanks Patricia Allison | Keywords: watermelon; Moe Clark.\n\nEND\n00:34:50\n[recording continues on file 2].\n \nSTE-009 W&M November 2015 Moe Clark.mp3\n\nIan Ferrier [https://www.wikidata.org/wiki/Q87138884]\n00:00:00\nIntroduces second set | Keywords: Moe Clark; Métis.\n\nAudience\n00:00:36\nApplause.\n\nMoe Clark\n00:00:45\nIntroduces herself | Keywords: Joni Mitchell [https://www.wikidata.org/wiki/Q205721]; Mondial [Festival]; The Main [ St-Laurent Bvld]; La Banquise; poutine; Treaty 7; reconciliation; Louis Riel [https://www.wikidata.org/wiki/Q313691]; Blackfoot people.\n\nMoe Clark\n00:03:43\nPerforms spoken word | Keywords: coyote; grandmother; creation.\n\nAudience\n00:09:59\nApplause [cheering].\n\nMoe Clark\n00:10:10\nRequests more vocals in the monitors.\n\nMoe Clark\n00:10:22\nPerforms spoken word | Keywords: women; community; death; support; Jodi Bigeagle; seamstress to the underworld; spirit home; buffalo; trickster; river.\n\nAudience\n00:17:57\nApplause [cheering].\n\nMoe Clark\n00:18:06\nInvites Illia Swamphof [(?)] to the stage | Keywords: collab; harmonalimba; harmonica; musician; guitarist.\n\nMoe Clark\n00:19:26\nPerforms \"Swamp wealth\" | Keywords: Treaty 7.\n\nAudience\n00:24:45\nApplause.\n\nMoe Clark\n00:24:50\nPerforms spoken word | Keywords: singalong; Hindu chants; Mexico [https://www.wikidata.org/wiki/Q96].\n\nAudience\n00:29:49\nApplause.\n\nMoe Clark\n00:29:58\nThanks audience | Keywords: CDs.\n\nIan Ferrier\n00:30:16\nAnnounces work for eight voices | Keywords: Café Resonance; Billie Holiday [https://www.wikidata.org/wiki/Q104358]; Kim Zombik.\n\nEND\n00:30:51\n[recording continues on file 3].\n\nSTE-010W&M November 2015 KK CHoir.mp3\n\n00:00:00\nAmbient sound [background noise].\n\nKathy Kennedy and eight voices\n00:01:49\nPerform music | Keywords: improvisation.\n\nAudience\n00:08:01\nApplause.\n\nIan Ferrier [https://www.wikidata.org/wiki/Q87138884]\n00:08:45\nAnnounces end of event | Keywords: Kathy Kennedy.\n\nEND\n00:09:48\n[file 3 is repeated on file 4].\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548364591104,"timestamp":"2026-01-07T14:59:52.745Z","score":2.5447161},{"id":"5933","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"3b-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:47\",\"precision\":\"\",\"size\":\"16 MB\",\"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\":\"1965-02 \",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"},{\"date\":\"1965-07\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/2833528#map=13/37.8712/-122.3014\",\"venue\":\"Berkeley\",\"notes\":\"\",\"address\":\"Berkley, California, USA\",\"latitude\":\"37.8700\",\"longitude\":\"-122.2923\"},{\"url\":\"https://www.openstreetmap.org/relation/1424987\",\"venue\":\"UBC \",\"notes\":\"\",\"address\":\"6398 University Blvd, Vancouver, BC V6T 1Z4\",\"latitude\":\"49.2586\",\"longitude\":\"-123.2452\"}]"],"Address":["Berkley, California, USA","6398 University Blvd, Vancouver, BC V6T 1Z4"],"Venue":["Berkeley","UBC "],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tSpicer reads “Thing Language”\n\t\t168 \tSpicer reads “Intermissions”\n\t\t189\tSpicer reads “Transformations”\n\t\t212\tSpicer reads “Morphemics”\n\t\t243\tSpicer reads “Phonemics”\n\t\t294\tSpicer reads “Graphemics”\n\t\t\tJuly, 1965 – Berkeley – Summer Days\n\t\t383\tGeneral conversation with Duncan, Spicer, Blaser, Persky, and others\n\t\t454\tDuncan reads “Hark, hark, the cunning spring…”\n\t\t465\tConversation – predominantly Duncan\n\t\t538\tDuncan reads Leonard Woolf poem\n\t\t554\tConversation\n\t\t589\tBlaser reads Ken Kearns “Hymn To A Private Detective”\n\t\t598\tConversation\n"],"Note":["[{\"note\":\"Liner Notes: Side A: Jack Spicer reading Language at UBC, February, 1965 (P). 47 min. Side B: Berkley: \\\"Summer Days\\\", July 1965 Duncan Spicer, Blaser, Persky and others. 23:40 min\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554189430790,"timestamp":"2026-01-07T14:59:58.590Z","score":2.5142727},{"id":"4102","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Fred Wah fonds"],"source_collection_label":["Fred Wah fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2022.003"],"persistent_url":[""],"item_title":["2. J. Clarke at Buffalo 1972"],"item_title_source":["Title taken from back of box"],"item_title_note":["Title on box: n/a\n\nSide A title: n/a\n\nSide B title: n/a\n\nBack of box: 2. J. 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J. Clarke at Buffalo 1972_Side 1_3-2_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:28:54\",\"precision\":\"\",\"size\":\"998.8 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Mickey mouse - requires speed edit. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.047/audio\",\"filename\":\"2022.003.047_2. J. Clarke at Buffalo 1972_Side 1_1-4_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:22:25\",\"precision\":\"\",\"size\":\"774.8 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Mickey mouse - requires speed edit. Side 2 is BLANK.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Date listed on box.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/175031\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Buffalo, New York, USA\",\"latitude\":\"42.8867166\",\"longitude\":\"-78.8783922\"}]"],"Address":["Buffalo, New York, USA"],"City":["Buffalo, New York"],"contents":["Recording of Jack Clarke at Buffalo, New York in 1972."],"Note":["[{\"note\":\"Tape 2 in Fred Wah's catalogue for 5 inch reels.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670550016098306,"timestamp":"2026-01-07T14:59:54.597Z","score":2.5057764},{"id":"8633","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["Eli Mandel's English 360 Lecture at SFU on July 14, 1981 Part 2 ORIGINAL "],"item_title_source":["Cassette and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Mandel, Eli","Hodgins, Jack"],"creator_names_search":["Mandel, Eli","Hodgins, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/59095399\",\"name\":\"Mandel, Eli\",\"dates\":\"1922-1992\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/114666696\",\"name\":\"Hodgins, Jack\",\"dates\":\"1938-\",\"notes\":\"Eli Mandel introduced Jack Hodgins on the first side of tape 61;Jack Hodgins is a guest speaker in Mandel's lecture \",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1981],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/8633/Roy Miki Fonds_MsC 161_62.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\":\"\",\"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\":\"MsC161-62 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:42\",\"precision\":\"\",\"size\":\"41.2 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\":\"MsC161-62 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:42\",\"precision\":\"\",\"size\":\"40.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1981-07-14\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\" 8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2770\",\"longitude\":\"-122.9178\"}]"],"Address":[" 8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"Note":["[{\"note\":\"This is the second part of Mandel's lecture on July 14 which we can listen to the Mandel's lecture on tape 61; on the tape, we hear Jack Hodgins answering the students' questions and sharing his perspectives and experiences about writing \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670557468327936,"timestamp":"2026-01-07T15:00:01.720Z","score":2.4972668},{"id":"4098","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Fred Wah fonds"],"source_collection_label":["Fred Wah fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2022.003"],"persistent_url":[""],"item_title":["43. Olson. Clarke."],"item_title_source":["Title written on box."],"item_title_note":["Title on box: 43. Olson. Clarke.\n\nSide A title: n/a\n\nSide B title: n/a\n\nBack of box: 3 3/4 ips\n1A - Olson - Gratwick Highlands - Nov '63 on Psychedelia.\n\n2A - Jack Clarke - Canton '72.\n\nAccompanying information: n/a"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Olson, Charles","Clarke, John \"Jack\""],"creator_names_search":["Olson, Charles","Clarke, John \"Jack\""],"creators":["[{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/40837274\",\"name\":\"Clarke, John \\\"Jack\\\"\",\"dates\":\"1933-1992\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1963],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11064/2022.003.043a-Resize.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Award Fidelity Sound polyester base magnetic recording tape\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"None\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11064/2022.003.043b-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11064/2022.003.043c-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/11064/2022.003.043d-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.043/audio\",\"filename\":\"2022.003.043_43. 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There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. 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works.\n\t\t550\tEnd\nTwo\t\t000\tSide Two is blank"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553733300228,"timestamp":"2026-01-07T14:59:58.173Z","score":2.4730198},{"id":"4951","cataloger_name":["Ivana,Jaworski"],"partnerInstitution":["ARCMTL"],"collection_source_collection":["Dial-A-Poem Montreal fonds"],"source_collection_label":["Dial-A-Poem Montreal fonds"],"collection_contributing_unit":["Arcmtl Archives & Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["PDP"],"persistent_url":[""],"item_title":["Jack Hannan, \"She Was Good to Pooh\""],"item_title_source":["Transcribed from title card and microcassette label."],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Hannan, Jack"],"creator_names_search":["Hannan, 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\\\"Jack\\\"\",\"dates\":\"1933-1992\",\"notes\":\"Possibly a speaker or reader at symposium.\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors_names":["Olson, Charles"],"contributors_names_search":["Olson, Charles"],"contributors":["[{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"Subject of symposium\",\"nation\":[],\"role\":[\"Author\"]}]"],"author_name":["Olson, Charles"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10641/2022.002.087a-Resize.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Sounds Great Tape Supply 3458 Dunbar ST., Vancouver, B.C. V6S 2C2 Tel. 324-3800\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10641/2022.002.087b-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10641/2022.002.087c-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10641/2022.002.087d-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Peter_Quartermain/2022.002.087/audio\",\"filename\":\"2022.002.087_Olson Symposium (1): Clarke Byrd_Side B_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:46:37\",\"precision\":\"\",\"size\":\"1.61 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Peter_Quartermain/2022.002.087/audio\",\"filename\":\"2022.002.087_Olson Symposium (1)- Clarke Byrd_Side A_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:46:46\",\"precision\":\"\",\"size\":\"1.62 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[]"],"Location":["[]"],"City":["Other"],"contents":["Tape 1 from Olson Symposium, possibly featuring speakers or readers Don Byrd and John \"Jack\" Clarke."],"Note":["[{\"note\":\"Related tapes:\\n2022.002.084 (duplicate?)\\n2022.002.085\\n2022.002.086\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550429237251,"timestamp":"2026-01-07T14:59:55.015Z","score":2.4706976},{"id":"6043","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":["Jack Spicer reading The Serial Poem: conclusion and The Book of Magazine Verse at Tallman's Residence on June 15 and 17, 1965 tape 3 of 6 #94a"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors_names":["Enomoto, Randy"],"contributors_names_search":["Enomoto, Randy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/256444645\",\"name\":\"Enomoto, Randy \",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/512/Reading in BC_MsC199_94a.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\":\"T00:59:30\",\"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\":\"94a-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T:00:29:42\",\"precision\":\"\",\"size\":\"19.9 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\":\"94a-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:28:52\",\"precision\":\"\",\"size\":\"27.2 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\":\"1965-06-15\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"},{\"date\":\"1965-06-17\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/487641396\",\"venue\":\"Tallman Residence\",\"notes\":\"Tallman and family lived in the '50s & '60s at 2527 West 37th Ave in Kerrisdale and this was where quite a few talks and reading were held and recorded.\",\"address\":\"2527 West 37th Avenue, Vancouver, British Columbia, Canada\",\"latitude\":\"49.23722\",\"longitude\":\"-123.11556\"}]"],"Address":["2527 West 37th Avenue, Vancouver, British Columbia, Canada"],"Venue":["Tallman Residence"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tConclusion of discussion on The Holy Grail – Tape #93, June 15/65 – Tallman’s\n\t\t230\tBeginning of discussion on The Book of Magazine Verse which at that time was still in the process of being written.\n\t\t565\tReading from The Book of Magazine Verse\n\t\t\tTwo Poems for The Nation\n\t\t594\tSix Poems For Poetry Chicago\n"],"Note":["[{\"note\":\"Liner Notes: Jack Spicer. June 15, 1965 Side 5 The serial poem - conclusion of June 15 20 min Beginn June 17: The Book of Magazine verse 10 min Side 6 Magazine Verse continued 29:30\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554724204544,"timestamp":"2026-01-07T14:59:59.119Z","score":2.4591851},{"id":"6042","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":["Jack Spicer reading The Serial Poem at Tallman's Residence on June 15, 1965 tape 1 of 6 #93a"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors_names":["Enomoto, Randy"],"contributors_names_search":["Enomoto, Randy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/256444645\",\"name\":\"Enomoto, Randy \",\"dates\":\"1944-\",\"notes\":\"In the inventory it states that he is a donor, but we do not know what it means\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/506/Reading in BC_MsC199_93a.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:13:00\",\"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\":\"93a-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T:00:30:45\",\"precision\":\"\",\"size\":\"20.5 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\":\"93a-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:34:10\",\"precision\":\"\",\"size\":\"22.7 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\":\"1965-06-15\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/487641396\",\"venue\":\"Tallman Residence\",\"notes\":\"Tallman and family lived in the '50s & '60s at 2527 West 37th Ave in Kerrisdale and this was where quite a few talks and reading were held and recorded.\",\"address\":\"2527 West 37th Avenue, Vancouver, British Columbia, Canada\",\"latitude\":\"49.23722\",\"longitude\":\"-123.11556\"}]"],"Address":["2527 West 37th Avenue, Vancouver, British Columbia, Canada"],"Venue":["Tallman Residence"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tSpicer begins lecture on the serial poem\n\t\t185\tBegins reading The Holy Grail\n\t\t\tThe Book of Gawain\n\t\t225\tThe Book of Percival – in part IV of this section, the volume is considerably reduced and is not regained until midway through part V\n\t\t264\tThe Book of Lancelot\n\t\t320\tThe Book of Gwenivere\n\t\t372\tThe Book of Merlin\n\t\t424\tThe Book of Galahad\n\t\t483\tThe Book of The Death of Arthur\n\t\t550\tQuestions from audience re The Holy Grail\n\t\t\tMore questions and discussion re:\n\t\t\t-the writing of a serial poem\n\t\t\t-similarities and differences in the work of Spicer, Blaser and Duncan\n\t\t\t-revision – Yeats, Stevens\n\t\t\t-formal conventions\n\t\t\t-dictation\n\t\t\t-poetry not meant as a pleasure – pleasure is only incidental\n"],"Note":["[{\"note\":\"Liner Notes: Jack Spicer. June 15, 1965 The Serial Poem 13 min. The Holy Grail: The Book of Gawain The Book of Percival (Part 4 missing) The book of Lancelot 14 min The book of Guinevere The book of Merlin The book of Galahad The death of Arthur\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554416971777,"timestamp":"2026-01-07T14:59:58.804Z","score":2.4448466},{"id":"5380","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robin Blaser discussion on Bob Dylan, Jack Spicer at Warren Tallman’s House in Vancouver, [1971?] #757"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[RB_757]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin","Tallman, Warren"],"creator_names_search":["Blaser, Robin","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1255/Reading in BC_MsC199_757.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"757-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:44\",\"precision\":\"\",\"size\":\"30.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"https://digital.lib.sfu.ca/rbr-62/rb757a\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"757-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:26\",\"precision\":\"\",\"size\":\"40.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"https://digital.lib.sfu.ca/rbr-63/rb757b\"}]"],"Dates":["[{\"date\":\"1971\",\"type\":\"Performance Date\",\"notes\":\"Exact year is qualified by a question mark on the J-card, so is not completely certain: [1971?].\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/30880923\",\"venue\":\"Warren Tallman’s House\",\"notes\":\"In the '70s(?) he moved to 3504 Bella Vista in East Vancouver V5N 3W9 and lived there till his death.\",\"address\":\"3504 Bella Vista in East Vancouver V5N 3W9\",\"latitude\":\"49.25312\",\"longitude\":\"-123.07054\"}]"],"Address":["3504 Bella Vista in East Vancouver V5N 3W9"],"Venue":["Warren Tallman’s House"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\n½\t\t\tDiscussion\n"],"Note":["[{\"note\":\"Robin Blaser on Bob Dylan, Jack Spicer, The City, etc at Warren Tallman’s House, Vancouver BC, (1971?)\\n #757\",\"type\":\"General\"},{\"note\":\"I heard Warren Tallman's voice, so I added him as a creator. There are also other people attending this program\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553068503040,"timestamp":"2026-01-07T14:59:57.525Z","score":2.4288502},{"id":"6008","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":["Skookum Wawa reading: A Gathering of Writers introduced by Gary Geddes and reading of Kevin Roberts, Lionel Kearns, Jack Hodgins, and Helene Rosenthal at Bayview Villa in Nanaimo on November 28, 1975 part 1 of 2 #244a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kearns, Lionel","Hodgins, Jack","Roberts, Kevin","Rosenthal, Helene","Geddes, Gary"],"creator_names_search":["Kearns, Lionel","Hodgins, Jack","Roberts, Kevin","Rosenthal, Helene","Geddes, Gary"],"creators":["[{\"url\":\"http://viaf.org/viaf/30784380\",\"name\":\"Kearns, Lionel\",\"dates\":\"1937-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/114666696\",\"name\":\"Hodgins, Jack\",\"dates\":\"1938-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/31006126\",\"name\":\"Roberts, Kevin\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/187005300\",\"name\":\"Rosenthal, Helene\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94290892\",\"name\":\"Geddes, Gary\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/444/Readings in BC_MsC199_244a.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\":\"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\":\"244a-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:33:06\",\"precision\":\"\",\"size\":\"32.7 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\":\"244a-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:44:30\",\"precision\":\"\",\"size\":\"43.1 MB \",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-11-28\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/151323442\",\"venue\":\"Bayview Villa\",\"notes\":\"\",\"address\":\"Nanaimo, BC, Canada\",\"latitude\":\"49.18982\",\"longitude\":\"-123.95748\"}]"],"Address":["Nanaimo, BC, Canada"],"Venue":["Bayview Villa"],"City":["Nanaimo, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tIntroduction by Gary Geddes re/ formation of Skookum Wawa\n\t\t023\tSpeaks of Emily Carr’s “Fresh Seeing,” re a western Canadian voice\n\t\t053 GG\tIntroduces Kevin Roberts\n\t\t074\tK.R. tells anecdote of trying to buy a shower curtain\n\t\t093\tReads “The University of Exeter”\n\t\t124\tReads “The roots,” he said, “I’ll make a bonza’ fire…”\n\t\t138\tReads three poems from “Caribou fishing notes”:\n\t\t140\t“In the end I chose/not to fish the streams…”\n\t\t144\t“June, and a lace mist…”\n\t\t155\t“The lst time we fished ten mile, it snowed…”\n\t\t166\t“A poem for Pat Lane, called “Skating Down Trout”\n\t\t188\t“Harmac Pulp Mill Guide Tour: - “which is a damn lie, as anyone from Harmac will tell you.”  Explains “Ned Lud.”\n\t\t227 GG\tIntroduces Lionel Kearns; reminisces re early acquaintance with Kearns and George Bowering at UBC, “Lionel once played professional hockey in Mexico City”\n\t\t259\tL.K. reads “Genes”\n\t\t305\t“This is a public poem that I… was once commissioned to write…  It was written for a Canada Day celebration on Manitoulin Island.”\n\t\t390\tGary Geddes tells Pat Lane’s story about the chain saw in the next room\n\t\t398 GG\tIntroduces Helen Rosenthal\n\t\t415\tH.R. reads from “Peace”\n\t\t430\t“Moscow Circus Aerialists”\n\t\t465\t“The next one is a poem about my father…”  (reads “Not to Be Born”)\n\t\t515\t“A political poem written on the occasion of the visit of Premier Kosygin to Vancouver… “The Kosygin Dinner”\n\t\t590\t“Play Poem”\n\t\t629\t“Wry on Rock”\n\t\t644\t“In Defense of Free Lust”\n\t\t667\tG.G. introduces Jack Hodgins\n\t\t704\tReads opening story from _____________ called “Separated”"],"Note":["[{\"note\":\"Liner Notes: Skookum Wawa: A gathering of writers, introduced by Gary Geddes Nov. 28, 1975 Bayview Villa, Nanaimo B.C. Side 1: Kevin Roberts, Lionel Kearns 29:15 Side 2: Helene Rosenthal, Jack Hodgins 29:45 Dolby B\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554408583172,"timestamp":"2026-01-07T14:59:58.804Z","score":2.424428},{"id":"4043","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Frank Davey fonds"],"source_collection_label":["Frank Davey fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2014.002"],"persistent_url":[""],"item_title":["Spicer"],"item_title_source":["Title written on box."],"item_title_note":["Side B title: \nII (2) 0- 1021 pre TISH rdg, 1961\nII (1) 0-1324 Spicer lect. July 15/63\n\nAccompanying information:\nI (1) Spicer lecture, July 13, 1963 (0-1448) Birney 1455 ->\nII (1) Spicer lecture, July 15, 1963 (0-1324)\nI (2) Birney-Purdy[?] interview Feb 2-9, 1968\nII (2) TISH - group rgd, pre-TISH, Aug. 1961 (0-1021)"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack","Birney, Earle","Purdy, Al"],"creator_names_search":["Spicer, Jack","Birney, Earle","Purdy, Al"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/97679781\",\"name\":\"Birney, Earle\",\"dates\":\"1904-1995\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/7398775\",\"name\":\"Purdy, Al\",\"dates\":\"1918-2000\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors":["[]"],"Performance_Date":[1963],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/2364/UBCO_Davey_2014_002_011_a.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Trubilt Magnetic Recording Tape Type T24TM\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"One recipe card with timestamps.\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Frank_Davey/2014.002.011\",\"filename\":\"2014.002.001_Spicer_Side 1_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T:02:08:26\",\"precision\":\"\",\"size\":\"2.96 GB\",\"bitrate\":\"16\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Recording is sped up - see speed edit version. This recording contains both the left and right track.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Frank_Davey/2014.002.011\",\"filename\":\"2014.002.001_Spicer_Side 1_L_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"\",\"precision\":\"\",\"size\":\"1.48 GB\",\"bitrate\":\"16\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Recording is sped up - see speed edit version.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Frank_Davey/2014.002.011\",\"filename\":\"2014.002.001_Spicer_Side 1_R_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T:01:49:50\",\"precision\":\"\",\"size\":\"2.53 GB\",\"bitrate\":\"16\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Recording is sped up - see speed edit version.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Frank_Davey/2014.002.011/2014.002.011_Spicer_Side 2\",\"filename\":\"2014.002.011_Spicer_Side 2_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T01:05:27\",\"precision\":\"\",\"size\":\"1.97 GB\",\"bitrate\":\"16\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Recording is sped up - see speed edit version. This recording contains both Left and Right tracks.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Frank_Davey/2014.002.011/2014.002.011_Spicer_Side 2\",\"filename\":\"2014.002.011_Spicer_Side 2_L_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T01:01:06\",\"precision\":\"\",\"size\":\"1.41 GB\",\"bitrate\":\"16\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Recording is sped up - see speed edit version. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/SpokenWeb/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Frank_Davey/2014.002.011/2014.002.011_Spicer_Side 2\",\"filename\":\"2014.002.011_Spicer_Side 2_R_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T01:25:01\",\"precision\":\"\",\"size\":\"899.8 MB\",\"bitrate\":\"16\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Recording is sped up - see speed edit version. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1963-07-13\",\"type\":\"Performance Date\",\"notes\":\"Spicer Lecture\",\"source\":\"Listed on accompanying material.\"},{\"date\":\"1963-07-15\",\"type\":\"Performance Date\",\"notes\":\"Spicer Lecture\",\"source\":\"Listed on accompanying material.\"},{\"date\":\"1968-02-02\",\"type\":\"Performance Date\",\"notes\":\"Accompanying material reads Feb 2-9, 1968.\",\"source\":\"Listed on accompanying material.\"},{\"date\":\"1961-08\",\"type\":\"Performance Date\",\"notes\":\"TISH-group reading, pre-TISH.\",\"source\":\"Listed on accompanying material.\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["Contents entry temporary. Contains track list as written on recipe card accompanying the audio artifact."],"contents":["Recordings include the Jack Spicer Vancouver lectures from June 13, 15, and 17, 1965; Earle Birney interviewing Al Purdy, Feb 2-9, 1968; and \"TISH - group rgd, pre-TISH, Aug. 1961.\""],"Note":["[{\"note\":\"Item #: 2014.002.011\",\"type\":\"General\"},{\"note\":\"Digitized.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670549993029632,"timestamp":"2026-01-07T14:59:54.597Z","score":2.4034307},{"id":"4084","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Fred Wah fonds"],"source_collection_label":["Fred Wah fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2022.003"],"persistent_url":[""],"item_title":["29. Duncan \"Passages\" and \"Apprehensions\". Duncan, Spicer, Blaser re Berkeley Days. S.F. July 1965."],"item_title_source":["Title taken from back of box"],"item_title_note":["Title on box: 29.\n\nSide A title: n/a\n\nSide B title: n/a\n\nBack of box: \n1A 21. Duncan - \"Passages\" - Buffalo - May 1/67. - 0-580. all. 684-\n2A 22. Duncan - \"Apprehensions Lctr.\" - Jan 12/66. - 0-1150 Vancouver.\n854 reading apprehensions\n1B 23. Duncan, Spicer, Blaser re Berkeley Days S.F. July 1965. all\n2B. Duncan, Spicer, Blaser re Berkeley Days S.F. July 1965. all\n2A. Duncan, Spicer, Blaser re Berkeley Days S.F. July 1965. 1150-end\nMultweisity[?] 838\nPassages 22 909\nPassages 23 946\nPassages 24-25 1021\nPassages 26 1079\nPassages 27 1189\nPassages 28 1237\n\nAccompanying information: n/a"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert","Spicer, Jack","Blaser, Robin"],"creator_names_search":["Duncan, Robert","Spicer, Jack","Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"Lecturer and reader.\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10994/2022.003.029a-Resize.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Award polyester base magnetic recording tape\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"4 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"None\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10994/2022.003.029b-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10994/2022.003.029c-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"../Uploads/10994/2022.003.029d-Resize.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.029/audio\",\"filename\":\"2022.003.029_29.[Duncan \",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T01:55:17\",\"precision\":\"\",\"size\":\"3.98 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.029/audio\",\"filename\":\"2022.003.029_29.[Duncan \",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T02:02:26\",\"precision\":\"\",\"size\":\"4.23 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"/Users/labmanager/Library/Application Support/UBCO/UBCO Drive Mount/mnt/ead-research/AmpLab/SpokenWeb/Collection/Fred_Wah/2022.003.029/audio\",\"filename\":\"2022.003.029_29.[Duncan Passages and Apprehensions. 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Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Malaspina Writers' Conference: Robert Kroetsch, Jack Hodgins, and Gladys Hindmarch, 1977 tape 4 of 4 #232b2\n"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kroetsch, Robert","Hindmarch, Gladys","Hodgins, Jack"],"creator_names_search":["Kroetsch, Robert","Hindmarch, Gladys","Hodgins, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/120613489\",\"name\":\"Kroetsch, Robert\",\"dates\":\"1927-2011\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/38164256\",\"name\":\"Hindmarch, Gladys\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/114666696\",\"name\":\"Hodgins, Jack\",\"dates\":\"1938-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/200/Readings in BC_MsC199_232d.jpg\",\"other\":\"J-card\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Black and white clear jewel case with J card\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"232b-tape-2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:53:00\",\"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\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"232b-tape-2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00: 33:08\",\"precision\":\"\",\"size\":\"32.4 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\":\"1977\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/search?whereami=1&query=-43.57867%2C170.14409#map=17/-43.57867/170.14410\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Malaspina, BC\",\"latitude\":\"-43.57867\",\"longitude\":\"170.14409\"}]"],"Address":["Malaspina, BC"],"Note":["[{\"note\":\" Liner Notes: Writers' Conference in Malaspina Tape 4 of 4 Side 7: End of Session 2 1:35 Begin session 3 28:30 Jack Hodgins, Robert Krotsch Side 8: End of Series Kroetsch concl. Gladys Hindmarch (incomplete) 15:30 Dolby B\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554194673664,"timestamp":"2026-01-07T14:59:58.590Z","score":2.3640304},{"id":"6116","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robin Blaser in South Slocan on March 1973, Part 3 of 4 Side 1 and 2 #119b1"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[BR_119B_III_A]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Wah, Fred"],"contributors_names_search":["Wah, Fred"],"contributors":["[{\"url\":\" http://viaf.org/viaf/1330211\",\"name\":\"Wah, Fred\",\"dates\":\"1939-\",\"notes\":\"In the inventory it states that he is a Donor and we are not sure what it means\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1973],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/623/Reading in BC_MsC199_119b1.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"119a-part-3-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:35:44\",\"precision\":\"\",\"size\":\"24.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-199/br-119biiia\",\"file_path\":\"\",\"filename\":\"119a-part-3-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:41:47\",\"precision\":\"\",\"size\":\"39.7  MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1973-03\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/5027360758\",\"venue\":\"\",\"notes\":\"\",\"address\":\"South Slocan, BC, Canada\",\"latitude\":\"49.4455\",\"longitude\":\"-117.5369\"}]"],"Address":["South Slocan, BC, Canada"],"City":["South Slocan, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tA\t000\tDiscussion continues\n\t\t075\tBlaser reads from Jack Spicer’s “After Lorca”\n\t\t195\t“Psychoanalysis, An Elegy”\n\t\t300\t“Song for Bird and Myself”\n\t\t520\t“Poems for the Vancouver Festival”\n\t\t620\t“Poems for Ramparts”\n\t\t720\t“Morphemics”\n\t\t800 \tDiscussion of ‘risk’ and ‘peril’ in the poem\n\t\t\tThe following discussion brings in Pound, Olson, Williams, Creeley\n"],"Note":["[{\"note\":\"Liner Notes: Robin Blaser South Slocan Part 3 Side 1 and 2 Discussion s of \\\"Cups\\\" and \\\"Moth\\\" Poems #119b1\",\"type\":\"General\"},{\"note\":\"No digital audio\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554744127491,"timestamp":"2026-01-07T14:59:59.119Z","score":2.339761},{"id":"5669","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jack Kerouac singing to Jazz radio #419 "],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kerouac, Jack"],"creator_names_search":["Kerouac, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/27066713\",\"name\":\"Kerouac, Jack\",\"dates\":\"1922-1969\",\"notes\":\"Singer\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5848/Reading in BC_MsC199_419.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"419-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:49\",\"precision\":\"\",\"size\":\"43.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"419-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:28\",\"precision\":\"\",\"size\":\"42.3 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\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t003\tMusic and singing – low quality recording of Kerouac, literally in an apartment or hotel room, singing along to pop rhythm and blues songs blaring from a radio in the background.  This appears to be an informal recording without specific intent of content or production value.  Throughout the recording the music changes, strangers enter the room; interruptions are commonplace; but generally Kerouac keeps harmonizing.  A very personal and candid recording\n\t\t580\tEnd\nTwo\t\t000\t\n\t\t005\tContinued music and singing\n\t\t570\tEnd"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553738543108,"timestamp":"2026-01-07T14:59:58.173Z","score":2.3258576},{"id":"8215","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Alden Nowlan fonds"],"source_collection_label":["Alden Nowlan fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/alden-nowlan-fonds"],"item_title":["Jack Whitehead, Charles Shaw, Alden Nowlan"],"item_title_source":["Transcribed from the artifact"],"item_title_note":["Writing on aluminum disc. Accompanying paper from archivist describing cuts."],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[111.7]"],"rights":["The Public Domain Mark (PDM)"],"creator_names":["Nowlan, Alden"],"creator_names_search":["Nowlan, Alden"],"creators":["[{\"url\":\"http://viaf.org/viaf/61671170\",\"name\":\"Nowlan, Alden\",\"dates\":\"1933-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Whitehead, Jack E.","Shaw, Charles"],"contributors_names_search":["Whitehead, Jack E.","Shaw, Charles"],"contributors":["[{\"url\":\"\",\"name\":\"Whitehead, Jack E.\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Shaw, Charles\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"Speaker_name":["Whitehead, Jack E.","Shaw, Charles"],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"7 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Audiodisc\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"33 1/3 rpm\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Disc\",\"physical_composition\":\"Aluminum\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Disc"],"physical_compositions":["Aluminum"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"AN_MsC_40.111.7\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:16:44\",\"precision\":\"\",\"size\":\"275.78 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"\",\"type\":\"Performance Date\",\"notes\":\"[before 1956]. Date taken from creation dates listed for item level descriptions in archival finding aid for the Alden Nowlan fonds Item number 111.7\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["- [00:00:00] Female host greets “Al” and another speaker. Conversation about recording and how Alden Nowlan doesn’t know what to say, “What am I supposed to say? What should I say, do you think?” “Well, anything” “Anything at all? - […] The whole trouble is that the thing goes around faster than I can think. And as I talk half as fast as I think, there’s nothing much I can say”\n- [00:00:49] singing, cuts and repeats\n- [00:01:27] Julius Caesar, Shakespeare. Mark Anthony’s speech “Friends, Romans, countrymen, lend me your ears…” (Act 3, Scene 2)\n- [00:03:00] singing, “soldiers of Ireland…”. Cuts and repeats.\n- [00:03:40] conversation on politics, includes female host and additional male speaker."],"contents":["Unknown\n[00:00:00]\nGreets Alden Nowlan.\nAlden Nowlan\n[00:00:49]\nSings.\nAlden Nowlan\n[00:01:27]\nPerforms Mark Anthony’s speech \"Friends, Romans, countrymen, lend me your ears…\" from Julius Caesar [Shakespeare, Act 3, Scene 2]\nAlden Nowlan\n[00:03:00]\nSings “soldiers of Ireland…\". \nAlden Nowlan\n[00:03:40]\nDiscusses politics."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Shakespeare, William, Julius Caesar (Act 3, Scene 2).\"}]"],"_version_":1853670558224351235,"timestamp":"2026-01-07T15:00:02.444Z","score":2.3258576},{"id":"4398","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":["Various Artists Kerouac - \nkicks joy darkness (a spoken word tribute with music)"],"item_title_source":["Title written on artifact."],"item_title_note":["Cassette box title: Various Artists Kerouac - \nkicks joy darkness (a spoken word tribute with music)\n\nSide A title: Kerouac: Kicks Joy Darkness Master\n\nSide B title: n/a"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Stipe, Michael","Tyler, Steven","Lewis, Richard","Helium","Kerouac, Jack","Strummer, Joe","Ginsberg, Allen","Vedder, Eddie","Campbell 2000","Sadie 7","Burroughs, William S.","Tomandandy","Hatfield, Juliana","Depp, Johnny","Come","Hunter, Robert","Colley, Dana","Domino, Anna","Buck, Robert","Chauvin, Danny","Smith, Patti","Moore, Thurston","Zevon, Warren","Wolff, Michael","Carroll, Jim","Kaye, Lenny","Ranaldo, Lee","Dillon, Matt","Altruda, Joey","Gonzalez, Joe","Buckley, Jeff","Morphine","Lunch, Lydia","Thompson, Hunter S.","Estep, Maggie","The Spitters","Ferlinghetti, Lawrence","Cale, John","Lorre, Inger","Andersen, Eric"],"creator_names_search":["Stipe, Michael","Tyler, Steven","Lewis, Richard","Helium","Kerouac, Jack","Strummer, Joe","Ginsberg, Allen","Vedder, Eddie","Campbell 2000","Sadie 7","Burroughs, William S.","Tomandandy","Hatfield, Juliana","Depp, Johnny","Come","Hunter, Robert","Colley, Dana","Domino, Anna","Buck, Robert","Chauvin, Danny","Smith, Patti","Moore, Thurston","Zevon, Warren","Wolff, Michael","Carroll, Jim","Kaye, Lenny","Ranaldo, Lee","Dillon, Matt","Altruda, Joey","Gonzalez, Joe","Buckley, Jeff","Morphine","Lunch, Lydia","Thompson, Hunter S.","Estep, Maggie","The Spitters","Ferlinghetti, Lawrence","Cale, John","Lorre, Inger","Andersen, Eric"],"contributors_names":["Kerouac, Jack"],"contributors_names_search":["Kerouac, Jack"],"contributors":["[{\"url\":\"http://viaf.org/viaf/27066713\",\"name\":\"Kerouac, Jack\",\"dates\":\"1922-1969\",\"notes\":\"A variety of poets and artists read Jack Kerouac's poetry in this tribute recording.\",\"nation\":[],\"role\":[\"Author\"]}]"],"author_name":["Kerouac, Jack"],"Publication_Date":[1997],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3915/UBCO_Hogg_2018_002_029_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Maxell XL II 90 Position High\",\"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\":\"2018.002.029_Kerouac_KicksJoyDarkness_Master_SideA_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:39:16\",\"precision\":\"\",\"size\":\"1.30 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.029_SideB_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:40:39\",\"precision\":\"\",\"size\":\"1.35 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1997-04-08\",\"type\":\"Publication Date\",\"notes\":\"Date album was released.\",\"source\":\"Secondary research.\"}]"],"Location":["[]"],"City":["Other"],"contents":["Includes secections by Mark Sandman ; Lydia Lunch ; Michael Stipe ; Steven Tyler ; Hunter S. Thompson ; Maggie Estep ; Richard Lewis ; Lawrence Ferlinghetti ; Jack Kerouac ; Allen Ginsberg ; Eddie Vedder ; William Burroughs ; Juliana Hatfield ; Johnny Depp ; Robert Hunter ; Lee Ranaldo ; Anna Domino ; Danny Chauvin ; Patti Smith ; Warren Zevon ; Jim Carroll ; Matt Dillon ; Inger Lorre ; Eric Andersen."],"Note":["[{\"note\":\"Digitization complete.\",\"type\":\"General\"},{\"note\":\"Duplicate recording: 2018.002.030\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550771073024,"timestamp":"2026-01-07T14:59:55.332Z","creators":["[{\"url\":\"http://viaf.org/viaf/84964040\",\"name\":\"Stipe, Michael\",\"dates\":\"1960-\",\"notes\":\"Performs track 3 \\\"My Gang.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/43055830\",\"name\":\"Tyler, Steven\",\"dates\":\"1948-\",\"notes\":\"Performs track 4 \\\"Dream: 'Us Kids Swim off a Gray Pier...'.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/29743334\",\"name\":\"Lewis, Richard\",\"dates\":\"1947-\",\"notes\":\"Performs track 7 \\\"America's New Trinity of Love: Dean, Brando, Presley\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/120145003719561340005\",\"name\":\"Helium\",\"dates\":\"\",\"notes\":\"Performs on track 8 \\\"Dream: 'On a Sunny Afternoon...'\\\" with Lawrence Ferlinghetti.\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/27066713\",\"name\":\"Kerouac, Jack\",\"dates\":\"1922-1969\",\"notes\":\"Heard on track 9 \\\"MacDougal Street Blues\\\" with Joe Strummer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/69116945\",\"name\":\"Strummer, Joe\",\"dates\":\"1952-2002\",\"notes\":\"Performs on track 9 \\\"MacDougal Street Blues\\\" with Jack Kerouac recording.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"Performs on track 10 \\\"The Brooklyn Bridge Blues (Choruses 1-9).\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/39579347\",\"name\":\"Vedder, Eddie\",\"dates\":\"1964-\",\"notes\":\"Performs on track 11 \\\"Hymn\\\" with Campbell 2000 and Sadie 7\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/160689151\",\"name\":\"Campbell 2000\",\"dates\":\"\",\"notes\":\"Performs on track 11 \\\"Hymn\\\" with Eddie Vedder and Sadie 7\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/316879434\",\"name\":\"Sadie 7\",\"dates\":\"1967-\",\"notes\":\"Performs on track 11 \\\"Hymn\\\" with Eddie Vedder and  Campbell 2000\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/108916275\",\"name\":\"Burroughs, William S.\",\"dates\":\"1914-1997\",\"notes\":\"Performs on track 12 \\\"Old Western Movies\\\" with Tomandandy.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/121137943\",\"name\":\"Tomandandy\",\"dates\":\"\",\"notes\":\"Performs on track 12 \\\"Old Western Movies\\\" with William S. Burroughs.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\" http://viaf.org/viaf/61756682\",\"name\":\"Hatfield, Juliana\",\"dates\":\"1967-\",\"notes\":\"Performs track 13 \\\"Silly Goofball Poems.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/85378128\",\"name\":\"Depp, Johnny\",\"dates\":\"1963-\",\"notes\":\"Performs track 15 \\\"Madroad Driving\\\" with Come.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Come\",\"dates\":\"\",\"notes\":\"Performs track 15 \\\"Madroad Driving\\\" with Johnny Depp.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/49406569\",\"name\":\"Hunter, Robert\",\"dates\":\"1941-2019\",\"notes\":\"Performs track 16 \\\"Have You Ever Seen Anyone Like Cody Pomeray?\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/70931564\",\"name\":\"Colley, Dana\",\"dates\":\"\",\"notes\":\"Performs on track 17 \\\"Letter to John Clellon Holmes\\\" with Lee Ranaldo.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\" http://viaf.org/viaf/79591402\",\"name\":\"Domino, Anna\",\"dates\":\"1955-\",\"notes\":\"Performs track 18 \\\"Pome on Doctor Sax.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/87397348\",\"name\":\"Buck, Robert\",\"dates\":\"1958-2000\",\"notes\":\"Performs on track 19 \\\"Mexico Rooftop\\\" with Danny Chauvin.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/160708012\",\"name\":\"Chauvin, Danny\",\"dates\":\"\",\"notes\":\"Performs on track 19 \\\"Mexico Rooftop\\\" with Robert Buck.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/84037206\",\"name\":\"Smith, Patti\",\"dates\":\"1946-\",\"notes\":\"Performs on track 20 \\\"The Last Hotel\\\" with Thurston Moore and Lenny Kaye.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/85805716\",\"name\":\"Moore, Thurston\",\"dates\":\"1958-\",\"notes\":\"Performs on track 20 \\\"The Last Hotel\\\" with Patti Smith and Lenny Kaye.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/19869322\",\"name\":\"Zevon, Warren\",\"dates\":\"1947-2003\",\"notes\":\"Performs on track 21 \\\"Running Through-Chinese Poem Song\\\" with Michael Wolff.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/51599731\",\"name\":\"Wolff, Michael\",\"dates\":\"1952-\",\"notes\":\"Performs on track 21 \\\"Running Through-Chinese Poem Song\\\" with Warren Zevon.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\" http://viaf.org/viaf/14783289\",\"name\":\"Carroll, Jim\",\"dates\":\"1950-2009\",\"notes\":\"Performs on track 22 \\\"Woman\\\" with Lee Ranaldo and Lenny Kaye.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/65730198\",\"name\":\"Kaye, Lenny\",\"dates\":\"1946-\",\"notes\":\"Performs on track 20 \\\"The Last Hotel\\\" with Thurston Moore and Patti Smith.\\n\\nPerforms on track 22 \\\"Woman\\\" with Lee Ranaldo and Jim Carroll.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/46362134\",\"name\":\"Ranaldo, Lee\",\"dates\":\"1956-\",\"notes\":\"Performs on track 17 \\\"Letter to John Clellon Holmes\\\" with Dana Colley.\\n\\nPerforms on track 22 \\\"Woman\\\" with Jim Carroll and Lenny Kaye.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/76504572\",\"name\":\"Dillon, Matt\",\"dates\":\"1964-\",\"notes\":\"Performs track 23 \\\"Loneliness, Mexican\\\" with Joey Altruda and Joe Gonzalez.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/19059955\",\"name\":\"Altruda, Joey\",\"dates\":\"\",\"notes\":\"Performs track 23 \\\"Loneliness, Mexican\\\" with Matt Dillon and Joe Gonzalez.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/58821469\",\"name\":\"Gonzalez, Joe\",\"dates\":\"\",\"notes\":\"Performs track 23 \\\"Loneliness, Mexican\\\" with Matt Dillon and Joey Altruda.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/44493081\",\"name\":\"Buckley, Jeff\",\"dates\":\"1966-1997\",\"notes\":\"Performs track 24 \\\"Angel Mine\\\" with Inger Lorre.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/142081475\",\"name\":\"Morphine\",\"dates\":\"\",\"notes\":\"Performs track 1 \\\"Kerouac.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/12451564\",\"name\":\"Lunch, Lydia\",\"dates\":\"1959-\",\"notes\":\"Performs track 2 \\\"Bowery Blues.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/109030443\",\"name\":\"Thompson, Hunter S.\",\"dates\":\"1939-2005\",\"notes\":\"Performs track 5 \\\"Letter to William S. Burroughs & Ode to Jack.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/48495450\",\"name\":\"Estep, Maggie\",\"dates\":\"1963-2014\",\"notes\":\"Performs on track 6 \\\"Skid Row Wine\\\" with The Spitters.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"The Spitters\",\"dates\":\"\",\"notes\":\"Performs on track 6 \\\"Skid Row Wine\\\" with Maggie Estep.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/110070499\",\"name\":\"Ferlinghetti, Lawrence\",\"dates\":\"1919-\",\"notes\":\"Performs on track 8 \\\"Dream: 'On a Sunny Afternoon...'\\\" with Helium.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/105264486\",\"name\":\"Cale, John\",\"dates\":\"1942-\",\"notes\":\"Performs on track 14 \\\"The Moon.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/160476803\",\"name\":\"Lorre, Inger\",\"dates\":\"\",\"notes\":\"Performs track 24 \\\"Angel Mine\\\" with Jeff Buckley.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/70930931\",\"name\":\"Andersen, Eric\",\"dates\":\"1943-\",\"notes\":\"Performs track 25 \\\"The Brooklyn Bridge Blues (Chorus 10)\\\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"score":2.304884},{"id":"5237","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":["CBC Interviews: David McFadden interview with George Bowering and reading for him [1968?] #187"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George","McFadden, David"],"creator_names_search":["Bowering, George","McFadden, David"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935- \",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/7405434\",\"name\":\"McFadden, David\",\"dates\":\"1940-2018\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"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\"]}]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/896/Reading in BC_McS199_187.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\":\"T00:26:00\",\"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\":\"187-side-A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:25:22\",\"precision\":\"\",\"size\":\"26.9 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\":\"\",\"type\":\"Production Date\",\"notes\":\"[1968?]\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/456341915#map=19/43.65360/-79.37320\",\"venue\":\"CBC Studio\",\"notes\":\"We assume that this tape was recorded in Toronto. CBC Toronto studio address was changed in 1993 (after this recording took place) to 205 Wellington Street West, Toronto, Ontario, M5V 3G7 from a smaller facility on Jarvis Street, near the former television transmitter. (Source: https://en.wikipedia.org/wiki/Canadian_Broadcasting_Centre)\",\"address\":\"Jarvis Street, Toronto, Ontario, Canada\",\"latitude\":\"43.6562555\",\"longitude\":\"-79.374232 \"}]"],"Address":["Jarvis Street, Toronto, Ontario, Canada"],"Venue":["CBC Studio"],"City":["Toronto, Ontario"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tA\t000\tHey! Did you hear the one about the astrologer…\n\t\t029\tBowering interviewing McFadden\n\t\t180\tThe Saladeer\n\t\t190\tExpo 67\n\t\t221\tThe Big M\n\t\t251\tReunion\n\t\t266\tThe Fire Thief\n\t\t278\tBeverly Report\n\t\t300\tLast Fishing With Jack\n\t\t330\tBowring interviewing McFadden\n\t\t366\tHey! Did you hear the one about the astrologer…\n\t\t400\tDiscussion on being a poet"],"Note":["[{\"note\":\"Liner Notes:  David McFadden reading for George Bowering CBC\\n26 min\\nDolby B\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552757075971,"timestamp":"2026-01-07T14:59:57.226Z","score":2.296328},{"id":"5509","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Berkeley Poetry Conference Part 12: Allen Ginsberg Reading on July 21th, 1965 tape 2 of 2 #523b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Ginsberg, Allen","Parkinson, Thomas"],"creator_names_search":["Ginsberg, Allen","Parkinson, Thomas"],"creators":["[{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92344899\",\"name\":\"Parkinson, Thomas\",\"dates\":\"1920-1992\",\"notes\":\"Introduction by Thomas Parkinson\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/3463/523b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"523-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:20:42\",\"precision\":\"\",\"size\":\"21.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"523-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:20:52\",\"precision\":\"\",\"size\":\"21.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-07-21\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/2833528\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Berkeley, California, USA\",\"latitude\":\"37.8705\",\"longitude\":\"-122.2826\"}]"],"Address":["Berkeley, California, USA"],"City":["Berkeley, California"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\t“Why Is God Love, Jack?”\n\t\t022\t“I Am a Victim of Telephone”\n\t\t047\t“Journal, July 21, 1964\n\t\t159\t“Notation in Havana, Cathedral Square, 1965”\n\t\t187\t“Prague, May 1965 – Message II”\n\t\t212\t“Prague, March 11, 1965: Big Beat”\n\t\t240\t“Warsaw, April 10, 1965”\n\t\t290\t“The Moments Return”\n\t\t338\t“May 7, Back to Work”\n\t\t428\t“Who Be Kind To”\n\t\t563\tReading Ends"],"Note":["[{\"note\":\"The Berkeley Poetry Conference Part 12 July 26th, 1965\\nAllen Ginsberg Reading\\nTape 2/2\\nSide 1 19:45 min\\nSide 2 16:30 min\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553285558277,"timestamp":"2026-01-07T14:59:57.732Z","score":2.287836},{"id":"1144","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Ian Ferrier fonds"],"source_collection_label":["Ian Ferrier fonds"],"collection_contributing_unit":["Ian Ferrier"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Words and Music at Casa Del Popolo 2016-05-22"],"item_title_source":["Cataloguer"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"creator_names":["Ferrier, Ian"],"creator_names_search":["Ferrier, Ian"],"creators":["[{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"contributors_names":["du Plessis, Klara","Hannan, Jack","Naccarato, Alessandra","Roy, Frederique","Ferrier, Ian","Swan, Dane","Labbé, Simon"],"contributors_names_search":["du Plessis, Klara","Hannan, Jack","Naccarato, Alessandra","Roy, Frederique","Ferrier, Ian","Swan, Dane","Labbé, Simon"],"contributors":["[{\"url\":\"http://viaf.org/viaf/124151352052252602758\",\"name\":\"du Plessis, Klara \",\"dates\":\"1988-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/67734164\",\"name\":\"Hannan, Jack\",\"dates\":\"1949-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/10152380054301761774\",\"name\":\"Naccarato, Alessandra\",\"dates\":\"1984-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/1156009982049582563\",\"name\":\"Roy, Frederique\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/160275774\",\"name\":\"Swan, Dane\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Labbé, Simon\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["du Plessis, Klara ","Hannan, Jack","Naccarato, Alessandra","Roy, Frederique","Swan, Dane","Labbé, Simon"],"Presenter_name":["Ferrier, Ian"],"Production_Date":[2016],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"In folder: 2 audio, 4 docs, 12 images, 2 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MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"STE-002 Dane Swan - Frederique & Simon Labbe.wav\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:02:24\",\"precision\":\"\",\"size\":\"990.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2016 05 22\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1570292450\",\"venue\":\"Casa Del Popolo\",\"notes\":\"\",\"address\":\"4873 St Laurent Blvd, Montreal, QC, H2T 1R6\",\"latitude\":\"45.5222118 \",\"longitude\":\"-73.5905321\"}]"],"Address":["4873 St Laurent Blvd, Montreal, QC, H2T 1R6"],"Venue":["Casa Del Popolo"],"City":["Montreal, Quebec"],"content_notes":["A document entitled “This Sunday May 22nd the Words.doc” reveals that the May 2016 edition of the Words and Music Show featured “3 new books, two travelling poets, one great band and a Wild Hunt from Saltspring Island.” Klara du Plessis read “Conveyor Belt” and other works in English and Afrikaans from her chapbook “Wax Lyrical” (Anstruther Press 2015), ending with ”Venus De Milo Versus Venus in Furs.” Though Ferrier promoted Jack Hannan’s “The Poet is a Radio” (Linda Leith Publishing 2016), Hannan decided to read work from a series called “The Afternoon in Dreams.” Alessandra Naccarato, one of the “founding member[s] of Montreal’s Throw Poetry Collective,” performed a piece commissioned for Sheri-D Wilson’s “School Of Thought” festival and two more from her album “Alessandra Naccarato & The Wild Hunt.” In the second set, Toronto poet Dane Swan performed a number of poems/songs, some of which appear in his book “A Mingus Lullaby” (Guernica Editions 2016). Frederique Roy and Simon Labbé closed the night with a series of atmospheric songs sung in French. "],"contents":["STE-001 Du Plessis-Hannah-Naccarato.wav\n\nIan Ferrier [https://www.wikidata.org/wiki/Q87138884]\n00:00:00\nIntroduces event | Keywords: Resonance [Café]; Wax Lyrical; Resonance [Reading Series]; Klara du Plessis [https://www.wikidata.org/wiki/Q64010045].\n\nKlara du Plessis [https://www.wikidata.org/wiki/Q64010045]\n00:00:56\nPerforms “Conveyor Belt” | Keywords: bilingual; Afrikaans [https://www.wikidata.org/wiki/Q14196]; English [https://www.wikidata.org/wiki/Q1860]; Oana Avasilichioaei [https://www.wikidata.org/wiki/Q42531328]; beasts; breasts; cow; cattle; languages; Io [https://www.wikidata.org/wiki/Q179014]; god; goddess.\n\nKlara du Plessis\n00:10:39\nPerforms “Venus de Milo versus Venus in Furs” | Keywords: natural history museum; Saartjie Baartman [https://www.wikidata.org/wiki/Q232041]; matriarchy; Aphrodite [https://www.wikidata.org/wiki/Q35500]; muse.\n\nAudience\n00:14:14\nApplause.\n\nIan Ferrier\n00:14:28\nIntroduces Jack Hannan | Keywords: The Poet Is a Radio.\n\nAudience\n00:15:01\nApplause.\n\nJack Hannan\n00:15:13\nReads “The Afternoon of Dreams” | Keywords: termites; Muslim [https://www.wikidata.org/wiki/Q47740]; China [https://www.wikidata.org/wiki/Q148]; refugees; Beowulf [https://www.wikidata.org/wiki/Q48328]; cartoon; André Breton [https://www.wikidata.org/wiki/Q161955].\n\nAudience\n00:23:47\nApplause.\n\nIan Ferrier\n00:24:05\nIntroduces Alessandra Naccarato | Keywords: Throw Collective; CD.\n\nAudience\n00:24:28\nApplause.\n\nAlessandra Naccarato\n00:24:39\nPerforms spoken word | Keywords: Saltspring Island [https://www.wikidata.org/wiki/Q61279071]; album; School of Thought Festival; girlhood; Katherine Peacock; common language; desire.\n\nAudience\n00:32:52\nApplause.\n\nAlessandra Naccarato\n00:33:06\nPerforms spoken word | Keywords: Cagibi; Ian Ferrier; Moe Clark; ukelele; love poetry; concerto; audience.\n\nAudience\n00:38:44\nApplause.\n\nAlessandra Naccarato\n00:39:01\nPerforms “Drought Land” | Keywords: witch camp; postcards; fire; hope.\n\nAudience\n00:41:37\nApplause.\n\nIan Ferrier\n00:41:52\nAnnounces break | Keywords: Dane Swan; Frederique Roy; Simon Labbé.\n\nEND\n00:42:08\n[Recording continues on next file].\n \nSTE-002 Dane Swan-Frederique & Simon Labbe.wav\n\nIan Ferrier [https://www.wikidata.org/wiki/Q87138884]\n00:00:00\nIntroduces Dane Swan | Keywords: Mingus Lullaby; Toronto; Charles Mingus [https://www.wikidata.org/wiki/Q107432].\n\nAudience\n00:00:30\nApplause.\n\nDane Swan\n00:00:38\nPerforms “Like Water” | Keywords: non-Mingus poems; music; water; black lines.\n\nDane Swan\n00:10:08\nPerforms unknown poem | Keywords: eyes; cedar tree; drug addict; superheroes; home; tree.\n\nDane Swan\n00:15:28\nPerforms “Fear” | Keywords: birds; camera; black men; birdwatching; police officer; police brutality; racism; policy; guest.\n\nAudience\n00:19:49\nApplause.\n\nIan Ferrier\n00:20:00\nIntroduces Frederique Roy and Simon Labbé | Keywords: Mile End Poets’ Festival.\n\nAudience\n00:20:44\nApplause [cheering].\n\nFrederique Roy and Simon Labbé\n00:21:58\nPerform music.\n\nAudience\n01:00:41\nApplause [cheering].\n\nIan Ferrier\n01:01:20\nAnnounces end of event | Keywords: Klara du Plessis; Dane Swan; Alessandra Naccarato; Jack Hannan.\n\nAudience\n01:02:14\nApplause.\n\nEND\n01:02:24.\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548372979712,"timestamp":"2026-01-07T14:59:52.745Z","score":2.2799163},{"id":"5901","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 Berkeley: Summer Days, cont'd July 1965 #5a copy 2"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack","Persky, Stan","Blaser, Robin","Duncan, Robert"],"creator_names_search":["Spicer, Jack","Persky, Stan","Blaser, Robin","Duncan, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/57448780\",\"name\":\"Persky, Stan\",\"dates\":\"1941-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert \",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Enomoto, Randy"],"contributors_names_search":["Enomoto, Randy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/256444645\",\"name\":\"Enomoto, Randy \",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Enomoto, Randy "],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/188/Reading in BC_MsC199_5A.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:01:30\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\" Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"5a-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:44\",\"precision\":\"\",\"size\":\"20.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"5a-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:13\",\"precision\":\"\",\"size\":\"21.1 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\":\"1965-07\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/2833528#map=13/37.8712/-122.3013\",\"venue\":\"Berkeley\",\"notes\":\"\",\"address\":\"Berkley, California, USA\",\"latitude\":\"37.8670\",\"longitude\":\"-122.2971\"}]"],"Address":["Berkley, California, USA"],"Venue":["Berkeley"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tA\t000\tPersky continues reading Spicer’s  “The Night in Four Parts”\n\t\t\tDuncan reading his “The War Within Without The War” (for Robin Blaser)\n\t\t\tBlaser reads his answer to Duncan’s poem\n\t\t\tDuncan refers to Landis\n\t\t\tBlaser notes “Jack had left for Minnesota…”\n\t\t\tBlaser reads Spicer’s open letter to Duncan (dated around 1950)\n\t\t\tDuncan reads his answer\n\t\t\tDuncan reads his “The Morning Letter”\n\t\t\tSpicer recalls his first impressions of the Maximus Poems\n\t\t\tSpicer’s judgment of Ransom as a poet\n"],"Note":["[{\"note\":\"Liner Notes:  \\\"Summer Days\\\", Reading at Berkley, July 1965 Duncan Spicer, Blaser, Persky and others. Side 1: 30:45 min Side 2: 30:45\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554190479362,"timestamp":"2026-01-07T14:59:58.590Z","score":2.2463102},{"id":"6229","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":["Brian Fawcett and Neap Hoover reading their poems at SFU on March 13, 1969 tape 2 of 2 #451 - tape 2"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Fawcett, Brian","Hoover, Neap","Blaser, Robin","Stuart, Colin","Maud, Ralph"],"creator_names_search":["Fawcett, Brian","Hoover, Neap","Blaser, Robin","Stuart, Colin","Maud, Ralph"],"creators":["[{\"url\":\"http://viaf.org/viaf/62310\",\"name\":\"Fawcett, Brian\",\"dates\":\"1906-1984\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Hoover, Neap \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/28879167\",\"name\":\"Stuart, Colin\",\"dates\":\"1986-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Maud, Ralph \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1969],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7867/Reading in BC_MsC199_451-tape2.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"451-tape-2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:59\",\"precision\":\"\",\"size\":\"30.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"451-tape-2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:36\",\"precision\":\"\",\"size\":\"30.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1969-03-13\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767 \",\"longitude\":\"-122.9178\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nTwo\t\t08\tIntroduction to Brian Fawcett, Colin Stuart & Neap Hoover by Robin Blaser\n\t\t12\tNew poetry in Vancouver – based around the magazine Iron\n\t\t20\tA second introduction to Brian Fawcett by Ralph Maud\n\t\t25\tFawcett as a critic and explorer\n\t\t37\tRalph Maud reads “Runcible Mountain” poem\n\t\t57\tFawcett as lifeguard on Jack Spicer beach\n\t\t63\tColin Stuart introduces Neap Hoover\n\t\t76\tNeap Hoover begins\n\t\t87\t“Deer that move…” a poem about teaching in a small community\n\t\t101\t“Senseless barber…”\n\t\t113\t“Probably the African violet blooms…”\n\t\t126\t“The Tie”\n\t\t148\tA preface to next group of poems\n\t\t154\t“Poems do construct…”\n\t\t176\t“Friendly cove”\n\t\t198\t“Fragment”\n\t\t201\tEnd of Neap Hoover’s reading\n\t\t205\tBrian Fawcett begins – assures audience he did not write the Runcible Mountain poem\n\t\t219\tThe local – continuing from R. Maud\n\t\t224\t1.\t“the manner of his death…” from Iron : 3\n\t\t231\t2.\t“The queerness of things…”\n\t\t238\t3.\t“Remember all that sound…”\n\t\t241\t4.\t“It was a snake that bit Euridice…”\n\t\t249\t5.\t“The hummingbirds…”\n\t\t255\t6.\t“Lets go back to camp Orpheus…”\n\t\t264\tSong 1 “When you Came To…”\n\t\t269\tSong 2 “Unfortunately its not that simple…”\n\t\t274\tBibliographies II\n\t\t284\t“Nobody listens to poetry…”\n\t\t293\tLandscapes – physical and spiritual\n\t\t303\t“The sea breeze…” from the fifth book\n\t\t307\t“The ocean at high tide…”\n\t\t312\t“Tonight At Kitsilano Park”\n\t\t322\t“Jack Spicer stumbling along…”\n\t\t338\tMoving away from the are \n1. –away from the sea\n\t\t347\t2. \n\t\t355\t3.\n\t\t362\t“A transcription”\n\t\t378\t1.\t“The heart of it, North…” (on returning to Prince George)\n\t\t403\t2.\t“The heart is between us…”\n\t\t420\t“The girls you know…” (for Elbin Golden)\n\t\t452\tNew poems (“for all my friends”)\n\t\t455\t1.\t“The man wants power over animals…”\n\t\t462\t2.\t“Orpheus charming birds with his flute…”\n\t\t470\t3.\t“If love can span seasons…”\n\t\t476\t“Isis is physis…” (for Colin Stuart)\n\t\t497\t“Forest”\n\t\t511\t“Ursus horiblus” (grizzly bear)\n\t\t531\t“Orion”\n\t\t539\t“The World”\n\t\t557\tThe poet struck with his own vision\n\t\t565\t“Spring Song” (a poem helped along by Alan* Ginsberg)\n\t\t594\tEnd of Brian Fawcett’s reading"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555069186050,"timestamp":"2026-01-07T14:59:59.437Z","score":2.196765},{"id":"5372","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jack Spicer discussion conclusion on serial poems in Vancouver on June 15, 1965 part 2 of 2 #752"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack \",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1242/Reading in BC_MsC199_752.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:38:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"752-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:45\",\"precision\":\"\",\"size\":\"44.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"752-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:47\",\"precision\":\"\",\"size\":\"44.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1965-06-15\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\"49.2528\",\"longitude\":\"-123.1145\"}]"],"Address":["Vancouver, BC, Canada"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"Jack Spicer: serial poems, The Holy Grail Vancouver BC, June 15, 1965\\npart II\\nside 1: 45:00\\nside 2: 43:10\\n#752\",\"type\":\"General\"},{\"note\":\"the length of the digital file's side 1 is T00:46:45 and side 2 is T00:42:47, but the performance only takes 45 minute on side 1 and 43:10 on side 2 and the rest of audio is empt\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553066405888,"timestamp":"2026-01-07T14:59:57.525Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t011\tQuestion regarding the distinctions in Sir Galahad between foolish and fool-ish\n\t\t012\tSpicer explains the fool as a kind of a holy thing as well as something that is just stupid\n\t\t048\tQ: What role do the recurring themes play in your own thought as you go along, like the forest, the boat, the Grail and the fool?\n\t\t030\tSpicer says he tries not to think about them as they recur.  He elaborates on the ocean and the non-ocean\n\t\t080\tQuestioner says he is interested in a particular mental action that keeps Spicer ignorant of what is in his mind\n\t\t087\tSpicer says you learn how not to trust yourself so much your mind becomes blank on it.  Discussion ensues on this line of question regarding mental processes leading to Spicer’s ideas on the character of Merlin\n\t\t159\tQ: How are purity and Long Island Sound equated?\n\t\t160\tSpicer says that to identify yourself with the landscape is as stupid as identifying the Grail with purity – lengthy discussion of this idea\n\t\t209\tQ: What’s the difference between the grail in your serial poem and the moth in Robin’s serial poem?\n\t\t215\tSpicer replies that if the question had been put in threes, the grail, the moth, and the hunting of the snark, and the difference between them, then they are all collective things to be searched for.  Robin’s was immediate appearance, Spicer’s was, through poetics, Gawain’s idea of the empty cup, the full cup.  For Lewis Carroll, the snark is something that turns into a “boojum”\n\t\t243\tQuestion about Edwin Muir’s poems being similar to Jack Spicer’s (from Dorothy Livesay)\n\t\t266\tQ: How did the Australians get into the poem?\n\t\t270\tSpicer gives anecdote of Australian soldiers given defense of Greece by the British who moved out during the invasion by the Germans.  Ninety percent were killed while the British sustained few casualties\n\t\t299\tQ: Since that vessel the Grail is elusive and a mystery, is there a process on your part of what you were doing, with what the serial poem is not?  Is there a “not” process that works, a not naming it?\n\t\t307\tSpicer says that when he knew it was a grail poem, he didn’t make any effort to find it because he knew he wouldn’t find it himself.  He elaborates on this process\n\t\t327\tComment by audience member that he had thought of the poem as a poetics poem\n\t\t328\tSpicer thinks the poem goes into more of the human condition in relation to the divine taking the human.  Spicer digresses into an anecdote about Glastonbury, south of Chester (where Arthur is supposed to be buried) and an 18th century machine that could write poetry\n\t\t360\tA question about whether the forest Spicer tries to get through in his writing is the same forest that Robin Blaser talks about… the holy forest\n\t\t363\tSpicer says Blaser’s holy forest is a different forest from the grail forest, Spicer’s forest being closer to Dante’s, the human condition\n\t\t378\tQ: Doesn’t Blaser talk about getting lost in the Forest?\n\t\t380\tSpicer responds that the Forest need not be a Jungian symbol.  Further questions and answers regarding trees versus forest symbolism\n\t\t434\tA question about Spicer’s connection to Gatsby’s Long Island\n\t\t436\tSpicer says Gatsby’s Long Island is his; Gatsby’s forest is the forest of ashes\n\t\t452\tSpicer asks if the idea of the serial poem makes any sense to people\n\t\t453\tA question about the fixed order of each segment and whether Spicer changes it\n\t\t456\tSpicer says changes means the poet will be taken along his own path.  His dissatisfaction with “The book of Lancelot” lies in the fact that he is speaking through the poem\n\t\t480\tQuestioner comments that Stevens’ writings about his poetry are similar to Spicer’s; does that make him a serial; poet?\n\t\t482\tSpicer says Stevens had a map for his poetry\n\t\t503\tSpicer has become more distrustful of Stevens as people who dislike poetry become more enamored with Steven’s poetry\n\t\t514\tSpicer explains the meaning of the title “serial”; that you go from one point to another to another not really knowing where you are\n\t\t516\tGeneral discussion ensues around the choice of the word “serial”\n\t\t521\tSpicer says The Pickwick Papers in the novel term, is the only place where Dickens is completely free of a destination\n\t\t528\tSpicer on Mr. Jingle and stream of consciousness writing\n\t\t533\tQ: Does Naked Lunch relate to serial poetry?\n\t\t535\tSpicer says he doesn’t like Naked Lunch so he doesn’t think it is serial\n\t\t546\tQuestion about the flow of Spicer’s writing over nine months\n\t\t554\tSpicer discusses the writing process and answers questions on the issue of cutting, editing etc.\n\t\t570\tSpicer advises new writers to take chances and not revise; to go straight into the serial poem process\n\t\t575\tSpicer on baseball metaphor.  Spicer says he wasted much of his time on writing perfect little poems, resents this wasted time, and advises new poets to try the most complicated things and fall flat on your ass doing it\n\t\t589\tThe emphasis on craft in universities is a bunch of hogshit according to Spicer\n\t\t600\tSpicer on his nine-month writing process.  When a line comes up that is perfect, that is exactly what he wants, he stops for several hours and waits and waits\n\t\t638\tQuestioner suggests that the poem can be just a matter of chance.  Does Spicer re-read his poems?  Does he review them and then continue writing?  Isn’t a later reading of ideas from the poem just a chance association?\n\t\t653\tThe message may not be important, but you must read it again and again to find that out\n\t\t659\tSpicer says that if you’re good enough, you can act like a radio tube or a transmitter to get stuff from yourself\n\t\t665\tQuestion about Spicer’s first serial poems, The Elegies*\n\t\t669\tSpicer describes his first serial poems written over a number of years.  Discussion emerges around challenging the concept of the serial poem process, and one questioner in particular suggests that revision and input would create a more complete poem\n\t\t743\tQuestioner suggests Spicer equates passivity with unconscious skill, and uses music as an example of where a mastered skill can allow composers to create with the aid of years of practice\n\t\t762\tSpicer seems to be cut off and tape resumes at a later spot in the discussion during which Spicer counsels against revision\n\t\t787\tQuestioner asks if Spicer’s preparation is perhaps not more conscious than Spicer wants it to be, due to years of mastering the technique of poetry\n\t\t797\tSpicer says this is a conditioned idea, as in painting, that an artist has to be trained in representation before painting an abstract work\n\t\t816\tSame questioner pursues this issue with an analogy to jazz\n\t\t859\tSpicer counters argument on form by advising students to fill their minds with reading and ideas, rather than studying form\n\t\t864\tSpicer refers to San Francisco poet, Jim Alexander (“The Jack Rabbit Poem” published in J).  Alexander uses a technique of breaking words, but because he can’t spell, it is difficult to know when certain misspellings are intentional or not.  Yet mastering the language and mastering difficult poetic forms are two different things\n\t\t907\tAudience member mentions Crane’s Voyages Two, and suggests that Crane could not have written the blank verse without the openness Spicer talks about\n\t\t934\tSame questioner asks if the enjoyment of poetry isn’t in seeing someone who understands language do what he wants with it and control it because he’s practised?\n\t\t943\tSpicer argues that poetry should not be meant as a pleasure for the audience, pleasures are incidental and unrelated to the poem\n\t\t959\tDispute is settled by Spicer suggesting the disagreement lies in what a young poet should focus on\n\t\t970\tSpicer says the young poet should focus on keeping his personality out of the poem and letting something else come in\n\t\t999\tPoetry is not for pleasure.  Spicer is not sure what poetry is for, but he is trying to pass on messages through his poems.  A long debate follows among audience and Spicer on the question of pleasure in art and baseball\nTwo\t\t\tBegins: question of pleasure in art and baseball\n\t\t047\tA question begins on the poems that Spicer throws away, that are conscious poems\n\t\t059\tSpicer responds to a question about serial poetry pre-20th century\n\t\t065\tIn ruling yourself out, does this have anything to do with Eliot’s idea of impersonality and getting rid of personality?\n\t\t066\tSpicer refers to Dante and Horace as the first to know this idea, it was not a “discovery” of Eliot’s\n\t\t071\tQuestioners ask about the issue of craft and Spicer’s apparent antipathy to the idea\n\t\t073\tSpicer expounds on craft and the artist\n\t\t088\tA tussle in the audience over one questioner imposing his categories on Jack’s poem, especially the term meditative.  Another audience member says this a way of talking about them so that he doesn’t see what they are\n\t\t093\tSpicer interrupts to talk about the use of “meditative”\n\t\t107\tQuestioner believes Spicer is more interested in meditation than poetry, in the Ignatian sense\n\t\t109\tSpicer agrees – says that’s the first thing for the poet, especially for the beginning poet\n\t\t118\tSpicer says it’s a question of what is the first thing to reach, you do the simplest thing first – empty yourself out\n\t\t146\tEnd of tape, Side two"],"score":2.176915},{"id":"7166","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman lecture on American poets Jack Spicer and Robert Duncan"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Duncan, Robert","Spicer, Jack"],"creator_names_search":["Tallman, Warren","Duncan, Robert","Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11980/Warren Tallman Fonds_MsC 26.42_167.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\":\"MSC26-167-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:20:35\",\"precision\":\"\",\"size\":\"26.3 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\":\"MSC26-167-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:28:32\",\"precision\":\"\",\"size\":\"36.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"At the beginning of the second side, we hear Warren Tallman's interview, which the quality of the interview is low.\",\"type\":\"General\"},{\"note\":\"Warren Tallman's lecture is on American poet Jack Spicer and Robert Duncan; he talks about their poetry, their resemblance and their poetry features that distinguish them from one another.\\n\\nThe j-card is labelled \\\"Tallman on Tish / Radio\\\" which seems to diverge from the recorded material somewhat.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556690284549,"timestamp":"2026-01-07T15:00:00.983Z","score":2.1762087},{"id":"8734","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["Robert Duncan Discussion at SFU on June 29, 1978"],"item_title_source":["Cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert","Tallman, Warren"],"creator_names_search":["Duncan, Robert","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/8734/Roy Miki Fonds_MsC 161_106.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\":\"\",\"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\":\"MsC161-106 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:01:06\",\"precision\":\"\",\"size\":\"77.3 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\":\"MsC161-106 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:21:48\",\"precision\":\"\",\"size\":\"26.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-06-29\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\" 8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2770\",\"longitude\":\"-122.9178\"}]"],"Address":[" 8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"Note":["[{\"note\":\"Robert Duncan discusses a variety of poets, including Ezra Pound, Allen Ginsberg, Charles Olson, Margaret Atwood, Margaret Addison, Jack Spicer, himself and others. While a group of poets appears to be present on the recording, Duncan is the primary speaker, offering insights into the characteristics and contributions of various American and Canadian poets.\",\"type\":\"General\"},{\"note\":\"We guess George Bowering and Pauline Butling could be present in this discussion\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670557679091714,"timestamp":"2026-01-07T15:00:01.927Z","score":2.1741743},{"id":"4399","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":["Various Artists Kerouac - \nkicks joy darkness (a spoken word tribute with music)"],"item_title_source":["Title written on artifact."],"item_title_note":["Cassette box title: Various Artists Kerouac - \nkicks joy darkness (a spoken word tribute with music)\n\nSide A title: Kerouac: Kicks, Joy, Darkness  Loan Copy\n\nSide B title: n/a\n"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Morphine","Lunch, Lydia","Stipe, Michael","Tyler, Steven","Thompson, Hunter S.","Estep, Maggie","The Spitters","Lewis, Richard","Ferlinghetti, Lawrence","Helium","Kerouac, Jack","Strummer, Joe","Ginsberg, Allen","Vedder, Eddie","Campbell 2000","Sadie 7","Burroughs, William S.","Tomandandy","Hatfield, Juliana","Cale, John","Depp, Johnny","Come","Hunter, Robert","Ranaldo, Lee","Colley, Dana","Domino, Anna","Buck, Robert","Chauvin, Danny","Smith, Patti","Moore, Thurston","Kaye, Lenny","Zevon, Warren","Wolff, Michael","Carroll, Jim","Dillon, Matt","Altruda, Joey","Gonzalez, Joe","Lorre, Inger","Buckley, Jeff","Andersen, Eric"],"creator_names_search":["Morphine","Lunch, Lydia","Stipe, Michael","Tyler, Steven","Thompson, Hunter S.","Estep, Maggie","The Spitters","Lewis, Richard","Ferlinghetti, Lawrence","Helium","Kerouac, Jack","Strummer, Joe","Ginsberg, Allen","Vedder, Eddie","Campbell 2000","Sadie 7","Burroughs, William S.","Tomandandy","Hatfield, Juliana","Cale, John","Depp, Johnny","Come","Hunter, Robert","Ranaldo, Lee","Colley, Dana","Domino, Anna","Buck, Robert","Chauvin, Danny","Smith, Patti","Moore, Thurston","Kaye, Lenny","Zevon, Warren","Wolff, Michael","Carroll, Jim","Dillon, Matt","Altruda, Joey","Gonzalez, Joe","Lorre, Inger","Buckley, Jeff","Andersen, Eric"],"contributors_names":["Kerouac, Jack"],"contributors_names_search":["Kerouac, Jack"],"contributors":["[{\"url\":\"http://viaf.org/viaf/27066713\",\"name\":\"Kerouac, Jack\",\"dates\":\"1922-1969\",\"notes\":\"A variety of poets and artists read Jack Kerouac's poetry in this tribute recording.\",\"nation\":[],\"role\":[\"Author\"]}]"],"author_name":["Kerouac, Jack"],"Publication_Date":[1997],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3916/UBCO_Hogg_2018_002_030_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Maxell XL II 90 Position High\",\"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\":\"2018.002.030_Kerouac_KickJoyDarkness_LoanCopy_SideA_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:39:07\",\"precision\":\"\",\"size\":\"1.30 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2018.002.030_SideB_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:40:45\",\"precision\":\"\",\"size\":\"1.35 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1997-04-08\",\"type\":\"Publication Date\",\"notes\":\"Date album was released.\",\"source\":\"Secondary research.\"}]"],"Location":["[]"],"City":["Other"],"contents":["Tape consists of a recording of a spoken word tribute album titled \"Kerouac: kicks joy darkness.\" Tracks consist of a compilation of excepts from Kerouac's poems, read by various artists to accompanying music. A photocopy of the insert contains the track list and information regarding the performers of each poem. Includes secections by Mark Sandman ; Lydia Lunch ; Michael Stipe ; Steven Tyler ; Hunter S. Thompson ; Maggie Estep ; Richard Lewis ; Lawrence Ferlinghetti ; Jack Kerouac ; Allen Ginsberg ; Eddie Vedder ; William Burroughs ; Juliana Hatfield ; Johnny Depp ; Robert Hunter ; Lee Ranaldo ; Anna Domino ; Danny Chauvin ; Patti Smith ; Warren Zevon ; Jim Carroll ; Matt Dillon ; Inger Lorre ; Eric Andersen."],"Note":["[{\"note\":\"Digitization complete.\",\"type\":\"General\"},{\"note\":\"Duplicate recording: 2018.002.029\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670550771073025,"timestamp":"2026-01-07T14:59:55.332Z","creators":["[{\"url\":\"http://viaf.org/viaf/142081475\",\"name\":\"Morphine\",\"dates\":\"\",\"notes\":\"Performs track 1 \\\"Kerouac.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/12451564\",\"name\":\"Lunch, Lydia\",\"dates\":\"1959-\",\"notes\":\"Performs track 2 \\\"Bowery Blues.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/84964040\",\"name\":\"Stipe, Michael\",\"dates\":\"1960-\",\"notes\":\"Performs track 3 \\\"My Gang.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/43055830\",\"name\":\"Tyler, Steven\",\"dates\":\"1948-\",\"notes\":\"Performs track 4 \\\"Dream: 'Us Kids Swim off a Gray Pier...'.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\" http://viaf.org/viaf/109030443\",\"name\":\"Thompson, Hunter S.\",\"dates\":\"1939-2005\",\"notes\":\"Performs track 5 \\\"Letter to William S. Burroughs & Ode to Jack.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/48495450\",\"name\":\"Estep, Maggie\",\"dates\":\"1963-2014\",\"notes\":\"Performs on track 6 \\\"Skid Row Wine\\\" with The Spitters.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"The Spitters\",\"dates\":\"\",\"notes\":\"Performs on track 6 \\\"Skid Row Wine\\\" with Maggie Estep.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/29743334\",\"name\":\"Lewis, Richard\",\"dates\":\"1947-\",\"notes\":\"Performs track 7 \\\"America's New Trinity of Love: Dean, Brando, Presley\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/110070499\",\"name\":\"Ferlinghetti, Lawrence\",\"dates\":\"1919-\",\"notes\":\"Performs on track 8 \\\"Dream: 'On a Sunny Afternoon...'\\\" with Helium.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/120145003719561340005\",\"name\":\"Helium\",\"dates\":\"\",\"notes\":\"Performs on track 8 \\\"Dream: 'On a Sunny Afternoon...'\\\" with Lawrence Ferlinghetti.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/27066713\",\"name\":\"Kerouac, Jack\",\"dates\":\"1922-1969\",\"notes\":\"Heard on track 9 \\\"MacDougal Street Blues\\\" with Joe Strummer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/69116945\",\"name\":\"Strummer, Joe\",\"dates\":\"1952-2002\",\"notes\":\"Performs on track 9 \\\"MacDougal Street Blues\\\" with Jack Kerouac recording.\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"Performs on track 10 \\\"The Brooklyn Bridge Blues (Choruses 1-9).\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/39579347\",\"name\":\"Vedder, Eddie\",\"dates\":\"1964-\",\"notes\":\"Performs on track 11 \\\"Hymn\\\" with Campbell 2000 and Sadie 7\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/160689151\",\"name\":\"Campbell 2000\",\"dates\":\"\",\"notes\":\"Performs on track 11 \\\"Hymn\\\" with Eddie Vedder and Sadie 7\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/316879434\",\"name\":\"Sadie 7\",\"dates\":\"1967-\",\"notes\":\"Performs on track 11 \\\"Hymn\\\" with Eddie Vedder and  Campbell 2000\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/108916275\",\"name\":\"Burroughs, William S.\",\"dates\":\"1914-1997\",\"notes\":\"Performs on track 12 \\\"Old Western Movies\\\" with Tomandandy.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/121137943\",\"name\":\"Tomandandy\",\"dates\":\"\",\"notes\":\"Performs on track 12 \\\"Old Western Movies\\\" with William S. Burroughs.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\" http://viaf.org/viaf/61756682\",\"name\":\"Hatfield, Juliana\",\"dates\":\"1967-\",\"notes\":\"Performs track 13 \\\"Silly Goofball Poems.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\" http://viaf.org/viaf/105264486\",\"name\":\"Cale, John\",\"dates\":\"1942-\",\"notes\":\"Performs on track 14 \\\"The Moon.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/85378128\",\"name\":\"Depp, Johnny\",\"dates\":\"1963-\",\"notes\":\"Performs track 15 \\\"Madroad Driving\\\" with Come.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Come\",\"dates\":\"\",\"notes\":\"Performs track 15 \\\"Madroad Driving\\\" with Johnny Depp.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/49406569\",\"name\":\"Hunter, Robert\",\"dates\":\"1941-2019\",\"notes\":\"Performs track 16 \\\"Have You Ever Seen Anyone Like Cody Pomeray?\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/46362134\",\"name\":\"Ranaldo, Lee\",\"dates\":\"1956-\",\"notes\":\"Performs on track 17 \\\"Letter to John Clellon Holmes\\\" with Dana Colley.\\n\\nPerforms on track 22 \\\"Woman\\\" with Jim Carroll and Lenny Kaye.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/70931564\",\"name\":\"Colley, Dana\",\"dates\":\"\",\"notes\":\"Performs on track 17 \\\"Letter to John Clellon Holmes\\\" with Lee Ranaldo.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\" http://viaf.org/viaf/79591402\",\"name\":\"Domino, Anna\",\"dates\":\"1955-\",\"notes\":\"Performs track 18 \\\"Pome on Doctor Sax.\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/87397348\",\"name\":\"Buck, Robert\",\"dates\":\"1958-2000\",\"notes\":\"Performs on track 19 \\\"Mexico Rooftop\\\" with Danny Chauvin.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/160708012\",\"name\":\"Chauvin, Danny\",\"dates\":\"\",\"notes\":\"Performs on track 19 \\\"Mexico Rooftop\\\" with Robert Buck.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/84037206\",\"name\":\"Smith, Patti\",\"dates\":\"1946-\",\"notes\":\"Performs on track 20 \\\"The Last Hotel\\\" with Thurston Moore and Lenny Kaye.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/85805716\",\"name\":\"Moore, Thurston\",\"dates\":\"1958-\",\"notes\":\"Performs on track 20 \\\"The Last Hotel\\\" with Patti Smith and Lenny Kaye.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/65730198\",\"name\":\"Kaye, Lenny\",\"dates\":\"1946-\",\"notes\":\"Performs on track 20 \\\"The Last Hotel\\\" with Thurston Moore and Patti Smith.\\n\\nPerforms on track 22 \\\"Woman\\\" with Lee Ranaldo and Jim Carroll.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/19869322\",\"name\":\"Zevon, Warren\",\"dates\":\"1947-2003\",\"notes\":\"Performs on track 21 \\\"Running Through-Chinese Poem Song\\\" with Michael Wolff.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/51599731\",\"name\":\"Wolff, Michael\",\"dates\":\"1952-\",\"notes\":\"Performs on track 21 \\\"Running Through-Chinese Poem Song\\\" with Warren Zevon.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\" http://viaf.org/viaf/14783289\",\"name\":\"Carroll, Jim\",\"dates\":\"1950-2009\",\"notes\":\"Performs on track 22 \\\"Woman\\\" with Lee Ranaldo and Lenny Kaye.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/76504572\",\"name\":\"Dillon, Matt\",\"dates\":\"1964-\",\"notes\":\"Performs track 23 \\\"Loneliness, Mexican\\\" with Joey Altruda and Joe Gonzalez.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/19059955\",\"name\":\"Altruda, Joey\",\"dates\":\"\",\"notes\":\"Performs track 23 \\\"Loneliness, Mexican\\\" with Matt Dillon and Joe Gonzalez.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/58821469\",\"name\":\"Gonzalez, Joe\",\"dates\":\"\",\"notes\":\"Performs track 23 \\\"Loneliness, Mexican\\\" with Matt Dillon and Joey Altruda.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/160476803\",\"name\":\"Lorre, Inger\",\"dates\":\"\",\"notes\":\"Performs track 24 \\\"Angel Mine\\\" with Jeff Buckley.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/44493081\",\"name\":\"Buckley, Jeff\",\"dates\":\"1966-1997\",\"notes\":\"Performs track 24 \\\"Angel Mine\\\" with Inger Lorre.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/70930931\",\"name\":\"Andersen, Eric\",\"dates\":\"1943-\",\"notes\":\"Performs track 25 \\\"The Brooklyn Bridge Blues (Chorus 10)\\\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"score":2.1676636},{"id":"6097","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":["The Beat Bards reading in San Francisco, 1956 tape 1 of 2 #113a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Whalen, Philip","Ginsberg, Allen","Rexroth, Kenneth","Snyder, Gary","McClure, Michael"],"creator_names_search":["Whalen, Philip","Ginsberg, Allen","Rexroth, Kenneth","Snyder, Gary","McClure, Michael"],"creators":["[{\"url\":\"https://viaf.org/viaf/54270610/\",\"name\":\"Whalen, Philip\",\"dates\":\"1923-2002\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen \",\"dates\":\"1926-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/105850695\",\"name\":\"Rexroth, Kenneth \",\"dates\":\"1905-1982\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/68944804\",\"name\":\"Snyder, Gary \",\"dates\":\"1930-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/71493269\",\"name\":\"McClure, Michael\",\"dates\":\"1932-2020\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors_names":["Wah, Fred"],"contributors_names_search":["Wah, Fred"],"contributors":["[{\"url\":\" http://viaf.org/viaf/1330211\",\"name\":\"Wah, Fred\",\"dates\":\"1939-\",\"notes\":\"In the inventory it states that he is a Donor and we are not sure what it means\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1956],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/597/Reading in BC_MsC199_113a.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\":\"T00:55:05\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"113-tape-1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:31\",\"precision\":\"\",\"size\":\"28 MB\",\"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\":\"113-tape-1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:24:48\",\"precision\":\"\",\"size\":\"23.3 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\":\"1956\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/111968\",\"venue\":\"\",\"notes\":\"\",\"address\":\"San Francisco, California, USA\",\"latitude\":\"37.7761\",\"longitude\":\"-122.4413\"}]"],"Address":["San Francisco, California, USA"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tA\t000\tIntroduction by Kenneth Rexroth\n\t\t025\tGary Snyder reads – For A Far-out Friend\n\t\t043\tSong and Dance For a Lecherous Muse\n\t\t070\tMyths and Texts\n\t\t223\tRexroth introduces Philip Whalen\n\t\t250\tWhalen reads – For K.W.\n\t\t277\tMartyrdom of Two Pagans\n\t\t298\tThe More It Changes, The More It’s The Same Thing\n\t\t328\tThree Variations: All About Love\n\t\t388\tSourdough Mountain Lookout- first part only\n\t\t428\tThe Slop Barrel\n\t\t540\tRexroth introduces Michael McLure\n\t\t565\tMcLure reads a letter from Jack Spicer\n\t\t650\t\n\t\t671\tThe Mystery of the Hunt – tape cuts out part-way through the poem\n\t\t696\tPoint Lobos\n\t\t755\tThe Whales\n\t\t792\tThe Feeling\n"],"Note":["[{\"note\":\"Liner Notes: San Francisco Bards 1956 Gary Snyder, Philip Whalen, Michael McLure, Kenneth Rexroth, Allen Ginsberg Side 1 30:25 Side 2 24:40 Dolby B The Beat Bards Tape 1 #113a\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554739933187,"timestamp":"2026-01-07T14:59:59.119Z","score":2.152597},{"id":"9055","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 8 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Blaser, Robin","Bowering, George","Nichols, Miriam"],"creator_names_search":["Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Blaser, Robin","Bowering, George","Nichols, Miriam"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Bowering, Angela\",\"dates\":\"\",\"notes\":\"George Bowering's wife; She is heard on tape 4 of 20\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\" 1935-\",\"notes\":\"George Bowering's wife; he is heard on some tapes in this series of tapes \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/44522700\",\"name\":\"Nichols, Miriam\",\"dates\":\"1952-\",\"notes\":\"Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Publication_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9055/Roy Miki Fonds_MsC 161_208.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\":\"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\":\"MsC161-208 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:15\",\"precision\":\"\",\"size\":\"664 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-208 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:10\",\"precision\":\"\",\"size\":\"685 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Publication Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"source\":\"Internet \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\\n\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600\",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Robin Blaser provides an in-depth autobiographical account in a series of tapes (201 to 220), reflecting on his life and experiences. \\nIn this recording, Robin Blaser keeps talking about Berkeley and more about Robert Duncan and Jack Spicer;\\nRobin Blaser mostly talks about the new language that Jack Spicer made and Canrobert book\",\"type\":\"General\"},{\"note\":\"We found the info through the following link on https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558005198853,"timestamp":"2026-01-07T15:00:02.246Z","score":2.131555},{"id":"7110","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Anne Waldman reading and performance at Naropa institute on May 24, 1986"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Waldman, Anne","Fida, Jane"],"creator_names_search":["Waldman, Anne","Fida, Jane"],"creators":["[{\"url\":\"http://viaf.org/viaf/84079610\",\"name\":\"Waldman, Anne \",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Fida, Jane \",\"dates\":\"\",\"notes\":\"Jane Fida (Head of Naropa institute) introduces Anne Waldman \",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11272/Warren Tallman Fonds_MsC 26.42_107.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\":\"MSC26-107-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:30\",\"precision\":\"\",\"size\":\"61.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-107-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:28\",\"precision\":\"\",\"size\":\"60.3 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\":\"1986-05-24\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute \",\"notes\":\"\",\"address\":\"Marine Street, Boulder, Boulder County, Colorado, 80309, United States\",\"latitude\":\"40.01405\",\"longitude\":\"-105.26696\"}]"],"Address":["Marine Street, Boulder, Boulder County, Colorado, 80309, United States"],"Venue":["Naropa Institute "],"Note":["[{\"note\":\"Tape #710 in \\\"Reading in BC\\\" collection is a duplicate version of this tape.\\n\\nAnne Waldman was faculty at the Naropa Institute's summer sessions since the institute's founding in 1974. With Allen Ginsburg, John Cage, and Diane di Prima, she would go on to found the Jack Kerouac Disembodied School of Poetics there too. Tallman may have been present at this reading and performance as he attended the institute a couple of times himself and presented there on Kerouac.\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670556682944512,"timestamp":"2026-01-07T15:00:00.983Z","score":2.1304271},{"id":"6252","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jack Clarke lecture on Charles Olson on December 12, 1971 Tape 1 of 2 #543a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Olson, Charles","Clarke, John"],"creator_names_search":["Olson, Charles","Clarke, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"Jack Clarke discusses Charles Olson as an inspiration for FATHAR III\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/40837274\",\"name\":\"Clarke, John\",\"dates\":\"1933-1992\",\"notes\":\"John \\\"Jack\\\" Clarke\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7957/Reading in BC_MsC199_543_1.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_1-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:34\",\"precision\":\"\",\"size\":\"30.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_1-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:30\",\"precision\":\"\",\"size\":\"30.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1971-12-12\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tClarke is introduced\n\t\t027\tJack Clarke begins to discuss the context of FATHAR III, mentions D.H. Lawrence\n\t\t064\t“I’ve got a oem that begins with the word ‘pre’.”\n\t\t076\tClarke inspired by a poster of Charles Olson before he left on his 1970 sabbatical, wrote the poems in FATHAR III\n\t\t122\tThe source of these poems “unknown”, in Lawrence’s sense\n\t\t275\tTalks about the 60’s, tells story of woman who asks her husband where he comes from discusses marriage\n\t\t340\tMarriage, etc., different in the 70’s, burden on man to express “unknown”\n\t\t425\tStory of South American man who is charged with being a shaman\n\t\t571\tLawrence:”…marriage is further than death…”\n\t\t594\tReads “As a matter of fact, unless a woman is held by man safe within the bounds of belief…” (Lawrence)\n\t\t678\tDiscusses Lawrence’s writing about Pearl from The Scarlet Letter"],"Note":["[{\"note\":\"\\nSide 3 36:15\\nSide 4 26:00\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670555059748865,"timestamp":"2026-01-07T14:59:59.437Z","score":2.1120558},{"id":"6204","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":["Douglas Barbour reading his poetry at Langara College on February 28, 1979 #178"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Barbour, Douglas"],"creator_names_search":["Barbour, Douglas"],"creators":["[{\"url\":\"http://viaf.org/viaf/14864700\",\"name\":\"Barbour, Douglas\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1979],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/796/Reading in BC_McS199_178.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"178-Side-A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:43:26\",\"precision\":\"\",\"size\":\"40.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"178-Side-B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:01:41\",\"precision\":\"\",\"size\":\"1.6 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\":\"1979-02-28\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/23393992\",\"venue\":\"Langara College\",\"notes\":\"\",\"address\":\"100 W 49th Ave, Vancouver, BC V5Y 2Z6\",\"latitude\":\"49.22483\",\"longitude\":\"-123.10860\"}]"],"Address":["100 W 49th Ave, Vancouver, BC V5Y 2Z6"],"Venue":["Langara College"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tA\t000\tIntroduction\n\t\t050\tNot So Ancient Ruins\n\t\t070\tThe Al Purdy Dream Poem in The Athens Archaeological Museum\n\t\t125\tThe Sun Dance\n\t\t216\tSit, The Deer\n\t\t240\tRumours of War, Rumours of Weather\n\t\t305\tAn American Vision-Gertrude Stein’s Mean Streets\n\t\t330\tWoman Gas Station Attendant\n\t\t390\tWhere They Stand\n\t\t430\tBibliography On Aging\n\t\t458\tSkylight\n\t\t480\tHomage to Jack Chambers\n\t\t540\t(Yukamara’s?) Woman-#1\n\t\t600\tDerrida\n\t\t615\tHow Art Materials Affect You\n\t\t720\tSong Five of The Sea\n\t\t732\tSong Six\n\t\t744\tSong For Spring\n\t\t750\tSong For Autumn\n\t\t760\tSong For Their Burnt-Out Marriage\n\t\t790\tThese For Those From Whom – in IV parts\n\t\t880\tParticularize The Particular\nTwo\tA\t000\tThe Complete Works\n\t\t028\tExistential, Quintessential Rock and Roll\n\t\t060\tQuestion period"],"Note":["[{\"note\":\"Liner Notes: Side 1 + 2\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554840596483,"timestamp":"2026-01-07T14:59:59.214Z","score":2.094389},{"id":"7092","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman lecture at Naropa Institute (CO) on July 1, 1984 - DUPLICATE 2 OF 2"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren"],"creator_names_search":["Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11111/Warren Tallman Fonds_MsC 26.42_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\":\"MSC26-87-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:34\",\"precision\":\"\",\"size\":\"49.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-87-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:36\",\"precision\":\"\",\"size\":\"52.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"Side two is blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1986-07-01\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa institute \",\"notes\":\" \",\"address\":\"Marine Street, Boulder, Boulder County, Colorado, 80309, United States\",\"latitude\":\"40.01405\",\"longitude\":\"-105.26696\"}]"],"Address":["Marine Street, Boulder, Boulder County, Colorado, 80309, United States"],"Venue":["Naropa institute "],"Note":["[{\"note\":\"Tapes #79 SWALLOW ID 7084 and #87 SWALLOW ID 7092 are DUPLICATES\",\"type\":\"Related Version\"},{\"note\":\"Warren Tallman lecture on poetry, mother tongue, and language in three periods of pre-modernism, modernism, and post-modernism. This talk was presented during the summer institute at Naropa (Boulder, CO). \\n\\nAnne Waldman, Allen Ginsburg, John Cage, and Diane di Prima, she would go on to found the Jack Kerouac Disembodied School of Poetics there too, in which Tallman was a participant.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556472180736,"timestamp":"2026-01-07T15:00:00.772Z","score":2.0806904},{"id":"6202","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":["Joe Rosenblatt reading his poetry at Langara College on October 24, 1977 #176"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Rosenblatt, Joe"],"creator_names_search":["Rosenblatt, Joe"],"creators":["[{\"url\":\"http://viaf.org/viaf/69752567\",\"name\":\"Rosenblatt, Joe\",\"dates\":\"1933-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1977],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/794/Reading in BC_McS199_176.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"176-Side-A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:43:56\",\"precision\":\"\",\"size\":\"40.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"176-Side-B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:03:48\",\"precision\":\"\",\"size\":\"3.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1977-10-24\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/23393992\",\"venue\":\"Langara College\",\"notes\":\"\",\"address\":\"100 W 49th Ave, Vancouver, BC V5Y 2Z6\",\"latitude\":\"49.22483\",\"longitude\":\"-123.10860\"}]"],"Address":["100 W 49th Ave, Vancouver, BC V5Y 2Z6"],"Venue":["Langara College"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tA\t000\tPrefatory remarks\n\t\t025\tBees Are Flies With Galnd [Gland] Trouble\n\t\t044\tNatural Prayer\n\t\t069\tMother Nature’s Helpers\n\t\t088\tI Want To Hijack A Bumblebee\n\t\t098\tPoem For A Dying Bumblebee\n\t\t109\tTribe Rhythm\n\t\t124\tToad Poem For John Newlove\n\t\t152\tThe Spider\n\t\t175\tJack In The Pulpit As A Flower With Its Fly Open\n\t\t190\tLove Poem For Fay\n\t\t222\tMy Body Surrenders To Female Green\n\t\t242\tThe Cool Dream\n\t\t263\tDream Food\n\t\t278\tPet\n\t\t300\tHe Is The Mozart Of Animal Sounds\n\t\t315\tDream\n\t\t333\tLamentation\n\t\t348\tInto The Glow Of An Atom\n\t\t365\tNarrowly He Nipped Through The Tender Trees\n\t\t399\tPrayer For An Earth Apple\n\t\t426\tWaiter, There’s An Alligator In My Coffee\n\t\t470\tEgg Sonata\n\t\t526\tThe Electric Rose\n\t\t561\tSun Poem\n\t\t570\tQuestions from audience\n\t\t739\tThe Funeral of The Great Bullfrog\n\t\t760\tThe Black Flower\n\t\t790\tFurther questions and commentary"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554840596481,"timestamp":"2026-01-07T14:59:59.214Z","score":2.0664616},{"id":"1464","cataloger_name":["Samuel,Mercier"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Alan Lord collection"],"source_collection_label":["Alan Lord collection"],"collection_contributing_unit":["SpokenWeb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Alan Lord collection contains all the archives regarding the Ultimatum poetry readings and the Ultimatum & Ultimatum II festivals, including film, sound and documentation."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Performance de Geneviève Letarte, Jack V et Colette Tougas"],"item_language":["French"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"creators":["[]"],"contributors":["[]"],"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":["[]"],"Dates":["[]"],"Location":["[{\"url\":\"\",\"venue\":\"Foufounes électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\"-73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes électriques"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670548989542400,"timestamp":"2026-01-07T14:59:53.477Z","score":2.0219343},{"id":"5667","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":[" Pull My Daisy: Jack Kerouac reading on the Beat Generation #417"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kerouac, Jack"],"creator_names_search":["Kerouac, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/27066713\",\"name\":\"Kerouac, Jack\",\"dates\":\"1922-1969\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5846/Reading in BC_MsC199_417.jpg\",\"other\":\"\",\"extent\":\"\",\"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\":\"417-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T02:50:31\",\"precision\":\"\",\"size\":\"172.2 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\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tA song – “Pull my Daisy”\n\t\t015\tKerouac reads “Early morning in the universe”\n\t\t312\tRecording ends\nTwo\t\t000\t“Now it’s jazz…” – readings on the Beat Generation\n\t\t032\t“San Francisco, San Francisco, you’re a muttering bum in a brown beat suit…”\n\t\t045\t“Praised be man…”\n\t\t057\t“In the ocean there lives a very sad turtle”\n\t\t068\t“Friday afternoon in the universe”\n\t\t112\t“Bop again with jazz…”\n\t\t534\tRecording ends"],"Note":["[{\"note\":\"The first 26 minutes of side one is full and the rest is blank. \\nThere is no side two for this cassette.\\nCassette is broken.\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553738543106,"timestamp":"2026-01-07T14:59:58.173Z","score":2.0219343},{"id":"5641","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robert Duncan reading his poetry at UBC on February 2, 1966 #656"],"item_title_source":["cassette and j-card"],"item_title_note":["J-card: 3:30 P.M. Feb. 2, 1966 BUCHANAN 106 Poetry Reading. Robert Duncan, author of \"The Opening of the Field\" and \"Roots and Branches\", well known to Vancouver poetry audiences, will read his more recent poetry. Recorded by Kurtis Vanel Side 1 44:35 2 22:30 Opening and closing remarks by Warren Tallman; Robert Duncan UBC Feb. 2, 1966"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Duncan, Robert","Vanel, Kurtis"],"creator_names_search":["Tallman, Warren","Duncan, Robert","Vanel, Kurtis"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"Opening and closing remarks\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Vanel, Kurtis\",\"dates\":\"1936-2017\",\"notes\":\"Also known as Doug Gyseman\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"contributors":["[]"],"Performance_Date":[1966],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5817/Reading in BC_MsC199_656.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\":\"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\":\"656-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:18\",\"precision\":\"\",\"size\":\"47.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"656-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:25\",\"precision\":\"\",\"size\":\"46.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1966-02-02\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1424987\",\"venue\":\"University of British Columbia\",\"notes\":\"\",\"address\":\"6398 University Blvd, Vancouver, BC V6T 1Z4\",\"latitude\":\"49.2586\",\"longitude\":\"-123.2452\"}]"],"Address":["6398 University Blvd, Vancouver, BC V6T 1Z4"],"Venue":["University of British Columbia"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\nTrack\nNo.\nComments\nOne\n000\n005\nIntroduction of Robert Duncan by Warren Tallman. Biographical details, Contextual significance, etc.\n036\nRobert Duncan\n037\n“For Jack Spicer”\n080\n“The Beginning of Writing: A Composition”\n132\n“Watts Towers”\n184\nDuncan talks of his “derivate” writing methods\n207\n“The Robber Moon”\n244\n“Marriage”\n277\n“Thank You for Love, for Robert Creeley”\n299\n“Two Presentations”\n300\n“I”\n339\n“II”\n394\nDuncan explains, the form behind the next poem\n428\n“The Multiversity”\n525\n“Doves”\n625\n“The Ballad of the Four Far Witches Sing”\n756\nApplause for Duncan\n767\nExplanation of the break\nTwo\n000\n003\nCrowd noises\n006\nDuncan begins to read again\n010\n“A Structure of Rhyme #22, for Dean Stockwell”\n035\n“A Structure of Rhyme #26, for Kenneth Anger”\n068\n“Four Songs the Night Nurse Sang”\n145\nQualifying statements to explain the next three poems\n151\n“Passages #5”\n181\n“Passages #6”\n237\n“Passages #7”\n247\nRemarks concerning “Country Wife Song”\n256\n“Country Wife Song” [Which Duncan actually sings quite well]\n290\nApplause/Reading ends"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553513099267,"timestamp":"2026-01-07T14:59:57.945Z","score":1.9870207},{"id":"6258","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":["THE DIAL-A-POEM POETS: Disconnected, Part 2 of 2 #535b"],"item_title_source":["cassette and j-card"],"item_title_note":["Liner notes: see the photo in the material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Ginsberg, Allen","Brainard, Joe","Wieners, John","Malange, Gerard","Perreault, John","Spicer, Jack","Carroll, Jim","Orlovsky, Peter","Baraka, Imamu Amiri","Dorn, Ed","Lima, Frank","O'Hara, Frank","Clark, Tom","Blackburn, Paul","Ashbery, John","Whalen, Philip","Fagin, Larry","Padgett, Ron","Coolidge, Clark","Amirkhanian, Charles","Berkson, Bill","McClure, Michael"],"creator_names_search":["Ginsberg, Allen","Brainard, Joe","Wieners, John","Malange, Gerard","Perreault, John","Spicer, Jack","Carroll, Jim","Orlovsky, Peter","Baraka, Imamu Amiri","Dorn, Ed","Lima, Frank","O'Hara, Frank","Clark, Tom","Blackburn, Paul","Ashbery, John","Whalen, Philip","Fagin, Larry","Padgett, Ron","Coolidge, Clark","Amirkhanian, Charles","Berkson, Bill","McClure, Michael"],"creators":["[{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/91270464\",\"name\":\"Brainard, Joe\",\"dates\":\"1942-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/90723960\",\"name\":\"Wieners, John\",\"dates\":\"1932-2002\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Malange, Gerard\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/110303657\",\"name\":\"Perreault, John\",\"dates\":\"1937-2015\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/14783289\",\"name\":\"Carroll, Jim\",\"dates\":\"1950-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/34654554\",\"name\":\"Orlovsky, Peter\",\"dates\":\"1933-2010\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/39371896\",\"name\":\"Baraka, Imamu Amiri\",\"dates\":\"1934-2014\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/25166087\",\"name\":\"Dorn, Ed\",\"dates\":\"1929-1999\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\" http://viaf.org/viaf/77849004\",\"name\":\"Lima, 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files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"535-tape-2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:34:46\",\"precision\":\"\",\"size\":\"44.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"No location mentioned in the recording\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tAllen Ginsberg – Jimmy Berman\n\t\t044\tJoe Brainard – excerpt from More I Remember More\n\t\t119\tJohn Wieners – excerpt from Memories in a small apartment\n\t\t174\tGerard Malange – A last poem (tentative title)\n\t\t183\tJohn Perreault – nude death\n\t\t204\tJack Spicer – excerpt from Billy the Kid\n\t\t250\tJim Carroll – from the basketball diaries, age 13, spring 1965\n\t\t299\tPeter Orlovsky – all around the garden\n\t\t364\tImamu Amiri Baraka (Leroi Jones) – Our nation is like ourselves\n\t\t433\tMichael McClure – Lion poem\n\t\t466\tEd Dorn – Recollections of Grande Apacharia\n\t\t537\tFrank Lima – the hunter\n\t\t564\tFrank O’Hara – Adieu Norman, Bonjour to Joan and Jean Paul\n\t\t619\tBill Berkson – Stanky\n\t\t625\tLarry Fagin – a play\n\t\t631\tTom Clark – little aria\n\t\t644\tPaul Blackburn – the once-over\n\t\t668\tPhilip Whalen – if you’re so smart, why aren’t you rich\n\t\t707\tRon Padgett – June 17, 1942\n\t\t797\tJohn Ashbery – the tennis court oath\n\t\t844\tClark Coolidge – excerpt from DEWS\n\t\t873\tCharles Amirkhanian - RADIL\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555061846017,"timestamp":"2026-01-07T14:59:59.437Z","score":1.9870207},{"id":"5668","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jack Kerouac reading: \"Poetry for the Beat Generation\" and \"Blues and Haikus\", March and Spring 1958 #418"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kerouac, Jack","Cohn, Al","Sims, Zoot","Allen, Steve"],"creator_names_search":["Kerouac, Jack","Cohn, Al","Sims, Zoot","Allen, Steve"],"creators":["[{\"url\":\"http://viaf.org/viaf/27066713\",\"name\":\"Kerouac, Jack\",\"dates\":\"1922-1969\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/44484718\",\"name\":\"Cohn, Al\",\"dates\":\"1925-1988\",\"notes\":\"saxophonist\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/100236756\",\"name\":\"Sims, 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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\":\"418-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:17\",\"precision\":\"\",\"size\":\"44.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"418-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:48\",\"precision\":\"\",\"size\":\"45.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1958-03\",\"type\":\"Production Date\",\"notes\":\"Side one\",\"source\":\"J-card\"},{\"date\":\"1958\",\"type\":\"Production Date\",\"notes\":\"Side two\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t004\t“October in the Railroad Earth”\n\t\t\tJack Kerouac reads his poetry to the piano accompaniment of Steve Allen\n\t\t135\tEnd\n\t\t136\t“Deadbelly”\n\t\t153\tEnd\n\t\t154\t“Charlie Parker”\n\t\t210\tEnd\n\t\t211\t“The Sounds of the Universe Coming in my Window”\n\t\t257\tEnd\n\t\t258\t“One Mother”\n\t\t270\tEnd\n\t\t271\t“Goofing at the Table”\n\t\t293\tEnd\n\t\t294\t“Bowery Blues”\n\t\t342\tEnd\n\t\t344\t“Abraham”\n\t\t360\tEnd\n\t\t361\t“Dave Brubeck”\n\t\t369\tEnd\n\t\t370\t“I had a Slouch Hat Too One Time”\n\t\t438\tEnd\n\t\t439\t“The Wheel of the Quivering Meat Conception”\n\t\t458\tEnd\n\t\t459\t“McDougal Street Blues”\n\t\t494\tEnd\n\t\t495\t“The Moon her Majesty”\n\t\t512\tEnd\n\t\t513\t“I’d rather be Thin than Famous’\n\t\t519\tEnd\n\t\t\tEnd of Recording\nTwo\t\t000\t\n\t\t005\t“American Haikus” – Kerouac reads to the saxophone accompaniment of Zoot Sims\n\t\t180\tEnd\n\t\t181\t“Hard Hearted Old Farmer’ – Kerouac sings to the piano Jazz rhythms of Al Cohn\n\t\t202\tEnd\n\t\t203\t“The Last Hotel & Some of Dharma”\n\t\t258\tEnd\n\t\t259\t“Poems from the Unpublished ‘Book of Blues’” – Kerouac returns to traditional reading, saxophone duet acts as accompaniment\n\t\t427\tEnd"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553738543107,"timestamp":"2026-01-07T14:59:58.173Z","score":1.9795616},{"id":"5323","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":["Paul de Barros and Bob Rose Reading in the Special Collections at SFU Library on November 7, 1980 #348"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Rose, Bob","Barros, Paul de"],"creator_names_search":["Rose, Bob","Barros, Paul de"],"creators":["[{\"url\":\"\",\"name\":\"Rose, Bob\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/104708432\",\"name\":\"Barros, Paul de\",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1980],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1179/Readings in BC_MsC199_348.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\":\"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\":\"348-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:00\",\"precision\":\"\",\"size\":\"29.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"348-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:29:58\",\"precision\":\"\",\"size\":\"29.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1980-11-07\",\"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\t002\tIntroduction to Bob Rose and Paul De Barros by Charles Watts\n\t\t019\tBob Rose “I am going to read from Living on Islands”\n\t\t\tShort explanation of book\n\t\t028\t“Listening”\n\t\t034\t“Initiation”\n\t\t045\t“For Bill, specifically”\n\t\t060\t“After Lorca”\n\t\t069\t“September 19, Hannegan Pass”\n\t\t106\t“High ridge walker”\n\t\t115\t“Partridge Point in fog”\n\t\t124\t“Deception past, a circular meditation”\n\t\t135\t“Abundance”\n\t\t142\t“Damp sand, eighteen varas”\n\t\t160\t“The Hiccattee Hole”\n\t\t177\t“Berusu song”\n\t\t192\t“Easter Sunday”\n\t\t211\t“Waiting for Messiah”\n\t\t220\t“Counting the leaves on my new neighbour’s tree”\n\t\t239\t“Living on Islands” for Gordon Payne\n\t\t283\t“Waking next to you” for Mary\n\t\t296\t“Legacies”\n\t\t308\t“Mantas”\n\t\t312\t“Skagit May”\n\t\t315\tEnd of Bob Rose’s reading\n\t\t316\tPaul De Barros introduces himself.  Will read from The Day After They Shot the Bear\n\t\t327\tIntroduces poem “Poplars”\n\t\t335\t“Poplars”\n\t\t357\t“In a draw” (prose) ded. To Richard Gates\n\t\t531\t“Some evidence of foxing” ded. To Jack Shoemaker\n\t\t636\t“Cut off at the broken arms”\n\t\t660\t“An easement in through paradise”\n\t\t799\tEnd of reading"],"Note":["[{\"note\":\"Liner Notes: Paul de Barros and Bob Rose Reading at Special Collections, SFU Library, November 7, 1980 Side 1 26:30 + 3:25 Side 2 29  Dolby B\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552860884993,"timestamp":"2026-01-07T14:59:57.321Z","score":1.9618948},{"id":"5678","cataloger_name":["Kate,Moffatt"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Poetry reading by Robert Duncan: Knowplace, tape 1 of 2 #691"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert"],"creator_names_search":["Duncan, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5858/Reading in BC_MsC199_691.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"691-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:30\",\"precision\":\"\",\"size\":\"38.3 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\":\"691-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:31\",\"precision\":\"\",\"size\":\"36.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t010\tVarious comments made in preparation for Bending the Bow “Structures of Rime”\n\t\t035\t“Structure of Rhime XXII”\n\t\t060\tEnd\n\t\t065\t“Structure of Rime XXIII”\n\t\t079\tEnd\n\t\t082\t“Structure of Rime XXIV”\n\t\t108\tEnd\n\t\t110\t“Structure of Rime XXV”\n\t\t130\tEnd\n\t\t136\t“An Illustration, Passages 20 (Structures of Rime XXVI)”\n\t\t173\tEnd\n\t\t180\tDuncan explains the genesis of “Structure”\n\t\t190\tDuncan talks about his first poetry workshop – 1953 – including experience with Helen Adam and Norman McLeod\n\t\t245\t“Figures of Speech” – a long poem concerning Blake’s imagery\n\t\t311\tEnd\n\t\t315\tDuncan makes general comments about poetry authenticity, and Jack Spicer\n\t\t330\tUnidentified poem – dedicated to Charles Olson\n\t\t360\tEnd\n\t\t362\tDuncan makes various comments about the sequence of his reading which is interrupted by the end of Side One\n\t\t379\tEnd\nTwo\t\t000\tDuncan talks about experience with “Black Mountain”\n\t\t045\t“At the End of a Period”\n\t\t097\tEnd\n\t\t098\t“Palace Athene”\n\t\t119\tEnd\n\t\t134\t“Question”\n\t\t165\tEnd\n\t\t178\t“Doves”\n\t\t220\tEnd\n\t\t230\tDuncan talks about orthodox criticism and some of the mythological roots of his poetry\n\t\t258\t“Cyparissus”\n\t\t308\tEnd\n\t\t338\t“A shrine to Ameinias”\n\t\t390\tEnd\n"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670553743785986,"timestamp":"2026-01-07T14:59:58.173Z","score":1.9374034},{"id":"4508","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Warren Tallman fonds"],"source_collection_label":["Warren Tallman fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2012.002"],"persistent_url":[""],"item_title":["EBBE Wed BU 106 / tr 2 303"],"item_title_source":["Title written on box."],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Borregaard, Ebbe","Tallman, Warren"],"creator_names_search":["Borregaard, Ebbe","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/43263290\",\"name\":\"Borregaard, Ebbe\",\"dates\":\"\",\"notes\":\"Side A 1-4 features Ebbe Borregaard giving a performance of both songs and poetry to Warren Tallman's English 303 class at UBC.\",\"nation\":[],\"role\":[\"Performer\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"Warren Tallman recorded the content of both Side A and B. In Side A 1-4 Warren Tallman records an event he organized with Ebbe Borregaard in his English 303 class. On Side A & B 3-2 Warren Tallman is heard as a speaker in a conversation with BC teachers.\",\"nation\":[],\"role\":[\"Recordist\",\"Series organizer\",\"Speaker\"]}]"],"contributors_names":["Spicer, Jack"],"contributors_names_search":["Spicer, Jack"],"contributors":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"Ebbe Borregaard sings a few of Jack Spicer's songs during his performance in Warren Tallman's English 303 class.\",\"nation\":[],\"role\":[\"Author\"]}]"],"author_name":["Spicer, Jack"],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3685/UBCO_Tallman_2012_002_018_a.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Professional Sound Recording Tape Type No. 12A7\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2012.002.018_EBBEWedBu106_SideA_1-4_02_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:53:57\",\"precision\":\"\",\"size\":\"1.79 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"Ebbe Borregaard sings and reads poetry in Warren Tallman's English 303 class.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2012.002.018_EBBEWedBu106_SideA_3-2_02_(MA)_02.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T01:04:53\",\"precision\":\"\",\"size\":\"2.15 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"Conversation between Warren Tallman and West Coast teachers about pedagogy.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2012.002.018_EBBEWedBu106_SideB_3-2_02_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T01:04:59\",\"precision\":\"\",\"size\":\"2.15 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"Continuation of Side A 3-2. Conversation between Warren Tallman and West Coast teachers about pedagogy.\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"197?\",\"type\":\"Performance Date\",\"notes\":\"Based on the context of the conversation and the books read, tr 3-2 of Side A and B was likely recorded circa 1971-72.\",\"source\":\"Secondary research.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/91208094\",\"venue\":\"Buchanan Building, University of British Columbia\",\"notes\":\"Location of recording on Side A 1-4\",\"address\":\"1866 Main Mall, Vancouver, B.C.\",\"latitude\":\"49.26827765\",\"longitude\":\"-123.25424162050663\"},{\"url\":\"\",\"venue\":\"Warren and Ellen Tallman's home\",\"notes\":\"Probable but unconfirmed location of recording on track 3-2 Sides A & B.\",\"address\":\"37th Street, Vancouver, B.C.\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["1866 Main Mall, Vancouver, B.C.","37th Street, Vancouver, B.C."],"Venue":["Buchanan Building, University of British Columbia","Warren and Ellen Tallman's home"],"City":["Vancouver, British Columbia","Vancouver, British Columbia"],"content_notes":["Side B 1-4 does not appear to be digitized currently, but may contain an event involving Ebbe Borregaard, Joanne Kyger, and George Stanley."],"contents":["Side A 1-4 consists of a recording of Ebbe Borregaard singing songs, playing the guitar, and reading poetry to Warren Tallman's English 303 class at UBC, circa 1970-72. \n\nSide A & B 3-2 consists of two parts of a recording in which Warren Tallman has a conversation with grade school teachers from the West Coast. The recording consists of teachers reading a \"statement of education\" followed by questions and comments from Warren Tallman and other teachers. This event was likely held in Warren Tallman's private residence, circa 1971-72."],"Note":["[{\"note\":\"Digitization complete. Transcription complete.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"http://cuneiformpress.com/wp-content/uploads/2014/09/Spicer-A-Book-of-Music-Complete.pdf.  \",\"citation\":\"Spicer, Jack. \\\"Orfeo.\\\" A Book of Music. White Rabbit Press, 1969. \"},{\"url\":\"\",\"citation\":\"Stephens, J.M. On the Psychology of Classroom Learning. Holt, Rienhart, and Winston, 1965.\"},{\"url\":\"\",\"citation\":\"Holt, John. How Children Fail. Pitman, 1964.\"},{\"url\":\"\",\"citation\":\"Neill, A.S. Summerhill: A radical approach to child learning. Forward by Erich Fromm. Hart Pub. co., 1960.\"}]"],"_version_":1853670550974496769,"timestamp":"2026-01-07T14:59:55.538Z","score":1.909085},{"id":"5999","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":["San Francisco/Vancouver Poets: George Stanley, Joanne Kyger, Gerry Gilbert, and Ebbe Borregaard discussion on March 9, 1970 #215"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Stanley, George","Gilbert, Gerry","Borregaard, Ebbe","Kyger, Joanne","[Hauser, Gwen?]","Walker, John","Miles, Josephine","Cacchioni, Mark"],"creator_names_search":["Stanley, George","Gilbert, Gerry","Borregaard, Ebbe","Kyger, Joanne","[Hauser, Gwen?]","Walker, John","Miles, Josephine","Cacchioni, Mark"],"creators":["[{\"url\":\"http://viaf.org/viaf/30781582\",\"name\":\"Stanley, George\",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/13554305\",\"name\":\"Gilbert, Gerry\",\"dates\":\"1936-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/43263290\",\"name\":\"Borregaard, Ebbe\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\" http://viaf.org/viaf/71627705\",\"name\":\"Kyger, Joanne\",\"dates\":\"1934-2017\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/25971407\",\"name\":\"[Hauser, Gwen?]\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Walker, John\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/110624639\",\"name\":\"Miles, Josephine\",\"dates\":\"1911-1985\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"Cacchioni, Mark \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors_names":["Quartermain, Peter"],"contributors_names_search":["Quartermain, Peter"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34534588\",\"name\":\"Quartermain, Peter\",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7469/Reading in BC_MsC199_215.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\":\"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\":\"215-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:41:32\",\"precision\":\"\",\"size\":\"39.9 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\":\"215-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:42:23\",\"precision\":\"\",\"size\":\"40.7 MB \",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-03-09\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/111968\",\"venue\":\"\",\"notes\":\"\",\"address\":\"San Francisco, California, USA\",\"latitude\":\"37.7870\",\"longitude\":\"-122.4673\"}]"],"Address":["San Francisco, California, USA"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t[Left]\t000\tGeorge Stanley re nostalgia\n\t\t010\tGerry Gilbert (?) with story of ambassador and monk\n\t\t018\tConversation re nostalgia and poems – what you’ve lost is your country.” – John Wieners –SF is our country\n\t\t028\tA criticism that is justified\n\t\t034\t“What holds me back is it seems to imply a criticism of the imagination to say that poetry in a sense consists of feeling about a lost home.”  Would seem to detract from its function as creating a home…\n\t\t041\tJosephine Miles re 20s and 30s in California as a paradise which we have lost now\n\t\t045\tIn the 50s – nostalgia for the city\n\t\t056\tThe system using us as raw materials\n\t\t064\tKyger : What is the point?  G.S. – The point is that I accept nostalgia\n\t\t067\tJ.K. – you sense a great nostalgia … some kind of fresh imprint that you get from something that’s not really clear… a fuzzy imprint – your influences and the feelings you feel then -\n\t\t074\tJ.K. : Jack Spicer was a poet that was a strong person, wasn’t a published poet – hard to see clearly what’s gone into your life\n\t\t090\tG.S. – publishing serial poems as books – Spicer’s et al – an innovation.  Those books represented competitiveness – desire to be known.\n\t\t108\tQuestion (?) – Is the movement that went on in SF in 50 – some odd – supposed to be reconstructed in 70? No.\n\t\t111\tG.G. – It seems as though we’ve learned quite a bit – We’ve done away with getting together to talk and reading together – with getting our books published and almost every poet from SF in ’60 and ’61 scattered\n\t\t123\tAll over the world.  Battle between Jack and Robert over the great world\n\t\t133\tEbbe Borregaard (?) Don’t think he (Spicer) ever told me, “son, keep out of the great world.”\n\t\t135\tJ.K.: Poetry up to that time had been in academic world – when things started to change, new image of what poetry was about, Jack’s position was, keep it right in the living room, don’t get close to the academic, don’t publish – when it became time to move on out, becomes a little difficult\n\t\t147\tJ.K. : This afternoon being in an academic environment seemed to be a little bit risky…\n\t\t152\tJ.K. : Where music is at today, has a much truer audience than where poets are in the university…\n\t\t159\tG.G. : Poets in Vancouver not connected to any institution but their own…\n\t\t176\tMarc Caccione (?) – Poetry (?) like a used car lot – a subjective existence.  J.K. – Don’t despair – just do it.  Forget about the analogy.\n\t\t195\tE.B. : Just despair all the harder – there’s no end, you know.  Know R. Crumb?  Pfeiffer – I think that’s where poetry is.  Despair Comics\n\t\t212\tJ.K. – I thought we should start to read or something…\n\t\t214\tE.B. – invites someone to read\n\t\t222\tJ.K. speaks of reading in S.F. – everyone talking about Eastern mind – no rationalism – thought must be something to do with rational mind – so wrote piece on Descarte’s Discourse on Method – a clue to the Western mind – we just think it makes sense\n\t\t242\tReads “Descartes and the Splendor of a Real Drama of Everyday Life in 6 parts.”\n\t\t380\tEnds\n\t\t388\tSound ends abruptly \n\t\t430\tSound picks up again\n\t\t439\tGwen Hauser (?) speaks\n\t\t448\tG.H. (?) reads – “Of course I’m afraid of you.”\n\t\t473\tReads “Everybody must have a vision/some are smaller than others.”\n\t\t500\tReads “A Circle Goes Round a Man and Woman.”\n\t\t517\tMarc Caccione reads “Mooching Ferns”\n\t\t667\tM.C. reads “Hail North Beach”\n\t\t760\tJohn Walker reads 8 poems on cormorants off the coast of Sechelt\n\t\t838\tJ.W. reads Big City Shaman\n\t\t862\tReads “The stone shutters wrought close to the countered gate”\n\t\t959\tReads Babyland Blues\n\t\t980\tSound breaks off"],"Note":["[{\"note\":\"Liner Notes: SF/Vancouver Poets March 9, 1970 Stanley, Kyger, Stockholder Side 1: 31:40 Side 2 31:35\",\"type\":\"General\"},{\"note\":\"No one is introduced on the recording\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554406486020,"timestamp":"2026-01-07T14:59:58.804Z","score":1.9005511},{"id":"9533","cataloger_name":["University of Alberta,"],"partnerInstitution":["University of Alberta"],"collection_source_collection":["Department of English Recorded Events"],"source_collection_label":["Department of English Recorded Events"],"collection_contributing_unit":["Department of English and Film Studies"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Literary readings, lectures, panels, and interviews organized by members of the Department of English, University of Alberta, featuring local and visiting authors. Original recordings on reel to reel and cassette, Edmonton and area, 1969-1988."],"collection_source_collection_id":[""],"persistent_url":["https://ualberta.aviaryplatform.com/collections/1783"],"item_title":["Robin Blaser at [Location Unknown], 1970"],"item_language":["English"],"item_identifiers":["[]"],"creator_names":["Blaser, Robin","Blaser, Robin"],"creator_names_search":["Blaser, Robin","Blaser, Robin"],"creators":["[{\"url\":\"\",\"name\":\"Blaser, Robin\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Blaser, Robin\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"1 7/8 ips\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"https://ualberta.aviaryplatform.com/r/n872v2f76v\"}]"],"Dates":["[{\"date\":\"1970-03-03\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Note":["[{\"note\":\"Handwritten from back of case: Poetry Reading by Roblin Blaser For Prof Hogg | Track 1/4 Speed 1 7/8 IPS ONESIDE ONLY COPY |81-233 poet reads from an essay of his on his own work | 25L- reads a group of baseball poems (written by Jack Spicer?) also a poem written for Vancouver Festival | 290 Poems from \\\"Of the Holy Forest\\\" | 3-21 Poet talks from \\\"Cups\\\" | 21-81 \\\"one\\\" \\\"two\\\" \\\"three\\\" \\\"four\\\" \\\"five\\\" \\\"six\\\" \\\"seven\\\" \\\"eight\\\" \\\"nine\\\" \\\"ten\\\" \\\"eleven\\\" \\\"twelve\\\"\",\"type\":\"General\"},{\"note\":\"Event Location unknown\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670552750784514,"timestamp":"2026-01-07T14:59:57.226Z","score":1.8948047},{"id":"6999","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":["Daphne Marlatt interview with Fred Wah in Summer 1980"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Wah, Fred","Marlatt, Daphne"],"creator_names_search":["Wah, Fred","Marlatt, Daphne"],"creators":["[{\"url\":\"http://viaf.org/viaf/1330211\",\"name\":\"Wah, Fred\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Donor\",\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1980],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12362/Fred Wah Fonds_MsC 17e_84.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\":\"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\":\"084 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:29:52\",\"precision\":\"\",\"size\":\"31.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"084 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:29:50\",\"precision\":\"\",\"size\":\"31.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1980\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Fred Wah and Daphne Marlatt discuss Marlatt’s early poetry and the challenge of balancing the dual roles of housewife and poet/writer. Marlatt also reflects on her novel writing and on the authors she was reading during her university years—such as [Laurence?], Virginia Woolf, Henry James, and Jack Kerouac. She considers how her novels’ plots engage with the audience’s consciousness and contribute to the development of their subconscious. Marlatt briefly describes her travels to different countries and the discoveries these journeys afforded: about the self and about one’s relationship to the surrounding environment. On the second side of the program, she continues to speak about the authors she reads.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556250931201,"timestamp":"2026-01-07T15:00:00.560Z","score":1.8948047},{"id":"6307","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":["San Francisco/Vancouver Poets: Stan Persky, Stuart, Brian Fawcett, Robin Blaser, and Joanne Kyger on March 11, 1970 Tape 2 of 2 #216"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Persky, Stan","Fawcett, Brian","Blaser, Robin","Kyger, Joanne","Stuart, Colin"],"creator_names_search":["Persky, Stan","Fawcett, Brian","Blaser, Robin","Kyger, Joanne","Stuart, Colin"],"creators":["[{\"url\":\"http://viaf.org/viaf/57448780\",\"name\":\"Persky, Stan\",\"dates\":\"1941-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/35890\",\"name\":\"Fawcett, Brian\",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/71627705\",\"name\":\"Kyger, Joanne\",\"dates\":\"1934-2017\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Stuart, Colin\",\"dates\":\"\",\"notes\":\"There are several Colin Stuarts on VIAF, but they do not fit\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors_names":["Quartermain, Peter"],"contributors_names_search":["Quartermain, Peter"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34534588\",\"name\":\"Quartermain, Peter\",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/8618/Reading in BC_MsC199_216.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\":\"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\":\"216-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:19\",\"precision\":\"\",\"size\":\"51.5 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\":\"216-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:15\",\"precision\":\"\",\"size\":\"54.3 MB \",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-03-11\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/111968\",\"venue\":\"\",\"notes\":\"\",\"address\":\"San Francisco, California, USA\",\"latitude\":\"37.7870\",\"longitude\":\"-122.4673\"}]"],"Address":["San Francisco, California, USA"],"content_notes":["SFU BC Readings formatting\n\nNote: the contents in the document do not entirely correspond to the contents in the recording"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tBackground conversations\n\t\t015\tKyger – prefatory remarks\n\t\t023\tKyger reads “Places to go”\n\t\t087\tPersky reading from The Day – prefatory remarks\n\t\t\tInvocation to Helliconian Muses\n\t\t132\t“Notebook – around December 9, 1969” – Persky\n\t\t179\t“Notebook – Wednesday around December 10, 1969”\n\t\t220\t“Notebook – January 25 and 26, 1970”\n\t\t281\t“Notebook – January 26, 1970”\n\t\t355\tComments from audience\n\t\t366\t“Saturday February 14”\n\t\t423\tColin Stuart – reads passage from Olson “Angel (?Rub?)”\n\t\t445\tColin Stuart – (title?) Actress?\n\t\t459\t“Saw the wind mixed with the sea spray…”`\n\t\t464\t“Going down the hill in a streetcar, surrounded by white…”\n\t\t485\t“(Across the inlet for land?), across the colours of the earth…”\n\t\t507\t“Yet how the day erases the dark shade when Zephyrus is sent to do his chore…”\n\t\t575\tBrian Fawcett – reading\n\t\t\t“Jack phones… “ story\n\t\t695\tCommentary\n\t\t703\t“Zodiac March 10, 1970”\nTwo\t\t006\tRobin Blaser – prefatory remarks\n\t\t010\tThe Holy Forest – “Translation\n\t\t016\tWinter words”\n\t\t022\t“The stories”\n\t\t039\t“Love”\n\t\t055\t“Song”\n\t\t060\t“First tale – over”\n\t\t066\t“Second tale – return”\n\t\t083\t“At last”\n\t\t091\t“Aphrodite of the leaves”\n\t\t105\t“The translator – tale”\n\t\t119\t“Sophia Nichols’\n\t\t142\t“A gift – a homage to Creeley”\n\t\t153\t“Bottom’s dream”\n\t\t162\t“The finder”\n\t\t190\t“Merlin”\n\t\t201\t“The pride of Merlin”\n\t\t228\t“Envoi”\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670555074428931,"timestamp":"2026-01-07T14:59:59.437Z","score":1.8902307},{"id":"7161","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Robert Creeley and Warren Tallman speaking at \"On The Road: The Jack Kerouac Conference\" at Naropa Institute on July 24, 1982 DUPLICATE 2 of 2 ABRIDGED"],"item_title_source":["J-card, Recording, and Internet"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Coolidge, Clark","Fagin, Larry","Kerouac, Jack","Creeley, Robert"],"creator_names_search":["Tallman, Warren","Coolidge, Clark","Fagin, Larry","Kerouac, Jack","Creeley, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/66488556\",\"name\":\"Coolidge, Clark\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94390890\",\"name\":\"Fagin, Larry\",\"dates\":\"1937-\",\"notes\":\"He does the introduction part\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/27066713\",\"name\":\"Kerouac, Jack\",\"dates\":\"1922-1969\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1982],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11942/Warren Tallman Fonds_MsC 26.42_162.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-162-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:22\",\"precision\":\"\",\"size\":\"64 MB\",\"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\":\"MSC26-162-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:00\",\"precision\":\"\",\"size\":\"66.9 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\":\"1982-07-24\",\"type\":\"Production Date\",\"notes\":\"We found the date on http://archives.naropa.edu/digital/collection/p16621coll1/id/485/\",\"source\":\"Internet\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa institute \",\"notes\":\"\",\"address\":\"Marine Street, Boulder, Boulder County, Colorado, 80309, United States\",\"latitude\":\"40.01405\",\"longitude\":\"-105.26696\"}]"],"Address":["Marine Street, Boulder, Boulder County, Colorado, 80309, United States"],"Venue":["Naropa institute "],"Note":["[{\"note\":\"Side one and the first 5:34 minutes of side two on tape 189 (SWALLOW ID 7188) is duplicate of this tape\",\"type\":\"General\"},{\"note\":\"Robert Creeley, Warren Tallman, and Clark Coolidge discuss Kerouac's works, including Dr. Sax, Visions of Cody, On the Road, Lonesome Traveler, and Old Angel Midnight. \\n\\n\\\"The Jack Kerouac Conference\\\" took place at the Naropa Institute in Boulder, CO July 23-August 1, 1982 and included William Burroughs, Gregory Corso, Diane diPrima, Lawrence Ferlinghetti, Timothy Leary, Michael McClure, Gary Snyder and Anne Waldman. An ad for the conference appears in a document from Naropa in Warren Tallman's fonds. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556690284544,"timestamp":"2026-01-07T15:00:00.983Z","score":1.8779352},{"id":"7188","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Robert Creeley and Warren Tallman speaking at \"On The Road/ Jack Kerouac\" conference at Naropa Institute on July 24, 1982 DUPLICATE 1 of 2 FULL"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Fagin, Larry","Creeley, Robert","Tallman, Warren"],"creator_names_search":["Fagin, Larry","Creeley, Robert","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/94390890\",\"name\":\"Fagin, Larry\",\"dates\":\"1937-\",\"notes\":\"Larry Fagin introduces Robert Creeley, Warren Tallman, and Clark Coolidge in the beginning of side one\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1982],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12178/Warren Tallman Fonds_MsC 26.44_189.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\":\"189 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:32\",\"precision\":\"\",\"size\":\"43.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"189 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:45\",\"precision\":\"\",\"size\":\"43.7 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\":\"1982-07-24\",\"type\":\"Production Date\",\"notes\":\"We found the date on http://archives.naropa.edu/digital/collection/p16621coll1/id/485/\",\"source\":\"Internet\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"\",\"address\":\" 2130 Arapahoe Ave, Boulder, CO 80302, United States\",\"latitude\":\"40.01405\",\"longitude\":\"-105.26695\"}]"],"Address":[" 2130 Arapahoe Ave, Boulder, CO 80302, United States"],"Venue":["Naropa Institute"],"Note":["[{\"note\":\"Side one and the first 5:34 minutes of side two is duplicate of tape of #162 (SWALLOW ID 7161)\",\"type\":\"General\"},{\"note\":\"Robert Creeley, Warren Tallman, and Clark Coolidge (not on the tape) discuss Kerouac's works, including Dr. Sax, Visions of Cody, On the Road, Lonesome Traveler, and Old Angel Midnight. \\n\\n\\\"The Jack Kerouac Conference\\\" took place at the Naropa Institute in Boulder, CO July 23-August 1, 1982 and included William Burroughs, Gregory Corso, Diane diPrima, Lawrence Ferlinghetti, Timothy Leary, Michael McClure, Gary Snyder and Anne Waldman. An ad for the conference appears in a document from Naropa in Warren Tallman's fonds. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556695527424,"timestamp":"2026-01-07T15:00:00.983Z","score":1.8779352},{"id":"5670","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":["Firing Line program - Panel on Hippies: Jack Kerouac and Ed Sanders, 1968 #420"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Kerouac, Jack","Sanders, Ed"],"creator_names_search":["Kerouac, Jack","Sanders, Ed"],"creators":["[{\"url\":\"http://viaf.org/viaf/27066713\",\"name\":\"Kerouac, Jack\",\"dates\":\"1922-1969\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/22183708\",\"name\":\"Sanders, Ed\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1968],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5849/Reading in BC_MsC199_420.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"420-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:15\",\"precision\":\"\",\"size\":\"43.7 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\":\"420-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:49:40\",\"precision\":\"\",\"size\":\"52.4 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\":\"1968\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Inventory\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t006\tA panel involving Jack Kerouac, Ed Sanders and others are interviewed about the Hippy movement\n\t\t025\tInterviewer asks Saunders if he is a “hippy”; and if not, how does he differ\n\t\t047\tQuestion – “Are we to assume from this that the [Hippy] does not have a highly developed political ideology?”\n\t\t065\tThe interviewer searches for a general definition of “Hippy”\n\t\t100\t“What distinguishes the Hippy movement?”\n\t\t117\tKerouac is asked, “To what extent do you believe that the Beat generation is related to the Hippies…?”\n\t\t130\tKerouac responds about the aspects of social insurrection which have been associated with the Beat generation\n\t\t185\tAn unidentified speaker ties the concept of misanthropy to the war: suggesting that a street culture has evolved as a way of rejecting the prospects of entering the Vietnam war\n\t\t210\tA university professor searches for a comprehensive definition to the Hippy movement\n\t\t250\tAmerican politics – particularly the governments of Kennedy and Johnson are compared\n\t\t284\tKerouac is asked if he thinks Americans are disillusioned with the political process\n\t\t300\tSanders makes extensive comments about Czechoslovakia, and legitimate means of non-violent political protest\n\t\t340\tThe discussion focuses upon recent issues involving violent confrontations between police and demonstrators\n\t\t409\tKerouac – “There are people who make a rule of creating chaos, once that chaos is under way, then they can be elected as the people to take care of the chaos… these people become ‘commissars’ of violence.”\n\t\t485\tThe “psychedelic creed” of the hippy movement is examined.  A question is directed to a panel member:\n\t\t547\t“What kind of a future do you see for the Hippy movement?”\n\t\t564\t“Would any of you regard the Hippy movement … as a manifestation of the psychological inadequacies of the individual Hippies themselves?”\n\t\t591\t“Do [the Hippies] plan to make it a life-time occupation; are they just going to sit around and watch the world go by?”\n\t\t599\tEnd.  End Side One"],"Note":["[{\"note\":\"Firing Line program: panel on Hippies \",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553738543109,"timestamp":"2026-01-07T14:59:58.173Z","score":1.8776639},{"id":"7248","cataloger_name":["Maya,Schwartz"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Pierre Coupey Fonds"],"source_collection_label":["Pierre Coupey Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC205"],"persistent_url":[""],"item_title":["Robert Duncan: Interviewed by Robert Creeley, plus poems read by Duncan and Jack Spicer"],"item_title_source":["cassette"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Duncan, Robert","Creeley, Robert","Spicer, Jack"],"creator_names_search":["Duncan, Robert","Creeley, Robert","Spicer, Jack"],"creators":["[{\"url\":\"https://viaf.org/viaf/105142281/#Duncan,_Robert,_1919-1988\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/109562114/#Creeley,_Robert,_1926-2005\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/46807530/#Spicer,_Jack\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12200/Pierre Coupey Fonds_MsC 205_14.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"clear tape box\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC205-14 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:19\",\"precision\":\"\",\"size\":\"55.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC205-14 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:18\",\"precision\":\"\",\"size\":\"52.1 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\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://nominatim.openstreetmap.org/ui/details.html?osmtype=R&osmid=2814221&class=amenity\",\"venue\":\"University of California, Berkeley\",\"notes\":\"\",\"address\":\"University Avenue and, Oxford St, Berkeley, CA 94720, United States\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["University Avenue and, Oxford St, Berkeley, CA 94720, United States"],"Venue":["University of California, Berkeley"],"City":["Berkeley, California"],"content_notes":["Side B is blank"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556899999749,"timestamp":"2026-01-07T15:00:01.192Z","score":1.8602688},{"id":"7847","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":["Jack Hodgins reading at Selkirk College in Castlegar, British Columbia, on [May?] 18, [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":["Hodgins, Jack"],"creator_names_search":["Hodgins, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/114666696\",\"name\":\" Hodgins, Jack\",\"dates\":\"1938-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1980],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/7847/Fred Wah Fonds_MsC 17 g_96.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-96 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:34\",\"precision\":\"\",\"size\":\"61 MB\",\"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-96 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:05\",\"precision\":\"\",\"size\":\"60.1 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\":\"1980-[05?]-18\",\"type\":\"Production Date\",\"notes\":\"We are not sure if May is written on the j-card; it could be June too\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/270034909\",\"venue\":\"Selkirk College\",\"notes\":\"\",\"address\":\"College Selkirk College, 10th Street Campus\",\"latitude\":\"49.50554\",\"longitude\":\"-117.26734\"}]"],"Address":["College Selkirk College, 10th Street Campus"],"Venue":["Selkirk College"],"Note":["[{\"note\":\"Susan Holbrook reads two short poems and a longer piece. She reads [For Barbies?], \\\"Canto hondo, a longer translate piece. \\n\\nSteve McCaffery reads from his book called \\\"The Cheat of Words\\\". He also reads a part of his translated version of Robert Filliou's book named \\\"14 songs and 1 riddle\\\" and from \\\"Teachable Texts\\\".\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670557241835522,"timestamp":"2026-01-07T15:00:01.509Z","score":1.8602688},{"id":"9003","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["Jack Hodgins reading from \"The Barclay family theatre\" at SFU on July 14, 1981"],"item_title_source":["Cassette and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Mandel, Eli","Hodgins, Jack","Vanel, Kurtis"],"creator_names_search":["Mandel, Eli","Hodgins, Jack","Vanel, Kurtis"],"creators":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/59095399\",\"name\":\"Mandel, Eli\",\"dates\":\"1922-1992\",\"notes\":\"He introduces Jack Hodgins at the beginning of side one\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/114666696\",\"name\":\"Hodgins, Jack\",\"dates\":\"1938-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Reader\",\"Speaker\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"Vanel, Kurtis \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1981],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9003/Roy Miki Fonds_MsC 161_183.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\":\"\",\"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\":\"MsC161-183 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:03\",\"precision\":\"\",\"size\":\"704 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-183 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:20\",\"precision\":\"\",\"size\":\"988 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1981-07-14\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\" 8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2770\",\"longitude\":\"-122.9178\"}]"],"Address":[" 8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670557788143618,"timestamp":"2026-01-07T15:00:02.033Z","score":1.8602688},{"id":"5347","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Colin Stewart and Duncan McNaughton discussion and interview with Warren Tallman on November 29, 1978 part 2 of 2 #740"],"item_title_source":["cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["McNaughton, Duncan","Tallman, Warren","Stewart, Colin"],"creator_names_search":["McNaughton, Duncan","Tallman, Warren","Stewart, Colin"],"creators":["[{\"url\":\"http://viaf.org/viaf/291599827\",\"name\":\"McNaughton, Duncan \",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/1899514\",\"name\":\"Stewart, Colin \",\"dates\":\"1959-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1214/Reading in BC_MsC199_740.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"740-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:00\",\"precision\":\"\",\"size\":\"47.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"740-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:38:51\",\"precision\":\"\",\"size\":\"51.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-11-29\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t020\tDuncan McNaughton explains about his modern prose project\n\t\t080\tMcNaughton explains about the process of writing – and the alcohol problem which propelled him into this writing project\n\t\t142\t“The book has no plot, it is a suspense book of sorts… the problem is, I don’t know how to get out of it” – McNaughton\n\t\t210\tMcNaughton is asked about the references to Massachusetts in the work he has just read\n\t\t270\tMcNaughton is asked about the aspect of surrealism within his work\n\t\t280\tStewart is asked about his awareness of writing mechanics during the process of writing\n\t\t295\tStewart comments about uniting as a process of illumination and destruction\n\t\t310\tStewart explains that writing, for him, is difficult process filled with resistance\n\t\t330\tStewart talks about the distinction between poetry and prose, and the difficulties involved in writing within each style\n\t\t386\tThe discussion focuses upon T.V. and popular culture\n\t\t400\tEnd.  End Side One\nTwo\t\t000\t\n\t\t020\tMcNaughton expresses great pessimism about television, popular film and the business of film production\n\t\t090\t“The Americans who write anything that interests me are people so attuned to live speech… and far away from books” – McNaughton\n\t\t160\tMcNaughton speaks about the Japanese language and his interest in Japanese fiction\n\t\t235\tMcNaughton relates a story about his meeting with Jack Kerouac and the literary philosophy which evolved from this meeting\n\t\t281\tMcNaughton is questioned about what he concentrates upon when writing, and how he develops a character\n\t\t320\tMcNaughton comments about one’s roots and the importance of being tied to a culture – a sense of place"],"Note":["[{\"note\":\"Liner Notes:\\nColin Stewart and Duncan McNaughton \\nNovember 29 1978\\npart two of two\\nDOLBY B\\n#740\",\"type\":\"General\"},{\"note\":\"Besides Warren Tallman, there is also a woman who asks some questions  \",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553053822978,"timestamp":"2026-01-07T14:59:57.525Z","score":1.8453255},{"id":"5645","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":["Panel discussion: \"Spicer in Context\", Jack Spicer conference at New College of California with Bruce Boone, Michael Davidson, John Granger, and George Stanley on June 19, 1986 part 1 of 3 #393"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack","Boone, Bruce","Davidson, Michael","Granger, John","Stanley, George"],"creator_names_search":["Spicer, Jack","Boone, Bruce","Davidson, Michael","Granger, John","Stanley, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Boone, Bruce\",\"dates\":\"1940-\",\"notes\":\"He is the program's moderator \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/111011925\",\"name\":\"Davidson, Michael\",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/55986812\",\"name\":\"Granger, John\",\"dates\":\"1961-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/30781582\",\"name\":\"Stanley, George\",\"dates\":\"1934-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5822/Reading in BC_MsC199_393.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"393-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:01\",\"precision\":\"\",\"size\":\"44.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"393-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:02\",\"precision\":\"\",\"size\":\"44.4 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\":\"1986-06-19\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/358818845#map=19/37.86675/-122.26884\",\"venue\":\"New College of California\",\"notes\":\"New College Berkley\",\"address\":\"San Francisco, California , United States\",\"latitude\":\"37.8667498\",\"longitude\":\"-122.2688401\"}]"],"Address":["San Francisco, California , United States"],"Venue":["New College of California"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nA\t\t000\tIntroduction of “Spicer in context” discussion by Bruce Boone\n\t\t\tHe discusses the inter-relation of voice and text\n\t\t038\tBoone reads the poem “Battle of New Orleans”\n\t\t056\tBoone introduces Michael Davidson, who is writing a book on the San Francisco Poetry Renaissance\n\t\t070\tMichael Davidson reads a chapter about Spicer and community called “The City Redefined – Community and Dialogue in Jack Spicer.”\n\t\t300\tBoone introduces John Granger.  Granger talks about Spicer’s work as a decontextualization.  He says that disturbance in pronoun referents is a strategy among gay writers.\n\t\t372\tGranter reads the first “Marxist Essay,” and parts of Letters to Lorca\n\t\t532\tA cut in the tape. Discussion of the influence of the Cocteau movies\n\t\t588\tBoone introduces George Stanley, who discusses “The Battle of New Orleans”\n\t\t612\tTape ends\nB\t\t000\tStanley reads “A Diamond” – After Lorca and does a stanza by stanza analysis\n\t\t039\tSymbolic events in Spicer’s transitional works\n\t\t\t“For Billy”, “Admonitions: and “Apollo sends seven nursery rhymes.”\n\t\t143\tReads”Ghost song”\n\t\t152\tDiscusses “Duet for a chair and a table”\n\t\t162\tBilly the Kid as an Osiris Figure\n\t\t200\t“Fifteen false propositions against God”\n\t\t214\tReads the second quintet from “False propositions”\n\t\t232\tReads “Number seven” from above\n\t\t252\tReads from Apollo sends seven nursery rhymes\n\t\t264\tThe search for metaphysical ground in the later poems\n\t\t301\tDiscussion.  Bruce Boone asks – what would a poetic community look like as it progressed?\n\t\t373\tSpicer’s sense of politicism and sexuality\n\t\t439\tMichael Davidson reds a passage from Bakhtin on image and community\n\t\t469\tBataille and community\n\t\t510\tThe double necessity/impossibility of community in Spicer \n\t\t614\tTape over"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553956646912,"timestamp":"2026-01-07T14:59:58.384Z","score":1.8142669},{"id":"5950","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":["Mountain Pass No 33,34: Stan Persky at Terrace in Summer 1976 #33,34"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Studio recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["[McNeill, Alan?]","Persky, Stan"],"creator_names_search":["[McNeill, Alan?]","Persky, Stan"],"creators":["[{\"url\":\"\",\"name\":\"[McNeill, Alan?] \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/57448780\",\"name\":\"Persky, Stan\",\"dates\":\"1941-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors_names":["Shaddock, Phil"],"contributors_names_search":["Shaddock, Phil"],"contributors":["[{\"url\":\"\",\"name\":\"Shaddock, Phil\",\"dates\":\"\",\"notes\":\"In the inventory it states that he is a Donor and we are not sure what it means\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/356/Reading in BC_MsC199_33,34.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:05:28\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"33,34-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:27:13\",\"precision\":\"\",\"size\":\"19.1 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\":\"33,34-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:06\",\"precision\":\"\",\"size\":\"25.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976\",\"type\":\"Production Date\",\"notes\":\"Summer\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/2222315\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Terrace, BC,Canada\",\"latitude\":\"54.5209\",\"longitude\":\"-128.6025\"}]"],"Address":["Terrace, BC,Canada"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tOne\t000\tStan Persky : Writing and Politics\n\t\t\tPersky provides autobiographical sketch-gay consciousness- upon first reading Ginsberg and Kerouac-meeting San Francisco poets Robert Duncan, Robin Blaser, George Stanley, Jack Spicer, Ron Loewinsohn-beginning of politicization through Ginsberg’s anti-war protests- increasing politicization within Canadian context i.e. student politics, gay liberation politics and socialist politics\n\t\t250\tPersky reads Nanaimo I\n\t\t\tDiscussion re relevance of Nanaimo I to present conditions – re Alcan workers strike in Kitimat B.C. – re political awareness and revolution\n\t\t430\tPersky reads Topic Sentence from a period referred to as Journal Writings\n\t\t\tDiscussion re the teaching of composition in the public school system : “The form and the behaviour that we were to display and be obedient to in a paragraph that we were being taught to write was exactly correspondent in not a conscious conspiratorial way but in a structural sense to the sort of obedient behaviour that we should display with respect to our appropriate stations in bourgeois society.  That is, we were to be well-behaved… “-topic sentence is a hoax, an invention… composing is the act of following out one perception after another- dialectical movement of thought (interviewer) – using Olson’s projective verse as his methodology- Nanaimo I as projective verse\n\t\t864\tPersky reads Phuoc Binh Statement – this poem was written after the realization concerning the lack of political awareness on the part of poets in the Canadian context – it is a statement of the relation between poetry and politics.  Discussion of the poem and ‘relevance’\n\t\t1020\tPersky’s question – Why are people so apolitical in this society or know so little about history as it relates to what human beings are trying to do?\n\n"],"Note":["[{\"note\":\"Liner Notes: Mountain Pass Series - CFRO Stan Persky Writings and Politics Side 1 37:13 min. Side 2 27:15 min Dolby 2B\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554396000256,"timestamp":"2026-01-07T14:59:58.804Z","score":1.8025289},{"id":"6177","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":["Robert Fones reading at the Western Front on March 31, 1975 #287"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Fones, Robert","Knechtel, Mary Beth","Dewdney, Christopher"],"creator_names_search":["Fones, Robert","Knechtel, Mary Beth","Dewdney, Christopher"],"creators":["[{\"url\":\"http://viaf.org/viaf/16845071\",\"name\":\"Fones, Robert\",\"dates\":\"1949-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/93615375\",\"name\":\"Knechtel, Mary Beth\",\"dates\":\"1943-\",\"notes\":\"As it's written in the BC inventory document, it's assumed that Mary Beth Knechtel introduces Robert Fones\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/101952075\",\"name\":\"Dewdney, Christopher\",\"dates\":\"1951-\",\"notes\":\"His reading part is missing on this tape. Christopher’s reading part appears to be on tape #286.\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/753/Readings in BC_MsC199_287.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\":\"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\":\"287-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:39\",\"precision\":\"\",\"size\":\"31.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"287-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:51\",\"precision\":\"\",\"size\":\"31.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"The first minute is full and the rest is blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-03-31\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/292460590\",\"venue\":\"The Western Front\",\"notes\":\"\",\"address\":\"303 E 8th Ave E, Vancouver, BC V5T 1S1\",\"latitude\":\"49.26391\",\"longitude\":\"-123.09869\"}]"],"Address":["303 E 8th Ave E, Vancouver, BC V5T 1S1"],"Venue":["The Western Front"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tC.D. speaking “O.K. that’s the only part that’s going to be over the P.A.  (Announces he’ll read)  “The song of remote control”  (from Fovea centralis, Toronto : Coach House, 1975,p. 92)  The beginning of this tape is a duplicate of tape 286 from side 1, 513\n\t\t571\tC.D.’s reading ends as on side one, tape 286\n\t\t572\tIntroduction of Robert Fones by Mary Beth Knechtel (?) “He read at the Front on March 31, 1975.”\n\t\t585\tRobert Fones: “I’m going to start off with a few things from Anthropomorphiks…”\n\t\t590\t“City”\n\t\t620\t“The one-eyed jack”\n\t\t657\t“Ozone” (“The beginning of a new series of things I’ve been writing based on “The ant lions”)\n\t\t692\t“Ode to a miniature Roy Rogers”\n\t\t801\tReads poems from The forest city\n\t\t808\t“Music beings convey the tone arm to the record...”\n\t\t848\t“Seen through a snow fence, a frieze of history animates…”\n\t\t887\t“Here, in the city, where there are no foxes…”\n\t\t1000\t“…I was…conceiving London (Ont.) as a grail city, in a sense…and everyone is a hologram in the poem…This (next) poem is…the arrival of the Galahad figure, who is going to free \nthe town…”\n\t\t1018\t“I am a knight with a Cadillac of power windows…\"\n\t\t1041\t“Woozles” (for Chris Dewdney)\n\t\t1100\t“Turpentine”\n\t\t1137\tSpeaks of the following two poems as being tied in with his sense of limited vision”.\n\t\t1213\t“Partial”\n\t\t1262\t“Impartial”\n\t\t1291\t“Rinky-Tink for slinger” (for Ed Dorn)\n\t\t1320\t“This is one of the few cone poems I ever wrote that explains…my fascination for them, called “Wouldn’t it be sad if there were no cones?”\n\t\t1412\t“Roberts Creek”\n\t\t1480\tSound ends – side one ends\n\t\t\tThe rest of Robert Fones’s reading may be found on Tape no. 290, side on left channel."],"Note":["[{\"note\":\"Liner Notes: Robert Fones Reading at the Western Front March 31, 1975 24 min Dolby B\",\"type\":\"General\"},{\"note\":\"The Western Front is the donor as inventory says \",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554832207874,"timestamp":"2026-01-07T14:59:59.214Z","score":1.8025289},{"id":"1277","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":["Robin Blaser at Sir George Williams University, The Poetry Series, 28 March 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"Robin Blaser Mar. 28/69 1\" written on sticker on the reel"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 3"],"item_identifiers":["[]"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"Poet, essayist and professor Robin Blaser was born on May 18, 1925 in Denver, Colorado, but spent most of his early years in rural Idaho. He moved to California where he received his B.A. in 1952, his M.A. in 1955 and a M.L.S. in 1956 from the University of California at Berkeley. Here he met poets Jack Spicer and Robert Duncan, the three playing major roles in the San Francisco Poetry Renaissance. Blaser, however, next to the dominant figures of Spicer and Duncan, was hesitant to identify himself as a poet and only began publishing his poetry close to twenty years later despite the fact that he was writing poetry already. His work appeared in smaller presses and received restricted attention because of this. After graduating from Berkley, Blaser worked at a number of libraries across the country, including the Widener Library in Boston where he met other East Coast poets, such as Charles Olson and John Wieners. His first larger publication was The Moth Poem (Open Space, 1964). In 1966, he moved to Vancouver, to teach at the Simon Fraser University, and became a Canadian Citizen in 1974. There, Blaser became a strong mentor and influence on the younger poets of the emerging Vancouver Poetry scene of the 60’s, influencing Daphne Marlatt, bp Nichol, Erin Mouré, and Steve McCaffery. His next collections of poetry followed, with Cups (Four Seasons Foundation, 1968), Image Nations 1-12; and The Stadium of the Mirror (Ferry Press, 1974), Image Nations 13 &14 (Cobblestone Press, 1975), Image Nation 15: The Lacquerhouse (W. Hoffer, 1981), Syntax (Talonbooks, 1983) and his most popular publication nominated for a Governor General’s Award, The Holy Forest (Coach House Press, 1993). Blaser was also an essayist, and published important essays such as “The Fire” (1967), “The Violets: Charles Olson and Alfred North Whitehead” (1983), “Robert Duncan, The ‘Elf’ of It” (1992), “The Recovery of the Public World” (1993), “Preface to the Early Poems of Robert Duncan” (1995), most of which are collected in The Fire: Collected Essays of Robin Blaser (University of California Press, 2006). Blaser became a Professor of Emeritus at Simon Fraser University and retired in 1986. Blaser was honoured the Order of Canada in 2005, and the Griffin Poetry prize for lifetime achievement in 2006, the Griffin Prize for poetry in 2008, as well as an honourary doctorate by Simon Fraser University in March 2009. After a battle with cancer, Robin Blaser died in Vancouver on May 7th, 2009.\",\"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":[1969],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1969 3 28\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the reel\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building\",\"notes\":\"Exact venue location unknown\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\" 45.4972758\",\"longitude\":\" -73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building"],"City":["Montreal, Quebec"],"content_notes":["Robin Blaser reads poems from Cups (Four Seasons Press, 1968), The Moth Poem (Open Space, 1964) and his essay “The Fire”, collected later in The Fire: Collected Essays of Robin Blaser (University of California Press, 2006), as well as poems collected later in The Holy Forest (Coach House Press, 1993)."],"contents":["robin_blaser_i086-11-005.mp3\n\nRoy Kiyooka\n00:00:00\nIt's my pleasure this evening to introduce to you Robin Blaser [https://www.wikidata.org/wiki/Q2115003], recently of Vancouver [https://www.wikidata.org/wiki/Q24639], and a little bit before that, from San Francisco [https://www.wikidata.org/wiki/Q62] and elsewhere. Can you hear me? Can you all hear me? Okay. Well, I haven't really a great deal to say, I wanted to say simply that I met Robin Blaser in June of 1964, the occasion was the usual round of parties and a rather un-memorable reading, and a marvelous day out into the countryside, and I also had on that occasion the pleasure of meeting two very close friends of his, Stan Persky [https://www.wikidata.org/wiki/Q2330087] and Jack Spicer [https://www.wikidata.org/wiki/Q3805658]. I'll read you this little sort of resume of his career. He was born in Idaho [https://www.wikidata.org/wiki/Q1221], and he studied at Northwestern [https://www.wikidata.org/wiki/Q309350] and Berkeley [https://www.wikidata.org/wiki/Q168756], and was a librarian at Harvard [https://www.wikidata.org/wiki/Q13371] from 1955 to '59. He now teaches in exile at Simon Fraser University [https://www.wikidata.org/wiki/Q201603], has made an important contribution to the San Francisco poetry renaissance in the '50's and the '60's, and was one of a triumvirate, with Duncan [https://www.wikidata.org/wiki/Q964391] and Spicer, that fulminated the serial poem on the poetry scene. Among his own serial poems are “The Faerie Queene” and “Image-Nation”. His verse has been published in a number of contemporary poetry anthologies. They include, among many, Donald Allen's [https://www.wikidata.org/wiki/Q5293963] The New American Poetry [https://www.wikidata.org/wiki/Q7753501], the Penguin [https://www.wikidata.org/wiki/Q3374730] New Writing in the United States, and A Controversy of Poets. And among his volumes of poetry are The Boston Poems 1956-58, The Moth Poem, Les Chimeres, and Cups. He is the editor of a West Coast magazine called the Pacific Nation. Now, Robin? Please read for us.\n \nAudience\n00:02:56\nApplause.\n \nRobin Blaser\n00:03:00\nThe marvelous thing about that list of books is that The Boston Poems, in fact, I think I will read one of those, was published and I decided I didn't like the book so there's one copy in the world and I own that copy. So I'm not sure it's fair, to call that a book. I don't think I--but I think I will read, open with that, it now dates back so many years, back to the Boston [https://www.wikidata.org/wiki/Q100] world, when [Jack] Spicer, and [John] Wieners [https://www.wikidata.org/wiki/Q1702153] and I were there together, and a very different scene from anything. [Charles] Olson [https://www.wikidata.org/wiki/Q922978] was at Black Mountain [https://www.wikidata.org/wiki/Q2413277], and Wieners in the centre at Boston. This poem is \"The Hunger of Sound\", and the date of it would be 1956. \n \nRobin Blaser\n00:03:54\nReads \"The Hunger of Sound\" from The Boston Poems [collected later in The Holy Forest].\n\nRobin Blaser\n00:10:38\nNow I, I'm a little confused because I've changed the reading now because it was very nice to have people ask for things, so I think I'll read \"Cups\", which is a...I've worked since 1960 on a book called The Holy Forest and that is composed of several serial poems, the first of which is \"Cups\", and that is followed by one called \"The Park\", and one called \"The Faerie Queen\", then \"The Moth Poem\", and then the, then there is a group, translated from Gérard de Nerval [https://www.wikidata.org/wiki/Q191305], \"Les Chimeres\", which is also a serial poem, and finally a group called \"The Holy Forest\", an unfinished group, and I thought I would read \"Cups\" and then a section, do a little thing on my poetics, an intermission, and then read, if you still are with me, the section I've just finished, called \"The Holy Forest\". This is \"Cups\".\n \nRobin Blaser\n00:11:47\nReads \"Cups\" [from Cups]. \n\nRobin Blaser\n00:22:58\nNow I'm going to move to my essay called \"The Fire\", which is meant to, is meant to talk about what people call poetics, I guess. It certainly talks about what I intend to do, what I am doing. \n \nRobin Blaser\n00:23:28\nReads \"The Fire\" [published later in The Fire: Collected Essays of Robin Blaser].\n \nUnknown\n00:31:57\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRobin Blaser\n00:31:58\nResumes reading \"The Fire\". \n \nRobin Blaser\n00:43:29\nI won't go on to the rest of the essay, I think that's enough. Now...should we have a break, for a minute? Is it the right time for a break? Do you want a break? Because the next section has thirty-two poems, and not great long ones, but it's a move through the...\n \nUnknown\n00:43:57\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nRobin Blaser\n00:43:58\nReads “In A Dark” [collected later in The Holy Forest].\n\nRobin Blaser\n00:44:17\nReads “The Prints” [collected later in The Holy Forest].\n \nRobin Blaser\n00:44:47\nReads “Love” [collected later in The Holy Forest].\n \nRobin Blaser\n00:45:18\nReads \"The Private I\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:46:18\nReads \"Song\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:46:52\nReads \"Translation\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:47:23\nReads \"1st Tale: Over\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:48:09\nReads \"2nd Tale: Returned\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:49:48\nReads \": At Last\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:50:29\nReads \"Aphrodite of the Leaves\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:51:02\nReads \"Winter Words\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:51:39\nReads \"The Stories\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:52:23\nReads \"The City\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:53:12\nReads \"The Translator: A Tale\" [from The Moth Poem].\n \nRobin Blaser\n00:54:31\nReads [“Sophia Nichols,” published later in The Holy Forest].\n\nRobin Blaser\n00:56:34\nReads \"A Gift: Homage to Creeley\" [published later as “A Gift” in The Holy Forest].\n \nRobin Blaser\n00:57:30\nReads \"Bottom's Dream\" [collected later in The Holy Forest].\n \nRobin Blaser\n00:58:18\nReads \"The Finder” [collected later in The Holy Forest].\n \nRobin Blaser\n00:59:35\nReads \"Out of the Window,\" [collected later in The Holy Forest].\n \nRobin Blaser\n01:00:45\nReads \"Merlin\" [collected later in The Holy Forest].\n \nRobin Blaser\n01:01:44\nReads \"The Cry of Merlin\" [collected later in The Holy Forest].\n\nUnknown\n01:03:55\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nRobin Blaser\n01:03:57\nI stood between the two in the marriage ceremony and replaced the psalms that are given, at one point, that was my gift as well as my blessing, and this is the poem I wrote for that wedding. \"Image-Nation 6: a marriage poem for Gladys Hindmarch and Cliff Anston\".\n \nRobin Blaser\n1:04:15\nReads \"Image-Nation 6: a marriage poem for Gladys Hindmarch and Cliff Anston\" [published later as “Image-Nation 6 (epithalamium)” in The Holy Forest].\n \nRobin Blaser\n01:05:27\nThank you.\n\nAudience\n01:05:28\nApplause [cut off]. \n\nEND\n01:05:30\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nThis reading most likely took place in 1969. Blaser was teaching at Simon Fraser University in Vancouver, and was most likely working on Image Nations 1-12; and The Stadium of the Mirror which was published much later in 1974.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAs stated in the introduction of this reading, Robin Blaser was an important poet involved in the San Francisco Renaissance of the 1960’s, but was connected to other important poets like Robert Duncan, Jack Spicer, and Stan Persky among many others. Stanton Hoffman, a Sir George Williams University English Professor and Reading Committee Member met Robin Blaser in 1964 in Vancouver, where Blaser was teaching. He no doubt met with George Bowering at the same time.\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>2 CDs>digital file\",\"type\":\"Preservation\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/cups/oclc/4506227&referer=brief_results\",\"citation\":\"Blaser, Robin. Cups. San Francisco: Four Seasons Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/holy-forest/oclc/971211126&referer=brief_results\",\"citation\":\"Blaser, Robin. The Holy Forest. Toronto: Coach House Press, 1993.\"},{\"url\":\"https://www.worldcat.org/title/fire-collected-essays-of-robin-blaser/oclc/237064008&referer=brief_results\",\"citation\":\"Blaser, Robin. The Fire: Collected Essays of Robin Blaser. Miriam Nichols (ed). Berkley: University of California Press, 2006. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/988192362&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Thesen, Sharon. “Blaser, Robin”. The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001.\"},{\"url\":\"https://www.sfu.ca/retirees-forum/msg01139.html\",\"citation\":\"“Blaser- Robin Francis, 1925-2009”. The Vancouver Sun. Saturday, May 9, 2009. Page F14.\"},{\"url\":\"\",\"citation\":\"“Blaser, Robin”. Literature Online Biography. Proquest Inc, 2008.\"}]"],"_version_":1853670548883636224,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0005_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Robin Blaser Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0005_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Robin Blaser Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0005_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Robin Blaser 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/I0086_11_0005_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0005_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robin Blaser 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/robin_blaser_i086-11-005.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robin_blaser_i086-11-005.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:05:30\",\"precision\":\"\",\"size\":\"157.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Roy Kiyooka\\n00:00:00\\nIt's my pleasure this evening to introduce to you Robin Blaser [https://www.wikidata.org/wiki/Q2115003], recently of Vancouver [https://www.wikidata.org/wiki/Q24639], and a little bit before that, from San Francisco [https://www.wikidata.org/wiki/Q62] and elsewhere. Can you hear me? Can you all hear me? Okay. Well, I haven't really a great deal to say, I wanted to say simply that I met Robin Blaser in June of 1964, the occasion was the usual round of parties and a rather un-memorable reading, and a marvelous day out into the countryside, and I also had on that occasion the pleasure of meeting two very close friends of his, Stan Persky [https://www.wikidata.org/wiki/Q2330087] and Jack Spicer [https://www.wikidata.org/wiki/Q3805658]. I'll read you this little sort of resume of his career. He was born in Idaho [https://www.wikidata.org/wiki/Q1221], and he studied at Northwestern [https://www.wikidata.org/wiki/Q309350] and Berkeley [https://www.wikidata.org/wiki/Q168756], and was a librarian at Harvard [https://www.wikidata.org/wiki/Q13371] from 1955 to '59. He now teaches in exile at Simon Fraser University [https://www.wikidata.org/wiki/Q201603], has made an important contribution to the San Francisco poetry renaissance in the '50's and the '60's, and was one of a triumvirate, with Duncan [https://www.wikidata.org/wiki/Q964391] and Spicer, that fulminated the serial poem on the poetry scene. Among his own serial poems are “The Faerie Queene” and “Image-Nation”. His verse has been published in a number of contemporary poetry anthologies. They include, among many, Donald Allen's [https://www.wikidata.org/wiki/Q5293963] The New American Poetry [https://www.wikidata.org/wiki/Q7753501], the Penguin [https://www.wikidata.org/wiki/Q3374730] New Writing in the United States, and A Controversy of Poets. And among his volumes of poetry are The Boston Poems 1956-58, The Moth Poem, Les Chimeres, and Cups. He is the editor of a West Coast magazine called the Pacific Nation. Now, Robin? Please read for us.\\n \\nAudience\\n00:02:56\\nApplause.\\n \\nRobin Blaser\\n00:03:00\\nThe marvelous thing about that list of books is that The Boston Poems, in fact, I think I will read one of those, was published and I decided I didn't like the book so there's one copy in the world and I own that copy. So I'm not sure it's fair, to call that a book. I don't think I--but I think I will read, open with that, it now dates back so many years, back to the Boston [https://www.wikidata.org/wiki/Q100] world, when [Jack] Spicer, and [John] Wieners [https://www.wikidata.org/wiki/Q1702153] and I were there together, and a very different scene from anything. [Charles] Olson [https://www.wikidata.org/wiki/Q922978] was at Black Mountain [https://www.wikidata.org/wiki/Q2413277], and Wieners in the centre at Boston. This poem is \\\"The Hunger of Sound\\\", and the date of it would be 1956. \\n \\nRobin Blaser\\n00:03:54\\nReads \\\"The Hunger of Sound\\\" from The Boston Poems [collected later in The Holy Forest].\\n\\nRobin Blaser\\n00:10:38\\nNow I, I'm a little confused because I've changed the reading now because it was very nice to have people ask for things, so I think I'll read \\\"Cups\\\", which is a...I've worked since 1960 on a book called The Holy Forest and that is composed of several serial poems, the first of which is \\\"Cups\\\", and that is followed by one called \\\"The Park\\\", and one called \\\"The Faerie Queen\\\", then \\\"The Moth Poem\\\", and then the, then there is a group, translated from Gérard de Nerval [https://www.wikidata.org/wiki/Q191305], \\\"Les Chimeres\\\", which is also a serial poem, and finally a group called \\\"The Holy Forest\\\", an unfinished group, and I thought I would read \\\"Cups\\\" and then a section, do a little thing on my poetics, an intermission, and then read, if you still are with me, the section I've just finished, called \\\"The Holy Forest\\\". This is \\\"Cups\\\".\\n \\nRobin Blaser\\n00:11:47\\nReads \\\"Cups\\\" [from Cups]. \\n\\nRobin Blaser\\n00:22:58\\nNow I'm going to move to my essay called \\\"The Fire\\\", which is meant to, is meant to talk about what people call poetics, I guess. It certainly talks about what I intend to do, what I am doing. \\n \\nRobin Blaser\\n00:23:28\\nReads \\\"The Fire\\\" [published later in The Fire: Collected Essays of Robin Blaser].\\n \\nUnknown\\n00:31:57\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRobin Blaser\\n00:31:58\\nResumes reading \\\"The Fire\\\". \\n \\nRobin Blaser\\n00:43:29\\nI won't go on to the rest of the essay, I think that's enough. Now...should we have a break, for a minute? Is it the right time for a break? Do you want a break? Because the next section has thirty-two poems, and not great long ones, but it's a move through the...\\n \\nUnknown\\n00:43:57\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nRobin Blaser\\n00:43:58\\nReads “In A Dark” [collected later in The Holy Forest].\\n\\nRobin Blaser\\n00:44:17\\nReads “The Prints” [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:44:47\\nReads “Love” [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:45:18\\nReads \\\"The Private I\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:46:18\\nReads \\\"Song\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:46:52\\nReads \\\"Translation\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:47:23\\nReads \\\"1st Tale: Over\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:48:09\\nReads \\\"2nd Tale: Returned\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:49:48\\nReads \\\": At Last\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:50:29\\nReads \\\"Aphrodite of the Leaves\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:51:02\\nReads \\\"Winter Words\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:51:39\\nReads \\\"The Stories\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:52:23\\nReads \\\"The City\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:53:12\\nReads \\\"The Translator: A Tale\\\" [from The Moth Poem].\\n \\nRobin Blaser\\n00:54:31\\nReads [“Sophia Nichols,” published later in The Holy Forest].\\n\\nRobin Blaser\\n00:56:34\\nReads \\\"A Gift: Homage to Creeley\\\" [published later as “A Gift” in The Holy Forest].\\n \\nRobin Blaser\\n00:57:30\\nReads \\\"Bottom's Dream\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:58:18\\nReads \\\"The Finder” [collected later in The Holy Forest].\\n \\nRobin Blaser\\n00:59:35\\nReads \\\"Out of the Window,\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n01:00:45\\nReads \\\"Merlin\\\" [collected later in The Holy Forest].\\n \\nRobin Blaser\\n01:01:44\\nReads \\\"The Cry of Merlin\\\" [collected later in The Holy Forest].\\n\\nUnknown\\n01:03:55\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nRobin Blaser\\n01:03:57\\nI stood between the two in the marriage ceremony and replaced the psalms that are given, at one point, that was my gift as well as my blessing, and this is the poem I wrote for that wedding. \\\"Image-Nation 6: a marriage poem for Gladys Hindmarch and Cliff Anston\\\".\\n \\nRobin Blaser\\n1:04:15\\nReads \\\"Image-Nation 6: a marriage poem for Gladys Hindmarch and Cliff Anston\\\" [published later as “Image-Nation 6 (epithalamium)” in The Holy Forest].\\n \\nRobin Blaser\\n01:05:27\\nThank you.\\n\\nAudience\\n01:05:28\\nApplause [cut off]. \\n\\nEND\\n01:05:30\\n[Cut off abruptly].\",\"notes\":\"Robin Blaser reads poems from Cups (Four Seasons Press, 1968), The Moth Poem (Open Space, 1964) and his essay “The Fire”, collected later in The Fire: Collected Essays of Robin Blaser (University of California Press, 2006), as well as poems collected later in The Holy Forest (Coach House Press, 1993).\\n\\n00:00- Stanton Hoffman introduces Robin Blaser [INDEX: Vancouver, San Francisco, June 1964, meeting, reading, countryside, Stan Persky, Jack Spicer, Idaho, Northwestern University, Berkeley University, librarian at Harvard from 1955-59, exile, teaches, Simon Fraser University, San Francisco Poetry Renaissance in the 1950’s and 1960’s, triumvirate with Robert Duncan and Jack Spicer, serial poem, “The Faerie Queene”, “Image Nation”, poetry anthologies, Donald Allen’s The New American Poetry (Grove Press, 1960), The Penguin New Writing [most likely Nendeln, Liechtenstein: Kraus, 1960 or 1970], A controversy of poets (Doubleday/ Anchor Books, 1965), poetry volumes The Boston Poems 1956-58 (self published?), The Moth Poem (Open Space, 1964), Les Chimeres (White Rabbit Press, 1965), Cups (Four Seasons Foundation, 1968), editor of The Pacific Nation.]\\n03:00- Robin Blaser introduces “The Hunger of Sound”. [INDEX: The Boston Poems, one copy in the world, dislike for the book, Boston, Jack Spicer, John Wieners, Charles       Olson, Black Mountain, 1956; from The Boston Poems (unknown publishing info) later collected in The Holy Forest (Coach House Press, 1993).]\\n03:54- Reads “The Hunger of Sound” [INDEX: serial poem, poetry, child, image, star, hunger, tree, time, sound, poem, man, wife, house, boy, Dante, book, German, gun, work, chaos, joy.]\\n10:38- Introduces “Cups”. [INDEX: order of reading, requested poems, working The Holy Forest since 1960, serial poems, “The Park”, “The Faerie Queene”, “The Moth Poem”, translations from Gerard de Nerval “Les Chimeres”, The Holy Forest as unfinished, poetics, intermission; from Cups (Four Seasons Foundation, 1968).]\\n11:47- Reads “Cups”.  [INDEX: serial poem, cup, nature, iris, flower, tree, poem, poetry,       window, sex, Dante, love, spring, truck, goat, father, hunter, blood, dark, semen, skin,     \\twhistle, sound]\\n22:58- Introduces essay “The Fire”. [INDEX: poetics; written in 1967, collected in The Holy Forest (Coach House Press, 1993)]\\n23:28- Reads essay “The Fire”. [INDEX: poetry, poetics, sight, sound, intellect, Louis    Zukofsky, San Francisco, invisibility, emotion, body, earth, god, reality, conceptual,     \\tdifficulty, image, conceptual, [Stan] Persky, imagination, language, Charles Olson,       \\t[Thoreau’s?] Walden, [Herman] Melville, [Ezra] Pound, narrative, Jack Spicer, Ovid]\\n31:57- END OF RECORDING (mid-sentence, continues on next CD I086-11-005.2)\\n\\n00:00- Robin Blaser continues reading “The Fire” essay.  [INDEX: family, idiom, English,        American, French, Orphic, Orpheus, Dionysus, Jack Spicer, Robert Duncan, imagery,  \\tLeibniz, Spinoza, Francis Yeats, monads, Nerval; written in 1967, collected in The Holy \\tForest (Coach House Press, 1993).]\\n11:31- Robin Blaser stops reading essay, introduces intermission [INDEX: break, next section, thirty-two poems, not long poems]\\n12:00- Cut in tape, unknown amount of time elapsed\\n12:00- Robin Blaser reads line “...the drive to the spring mountains...” recording starts mid-poem [INDEX: nature, drive, tree, heart, love, stone, song, star, forest, fire, night,       translation; from unknown source.]\\n12:20- Reads “The Prints”. [INDEX: Nerval, prince, tree, fantasy, heart; from Charms    (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n12:50- Reads “Love”. [INDEX: water, love, night; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n13:21- Reads “The Private I” [IMAGE: dog, moon, wind, white, black, earth, water, wind; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n14:21- Reads \\\"Song\\\" [INDEX:  Nerval, song, night, horse; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n14:55- Reads \\\"Translation\\\" [INDEX: ash, Mount St. Helen's, fire, tree; from Charms    (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n15:26- Reads \\\"1st Tale, Lost\\\"  [INDEX: sweet, child, tale, bird, sound; from Charms \\t(1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n16:11- Reads \\\"2nd Tale, Returned\\\"  [INDEX: brother, sister, child, fear, story, water, love,  magic, air, found; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n17:50- Reads \\\":At Last\\\" [INDEX: place, tree, story, youth, body; from Charms (1964-1968) \\tcollected in The Holy Forest (Coach House Press, 1993).]\\n18:32- Reads \\\"Aphrodite of the Leaves\\\"  [INDEX: city, light, Aphrodite, place from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n19:05- Reads \\\"Winter Words\\\" [INDEX: fountain, silence, cold, invisible; from Charms       (1964-1968) collected in The Holy Forest (Coach House Press, 1993)]\\n19:42- Reads \\\"The Stories\\\" [INDEX: table, supper, sound, imagination, taste, radio from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n20:25- Reads \\\"The City\\\" [INDEX: lover, city, Wandering Jew, voice, water, radio, light,       fountain from Charms (1964-1968) collected in The Holy Forest (Coach House Press,   1993).]\\n21:15- Reads \\\"The Translator: A Tale\\\" [INDEX: water, circle, tale, translation, shadow, sex, moth, flight; from The Moth Poem (Open Space, 1964).]\\n22:34- Reads unknown poem first line [\\\"...and returns, it is easy to personify\\\"]\\t[INDEX: head, personification, woman, love, disease, nature, moon, Blake, star, city, place, Odyssey, story, night, word]\\n24:37- Reads \\\"A Gift: Homage to Creeley\\\" [INDEX: room, house, table, soul, city, language, Wells Fargo, poet, love; published as “A Gift”, from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n25:33- Reads \\\"Bottom's Dream\\\"  [INDEX: Shakespeare, A Midsummer Night's Dream,        Bottom, solitude, translation, city, love, glass; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n26:21- Reads \\\"The Finder\\\" [INDEX: tree, window, English Bay, Vancouver, ship, body, blood, intellect, violence, death, glass; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n27:37- Reads \\\"Out of the Window\\\" [INDEX: nature, earth, sea, fire, heart, city, building, loss, invisible; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n28:48- Reads \\\"Merlin\\\" [INDEX: action, blackbird, glass, companion, house, window, tree, unity, poetry, city, future, movement; from Charms (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n29:47- Reads \\\"The Cry of Merlin\\\" (unfinished reading on recording) [INDEX: stone, blue,  spiritual, image, man, room, story, sea, sex, body, love, radio, Daphne;  from Charms     (1964-1968) collected in The Holy Forest (Coach House Press, 1993).]\\n31:58- Break/distortion in tape; recording recommences mid-phrase as Blaser introduces his last work.\\n32:00- Introduces “Image Nation 6: a marriage poem for Gladys Hindmarch and Cliff      Anston” [INDEX: marriage ceremony, psalms, gift, blessing, wedding, Gladys    \\tHindmarch, Cliff Anston; published in Image Nations 5-14 (1967- 1974) collected in The Holy Forest (Coach House Press, 1993)]\\n32:18- Reads “Image Nation 6: a marriage poem for Gladys Hindmarch and Cliff  \\tAnston” [INDEX: marriage, tree, Gladys Hindmarch, Cliff Anston, vision, gift, occasional poem, ring, unity, image, invisible.]\\n33:30- Robin Blaser thanks audience.\\n33:33.03- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robin-blaser-at-sgwu-1969/\"}]"],"score":1.7967131},{"id":"5742","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Jack Clarke lecture on Charles Olson on December 12, 1971 Tape 2 of 2 #543b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Olson, Charles","Clarke, John"],"creator_names_search":["Olson, Charles","Clarke, John"],"creators":["[{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"Jack Clarke discusses Charles Olson as an inspiration for FATHAR III\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/40837274\",\"name\":\"Clarke, John\",\"dates\":\"1933-1992\",\"notes\":\"John \\\"Jack\\\" Clarke\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6045/Reading in BC_MsC199_543_2.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:55\",\"precision\":\"\",\"size\":\"36.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"543_2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:37:59\",\"precision\":\"\",\"size\":\"37.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1971-12-12\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tFATHAR III written in Buffalo & Oregon from Memorial Day 1970 to Memorial Day 1971\n\t\t030\t“property is solace to everyone”\n\t\t052\tIntroduces “We are the Gypsies of Coalsack Bluff”\n\t\t090\tReads “We are the Gypsies…”\n\t\t110\tIntroduces ‘THE CHALLENGE”\n\t\t168\tReads “THE CHALLENGE”\n\t\t200\tReads “ANIMAE SIMPLICISSIMAE”\n\t\t238\tReads “OXFORD GONE TO THE DOGS”\n\t\t255\tReads “JOB ONLY GOES THROUGH”\n\t\t274\tReads “CRYPTIC EMERGENCY”\n\t\t280\tReads “PURCHASE ORDER THE STATE OF NEW YORK NELSON ROCKYFELLER GOVERNOR”\n\t\t298\tReads “LOTS OF VESTURE”\n\t\t307\tReads “BREAD ALONE”\n\t\t330\tReads “AND ALL THE DARK PLACES WRE LIGHTED UP FOR WYNTON”\n\t\t345\tExplains the mythology of “AND ALL THE DARK…”\n\t\t409\tReads “THE DECADE IS COMPLETE”\n\t\t421\tReads “THE WARDER OF THE WOOD”\n\t\t445\tReads “THE DELINEATION”\n\t\t472\tQuestions from the audience"],"Note":["[{\"note\":\"\\nSide 3 36:15\\nSide 4 26:00\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553760563202,"timestamp":"2026-01-07T14:59:58.173Z","score":1.7888575},{"id":"9054","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 7 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Bowering, George","Nichols, Miriam"],"creator_names_search":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Bowering, George","Nichols, Miriam"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Bowering, Angela\",\"dates\":\"\",\"notes\":\"George Bowering's wife; She is heard on tape 4 of 20\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\" 1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/44522700\",\"name\":\"Nichols, Miriam\",\"dates\":\"1952-\",\"notes\":\"Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9054/Roy Miki Fonds_MsC 161_207.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\":\"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\":\"MsC161-207 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:55\",\"precision\":\"\",\"size\":\"1.02 GB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-207 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:52\",\"precision\":\"\",\"size\":\"1.02 GB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Production Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"source\":\"Internet \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\\n\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600\",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Robin Blaser provides an in-depth autobiographical account in a series of tapes (201 to 220), reflecting on his life and experiences. \\nIn this recording, Robin Blaser primarily focuses on Jack Spicer and his work\",\"type\":\"General\"},{\"note\":\"We found the info through the following link on https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558005198852,"timestamp":"2026-01-07T15:00:02.246Z","score":1.7856987},{"id":"6240","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Crow of Odin: Albert Glover reading at Lawrence University on November 10, 1970 #462"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Glover, Albert","Maud, Ralph"],"creator_names_search":["Glover, Albert","Maud, Ralph"],"creators":["[{\"url\":\"http://viaf.org/viaf/65249411\",\"name\":\"Glover, Albert\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/66537561\",\"name\":\"Maud, Ralph\",\"dates\":\"1928-2014\",\"notes\":\"Ralph Maud invites audience to a reading on the following day\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7878/Reading in BC_MsC199_462.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"462-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:15\",\"precision\":\"\",\"size\":\"42.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"462-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:11\",\"precision\":\"\",\"size\":\"42.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-11-10\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/3941264\",\"venue\":\"Lawrence University\",\"notes\":\"\",\"address\":\"711, East Boldt Way, Appleton, Outagamie County, Wisconsin, 54911, United States\",\"latitude\":\"44.2605\",\"longitude\":\"-88.3983\"}]"],"Address":["711, East Boldt Way, Appleton, Outagamie County, Wisconsin, 54911, United States"],"Venue":["Lawrence University"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t04\tRalph Maud invites audience to a reading on the following day\n\t\t14\tMaud introduces Albert Glover – talks about his house on Wall St. which exists in a half-finished state\n\t\t36\tAlbert Glover begins – corrects some things that were stated earlier (in an earlier reading?)\n\t\t65\tCharles Olson’s funeral\n\t\t85\tIntroduces the text he will deal with – from the “Lay of Grimnye” – under a new title “The Crow of Odin”\n\t\t109\tThe Crow as a double\n\t\t160\t“Hugyn” and “Munyn” (thought and memory)\n\t\t141\tGraduate work and Letters of Origin – letters to and from Charles Olson\n\t\t223\tConflicts with state police – America is dead – why kill a dead thing\n\t\t230\tThe FLQ\n\t\t283\tThe need to live in peace\n\t\t286\tThe study of Shamanism\n\t\t298\tAccess to LSD\n\t\t411\tElectric Kool-Aid Acid Test\n\t\t461\tMushrooms, ancestry and memory\n\t\t515\tSiberian Shamanism – a history\n\t\t540\tShamanistic mushrooms\n\t\t610\t“Two men came to a hole in the sky…”\n\t\t633\tTurning back\n\t\t640\tCarlos Castoneda and Shamanism\n\t\t660\t“I am a crow…”\n\t\t727\t“Jack Clark’s Garage Door”\n\t\t792\tMore on crows\n\t\t810\t“The Eastern Crow knows a good thing when he sees it…” from A Trio in G\n\t\t881\t“For a bird in the air…”\n\t\t934\t“Indian Pike, up out of the ground…”\n\t\t958\t“I have put feathers in my hair…”\n\t\t977\tEnd of side one\nTwo\t\t06\t“My home over there…”\n\t\t14\tCrowd noise to 71\n\t\t72\tA conversation about just who Odin is – his crow and Old Norse (many voices muffled and hard to understand)\n\t\t121\tThe story of Odin hanging from a tree – the discovery of the runes\n\t\t136\tThe Promethean situation\n\t\t148\tOdin as Shaman\n\t\t210\tDon Juan & Carlos Custeneda – Does the teacher have to be severe?\n\t\t259\tIdle chatter – tape becomes very muffled\n\t\t\tContinues to end of side two"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554850033666,"timestamp":"2026-01-07T14:59:59.214Z","score":1.7616951},{"id":"5888","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":["The Vancouver lectures: Jack Spicer Poetic dictation at Tallman Residence cont'd on June 13, 1965 #1b"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"There are also voices of people who are asking questions.\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors_names":["Enomoto, Randy"],"contributors_names_search":["Enomoto, Randy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/256444645\",\"name\":\"Enomoto, Randy \",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Enomoto, Randy "],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/167/Reading in BC_MsC199_1b.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:02:05\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and clear case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"1b-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T:00:31:15\",\"precision\":\"\",\"size\":\"21.3 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\":\"1b-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:01\",\"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\":\"1965-06-13\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/487641396\",\"venue\":\"Tallman Residence\",\"notes\":\"Tallman and family lived in the '50s & '60s at 2527 West 37th Ave in Kerrisdale and this was where quite a few talks and reading were held and recorded.\",\"address\":\"2527 West 37th Avenue, Vancouver, British Columbia, Canada\",\"latitude\":\"49.23722\",\"longitude\":\"-123.11556\"}]"],"Address":["2527 West 37th Avenue, Vancouver, British Columbia, Canada"],"Venue":["Tallman Residence"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting\nSee detailed contents on j-card in Material Description"],"contents":["Two\tA\t000\tContinues with The Textbook of Poetry\n\t\t040\tComments from audience\n\t\t190\tReading continues\n\t\t170\tQuestions from audience\n\t\t290\tReading continues\n\t\t390\tQuestions from audience\n\n"],"Note":["[{\"note\":\"Liner Notes: Poetic Dictation Side 3 31:20 Side 4 30:45\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554188382209,"timestamp":"2026-01-07T14:59:58.590Z","score":1.7227871},{"id":"5889","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":["The Vancouver lecture: Jack Spicer Poetic dictation at Tallman Residence cont'd on June 13, 1965 #2"],"item_title_source":["J-card and inventory"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack"],"creator_names_search":["Spicer, Jack"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"There are also voices of people who are asking questions.\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors_names":["Enomoto, Randy"],"contributors_names_search":["Enomoto, Randy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/256444645\",\"name\":\"Enomoto, Randy \",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Enomoto, Randy "],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/173/Reading in BC_MsC199_2.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\":\"T00:50:55\",\"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\":\"2-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:10\",\"precision\":\"\",\"size\":\"20.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T:00:21:06\",\"precision\":\"\",\"size\":\"14.4 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\":\"1965-06-13\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/487641396\",\"venue\":\"Tallman Residence\",\"notes\":\"Tallman and family lived in the '50s & '60s at 2527 West 37th Ave in Kerrisdale and this was where quite a few talks and reading were held and recorded.\",\"address\":\"2527 West 37th Avenue, Vancouver, British Columbia, Canada\",\"latitude\":\"49.23722\",\"longitude\":\"-123.11556\"}]"],"Address":["2527 West 37th Avenue, Vancouver, British Columbia, Canada"],"Venue":["Tallman Residence"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\tA\t000\tContinuation of reading and discussion from tapes #1a and #1b\n"],"Note":["[{\"note\":\"Liner Notes: Poetic Dictation Side 5 30 min Side 6 20:55 Conclusion Dolby B Master\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554188382210,"timestamp":"2026-01-07T14:59:58.590Z","score":1.7227871},{"id":"5890","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Robin Blaser, Jack Spicer, and Stan Persky readings at The New Design Gallery on June 1965 #3a"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Spicer, Jack","Persky, Stan","Blaser, Robin"],"creator_names_search":["Spicer, Jack","Persky, Stan","Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/46807530\",\"name\":\"Spicer, Jack\",\"dates\":\"1925-1965\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/57448780\",\"name\":\"Persky, Stan\",\"dates\":\"1941-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors_names":["Enomoto, Randy"],"contributors_names_search":["Enomoto, Randy"],"contributors":["[{\"url\":\"http://viaf.org/viaf/256444645\",\"name\":\"Enomoto, Randy \",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1965],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/174/Reading in BC_MsC199_3A.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"Second generation from Reel-to-Reel\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:10:15\",\"physical_condition\":\"Very Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"3a-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:35:54\",\"precision\":\"\",\"size\":\"24.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"3a-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:35:00\",\"precision\":\"\",\"size\":\"24.3 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\":\"1965-06\",\"type\":\"Production Date\",\"notes\":\"Recordered before June 13\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"New Design Gallery\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Vancouver, BC, Canada"],"Venue":["New Design Gallery"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tIntroduction and announcements\n\t\t030\tBlaser reads “The Moth Poem”\n\t\t157\tBlaser reads “Cups”\n\t\t254\tSpicer reads “Billy The Kid”\n\t\t320\tBlaser reads “The Park”\n\t\t386 \tPersky reads “The Lives of The French Symbolist Poets”\n\t\t477\tBlaser reads “The Moth Poem”\n\t\t680\tBlaser reads “The Translator”\n\n"],"Note":["[{\"note\":\"Liner Notes: Reading at New Design Gallery June 1965 Side 1 35:50Side 2 34:25 Dolby B Master\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554188382211,"timestamp":"2026-01-07T14:59:58.590Z","score":1.7227871},{"id":"4592","cataloger_name":["Carolin,Huang"],"partnerInstitution":["ARCMTL"],"collection_source_collection":["Dial-A-Poem Montreal fonds"],"source_collection_label":["Dial-A-Poem Montreal fonds"],"collection_contributing_unit":["Arcmtl Archives & Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["PDP"],"persistent_url":[""],"item_title":["Dial-A-Poem Poets 3"],"item_title_source":["Transcribed from title card"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Various Authors"],"creator_names_search":["Various Authors"],"creators":["[{\"url\":\"\",\"name\":\"Various Authors\",\"dates\":\"\",\"notes\":\"Leo Kennedy, Ralph Gustafson, Ian Stephens, Robyn Potter, Anne McLean, Jack Hannan, Charlotte Hussey, R.G. Everson, Lorna Crozier, Errol MacDonald, Bill Furey,  Shulamis Yelin, Irving Layton, Fred Ward, Robert McGee\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors_names":["Anderson, Fortner"],"contributors_names_search":["Anderson, Fortner"],"contributors":["[{\"url\":\"http://www.viaf.org/viaf/106026246\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"http://fortneranderson.com/\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Anderson, Fortner"],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"TDK D60\",\"generations\":\"Copy of microcassettes\",\"Conservation\":\"\",\"equalization\":\"Normal\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Hand-labeled title card\",\"other_physical_description\":\"Casette with title card in plastic case. \"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"PDP_SB_K0009A.WAV\",\"channel_field\":\"1\",\"sample_rate\":\"192kHz\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"24\",\"encoding\":\"WAVE\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Montreal, Quebec, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Montreal, Quebec, Canada"],"City":["Montreal, Quebec"],"contents":["<item label=“Dial-A-Poem Poets 3”> \n<span label=“Leo Kennedy reads ‘Reproach to Myself’” begin=“00:00:00.00\" end=\"00:02:05.00\"/>\n<span label=“Ralph Gustafson reads ‘In the Yukon’” begin=“00:02:06.00\" end=\"00:03:56.00\"/>\n<span label=“Ian Stephens reads ‘Tears of Infinite Repeat’” begin=“00:05:12.00\" end=\"00:06:36.00\"/>\n<span label=“Robyn Potter and Margaret Christakos” begin=“00:06:39.00\" end=\"00:10:11.00\"/>\n<span label=“Anne McLean reads ‘Between Every Woman and God’” begin=“00:10:13.00\" end=\"00:12:24.00\"/>\n<span label=“Jack Hannan reads ‘Put Yourself in My Shoes” begin=“00:12:26.00\" end=\"00:17:19.00\"/>\n<span label=“Charlotte Hussey reads ‘Birth’” begin=“00:17:19.00\" end=\"00:18:44.00\"/>\n<span label=“R.G. Everson ‘The Confrontation’” begin=“00:18:46.00\" end=\"00:19:51.00\"/>\n<span label=“Lorna Crozier reads ’The Sex Lives of Vegetables’” begin=“00:19:53.00\" end=\"00:20:59.00\"/>\n<span label=“Errol MacDonald reads ‘My Birth Lay Across The River’” begin=“00:21:01.00\" end=\"00:22:33.00\"/>\n<span label=“Bill Furey reads ‘Memory of My Grandfather’” begin=“00:22:34.00\" end=\"00:24:33.00\"/>\n<span label=“Shulamis Yelin reads ‘Between Poets’” begin=“00:24:35.00\" end=\"00:26:40.00\"/>\n<span label=“Irving Layton reads ‘There Were No Signs’” begin=“00:26:45.00\" end=\"00:27:44.00\"/>\n<span label=“Frederick Ward reads ‘Barefootin’’” begin=“00:27:48.00\" end=\"00:28:32.00\"/>\n<span label=“Robert McGee reads ‘Alphonsus Promethean’’” begin=“00:28:33.00\" end=\"00:29:46.00\"/>\n</item> "],"Note":["[]"],"Related_works":["[]"],"_version_":1853670551184211969,"timestamp":"2026-01-07T14:59:55.742Z","score":1.7226927},{"id":"9052","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 5 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Bowering, George","Nichols, Miriam"],"creator_names_search":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Bowering, George","Nichols, Miriam"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Bowering, Angela\",\"dates\":\"\",\"notes\":\"George Bowering's wife; She is heard on tape 4 of 20\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\" 1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/44522700\",\"name\":\"Nichols, Miriam\",\"dates\":\"1952-\",\"notes\":\"Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9052/Roy Miki Fonds_MsC 161_205.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\":\"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\":\"MsC161-205 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:08\",\"precision\":\"\",\"size\":\"662 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-205 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:51\",\"precision\":\"\",\"size\":\"678 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Production Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"source\":\"Internet \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\\n\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600\",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Robin Blaser provides an in-depth autobiographical account in a series of tapes (201 to 220), reflecting on his life and experiences. \\nIn this tape, he continues reflecting on his life in Berkeley, his friendship with Jack Spicer and Robert Duncan\",\"type\":\"General\"},{\"note\":\"We found the info through the following link on https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558005198850,"timestamp":"2026-01-07T15:00:02.246Z","score":1.7166464},{"id":"9053","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 6 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Bowering, George"],"creator_names_search":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Bowering, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"Bowering, Angela\",\"dates\":\"\",\"notes\":\"George Bowering's wife; She is heard on tape 4 of 20\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\" 1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9053/Roy Miki Fonds_MsC 161_206.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\":\"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\":\"MsC161-206 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:17\",\"precision\":\"\",\"size\":\"687 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-206 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:21\",\"precision\":\"\",\"size\":\"513 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Production Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"source\":\"Internet\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600 \",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Robin Blaser provides an in-depth autobiographical account in a series of tapes (201 to 220), reflecting on his life and experiences. \\nIn this recording, Robin Blaser primarily discusses Robert Duncan’s writings and works, along with insights into Jack Spicer and a brief mention of Charles Olson.\",\"type\":\"General\"},{\"note\":\"We found the info through the following link on https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558005198851,"timestamp":"2026-01-07T15:00:02.246Z","score":1.7166464},{"id":"9056","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 9 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Blaser, Robin","Bowering, George","Nichols, Miriam"],"creator_names_search":["Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Blaser, Robin","Bowering, George","Nichols, Miriam"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Bowering, Angela\",\"dates\":\"\",\"notes\":\"George Bowering's wife; She is heard on tape 4 of 20\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\" 1935-\",\"notes\":\"George Bowering's wife; he is heard on some tapes in this series of tapes \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/44522700\",\"name\":\"Nichols, Miriam\",\"dates\":\"1952-\",\"notes\":\"Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9056/Roy Miki Fonds_MsC 161_209.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\":\"\",\"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\":\"MsC161-209 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:41\",\"precision\":\"\",\"size\":\"520 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-209 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:44\",\"precision\":\"\",\"size\":\"521 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Production Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"source\":\"Internet \"}]"],"Location":["[{\"url\":\"-123.1149 https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\\n\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600\",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Robin Blaser provides an in-depth autobiographical account in a series of tapes (201 to 220), reflecting on his life and experiences. \\nIn this recording, Robin Blaser keeps talking about his career life at University of California and his collaboration with Robert Duncan and Jack Spicer; meanwhile, he talks about [Frederick?] and [Dante?] poets as well\",\"type\":\"General\"},{\"note\":\"We found the info through the following link on https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558006247424,"timestamp":"2026-01-07T15:00:02.246Z","score":1.7166464},{"id":"4591","cataloger_name":["Carolin,Huang"],"partnerInstitution":["ARCMTL"],"collection_source_collection":["Dial-A-Poem Montreal fonds"],"source_collection_label":["Dial-A-Poem Montreal fonds"],"collection_contributing_unit":["Arcmtl Archives & Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["PDP"],"persistent_url":[""],"item_title":["Dial-A-Poem Poets 2"],"item_title_source":["Transcribed from title card"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Various Authors"],"creator_names_search":["Various Authors"],"creators":["[{\"url\":\"\",\"name\":\"Various Authors\",\"dates\":\"\",\"notes\":\"Leo Kennedy, Donald Palmer, Jack Hannan, Thomas Renix, Shulamis Yelin, Edmundo Farolan, Marcia Goldberg, Neal Hindon, Eric Martin, Lucille King, Sonja Skarstedt, Eric Martin, Lorna Crozier, R.G. 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Everson reads ‘When I’m Going Well’” begin=“00:16:44.00\"\" end=\"\"00:18:03.00\"\"/>\n<span label=“R.G. Everson reads ‘None Knows Where We Are’” begin=“00:18:03.00\"\" end=\"\"00:19:10.00\"\"/>\n<span label=“Ian Ferrier reads ‘A Terrorist and a Belly Dancer’” begin=“00:19:12.00\"\" end=\"\"00:21:32.00\"\"/>\n </item> "],"Note":["[]"],"Related_works":["[]"],"_version_":1853670551184211968,"timestamp":"2026-01-07T14:59:55.742Z","score":1.6854007},{"id":"5491","cataloger_name":["Nina,Fesenko"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. 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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Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Daphne Marlatt reading on November 6, 1970 #282"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Marlatt, Daphne"],"creator_names_search":["Marlatt, Daphne"],"creators":["[{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"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\":\"\",\"nation\":[],\"role\":[\"Donor\"]}]"],"Production_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/566/Readings in BC_MsC199_282.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\":\"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\":\"282-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:05\",\"precision\":\"\",\"size\":\"29.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"282-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:15\",\"precision\":\"\",\"size\":\"29.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-11-06\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tD.M. speaking – announces she will be reading from The Vancouver poems\n\t\t007\tTwo quotes: from Rimbaud: “Je est un autre,” from Randy Newman: “She say I/talk to strangers/ if I want to/coz I’m a stranger too.”\n\t\t017\t“Lagoon”\n\t\t038\t“The first poem in the book is sort of an entranceway into the book as a whole.  In some ways it sets up my method…”  Speaks of Nō plays, the central figure of spirit plays, the shīte.\n\t\t057\tRe/ the Kwakiutl and the Hamatsa society\n\t\t071\t“Wet fur wavers” (“A Spanish Banks poem”)\n\t\t089\tThis is about the old public library, the Carnegie Library… located in the heart of skid row…”\n\t\t094\t“Slimey…”\n\t\t128\t“’It’s rained…’”\n\t\t151\t“One last one that connects with the Kwakiutl Hamats’a society re/ “Baxbakaulany Xsuve” – the original spirit who informed the Hamats’a who gave them their cannibal rite… The first one to eat man at the mouth of the river” (see notes at back of Vancouver poems)\n\t\t191\t“This is dedicated to: ‘Aloazar, Cecil, Belmont, New Fountain, names/ stations of the way, to/Entrances’”\n\t\t228\t“Little poems for my niece who has a thing about bugs… so I wrote these four poems to explain to her what it was like to be a bug…”\n\t\t232\t“Bugs in the heart (for Karen)”\n\t\t246\t“Agenda”\n\t\t253\t“Points west or southwest…” (small break in sound)\n\t\t263\t“Depressed/area space/lived in…”\n\t\t271\tSmall drop in volume, up again by 275\n\t\t280\t“Bird of passage” (“a poem I wrote when I was 7 or 8 months pregnant”)\n\t\t317\tThe original Vancouver poem… “Old bird…”\n\t\t342\t“About Vancouver’s first in 1886… there are a lot of quotes in here and… all of them are taken from a historical journal put out by the city archives… concerned with W.H. Gallagher’s eyewitness account.”\n\t\t358\t“’Our city is ashes…’”\n\t\t400\t“This is Bowen Island: ‘Bowen.  Leaving snug coves behind…’”\n\t\t429\t“I knew there was a bridge in Vancouver with a jack-knife span that opened like London Bridge… it began to be confused in my mind with the old Second Narrows Bridge…”\n\t\t441\tYour/gray-green fathoms un/fathomed…”\n\t\t479\t“This is also a skid row poem.  It’s a combination of present and past…”\n\t\t498\t“Trails…”\n\t\t527\tSound ends after poem “Trails” finishes."],"Note":["[{\"note\":\"Liner Notes: Daphne Marlatt Reading at Richard Pender Books Side 1: 29:15 Side 2: Blank Dolby B\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554736787457,"timestamp":"2026-01-07T14:59:59.119Z","score":1.6497095},{"id":"6084","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":["Billy Little reading at Western Front on February 3, 1975 #283b"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Little, Billy"],"creator_names_search":["Little, Billy"],"creators":["[{\"url\":\"http://viaf.org/viaf/223141797\",\"name\":\"Little, Billy\",\"dates\":\"1943-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors_names":["Knechtel, Mary Beth"],"contributors_names_search":["Knechtel, Mary Beth"],"contributors":["[{\"url\":\"http://viaf.org/viaf/93615375\",\"name\":\"Knechtel, Mary Beth\",\"dates\":\"1943-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\"]}]"],"Recordist_name":["Knechtel, Mary Beth"],"Production_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/567/Readings in BC_MsC199_283b.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\":\"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\":\"283b-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"31.3 MB\",\"precision\":\"\",\"size\":\"T00:30:19\",\"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\":\"283b-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:05\",\"precision\":\"\",\"size\":\"31.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-02-03\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/292460590\",\"venue\":\"The Western Front\",\"notes\":\"\",\"address\":\"303 E 8th Ave E, Vancouver, BC V5T 1S1\",\"latitude\":\"49.26388\",\"longitude\":\"-123.09871\"}]"],"Address":["303 E 8th Ave E, Vancouver, BC V5T 1S1"],"Venue":["The Western Front"],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Two\t\t000\tBrett Enemark: end of a poem: “I fill the shades of a city/that you may see me with your own light/Lambs of construction.”\n\t\t007\t“To Prince George: February 1, 1975 (for Brian Fawcett)”\n\t\t062\t“Each with an eye for the new world”\n\t\t101\t“Love IV”\n\t\t119\tConclusion of Brett Enemark’s reading\n\t\t120\tBill Little begins with introduction: “What I’m gonna do tonight is fairly well like an annual stockholders’ report.”  Announces his future reading at Capilano College toward the end of the month (February, 1975), “where I’ll do a ten year tableau.  This (present) reading will be just poems from the past year.”\n\t\t135\t“Every poem I write is an attempt to change the world…”\n\t\t197\t“If you have to go out in the cold, dress yourself in this poem first: warm arm, warm arm…”\n\t\t233\t“The second poem I’ll read is a collaboration between Brett and I, done under the pseudonym of “R. Ming Zero La Fou.”  It’s called “Balderdash”.”\n\t\t267\t“These first poems are my own, from early on in the year, part of a “too true” series…”\n\t\t271\t“Is murder murder or murder?: a blues for Gertrude”\n\t\t304\t“Which is which?”\n\t\t320\t“Both true (for V and K)”\n\t\t363\t“(Still from that series Song)”\n\t\t380\t“O Pierre – too good to be true”\n\t\t410\t“I wash these hands for you…”\n\t\t440\t“No vitalized ode: a C”\n\t\t514\t“The last in this series is called “To Orial: the horn of love’s delight””\n\t\t557\t“Dance”\n\t\t589\t“Z”\n\t\t596\t“Image”\n\t\t612\t“So they tell me”\n\t\t640\t“Limited vision”\n\t\t652\t“Caution: vision restricted”\n\t\t671\t“10 p.m. north of Hastings Street”\n\t\t690\t“A fool for beauty (might be construed as an homage to Louis Zukofsky)”\n\t\t698\t“This neat poem started out to be a ‘razos’ for Jack Spicer…”\n\t\t704\t“Dancing works”\n\t\t742\t“Love is in trouble”\n\t\t772\t“Really living”\n\t\t821\t“In other words”\n\t\t887\t“I want sex”\n\t\t948\t“Pure lust (Cole’s notes for the autobiography of one Zonko)”\n\t\t982\t“Eating a peach (starring one Zonko (for P.J. Blumenthal))”\n\t\t1013\t“This is a series of poems called The blue book.”\n\t\t1028\t“One Zonko only needs everything…”\n\t\t1054\t“The crux”\n\t\t1079\t“Way we work”\n\t\t1119\t“To allay”\n\t\t1167\t“Guru goniffs (for Glenn)”\n\t\t1202\t“Trying to be funny”\n\t\t1223\t“With tense…”\n\t\t1253\t“Repeat them exactly”\n\t\t1306\t“Four broke…”\n\t\t1350\t“A blazin’ laser”\n\t\t1392\t“Paint in broken glass…”\n\t\t1405\t“Lonely for inspiration”\n\t\t1434\t“What number did you dial, please?”\n\t\t1466\t“A bang”\n\t\t1505\t“The last things I want to read is a… small quartet… called “Ask me: three paintings and a sculpture”\n\t\t1520\tI: “Vague enough”\n\t\t1538\tII: “Not vague” (tape runs out here, the last part of this poem may be on the second side, right channel)"],"Note":["[{\"note\":\"Liner Notes;  Bill Little Reading at Western Front, February 3, 1975 Side 1: 27:55 Side 2: 15:00 Recorded by Mary Beth Knechtel Dolby B\",\"type\":\"General\"},{\"note\":\"The Western Front is the donor as inventory says \",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670554736787458,"timestamp":"2026-01-07T14:59:59.119Z","score":1.5512705},{"id":"1094","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Ian Ferrier fonds"],"source_collection_label":["Ian Ferrier fonds"],"collection_contributing_unit":["Ian Ferrier"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Words and Music at Le Cagibi 2009-05-03"],"item_title_source":["Cataloguer"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Words and Music"],"item_identifiers":["[]"],"creator_names":["Ferrier, Ian"],"creator_names_search":["Ferrier, Ian"],"creators":["[{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian \",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"contributors_names":["Katalyst","Pharmakon MTL","Akulukjuk, Tommy","Lento, Allan","Gamble, Lisa"],"contributors_names_search":["Katalyst","Pharmakon MTL","Akulukjuk, Tommy","Lento, Allan","Gamble, Lisa"],"contributors":["[{\"url\":\"\",\"name\":\"Katalyst\",\"dates\":\"\",\"notes\":\"Announced but missing\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Pharmakon MTL\",\"dates\":\"\",\"notes\":\"Announced but missing\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Akulukjuk, Tommy\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Lento, Allan\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/102864158\",\"name\":\"Gamble, Lisa\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Katalyst","Pharmakon MTL","Akulukjuk, Tommy","Lento, Allan","Gamble, Lisa"],"Performance_Date":[2009],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\" In folder: 3 audio, 3 misc. In folder2: 5 docs, 4 images, 1 misc.\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"Set of 2 event audio recordings (+ edit)\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"Uploads/1094/Poster 2009-05-03.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital","Digital"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2009/05/\",\"file_path\":\"\",\"filename\":\"STE-001.wav\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:30:01\",\"precision\":\"\",\"size\":\"317.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"STE-001.wav [File 1 of 2]\\n\\nIan Ferrier\\n00:00:00\\nIntroduces Tommy Akulukjuk [recording begins abruptly]. \\n\\nAudience \\n00:00:02\\nApplause.\\n\\nTommy Akulukjuk\\n00:00:32\\nAddresses audience.\\n\\nAudience \\n00:00:38\\nApplause.\\n\\nTommy Akulukjuk\\n00:00:43\\nIntroduces unnamed poem.\\n\\nTommy Akulukjuk\\n00:01:09\\nReads unnamed poem in Inuktitut.\\n\\nTommy Akulukjuk\\n00:01:22\\nTranslates previous poem in English.\\n\\nTommy Akulukjuk\\n00:01:42\\nIntroduces unnamed poem.\\n\\nTommy Akulukjuk\\n00:01:52\\nReads unnamed poem. | Keywords: Jerry Springer [https://www.wikidata.org/wiki/Q890908]; Teletubbies [https://www.wikidata.org/wiki/Q41403]; Jack LaLanne [https://www.wikidata.org/wiki/Q1677099]; George Foreman [https://www.wikidata.org/wiki/Q213919]; Celine Dion [https://www.wikidata.org/wiki/Q5105]; MuchMusic [https://www.wikidata.org/wiki/Q1857828]\\n\\nTommy Akulukjuk\\n00:02:43\\nIntroduces \\\"Hugh John's Osteoid Osteoma\\\".\\n\\nTommy Akulukjuk\\n00:02:53\\nReads \\\"Hugh John's Osteoid Osteoma\\\". | Keywords: Mayo Clinic [https://www.wikidata.org/wiki/Q1130172]\\n\\nAudience \\n00:04:40\\nApplause.\\n\\nTommy Akulukjuk\\n00:04:45\\nIntroduces unnamed poem.\\n\\nTommy Akulukjuk\\n00:05:12\\nReads unnamed poem. \\n\\nAudience \\n00:06:00\\nApplause.\\n\\nIan Ferrier\\n00:06:18\\nThanks Tommy Akulukjuk.\\n\\nAudience \\n00:06:21\\nApplause.\\n\\nIan Ferrier\\n00:06:27\\nIntroduces Allan Lento. | Keywords: Salvador Dali [https://www.wikidata.org/wiki/Q5577]\\n\\nAudience \\n00:06:44\\nApplause.\\n\\nAllan Lento\\n00:07:49\\nAmbient Sound [voice, guitar]\\n\\nAllan Lento\\n00:09:27\\nReads unidentified line of poetry.\\n\\nAllan Lento\\n00:10:00\\nPerforms unnamed song.\\n\\nAudience \\n00:13:58\\nLaughter and applause.\\n\\nAllan Lento\\n00:14:28\\nPerforms unnamed song.\\n\\nAudience \\n00:18:32\\nApplause.\\n\\nAllan Lento\\n00:18:45\\nPerforms unnamed song.\\n\\nAudience \\n00:23:45\\nApplause.\\n\\nAllan Lento\\n00:24:00\\nPerforms unnamed song.\\n\\nAudience \\n00:29:20\\nApplause.\\n\\nAllan Lento\\n00:29:27\\nThanks audience. \\n\\nAudience \\n00:29:31\\nApplause.\\n\\nIan Ferrier\\n00:29:47\\nThanks Allan Lento. \\n\\nAudience \\n00:29:49\\nApplause.\\n\\nIan Ferrier\\n00:29:51\\nAnnounces intermission. | Keywords: Lisa Gamble; Katalyst; Pharmakon MTL\\n\\nEND\\n00:30:01\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2009/05/\",\"file_path\":\"\",\"filename\":\"Lisa Gamble.wav\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:11:48\",\"precision\":\"\",\"size\":\" 125.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Lisa Gamble.wav  [File 2 of 2]\\n\\nIan Ferrier\\n00:00:00\\nIntroduces Lisa Gamble. | Keywords: Toronto [https://www.wikidata.org/wiki/Q172]; Clues [band] \\n\\nAudience\\n00:00:45\\nApplause.\\n\\nLisa Gamble\\n00:00:48\\nPerforms unnamed song. \\n\\nAudience\\n00:10:55\\nApplause.\\n\\nUnknown\\n00:11:07\\nAmbient Sound [voices].\\n\\nAudience\\n00:11:22\\nApplause.\\n\\nUnknown\\n00:11:28\\nAmbient Sound [music; source uncertain].\\n\\nEND\\n00:11:48\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2009 05 03\",\"type\":\"Performance Date\",\"notes\":\"Date indicated on event poster and other. document\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/5764056585\",\"venue\":\"Le Cagibi\",\"notes\":\"\",\"address\":\"6596 St Laurent Blvd, Montreal, QC, H2S 3C6\",\"latitude\":\"45.5312505\",\"longitude\":\"-73.6111446\"}]"],"Address":["6596 St Laurent Blvd, Montreal, QC, H2S 3C6"],"Venue":["Le Cagibi"],"City":["Montreal, Quebec"],"content_notes":["This event features the first live poetry performance by Inuk artist Tommy Akulukjuk, music by Montrealer Allan Lento, as well as an innovative sound performance by Lisa Gamble. Additional performances by Katalyst and Pharmakon MTL, described as “poetry/trance/improv” on the event poster, are announced but missing from the audio recordings."],"contents":["STE-001.wav [File 1 of 2]\n\nIan Ferrier\n00:00:00\nIntroduces Tommy Akulukjuk [recording begins abruptly]. \n\nAudience \n00:00:02\nApplause.\n\nTommy Akulukjuk\n00:00:32\nAddresses audience.\n\nAudience \n00:00:38\nApplause.\n\nTommy Akulukjuk\n00:00:43\nIntroduces unnamed poem.\n\nTommy Akulukjuk\n00:01:09\nReads unnamed poem in Inuktitut.\n\nTommy Akulukjuk\n00:01:22\nTranslates previous poem in English.\n\nTommy Akulukjuk\n00:01:42\nIntroduces unnamed poem.\n\nTommy Akulukjuk\n00:01:52\nReads unnamed poem. | Keywords: Jerry Springer [https://www.wikidata.org/wiki/Q890908]; Teletubbies [https://www.wikidata.org/wiki/Q41403]; Jack LaLanne [https://www.wikidata.org/wiki/Q1677099]; George Foreman [https://www.wikidata.org/wiki/Q213919]; Celine Dion [https://www.wikidata.org/wiki/Q5105]; MuchMusic [https://www.wikidata.org/wiki/Q1857828]\n\nTommy Akulukjuk\n00:02:43\nIntroduces \"Hugh John's Osteoid Osteoma\".\n\nTommy Akulukjuk\n00:02:53\nReads \"Hugh John's Osteoid Osteoma\". | Keywords: Mayo Clinic [https://www.wikidata.org/wiki/Q1130172]\n\nAudience \n00:04:40\nApplause.\n\nTommy Akulukjuk\n00:04:45\nIntroduces unnamed poem.\n\nTommy Akulukjuk\n00:05:12\nReads unnamed poem. \n\nAudience \n00:06:00\nApplause.\n\nIan Ferrier\n00:06:18\nThanks Tommy Akulukjuk.\n\nAudience \n00:06:21\nApplause.\n\nIan Ferrier\n00:06:27\nIntroduces Allan Lento. | Keywords: Salvador Dali [https://www.wikidata.org/wiki/Q5577]\n\nAudience \n00:06:44\nApplause.\n\nAllan Lento\n00:07:49\nAmbient Sound [voice, guitar]\n\nAllan Lento\n00:09:27\nReads unidentified line of poetry.\n\nAllan Lento\n00:10:00\nPerforms unnamed song.\n\nAudience \n00:13:58\nLaughter and applause.\n\nAllan Lento\n00:14:28\nPerforms unnamed song.\n\nAudience \n00:18:32\nApplause.\n\nAllan Lento\n00:18:45\nPerforms unnamed song.\n\nAudience \n00:23:45\nApplause.\n\nAllan Lento\n00:24:00\nPerforms unnamed song.\n\nAudience \n00:29:20\nApplause.\n\nAllan Lento\n00:29:27\nThanks audience. \n\nAudience \n00:29:31\nApplause.\n\nIan Ferrier\n00:29:47\nThanks Allan Lento. \n\nAudience \n00:29:49\nApplause.\n\nIan Ferrier\n00:29:51\nAnnounces intermission. | Keywords: Lisa Gamble; Katalyst; Pharmakon MTL\n\nEND\n00:30:01\n\n\nLisa Gamble.wav  [File 2 of 2]\n\nIan Ferrier\n00:00:00\nIntroduces Lisa Gamble. | Keywords: Toronto [https://www.wikidata.org/wiki/Q172]; Clues [band] \n\nAudience\n00:00:45\nApplause.\n\nLisa Gamble\n00:00:48\nPerforms unnamed song. \n\nAudience\n00:10:55\nApplause.\n\nUnknown\n00:11:07\nAmbient Sound [voices].\n\nAudience\n00:11:22\nApplause.\n\nUnknown\n00:11:28\nAmbient Sound [music; source uncertain].\n\nEND\n00:11:48"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548261830657,"timestamp":"2026-01-07T14:59:52.745Z","score":1.503762},{"id":"6313","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":["Panel discussion: \"Spicer Vocabulary\", Jack Spicer conference at New College of California with Larry Fagin, Lori Chamberlain, Ronald Silliman, and Robin Blaser, moderated by Michael Palmer on June 20, 1986 part 3 of 3 #395"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Fagin, Larry","Palmer, Michael","Chamberlain, Lori","Silliman, Ronald","Blaser, Robin"],"creator_names_search":["Fagin, Larry","Palmer, Michael","Chamberlain, Lori","Silliman, Ronald","Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/94390890\",\"name\":\"Fagin, Larry\",\"dates\":\"1937-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/100912074\",\"name\":\"Palmer, Michael\",\"dates\":\"1942-2013\",\"notes\":\"Michael Palmer is the program's moderator \\n \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Chamberlain, Lori \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/112184153\",\"name\":\"Silliman, Ronald\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/8659/Reading in BC_MsC199_395.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"395-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:07\",\"precision\":\"\",\"size\":\"60.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"395-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:04\",\"precision\":\"\",\"size\":\"60.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1986-06-20\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/358818845#map=19/37.86675/-122.26884\",\"venue\":\"New College of California\",\"notes\":\"New College Berkley\",\"address\":\"San Francisco, California , United States\",\"latitude\":\"37.8667498\",\"longitude\":\"-122.2688401\"}]"],"Address":["San Francisco, California , United States"],"Venue":["New College of California"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\tRon Silliman, continued\n\t\t\tBenjamin’s use of “intention” – equivalent to Spicer’s use of “love”, or later “prayer”\n\t\t016\tIntention’s role as naming.  Naming and violence\n\t\t037\tThe fifth poem of Down beat –“If this is dictation it’s driving we wild”\n\t\t046\tRobin Blaser introduced\n\t\t055\tContext and vocabulary/vocabulary and context\n\t\t\t“The intelligence of context is vocabulary and syntax hypotactic or paratactic.”\n\t\t077\tBlaser came to Berkeley as Hiawatha; Jack came as a detective with a foot in the century, by way of his father.  Duncan arrived and dragged them into the century. \n\t\t\tAn opening of vocabulary\n\t\t111\t“Vocabulary and context can only be understood in terms of the way we get into the century” we have to work to do it.  It is a crime that few do, he says\n\t\t125\tMallarme and deconstruction – the content of the word God\n\t\t\tThe end of modernism = the end of 400 years of artistic intelligence, and the gift of the materiality of language\n\t\t140\tTalks of “Ecology of the Imagination”\n\t\t153\tReads the Galahad passage of The Holy Grail\n\t\t185\tHelen Adolph “Viseo Paxus” Vision of Peace\n\t\t\tSpicer read it – the constant haunting quality of matters of the sacred.  Sacred a central problem of the modern condition.  We need to watch how its vocabulary works\n\t\t214\tPoetry of dictation – dictated by love\n\t\t\tDante – his range of reference\n\t\t242\tJack’s closest mentor is Yeats.  (who misunderstood Blake)\n\t\t\tYeat’s use of dictation\n\t\t262\tLanguage as outside self – giving it to the other, as opposed to “me – language”\n\t\t270\tA discourse of cosmos – in Spicer among other discourses – Not – supernaturalism\n\t\t284\tParmenidean identity of thought and being in Spicer – not the same\n\t\t294\tFundamental tradition of the other.  We fear it\nB\t\t000\tRobin Blaser talking about Spicer’s letters\n\t\t029\tRilke’s letters and The Duino Elegies as models for the elegies and the theory of dictation\n\t\t030\tJack’s spelling and his linguistic geography job in Berkeley\n\t\t\tAlcohol and the demise of his spelling\n\t\t085\tInclusion of women in Jack’s group – not a misogynist community\n\t\t095\tSpicer’s anti-semitism.  As an extension of an incipient American anti-semitism\n\t\t122\tSpicer’s poem to/against Denise Levertov and her answer 5 years later, “White elephant”\n\t\t144\tSpicer and baseball – his belief that it is a fixed script\n\t\t190\tDictation/translation/Benjamin\n\t\t212\tRadicality and vocabulary, 16-17th century.  Sense of freed language\n\t\t224\tThe murder of God – Nietztche, Mallarme, Spicer\n\t\t258\tBlaser – the history of the sacred and violence\n\t\t274\tThe change of discourse and cosmos.  The sacred remains\n\t\t308\tDeath of meaning in Spicer\n\t\t318\tUse of blasphemy to charge up the community\n\t\t323\tThe danger of contextualizing the sense of other in readings of Spicer\n\t\t339\tDiscussion ends\n\t\t352\tSt. Theresa, St. Ignacius, John Donne in Spicer’s vocabulary\n\t\t377\tVocabulary founded in a dissociation between cosmic language and divine speaker\n\t\t390\tRefusal of Macrocosm, ego of speech act\n\t\t436\tSpicer’s language has no property – so it takes the form of the lack and the desire of the other\n\t\t482\tBlaser ends\n\t\t\tQuestions\n\t\t555\tSpicer’s difference from Duncan’s language and romantic poets\n\t\t\tHis favourite romantic – Byron, also Pope\n\t\t612\tEnds \n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555075477509,"timestamp":"2026-01-07T14:59:59.437Z","score":1.502898},{"id":"5855","cataloger_name":["Ben,Joseph"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Dial-A-Poem Poets: \"Sugar, Alcohol and Meat\", Tape 1 of 2 #597"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["In Copyright (InC)"],"rights_notes":["Copyright 1980 Giorno Poetry Systems"],"creator_names":["Morrow, Charlie","Ginsberg, Allen","Rodríguez-Piñero, Miguel","Algarin, Miguel","Giorno, John","Burroughs, William S.","Berrigan, Ted","Gordon, Peter","Cage, John","Carey, Tom","Voznesenskiĭ, Andreĭ"],"creator_names_search":["Morrow, Charlie","Ginsberg, Allen","Rodríguez-Piñero, Miguel","Algarin, Miguel","Giorno, John","Burroughs, William S.","Berrigan, Ted","Gordon, Peter","Cage, John","Carey, Tom","Voznesenskiĭ, Andreĭ"],"creators":["[{\"url\":\" http://viaf.org/viaf/6289971\",\"name\":\"Morrow, Charlie\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/60476760\",\"name\":\"Rodríguez-Piñero, Miguel\",\"dates\":\" 1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/49317131\",\"name\":\"Algarin, Miguel\",\"dates\":\"1941-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/84168002\",\"name\":\"Giorno, John\",\"dates\":\"1936-2019\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/108916275\",\"name\":\"Burroughs, William S.\",\"dates\":\"1914-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/64027570\",\"name\":\"Berrigan, Ted\",\"dates\":\"1934-1983\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/46773206\",\"name\":\"Gordon, Peter\",\"dates\":\"1927-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/71577292\",\"name\":\"Cage, John\",\"dates\":\"1912-1992\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/6677796\",\"name\":\"Carey, Tom\",\"dates\":\"1951-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/112228766\",\"name\":\"Voznesenskiĭ, Andreĭ\",\"dates\":\"1933-2010\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/6181/Reading in BC_MsC199_597.jpg\",\"other\":\"\",\"extent\":\"1/8 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files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"597-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:58\",\"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\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t#597\t\tTime: 28:47 min.\n\t\t000\tPeter Gordon excerpt from Extended Niceties\n\t\t032\tJohn Giorno “I Resigned Myself to Being Here”\n\t\t137\tJohn Cage “Alex & Gretchen Corazzo”\n\t\t150\t“The 6th Patriach of Zen Buddhism”\n\t\t176\t“Once I was visiting my Aunt Marge”\n\t\t184\t“Dorothy Norman Invited Me”\n\t\t199\t“One of Suzuki’s books”\n\t\t212\tTom Carey “Good night Irene [Come to me all you bewitching young men]”\n\t\t270\tAllen Ginsberg introduces Andrei Vosnesensky\n\t\t271\tTogether [in English & Russian] they read: “I am Goya”\n\t\t316\tIntro to “song of Moscow ancient church bells” by Vosnesensky\n\t\t328\tVosnesensky reads [in Russian] “Song of Moscow Ancient Church Bells”\n\t\t367\tSide 1 ends\nTwo\t\t\tTime: 29:50 min.\n\t\t000\tSide 2 begins\n\t\t010\tMiguel Pinero “New York City Hard Times Blues”\n\t\t090\tMiguel Algarin “Setenta Y Cinco Abriles”\n\t\t108\tMitchell Kreigman “In the bathtub”\n\t\t144\tWilliam S. Burroughs From Nova Express : “I was traveling with the intolerable kid on the Nova lark”\n\t\t252\tWilliam S. Burroughs, Jr. “Translucent boy”\n\t\t273\t“An excellent time”\n\t\t313\t“For Neal Cassidy”\n\t\t334\tCharlie Morrow “O Yeh-Don’t Die”\n\t\t383\tTed Berrigan Intro to “To Jack Kerouac”\n\t\t401 \tSide 2 ends\nThree\t#598\t\tTime: 30:20 min.\n\t\t000\tSide 3 begins\n\t\t003\tCharlotte Carter “Six months in Brooklyn”\n\t\t019\tPatti Smith “Parade”\n\t\t082\tCliff Fyman “Coffee [breakfast’}\n\t\t089\tRobin Messing “3 Subway Poems” from “Temporary worker”\n\t\t101\tPaul Violi “Whalefeathers”\n\t\t123\tBob Holman “Rap it up”\n\t\t158\tAllen Ginsberg Intro to “C.I.A. Dope Calypso”\n\t\t164\t“C.I.A. Dope Calypso”\n\t\t210\tAnne Waldman “Lady tactics”\n\t\t234\tJohn Ashbery [with Ann Lauterbach] “Litany”\n\t\t304\tBeth Anderson “I can’t stand it”\n\t\t344\tRene Ricard “Rene Ricard Famous at 20”\n\t\t398\tSide 3 ends\nFour\t\t\tTime: 29:40 min.\n\t\t000\tSide 4 begins\n\t\t010\tBarbara Barg “Skizo typesetting” \n\t\t014\t“Chicks”\n\t\t029\tNed Sublette “Nice Young Mormons”\n\t\t038\tKathy Acker “I was walking down the street”\n\t\t064\tEileen Myles “Lorna & Vicki”\n\t\t100\tBarbara Barg [with Chassler] “So fine”\n\t\t120\tDidi Susan Dubelyew “Who needs exercise”\n\t\t132\tRochelle Kraut “New born sleep”\n\t\t140 \tGary Snyder “What you should know to be a poet”\n\t\t183\tDaniela Gioseffi “Eggs”\n\t\t251\tRegina Beck “Message from Confucius”\n\t\t257\tBernard Heidseick “Canal Street No. 4”\n\t\t209\tCharles Bernstein “Wall As”\n\t\t357\tSteve McCaffery “Viking log Part 2”\n\t\t419\tRon Padgett “Zzzz”\n\t\t429\tSide 4 ends\n"],"Note":["[{\"note\":\"some poems in part one are read in Russian; Vosnesensky reads [in Russian] “Song of Moscow Ancient Church Bells”\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670554172653571,"timestamp":"2026-01-07T14:59:58.590Z","score":1.4920034},{"id":"8599","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["Warren Tallman interviewed by Roy Miki at Warren Tallman's house on January 24, 1983 Tape 1 of 13 DUPLICATE 1 OF 4"],"item_title_source":["Cassette and J-card"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Miki, Roy"],"creator_names_search":["Tallman, Warren","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\",\"Recordist\"]}]"],"contributors":["[]"],"Production_Date":[1983],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/8599/Roy Miki Fonds_MsC161_35.jpeg\",\"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\":\"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\":\"MsC161-25SideA\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:40\",\"precision\":\"\",\"size\":\"63.9 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\":\"MsC161-25SideB\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:31\",\"precision\":\"\",\"size\":\"62.3 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\":\"1983-01-24\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/30880923\",\"venue\":\"Warren Tallman’s House\",\"notes\":\"In the '70s(?) he moved to 3504 Bella Vista in East Vancouver V5N 3W9 and lived there till his death.\",\"address\":\"3504 Bella Vista in East Vancouver V5N 3W9\",\"latitude\":\"49.25312\",\"longitude\":\"-123.07054\"}]"],"Address":["3504 Bella Vista in East Vancouver V5N 3W9"],"Venue":["Warren Tallman’s House"],"Note":["[{\"note\":\"Warren Tallman reflects on the significance of geography and its impact on his work, sharing insights about his life in Vancouver and his early writings. 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Tallman also discusses the contemporary art festival at UBC and the involvement of these poets in the event.\",\"type\":\"General\"},{\"note\":\"This tape is a duplicate of tapes MsC 161.50 (SWALLOW ID 8618), MsC 161.145 (SWALLOW ID 8967), and MsC 161.144 (SWALLOW ID 9105)\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670557464133632,"timestamp":"2026-01-07T15:00:01.720Z","score":1.4837136},{"id":"8618","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["Warren Tallman interviewed by Roy Miki at Warren Tallman's house on January 24, 1983 Tape 1 of 13 DUPLICATE 2 OF 4"],"item_title_source":["Cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Miki, Roy"],"creator_names_search":["Tallman, Warren","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\",\"Recordist\"]}]"],"contributors":["[]"],"Production_Date":[1983],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/8618/Roy Miki Fonds_MsC161_50.jpeg\",\"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\":\"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\":\"MsC161-50 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:28\",\"precision\":\"\",\"size\":\"63.3 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\":\"MsC161-50 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:32\",\"precision\":\"\",\"size\":\"62.2 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\":\"1983-01-24\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/30880923\",\"venue\":\"Warren Tallman’s House\",\"notes\":\"In the '70s(?) he moved to 3504 Bella Vista in East Vancouver V5N 3W9 and lived there till his death.\",\"address\":\"3504 Bella Vista in East Vancouver V5N 3W9\",\"latitude\":\"49.25312\",\"longitude\":\"-123.07054\"}]"],"Address":["3504 Bella Vista in East Vancouver V5N 3W9"],"Venue":["Warren Tallman’s House"],"Note":["[{\"note\":\"Warren Tallman reflects on the significance of geography and its impact on his work, sharing insights about his life in Vancouver and his early writings. 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Tallman also discusses the contemporary art festival at UBC and the involvement of these poets in the event.\",\"type\":\"General\"},{\"note\":\"This tape is a duplicate of tapes MsC 161.50 (SWALLOW ID 8618), MsC 161.35 (SWALLOW ID 8599), and MsC 161.245 (SWALLOW ID 8967) \",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670558013587460,"timestamp":"2026-01-07T15:00:02.246Z","score":1.4837136},{"id":"6261","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Sacred Geography Seminar: Prof. Robin Blaser lecture at SFU on October 1, 1976 Tape 2 of 2 #622"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[RB_622]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/7985/Reading in BC_MsC199_622.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"622-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:50\",\"precision\":\"\",\"size\":\"39.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-201/rb622a\",\"file_path\":\"\",\"filename\":\"622-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:50\",\"precision\":\"\",\"size\":\"39.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-10-01\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"Simon Fraser University\",\"notes\":\"\",\"address\":\"8888 University Dr, Burnaby, BC V5A 1S6\",\"latitude\":\"49.2784\",\"longitude\":\"-122.9231\"}]"],"Address":["8888 University Dr, Burnaby, BC V5A 1S6"],"Venue":["Simon Fraser University"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t001\tBlaser discussing the notion of duality in Egyptian cosmology as found in The Book of the Dead.  He then goes on to speculate on the alterations in the relationships between the Egyptian gods.  Further speculation is given to the results of Set; homosexual tendencies\n\t\t037\tNotion of duality.  Blaser draws interesting assumption as he displays that Oasis is death from which life arises and Set is life from which death arises.  As the relationship between the two gods deteriorate, Death becomes a visible, semi-separate entity unto itself\n\t\t055\tThe shift in emphasis on the worship of Set by the Egyptians\n\t\t074\tBlaser describes the ideas, mainly the “layers of the world” concept, that he wants the students to keep in mind as they read and re-read the text(s)\n\t\t160\tDiscussion turns to the “central issues”, relating from two particular texts, they being Causal Mythology and Poetry and Truth.  Some of these “issues” include the notions of narrative and vocabulary\n\t\t203\tBeginning of a discussion on the narrative as having two particular facets, that of speech and that of speaking.  Blaser goes on to say “…narrative is made up of events, not facts.”  He stresses the ability of the narrative to pull the reader into the work\n\t\t225\tInvestigation into what Blaser calls “the means whereby we wish to speak of the active mode…”  Topics such as sense, nonsense and a “pure” language are to be raised\n\t\t250\tReiteration of the active role the reader must play in the events of the narrative\n\t\t277\t“Presence” in the work of Jack Spicer, who most of the preceding discussion dealt with.  Also, introduction of Surrealistic concepts into the discourse, specifically “the violent displacement of language that is then intended to control the marvelous”\n\t\t292\tSuggestion to read specific letters of Arthur Rimbaud.  The letters announce the psychological notion of “otherness”\n\t\t325\tBlaser lays great emphasis, perhaps even the major emphasis of the entire course, on the “constant operation of the language”.  Elaboration follows\n\t\t367\tFoucault, French poet, and his analysis of the evolution of the modern mind is stressed.  It too utilized the concept of “otherness’ in a slightly economic sense\n\t\t420\tTape ends, cutting Blaser off in a discussion of scientific principles\nTwo\t\t000\t\n\t\t001\tTape cuts in on some humorous interplay between Blaser and his students\n\t\t003\tDiscussion moves back to the multi-textured issue of language.  Language, it is stressed, by its very nature involves a sense of “otherness”.  “I’m not paying any attention, at this point, to God and all that stuff” says Blaser; he is dealing with direct experience\n\t\t010\tThe consciousness of modern language and its restructuring.  Blaser reads from an essay by Zollah, the title of the essay is unintelligible – that stresses social oneness.  Linguistic origins and the developments of Indo-European tongue are brought to the discussion, especially the connection between myth, symbols and the resulting language in the construction of the self\n\t\t075\tQuestion of a point of detail from a member of the seminar.  Blaser responds by reading from the text and repeating some of what he said previously.  He uses the question as the link to “the consistent movement inside language”\n\t\t095\tBlaser turns to a book by Western Labarr called Ghostdance for which he expresses particular disdain for its overly simplistic and naturalistic approach to the subject of religion\n\t\t148\tQuestion from a seminar member concerning Spicer.  Blaser feels the student has misunderstood his position and goes to re-explain that “the consistent efforts of all these texts is to speak to its own historical past”, adding further examples to strengthen his position.  The student seems satisfied with the response, as do others in the seminar\n\t\t278\tTurn to Causual Mythology as reading for next seminar is assigned\n\t\t282\tClass breaks up with Blaser commenting on how much he appreciates question and dissent in his classes\n\t\t287\tSound ends\n\t\t410\tSide two over"],"Note":["[{\"note\":\"Prof. Blaser’s “Sacred Geography” series breaks down into two organizational components, that of semi-formal lectures and that of seminars. The lectures have been indexed and are to be found throughout the Audio Tape Holdings catalogue under their respective accession numbers. The indexing is fairly self-explanatory. The seminars are not indexed for a variety of reasons, however, in conjunction with its respective lecture tape, each seminar is both important and invaluable to an understanding of the “Sacred Geography” series and the intentions of Prof. Blaser.\\n“And knowing”, Confucius says, “brings one to the goal”. Sacred Geography Lecture, October 22, 1976 (#630)\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555062894593,"timestamp":"2026-01-07T14:59:59.437Z","score":1.3862612},{"id":"9655","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 2.3, Audible Time, 21 December 2020, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/audible-time/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2020],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/896a5664-84c6-47d0-8fb6-b8d0b6d6726a/audio/4a72e0c1-e6fc-4fd5-acb5-c4919e45f777/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"minisode-s2e3-time.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:09:11\",\"precision\":\"\",\"size\":\"8,818,239 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"minisode-s2e3-time\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/audible-time/\"}]"],"Dates":["[{\"date\":\"2020-12-21\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Berrigan, Ted. [Recording] Sir George Williams Poetry Series, Montreal, 4 Dec 1970, https://montreal.spokenweb.ca/sgw-poetry-readings/ted-berrigan-at-sgwu-1970/\\n\\nHine, Daryl. [Recording] Sir George Williams Poetry Series, Montreal, 1 Dec 1967, https://montreal.spokenweb.ca/sgw-poetry-readings/daryl-hine-at-sgwu-1967/\\n\\nHindmarch, Gladys. [Recording] Sir George Williams Poetry Series, Montreal, 21 Nov 1969, https://montreal.spokenweb.ca/sgw-poetry-readings/gladys-hindmarch-at-sgwu-1969/\\n\\nSimic, Charles. [Recording] Sir George Williams Poetry Series, Montreal, 19 Nov 1971, \\n\\nhttps://montreal.spokenweb.ca/sgw-poetry-readings/charles-simic-at-sgwu-1971/#2\\n\\nWright, James. [Recording] Sir George Williams Poetry Series, Montreal, 13 December 1968, https://montreal.spokenweb.ca/sgw-poetry-readings/james-wright-at-sgwu-1968/\"}]"],"_version_":1853670549765488640,"timestamp":"2026-01-07T14:59:54.290Z","contents":["In trying to listen for time, this ShortCuts minisode listens for the New Year in SpokenWeb’s audio collections. What hopes do audiences have for the new year? And how do archival recordings help us understand our affective relation to time in our present moment?\n\nThe audio for this ShortCuts minisode is cut from recordings of the Sir George Williams Poetry Series, all available to listen to here: https://montreal.spokenweb.ca/sgw-poetry-readings/ and listed individually below. \n\nShortCuts minisodes are developed from ShortCuts blog posts on SPOKENWEBLOG and the post that inspired this one is here.\n\n\n00:00      Music:\t[Piano Overlaid With Distorted Beat]\n00:10\tHannah McGregor:\tWelcome to the SpokenWeb ShortCuts. Each month on alternate fortnights (that’s every second week following the monthly SpokenWeb Podcast episode) join me, Hannah McGregor and our minisode host and curator, Katherine McLeod for SpokenWeb’s ShortCuts mini-series.\n00:28\tHannah McGregor:\tWe’ll share with you specially curated audio clips from deep in the SpokenWeb archives to ask: what does it mean to cut and splice digitally? What kinds of new stories and audio criticism can be produced through these short archival clips? An extension of the ShortCuts blog posts [Sound Effect: Wind Chime] on SPOKENWEBLOG, this series brings Katherine’s favourite audio clips each month to the SpokenWeb Podcast feed. So, if you love what you hear, make sure to head over to spokenweb.ca for more. Without further ado, here is Katherine McLeod with SpokenWeb ShortCuts, mini stories about how literature sounds.\n01:12\tSpokenWeb Podcast Theme Music:\t[Instrumental Overlapped With Feminine Vocals]\n \n\n01:18\tKatherine McLeod:\tHow can you hear time? When listening to a recording? Can you be listening for time? In a set of recordings of a reading series, such as the Sir George Williams Poetry Series, there’s an audible marking of time whenever a host of a December reading mentions that the next reading will take place in January. The new year. What hopes did the audience have for the new year? How do these archival recordings help us understand hope in our present moment?\n \n\n01:53\tAudio Recording, Daryl Hine, Sir George Williams Poetry Series, Montreal, 1 December 1967:\tI negotiate the steps of paradise leaping to measures that I cannot hear. Thank you. [Applause]. [Announcer] I want to thank Mr. Hine and also announce that the next reading is on January 26 by the American poet, John Logan.\n \n\n02:33\tKatherine McLeod:\tThat was a clip of the end of Daryl Hine, reading “The Trout” in December, 1967. What was the audience thinking? And what did they imagine for January, 1968? What did Hine imagine? What if these were the last words of poetry that he read out loud in front of an audience in 1967? The words suddenly feel weightier when thinking of them in that way, a feeling that I would argue we can hear in another reading that ends up being the last one of 1968 in the Sir George Williams Series. It’s a reading by James Wright on December 13th, 1968.\n \n\n03:14\tAudio Recording, James Wright, Sir George Williams Poetry Series, Montreal, 13 December 1968:\tSuddenly I realize that if I stepped out of my body, I would break into blossom. Thank you. [Applause] [Announcer]I just like to express all our thanks to James Wright for sharing his poetry and his curses and blessings with us tonight and to remind you that the next reading in the series is by Muriel Rukeyser on Friday, January 24th. Goodnight.\n03:57\tKatherine McLeod:\tWhat did the audience hear when they heard —\n \n\n04:01\tAudio Recording, James Wright, Sir George Williams Poetry Series, Montreal, 13 December 1968:\n \n\nSuddenly I realized that if I stepped out of my body, I would break into blossom.\n04:08\tKatherine McLeod:\t—? What hopes did they have for 1969 as they listened? 1969. The last reading of that year in the Sir George William Series was introduced by George Bowering and the anticipation of the new year comes up right at the start.\n \n\n04:23\tAudio Recording, George Bowering (introducing Gladys Hindmarch):\tAnother Vancouver night in the series. This will be, this is a final reading of the fall series and will be picked up again in January. And as you know, from the propaganda sheets, or presenting what I consider to be the center of the Vancouver writing scene. Gladys Hindmarch has been in that scene for 10 years and was associated with all those, with those people who’ve got all kinds of names over the last few years such as the West Coast movement and the Tish movement and the New Wave Canada and that sort of business…\n \n\n05:08\tKatherine McLeod:\tBy the way, Bowering and Hindmarch read together virtually on December 16th, 2020. I mentioned that to mark time here in this minisode. Back to the archive:1970. Let’s see how this year ends in poetry, or at least in the Sir George Williams Poetry Series. The reading by Ted Berrigan on December 4th, 1970 is cut off so we don’t know if it ended with an announcement about the next reading. But it did end with Berrigan reading this poem. These are the last words heard in this last reading of 1970. It is the end of a poem called “People Who Died.”\n \n\n05:50\tAudio Recording, Ted Berrigan, Sir George Williams Poetry Series, Montreal, 4 December 1970:\tKilled by smoke poisoning while playing the flute at the Yonkers Children’s Hospital during a fire set by a 16 old arsonist/ 1965. Frank. Frank O’Hara hit by a car on Fire Island/1966, Woody Guthrie, dead of Huntington’s Chorea/ In 1968. Neil. Neil Cassidy died of exposure sleeping all night in the rain by the railroad tracks of Mexico/ 1969.Franny Winston, just a girl totaled her car on the Detroit Ann Arbor freeway returning from the dentist / September, 1969. Jack. Jack Kerouac died of drink and angry sicknesses in 1969/ My friends whose deaths have slowed my heart stay with me now. [Applause].\n \n\n06:55\tKatherine McLeod:\tWe are listening to what it felt like to hear those words in 1970, and to feel those deaths as recent. We are hearing time and what it felt like to feel in that time. In the Berrigan poem, that feeling is one of loss, a feeling that so often counters a feeling of anticipation. We hear that anticipation in my last example, the end of a reading by Charles Simic in 1971.\n \n\n07:26\tAudio Recording, Charles Simic, Sir George Williams Poetry Series, Montreal, 19 November 1971:\tThe greatest mistake. The words I allow it to be written when I should have shouted her name. Thank you. [Applause]. [Announcer] The next reading will be on January 14th – Dorothy Livesay will read at that time.\n \n\n07:52\tKatherine McLeod:\tIf I were in the audience in 1971, I would be looking forward to that reading by Dorothy Livesay in 1972. Listening for time in the archives reveals moments such as these. Ones in which hope is audible. That listening is something we can learn from as we anticipate a new year. We don’t know what is ahead. And, even as I speak these words now – recording them under my blanket fort at home – I hope they will be heard. [Music Begins: Piano Overlaid With Distorted Beat] Though, in what context I do not know right now, I play the role of the host in these archival recordings by marking time here and now, and by imagining a future time. In the role of the archival listener, I also know how it feels to hear a future time imagined as hopeful. It’s a powerful feeling to look forward to something, to share that feeling, and to listen back, hearing people looking forward to something. Thanks for listening and here’s to more listening together in 2021."],"score":1.3748927},{"id":"5410","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Two Toughs: Ed Sanders and Michael Brownstein reading at Naropa Institute Jack Kerouak school Disembodied poetics, Summer Session 1975. Duplicate 1 of 2. #775"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Brownstein, Michael","Sanders, Ed"],"creator_names_search":["Brownstein, Michael","Sanders, Ed"],"creators":["[{\"url\":\" http://viaf.org/viaf/91276819\",\"name\":\"Brownstein, Michael \",\"dates\":\"1943-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/22183708\",\"name\":\"Sanders, Ed \",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1286/Reading in BC_MsC199_775.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"775-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:01:12\",\"precision\":\"\",\"size\":\"59.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"775-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:06:07\",\"precision\":\"\",\"size\":\"66.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976\",\"type\":\"Performance Date\",\"notes\":\"It's the date that is written in inventory BC document \",\"source\":\"Inventory\"},{\"date\":\"1975\",\"type\":\"Performance Date\",\"notes\":\"This is the date that is mentioned by Ed Sanders on the digital file \",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"\",\"address\":\"2130 Arapahoe Ave, Boulder, CO 80302, United States\",\"latitude\":\"40.01405\",\"longitude\":\"-105.26695\"}]"],"Address":["2130 Arapahoe Ave, Boulder, CO 80302, United States"],"Venue":["Naropa Institute"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\n1\t\t\tEd Sanders reading: Untitled I, Untitled II, The Struggle, Homage to Zap, Children of Freedom, Souls, From the Diary Secret Notebooks, Stand by My Side, Oh Lord, Eulogy for ()\n2\t\t\tMichael Brownstein reading: Plot to Save the World, Oh Tuna, Strindberg, The Sidewalk, The Wind, It Can’t be True, The Booklets, Dinner Music, Geography\n"],"Note":["[{\"note\":\"Two Toughs\\nside 1: Ed Sanders\\nside two: Michael Brownstein  \\n#775\",\"type\":\"General\"},{\"note\":\"The first 28 minutes and 34 seconds of side one is full, and the rest is empty. \\n\",\"type\":\"\"},{\"note\":\"The first 28 minutes and 35 seconds of side two is full, and the rest is empty. \",\"type\":\"\"},{\"note\":\"The reading date is different on inventory and audio file \",\"type\":\"\"},{\"note\":\"Tape #975 is duplicate 2\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670553073745922,"timestamp":"2026-01-07T14:59:57.525Z","score":1.331162},{"id":"6266","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Sacred Geography Seminar with Prof. Robin Blaser on October 15, 1976 tape 1 of 2 #627"],"item_title_source":["j-card"],"item_title_note":["Liner notes: see the photo in the material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[RB_627]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/8103/627.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Clear box with j-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/rbr-216/rb627a\",\"file_path\":\"\",\"filename\":\"627-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:35:30\",\"precision\":\"\",\"size\":\"33.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-217/rb627b\",\"file_path\":\"\",\"filename\":\"627-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:43\",\"precision\":\"\",\"size\":\"29.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-10-15\",\"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\":\"49.276709600000004\",\"longitude\":\"-122.91780296438841\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555063943172,"timestamp":"2026-01-07T14:59:59.437Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t001\tBlaser begins discussion on Jack Spicer and the concept of “pure language”.  Pure language being that which involves “us” in polarities and opposites\n\t\t047\tBlaser draws a link from confusion to sexuality to language, making reference to past lectures and the Osiris myth of Kingship\n\t\t054\tDiscussion on the mythological language of “Theogony”, a poem, mentions Blaser, that “is extremely difficult to interpret”, yet this is, in many ways, why he chose to include it in the seminar, especially for its broken narrative\n\t\t063\tThe direct engagement of the poet in his historical condition, “there are not many poets who are engaged in this way”\n\t\t071\tBlaser’s question “Why does theology appear repeatedly?”  Ensuing discussion with emphasis on Spicer and Olson\n\t\t099\tWide tradition of “Theogony”, its language is to be found all around the world – it’s the primary/the pure language\n\t\t135\tThe primary place of “Theogony” in Babylonian New Year worship of Marduk.  Blaser stresses the powerful interaction the piece played in society\n\t\t171\tAfter reading from Genesis, Blaser develops a pattern of “cosmogony and cosmology followed by the genealogy of heroes and priests”.  The Persian story of Ohrmzd and his opposite Ahraman is cited as example of a narration that speaks of polarity.  Blaser notes the “listing” pattern (names, titles, deeds, etc.) in mythology drawing an appropriate contrast between the 50 names of Marduk and the equally numerous names of the Norse God, Odin\n\t\t243\tViolva’s Prophecy is noted as the voice of past, present and future.  Yet another creation myth confirming the listing pattern.  The original tie between the magic and the poetic, before the written word, which implies the theory of the language, the nature of the word.  The magical aspect manifests itself in the power it gives; power over the order or to reveal the order\n\t\t319\tThe need to gather a better understanding of the narrative, utilizing unseen diagrams which draw heavily from West’s introduction to “Theogony” and Normana/Brown.  In the case of “Theogony” this is best displayed in the invocations\n\t\t374\tBlaser draws a parallel between the generational narrative of the Old Testament and other such ancient relevant texts as an example\n\t\t416\tUtilizing the many myths of Zeus and his children as further example, Blaser seeks to display the exclusive nature in his estimation of the generational narrative. The tape ends sharply, cutting Blaser off\nTwo\t\t000\t\n\t\t001\tBlaser’s voice comes in during mid-sentence stressing the need to move through the process of the “Theogony” to reach the generational climax of Zeus and his supreme intelligence\n\t\t021\tThe succession story of Zeus, the birth of Aphrodite and story of Medusa, etc., all flow through each other.  Almost “mythological digressions” yet completely necessary to the great whole of the story\n\t\t070\tThe structure of the poem is the succession story, which Blaser outlines.  He then explores, by listing, the descriptive catalogues of the poem linking them to an implied movement in the human order\n\t\t141\tThe oriental flavor of the poem is pointed out as is West’s mention of a Phoenician history text compiled/written by San Chuniathon (a Phoenician poet) that was translated into Greek around the 2nd century A.D. and eventually translated into English on the insistence of Charles Olson.   Both examples add further strength to the pure/primary language theory\n\t\t230\tSan Chuniathon’s work as yet further example of the narrative move towards an established order\n\t\t244\tBlaser announces a contemporary reading he would like the class to attend.  The writer in question is [Foelling]* Dawson, reading at the Odd Infanitum Gallery, 3632 W. 4th Avenue on October 16/76.  Blaser goes on to discourse on the importance of the contemporary\n\t\t266\tGenealogy in the structural poem “What should be the critic’s vocabulary?”  The succession myth as the plot that is not truly apparent.  Blaser links the genealogy as the “living movement of that succession (myth)” also taken into account is the cosmology\n\t\t319\tDistinction drawn between visionary and prophet.  Examples and embellishment are provided by Blaser to further his point\n\t\t348\tThe prophet poet as one who “looks into his own time” which involves a use of “pure language”, Spicer and Olson are cited\n\t\t379\tReturn to the genealogy of ”Theogony” as the subject of discussion\n\t\t413\tAs Blaser was reintroducing the use of the listing pattern his voice was cut off\n\t\t413\tSide Two ends"],"score":1.2947123},{"id":"1281","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":["Allen Ginsberg at Sir George Williams University, The Poetry Series, 7 November 1969"],"item_title_source":["Cataloguer"],"item_title_note":["\"ALAN GINSBERG -1 Recorded November 7, 1969 3.75 ips on 1 mil. tape, 1/2 track\" written on sticker on the back of the tape's box. ALAN GINSBERG refers to Allen Ginsberg. ALAN is mispelled. \"PERMISSION FROM HOWARD FINK TO REPRODUCE THIS TAPE\" also written on sticker on the back of the tape's box. \"ALAN GINSBERG-1 I006/SR33.1\" written on sticker on the spine of the tape's box. \"I006-11-033.1\" written on sticker on the reel.\n\n\"ALAN GINSBERG -2 Recorded November 7, 1969 3.75 ips on 1 mil. tape, 1/2 track\" written on sticker on the back of the tape's box. ALAN GINSBERG refers to Allen Ginsberg. ALAN is mispelled. \"PERMISSION FROM HOWARD FINK TO REPRODUCE THIS TAPE\" also written on sticker on the back of the tape's box. \"ALAN GINSBERG-1 I006/SR33.2\" written on sticker on the spine of the tape's box. \"ALAN GINSBERG-1 I006-11-033.2\" written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[I006-11-033.1, I006-11-033.2]"],"creator_names":["Ginsberg, Irwin Allen"],"creator_names_search":["Ginsberg, Irwin Allen"],"creators":["[{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Irwin Allen\",\"dates\":\"1926-1997 \",\"notes\":\"Poet, revolutionary, and Beat generation icon Allen Ginsberg was born on June 3, 1926 in Paterson, New Jersey, to Naomi, a radical communist, and Louis Ginsberg, teacher and lyric poet. In his early life, Ginsberg’s mother was diagnosed with paranoid schizophrenia, a condition that would forever shape her son’s life. After graduation from high school, Ginsberg was accepted to Columbia University on scholarship to study labor law. However, after meeting Mark Van Doren and Lionel Trilling, Ginsberg turned to English and poetry. It was also at this time when he met Jack Kerouac, Lucien Carr, William S. Burroughs and Neal Cassady who would eventually form the ‘Beat Generation’. In 1948, Ginsberg had a vision of poet William Blake entering his apartment window, an event which would influence the rest of his life, attempting to recapture the image. In 1949, Ginsberg had a few minor run-ins with the law and he was committed to the Columbia-Presbyterian Psychiatric Institution. There he met his future publisher and life-long friend, Carl Solomon, a troubled intellectual. After serving in the merchant marines, and spending several months in Mexico, Ginsberg moved to San Francisco, where he met poets Kenneth Rexroth, Gary Snyder and Peter Orlovsky, who would become his life-long partner. After composing his first major notable poem, “Howl”, in 1955, he and Rexroth organized a reading of it at the Six Gallery, featuring Snyder and Michael McClure, with Lawrence Ferlenghetti (who later published the poem) and Kerouac in attendance. Ginsberg’s first collection of poetry was published in 1956, but with its second printing in 1957, Howl and Other Poems (City Lights Books, 1956) was seized by U.S. Customs for being ‘obscene’. However, after a trial, the book was deemed to have literary merit, which propelled Ginsberg and the Beat group of poets into instant fame, giving Ginsberg the opportunity to promote Kerouac’s On the Road and Burroughs’ Naked Lunch. In 1956, Ginsberg received news that his mother had died, which compelled him to write the poems “Death to Van Gogh’s Ear!” and “The Lion for Real”, and Kaddish and Other Poems (City Lights Books, 1961) as well as Empty Mirror: Early Poems (Corinth Books, 1961). During the 1960s Ginsberg traveled widely with Burroughs, Gregory Corso, Snyder to Paris, India, Tangier, Prague (where he was deported for being a corrupting influence). He published  Reality Sandwiches: 1953-1960 (City Lights Books, 1963), The Yage Letters with William Burroughs (City Lights Books, 1963), TV Baby Poems (Beach Books, 1968), Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), and Airplane Dreams: Compositions from Journals (City Lights Books, 1969). The years of 1968 and 1969 were filled with mourning for Ginsberg, as he learned of the death of both Neal Cassady and Jack Kerouac. The 1970s saw Ginsberg publish a number of collections, including The Fall of America: Poems of These States (City Lights, 1972), which won the National Book Award in 1974, The Gates of Wrath: Rhymed Poems, 1948-1952 (Grey Fox, 1972), Iron Horse (City Lights, 1974), First Blues: Rags, Ballads and Harmonium Songs, 1971-1974 (Full Court Press, 1975), Mind Breaths: Poems (City Lights, 1977), Poems All Over the Place: Mostly Seventies (Cherry Valley Editions, 1978). In 1976, Ginsberg and poet Anne Waldman were invited to create a writing program at the Naropa Institute in Colorado, which they named the Jack Kerouac School of Disembodied Poetics. In the 1980s and 1990s, Ginsberg published Plutonian Ode and Other Poems, 1977-1980 (City Lights, 1982), White Shroud: Poems 1980-1985 (Harper & Row, 1986), Cosmopolitan Greetings: Poems, 1986-1992 (HarperCollins,1994), Selected Poems (HarperCollins, 1996), Death & Fame: Last Poems, 1993-1997 (HarperFlamingo, 1999). Until his death, Ginsberg used his fame and poetry to speak out against censorship, the Vietnam War and drug prohibition, and for gay rights. Allen Ginsberg died in New York City, on April 4th, 1997.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1969],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1969 11 7\",\"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 Room H-110\",\"notes\":\"Previous researcher\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-110"],"City":["Montreal, Quebec"],"content_notes":["Allen Ginsberg reads from Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), as well as pieces that were published later in The Fall of America: Poems of These States (City Lights Books, 1973). Ginsbger also performs musical versions of William Blake’s Songs of Innocence and Songs of Experience, recorded later on Songs of Innocence and Experience (MGM, 1970). "],"contents":["allen_ginsberg_i006-11-033-1.mp3 [File 1 of 2]\n \nUnnamed Performers and Audience\n00:00:00\nSing and chant accompanied by music . \n \nUnknown\n00:16:38\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nGeorge Bowering\n00:16:41\nWelcome to the...welcome to the fourth—third week of the fourth series of our readings here at Sir George [https://www.wikidata.org/wiki/Q326342] and this one is a special one, partly in that it was, it is being presented by a combination of the daytime Arts Student Association and the evening Arts Student Association, and not simply on the normal schedule. I'm certain that you don't have to be told who Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] is, and you might think on how lucky it is that you happen to be in Montreal [https://www.wikidata.org/wiki/Q340] and he is here at the same time. Last night he was at York University [https://www.wikidata.org/wiki/Q849751] in Toronto [https://www.wikidata.org/wiki/Q172], and tomorrow he's going to be in Ottawa [https://www.wikidata.org/wiki/Q1930], and we're going to sap an awful lot of his energy. Allen is, I think, the most noted poet we've had over the last couple of decades, in the world, and as you're going to find out and as you already know, one of the super-poets in terms of writing poetry, as well. I'd like to give you, without any more cogitation, Mr. Allen Ginsberg. \n\nAudience\n00:18:13\nApplause.\n \nAllen Ginsberg\n00:18:23\nGeorge Bowering [https://www.wikidata.org/wiki/Q1239280], who I've known a long time, asked me to read a poem that I haven't read through but once before, called \"Angkor Wat\". So I'll try that. It's middle-sized, like, ten minutes, probably. What it is, is notations taken down in the course of one night in Cambodia [https://www.wikidata.org/wiki/Q424], in Siem Reap [https://www.wikidata.org/wiki/Q11711], which is outside of Angkor Wat [https://www.wikidata.org/wiki/Q43473], a town outside of the ruins.\n \nUnknown\n00:18:55\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:18:56\nReads \"Angkor Wat\" [from Angkor Wat]. \n \nAudience\n00:41:32\nApplause [cut off].\n \nUnknown\n00:41:37\nSilence [cut or edit made in tape].  \n \nAllen Ginsberg\n00:41:45\nI want to read a couple poems from a book published in Toronto by Anansi Press, or one poem from that. This is written in Saigon [https://www.wikidata.org/wiki/Q1854], so it's about a week, yes it's about...the same week, I think. Oh this is...a week before. \n \nAllen Ginsberg\n00:42:19\nReads “Understand that this is a Dream” [from Airplane Dreams].\n \nUnknown\n00:49:28\nSilence [cut or edit made in tape].\n \nAllen Ginsberg\n00:49:36\nI've been working on Blake's [https://www.wikidata.org/wiki/Q41513] Songs of Innocence [https://www.wikidata.org/wiki/Q20644964] and Experience [https://www.wikidata.org/wiki/Q27890603], making tunes, or tuning the songs, so I'd like to sing some. \n \nAllen Ginsberg\n00:49:48\nPerforms \"(a) Introduction / (b) The Shepherd”, accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:52:30\nSinging them in the order in Experience, that they're in the book, what follows is \"The Echoing Green\".\n \nAllen Ginsberg\n00:52:40\nPerforms \"The Echoing Green\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:54:29\n“The Little Boy Lost\" and \"The Little Boy Found\".\n \nAllen Ginsberg\n00:54:41\nPerforms \"The Little Boy Lost\" and \"The Little Boy Found\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:56:14\nPerforms \"The Blossom\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:57:16\nFrom Experience, the first song is \"Hear the Voice of the Bard\".\n \nAllen Ginsberg\n00:57:22\nPerforms \"Hear the Voice of the Bard\", accompanying himself on harmonium [recorded later as “Introduction” on Songs of Innocence and Experience]. \n \nAllen Ginsberg\n00:59:26\nAnd the last song in Experience...\n \nAllen Ginsberg\n00:59:33\nPerforms \"Introduction\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n01:00:47.46\nAnd last from Innocence, \"The Laughing Song\".\n \nAllen Ginsberg\n01:00:50\nPerforms \"The Laughing Song\", accompanying himself on harmonium [recorded later as “b) Laughing Song” on Songs of Innocence and Experience].\n \nAudience\n01:01:48\nApplause [cut off].\n\nEND\n01:01:52\n\n\nallen_ginsberg_i006-11-033-2.mp3 [File 2 of 2] \n\nAllen Ginsberg\n00:00:00\nReads \"Morning\" [from Planet News]. \n \nAudience\n00:02:17\nLaughter and applause.\n \nUnknown\n00:02:23\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:02:23\nReads \"Today\" [from Planet News]. \n \nAudience\n00:10:04\nApplause.\n \nUnknown\n00:10:07\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:10:08\nReads \"First party at Ken Kesey's with Hell's Angels\" [from Planet News]. \n \nAllen Ginsberg\n00:11:22\nReads \"Uptown\" [from Planet News]. \n \nAudience\n00:12:20\nLaughter and applause\n \nUnknown\n00:12:29\n[Cut or edit made in tape].\n \nAllen Ginsberg\n00:12:30\nPerforms \"Holy Ghost on the Nod over the Body of Bliss\" [from Planet News]. \n \nAudience\n00:14:46\nApplause.\n \nUnknown\n00:14:52\nSilence [cut or edit made in tape].\n \nAllen Ginsberg\n00:14:59\nPerforms \"Hari Om Namah Shivaya” chant, accompanying himself on harmonium. \n \nAudience\n00:25:17\nApplause.\n \nAllen Ginsberg\n00:25:22\nPerforms \"The Lamb\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:27:00\nPerforms \"The Little Black Boy\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:30:11\nPerforms \"Holy Thursday\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:31:37\nI'll finish the Blake with \"The Nurse's Song\". Get up a little closer to me.\n \nAllen Ginsberg\n00:31:52\nPerforms\"The Nurse's Song\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\n \nAllen Ginsberg\n00:32:27\nNo...start again.\n \nAllen Ginsberg\n00:32:32\nPerforms \"The Nurse's Song\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\n \nAudience\n00:35:58\nApplause.\n \nUnknown\n00:36:05\nSilence [cut or edit made in tape].\n \nAllen Ginsberg\n00:36:13\nThe continuation of a long poem on these dates. Some of those who are specialists, some of those who are specialists in poesy will know a text published in a book I've been reading from, Planet News [https://www.wikidata.org/wiki/Q7201132], called \"Wichita Vortex Sutra\". This is the continuation of the same long poem a year later, bringing the war, the mental war up to 1967. January, 1967. Related to the poem \"Wichita Vortex Sutra\" in that it's crossing the central part of the United States [https://www.wikidata.org/wiki/Q30] again, north of Kansas [https://www.wikidata.org/wiki/Q1558] through Nebraska [https://www.wikidata.org/wiki/Q1553], passing again by Lincoln [https://www.wikidata.org/wiki/Q28260], Nebraska. A trip between Wichita, Kansas and Lincoln, Nebraska two...a year and a half earlier having been the subject of the text \"Wichita Vortex Sutra\". This continuation.\n \nAllen Ginsberg\n00:37:09\nReads [“Returning North of Vortex\", published later in The Fall of America: Poems of These States].\n \nAllen Ginsberg\n00:43:12\nA continuation of the same poem, between Kansas City [https://www.wikidata.org/wiki/Q41819] and St. Louis [https://www.wikidata.org/wiki/Q38022]. Middle of the long poem on these dates.\n \nAllen Ginsberg\n00:43:22\nReads [\"Kansas City to Saint Louis\", published later in The Fall of America: Poems of These States].\n \nAudience\n00:52:41\nApplause.\n \nUnknown\n00:52:46\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nAllen Ginsberg\n00:52:47\nReads \"Car Crash\" [published later in The Fall of America: Poems of These States; audience laughter throughout].\n\nAllen Ginsberg\n00:58:17\nAnd July 4th, 1969. \"Orange hawkeye\"--Hawkeye is a New York state [https://www.wikidata.org/wiki/Q1384] flower, a flower that grows in New York state, very tiny, bright orange, eyeball with a tiny brown, brownish, purplish pupil.\n \nAllen Ginsberg\n00:58:35\nReads [\"Independence Day\", published later in The Fall of America: Poems of These States]\n \nAllen Ginsberg\n01:00:49\nFinish with a mantra. Well or, read one last poem, which has been distributed by Dakota Broadsides, they're people from Logos, or connected with Logos, I think. Is that not right? Yeah. I'll pass these out, I think. It's a poem written in Grant Park [https://www.wikidata.org/wiki/Q159085] on August 28th, '68, during the Democratic Convention. Uh, Grant Park, the day after the election of, or the day after the nomination of Humphrey [https://www.wikidata.org/wiki/Q209989]. \n \nAllen Ginsberg\n01:01:27\nReads unnamed poem.\n \nAudience\n01:02:25\nApplause and laughter [cut off].\n \nEND\n01:02:31\n"],"Note":["[{\"note\":\"Year-Specific Information: \\n\\nIn 1969, Ginsberg had published Airplane Dreams: Compositions from Journals. In June of 1969, Ginsberg recorded a series of William Blake’s poetry set to music, which was released by MGM records in 1970. Close friend Jack Kerouac died on October 21, 1969, which prompted Allen to write his long elegy, “Memory Gardens”. In December, Ginsberg testified in court at the “Chicago Seven” trial of protesters in the 1968 Democratic National Convention.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAllen Ginsberg not only became a household name and a symbol for youth in North America during the 60’s and 70’s, he led the ‘Beat’ poetry movement, was a world traveler, a defender of civil and human rights, a teacher and spiritual guide. Ginsberg states in the recording that he had known George Bowering, who was a professor at Sir George Williams University, for “a long time” (I006-11-033.1).\",\"type\":\"General\"},{\"note\":\"George Bowering published his reaction to Ginsberg’s poem, “Howl” in 1969, How I hear Howl (Montreal, Beaver kosmos folio, 1, 1969).\",\"type\":\"General\"},{\"note\":\"Stephen Morrissey has recollections of attending most of the readings in the series: <http://www.vehiculepoets.com/recollective_essay.htm>\",\"type\":\"General\"},{\"note\":\"Original print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Butscher, Edward. \\\"Ginsberg, Allen\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton, ed. Oxford University Press, 1996.\\n\"},{\"url\":\"https://www.worldcat.org/title/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"Carlise, Chuck. \\\"Ginsberg, Allen\\\". The Oxford Encyclopedia of American Literature. Jay Parini, ed. Oxford University Press 2004. \"},{\"url\":\"https://www.worldcat.org/title/ankor-wat/oclc/17611&referer=brief_results\",\"citation\":\"Ginsberg, Allen. Angkor Wat. London: Fulcrum Press, 1968. \"},{\"url\":\"https://www.worldcat.org/title/planet-news-1961-1967/oclc/806341370&referer=brief_results\",\"citation\":\"Ginsberg, Allen. Planet News. San Francisco: City Lights Books, 1968. \"},{\"url\":\"https://www.worldcat.org/title/fall-of-america-poems-of-these-states-1965-1971/oclc/472756006&referer=brief_results\",\"citation\":\"Ginsberg, Allen. The Fall of America: Poems of These States. San Francisco: City Lights Books, 1973.\"},{\"url\":\"https://www.wikidata.org/wiki/Q20713959\",\"citation\":\"Ginsberg, Allen. Songs of Innocence and Experience. New York: MGM, 1970. \"},{\"url\":\"http://www.writing.upenn.edu/~afilreis/50s/ginsberg-fbi.html\",\"citation\":\"Mitgang, Herbert. Dangerous dossiers: exposing the secret war against America’s greatest authors. New York: D.I. Fine, 1988.\"},{\"url\":\"http://www.allenginsberg.org\",\"citation\":\"Allen Ginsberg Project. The Allen Ginsberg Trust, 2010. \"},{\"url\":\"\",\"citation\":\"Duerden, Paul. “Ginsberg, Allen, 1926-”. Literature Online Biography. Proquest, 2008.   \"},{\"url\":\"\",\"citation\":\"“Nook: Ginsberg”. The Georgian. Montreal: Sir George Williams University, 12 November 1969, page 7.\"}]"],"_version_":1853670548896219136,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0033-1_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0033-1_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Allen Ginsberg Tape Box 1 - 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_0033-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0033-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Allen Ginsberg Tape Box 1 - 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Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/allen_ginsberg_i006-11-033-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"allen_ginsberg_i006-11-033-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:01:52\",\"precision\":\"\",\"size\":\"148.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"allen_ginsberg_i006-11-033-1.mp3 [File 1 of 2]\\n \\nUnnamed Performers and Audience\\n00:00:00\\nSing and chant accompanied by music . \\n \\nUnknown\\n00:16:38\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nGeorge Bowering\\n00:16:41\\nWelcome to the...welcome to the fourth—third week of the fourth series of our readings here at Sir George [https://www.wikidata.org/wiki/Q326342] and this one is a special one, partly in that it was, it is being presented by a combination of the daytime Arts Student Association and the evening Arts Student Association, and not simply on the normal schedule. I'm certain that you don't have to be told who Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] is, and you might think on how lucky it is that you happen to be in Montreal [https://www.wikidata.org/wiki/Q340] and he is here at the same time. Last night he was at York University [https://www.wikidata.org/wiki/Q849751] in Toronto [https://www.wikidata.org/wiki/Q172], and tomorrow he's going to be in Ottawa [https://www.wikidata.org/wiki/Q1930], and we're going to sap an awful lot of his energy. Allen is, I think, the most noted poet we've had over the last couple of decades, in the world, and as you're going to find out and as you already know, one of the super-poets in terms of writing poetry, as well. I'd like to give you, without any more cogitation, Mr. Allen Ginsberg. \\n\\nAudience\\n00:18:13\\nApplause.\\n \\nAllen Ginsberg\\n00:18:23\\nGeorge Bowering [https://www.wikidata.org/wiki/Q1239280], who I've known a long time, asked me to read a poem that I haven't read through but once before, called \\\"Angkor Wat\\\". So I'll try that. It's middle-sized, like, ten minutes, probably. What it is, is notations taken down in the course of one night in Cambodia [https://www.wikidata.org/wiki/Q424], in Siem Reap [https://www.wikidata.org/wiki/Q11711], which is outside of Angkor Wat [https://www.wikidata.org/wiki/Q43473], a town outside of the ruins.\\n \\nUnknown\\n00:18:55\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:18:56\\nReads \\\"Angkor Wat\\\" [from Angkor Wat]. \\n \\nAudience\\n00:41:32\\nApplause [cut off].\\n \\nUnknown\\n00:41:37\\nSilence [cut or edit made in tape].  \\n \\nAllen Ginsberg\\n00:41:45\\nI want to read a couple poems from a book published in Toronto by Anansi Press, or one poem from that. This is written in Saigon [https://www.wikidata.org/wiki/Q1854], so it's about a week, yes it's about...the same week, I think. Oh this is...a week before. \\n \\nAllen Ginsberg\\n00:42:19\\nReads “Understand that this is a Dream” [from Airplane Dreams].\\n \\nUnknown\\n00:49:28\\nSilence [cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:49:36\\nI've been working on Blake's [https://www.wikidata.org/wiki/Q41513] Songs of Innocence [https://www.wikidata.org/wiki/Q20644964] and Experience [https://www.wikidata.org/wiki/Q27890603], making tunes, or tuning the songs, so I'd like to sing some. \\n \\nAllen Ginsberg\\n00:49:48\\nPerforms \\\"(a) Introduction / (b) The Shepherd”, accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:52:30\\nSinging them in the order in Experience, that they're in the book, what follows is \\\"The Echoing Green\\\".\\n \\nAllen Ginsberg\\n00:52:40\\nPerforms \\\"The Echoing Green\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:54:29\\n“The Little Boy Lost\\\" and \\\"The Little Boy Found\\\".\\n \\nAllen Ginsberg\\n00:54:41\\nPerforms \\\"The Little Boy Lost\\\" and \\\"The Little Boy Found\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:56:14\\nPerforms \\\"The Blossom\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:57:16\\nFrom Experience, the first song is \\\"Hear the Voice of the Bard\\\".\\n \\nAllen Ginsberg\\n00:57:22\\nPerforms \\\"Hear the Voice of the Bard\\\", accompanying himself on harmonium [recorded later as “Introduction” on Songs of Innocence and Experience]. \\n \\nAllen Ginsberg\\n00:59:26\\nAnd the last song in Experience...\\n \\nAllen Ginsberg\\n00:59:33\\nPerforms \\\"Introduction\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n01:00:47.46\\nAnd last from Innocence, \\\"The Laughing Song\\\".\\n \\nAllen Ginsberg\\n01:00:50\\nPerforms \\\"The Laughing Song\\\", accompanying himself on harmonium [recorded later as “b) Laughing Song” on Songs of Innocence and Experience].\\n \\nAudience\\n01:01:48\\nApplause [cut off].\\n\\nEND\\n01:01:52\\n\",\"notes\":\"Allen Ginsberg reads from Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), as well as pieces that were published later in The Fall of America: Poems of These States (City Lights Books, 1973). Ginsbger also performs musical versions of William Blake’s Songs of Innocence and Songs of Experience, recorded later on Songs of Innocence and Experience (MGM, 1970). \\n                                              \\n00:00- Recording begins with Hare Krishna chanting music.\\n16:41- George Bowering introduces Allen Ginsberg. [INDEX: Sir George Williams University, third week of the fourth series of readings, reading presented with both daytime and evening Arts Student Association, Ginsberg’s reading schedule: York University (Toronto), Ottawa.]\\n18:23- Introduces “Angkor Wat”. [INDEX: George Bowering, notations taken from one night in Siem Reap, Cambodia; from Angkor Wat (Fulcrum Press, 1968).]\\n18:56- Reads “Angkor Wat”.\\n41:45- Introduces “Understand That This is a Dream”. [INDEX: Published by Anansi Press, Toronto; found in Airplane Dreams (City Lights Books, 1969).]\\n42:19- Reads “Understand That This is a Dream”.\\n49:36- Introduces Blake’s Songs of Innocence and Experience, poem beginning “Piping down the valleys wild”.\\n49:48- Sings (with harmonium-style instrument) “Piping down the valleys wild”.\\n51:20- Sings (with harmonium-style instrument) “How sweet is the shepherd’s sweet lot”.\\n52:30- Introduces “The Echoing Green” [INDEX: Blake’s Experience.]\\n52:40- Sings (with harmonium-style instrument) “The Echoing Green”.\\n54:29- Sings (with harmonium-style instrument) “The Little Boy Lost” and “The Little Boy Found”.\\n56:14- Sings (with harmonium-style instrument) “The Blossom”.\\n57:16- Introduces “Hear the Voice of the Bard” [INDEX: from Experience.]\\n57:22- Sings (with harmonium-style instrument) “Hear the Voice of the Bard”.\\n59:33- Sings (with harmonium-style instrument) “Youth of delight, come hither”.\\n1:00:47- Sings (with harmonium-style instrument) “The Laughing Song”\\n1:01:48.50- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/allen-ginsberg-at-sgwu-1969/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/allen_ginsberg_i006-11-033-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"allen_ginsberg_i006-11-033-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"66.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"allen_ginsberg_i006-11-033-2.mp3 [File 2 of 2] \\n\\nAllen Ginsberg\\n00:00:00\\nReads \\\"Morning\\\" [from Planet News]. \\n \\nAudience\\n00:02:17\\nLaughter and applause.\\n \\nUnknown\\n00:02:23\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:02:23\\nReads \\\"Today\\\" [from Planet News]. \\n \\nAudience\\n00:10:04\\nApplause.\\n \\nUnknown\\n00:10:07\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:10:08\\nReads \\\"First party at Ken Kesey's with Hell's Angels\\\" [from Planet News]. \\n \\nAllen Ginsberg\\n00:11:22\\nReads \\\"Uptown\\\" [from Planet News]. \\n \\nAudience\\n00:12:20\\nLaughter and applause\\n \\nUnknown\\n00:12:29\\n[Cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:12:30\\nPerforms \\\"Holy Ghost on the Nod over the Body of Bliss\\\" [from Planet News]. \\n \\nAudience\\n00:14:46\\nApplause.\\n \\nUnknown\\n00:14:52\\nSilence [cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:14:59\\nPerforms \\\"Hari Om Namah Shivaya” chant, accompanying himself on harmonium. \\n \\nAudience\\n00:25:17\\nApplause.\\n \\nAllen Ginsberg\\n00:25:22\\nPerforms \\\"The Lamb\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:27:00\\nPerforms \\\"The Little Black Boy\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:30:11\\nPerforms \\\"Holy Thursday\\\", accompanying himself on harmonium [recorded later on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:31:37\\nI'll finish the Blake with \\\"The Nurse's Song\\\". Get up a little closer to me.\\n \\nAllen Ginsberg\\n00:31:52\\nPerforms\\\"The Nurse's Song\\\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\\n \\nAllen Ginsberg\\n00:32:27\\nNo...start again.\\n \\nAllen Ginsberg\\n00:32:32\\nPerforms \\\"The Nurse's Song\\\", accompanying himself on harmonium [recorded later as “Nurses Song” on Songs of Innocence and Experience].\\n \\nAudience\\n00:35:58\\nApplause.\\n \\nUnknown\\n00:36:05\\nSilence [cut or edit made in tape].\\n \\nAllen Ginsberg\\n00:36:13\\nThe continuation of a long poem on these dates. Some of those who are specialists, some of those who are specialists in poesy will know a text published in a book I've been reading from, Planet News [https://www.wikidata.org/wiki/Q7201132], called \\\"Wichita Vortex Sutra\\\". This is the continuation of the same long poem a year later, bringing the war, the mental war up to 1967. January, 1967. Related to the poem \\\"Wichita Vortex Sutra\\\" in that it's crossing the central part of the United States [https://www.wikidata.org/wiki/Q30] again, north of Kansas [https://www.wikidata.org/wiki/Q1558] through Nebraska [https://www.wikidata.org/wiki/Q1553], passing again by Lincoln [https://www.wikidata.org/wiki/Q28260], Nebraska. A trip between Wichita, Kansas and Lincoln, Nebraska two...a year and a half earlier having been the subject of the text \\\"Wichita Vortex Sutra\\\". This continuation.\\n \\nAllen Ginsberg\\n00:37:09\\nReads [“Returning North of Vortex\\\", published later in The Fall of America: Poems of These States].\\n \\nAllen Ginsberg\\n00:43:12\\nA continuation of the same poem, between Kansas City [https://www.wikidata.org/wiki/Q41819] and St. Louis [https://www.wikidata.org/wiki/Q38022]. Middle of the long poem on these dates.\\n \\nAllen Ginsberg\\n00:43:22\\nReads [\\\"Kansas City to Saint Louis\\\", published later in The Fall of America: Poems of These States].\\n \\nAudience\\n00:52:41\\nApplause.\\n \\nUnknown\\n00:52:46\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nAllen Ginsberg\\n00:52:47\\nReads \\\"Car Crash\\\" [published later in The Fall of America: Poems of These States; audience laughter throughout].\\n\\nAllen Ginsberg\\n00:58:17\\nAnd July 4th, 1969. \\\"Orange hawkeye\\\"--Hawkeye is a New York state [https://www.wikidata.org/wiki/Q1384] flower, a flower that grows in New York state, very tiny, bright orange, eyeball with a tiny brown, brownish, purplish pupil.\\n \\nAllen Ginsberg\\n00:58:35\\nReads [\\\"Independence Day\\\", published later in The Fall of America: Poems of These States]\\n \\nAllen Ginsberg\\n01:00:49\\nFinish with a mantra. Well or, read one last poem, which has been distributed by Dakota Broadsides, they're people from Logos, or connected with Logos, I think. Is that not right? Yeah. I'll pass these out, I think. It's a poem written in Grant Park [https://www.wikidata.org/wiki/Q159085] on August 28th, '68, during the Democratic Convention. Uh, Grant Park, the day after the election of, or the day after the nomination of Humphrey [https://www.wikidata.org/wiki/Q209989]. \\n \\nAllen Ginsberg\\n01:01:27\\nReads unnamed poem.\\n \\nAudience\\n01:02:25\\nApplause and laughter [cut off].\\n \\nEND\\n01:02:31\\n\",\"notes\":\"Allen Ginsberg reads from Angkor Wat (Fulcrum Press, 1968), Planet News (City Lights Books, 1968), as well as pieces that were published later in The Fall of America: Poems of These States (City Lights Books, 1973). Ginsbger also performs musical versions of William Blake’s Songs of Innocence and Songs of Experience, recorded later on Songs of Innocence and Experience (MGM, 1970). \\n\\n00:00- Recording begins, Ginsberg reads “Morning”. [INDEX: from Planet News (City Lights Books, 1968).] \\n02:23- Reads “Today”. [INDEX: from Planet News (City Lights Books, 1968).] \\n10:08- Reads “First party at Ken Kesey’s with Hell’s Angels”. [INDEX: from Planet News (City Lights Books, 1968).]\\n11:22- Reads “Uptown”. [INDEX: from Planet News (City Lights Books, 1968).]\\n12:30- Reads “Holy Ghost, on the Nod, over the Body of Bliss”. [INDEX: from Planet News (City Lights Books, 1968).]\\n13:50- Chants section of poem, first line “And Santa Barbara rejoices in the alleyways of        Brindaban...”.\\n14:59- Harmonium/music starts, Ginsberg sings “Hari Om Namo Shivaya...”\\n25:22- Sings “Little Lamb, Who Made Thee?” [INDEX: William Blake]\\n27:00- Sings \\\"My mother bore me in the southern wild\\\". [INDEX: William Blake.]\\n30:11- Sings “Twas on a Holy Thursday”. [INDEX: William Blake]\\n31:37- Introduces “The Nurse’s Song”. [INDEX: William Blake]\\n31:52- Sings “The Nurse’s Song”.\\n36:13- Introduces “Wichita Votex Sutra”. [INDEX: from Planet News (City Lights Books,   1968).]\\n37:09- Reads “Wichita Vortex Sutra”.\\n43:12- Introduces continuation of same poem, first line “Leaving K.C., MO...”\\n52:47- Reads “Car Crash”.\\n58:17- Introduces “July 4th, 1969”. [INDEX: hawkeye, New York State flower]\\n58:35- Reads “July 4th, 1969”.\\n1:00:49- Introduces unknown mantra, line “Green air, children sit under trees with the old...”\\n1:01:27- Reads unknown mantra, line “Green air, children sit under trees with the old...”\\n1:02:31.23- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/allen-ginsberg-at-sgwu-1969/#2\"}]"],"score":1.2725651},{"id":"1098","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Ian Ferrier fonds"],"source_collection_label":["Ian Ferrier fonds"],"collection_contributing_unit":["Ian Ferrier"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Words and Music at La Sala Rossa 2009-10-25"],"item_title_source":["Cataloguer"],"item_title_note":["100th Show"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Words and Music"],"item_identifiers":["[]"],"creator_names":["Ferrier, Ian"],"creator_names_search":["Ferrier, Ian"],"creators":["[{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"(Performs with Pharmakon MTL)\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\",\"Performer\"]}]"],"contributors_names":["Anderson, Fortner","Sharma, Yuyutsu R.D.","Kellough, Kaie","Partridge, Taqralik","Del Fabbro, Guido","Cowan, T.L.","Doug Stein","Mah, Kris","Clark, Moe","Tinguely, Vince","Kimm, D.","O'Hara, Alexis","Letarte, Geneviève","Locke, Jack"],"contributors_names_search":["Anderson, Fortner","Sharma, Yuyutsu R.D.","Kellough, Kaie","Partridge, Taqralik","Del Fabbro, Guido","Cowan, T.L.","Doug Stein","Mah, Kris","Clark, Moe","Tinguely, Vince","Kimm, D.","O'Hara, Alexis","Letarte, Geneviève","Locke, Jack"],"contributors":["[{\"url\":\"http://viaf.org/viaf/106026246\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/13154239\",\"name\":\"Sharma, Yuyutsu R.D.\",\"dates\":\"1960-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/68351676\",\"name\":\"Kellough, Kaie\",\"dates\":\"1975-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/15154257780224150501\",\"name\":\"Partridge, Taqralik\",\"dates\":\"\",\"notes\":\"(Recorded performance with Guido Del Fabbro)\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/316976880\",\"name\":\"Del Fabbro, Guido\",\"dates\":\"1980-\",\"notes\":\"(Recorded performance with Taqralik Partridge)\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Cowan, T.L.\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Doug Stein\",\"dates\":\"\",\"notes\":\"(With Pharmakon MTL)\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Mah, Kris\",\"dates\":\"\",\"notes\":\"(With Pharmakon MTL)\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/317024729\",\"name\":\"Clark, Moe\",\"dates\":\"\",\"notes\":\"(With Pharmakon MTL)\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/36425179\",\"name\":\"Tinguely, Vince\",\"dates\":\"1959-\",\"notes\":\"Guest co-host\",\"nation\":[],\"role\":[\"Presenter\"]},{\"url\":\"http://viaf.org/viaf/92085899\",\"name\":\" Kimm, D.\",\"dates\":\"1959-\",\"notes\":\"Solo and with Alexis O'Hara\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/106457511\",\"name\":\"O'Hara, Alexis\",\"dates\":\"\",\"notes\":\"Solo and with D. Kimm\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/73478579\",\"name\":\"Letarte, Geneviève\",\"dates\":\"1955-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/106743787\",\"name\":\"Locke, Jack\",\"dates\":\"1957-\",\"notes\":\"Facilitates book auction\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"performer_name":["Anderson, Fortner","Sharma, Yuyutsu R.D.","Kellough, Kaie","Partridge, Taqralik","Del Fabbro, Guido","Cowan, T.L.","Doug Stein","Mah, Kris","Clark, Moe"," Kimm, D.","O'Hara, Alexis","Letarte, Geneviève"],"Presenter_name":["Tinguely, Vince"],"Speaker_name":["Locke, Jack"],"Performance_Date":[2009],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1098/100th show poster_page-0001.jpg\",\"other\":\"In folder: 15 audio, 1 doc, 17 misc. In folder2: 6 docs, 1 image, 2 misc.\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"Copies and edits\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"Dates":["[{\"date\":\"2009 10 25\",\"type\":\"Performance Date\",\"notes\":\"Date indicated on event poster, in radio ad, and in document\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/3280917743\",\"venue\":\"La Sala Rossa\",\"notes\":\"\",\"address\":\"4848 St Laurent Blvd, Montreal, QC, H2T 1R5\",\"latitude\":\" 45.5210975\",\"longitude\":\" -73.5888689\"}]"],"Address":["4848 St Laurent Blvd, Montreal, QC, H2T 1R5"],"Venue":["La Sala Rossa"],"City":["Montreal, Quebec"],"content_notes":["To celebrate reaching the landmark 100th Words and Music Show, a wide range of musical and poetic acts were invited to participate in a packed night of performances by both W&M regulars and newcomers. Some of the night’s highlights include spoken word by Fortner Anderson and Kaie Kellough, sound performances in both French and English by interdisciplinary artists D. Kimm, Alexis O’Hara, and T.L. Cowan, experimental sound and music from Pharmakon MTL, and French spoken word poetry set to music by Genevieve Letarte. The night also featured a special appearance and reading by renowned Nepalese-Indian poet Yuyutsu R.D. Sharma and an auction of copies of “Leonard Cohen, You’re Our Man: 75 Poets Reflect on the Poetry of Leonard Cohen” (Foundation for Public Poetry 2009) presided over by the book’s editor, Jack Locke, created to raise funds for the Montreal Slam Team. Ian Ferrier closed the evening by playing a musical/spoken word performance by Taqralik Partridge and musician Guido Del Fabbro originally performed and recorded at the Tusarniq Festival."],"contents":["STE-001.wav\n\nVince Tinguely\n00:00:00\nIntroduces Fortner Anderson [https://www.wikidata.org/wiki/Q83688183] [recording begins abruptly]. | Keywords: Montreal [https://www.wikidata.org/wiki/Q340]; Genoa International Poetry Festival; Poesie Berlin Festival; Banff [https://www.wikidata.org/wiki/Q58337]; Festival Voix d'Amériques [https://www.wikidata.org/wiki/Q3070022]\n\nAudience\n00:00:41\nApplause.\n\nFortner Anderson\n00:01:00\nPerforms unnamed poem.\n\nAudience\n00:12:26\nApplause.\n\nVince Tinguely\n00:12:48\nThanks Fortner Anderson.\n\nAudience\n00:12:50\nApplause.\n\nVince Tinguely\n00:12:54\nIntroduces D. Kimm [https://www.wikidata.org/wiki/Q3011063]. | Keywords: Montreal; Les Filles Électriques [https://www.wikidata.org/wiki/Q3232632]; Festival Voix d'Amériques  \n\nIan Ferrier\n00:13:35\nIntroduces D. Kimm. \n\nAudience\n00:14:02\nApplause.\n\nD. Kimm\n00:14:17\nIntroduces \"Le Peu Qu’il Reste\". \n\nD. Kimm\n00:14:56\nPerforms \"Le Peu Qu’il Reste\" in French.\n\nAudience\n00:19:04\nApplause.\n\nD. Kimm\n00:19:11\nIntroduces Mankind member [Alexis O’Hara; https://www.wikidata.org/wiki/Q4721503] and unnamed story. | Keywords: Le Cagibi; Ambiances Magnétiques [https://www.wikidata.org/wiki/Q4741397]\n\nD. Kimm\n00:20:07\nTells unnamed story accompanied by Alexis [O’Hara].  \n\nAudience\n00:25:58\nApplause.\n\nD. Kimm\n00:26:05\nAnnounces future event [audience applause continues throughout]. | Keywords: Ursula Rucker [https://www.wikidata.org/wiki/Q267039]; Festival Voix d’Amériques; La Sala Rossa\n\nAudience\n00:26:24\nApplause.\n\nIan Ferrier\n00:26:36\nDiscusses D.Kimm’s performance.\n\nAudience\n00:26:40\nApplause.\n\nIan Ferrier\n00:26:42\nAnnounces intermission. | Keywords: Pharmakon MTL; Geneviève Letarte [https://www.wikidata.org/wiki/Q85112916]; Nepal [https://www.wikidata.org/wiki/Q837]; Alexis O'Hara\n\nAudience\n00:26:58\nApplause.\n\nUnknown\n00:27:03\nAmbient Sound [music and voices].\n\nVince Tinguely\n00:47:53\nAddresses audience.\n\nAudience\n00:48:14\nApplause.\n\nVince Tinguely\n00:48:16\nAddresses audience and introduces Pharmakon MTL. | Keywords: Ian Ferrier [https://www.wikidata.org/wiki/Q87138884]; Kris Mah; Doug Stein; Moe Clark [https://www.wikidata.org/wiki/Q65116392]\n\nAudience\n00:49:02\nApplause [cut off].\n\nIan Ferrier\n00:49:33\nIntroduces unnamed improvised poem/song [audience laughter throughout]. | Keywords: Kris Mah; Dorval [https://www.wikidata.org/wiki/Q141963]; Dorval Airport [https://www.wikidata.org/wiki/Q736627]\n\nPharmakon MTL\n00:50:49\nPerforms unnamed improvised poem/song.\n\nAudience\n01:00:33\nApplause.\n\nIan Ferrier\n01:00:39\nThanks audience and introduces unnamed improvised poem/song [audience applause and laughter throughout]. | Keywords: Doug [Stein]; Kris [Mah]\n\nIan Ferrier\n01:01:13\nIntroduces Doug Stein.\n\nAudience\n01:01:15\nApplause.\n\nMoe Clark\n01:01:31\nIntroduces Kris Mah.\n\nAudience\n01:01:34\nApplause.\n\nPharmakon MTL\n01:01:41\nPerforms unnamed improvised poem/song.\n\nAudience\n01:12:49\nApplause.\n\nIan Ferrier\n01:12:50\nThanks audience and introduces Moe Clark, Kris Mah, and Doug Stein as band members [audience applause continues throughout].\n\nVince Tinguely\n01:13:38\nThanks Pharmakon MTL.\n\nAudience\n01:13:40\nApplause.\n\nVince Tinguely\n01:13:47\nAddresses audience and introduces Genevieve Letarte [audience laughter throughout]. | Keywords: Mavis Gallant [https://www.wikidata.org/wiki/Q2550824]; A Fairly Good Time [book]; Paris [https://www.wikidata.org/wiki/Q90]; France [https://www.wikidata.org/wiki/Q142]; Y a des jours comme ça [show]; Le Mystère du bois Blanc [show]\n\nAudience\n01:14:51\nApplause.\n\nGenevieve Letarte\n01:15:12\nThanks Ian Ferrier in French [audience applause and laughter throughout]. | Keywords: Montreal\n\nGenevieve Letarte\n01:15:55\nPerforms unnamed poem in French and English.\n\nAudience\n01:27:40\nApplause.\n\nGenevieve Letarte\n01:27:45\nThanks audience in French [audience applause continues throughout].\n\nVince Tinguely\n01:27:59\nThanks Genevieve Letarte.\n\nAudience\n01:28:08\nApplause.\n\nVince Tinguely\n01:28:14\nIntroduces Yuyutsu R.D. Sharma [https://www.wikidata.org/wiki/Q8062237]. | Keywords: Montreal; Festival International de Poésie de Trois-Rivières; Nepal; New York City [https://www.wikidata.org/wiki/Q60]\n\nAudience\n01:29:00\nApplause.\n\nYuyutsu R.D. Sharma\n01:29:09\nAddresses audience. | Keywords: Nepal; Everest [https://www.wikidata.org/wiki/Q513]\n\nYuyutsu R.D. Sharma\n01:29:35\nIntroduces \"Mules\". \n\nYuyutsu R.D. Sharma\n01:30:13\nPerforms \"Mules\".\n\nAudience\n01:31:55\nApplause.\n\nYuyutsu R.D. Sharma\n01:32:01\nIntroduces \"RIver\" [audience laughter throughout]. | Keywords: Nepal; Everest; Sagarmatha\n\nYuyutsu R.D. Sharma\n01:32:46\nPerforms \"River\".\n\nAudience\n01:34:33\nApplause.\n\nYuyutsu R.D. Sharma\n01:34:41\nThanks audience and introduces “Glacier”. | Keywords: Everest; Annapurna [https://www.wikidata.org/wiki/Q159621]; Edmund Hillary [https://www.wikidata.org/wiki/Q33817]\n\nYuyutsu R.D. Sharma\n01:35:50\nPerforms \"Glacier”.\n\nAudience\n01:36:28\nApplause.\n\nYuyutsu R.D. Sharma\n01:36:36\nIntroduces \"Space Cake Amsterdam\" from Space Cake Amsterdam and Other Poems From Europe and America [book] [audience laughter throughout]. | Keywords: Howling Dog Press; Amsterdam [https://www.wikidata.org/wiki/Q727]; Ian [Ferrier]; Kathmandu [https://www.wikidata.org/wiki/Q3037]\n\nYuyutsu R.D. Sharma\n01:37:37\nPerforms \"Space Cake Amsterdam\" from Space Cake Amsterdam and Other Poems From Europe and America.\n\nAudience\n01:41:24\nApplause.\n\nVince Tinguely\n01:41:44\nIntroduces Alexis O’Hara. | Keywords: The City of Sighs [performance]; SQUEEEEQUE! [a.k.a.] The Improbable Igloo [sound installation]\n\nAudience\n01:42:36\nApplause.\n\nAlexis O’Hara\n01:42:45\nAddresses audience [barely audible]. \n\nAlexis O’Hara\n01:43:40\nIntroduces unnamed poem [audience laughter throughout]. \n\nAlexis O’Hara\n01:44:48\nPerforms unnamed poem.\n\nAudience\n01:51:05\nApplause.\n\nAlexis O’Hara\n01:51:19\nIntroduces unnamed song [audience laughter throughout]. | Keywords: Deepak Chopra [https://www.wikidata.org/wiki/Q318506]; Massey Hall [https://www.wikidata.org/wiki/Q1122776]\n\nAlexis O’Hara\n01:52:01\nPerforms unnamed song.\n\nAudience\n02:00:43\nApplause.\n\nIan Ferrier\n02:00:59\nThanks Alexis O’Hara.\n\nAudience\n02:01:02\nApplause.\n\nIan Ferrier\n02:01:07\nIntroduces T.L. Cowan [audience applause throughout]. | Keywords: [Festival] Voix d’Amériques; Montreal\n\nAudience\n02:01:57\nApplause.\n\nT.L. Cowan\n02:02:10\nIntroduces unnamed poem.\n\nT.L. Cowan\n02:02:35\nPerforms unnamed poem.\n\nAudience\n02:05:17\nApplause.\n\nT.L. Cowan\n02:05:19\nThanks audience and Ian Ferrier [audience applause continues throughout]. | Keywords: Alexis [O’Hara]; Montreal \n\nAudience\n02:05:57\nApplause.\n\nT.L. Cowan\n02:05:59\nIntroduces unnamed poem from The Twisted She Project. | Keywords: Mickey Vallee \n\nT.L. Cowan\n02:06:45\nPerforms unnamed poem from The Twisted She Project.\n\nAudience\n02:15:04\nApplause.\n\nVince Tinguely\n02:15:20\nIntroduces Kaie Kellough [https://www.wikidata.org/wiki/Q6347628]. | Keywords: Vancouver [https://www.wikidata.org/wiki/Q24639]; Calgary [https://www.wikidata.org/wiki/Q36312]; Montreal; Canada [https://www.wikidata.org/wiki/Q16]; Lettricity [book]; Talking Book [anthology]; Cumulus Press; Toronto International Dub Poetry Festival; Maple Leaf Rag [book]\n\nAudience\n02:16:08\nApplause.\n\nKaie Kellough\n02:16:17\nThanks audience, promotes Maple Leaf Rag, and introduces \"Night Gallery: Reggae Nights at the Night Gallery, Calgary circa 1995\". \n\nKaie Kellough\n02:17:13\nPerforms \"Night Gallery: Reggae Nights at the Night Gallery, Calgary circa 1995\" later published in Maple Leaf Rag.\n\nAudience\n02:19:59\nApplause.\n\nKaie Kellough\n02:20:04\nThanks audience and introduces \"-isery\" later published in Maple Leaf Rag [audience applause and laughter throughout].\n\nKaie Kellough\n02:20:26\nPerforms \"-isery\" later published in Maple Leaf Rag.\n\nAudience\n02:23:04\nApplause.\n\nKaie Kellough\n02:23:11\nIntroduces \"word sound system #2\" [later published in Maple Leaf Rag].\n\nKaie Kellough\n02:23:29\nPerforms \"word sound system #2\" later published in Maple Leaf Rag.\n\nAudience\n02:24:43\nApplause.\n\nKaie Kellough\n02:24:47\nThanks audience [audience applause continues throughout].\n\nIan Ferrier\n02:24:57\nDiscusses Kaie Kellough’s performance. \n\nAudience\n02:25:08\nApplause.\n\nIan Ferrier\n02:25:13\nThanks Vince Tinguely and introduces Jack Locke. | Keywords: Throw Collective; Victoria [https://www.wikidata.org/wiki/Q2132]; Leonard Cohen; You’re Our Man: 75 Poets Reflect on the Poetry of Leonard Cohen [book]\n\nJack Locke\n02:25:50\nFacilitates auction for copies of Leonard Cohen, You’re Our Man: 75 Poets Reflect on the Poetry of Leonard Cohen [audience laughter, applause, and commentary throughout]. | Keywords: Montreal; Leonard Cohen [https://www.wikidata.org/wiki/Q1276]; Foundation for Public Poetry; Margaret Atwood [https://www.wikidata.org/wiki/Q183492]; Ian [Ferrier]; Moe [Clark]; Andre Farkas \n\nUnknown\n02:29:28\nAmbient Sound [voices].\n\nUnknown\n02:29:46\nSilence. \n\nIan Ferrier\n02:30:07\nPromotes Tusarniq Festival and introduces recording of a performance by Taqralik Partridge and Guido Del Fabbro. \n\nTaqralik Partridge\n02:30:42\nPerforms unnamed poem accompanied by Guido Del Fabbro [recorded].\n\nAudience\n02:34:58\nApplause. \n\nUnknown\n02:35:09\nSilence.\n\nEND\n02:49:48"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548280705024,"timestamp":"2026-01-07T14:59:52.745Z","digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2009/10/\",\"file_path\":\"\",\"filename\":\"STE-001.wav\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"02:49:48\",\"precision\":\"\",\"size\":\"1.96 GB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"STE-001.wav\\n\\nVince Tinguely\\n00:00:00\\nIntroduces Fortner Anderson [https://www.wikidata.org/wiki/Q83688183] [recording begins abruptly]. | Keywords: Montreal [https://www.wikidata.org/wiki/Q340]; Genoa International Poetry Festival; Poesie Berlin Festival; Banff [https://www.wikidata.org/wiki/Q58337]; Festival Voix d'Amériques [https://www.wikidata.org/wiki/Q3070022]\\n\\nAudience\\n00:00:41\\nApplause.\\n\\nFortner Anderson\\n00:01:00\\nPerforms unnamed poem.\\n\\nAudience\\n00:12:26\\nApplause.\\n\\nVince Tinguely\\n00:12:48\\nThanks Fortner Anderson.\\n\\nAudience\\n00:12:50\\nApplause.\\n\\nVince Tinguely\\n00:12:54\\nIntroduces D. Kimm [https://www.wikidata.org/wiki/Q3011063]. | Keywords: Montreal; Les Filles Électriques [https://www.wikidata.org/wiki/Q3232632]; Festival Voix d'Amériques  \\n\\nIan Ferrier\\n00:13:35\\nIntroduces D. Kimm. \\n\\nAudience\\n00:14:02\\nApplause.\\n\\nD. Kimm\\n00:14:17\\nIntroduces \\\"Le Peu Qu’il Reste\\\". \\n\\nD. Kimm\\n00:14:56\\nPerforms \\\"Le Peu Qu’il Reste\\\" in French.\\n\\nAudience\\n00:19:04\\nApplause.\\n\\nD. Kimm\\n00:19:11\\nIntroduces Mankind member [Alexis O’Hara; https://www.wikidata.org/wiki/Q4721503] and unnamed story. | Keywords: Le Cagibi; Ambiances Magnétiques [https://www.wikidata.org/wiki/Q4741397]\\n\\nD. Kimm\\n00:20:07\\nTells unnamed story accompanied by Alexis [O’Hara].  \\n\\nAudience\\n00:25:58\\nApplause.\\n\\nD. Kimm\\n00:26:05\\nAnnounces future event [audience applause continues throughout]. | Keywords: Ursula Rucker [https://www.wikidata.org/wiki/Q267039]; Festival Voix d’Amériques; La Sala Rossa\\n\\nAudience\\n00:26:24\\nApplause.\\n\\nIan Ferrier\\n00:26:36\\nDiscusses D.Kimm’s performance.\\n\\nAudience\\n00:26:40\\nApplause.\\n\\nIan Ferrier\\n00:26:42\\nAnnounces intermission. | Keywords: Pharmakon MTL; Geneviève Letarte [https://www.wikidata.org/wiki/Q85112916]; Nepal [https://www.wikidata.org/wiki/Q837]; Alexis O'Hara\\n\\nAudience\\n00:26:58\\nApplause.\\n\\nUnknown\\n00:27:03\\nAmbient Sound [music and voices].\\n\\nVince Tinguely\\n00:47:53\\nAddresses audience.\\n\\nAudience\\n00:48:14\\nApplause.\\n\\nVince Tinguely\\n00:48:16\\nAddresses audience and introduces Pharmakon MTL. | Keywords: Ian Ferrier [https://www.wikidata.org/wiki/Q87138884]; Kris Mah; Doug Stein; Moe Clark [https://www.wikidata.org/wiki/Q65116392]\\n\\nAudience\\n00:49:02\\nApplause [cut off].\\n\\nIan Ferrier\\n00:49:33\\nIntroduces unnamed improvised poem/song [audience laughter throughout]. | Keywords: Kris Mah; Dorval [https://www.wikidata.org/wiki/Q141963]; Dorval Airport [https://www.wikidata.org/wiki/Q736627]\\n\\nPharmakon MTL\\n00:50:49\\nPerforms unnamed improvised poem/song.\\n\\nAudience\\n01:00:33\\nApplause.\\n\\nIan Ferrier\\n01:00:39\\nThanks audience and introduces unnamed improvised poem/song [audience applause and laughter throughout]. | Keywords: Doug [Stein]; Kris [Mah]\\n\\nIan Ferrier\\n01:01:13\\nIntroduces Doug Stein.\\n\\nAudience\\n01:01:15\\nApplause.\\n\\nMoe Clark\\n01:01:31\\nIntroduces Kris Mah.\\n\\nAudience\\n01:01:34\\nApplause.\\n\\nPharmakon MTL\\n01:01:41\\nPerforms unnamed improvised poem/song.\\n\\nAudience\\n01:12:49\\nApplause.\\n\\nIan Ferrier\\n01:12:50\\nThanks audience and introduces Moe Clark, Kris Mah, and Doug Stein as band members [audience applause continues throughout].\\n\\nVince Tinguely\\n01:13:38\\nThanks Pharmakon MTL.\\n\\nAudience\\n01:13:40\\nApplause.\\n\\nVince Tinguely\\n01:13:47\\nAddresses audience and introduces Genevieve Letarte [audience laughter throughout]. | Keywords: Mavis Gallant [https://www.wikidata.org/wiki/Q2550824]; A Fairly Good Time [book]; Paris [https://www.wikidata.org/wiki/Q90]; France [https://www.wikidata.org/wiki/Q142]; Y a des jours comme ça [show]; Le Mystère du bois Blanc [show]\\n\\nAudience\\n01:14:51\\nApplause.\\n\\nGenevieve Letarte\\n01:15:12\\nThanks Ian Ferrier in French [audience applause and laughter throughout]. | Keywords: Montreal\\n\\nGenevieve Letarte\\n01:15:55\\nPerforms unnamed poem in French and English.\\n\\nAudience\\n01:27:40\\nApplause.\\n\\nGenevieve Letarte\\n01:27:45\\nThanks audience in French [audience applause continues throughout].\\n\\nVince Tinguely\\n01:27:59\\nThanks Genevieve Letarte.\\n\\nAudience\\n01:28:08\\nApplause.\\n\\nVince Tinguely\\n01:28:14\\nIntroduces Yuyutsu R.D. Sharma [https://www.wikidata.org/wiki/Q8062237]. | Keywords: Montreal; Festival International de Poésie de Trois-Rivières; Nepal; New York City [https://www.wikidata.org/wiki/Q60]\\n\\nAudience\\n01:29:00\\nApplause.\\n\\nYuyutsu R.D. Sharma\\n01:29:09\\nAddresses audience. | Keywords: Nepal; Everest [https://www.wikidata.org/wiki/Q513]\\n\\nYuyutsu R.D. Sharma\\n01:29:35\\nIntroduces \\\"Mules\\\". \\n\\nYuyutsu R.D. Sharma\\n01:30:13\\nPerforms \\\"Mules\\\".\\n\\nAudience\\n01:31:55\\nApplause.\\n\\nYuyutsu R.D. Sharma\\n01:32:01\\nIntroduces \\\"RIver\\\" [audience laughter throughout]. | Keywords: Nepal; Everest; Sagarmatha\\n\\nYuyutsu R.D. Sharma\\n01:32:46\\nPerforms \\\"River\\\".\\n\\nAudience\\n01:34:33\\nApplause.\\n\\nYuyutsu R.D. Sharma\\n01:34:41\\nThanks audience and introduces “Glacier”. | Keywords: Everest; Annapurna [https://www.wikidata.org/wiki/Q159621]; Edmund Hillary [https://www.wikidata.org/wiki/Q33817]\\n\\nYuyutsu R.D. Sharma\\n01:35:50\\nPerforms \\\"Glacier”.\\n\\nAudience\\n01:36:28\\nApplause.\\n\\nYuyutsu R.D. Sharma\\n01:36:36\\nIntroduces \\\"Space Cake Amsterdam\\\" from Space Cake Amsterdam and Other Poems From Europe and America [book] [audience laughter throughout]. | Keywords: Howling Dog Press; Amsterdam [https://www.wikidata.org/wiki/Q727]; Ian [Ferrier]; Kathmandu [https://www.wikidata.org/wiki/Q3037]\\n\\nYuyutsu R.D. Sharma\\n01:37:37\\nPerforms \\\"Space Cake Amsterdam\\\" from Space Cake Amsterdam and Other Poems From Europe and America.\\n\\nAudience\\n01:41:24\\nApplause.\\n\\nVince Tinguely\\n01:41:44\\nIntroduces Alexis O’Hara. | Keywords: The City of Sighs [performance]; SQUEEEEQUE! [a.k.a.] The Improbable Igloo [sound installation]\\n\\nAudience\\n01:42:36\\nApplause.\\n\\nAlexis O’Hara\\n01:42:45\\nAddresses audience [barely audible]. \\n\\nAlexis O’Hara\\n01:43:40\\nIntroduces unnamed poem [audience laughter throughout]. \\n\\nAlexis O’Hara\\n01:44:48\\nPerforms unnamed poem.\\n\\nAudience\\n01:51:05\\nApplause.\\n\\nAlexis O’Hara\\n01:51:19\\nIntroduces unnamed song [audience laughter throughout]. | Keywords: Deepak Chopra [https://www.wikidata.org/wiki/Q318506]; Massey Hall [https://www.wikidata.org/wiki/Q1122776]\\n\\nAlexis O’Hara\\n01:52:01\\nPerforms unnamed song.\\n\\nAudience\\n02:00:43\\nApplause.\\n\\nIan Ferrier\\n02:00:59\\nThanks Alexis O’Hara.\\n\\nAudience\\n02:01:02\\nApplause.\\n\\nIan Ferrier\\n02:01:07\\nIntroduces T.L. Cowan [audience applause throughout]. | Keywords: [Festival] Voix d’Amériques; Montreal\\n\\nAudience\\n02:01:57\\nApplause.\\n\\nT.L. Cowan\\n02:02:10\\nIntroduces unnamed poem.\\n\\nT.L. Cowan\\n02:02:35\\nPerforms unnamed poem.\\n\\nAudience\\n02:05:17\\nApplause.\\n\\nT.L. Cowan\\n02:05:19\\nThanks audience and Ian Ferrier [audience applause continues throughout]. | Keywords: Alexis [O’Hara]; Montreal \\n\\nAudience\\n02:05:57\\nApplause.\\n\\nT.L. Cowan\\n02:05:59\\nIntroduces unnamed poem from The Twisted She Project. | Keywords: Mickey Vallee \\n\\nT.L. Cowan\\n02:06:45\\nPerforms unnamed poem from The Twisted She Project.\\n\\nAudience\\n02:15:04\\nApplause.\\n\\nVince Tinguely\\n02:15:20\\nIntroduces Kaie Kellough [https://www.wikidata.org/wiki/Q6347628]. | Keywords: Vancouver [https://www.wikidata.org/wiki/Q24639]; Calgary [https://www.wikidata.org/wiki/Q36312]; Montreal; Canada [https://www.wikidata.org/wiki/Q16]; Lettricity [book]; Talking Book [anthology]; Cumulus Press; Toronto International Dub Poetry Festival; Maple Leaf Rag [book]\\n\\nAudience\\n02:16:08\\nApplause.\\n\\nKaie Kellough\\n02:16:17\\nThanks audience, promotes Maple Leaf Rag, and introduces \\\"Night Gallery: Reggae Nights at the Night Gallery, Calgary circa 1995\\\". \\n\\nKaie Kellough\\n02:17:13\\nPerforms \\\"Night Gallery: Reggae Nights at the Night Gallery, Calgary circa 1995\\\" later published in Maple Leaf Rag.\\n\\nAudience\\n02:19:59\\nApplause.\\n\\nKaie Kellough\\n02:20:04\\nThanks audience and introduces \\\"-isery\\\" later published in Maple Leaf Rag [audience applause and laughter throughout].\\n\\nKaie Kellough\\n02:20:26\\nPerforms \\\"-isery\\\" later published in Maple Leaf Rag.\\n\\nAudience\\n02:23:04\\nApplause.\\n\\nKaie Kellough\\n02:23:11\\nIntroduces \\\"word sound system #2\\\" [later published in Maple Leaf Rag].\\n\\nKaie Kellough\\n02:23:29\\nPerforms \\\"word sound system #2\\\" later published in Maple Leaf Rag.\\n\\nAudience\\n02:24:43\\nApplause.\\n\\nKaie Kellough\\n02:24:47\\nThanks audience [audience applause continues throughout].\\n\\nIan Ferrier\\n02:24:57\\nDiscusses Kaie Kellough’s performance. \\n\\nAudience\\n02:25:08\\nApplause.\\n\\nIan Ferrier\\n02:25:13\\nThanks Vince Tinguely and introduces Jack Locke. | Keywords: Throw Collective; Victoria [https://www.wikidata.org/wiki/Q2132]; Leonard Cohen; You’re Our Man: 75 Poets Reflect on the Poetry of Leonard Cohen [book]\\n\\nJack Locke\\n02:25:50\\nFacilitates auction for copies of Leonard Cohen, You’re Our Man: 75 Poets Reflect on the Poetry of Leonard Cohen [audience laughter, applause, and commentary throughout]. | Keywords: Montreal; Leonard Cohen [https://www.wikidata.org/wiki/Q1276]; Foundation for Public Poetry; Margaret Atwood [https://www.wikidata.org/wiki/Q183492]; Ian [Ferrier]; Moe [Clark]; Andre Farkas \\n\\nUnknown\\n02:29:28\\nAmbient Sound [voices].\\n\\nUnknown\\n02:29:46\\nSilence. \\n\\nIan Ferrier\\n02:30:07\\nPromotes Tusarniq Festival and introduces recording of a performance by Taqralik Partridge and Guido Del Fabbro. \\n\\nTaqralik Partridge\\n02:30:42\\nPerforms unnamed poem accompanied by Guido Del Fabbro [recorded].\\n\\nAudience\\n02:34:58\\nApplause. \\n\\nUnknown\\n02:35:09\\nSilence.\\n\\nEND\\n02:49:48\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"score":1.2317059},{"id":"1147","cataloger_name":["Ali,Barillaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Ian Ferrier fonds"],"source_collection_label":["Ian Ferrier fonds"],"collection_contributing_unit":["Ian Ferrier"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Words and Music at Casa Del Popolo 2016-08-21"],"item_title_source":["Cataloguer"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"creator_names":["Ferrier, Ian"],"creator_names_search":["Ferrier, Ian"],"creators":["[{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"contributors_names":["Lanigan, Brian","Harness, Kyp","Perry-Fagant, Natasha","Sweet, John Arthur","Richards, Rabbit","Christoff, Stefan","Ferrier, Ian"],"contributors_names_search":["Lanigan, Brian","Harness, Kyp","Perry-Fagant, Natasha","Sweet, John Arthur","Richards, Rabbit","Christoff, Stefan","Ferrier, Ian"],"contributors":["[{\"url\":\"\",\"name\":\"Lanigan, Brian\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/105260791\",\"name\":\"Harness, Kyp\",\"dates\":\"1964-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Perry-Fagant, Natasha\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Sweet, John Arthur\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Richards, Rabbit\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/106422154\",\"name\":\"Christoff, Stefan\",\"dates\":\"1981- \",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"performer_name":["Lanigan, Brian","Harness, Kyp","Perry-Fagant, Natasha","Sweet, John Arthur","Richards, Rabbit","Christoff, Stefan"],"Presenter_name":["Ferrier, Ian"],"Production_Date":[2016],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"In folder: 12 audio, 5 docs, 9 images, 9 misc.\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"Set of 2 event audio recordings (+copies and edits)\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2016/08/\",\"file_path\":\"\",\"filename\":\"STE-001.wav\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:39:01\",\"precision\":\"\",\"size\":\"413 MB \",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2016/08/\",\"file_path\":\"\",\"filename\":\"STE-002.wav\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:46:26\",\"precision\":\"\",\"size\":\"491.4 MB \",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2016 08 21\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1570292450\",\"venue\":\"Casa Del Popolo\",\"notes\":\"\",\"address\":\"4873 St Laurent Blvd, Montreal, QC, H2T 1R6\",\"latitude\":\"45.5222118 \",\"longitude\":\"-73.5905321\"}]"],"Address":["4873 St Laurent Blvd, Montreal, QC, H2T 1R6"],"Venue":["Casa Del Popolo"],"City":["Montreal, Quebec"],"content_notes":["The August 2016 Words and Music Show at Casa Del Popolo began at 9 p.m. with Brian Lanigan, who read a number of original pieces, including the first poem he ever wrote as a teenager and his favorite poem. Toronto-based singer-songwriter and author Kyp Harness discussed and read ”Man Who Really Could See,” a section from his novel “Wigford Rememberies” (Nightwood Editions 2016). In the final minutes of the first set, Natasha Perry-Fagant performed a piece about “codified movements.” In the second half of the evening, John Arthur Sweet performed a monologue that was cut from his show “Who Waits At The Top Of The Stairs.” Throw Collective member Rabbit Richards performed five pieces confronting a range of subjects, including sexual assault and depression. “To close this really amazing and eclectic evening,” Stefan Christoff played an instrumental piece on piano."],"contents":["STE-001\n\nIan Ferrier [https://www.wikidata.org/wiki/Q87138884]\n00:00:00\nIntroduces event | Keywords: novelist; Throw Collective; Winnipeg; Brian Lanigan.\n\nAudience\n00:00:58\nApplause.\n\nBrian Lanigan\n00:01:05\nPerforms unknown poem | Keywords: first poem; exercise; size.\n\nAudience\n00:02:38\nApplause.\n\nBrian Lanigan\n00:02:44\nPerforms unknown poem | Keywords: furniture; radio waves.\n\nAudience\n00:06:29\nApplause [cheering].\n\nBrian Lanigan\n00:06:41\nDiscusses project | Keywords: Slam Collective; favourite poem.\n\nBrian Lanigan\n00:08:15\nPerforms unknown poem | Keywords: identity; straight; gay.\n\nAudience\n00:10:22\nApplause.\n\nBrian Lanigan\n00:10:32\nPerforms unknown poem | Keywords: famous; inspiration.\n\nAudience\n00:13:35\nApplause [cheering].\n\nIan Ferrier\n00:13:57\nIntroduces Kyp Harness [https://www.wikidata.org/wiki/Q6452260 ] | Keywords: novelist; Wigford Rememberies.\n\nAudience\n00:14:21\nApplause.\n\nKyp Harness [https://www.wikidata.org/wiki/Q6452260]\n00:14:31\nIntroduces Wigford Rememberies | Keywords: novels; smalltown.\n\nKyp Harness\n00:15:40\nReads from Wigford Rememberies | Keywords: tabacco; Native; mamma Simpson; daddy Jack; sonofabitch Harley.\n\nAudience\n00:33:02\nApplause [cheering].\n\nIan Ferrier\n00:33:21\nIntroduces Natasha Perry-Fagant | Keywords: Fringe Festival; David Lynch [https://www.wikidata.org/wiki/Q2071].\n\nAudience\n00:33:54\nApplause.\n\nNatasha Perry-Fagant\n00:34:06\nDiscusses [inaudible].\n\nNatasha Perry-Fagant\n00:35:18\nPerforms music.\n\nAudience\n00:38:31\nApplause.\n\nIan Ferrier\n00:38:46\nAnnounces break | Keywords: John Arthur Sweet; Rabbit Richards; Stefan Christoff [https://www.wikidata.org/wiki/Q7606050].\n\nEND\n00:39:01\n[Event continues on second file].\n\nSTE-002\n\n00:00:00\nSilence.\n\nIan Ferrier [https://www.wikidata.org/wiki/Q87138884]\n00:00:09\nIntroduces second set | Keywords: solo show; margins; John Arthur Sweet.\n\nAudience\n00:00:51\nApplause.\n\nJohn Arthur Sweet\n00:01:02\nDiscusses show “Who Waits at the Top of the Stairs” | Keywords: monologues; Prague [https://www.wikidata.org/wiki/Q1085].\n\nJohn Arthur Sweet\n00:03:50\nPerforms cut scene from “Who Waits at the Top of the Stairs” | Keywords: Montreal [https://www.wikidata.org/wiki/Q340]; Musée d’Art Contemporain; art; intimacy; beauty; voyeur.\n\nAudience\n00:15:29\nApplause [cheering].\n\nJohn Arthur Sweet\n00:15:49\nPerforms | Keywords: show; dreams; movie; backstory; mother; sister.\n\nAudience\n00:22:12\nApplause.\n\nIan Ferrier\n00:22:30\nIntroduces Rabbit Richards | Keywords: Throw Collective.\n\nAudience\n00:22:49\nApplause.\n\nRabbit Richards\n00:22:59\nIntroduces project | Keywords: face.\n\nRabbit Richards\n00:23:51\nPerforms spoken word | Keywords: Back to the Future [https://www.wikidata.org/wiki/Q91540]; rape; control.\n\nAudiencee\n00:27:17\nApplause.\n\nRabbit Richards\n00:27:28\nPerforms spoken word | Keywords: courageous; armour; cowardice; silent scream; fear; suicide; stage; fiction.\n\nAudience\n00:29:58\nApplause.\n\nRabbit Richards\n00:30:17\nDiscusses project | Keywords: Anti Oppression Committee; progress; authority.\n\nRabbit Richards\n00:31:00\nPerforms spoken word | Keywords: badass; bruises; anguish.\n\nAudience\n00:32:39\nApplause.\n\nRabbit Richards\n00:32:42\nDiscusses project | Keywords: depression; poetry; music; relationships.\n\nRabbit Richards\n00:33:33\nPerforms spoken word | Keywords: drown; breath; antipathy; retinae; insomnia.\n\nAudience\n00:36:10\nApplause.\n\nIan Ferrier\n00:36:25\nIntroduces Stefan Christoff | Keywords: friend; activist.\n\nAudience\n00:36:56\nApplause.\n\nStefan Christoff [https://www.wikidata.org/wiki/Q7606050]\n00:37:11\nIntroduces music | Keywords: piano.\n\nStefan Christoff\n00:37:48\nPerforms music.\n\nAudience\n00:44:04\nApplause.\n\nStefan Christoff\n00:44:35\nDiscusses [inaudible] | Keywords: Casa [del Popolo].\n\nAudience\n00:44:48\nApplause.\n\nIan Ferrier\n00:45:18\nAnnounces end of event.\n\nRabbit Richards\n00:45:35\nAnnounces Slam Collective event | Keywords: Kaie Kellough [https://www.wikidata.org/wiki/Q6347628]; Kalmunity.\n\nAudience\n00:46:05\nApplause.\n\nEND\n00:46:25.\n"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"\"}]"],"_version_":1853670548375076864,"timestamp":"2026-01-07T14:59:52.745Z","score":1.2146792},{"id":"9057","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 10 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Blaser, Robin","Bowering, George","Nichols, Miriam"],"creator_names_search":["Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Blaser, Robin","Bowering, George","Nichols, Miriam"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Bowering, Angela\",\"dates\":\"\",\"notes\":\"George Bowering's wife; She is heard on tape 4 of 20\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\" 1935-\",\"notes\":\"George Bowering's wife; he is heard on some tapes in this series of tapes \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/44522700\",\"name\":\"Nichols, Miriam\",\"dates\":\"1952-\",\"notes\":\"Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Publication_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9057/Roy Miki Fonds_MsC 161_210.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\":\"\",\"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\":\"MsC161-210 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:14\",\"precision\":\"\",\"size\":\"742.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-210 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:23:18\",\"precision\":\"\",\"size\":\"744.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Publication Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"source\":\"Internet \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\\n\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600\",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"We found the info through the following link on https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558006247425,"timestamp":"2026-01-07T15:00:02.246Z","score":1.2042556},{"id":"9058","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 11 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Blaser, Robin","Bowering, George","Nichols, Miriam"],"creator_names_search":["Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Blaser, Robin","Bowering, George","Nichols, Miriam"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Bowering, Angela\",\"dates\":\"\",\"notes\":\"George Bowering's wife; She is heard on tape 4 of 20\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\" 1935-\",\"notes\":\"George Bowering's wife; he is heard on some tapes in this series of tapes \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/44522700\",\"name\":\"Nichols, Miriam\",\"dates\":\"1952-\",\"notes\":\"Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Publication_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9058/Roy Miki Fonds_MsC 161_211.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\":\"\",\"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\":\"MsC161-211 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:09\",\"precision\":\"\",\"size\":\"740.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-211 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:56\",\"precision\":\"\",\"size\":\"735.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Publication Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"source\":\"Internet \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\\n\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600\",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"We found the info through the following link on https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558006247426,"timestamp":"2026-01-07T15:00:02.246Z","score":1.2042556},{"id":"9059","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 12 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Blaser, Robin","Bowering, George","Nichols, Miriam"],"creator_names_search":["Tallman, Warren","Marlatt, Daphne","Bowering, Angela","Blaser, Robin","Bowering, George","Nichols, Miriam"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Bowering, Angela\",\"dates\":\"\",\"notes\":\"George Bowering's wife; She is heard on tape 4 of 20\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\" 1935-\",\"notes\":\"George Bowering's wife; he is heard on some tapes in this series of tapes \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/44522700\",\"name\":\"Nichols, Miriam\",\"dates\":\"1952-\",\"notes\":\"Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Publication_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9059/Roy Miki Fonds_MsC 161_212.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\":\"\",\"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\":\"MsC161-212 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:12\",\"precision\":\"\",\"size\":\"718.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-212 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:41:33\",\"precision\":\"\",\"size\":\"879.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Publication Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"source\":\"Internet \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\\n\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600\",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"We found the info through the following link on https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. 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While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558212816902,"timestamp":"2026-01-07T15:00:02.444Z","score":1.2042556},{"id":"5646","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":["Panel discussion: \"Spicer in Context\", Jack Spicer conference at New College of California with Larry Fagin,  Lori Chamberlain, Ronald Silliman, and Michael Palmer on June 20, 1986 part 2 of 3 #394"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Fagin, Larry","Palmer, Michael","Blaser, Robin","Chamberlain, Lori","Silliman, Ronald"],"creator_names_search":["Fagin, Larry","Palmer, Michael","Blaser, Robin","Chamberlain, Lori","Silliman, Ronald"],"creators":["[{\"url\":\"http://viaf.org/viaf/94390890\",\"name\":\"Fagin, Larry\",\"dates\":\"1937-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/100912074\",\"name\":\"Palmer, Michael\",\"dates\":\"1942-2013\",\"notes\":\"Michael Palmer is the program's moderator \\n \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"His part of speech is missing on side two\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Chamberlain, Lori \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/112184153\",\"name\":\"Silliman, Ronald\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/5823/Reading in BC_MsC199_394.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"394-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:03\",\"precision\":\"\",\"size\":\"43.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"394-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:10\",\"precision\":\"\",\"size\":\"44.4 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\":\"1986-06-20\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/358818845#map=19/37.86675/-122.26884\",\"venue\":\"New College of California\",\"notes\":\"New College Berkley\",\"address\":\"San Francisco, California , United States\",\"latitude\":\"37.8667498\",\"longitude\":\"-122.2688401\"}]"],"Address":["San Francisco, California , United States"],"Venue":["New College of California"],"content_notes":["SFU BC Readings formatting"],"contents":["Side\tTrack\tNo.\tComments\nOne\t\t004\tDifference between Spicer Circle and Beat Circle\n\t\t\tSpicer Circle gay, preferred alcohol to drugs\n\t\t\tInterested in western rather than eastern philosophy\n\t\t023\tDharma Society\n\t\t050\tCareer and success – context for poets\n\t\t080\tSpicers poems – no completion – metonymic, engaging human contingency at every moment\n\t\t137\tVampirish sensibility – creating a community of the dead\n\t\t163\tSpicer’s expression of connection of the living and the dead\n\t\t183\tHumour in Spicer – in order to open you up to something more sinister in its impact than it appears to be\n\t\t212\tPurpose of pun- engage in Hellish meanings\n\t\t246\tSpicer – anarchist – knew all the political distinctions chose not to participate\n\t\t\tEquated Ginsberg to Beatles\n\t\t\tA “slippage” in the human crisis\n\t\t262\tJoe Miles as a figure in Spicer’s and Duncan’s development\n\t\t334\tDiscussion closed\n\t\t350\tMichael Palmer introduces discussion “Spicer’s vocabulary”\n\t\t\t“My vocabulary did this to me.  Your love will let you go on’\n\t\t\tSpicer’s last words to Blaser\n\t\t\tOffers some takes on the word vocabulary\n\t\t435\tLarry Fagin – reads poem from Harris Review from mid 70’s about Spicer\n\t\t487\tTalks about possession, territory, sexuality, etc.\n\t\t520\tThe need to defeat dualism as the bottom line of the human condition\n\t\t573\tVocabulary of gossip and baseball/pinball ritual\n\t\t610\tTape over\nTwo\t\t000\tLarry Fagin reads poems by Janey McKinnis\n\t\t013\t“I saw some Indians”\n\t\t034\t“You know who I am”\n\t\t037\t“The Janey tree”\n\t\t047\tPalmer introduces Lori Chamberlain\n\t\t052\tShe says her interest grows from reading Spicer’s correspondence\n\t\t064\tConfusion between public and private address, a resemblance between poems and letters\n\t\t072\tHis review of Dickenson’s letters.  No distinction between poetry and prose\n\t\t\t“experiments in a heightened prose”\n\t\t080\tSpicer’s letters as part of his poetic project\n\t\t091\tWhat is in the letters – weather, racism, city life, etc.\n\t\t\tRemarks on poetic work.  Letters as potential public documents.  He measures their success by how he can be deeply personal and deeply public at the same time\n\t\t152\tReads letter published in Caterpillar\n\t\t\t“Dear James” (James Alexander)\n\t\t200\tA dead letter – no addressee or address\n\t\t\tThe letter as a metaphor\n\t\t215\tSerially of correspondence and serial poems\n\t\t252\tRon Silliman introduced\n\t\t290\tNotes two sources – Clayton [Eshelman]* in Boundary 2 on After Lorca (notes sources of Spicer in particular Lorca poems.  Good knowledge of Lorca)\n\t\t301\tWalter Benjamin (killed as a result of confrontation with fascists on the Spanish border)\n\t\t\tAn article on the task of the translator\n\t\t311\tReads “My vocabulary did this to me”\n\t\t\tTalks about Spicer’s Vancouver lecture\n\t\t\t“Words are nothing but low ghosts…you are stuck with language”\n\t\t331\t“Words are counters – the structure of language is a counter, an obstruction to what the poem wants to do” – insistence on the instrumental function of language – unlike Creeley and Duncan\n\t\t372\tReads Spicer’s first published poem in Winter 1946 edition of Occident. “To the Semanticists”\n\t\t380\tSpicer divided his poetry into two periods – the later work beginning with After Lorca, 1957.  (conception of serial poem and the book as a unit of writing)\n\t\t398\tReads from the sixth letter\n\t\t\t“Most of my friends like words too well”\n\t\t\t“The perfect poem has an infinitely small vocabulary”\n\t\t444\tTalks about “The diamond” as a vortex\n\t\t475\t“These poems are not translations” but Spicer’s poetics are fundamentally of translation\n\t\t490\tSteps of poetic maturity – Vancouver talks\n\t\t533\tWalter Benjamin – Kinship to Spicer’s poetic of dictation\n\t\t564\tTranslation – “can carry across” only intention and “translatability” – Benjamin’s words\n\t\t604\tTranslation in one tongue becomes diction in another language\n\t\t612\tTape ends"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553956646913,"timestamp":"2026-01-07T14:59:58.384Z","score":1.1960046},{"id":"1301","cataloger_name":["Masoumeh,Zaare"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["George Bowering at Sir George Williams University, The Poetry Series, 25 January 1974"],"item_title_source":["Cataloguer"],"item_title_note":["\"ENGLISH I006/SR34\" written on the spine of the tape's box. \"I006-11-034\" written on sticker on the reel. \"POETRY RM 435 JAN. 25/74 POETRY READING 8856 H. FINK ENGLISH 25-1-74\" written on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"access":["Streaming"],"creator_names":["Bowering, George"],"creator_names_search":["Bowering, George"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"Poet, novelist, anthologist and critic George Bowering was born in Penticton, British Columbia in 1935. In 1954 he served in the Royal Canadian Air Force until 1957, when he pursued a Bachelor’s degree in 1960 and a Master’s degree in 1963 from the University of British Columbia. With fellow poets Frank Davey, David Dawson, James Reid, Fred Wah and critic Warren Tallman, he founded Tish in 1961, a poetry newsletter which had monumental reverberations across Canada. This magazine, influenced by styles of the Black Mountain Poets and of the East Coast poetry of Louis Dudek, Raymond Souster and Irving Layton, brought a “new wave” of poetry to Canada. Bowering’s first collection of poetry began with Sticks and Stones (Tishbooks, 1962) with a preface written by Robert Creeley, and was followed by Points on the grid (Contact Press, 1964) and Man in Yellow Boots (El Corno Emplumado, 1965). Bowering also founded the magazine Imago (1964-1974), which featured critical essays and poetry, and he also contributed to Open Letter as an editor. Bowering then moved eastwards, teaching at the University of Calgary from 1963-1966, enrolled in the Ph.D. program at the University of Western Ontario. A year later, Bowering accepted a position as the writer-in-residence in 1967 at Sir George Williams University (now Concordia University) in Montreal, becoming a lecturer in 1967-1971. Bowering joined the Sir George Williams University Poetry Reading Series Committee in the fall of 1967, which was being run by Roy Kiyooka, Stanton Hoffman and Howard Fink. In 1972 he left Montreal and began a long career teaching at Simon Fraser University in British Columbia. He has published over fifty books of poetry, prose, short stories, essays, reviews, plays as well as pieces that combine and defy genres. A selection of his publications are as follows: Genève (Coach House Press, 1971), Autobiology (New Star Books, 1972), Curious (Coach House Press, 1973), In the Flesh (McClelland & Stewart, 1974), Allophanes (Coach House Press, 1976), Burning Water (Beaufort Books, 1980), Caprice (Penguin Books, 1988),  Harry’s Fragments (Coach House Press, 1990), Rewriting my Grandfather (Nomados, 2005), Baseball Love (Talonbooks, 2006) and Shall I compare: July 2006 (George Bowering, 2008). Bowering published his interview with Black Mountain poet Robert Duncan: An Interview (Coach House Press, 1971), a book-length study on Canadian poet Al Purdy: Al Purdy (Copp Clark, 1970), along with editing several anthologies such as Vibrations: Poems from Youth (Cage, 1970), Fiction of Contemporary Canada (Coach House Press, 1980) and Likely Stories: A Postmodern Sampler (Coach House Press, 1992). Bowering has won two Governor General's Awards for poetry,  for Rocky Mountain Foot (McClelland & Stewart, 1968) and The Gangs Kosmos (House of Anansi, 1969), and one for fiction in 1980 for Burning Water (Beaufort Books, 1980). George Bowering continues teaching, inspiring and writing at Simon Fraser University in British Columbia.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1301/I0006_11_0034_front-300x300.jpg\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Master\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1974 1 25\",\"type\":\"Performance Date\",\"notes\":\"Date written on the front of the tape's box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-435\",\"notes\":\"Location specified in written announcement \\\"Bowering Back At SGWU\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-435"],"City":["Montreal, Quebec"],"content_notes":["George Bowering reads from Autobiology (New Star Books, 1972) and Curious (Coach House Press, 1973), as well as a few poems from unknown sources."],"contents":["george_bowering_i006-11-034.mp3 \n\nIntroducer\n00:00:00\nAmbient Sound.\n \nGeorge Bowering\n00:01:54\nOh I just did a review of Al Purdy's [https://www.wikidata.org/wiki/Q4704621] new book of poems so maybe I'll just start off reading that. [Audience laughter]. I said I liked it Al. [Audience laughter]. I'm related to practically everybody here. I'll turn this off now. [Audience laughter].\n \nIntroducer\n00:04:12\n...I think that George Bowering  [https://www.wikidata.org/wiki/Q1239280] has read or done— or not done, or not written. On the back of [that book (?)], it says that he has two new books, one called Curious from Coach House Press [https://www.wikidata.org/wiki/Q5137585], and another In the Flesh, coming out with McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. The one thing I can add to that is— has to do with baseball [https://www.wikidata.org/wiki/Q5369], about which I know much less than George. You still have your team?\n \nGeorge Bowering\n00:04:51\nYes.\n \nIntroducer\n00:04:54\nOkay, it's occurred to me that George understands one thing that is rather important to understand that is that the difference between stepping up to the plate and hitting the ball out of the park, and going [unintelligible], on the one hand, and on the other, stepping up to the plate and being there when the bat does what it's supposed to do and the ball takes itself out of the park. And this applies to baseball, and it also applies to poems. And that's what George understands.\n \nGeorge Bowering\n00:05:48\nFor those that live in California [https://www.wikidata.org/wiki/Q99], that's what Suzuki Roshi [https://www.wikidata.org/wiki/Q572599] calls Zen Baseball. I'm really excited to be back here, this is really a burn for me, because, can you hear me if I talk at this level? I'm hearing an echo, but I— can you hear me? [Audience laughter]. I'm reading for the next three weeks back and forth but this is the first one so I haven't got stale with any of this stuff yet in the east. And I'm going to come back in a few minutes to Autobiology, because I've never read it in the east although I started writing it in Montreal [https://www.wikidata.org/wiki/Q340] and finished it in Vancouver [https://www.wikidata.org/wiki/Q24639], but before I do I'm going to read a piece that is sort of representative of what I've been doing lately in Vancouver, called \"Desert Elm\", the desert being the Okanagan [https://www.wikidata.org/wiki/Q1812222] in this instance and the elm being the kind of tree that people planted there that wasn't there before and grew— they tried a lot of other ones and they didn't work. And it's a poem about my father and it deals with— it was begun with his heart attack he had in August and what happened after that, to me.\n \nGeorge Bowering\n00:07:22\nReads \"Desert Elm\".\n \nGeorge Bowering\n00:20:04\nThat's the longest one I'll read I think. I was going to go into Autobiology, but I'm just going to jump right now into one section of Curious, I'm going to read the Jack Spicer [https://www.wikidata.org/wiki/Q3805658] part for Artie [https://www.wikidata.org/wiki/Q4800979], and then I'll [unintelligible] Curious is a-—that's one of the books that's coming out this week, it's about, it's a book about poets, sort of, and this one's about Jack Spicer, who, Artie digs.\n \nGeorge Bowering\n00:20:43\nReads \"Jack Spicer\" from Curious.\n \nGeorge Bowering\n00:22:10\nHe was supposed to be moving— that was in the summer of '65, he was up in Vancouver and just decided to move up there so he wouldn't die, and because he would die if he stayed in San Francisco [https://www.wikidata.org/wiki/Q62], and then he said, well just before that I'll go down to the San Francisco Poetry Festival, and when that's over in three weeks I'll come up to Vancouver, and he died during the second week. Okay, this is— Autobiology is a book  that came out, two years ago this month, actually, 72, yeah. And I started writing it in Westmount [https://www.wikidata.org/wiki/Q139497] as they say and finished it in Kitsilano [https://www.wikidata.org/wiki/Q4179275]. I started writing it in an expensive flat in Westmount, and finished it in a commune on the edge of the water in Vancouver and it's a story about, as it suggests, it's a story, it's a book, it's poetry, it's prose, it's something about things that have changed me in terms of my head but first in terms of chemicals and physiologically, changed my body literally and so on. So I'll just, I'll read portions of it. I toyed with the idea of reading the whole book, it's the sort of thing we do in Vancouver, like we sit down and read the whole book, and this was published the same day as Stan Persky's [https://www.wikidata.org/wiki/Q2330087] The Day, a book called The Day, and it's the same length, about a hundred pages, and he read The Day and we took a break, and I read Autobiology and then we took a break of a couple of hours and he read The Day again. But that's sort of— that happens a little— it's a little easier to take when everybody is kind of a volunteer anyway, when everybody in the audience has known all the time that this was being written and that it was going to be read, the whole book. So I'll just read parts of it so you get a taste of it. Each section is about one and a quarter foolscap pages when it's handwritten, long, approximately so it turns out to be about two of these pages. \"Chapter One\"— there's forty-eight chapters. \"Chapter One: The Raspberries\".\n \nGeorge Bowering\n00:24:41 \nReads \"Chapter One: The Raspberries\" from Autobiology.\n \nGeorge Bowering\n00:26:06 \nDid that ever happen to--I'm sure these kinds of things must have happened to--the way I was telling [unintelligible] this afternoon that the way this book is written was I knew the general frame was things that changed me that way, from things put in my body, generally, or pieces of my body taken off, or whatever. Or pieces of my body going out into someone else's body or whatever. And I'd go home in my house in Westmount, from here, and I'd say 'I got it! Today I'm going to do the broken tool part' and I'd run home and I'd start controlling the thing and I'd throw it away, so all the pieces that are in here are the pieces that are not thrown away, the ones where I didn't know what I was going to write when I started writing. I have the sense that I tried to describe that afternoon as being simply equal to what was coming in the story. This is \"Chapter 2\", I'll read \"Chapter 1\" and 2 and 3 and 4 and then I'll skip. This is \"The Teeter Totter\".\n \nGeorge Bowering\n00:27:05\nReads \"Chapter 2: The Teeter Totter\" from Autobiology.\n \nGeorge Bowering\n00:28:22\nReads \"Chapter 3: The Pollywogs\" from Autobiology.\n \nGeorge Bowering\n00:29:31\n\"The Flying Dream\". This is the origin of why I decided to write poetry I think, or at least I've always made that connection. \"The Flying Dream\".\n \nGeorge Bowering\n00:29:40\nReads \"Chapter 4: The Flying Dream\" from Autobiology.\n \nGeorge Bowering\n00:30:54\nIt's the basis of that West Coast [https://www.wikidata.org/wiki/Q1974] elitism, Al. I— after I'd done this whole book I found out there's two chapters called \"The Breaks\", I'd totally forgotten that this chapter had written me this time. So this is the first chapter on “The Breaks”.\n \nGeorge Bowering\n00:31:15\nReads \"Chapter 8: The Breaks\" from Autobiology [audience laughter throughout].\n \nGeorge Bowering\n00:32:34\nGee, there's one I've never read before, I mean, out loud [audience laughter]. I'm not going to anyway, heck with it. Oh, here's one that every once in a while there's, it comes to, the thing comes to writing itself or talking about the writing of itself, so here's one called \"Composition\", for those that are worried about the problem it'll be totally clear. I think. It defines composition. \"Composition\".\n \nGeorge Bowering\n00:33:02\nReads \"Chapter 14: Composition\" from Autobiology.\n \nGeorge Bowering\n00:34:32\nHere's the other one called \"The Breaks\".\n \nGeorge Bowering \n00:34:35.49\nReads \"Chapter 20: The Breaks\" from Autobiology.\n \nGeorge Bowering\n00:35:53\nReads [“Chapter 21: Come’ from Autobiology].\n \nGeorge Bowering\n00:37:13\nThis is one that, this is a favourite amongst the [serifs (?)] in Vancouver. The— I live in a community now as different from the community I lived in a couple of years ago of all https://www.wikidata.org/wiki/Q5882404], Esalen [https://www.wikidata.org/wiki/Q5882404], encounters all the time and they're always talking about shrinkage and they're always telling me why don't you take shrinkage, and I say 'I don't feel like I need shrinkage' and they said 'that proves you need shrinkage'. Can't get out of it, you know, that's your problem— you don't think you need... So this one is sort of a reply to that, it's called \"The Childhood\".\n \nGeorge Bowering\n00:37:56\nReads \"Chapter 26: The Childhood\" from Autobiology.\n \nGeorge Bowering\n00:39:05\nThis one's about the literary world, it's called \"St. Louis\", where, St. Louis is where William Burroughs [https://www.wikidata.org/wiki/Q38022] and an earlier poet came from. T.S. Sandburn [https://www.wikidata.org/wiki/Q37767], I think his name was. [audience laughter.]\n \nGeorge Bowering\n00:39:21\nReads \"Chapter 27: St. Louis\" from Autobiology.\n \nGeorge Bowering\n00:40:49\nThen there's a whole series of pieces on towns that I lived in which I'll skip over. Skip that one, skip that one, get to these ones at the end. Here's one called \"The Flesh\", which I guess was involved with at the time, writing a book of poems about the flesh.\n \nGeorge Bowering\n00:41:23\nReads \"Chapter 43: The Flesh\" from Autobiology.\n \nGeorge Bowering\n00:42:43\nI think I'll read the last couple in this one, and then see what time it is. \"The Operations\" everybody is my chance, right? Every vessel, living in a house with my mother talking about operations the last couple of weeks and she couldn't really do it. So I get my chance now, ‘cause I don't really get the chance— that's my mother on the cover of the book by the way, that's my mother and that's me. There she is.\n \nGeorge Bowering\n00:43:14\nReads \"Chapter 45: The Operations\" from Autobiology.\n \nGeorge Bowering\n00:44:53\nAnd the last two, this is \"The Scars\".\n \nGeorge Bowering\n00:44:56\nReads \"Chapter 47: The Scars\" from Autobiology.\n \nGeorge Bowering\n00:46:24\nAnd the last one is called naturally, \"The Body\", Chapter 48.\n \nGeorge Bowering\n00:46:32\nReads \"Chapter 48: The Body\" from Autobiology.\n \nGeorge Bowering\n00:47:48\nThat was Autobiology, it's actually, can you imagine, a tetralogy. And the first volume was called Geneve and it was based on a found thing with the tarot pack [https://www.wikidata.org/wiki/Q583269] and with the Geneva version of the French pack, Marseilles pack. The second one was Autobiology and the third one was Curious and the fourth one is— Dwight Gardiner wrote it, in a book called the Book of the Occasional. I was going to write it but he wrote it, so I didn't have to. It's just absolutely beautiful and if you see a Book of the Occasional, you'll see what I mean. It's just a gorgeous, gorgeous book. Oh, gee, I'd love to read— how long can I have now?\n \nUnknown\n00:48:45\n[Cut or edit made in tape].\n \nGeorge Bowering\n00:48:46\n...Because I just suddenly remembered I'd love to read a piece I have called The Big Leagues. But then I also have a book called At War with the U.S. that I— was the first book of poems I've written in years, but maybe I'll just read The Big Leagues, that will probably take— and then maybe I'll read one or two pieces from Curious. This is a book—a thing called The Big Leagues and it's in a few- in five sections and maybe I'll get tired before I get to the fifth one, but I'll just see how— the first one is called \"The Detroit Tigers\" [https://www.wikidata.org/wiki/Q650855].\n \nGeorge Bowering\n00:49:21\nReads \"The Detroit Tigers\".\n \nGeorge Bowering\n00:51:57\nThat was written in South Slocan, B.C. [https://www.wikidata.org/wiki/Q18379776] I think this is my favourite one, it's called \"The Dallas Cowboys\" [https://www.wikidata.org/wiki/Q204862].\n \nGeorge Bowering\n00:52:09\nReads \"The Dallas Cowboys\".\n \nGeorge Bowering\n00:54:57\nThe next one's called \"The San Diego Padres\" [https://www.wikidata.org/wiki/Q721134] but I'm going to skip that one because it's about getting dope [https://www.wikidata.org/wiki/Q60168] into— what happens is that Chance is coming back, he's now wearing the uniform that Slim Chance had before he died, a U.S. Army uniform that says \"Chance\" on it and \"U.S. Army\" and they're sneaking some dope into San Diego and it has to do with some Padres whose clothes are taken off so they can use them to hide the dope and everything. The next one's called \"The Buffalo Sabres\" [https://www.wikidata.org/wiki/Q131206].\n \nGeorge Bowering\n00:55:32\nBegins reading \"The Buffalo Sabres\". \n\nGeorge Bowering\n00:55:37\nOh, by the way what happens is that I took four quotations from poetry, and three of them are taken from the normal Ohio academic American Poetry Anthology and one of them is taken from Robert Creeley [https://www.wikidata.org/wiki/Q918620] at the end, and you can tell. I can't even remember what poets I took from, like all those guys sorta have the same thing, you know, Donald Hall [https://www.wikidata.org/wiki/Q976924] Anthology Poets if you know what I mean.\n \nGeorge Bowering\n00:56:05\nResumes reading \"The Buffalo Sabres\".\n \nGeorge Bowering\n00:59:06\nAnd this one is for a lot of friends of mine, it's called \"The Minnesota Twins\" [https://www.wikidata.org/wiki/Q604879] and he's going on, he's leaving Buffalo [https://www.wikidata.org/wiki/Q40435] and going to— has anyone here been to— has anyone here been to Bemidji, Minnesota [https://www.wikidata.org/wiki/Q730430]? You know what they got there right? That great big, blue Ox and the great big Paul Bunyan [https://www.wikidata.org/wiki/Q7149597] carved about 30 feet high or something like that. And other than that, it's a beautiful town, you know, it has the— it looks like the underground of another town turn upside-down, so the bottom is up above the ground, right? \"The Minnesota Twins\".\n \nAnnotation\n00:59:39\nReads \"The Minnesota Twins\".\n \nGeorge Bowering\n01:02:26\nI think I'll read like for ten minutes and that'll be for a total of an hour, five minutes or something like that. I'll just, I'll pick, this is Curious, which is a— that other book's coming out, it's called In the Flesh and it's maybe the last book of occasional, magazine book verse poetry I ever do. It deals with the experience of being in your 30s and finding out that the world isn't round after all and how sad you can be and how strong emotions can be. It has an introduction called \"I Never Felt Such Love\". But it's mainly lyric poetry, and I just, I've read so much of that that it's got to be too easy to read and write and everything. So I'll read a few of these. The poets who are mentioned in Curious, it happens that there are a lot of my friends who aren't in the book. Because, again, I wrote it that way, if you know, if that person did not come up, excuse me, from the other side of the page or however that feeling is to be described, if the voice wasn't there or something, for instance I really wanted to do a Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] poem, and you know, I just couldn't and it didn't come and I had wanted to but if I had tried that it just would have been screwed up. Some of these are American, some are Canadians, a couple are English and maybe one or two other things. And the first one is, naturally, Charles Olson [https://www.wikidata.org/wiki/Q922978]. Olson, as you probably know, was about 6 ft 10 and weighed about 300 pounds. And I first met him— I was standing at the bottom of a flight of stairs and he was coming down them. So I said 'hello' to the knees of his sear-sucker suit.\n \nGeorge Bowering\n01:04:19\nReads \"Charles Olson\" from Curious.\n \nGeorge Bowering\n01:05:57\nI'll get some Canadians in here. Margaret Atwood [https://www.wikidata.org/wiki/Q183492], she's the first Canadian to appear in here.\n \nGeorge Bowering\n01:06:16\nReads \"Margaret Atwood\" from Curious.\n \nGeorge Bowering\n01:07:36\nThere are some poets in here that you won't know that are more specifically Vancouver-oriented poets perhaps that aren't as well known out here so I'll skip those. This is \"bp Nichol\". Everybody knows bpNichol [https://www.wikidata.org/wiki/Q4953105], or everybody is bpNichol.\n \nGeorge Bowering\n01:07:57\nReads \"bp Nichol\" from Curious.\n \nGeorge Bowering\n01:09:40\n\"Stephen Spender\" [https://www.wikidata.org/wiki/Q448764]. I was going to skip this one, but it has a few moments in it.\n \nGeorge Bowering\n01:09:53\nReads \"Stephen Spender\" from Curious.\n \nGeorge Bowering\n01:11:18\nThat's, boy, that's— like you're out on the West Coast where you've never seen a poet before in your life and the first one they bring you is this guy you've been reading in books and he's a white-haired— it's unbelievable. You know, John Newlove's [https://www.wikidata.org/wiki/Q6250356]? John Newlove, for those who know John Newlove.\n \nGeorge Bowering\n01:11:36\nReads \"John Newlove\" from Curious.\n \nGeorge Bowering\n01:13:08\nThat last part is from a title of one of his books. David McFadden [https://www.wikidata.org/wiki/Q5237344] is, this is the David McFadden piece and maybe I'll read it and a couple more. It's not my favourite but it's one that I like reading. David McFadden— well, it tells you what he's like, but David McFadden is a— he scared the hell out of Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] because he writes really funny poems, like he literally has things, like he walks out into the backyard and sees the Archangel Gabriel [https://www.wikidata.org/wiki/Q81989] or a space man and just talks to it and talks about it in the story of the poem a paragraph after he's talked about going out and buying some cigarettes or something like that and Ginsberg thought, wow, what a weird spaced out guy, so Victor Coleman [https://www.wikidata.org/wiki/Q23882910] took him down to Hamilton [https://www.wikidata.org/wiki/Q133116] to see David, David— he's got, as he said in the note of one of his books, \"I was born in 1940 and I comb my hair straight back\", and in his house, he's got an electric pendulum clock and you know that sort of thing. And Ginsberg took one look and said [inaudible ‘scared’ sound], and ran away. Just couldn't believe it, you know, it's unbelievable. So, David McFadden.\n \nGeorge Bowering\n01:14:30\nReads \"David McFadden\" from Curious.\n \nGeorge Bowering\n01:16:24\nThere wasn't a comma in there, that was the Indian food coming back. Now let's see…\n\nAudience Member 1\n01:16:31\nAddresses George Bowering [unintelligible; requests poem].\n\nGeorge Bowering\n01:16:33\nNo, he didn't get in there either, and I'm very sad about that, just people that got in that I wish didn't get in and there's people that didn't get in that I wish did get in. \n\nAudience Member 2\n01:16:44\n[Unintelligible]...Raymond Souster [https://www.wikidata.org/wiki/Q304129].\n\nGeorge Bowering\n01:16:46\nYeah, I think I might have skipped over Raymond Souster, the Raymond Souster one is, as you might imagine the shortest one in the book.\n \nGeorge Bowering\n01:16:58\nReads \"Raymond Souster\" from Curious.\n \nGeorge Bowering\n01:17:59\nI got a Purdy one too, but Al weighs 210 pounds. No, I've always made it a policy not to read the ones of somebody that's there. I don't know if there are any other ones that I'm going to read.\n\nAudience Member 3\n01:18:25\nAddresses George Bowering [unintelligible; requests poem].\n\nGeorge Bowering\n01:18:26\nYeah, I don't know where the hell it is. I like the Lionel Kearns [https://www.wikidata.org/wiki/Q6555690] one actually...Oh I don't know what's happened to the Lionel Kearns one, it's one of my very favourites too. I think maybe, I'll see if I can find the Lionel one in a second then I'll read it and I'll finish off with the bill bissett [https://www.wikidata.org/wiki/Q4911496] one. If I just had the book with me it'd be a hell of a lot easier. I don't think I'm going to find the Kearns one. I can't find the Kearns one, it's all about how he can't find anything. This is the bissett one and then I'll finish off with that.\n \nGeorge Bowering\n01:19:30\nReads bill bissett\" from Curious.\n\nGeorge Bowering\n01:21:16\nThank you.\n\nAudience\n01:21:17\nApplause. \n\nEND\n01:21:29\n"],"Note":["[{\"note\":\"Year-specific Information:\\n\\nIn 1974, George Bowering had published At War with the U.S. (Talonbooks, 1974), Flycatcher & Other Stories (Oberon, 1974), In the Flesh (McClelland & Stewart, 1974) and the last issue of Imago: 20 (Talonbooks, 1974) and was teaching at Simon Fraser University.\",\"type\":\"General\"},{\"note\":\"Local connections:\\n\\nGeorge Bowering was very influential in promoting and enriching the Vancouver poetry scene in the early 1960s, through his magazines Tish and Imago as well as the hundreds of connections he made with other poets. His early connections with the Black Mountain Poets and the relationships he made with Canadian poets from Vancouver across Canada to Montreal have been essential because he bridged the gap of distance and made new types of poetry available to young poets. Montrealer Louis Dudek wrote that Bowering’s “most important contribution to the new generation of Montreal poets was the institution of a series of readings at Sir George [Williams University] which exposed them to the diverse experimentation that was taking place across Canada and the U.S.”\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Faith Paré (2020) & Ali Barillaro (2021)\\n\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/george-bowering-at-sgwu-1974/\",\"citation\":\"“Bowering Back at SGWU”. The Georgian. Montreal: Sir George Williams University, 25 January 1974. \"},{\"url\":\"https://www.worldcat.org/title/autobiology/oclc/729975561&referer=brief_results\",\"citation\":\"Bowering, George. Autobiology. Vancouver: New Star Books, 1972. \"},{\"url\":\"https://www.worldcat.org/title/curious/oclc/912490228&referer=brief_results\",\"citation\":\"Bowering, George. Curious. Toronto: Coach House Press, 1973. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/802667762&referer=brief_results\",\"citation\":\"Bowering, George. (ed). The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960/oclc/962929534&referer=brief_results\",\"citation\":\"Davey, Frank. From There to Here: A Guide to English-Canadian Literature Since 1960. \\nOntario: Press Porcepic, 1974.\"},{\"url\":\"https://www.worldcat.org/title/montreal-english-poetry-of-the-seventies/oclc/757254674&referer=brief_results\",\"citation\":\"Farkas, Andre & Ken Norris, ed. Montreal English Poetry of the Seventies. Montreal: Vehicule Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-times-2/oclc/622296707&referer=brief_results\",\"citation\":\"Geddes, Gary (ed). Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970-edited-and-with-an-introduction-by-eli-mandel/oclc/1202953921&referer=brief_results\",\"citation\":\"Mandel, Eli (ed). Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-volume-1/oclc/636622714&referer=brief_results\",\"citation\":\"Miki, Roy. “Bowering, George (1935-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Ed. Benson, Eugene; Conolly, L.W. London: Routledge, \\n1994. \"},{\"url\":\"https://www.worldcat.org/title/record-of-writing-an-annotated-and-illustrated-bibliography-of-george-bowering/oclc/797558365&referer=brief_results\",\"citation\":\"Miki, Roy. A Record of Writing: an annotated and illustrated bibliography of George Bowering. Vancouver: Talonbooks, 1990. \"},{\"url\":\"https://www.worldcat.org/title/canadian-writers-since-1960-first-series/oclc/883361320&referer=brief_results\",\"citation\":\"Quartermain, Peter and Meredith. \\\"George Bowering.\\\" Canadian Writers Since 1960: \\nFirst Series. Ed. William H. New. Dictionary of Literary Biography, Vol. 53. \\nDetroit: Gale Research, 1986. \"}]"],"_version_":1853670548960182272,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0034_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering Tape Box 2 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0034_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering Tape Box 2 - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0034_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering Tape Box 2 - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0034_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0034_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"George Bowering Tape Box 2 - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/george_bowering_i006-11-034.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"george_bowering_i006-11-034.mp3 \",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:21:29\",\"precision\":\"\",\"size\":\"195.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nAmbient Sound.\\n \\nGeorge Bowering\\n00:01:54\\nOh I just did a review of Al Purdy's [https://www.wikidata.org/wiki/Q4704621] new book of poems so maybe I'll just start off reading that. [Audience laughter]. I said I liked it Al. [Audience laughter]. I'm related to practically everybody here. I'll turn this off now. [Audience laughter].\\n \\nIntroducer\\n00:04:12\\n...I think that George Bowering  [https://www.wikidata.org/wiki/Q1239280] has read or done— or not done, or not written. On the back of [that book (?)], it says that he has two new books, one called Curious from Coach House Press [https://www.wikidata.org/wiki/Q5137585], and another In the Flesh, coming out with McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322]. The one thing I can add to that is— has to do with baseball [https://www.wikidata.org/wiki/Q5369], about which I know much less than George. You still have your team?\\n \\nGeorge Bowering\\n00:04:51\\nYes.\\n \\nIntroducer\\n00:04:54\\nOkay, it's occurred to me that George understands one thing that is rather important to understand that is that the difference between stepping up to the plate and hitting the ball out of the park, and going [unintelligible], on the one hand, and on the other, stepping up to the plate and being there when the bat does what it's supposed to do and the ball takes itself out of the park. And this applies to baseball, and it also applies to poems. And that's what George understands.\\n \\nGeorge Bowering\\n00:05:48\\nFor those that live in California [https://www.wikidata.org/wiki/Q99], that's what Suzuki Roshi [https://www.wikidata.org/wiki/Q572599] calls Zen Baseball. I'm really excited to be back here, this is really a burn for me, because, can you hear me if I talk at this level? I'm hearing an echo, but I— can you hear me? [Audience laughter]. I'm reading for the next three weeks back and forth but this is the first one so I haven't got stale with any of this stuff yet in the east. And I'm going to come back in a few minutes to Autobiology, because I've never read it in the east although I started writing it in Montreal [https://www.wikidata.org/wiki/Q340] and finished it in Vancouver [https://www.wikidata.org/wiki/Q24639], but before I do I'm going to read a piece that is sort of representative of what I've been doing lately in Vancouver, called \\\"Desert Elm\\\", the desert being the Okanagan [https://www.wikidata.org/wiki/Q1812222] in this instance and the elm being the kind of tree that people planted there that wasn't there before and grew— they tried a lot of other ones and they didn't work. And it's a poem about my father and it deals with— it was begun with his heart attack he had in August and what happened after that, to me.\\n \\nGeorge Bowering\\n00:07:22\\nReads \\\"Desert Elm\\\".\\n \\nGeorge Bowering\\n00:20:04\\nThat's the longest one I'll read I think. I was going to go into Autobiology, but I'm just going to jump right now into one section of Curious, I'm going to read the Jack Spicer [https://www.wikidata.org/wiki/Q3805658] part for Artie [https://www.wikidata.org/wiki/Q4800979], and then I'll [unintelligible] Curious is a-—that's one of the books that's coming out this week, it's about, it's a book about poets, sort of, and this one's about Jack Spicer, who, Artie digs.\\n \\nGeorge Bowering\\n00:20:43\\nReads \\\"Jack Spicer\\\" from Curious.\\n \\nGeorge Bowering\\n00:22:10\\nHe was supposed to be moving— that was in the summer of '65, he was up in Vancouver and just decided to move up there so he wouldn't die, and because he would die if he stayed in San Francisco [https://www.wikidata.org/wiki/Q62], and then he said, well just before that I'll go down to the San Francisco Poetry Festival, and when that's over in three weeks I'll come up to Vancouver, and he died during the second week. Okay, this is— Autobiology is a book  that came out, two years ago this month, actually, 72, yeah. And I started writing it in Westmount [https://www.wikidata.org/wiki/Q139497] as they say and finished it in Kitsilano [https://www.wikidata.org/wiki/Q4179275]. I started writing it in an expensive flat in Westmount, and finished it in a commune on the edge of the water in Vancouver and it's a story about, as it suggests, it's a story, it's a book, it's poetry, it's prose, it's something about things that have changed me in terms of my head but first in terms of chemicals and physiologically, changed my body literally and so on. So I'll just, I'll read portions of it. I toyed with the idea of reading the whole book, it's the sort of thing we do in Vancouver, like we sit down and read the whole book, and this was published the same day as Stan Persky's [https://www.wikidata.org/wiki/Q2330087] The Day, a book called The Day, and it's the same length, about a hundred pages, and he read The Day and we took a break, and I read Autobiology and then we took a break of a couple of hours and he read The Day again. But that's sort of— that happens a little— it's a little easier to take when everybody is kind of a volunteer anyway, when everybody in the audience has known all the time that this was being written and that it was going to be read, the whole book. So I'll just read parts of it so you get a taste of it. Each section is about one and a quarter foolscap pages when it's handwritten, long, approximately so it turns out to be about two of these pages. \\\"Chapter One\\\"— there's forty-eight chapters. \\\"Chapter One: The Raspberries\\\".\\n \\nGeorge Bowering\\n00:24:41 \\nReads \\\"Chapter One: The Raspberries\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:26:06 \\nDid that ever happen to--I'm sure these kinds of things must have happened to--the way I was telling [unintelligible] this afternoon that the way this book is written was I knew the general frame was things that changed me that way, from things put in my body, generally, or pieces of my body taken off, or whatever. Or pieces of my body going out into someone else's body or whatever. And I'd go home in my house in Westmount, from here, and I'd say 'I got it! Today I'm going to do the broken tool part' and I'd run home and I'd start controlling the thing and I'd throw it away, so all the pieces that are in here are the pieces that are not thrown away, the ones where I didn't know what I was going to write when I started writing. I have the sense that I tried to describe that afternoon as being simply equal to what was coming in the story. This is \\\"Chapter 2\\\", I'll read \\\"Chapter 1\\\" and 2 and 3 and 4 and then I'll skip. This is \\\"The Teeter Totter\\\".\\n \\nGeorge Bowering\\n00:27:05\\nReads \\\"Chapter 2: The Teeter Totter\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:28:22\\nReads \\\"Chapter 3: The Pollywogs\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:29:31\\n\\\"The Flying Dream\\\". This is the origin of why I decided to write poetry I think, or at least I've always made that connection. \\\"The Flying Dream\\\".\\n \\nGeorge Bowering\\n00:29:40\\nReads \\\"Chapter 4: The Flying Dream\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:30:54\\nIt's the basis of that West Coast [https://www.wikidata.org/wiki/Q1974] elitism, Al. I— after I'd done this whole book I found out there's two chapters called \\\"The Breaks\\\", I'd totally forgotten that this chapter had written me this time. So this is the first chapter on “The Breaks”.\\n \\nGeorge Bowering\\n00:31:15\\nReads \\\"Chapter 8: The Breaks\\\" from Autobiology [audience laughter throughout].\\n \\nGeorge Bowering\\n00:32:34\\nGee, there's one I've never read before, I mean, out loud [audience laughter]. I'm not going to anyway, heck with it. Oh, here's one that every once in a while there's, it comes to, the thing comes to writing itself or talking about the writing of itself, so here's one called \\\"Composition\\\", for those that are worried about the problem it'll be totally clear. I think. It defines composition. \\\"Composition\\\".\\n \\nGeorge Bowering\\n00:33:02\\nReads \\\"Chapter 14: Composition\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:34:32\\nHere's the other one called \\\"The Breaks\\\".\\n \\nGeorge Bowering \\n00:34:35.49\\nReads \\\"Chapter 20: The Breaks\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:35:53\\nReads [“Chapter 21: Come’ from Autobiology].\\n \\nGeorge Bowering\\n00:37:13\\nThis is one that, this is a favourite amongst the [serifs (?)] in Vancouver. The— I live in a community now as different from the community I lived in a couple of years ago of all https://www.wikidata.org/wiki/Q5882404], Esalen [https://www.wikidata.org/wiki/Q5882404], encounters all the time and they're always talking about shrinkage and they're always telling me why don't you take shrinkage, and I say 'I don't feel like I need shrinkage' and they said 'that proves you need shrinkage'. Can't get out of it, you know, that's your problem— you don't think you need... So this one is sort of a reply to that, it's called \\\"The Childhood\\\".\\n \\nGeorge Bowering\\n00:37:56\\nReads \\\"Chapter 26: The Childhood\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:39:05\\nThis one's about the literary world, it's called \\\"St. Louis\\\", where, St. Louis is where William Burroughs [https://www.wikidata.org/wiki/Q38022] and an earlier poet came from. T.S. Sandburn [https://www.wikidata.org/wiki/Q37767], I think his name was. [audience laughter.]\\n \\nGeorge Bowering\\n00:39:21\\nReads \\\"Chapter 27: St. Louis\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:40:49\\nThen there's a whole series of pieces on towns that I lived in which I'll skip over. Skip that one, skip that one, get to these ones at the end. Here's one called \\\"The Flesh\\\", which I guess was involved with at the time, writing a book of poems about the flesh.\\n \\nGeorge Bowering\\n00:41:23\\nReads \\\"Chapter 43: The Flesh\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:42:43\\nI think I'll read the last couple in this one, and then see what time it is. \\\"The Operations\\\" everybody is my chance, right? Every vessel, living in a house with my mother talking about operations the last couple of weeks and she couldn't really do it. So I get my chance now, ‘cause I don't really get the chance— that's my mother on the cover of the book by the way, that's my mother and that's me. There she is.\\n \\nGeorge Bowering\\n00:43:14\\nReads \\\"Chapter 45: The Operations\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:44:53\\nAnd the last two, this is \\\"The Scars\\\".\\n \\nGeorge Bowering\\n00:44:56\\nReads \\\"Chapter 47: The Scars\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:46:24\\nAnd the last one is called naturally, \\\"The Body\\\", Chapter 48.\\n \\nGeorge Bowering\\n00:46:32\\nReads \\\"Chapter 48: The Body\\\" from Autobiology.\\n \\nGeorge Bowering\\n00:47:48\\nThat was Autobiology, it's actually, can you imagine, a tetralogy. And the first volume was called Geneve and it was based on a found thing with the tarot pack [https://www.wikidata.org/wiki/Q583269] and with the Geneva version of the French pack, Marseilles pack. The second one was Autobiology and the third one was Curious and the fourth one is— Dwight Gardiner wrote it, in a book called the Book of the Occasional. I was going to write it but he wrote it, so I didn't have to. It's just absolutely beautiful and if you see a Book of the Occasional, you'll see what I mean. It's just a gorgeous, gorgeous book. Oh, gee, I'd love to read— how long can I have now?\\n \\nUnknown\\n00:48:45\\n[Cut or edit made in tape].\\n \\nGeorge Bowering\\n00:48:46\\n...Because I just suddenly remembered I'd love to read a piece I have called The Big Leagues. But then I also have a book called At War with the U.S. that I— was the first book of poems I've written in years, but maybe I'll just read The Big Leagues, that will probably take— and then maybe I'll read one or two pieces from Curious. This is a book—a thing called The Big Leagues and it's in a few- in five sections and maybe I'll get tired before I get to the fifth one, but I'll just see how— the first one is called \\\"The Detroit Tigers\\\" [https://www.wikidata.org/wiki/Q650855].\\n \\nGeorge Bowering\\n00:49:21\\nReads \\\"The Detroit Tigers\\\".\\n \\nGeorge Bowering\\n00:51:57\\nThat was written in South Slocan, B.C. [https://www.wikidata.org/wiki/Q18379776] I think this is my favourite one, it's called \\\"The Dallas Cowboys\\\" [https://www.wikidata.org/wiki/Q204862].\\n \\nGeorge Bowering\\n00:52:09\\nReads \\\"The Dallas Cowboys\\\".\\n \\nGeorge Bowering\\n00:54:57\\nThe next one's called \\\"The San Diego Padres\\\" [https://www.wikidata.org/wiki/Q721134] but I'm going to skip that one because it's about getting dope [https://www.wikidata.org/wiki/Q60168] into— what happens is that Chance is coming back, he's now wearing the uniform that Slim Chance had before he died, a U.S. Army uniform that says \\\"Chance\\\" on it and \\\"U.S. Army\\\" and they're sneaking some dope into San Diego and it has to do with some Padres whose clothes are taken off so they can use them to hide the dope and everything. The next one's called \\\"The Buffalo Sabres\\\" [https://www.wikidata.org/wiki/Q131206].\\n \\nGeorge Bowering\\n00:55:32\\nBegins reading \\\"The Buffalo Sabres\\\". \\n\\nGeorge Bowering\\n00:55:37\\nOh, by the way what happens is that I took four quotations from poetry, and three of them are taken from the normal Ohio academic American Poetry Anthology and one of them is taken from Robert Creeley [https://www.wikidata.org/wiki/Q918620] at the end, and you can tell. I can't even remember what poets I took from, like all those guys sorta have the same thing, you know, Donald Hall [https://www.wikidata.org/wiki/Q976924] Anthology Poets if you know what I mean.\\n \\nGeorge Bowering\\n00:56:05\\nResumes reading \\\"The Buffalo Sabres\\\".\\n \\nGeorge Bowering\\n00:59:06\\nAnd this one is for a lot of friends of mine, it's called \\\"The Minnesota Twins\\\" [https://www.wikidata.org/wiki/Q604879] and he's going on, he's leaving Buffalo [https://www.wikidata.org/wiki/Q40435] and going to— has anyone here been to— has anyone here been to Bemidji, Minnesota [https://www.wikidata.org/wiki/Q730430]? You know what they got there right? That great big, blue Ox and the great big Paul Bunyan [https://www.wikidata.org/wiki/Q7149597] carved about 30 feet high or something like that. And other than that, it's a beautiful town, you know, it has the— it looks like the underground of another town turn upside-down, so the bottom is up above the ground, right? \\\"The Minnesota Twins\\\".\\n \\nAnnotation\\n00:59:39\\nReads \\\"The Minnesota Twins\\\".\\n \\nGeorge Bowering\\n01:02:26\\nI think I'll read like for ten minutes and that'll be for a total of an hour, five minutes or something like that. I'll just, I'll pick, this is Curious, which is a— that other book's coming out, it's called In the Flesh and it's maybe the last book of occasional, magazine book verse poetry I ever do. It deals with the experience of being in your 30s and finding out that the world isn't round after all and how sad you can be and how strong emotions can be. It has an introduction called \\\"I Never Felt Such Love\\\". But it's mainly lyric poetry, and I just, I've read so much of that that it's got to be too easy to read and write and everything. So I'll read a few of these. The poets who are mentioned in Curious, it happens that there are a lot of my friends who aren't in the book. Because, again, I wrote it that way, if you know, if that person did not come up, excuse me, from the other side of the page or however that feeling is to be described, if the voice wasn't there or something, for instance I really wanted to do a Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] poem, and you know, I just couldn't and it didn't come and I had wanted to but if I had tried that it just would have been screwed up. Some of these are American, some are Canadians, a couple are English and maybe one or two other things. And the first one is, naturally, Charles Olson [https://www.wikidata.org/wiki/Q922978]. Olson, as you probably know, was about 6 ft 10 and weighed about 300 pounds. And I first met him— I was standing at the bottom of a flight of stairs and he was coming down them. So I said 'hello' to the knees of his sear-sucker suit.\\n \\nGeorge Bowering\\n01:04:19\\nReads \\\"Charles Olson\\\" from Curious.\\n \\nGeorge Bowering\\n01:05:57\\nI'll get some Canadians in here. Margaret Atwood [https://www.wikidata.org/wiki/Q183492], she's the first Canadian to appear in here.\\n \\nGeorge Bowering\\n01:06:16\\nReads \\\"Margaret Atwood\\\" from Curious.\\n \\nGeorge Bowering\\n01:07:36\\nThere are some poets in here that you won't know that are more specifically Vancouver-oriented poets perhaps that aren't as well known out here so I'll skip those. This is \\\"bp Nichol\\\". Everybody knows bpNichol [https://www.wikidata.org/wiki/Q4953105], or everybody is bpNichol.\\n \\nGeorge Bowering\\n01:07:57\\nReads \\\"bp Nichol\\\" from Curious.\\n \\nGeorge Bowering\\n01:09:40\\n\\\"Stephen Spender\\\" [https://www.wikidata.org/wiki/Q448764]. I was going to skip this one, but it has a few moments in it.\\n \\nGeorge Bowering\\n01:09:53\\nReads \\\"Stephen Spender\\\" from Curious.\\n \\nGeorge Bowering\\n01:11:18\\nThat's, boy, that's— like you're out on the West Coast where you've never seen a poet before in your life and the first one they bring you is this guy you've been reading in books and he's a white-haired— it's unbelievable. You know, John Newlove's [https://www.wikidata.org/wiki/Q6250356]? John Newlove, for those who know John Newlove.\\n \\nGeorge Bowering\\n01:11:36\\nReads \\\"John Newlove\\\" from Curious.\\n \\nGeorge Bowering\\n01:13:08\\nThat last part is from a title of one of his books. David McFadden [https://www.wikidata.org/wiki/Q5237344] is, this is the David McFadden piece and maybe I'll read it and a couple more. It's not my favourite but it's one that I like reading. David McFadden— well, it tells you what he's like, but David McFadden is a— he scared the hell out of Allen Ginsberg [https://www.wikidata.org/wiki/Q6711] because he writes really funny poems, like he literally has things, like he walks out into the backyard and sees the Archangel Gabriel [https://www.wikidata.org/wiki/Q81989] or a space man and just talks to it and talks about it in the story of the poem a paragraph after he's talked about going out and buying some cigarettes or something like that and Ginsberg thought, wow, what a weird spaced out guy, so Victor Coleman [https://www.wikidata.org/wiki/Q23882910] took him down to Hamilton [https://www.wikidata.org/wiki/Q133116] to see David, David— he's got, as he said in the note of one of his books, \\\"I was born in 1940 and I comb my hair straight back\\\", and in his house, he's got an electric pendulum clock and you know that sort of thing. And Ginsberg took one look and said [inaudible ‘scared’ sound], and ran away. Just couldn't believe it, you know, it's unbelievable. So, David McFadden.\\n \\nGeorge Bowering\\n01:14:30\\nReads \\\"David McFadden\\\" from Curious.\\n \\nGeorge Bowering\\n01:16:24\\nThere wasn't a comma in there, that was the Indian food coming back. Now let's see…\\n\\nAudience Member 1\\n01:16:31\\nAddresses George Bowering [unintelligible; requests poem].\\n\\nGeorge Bowering\\n01:16:33\\nNo, he didn't get in there either, and I'm very sad about that, just people that got in that I wish didn't get in and there's people that didn't get in that I wish did get in. \\n\\nAudience Member 2\\n01:16:44\\n[Unintelligible]...Raymond Souster [https://www.wikidata.org/wiki/Q304129].\\n\\nGeorge Bowering\\n01:16:46\\nYeah, I think I might have skipped over Raymond Souster, the Raymond Souster one is, as you might imagine the shortest one in the book.\\n \\nGeorge Bowering\\n01:16:58\\nReads \\\"Raymond Souster\\\" from Curious.\\n \\nGeorge Bowering\\n01:17:59\\nI got a Purdy one too, but Al weighs 210 pounds. No, I've always made it a policy not to read the ones of somebody that's there. I don't know if there are any other ones that I'm going to read.\\n\\nAudience Member 3\\n01:18:25\\nAddresses George Bowering [unintelligible; requests poem].\\n\\nGeorge Bowering\\n01:18:26\\nYeah, I don't know where the hell it is. I like the Lionel Kearns [https://www.wikidata.org/wiki/Q6555690] one actually...Oh I don't know what's happened to the Lionel Kearns one, it's one of my very favourites too. I think maybe, I'll see if I can find the Lionel one in a second then I'll read it and I'll finish off with the bill bissett [https://www.wikidata.org/wiki/Q4911496] one. If I just had the book with me it'd be a hell of a lot easier. I don't think I'm going to find the Kearns one. I can't find the Kearns one, it's all about how he can't find anything. This is the bissett one and then I'll finish off with that.\\n \\nGeorge Bowering\\n01:19:30\\nReads bill bissett\\\" from Curious.\\n\\nGeorge Bowering\\n01:21:16\\nThank you.\\n\\nAudience\\n01:21:17\\nApplause. \\n\\nEND\\n01:21:29\\n\",\"notes\":\"George Bowering reads from Autobiology (New Star Books, 1972) and Curious (Coach House Press, 1973), as well as a few poems from unknown sources.\\n\\nList of Poems Read and Time Stamps:\\nPart 1\\n00:00 - Background noise, setting up microphone\\n01:54 - George Bowering introduces reading [INDEX: Al Purdy, review of his book of poems, Al Purdy in the audience]\\n04:12 - Unknown male introduces Bowering [INDEX: Curious published by Coach House Press; In the Flesh; baseball]\\n05:48 - George Bowering introduces “Desert Elm” [INDEX: California, Suzuki Roshi ‘Zen Baseball’; reading tour, Autobiology: written in Montreal, finished in Vancouver; Okanagan region in B.C., elm tree; father’s heart attack]\\n07:22 - Reads “Desert Elm”\\n20:04 - Introduces “Jack Spicer” from Curious [INDEX: Autobiology; reading from Curious, reading for Artie Gold, book about poets]\\n20:43 - Reads “Jack Spicer”\\n22:10 - Explains “Jack Spicer” and introduces “Chapter One: The Raspberries” from Autobiology. [INDEX: Jack Spicer, Summer of 1965, moving to Vancouver, San        \\tFrancisco Poetry Festival, Spicer’s death; Autobiology (about it), writing started in  \\tWestmount (Montreal) and finished in Kitsolano (Vancouver), published the same \\nday as Stan Perksy’s The Day, readings in Vancouver; handwritten page length of Autobiology]\\n24:41 - Reads “Chapter One: The Raspberries”\\n26:06 - Introduces “Chapter Two: The Teeter Totter” [INDEX: artistic process of writing Autobiology; Westmount]\\n27:05 - Reads “Chapter Two: The Teeter Totter”\\n28:22 - Reads “Chapter Three: The Pollywogs”\\n29:31 - Introduces “ Chapter Four: The Flying Dream” [INDEX: reason he started writing poetry]\\n29:40 - Reads “Chapter Four: The Flying Dream”\\n30:54 - Introduces “Chapter Eight: The Breaks” [INDEX: Two sections called “The Breaks”; West-Coast elitism]\\n31:15 - Reads “Chapter Eight: The Breaks”\\n32:24 - Introduces “Chapter Fourteen: Composition”\\n33:02 - Reads “Chapter Fourteen: Composition”\\n34:32 - Reads “Chapter Twenty: The Breaks” [First line “I broke my nose on a girl’s heel...”]\\n35:53 - Reads “Chapter Twenty-One: Come”\\n37:13 - Introduces “Chapter Twenty-Six: The Childhood” [INDEX: Vancouver, community living, Cold Mountain, Esalen, [?] shrinkage]\\n37:56 - Reads “Chapter Twenty-Six: The Childhood”\\n39:05 - Introduces “Chapter Twenty-Seven: St Louis” [INDEX: William Burroughs, T.S. Eliot]\\n39:21 - Reads “Chapter Twenty-Seven: St Louis”\\n40:49 - Introduces “Chapter Forty-Three: The Flesh” [INDEX: series of poems about towns \\tGeorge Bowering lived in]\\n41:23 - Reads “Chapter Forty-Three: The Flesh”\\n42:43 - Introduces “The Operations” [INDEX: Operations, chance, living with his mother; cover of the book is a photo of George and his mother]\\n43:14 - Reads “Chapter Forty-Five: The Operations”\\n44:53 - Reads “Chapter Forty-Seven: The Scars”\\n46:24 - Reads “Chapter Forty-Eight: The Body”\\n47:48 - Talks about Autobiology [INDEX: Tetrology: 1st volume: Geneve: based on a found poem in the Geneve version of the tarot card pack, 2nd volume: Autobiology, 3rd volume: written by Dwight Gardener Book of the Occasional]\\n48:45.59 - END OF RECORDING.\\n\\nPart 2\\n00:00 - George Bowering introduces “The Detroit Tigers” [INDEX: wants to read “The Big Leagues”, book At War with the U.S.; book Curious]\\n00:35 - Reads “The Detroit Tigers”\\n03:11 - Introduces “The Dallas Cowboys” [INDEX: “The Detroit Tigers” written in South       Slocan, B.C.]\\n03:23 - Reads “The Dallas Cowboys”\\n06:11 - Introduces “The Buffalo Sabers” [INDEX: “The San Diego Padres” about smuggling dope into San Diego, Slim Chance (Character), U.S. Army uniform]\\n06:46 - Reads “The Buffalo Sabers”\\n06:52 - Interrupts reading with explanation [INDEX: quotations taken from anthologies of       American poetry, Ohio, Great Anthology: New Poets of England and America edited by Donald Hall; Robert Creeley]\\n07:19 - Resumes reading “The Buffalo Sabers”.\\n10:21 - Introduces “The Minnesota Twins” [INDEX: leaving Buffalo going to Bemidji, Minnesota; Blue Ox and Paul Bunyan statues]\\n10:54 - Reads “The Minnesota Twins”\\n13:40 - Introduces “Charles Olson” from Curious. [INDEX: In the Flesh, Curious: book of the occasional, magazine verse, how strong emotions can be, Introduction: “I Never Felt Such Love”, about poets, how he chose what poets to put in the book, Roy Kiyooka, American, Canadian and British poets; Charles Olson and his first meeting with]\\n15:33 - Reads “Charles Olson”\\n17:11 - Introduces “Margaret Atwood” [INDEX: introduced as “Peggy Has”, Margaret Atwood]\\n17:31 - Reads “Margaret Atwood”\\n18:50 - Introduces “bp Nichol” [INDEX: Vancouver-oriented poets]\\n19:11 - Reads “bp Nichol”\\n20:55 - Introduces “Stephen Spender”\\n21:07 - Reads “Stephen Spender”\\n22:32 - Introduces “John Newlove” [INDEX: explains his first meeting with Stephen Spender]\\n24:23 - Reads “John Newlove”\\n24:23 - Introduces “David McFadden” [INDEX: tells story about how McFadden scared Allen Ginsberg, Victor Coleman]\\n25:44 - Reads “David McFadden”\\n27:28 - Introduces “Raymond Souster”\\n28:13 - Reads “Raymond Souster”\\n29:13 - Introduces “Bill Bissett” [INDEX: Al Purdy poem, Lionel Kearns]\\n30:44 - Reads “Bill Bissett”.\\n32:43.73 - END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/george-bowering-at-sgwu-1974/\"}]"],"score":1.1900742},{"id":"1292","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Dorothy Livesay at Sir George Williams University, The Poetry Series, 14 January 1972\n"],"item_title_source":["Cataloguer"],"item_title_note":["\"DORTHY LIVESAY POETRY (1 OF 2) 3 3/4 IPS 1/2 TR. (COPY)\" written on the back of the tape's box. DORTHY LIVESAY refers to Dorothy Livesay. DORTHY is mispelled. \"D. LIVESAY I086-11-032.1\" written on on the spine of the tape's box. \"D. LIVESAY 1/2 1-72-012-5\" and \"reel 1 I086-11-032.1\" written on stickers on the reel. \"D. LIVESAY 1/2 I086-11-032.1\" written on the front of the tape's box. \"Reel 1: Contents.- Edmonton Street.-The operation-The women syndrome.-Other.-Bartok and the geranium.-Later day Eve.\" written on sticker on the front of the tape's box\n\n\"DORTHY LIVESAY POETRY (2 OF 2) 3 3/4 IPS 1/2 TR. (COPY)\" written on the back of the tape's box. DORTHY LIVESAY refers to Dorothy Livesay. DORTHY is mispelled. \"D. LIVESAY I086-11-032.2\" written on on the spine of the tape's box. \"I086-11-032.2\" written on sticker on the reel. \"2/2 D. LIVESAY 1/2 1-72-012-5\" written on the front of the tape's box. \"Reel 2: Contents.-Day and night.-Lorea.-Weapons.-Alienation.-Climax.-Blindness.-Song for Solomon.-Poem.-Four Songs.-The taming.-Give us our trespasses.-The notations of love.-Moving out.- At dawn.\" written on sticker on the front of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[I086-11-032.1, I086-11-032.2]"],"creator_names":["Livesay, Dorothy"],"creator_names_search":["Livesay, Dorothy"],"creators":["[{\"url\":\"http://viaf.org/viaf/116854541\",\"name\":\"Livesay, Dorothy\",\"dates\":\"1909-1996\",\"notes\":\"Poet Dorothy Livesay was born in Winnipeg in 1909, and moved to Toronto in 1920, when her father managed the Canadian Press. In the fall of 1926 she started studying at Trinity College, University of Toronto, where she was influenced by ideas of socialism and women’s rights. She published her first collection of poetry, Green pitcher (Macmillan, 1928) when she was only eighteen. Livesay then went to the south of France to study for one year, and after her graduation in 1931 (B.A.) she studied at the Sorbonne in Paris where she received a Diplôme d'études supérieures, in 1932. Influenced and affected by the Depression, she began studies at University of Toronto’s School of Social Work, joining the Communist Party. The same year, 1932, she published her second book, Signpost (Macmillan). She then moved to Montreal from 1933-1934, and to Englewood, New Jersey from 1934-1935, working with the unemployed as a social worker. During this time she also wrote for the Marxist news magazine New Frontier, Canadian Poetry Magazine and The Canadian Forum. Dorothy Livesay’s political poetry includes Day and Night (Ryerson Press, 1944) and Poems for the People (Ryerson Press, 1947), both of which won the Governor General’s Award. Married in 1937 to Duncan Macnair, Livesay raised two children in Vancouver. In 1960, when her husband had died and her children began their own lives, Dorothy Livesay moved to Zambia, where she taught English for UNESCO for three years. Returning to Vancouver, she earned a M.E.D. (1966) from University of British Columbia. She became involved in the Vancouver poetry scene and she experienced a change of style and content in her writing. She published The Unquiet Bed, illustrated by Roy Kiyooka (Ryerson Press, 1967), and Plainsongs (Fiddlehead Poetry Books, 1971), which both focused on aspects of femaleness. Livesay founded an important poetry magazine CV/II in 1975 and edited the anthology, Forty Women Poets of Canada in 1971 (Ingluvin Press). Dorothy Livesay also published several long poems, The Documentaries (Ryerson Press, 1968), Nine Poems of Farewell (Black Moss Press, 1973), The Raw Edges: Voices From Our Time (Turnstone Press, 1981), Phases of Love (Coach House Press, 1983), Feeling Worlds (Goose Lane/Fiddlehead,1984) and The Self-completing Tree (Porcepic Press, 1986). She also wrote several works of prose, including A Winnipeg Childhood (Peguis, 1973) and Beginnings (Newpress, 1988). She was appointed an Officer of the Order of Canada in 1987 and was the writer-in-residence and professor of English at many Canadian Universities. Livesay died in 1996.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1972],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1972 1 14\",\"type\":\"Performance Date\",\"notes\":\"Date specified in written announcement \\\"Georgian Happenings\\\"\\n\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Dorothy Livesay reads poems from numerous sources, including Signpost (Macmillan, 1932), Day and Night (Ryerson Press, 1944), New Poems (Emblem Press, 1955), The Selected Poems 1926-1956 (Ryerson Press, 1957), The Unquiet Bed (Ryerson, 1967), Forty Women Poets of Canada (Ingluvin Publications, 1971), and Plainsongs (Fiddlehead Poetry Books, 1971)."],"contents":["dorothy_livesay_i086-11-032-1.mp3 [File 1 of 2]\n \nIntroducer\n00:00:02\nI was going to talk on about Dorothy Livesay's [https://www.wikidata.org/wiki/Q1250325] distinguished career, as a poet, and a critic and a teacher, but after what she told me tonight, I'm not sure if distinguished is exactly the right word, she says that at the age of nineteen, she snubbed the Prince of Wales [https://www.wikidata.org/wiki/Q590227]. Nevertheless, two books should be mentioned, her selected and uncollected poems to appear this September and a book which was called 39 Women Poets which has gained another poet and another title at the last moment and as 40 Women Poets of Canada [https://www.wikidata.org/wiki/Q16] is now on sale outside, as you may have seen as you came in. Back in 1965, I guess it was, Wynne Francis managed to catch Dorothy Livesay as she was passing through Montreal [https://www.wikidata.org/wiki/Q340], and Dorothy gave a really private reading in Wynne's office. Ever since then, we have been trying to convince her to come back and read to us all in the series. I'm extremely happy this year that we have been successful and that I can present to you Dorothy Livesay.\n \nDorothy Livesay\n00:01:58\nI think I might get hung up on this, I had quite a disastrous time getting here. I arrived with a new poem of seven, whose title is \"Disasters of the Sun\", and my first disaster was on the train, sitting on top of my glasses, which are now somewhat myopic, and second disaster going to Sherbrooke [https://www.wikidata.org/wiki/Q139473], the bus rolled right into an oil tanker, which somehow or other didn't blow up, but gashed my thumb, and at Bishop's [https://www.wikidata.org/wiki/Q3551383] I had only begun to read when a fire alarm started [laughter], and rang for ten minutes before they silenced it. So I have a feeling that somehow or other, there are more disasters ahead tonight. However, I'm supposed to read a while and then call an intermission I think. Mostly I like to sort of go back over the years and trace the different things, especially love poems from early times on, but I'm going to skip about a bit. Recently in Edmonton [https://www.wikidata.org/wiki/Q2096] I edited the fourth issue of a quarterly magazine, White Pelican. Which Sheila Watson [https://www.wikidata.org/wiki/Q7493167] edits but she gave this particular issue to me, and I chose the theme of North. Feeling perhaps that we are still trying to find our identity, whether we're English Canadians or French Canadians, and that perhaps the north has some element of it in it which helps us to find that. I discovered though, in collecting material, stories, poems, plays about the north, that it was the Native Indian people who have a different view altogether of the north than we do. At the same time, you find many young Canadian poets identifying with Native culture, and almost feeling that they must become Native, and become Indian to be real, to know who they are. I wrote at the beginning of this issue this little note I'll just read. “North is from wherever you are looking.” It's starting...[laughter]. “For those living below the 49th parallel, Canada itself is North. In a sense, we're all here as explorers without a home. Our great guilt at having ousted the Native peoples from their land is now seeking expression in an attempt to re-create the Indian and Eskimo past, and every month brings forth books of poetry, fiction and history which seek to come to terms with pre-history, with myth, or with the way the Inuit live in harmony with nature. In ironic contrast, the Native artists and writers are expressing their concern, not with their past, but with possible ways of accommodation to the present, the white man's world. Thus, the three British Columbia [https://www.wikidata.org/wiki/Q1974] Indian poets here represented, Skyros Bruce, Gordy Williams and Eleanor Crow are bitter, ironic and contemporary. Not for them the nostalgic recreation of the Indian myth, or even  not for them the vigorous folk humor of life in the north which you find in [unintelligible] and in later writers.” While I think it's worthwhile thinking about that because you do have a lot of young poets now seeping themselves in Indian or Eskimo culture, and feeling as if they must become that in order to be themselves. None of us can quite escape from this, and I have a poem or two that I'll begin with, which I suppose are my expression of coming to terms with the North, or the somewhat southernly north, Edmonton. I'll begin with a kind of collage poem where I put bits of history, bits of visual imagery and bits of surrealism together, called \"Edmonton Sweet\".\n \nDorothy Livesay\n00:06:56\nReads \"Edmonton Sweet\" [from Plainsongs].\n \nDorothy Livesay\n00:10:19\nQuite a different poem about going North is called \"The Operation\", and that is the poem which is in this anthology, just out today, 40 Women Poets. I didn't intend to put myself in, but the other editors suggested it was the only 'done' thing to put one or two poems of my own in it. So here's the one called \"The Operation\". It's a kind of three-way poem where the woman is addressing the doctor and her lover, alternately, and then perhaps herself.\n \nDorothy Livesay\n00:11:10\nReads \"The Operation\" [from Plainsongs and collected in 40 Women Poets] .\n \nDorothy Livesay\n00:15:36\nSince this anthology will probably be called a women's lib., even though it isn't, because none of the poets in it are consciously trying to be anything but their individual selves, nonetheless, I think there are poems by every woman which do express that individual point of view, that differentness, I have never been able, though perhaps I was a women's lib. creature in the thirties, I have never been able to feel that men and women are the same, and so I have poems, right through the years which illustrate that point of view. Here's a very recent one called \"The Woman Syndrome\".\n \nDorothy Livesay\n00:16:26\nReads \"The Woman Syndrome\" [published later in Archive For Our Times].\n \nDorothy Livesay\n00:17:05\nAnd a much earlier poem, written when I had a family and young children and I suppose frustrated and not getting out into the world. It's called \"Other\", it's in The Selected Poems of 1957.\n \nDorothy Livesay\n00:17:34\nReads \"Other\" from Selected Poems, 1926-1956.\n \nDorothy Livesay\n00:19:11\nAnd in a different vein altogether, the poem I suppose that's been the most anthologized of any of mine, which to me is a rather traditional way I suppose of seeing the male and female element. It's called \"Bartok and the Geranium\". The poem simply began because I was teaching an evening class of housewives the art of creative writing, and I gave them an assignment to write an imagistic or perhaps haiku-type poem, when they got home, to look at two objects, utterly different and disparate, and just see they could link these objects in a tension which would create a poem. Well the next day, I had sent the children to school after lunch and was sitting in the dining room listening to a CBC [https://www.wikidata.org/wiki/Q461761] concert, and heard music that I hadn't heard before at all, a violin concerto it seemed to be, and in the window as I was listening was this red geranium. So I thought to myself, well I've given my class an assignment, I wonder if I could do the same thing. And at the end of the concert they announced that it was Bela Bartok [https://www.wikidata.org/wiki/Q83326], violin concerto. So suddenly, the two elements, the music and the geranium, did seem to link in my mind and immediately I wrote the poem which I think I've never revised. I'll tell you afterwards about what some of the professors have said about the meaning of the poem.\n \nDorothy Livesay\n00:21:00\nReads \"Bartok and Geranium\" [from New Poems].\n \nDorothy Livesay\n00:22:10\nWell, a few years later, Dr. Roy Daniels was giving a course in Canadian Literature, which I was a member, and one day he asked me if I would not come to class, so I divined he was going to deal with my poems, and I asked a fellow student to please take notes. So this was one of the poems he dealt with, and he informed the class that this poem represented the conflict between nature and art. While at first I was a bit dumbfounded, you know now about how the whole thing began and then what I felt about the he and she of it. But perhaps upon meditation, that this could be another meaning in the poem which I as poet, wasn't aware of but which was still perhaps there. But still another example of the different interpretations which people take to themselves and perhaps get great pleasure from, was, happened in U.N.B. [https://www.wikidata.org/wiki/Q1112515] when Fred Cogswell [https://www.wikidata.org/wiki/Q5494855] put this poem on a sight examination for a first year Canadian lit. class, and one of the students who I'm afraid failed his year, wrote on the paper, and on seeing this poem decided that it was written by a man, and he said it was about this guy Bartok who walked along the street and saw a whore leaning out of the window. Well on the same, and finally, this last one on the same kind of he and she of it, a poem written about a year ago, right out of a dream, I mean I dreamed this poem. It's called \"Latter Day Eve\".\n \nDorothy Livesay\n00:24:18\nReads \"Latter Day Eve\" [from Plainsongs].\n \nDorothy Livesay\n00:25:34\nWell I'd like to jump back a bit, quite a long way back now, not to lyrical poems, which were the ones I really started out doing, but two poems from the thirties...\n\nEND\n00:25:51\n[Unknown amount of time elapsed between tapes].\n\ndorothy_livesay_i086-11-032-2.mp3 [File 2 of 2]\n\nDorothy Livesay\n00:00:00\n...Polish immigrant who came back to the same house to pick up his belongings, and not knowing what was happening, entered the house, and police shot him in the back and killed him. This happened in Montreal in 1934 or 5. So out of all those experiences, through the thirties, and out of another year I had in New Jersey [https://www.wikidata.org/wiki/Q1408], living amongst the Negro, very, very discriminated against people in Englewood [https://www.wikidata.org/wiki/Q986210], New Jersey. I, my whole poetry changed from being lyrical and personal to being social and yet I always, never felt it was something outside myself because I felt very powerfully the identification to what was happening to people. I returned from New Jersey about '36 and I wrote this poem which E.J. Pratt [https://www.wikidata.org/wiki/Q3045744] published in the first issue of the Canadian Poetry Magazine in ‘36. I guess I wrote it in about 1935. In it, there are various themes, the whole poem seemed to start from Cole Porter's [https://www.wikidata.org/wiki/Q215120] lines, the song we were all singing then, \"Night and Day\" [https://www.wikidata.org/wiki/Q1477068]. “Night and day, you are the one…” And then also there's a theme from Lennon [https://www.wikidata.org/wiki/Q1203], who said \"In order to make two steps forward you may have to go one step back\". And this poem reverses that idea, in looking at industrial capitalist society. The other theme is that of the Negro and that of his exploitation and also of his release in song, and in Negro spiritual, because I did know them very well that year.\n \nDorothy Livesay\n00:02:16\nReads \"Day and Night\" from Day and Night.\n \nDorothy Livesay\n00:07:57\nI might read one more poem from that period, \"Lorca\", and then perhaps you'd like a break. This is a little later, of course, this is about 1937-8, when the Spanish Civil War [https://www.wikidata.org/wiki/Q10859] was raging and haunted us very much in this country, many friends we knew joined the MacKenzie-Papineau Battalion [https://www.wikidata.org/wiki/Q1668887], and went to fight for Spain [https://www.wikidata.org/wiki/Q29]. At that time, we believed that the Spanish Court, Garcia Lorca [https://www.wikidata.org/wiki/Q41408], had been killed by Franco's [https://www.wikidata.org/wiki/Q29179] men. I believe that, well in fact, Jack Spicer [https://www.wikidata.org/wiki/Q3805658] taught me that there's another version of his killing, that of a love triangle, but it didn't matter, the point was that many poets were fighting for Spain, and many were killed. So I'll just read \"Lorca\" if I can find it. Yes.\n \nDorothy Livesay\n00:09:15\nReads \"Lorca\" [from Day and Night].\n \nDorothy Livesay\n00:11:29\nI'll pause now for a break. \n\nUnknown\n00:11:32\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nDorothy Livesay\n00:11:33\nAnd though I don't want to appear to suit every taste, quite a lot of my poetry has been personal love poetry, beginning with the earliest days, my teenage, and I thought I would read a few very early love poems and then you could, you might be interested to compare them with those written within the last five or six years. These were from a book published in 1932, Signpost. And you'll notice that they're pretty well structured, and in a sense quite conventional, but perhaps they have a kind of feeling in them. \"Weapons\".\n \nDorothy Livesay\n00:12:25\nReads \"Weapons\" from Signpost.\n \nDorothy Livesay\n00:12:54\nReads \"Alienation\" [from Signpost].\n \nDorothy Livesay\n00:13:26\nReads \"Climax\" [from Signpost].\n \nDorothy Livesay\n00:13:47\nReads \"Blindness\" [from Signpost].\n \nDorothy Livesay\n00:14:11\nAnd a very short lyric, \"Song for Solomon\".\n \nDorothy Livesay\n00:14:17\nReads \"Song for Solomon\" [from Signpost].\n \nDorothy Livesay\n00:14:36\nAnd now, recent poems from the 1967 book, The Unquiet Bed. I'll read a little ballad that is the title poem, which one of my students set to music at one point. \"The Unquiet Bed\".\n \nDorothy Livesay\n00:14:56\nReads \"The Unquiet Bed\" from The Unquiet Bed.\n \nDorothy Livesay\n00:15:25\nAnd \"Four Songs\".\n \nDorothy Livesay\n00:15:32\nReads \"Four Songs\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:16:41\nAnd a poem which certainly wouldn't be acceptable to women's lib., yet it's an experience probably all women have had. It's called \"The Taming\".\n \nDorothy Livesay\n00:16:52\nReads \"The Taming\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:17:34\nAnd \"The Touching\".\n \nDorothy Livesay\n00:17:39\nReads \"The Touching\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:18:49\nAnd a little poem called \"Give Us Our Trespasses\", which was an attempt to do what Jack Spicer had advised us at some of his sessions, to completely wipe out all sensation, all the senses and see what happened when the words came out of this void, out of this [unintelligible] and I did one poem about dreams dedicated to him, and then a little later, this other one came. One would listen in the dark for the words, but not expecting or unexpecting, you understand, but they would certainly arrive and I would turn on the light and write them down. And then turn off the light, turn to sleep again, but again, more words came, and so this series has about seven of these little interludes in it.\n \nDorothy Livesay\n00:19:52\nReads \"And Give Us Our Trespasses\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:21:08\nAnd two more from that book, one has five sections--six sections in it, it's called \"The Notations of Love\".\n \nDorothy Livesay\n00:21:22\nReads \"The Notations of Love\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:23:27\nAnd a last one from there, \"Moving Out\".\n \nDorothy Livesay\n00:23:33\nReads \"Moving Out\" [from The Unquiet Bed].\n \nDorothy Livesay\n00:24:07\nWell, I have a few more recent poems, dealing a little differently perhaps with love. This is in the little book Plainsongs, which is still in print. \"At Dawn\".\n \nDorothy Livesay\n00:24:30\nReads \"At Dawn\" from Plainsongs.\n \nDorothy Livesay\n00:24:58\nAnd \"Dream\".\n \nDorothy Livesay\n00:25:03\nReads \"Dream\" [from Plainsongs].\n  \nDorothy Livesay\n00:25:30\nAnd this one \"The Uninvited\", the river in this is the St. John [https://www.wikidata.org/wiki/Q607546] in New Brunswick [https://www.wikidata.org/wiki/Q1965] and it's a theme that reoccurs a lot, whether one is a man or a woman, the feeling that even though one is walking with one's loved one, there is another lover who one also remembers, or who perhaps is coming, one fears.\n \nDorothy Livesay\n00:26:09\nReads \"The Uninvited\" [from Plainsongs].\n \nDorothy Livesay\n00:27:08\nAnd perhaps just this last one, \"Another Journey\".\n \nDorothy Livesay\n00:27:17\nReads \"Another Journey\" [from Plainsongs].\n \nDorothy Livesay\n00:28:08\nI'd like to read a poem about the West Coast. It was written summer before last, in Victoria [https://www.wikidata.org/wiki/Q2132], where one was, I suppose, feeling one's age, and yet observing the eternal pattern of the young. And perhaps relating it to our own history in this country. It's a more, I suppose, didactic poem. \"The Artefacts, West Coast\".\n \nDorothy Livesay\n00:28:51\nReads \"The Artefacts, West Coast\" [from Plainsongs; cut off].\n \nEND\n00:32:14\n"],"Note":["[{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Year-Specific Information:\\n\\nForty Women Poets of Canada was published the same year, 1971, as was an extended and revised edition of Plainsongs.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nDorothy Livesay has contributed considerably to the cannon of Canadian poetry, writing about national issues and extending the Canadian long poem. Her anthology, Forty Women Poets of Canada (1971) promoted other Canadian women and their work. Livesay’s writing was published by Canadian publishing houses, and she contributed to and edited Canadian journals and magazines of poetry and criticism. Wynne Francis, who was a professor at Sir George Williams University, met Livesay in 1965.\",\"type\":\"General\"},{\"note\":\"2 reel-to-reel tapes>CD>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. “Livesay, Dorothy”. The Oxford Companion to Canadian Literature. Benson, Eugene and William Toye (eds). Oxford University Press, 2001.\"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-x2/oclc/40224711&referer=brief_results\",\"citation\":\"Geddes, Gary. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#1\",\"citation\":\"“Georgian Happenings”. The Georgian. Montreal: Sir George Williams University, 11 January 1972. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Gnarowski, Michael. “Livesay, Dorothy”. The Oxford Companion to Twentieth-Century Poetry in English. Hamilton, Ian (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/archive-for-our-times-previously-uncollected-and-unpublished-poems-of-dorothy-livesay/oclc/409003526&referer=brief_results\",\"citation\":\"Livesay, Dorothy and Dean J. Irvine. Archive for our Times: Previously Uncollected and Unpublished Poems of Dorothy Livesay. Vancouver: Arsenal Pulp Press, 1998. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems-of-dorothy-livesay-1926-1956/oclc/867932457&referer=brief_results\",\"citation\":\"Livesay, Dorothy. The Selected Poems, 1926-1956. Toronto: Ryerson Press, 1957. \"},{\"url\":\"https://www.worldcat.org/title/40-women-poets-of-canada/oclc/855266796&referer=brief_results\",\"citation\":\"Livesay, Dorothy and Seymour Mayne. Forty Women Poets of Canada. Montreal : Ingluvin Publications, 1971.\"},{\"url\":\"https://www.worldcat.org/title/day-and-night-poems/oclc/729783190?referer=di&ht=edition\",\"citation\":\"Livesay, Dorothy. Day and Night. Toronto: Ryerson Press, 1944. \"},{\"url\":\"https://www.worldcat.org/title/new-poems/oclc/933132856&referer=brief_results\",\"citation\":\"Livesay, Dorothy. New Poems. Toronto: Emblem Books, 1955. \"},{\"url\":\"https://www.worldcat.org/title/signpost/oclc/317413427&referer=brief_results\",\"citation\":\"Livesay, Dorothy. Signpost. Toronto: Macmillan, 1932. \"},{\"url\":\"https://www.worldcat.org/title/unquiet-bed/oclc/493383805&referer=brief_results\",\"citation\":\"Livesay, Dorothy. The Unquiet Bed. Toronto: Ryerson Press, 1967. \"},{\"url\":\"https://www.worldcat.org/title/plainsongs/oclc/1015379630&referer=brief_results\",\"citation\":\"Livesay, Dorothy. Plainsongs. Fredericton: Fiddlehead Poetry Books, 1971.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#1\",\"citation\":\"Stromberg, Paula. “The Gentle Poetry of Dorothy Livesay”. The Georgian. Montreal: Sir George Williams University, 25 January 1972. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-history/oclc/990614829&referer=brief_results\",\"citation\":\"Strong-Boag, Veronica. “Livesay, Dorothy”. The Oxford Companion to Canadian History.        Hallowell, Gerald (ed). Oxford University Press, 2004. \"}]"],"_version_":1853670548925579264,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0032-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0032-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Dorothy Livesay Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0032-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0086_11_0032-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Dorothy Livesay Tape Box 1 - 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Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/dorothy_livesay_i086-11-032-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"dorothy_livesay_i086-11-032-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:32:14\",\"precision\":\"\",\"size\":\"77.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"dorothy_livesay_i086-11-032-2.mp3 [File 2 of 2]\\n\\nDorothy Livesay\\n00:00:00\\n...Polish immigrant who came back to the same house to pick up his belongings, and not knowing what was happening, entered the house, and police shot him in the back and killed him. This happened in Montreal in 1934 or 5. So out of all those experiences, through the thirties, and out of another year I had in New Jersey [https://www.wikidata.org/wiki/Q1408], living amongst the Negro, very, very discriminated against people in Englewood [https://www.wikidata.org/wiki/Q986210], New Jersey. I, my whole poetry changed from being lyrical and personal to being social and yet I always, never felt it was something outside myself because I felt very powerfully the identification to what was happening to people. I returned from New Jersey about '36 and I wrote this poem which E.J. Pratt [https://www.wikidata.org/wiki/Q3045744] published in the first issue of the Canadian Poetry Magazine in ‘36. I guess I wrote it in about 1935. In it, there are various themes, the whole poem seemed to start from Cole Porter's [https://www.wikidata.org/wiki/Q215120] lines, the song we were all singing then, \\\"Night and Day\\\" [https://www.wikidata.org/wiki/Q1477068]. “Night and day, you are the one…” And then also there's a theme from Lennon [https://www.wikidata.org/wiki/Q1203], who said \\\"In order to make two steps forward you may have to go one step back\\\". And this poem reverses that idea, in looking at industrial capitalist society. The other theme is that of the Negro and that of his exploitation and also of his release in song, and in Negro spiritual, because I did know them very well that year.\\n \\nDorothy Livesay\\n00:02:16\\nReads \\\"Day and Night\\\" from Day and Night.\\n \\nDorothy Livesay\\n00:07:57\\nI might read one more poem from that period, \\\"Lorca\\\", and then perhaps you'd like a break. This is a little later, of course, this is about 1937-8, when the Spanish Civil War [https://www.wikidata.org/wiki/Q10859] was raging and haunted us very much in this country, many friends we knew joined the MacKenzie-Papineau Battalion [https://www.wikidata.org/wiki/Q1668887], and went to fight for Spain [https://www.wikidata.org/wiki/Q29]. At that time, we believed that the Spanish Court, Garcia Lorca [https://www.wikidata.org/wiki/Q41408], had been killed by Franco's [https://www.wikidata.org/wiki/Q29179] men. I believe that, well in fact, Jack Spicer [https://www.wikidata.org/wiki/Q3805658] taught me that there's another version of his killing, that of a love triangle, but it didn't matter, the point was that many poets were fighting for Spain, and many were killed. So I'll just read \\\"Lorca\\\" if I can find it. Yes.\\n \\nDorothy Livesay\\n00:09:15\\nReads \\\"Lorca\\\" [from Day and Night].\\n \\nDorothy Livesay\\n00:11:29\\nI'll pause now for a break. \\n\\nUnknown\\n00:11:32\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nDorothy Livesay\\n00:11:33\\nAnd though I don't want to appear to suit every taste, quite a lot of my poetry has been personal love poetry, beginning with the earliest days, my teenage, and I thought I would read a few very early love poems and then you could, you might be interested to compare them with those written within the last five or six years. These were from a book published in 1932, Signpost. And you'll notice that they're pretty well structured, and in a sense quite conventional, but perhaps they have a kind of feeling in them. \\\"Weapons\\\".\\n \\nDorothy Livesay\\n00:12:25\\nReads \\\"Weapons\\\" from Signpost.\\n \\nDorothy Livesay\\n00:12:54\\nReads \\\"Alienation\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:13:26\\nReads \\\"Climax\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:13:47\\nReads \\\"Blindness\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:14:11\\nAnd a very short lyric, \\\"Song for Solomon\\\".\\n \\nDorothy Livesay\\n00:14:17\\nReads \\\"Song for Solomon\\\" [from Signpost].\\n \\nDorothy Livesay\\n00:14:36\\nAnd now, recent poems from the 1967 book, The Unquiet Bed. I'll read a little ballad that is the title poem, which one of my students set to music at one point. \\\"The Unquiet Bed\\\".\\n \\nDorothy Livesay\\n00:14:56\\nReads \\\"The Unquiet Bed\\\" from The Unquiet Bed.\\n \\nDorothy Livesay\\n00:15:25\\nAnd \\\"Four Songs\\\".\\n \\nDorothy Livesay\\n00:15:32\\nReads \\\"Four Songs\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:16:41\\nAnd a poem which certainly wouldn't be acceptable to women's lib., yet it's an experience probably all women have had. It's called \\\"The Taming\\\".\\n \\nDorothy Livesay\\n00:16:52\\nReads \\\"The Taming\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:17:34\\nAnd \\\"The Touching\\\".\\n \\nDorothy Livesay\\n00:17:39\\nReads \\\"The Touching\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:18:49\\nAnd a little poem called \\\"Give Us Our Trespasses\\\", which was an attempt to do what Jack Spicer had advised us at some of his sessions, to completely wipe out all sensation, all the senses and see what happened when the words came out of this void, out of this [unintelligible] and I did one poem about dreams dedicated to him, and then a little later, this other one came. One would listen in the dark for the words, but not expecting or unexpecting, you understand, but they would certainly arrive and I would turn on the light and write them down. And then turn off the light, turn to sleep again, but again, more words came, and so this series has about seven of these little interludes in it.\\n \\nDorothy Livesay\\n00:19:52\\nReads \\\"And Give Us Our Trespasses\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:21:08\\nAnd two more from that book, one has five sections--six sections in it, it's called \\\"The Notations of Love\\\".\\n \\nDorothy Livesay\\n00:21:22\\nReads \\\"The Notations of Love\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:23:27\\nAnd a last one from there, \\\"Moving Out\\\".\\n \\nDorothy Livesay\\n00:23:33\\nReads \\\"Moving Out\\\" [from The Unquiet Bed].\\n \\nDorothy Livesay\\n00:24:07\\nWell, I have a few more recent poems, dealing a little differently perhaps with love. This is in the little book Plainsongs, which is still in print. \\\"At Dawn\\\".\\n \\nDorothy Livesay\\n00:24:30\\nReads \\\"At Dawn\\\" from Plainsongs.\\n \\nDorothy Livesay\\n00:24:58\\nAnd \\\"Dream\\\".\\n \\nDorothy Livesay\\n00:25:03\\nReads \\\"Dream\\\" [from Plainsongs].\\n  \\nDorothy Livesay\\n00:25:30\\nAnd this one \\\"The Uninvited\\\", the river in this is the St. John [https://www.wikidata.org/wiki/Q607546] in New Brunswick [https://www.wikidata.org/wiki/Q1965] and it's a theme that reoccurs a lot, whether one is a man or a woman, the feeling that even though one is walking with one's loved one, there is another lover who one also remembers, or who perhaps is coming, one fears.\\n \\nDorothy Livesay\\n00:26:09\\nReads \\\"The Uninvited\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:27:08\\nAnd perhaps just this last one, \\\"Another Journey\\\".\\n \\nDorothy Livesay\\n00:27:17\\nReads \\\"Another Journey\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:28:08\\nI'd like to read a poem about the West Coast. It was written summer before last, in Victoria [https://www.wikidata.org/wiki/Q2132], where one was, I suppose, feeling one's age, and yet observing the eternal pattern of the young. And perhaps relating it to our own history in this country. It's a more, I suppose, didactic poem. \\\"The Artefacts, West Coast\\\".\\n \\nDorothy Livesay\\n00:28:51\\nReads \\\"The Artefacts, West Coast\\\" [from Plainsongs; cut off].\\n \\nEND\\n00:32:14\\n\",\"notes\":\"Dorothy Livesay reads poems from numerous sources, including Signpost (Macmillan, 1932), Day and Night (Ryerson Press, 1944), New Poems (Emblem Press, 1955), The Selected Poems 1926-1956 (Ryerson Press, 1957), The Unquiet Bed (Ryerson, 1967), Forty Women Poets of Canada (Ingluvin Publications, 1971), and Plainsongs (Fiddlehead Poetry Books, 1971).\\n\\n00:02- Unknown male introduces Dorothy Livesay [INDEX: Prince of Wales, Forty Women Poets, Wynne Francis, Montreal]\\n01:58- Dorothy Livesay introduces reading and “Edmonton Sweet” [INDEX: new poem:        “Disasters of the Sun”, love poems, Edmonton, White Pelican Magazine edited by Sheila Watson, Dorothy Guest edited “North” edition: contains three B.C. Native poets: Skyros Bruce, Gordy Williams, Eleanor Crow, Canadian Identity and Native American Identity, young poets searching for it]\\n06:56- Reads “Edmonton Sweet”\\n10:19- Introduces “The Operation” [INDEX:  40 Women Poets: Anthology edited by Dorothy Livesay]\\n11:10- Reads “The Operation”\\n15:36- Introduces “The Woman Syndrome” [INDEX: Women’s Liberation Movement]\\n16:26- Reads “The Woman Syndrome”\\n17:05- Introduces “Other” [INDEX: from The Selected Poems of 1957]\\n17:34- Reads “Other”\\n19:110 Introduces “Bartok and Geranium” [INDEX:  teaching creative writing to housewives, CBC radio- Violin concerto by Bela Bartok, most anthologized poem: “Bartok and Geranium”]\\n21:00- Reads “Bartok and Geranium”\\n22:10- Continues to explain “Bartok and Geranium”, also introduces “Latter Day    \\tEve” [INDEX: Dr. Roy Daniels, teaching Canadian Literature, Interpretations of her      \\tpoetry, University of New Brunswick, Professor Fred Cogswell]\\n24:18- Reads “Latter Day Eve”\\n25:34- Introduces “Day and Night” [INDEX: Day and Night, 1934/5 Montreal: shooting of a Polish man in his own home, Englewood, New Jersey, Discrimination against African \\tAmericans, E.J. Pratt’s first issue of Canadian Poetry Magazine in 1936, Cole Porter’s   song “Night and Day”, John Lennon quote: “In order to make two steps forward, you   \\tmay have to go one step back”, Negro spiritual songs]\\n28:07- Reads “Day and Night”\\n33:48- Introduces “Lorca” [INDEX: Spanish Civil War: Lorca and Franco, and the poets that were soldiers for Lorca, Jack Spicer, MacKenzie-Papineau Batallion]\\n35:06- Reads “Lorca”\\n37:20- Introduces “Weapons” [INDEX: Love poetry, 1932 Songpost by Dorothy Livesay]\\n38:16- Reads “Weapons”\\n38:45- Reads “An Alienation”\\n39:17- Reads “Climax”\\n39:38- Reads “Blindness”\\n40:02- Reads “Song for Solomon”\\n40:27- Introduces “The Unquiet Bed” [INDEX: 1967 The Unquiet Bed by Dorothy Livesay]\\n40:47- Reads “The Unquiet Bed”\\n41:16- Reads “Four Songs”\\n42:32- Introduces “The Taming”\\n42:43- Reads “The Taming”\\n43:25- Reads “The Touching”\\n44:40- Introduces “Give Us Our Trespasses” [INDEX: Jack Spicer]\\n45:43- Reads “Give Us Our Trespasses”\\n46:59- Introduces “The Notations of Love”\\n47:13- Reads “The Notations of Love”\\n49:18- Reads “Moving Out”\\n49:58- Introduces “At Dawn” [INDEX: 1968 Plainsongs by Dorothy Livesay]\\n50:21- Reads “At Dawn”\\n50:49- Reads “Dream”\\n51:21- Introduces “The Uninvited” [INDEX: St John River, New Brunswick]\\n52:00- Reads \\\"The Uninvited\\\".\\n52:59- Reads “Another Journey”\\n53:08- Introduces “The Artifacts, West Coast” [INDEX: West Coast, Victoria]\\n54:42- Reads “The Artifacts, West Coast”\\n58:05.94- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#2\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/dorothy_livesay_i086-11-032-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"dorothy_livesay_i086-11-032-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:25:51\",\"precision\":\"\",\"size\":\"62.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"dorothy_livesay_i086-11-032-1.mp3 [File 1 of 2]\\n \\nIntroducer\\n00:00:02\\nI was going to talk on about Dorothy Livesay's [https://www.wikidata.org/wiki/Q1250325] distinguished career, as a poet, and a critic and a teacher, but after what she told me tonight, I'm not sure if distinguished is exactly the right word, she says that at the age of nineteen, she snubbed the Prince of Wales [https://www.wikidata.org/wiki/Q590227]. Nevertheless, two books should be mentioned, her selected and uncollected poems to appear this September and a book which was called 39 Women Poets which has gained another poet and another title at the last moment and as 40 Women Poets of Canada [https://www.wikidata.org/wiki/Q16] is now on sale outside, as you may have seen as you came in. Back in 1965, I guess it was, Wynne Francis managed to catch Dorothy Livesay as she was passing through Montreal [https://www.wikidata.org/wiki/Q340], and Dorothy gave a really private reading in Wynne's office. Ever since then, we have been trying to convince her to come back and read to us all in the series. I'm extremely happy this year that we have been successful and that I can present to you Dorothy Livesay.\\n \\nDorothy Livesay\\n00:01:58\\nI think I might get hung up on this, I had quite a disastrous time getting here. I arrived with a new poem of seven, whose title is \\\"Disasters of the Sun\\\", and my first disaster was on the train, sitting on top of my glasses, which are now somewhat myopic, and second disaster going to Sherbrooke [https://www.wikidata.org/wiki/Q139473], the bus rolled right into an oil tanker, which somehow or other didn't blow up, but gashed my thumb, and at Bishop's [https://www.wikidata.org/wiki/Q3551383] I had only begun to read when a fire alarm started [laughter], and rang for ten minutes before they silenced it. So I have a feeling that somehow or other, there are more disasters ahead tonight. However, I'm supposed to read a while and then call an intermission I think. Mostly I like to sort of go back over the years and trace the different things, especially love poems from early times on, but I'm going to skip about a bit. Recently in Edmonton [https://www.wikidata.org/wiki/Q2096] I edited the fourth issue of a quarterly magazine, White Pelican. Which Sheila Watson [https://www.wikidata.org/wiki/Q7493167] edits but she gave this particular issue to me, and I chose the theme of North. Feeling perhaps that we are still trying to find our identity, whether we're English Canadians or French Canadians, and that perhaps the north has some element of it in it which helps us to find that. I discovered though, in collecting material, stories, poems, plays about the north, that it was the Native Indian people who have a different view altogether of the north than we do. At the same time, you find many young Canadian poets identifying with Native culture, and almost feeling that they must become Native, and become Indian to be real, to know who they are. I wrote at the beginning of this issue this little note I'll just read. “North is from wherever you are looking.” It's starting...[laughter]. “For those living below the 49th parallel, Canada itself is North. In a sense, we're all here as explorers without a home. Our great guilt at having ousted the Native peoples from their land is now seeking expression in an attempt to re-create the Indian and Eskimo past, and every month brings forth books of poetry, fiction and history which seek to come to terms with pre-history, with myth, or with the way the Inuit live in harmony with nature. In ironic contrast, the Native artists and writers are expressing their concern, not with their past, but with possible ways of accommodation to the present, the white man's world. Thus, the three British Columbia [https://www.wikidata.org/wiki/Q1974] Indian poets here represented, Skyros Bruce, Gordy Williams and Eleanor Crow are bitter, ironic and contemporary. Not for them the nostalgic recreation of the Indian myth, or even  not for them the vigorous folk humor of life in the north which you find in [unintelligible] and in later writers.” While I think it's worthwhile thinking about that because you do have a lot of young poets now seeping themselves in Indian or Eskimo culture, and feeling as if they must become that in order to be themselves. None of us can quite escape from this, and I have a poem or two that I'll begin with, which I suppose are my expression of coming to terms with the North, or the somewhat southernly north, Edmonton. I'll begin with a kind of collage poem where I put bits of history, bits of visual imagery and bits of surrealism together, called \\\"Edmonton Sweet\\\".\\n \\nDorothy Livesay\\n00:06:56\\nReads \\\"Edmonton Sweet\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:10:19\\nQuite a different poem about going North is called \\\"The Operation\\\", and that is the poem which is in this anthology, just out today, 40 Women Poets. I didn't intend to put myself in, but the other editors suggested it was the only 'done' thing to put one or two poems of my own in it. So here's the one called \\\"The Operation\\\". It's a kind of three-way poem where the woman is addressing the doctor and her lover, alternately, and then perhaps herself.\\n \\nDorothy Livesay\\n00:11:10\\nReads \\\"The Operation\\\" [from Plainsongs and collected in 40 Women Poets] .\\n \\nDorothy Livesay\\n00:15:36\\nSince this anthology will probably be called a women's lib., even though it isn't, because none of the poets in it are consciously trying to be anything but their individual selves, nonetheless, I think there are poems by every woman which do express that individual point of view, that differentness, I have never been able, though perhaps I was a women's lib. creature in the thirties, I have never been able to feel that men and women are the same, and so I have poems, right through the years which illustrate that point of view. Here's a very recent one called \\\"The Woman Syndrome\\\".\\n \\nDorothy Livesay\\n00:16:26\\nReads \\\"The Woman Syndrome\\\" [published later in Archive For Our Times].\\n \\nDorothy Livesay\\n00:17:05\\nAnd a much earlier poem, written when I had a family and young children and I suppose frustrated and not getting out into the world. It's called \\\"Other\\\", it's in The Selected Poems of 1957.\\n \\nDorothy Livesay\\n00:17:34\\nReads \\\"Other\\\" from Selected Poems, 1926-1956.\\n \\nDorothy Livesay\\n00:19:11\\nAnd in a different vein altogether, the poem I suppose that's been the most anthologized of any of mine, which to me is a rather traditional way I suppose of seeing the male and female element. It's called \\\"Bartok and the Geranium\\\". The poem simply began because I was teaching an evening class of housewives the art of creative writing, and I gave them an assignment to write an imagistic or perhaps haiku-type poem, when they got home, to look at two objects, utterly different and disparate, and just see they could link these objects in a tension which would create a poem. Well the next day, I had sent the children to school after lunch and was sitting in the dining room listening to a CBC [https://www.wikidata.org/wiki/Q461761] concert, and heard music that I hadn't heard before at all, a violin concerto it seemed to be, and in the window as I was listening was this red geranium. So I thought to myself, well I've given my class an assignment, I wonder if I could do the same thing. And at the end of the concert they announced that it was Bela Bartok [https://www.wikidata.org/wiki/Q83326], violin concerto. So suddenly, the two elements, the music and the geranium, did seem to link in my mind and immediately I wrote the poem which I think I've never revised. I'll tell you afterwards about what some of the professors have said about the meaning of the poem.\\n \\nDorothy Livesay\\n00:21:00\\nReads \\\"Bartok and Geranium\\\" [from New Poems].\\n \\nDorothy Livesay\\n00:22:10\\nWell, a few years later, Dr. Roy Daniels was giving a course in Canadian Literature, which I was a member, and one day he asked me if I would not come to class, so I divined he was going to deal with my poems, and I asked a fellow student to please take notes. So this was one of the poems he dealt with, and he informed the class that this poem represented the conflict between nature and art. While at first I was a bit dumbfounded, you know now about how the whole thing began and then what I felt about the he and she of it. But perhaps upon meditation, that this could be another meaning in the poem which I as poet, wasn't aware of but which was still perhaps there. But still another example of the different interpretations which people take to themselves and perhaps get great pleasure from, was, happened in U.N.B. [https://www.wikidata.org/wiki/Q1112515] when Fred Cogswell [https://www.wikidata.org/wiki/Q5494855] put this poem on a sight examination for a first year Canadian lit. class, and one of the students who I'm afraid failed his year, wrote on the paper, and on seeing this poem decided that it was written by a man, and he said it was about this guy Bartok who walked along the street and saw a whore leaning out of the window. Well on the same, and finally, this last one on the same kind of he and she of it, a poem written about a year ago, right out of a dream, I mean I dreamed this poem. It's called \\\"Latter Day Eve\\\".\\n \\nDorothy Livesay\\n00:24:18\\nReads \\\"Latter Day Eve\\\" [from Plainsongs].\\n \\nDorothy Livesay\\n00:25:34\\nWell I'd like to jump back a bit, quite a long way back now, not to lyrical poems, which were the ones I really started out doing, but two poems from the thirties...\\n\\nEND\\n00:25:51\\n[Unknown amount of time elapsed between tapes].\",\"notes\":\"Dorothy Livesay reads poems from numerous sources, including Signpost (Macmillan, 1932), Day and Night (Ryerson Press, 1944), New Poems (Emblem Press, 1955), The Selected Poems 1926-1956 (Ryerson Press, 1957), The Unquiet Bed (Ryerson, 1967), Forty Women Poets of Canada (Ingluvin Publications, 1971), and Plainsongs (Fiddlehead Poetry Books, 1971).\\n\\n00:02- Unknown male introduces Dorothy Livesay [INDEX: Prince of Wales, Forty Women Poets, Wynne Francis, Montreal]\\n01:58- Dorothy Livesay introduces reading and “Edmonton Sweet” [INDEX: new poem:        “Disasters of the Sun”, love poems, Edmonton, White Pelican Magazine edited by Sheila Watson, Dorothy Guest edited “North” edition: contains three B.C. Native poets: Skyros Bruce, Gordy Williams, Eleanor Crow, Canadian Identity and Native American Identity, young poets searching for it]\\n06:56- Reads “Edmonton Sweet”\\n10:19- Introduces “The Operation” [INDEX:  40 Women Poets: Anthology edited by Dorothy Livesay]\\n11:10- Reads “The Operation”\\n15:36- Introduces “The Woman Syndrome” [INDEX: Women’s Liberation Movement]\\n16:26- Reads “The Woman Syndrome”\\n17:05- Introduces “Other” [INDEX: from The Selected Poems of 1957]\\n17:34- Reads “Other”\\n19:110 Introduces “Bartok and Geranium” [INDEX:  teaching creative writing to housewives, CBC radio- Violin concerto by Bela Bartok, most anthologized poem: “Bartok and Geranium”]\\n21:00- Reads “Bartok and Geranium”\\n22:10- Continues to explain “Bartok and Geranium”, also introduces “Latter Day    \\tEve” [INDEX: Dr. Roy Daniels, teaching Canadian Literature, Interpretations of her      \\tpoetry, University of New Brunswick, Professor Fred Cogswell]\\n24:18- Reads “Latter Day Eve”\\n25:34- Introduces “Day and Night” [INDEX: Day and Night, 1934/5 Montreal: shooting of a Polish man in his own home, Englewood, New Jersey, Discrimination against African \\tAmericans, E.J. Pratt’s first issue of Canadian Poetry Magazine in 1936, Cole Porter’s   song “Night and Day”, John Lennon quote: “In order to make two steps forward, you   \\tmay have to go one step back”, Negro spiritual songs]\\n28:07- Reads “Day and Night”\\n33:48- Introduces “Lorca” [INDEX: Spanish Civil War: Lorca and Franco, and the poets that were soldiers for Lorca, Jack Spicer, MacKenzie-Papineau Batallion]\\n35:06- Reads “Lorca”\\n37:20- Introduces “Weapons” [INDEX: Love poetry, 1932 Songpost by Dorothy Livesay]\\n38:16- Reads “Weapons”\\n38:45- Reads “An Alienation”\\n39:17- Reads “Climax”\\n39:38- Reads “Blindness”\\n40:02- Reads “Song for Solomon”\\n40:27- Introduces “The Unquiet Bed” [INDEX: 1967 The Unquiet Bed by Dorothy Livesay]\\n40:47- Reads “The Unquiet Bed”\\n41:16- Reads “Four Songs”\\n42:32- Introduces “The Taming”\\n42:43- Reads “The Taming”\\n43:25- Reads “The Touching”\\n44:40- Introduces “Give Us Our Trespasses” [INDEX: Jack Spicer]\\n45:43- Reads “Give Us Our Trespasses”\\n46:59- Introduces “The Notations of Love”\\n47:13- Reads “The Notations of Love”\\n49:18- Reads “Moving Out”\\n49:58- Introduces “At Dawn” [INDEX: 1968 Plainsongs by Dorothy Livesay]\\n50:21- Reads “At Dawn”\\n50:49- Reads “Dream”\\n51:21- Introduces “The Uninvited” [INDEX: St John River, New Brunswick]\\n52:00- Reads \\\"The Uninvited\\\".\\n52:59- Reads “Another Journey”\\n53:08- Introduces “The Artifacts, West Coast” [INDEX: West Coast, Victoria]\\n54:42- Reads “The Artifacts, West Coast”\\n58:05.94- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/dorothy-livesay-at-sgwu-1971/#1\"}]"],"score":1.1153264},{"id":"9049","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 2 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Nichols, Miriam"],"creator_names_search":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Nichols, Miriam"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/44522700\",\"name\":\"Nichols, Miriam\",\"dates\":\"1952-\",\"notes\":\"Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9048/Roy Miki Fonds_MsC 161_202.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\":\"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\":\"MsC161-202 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:22\",\"precision\":\"\",\"size\":\"745.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-202 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:22\",\"precision\":\"\",\"size\":\"745.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Production Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"source\":\"Internet \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600 \",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Robin Blaser provides an in-depth autobiographical account in a series of tapes (201 to 220), reflecting on his life and experiences. \\nIn this particular tape, he continues focusing on his childhood, offering insights into his relationship with his grandmother, mother, and father\",\"type\":\"General\"},{\"note\":\"We found the info through the following link on https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558004150272,"timestamp":"2026-01-07T15:00:02.246Z","score":1.0878212},{"id":"9048","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 1 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Nichols, Miriam"],"creator_names_search":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Nichols, Miriam"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/44522700\",\"name\":\"Nichols, Miriam\",\"dates\":\"1952-\",\"notes\":\"Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9048/Roy Miki Fonds_MsC 161_201.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\":\"\",\"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\":\"MsC161-201 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:11\",\"precision\":\"\",\"size\":\"681.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-201 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:11\",\"precision\":\"\",\"size\":\"681.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Production Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\\n\",\"source\":\"Internet \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600\",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Robin Blaser provides an in-depth autobiographical account in a series of tapes (201 to 220), reflecting on his life and experiences. In this particular tape, he focuses on his childhood, offering insights into his parents, grandparents, and siblings. He also shares details about his early engagement with literature and reading\",\"type\":\"General\"},{\"note\":\"Although multiple people are present, only the voices of Warren Tallman and Daphne Marlatt are distinctly identifiable.\",\"type\":\"General\"},{\"note\":\"We found the info through following link https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558003101696,"timestamp":"2026-01-07T15:00:02.246Z","score":1.037802},{"id":"9051","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 4 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Bowering, George","Bowering, Angela","Nichols, Miriam"],"creator_names_search":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Bowering, George","Bowering, Angela","Nichols, Miriam"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\" 1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Bowering, Angela\",\"dates\":\"\",\"notes\":\"George Bowering's wife \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/44522700\",\"name\":\"Nichols, Miriam\",\"dates\":\"1952-\",\"notes\":\"Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9051/Roy Miki Fonds_MsC 161_204.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\":\"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\":\"MsC161-204 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:47\",\"precision\":\"\",\"size\":\"698 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-204 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:24:56\",\"precision\":\"\",\"size\":\"548 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Production Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"source\":\"Internet\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600 -123.1149\",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Robin Blaser provides an in-depth autobiographical account in a series of tapes (201 to 220), reflecting on his life and experiences. \\nIn this tape, he continues reflecting on his youth, providing insights into his high school years and a bit about his family (grandparents and parents); Other writers also discuss their childhood and teenage experiences with English literature and reading books.\",\"type\":\"General\"},{\"note\":\"We found the info through the following link on https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558005198849,"timestamp":"2026-01-07T15:00:02.246Z","score":1.037802},{"id":"1290","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Daphne Marlatt at Sir George Williams University, The Poetry Series, 3 November 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"DAPHE MARLATT Recorded November 6, 1970 3.75 ips on 1 mil tape 1/2 track\" written on sticker on the back of the tape's box. \"DAPHNE MARLATT I086-11-035\" written on sticker on the spine of the tape's box. \"I086-11-035\" written on sticker on the reel. \"RT 549\" written on sticker on the front of the tape's box and on the back of the box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Marlatt, Daphne"],"creator_names_search":["Marlatt, Daphne"],"creators":["[{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"Daphne (nee Buckle) Marlatt was born in Melbourne, Australia in 1942. She lived in Penang, Malaysia before immigrating to Vancouver in 1951. There, Marlatt was the editor of tish magazine in 1963 and graduated from the University of British Columbia with a B.A. in 1964. Marlatt then moved to Indiana with her husband to complete an M.A. in comparative literature in 1968. During that time, her novella Sea Haven was published in Modern Canadian stories (Ryerson Press, 1966), followed by fifteen poems in Raymond Souster’s New wave Canada (Contact Press) also in 1966, her long poems Frames of a story (Ryerson Press, 1968) and leaf/leaf/s (Black Sparrow Press, 1969). She returned in 1970 to Vancouver at the ending of her marriage.  Marlatt continued to publish her poems in the collections Rings (York Street Commune, 1971), Vancouver poems (Coach House Press, 1972), Our lives (Truck Press, 1975), Zocalo (Coach House Press, 1977) and What matters (Coach House Press, 1980). She was the editor of The Capilano Review from 1977 to 1981, and co-edited Periodics. Marlatt also collaborated on several aural history projects, Steveston Recollected: A Japanese-Canadian History (Talon Books, 1974), Opening Doors: Vancouver’s East End (Aural History Program, 1979/80), and her ‘autobiographical fiction’ Ana Historic (Coach House Press, 1988). In 1981, Daphne Marlatt collaborated with Barbara Godard, Kathy Mezei and Gail Scott to found Tessera, an Anglo-Quebec feminist journal, and published several other long poems and collections of poetry, including How hug a stone (Turnstone Press, 1983), Touch to my tongue (Longspoon Press, 1984), Double negative (Gynergy Press, 1988) with Betsy Warland, Salvage (Red Deer College Press, 1991), and a release of Ghost works (NeWest, 1993) which recasts her earlier poetry. She currently lives in and writes from Victoria, B.C. Marlatt was awarded the Order of Canada for lifetime achievement in 2006.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:60:00\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 11 3\",\"type\":\"Performance Date\",\"notes\":\"Previous researcher specifies date as November 3, 1970. Date written on sticker on the back of the tape's box is Novermber 6, 1970. Newspaper clipping references that Marlatt was intended to read with David Bromige on November 13, but no other supporting evidence has been found.\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building\",\"notes\":\"Exact venue location unknown\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building"],"City":["Montreal, Quebec"],"content_notes":["Daphne Marlatt reads poems published later in books like Vancouver Poems (Coach House Press, 1972) and What Matters: Writing 1968-1970 (Coach House Press, 1980), as well as several poems from unknown sources."],"contents":["daphne_marlatt_i086-11-035.mp3\n \nDaphne Marlatt\n00:00:00\nI thought that what I'd do first is read to you from the Vancouver Poems, which won't be published with a 'the', I hope. I guess I'll just try and explain allusions as I go along for those people who have never been to Vancouver [https://www.wikidata.org/wiki/Q24639] or know it because the poems tend to be pretty local, as they were intended to be, and I'll read you two quotes that I have at the beginning because they might help to explain certain concerns in the poem. The first one's from Rimbaud [https://www.wikidata.org/wiki/Q493], it's from a letter of his in which he was talking about his new conception of the poet and how the poet writes, and he said simply \"Je est une autre.\" The second quote is from a record recently released by Randy Newman [https://www.wikidata.org/wiki/Q318475], this is from one of his songs: \"She say I talk to strangers if I want to, 'coz I'm a stranger too\". These are all prose poems. Lagoon is Lost Lagoon, it's supposed to be lost because it was cut off from the sea by man-made walk, and there's a sort of local myth among the kids growing up there that Lost Lagoon is lost too, because it has no bottom, nobody has ever found the bottom. \"Lagoon\".\n \nDaphne Marlatt\n00:01:42\nReads \"Lagoon\" [published later in Vancouver Poems].\n \nDaphne Marlatt\n00:03:40\nThe first poem in the book is sort of a, an entranceway to the book as a whole, it in some ways it sets up my method, I originally had, I'd been reading a lot about Japanese Noh plays, and I'd especially been interested in the Spirit Plays and my original figure in here was a Shite, who is the doer, the central figure in the Noh, who performs the dance and who the particular Noh is about. He usually first appears in the spirit plays as an old man, an old fisherman, or salt-gatherer, some kind of beat down, destitute person, an anonymous person, and the Waki comes along and somehow starts up a conversation and begins to wonder about this man, and usually asks him to tell him the story of the place where he is, assuming that this is some sort of historical shrine, which it often is, and the Waki has come specifically to see this place and as the old man begins to tell the story, he, well, there's actually a scene change, an act change, he reappears in all his glory as the original person whose life was lived out, usually tragically and very dramatically, often in a battle, who died in this place and whose spirit consequently haunts the area. Then I started reading about the Kwakiutl who are a tribe of the Indians somewhat to the north of Vancouver, about the furthest south they reach is the Campbell River [https://www.wikidata.org/wiki/Q270481] on Vancouver Island [https://www.wikidata.org/wiki/Q170479] which is, I don't know how many miles north of Vancouver, 100? 80, about 80. But I always figured that there must have been some sort of interchange between the Kwakiutl and the Salish, the particular tribe around the Fraser Delta [https://www.wikidata.org/wiki/Q269710]  in Vancouver. The thing that interested me the most about the Kwakiutl were one particular secret society called the \"Hamatsa\" and in the Hamatsa it writes, one goes into a sort of frenzy and is possessed by the original spirit, who then passed on the rituals, and the frenzy denotes the acquirement of a certain kind of power. I guess the Salish have something a little corresponding to that in that they have, I don't know what you call them, they're certain kinds of dances which are meant to perform the meeting between the individual who dances, the initiate, and the spirit of the particular place whom he encounters and who gives them, in result of this dance, particular powers. \"Wet fur wavers\", this is a Spanish Banks [https://www.wikidata.org/wiki/Q7573148] poem, about a walk, a Sunday walk along the Spanish Banks.\n \nDaphne Marlatt\n00:06:56\nReads \"Wet fur wavers\" [published later in Vancouver Poems].\n \nDaphne Marlatt\n00:08:16.15\nAnd straight from that to another one that's somewhat linked up to that in terms of its content. This is about the public library, the old Carnegie Library [https://www.wikidata.org/wiki/Q1376408], which is, has since been closed down because the library rebuilt in an up-town area, the old Carnegie Library is located in the heart of skid row and used to be frequented mainly by old men reading who were reading newspapers who were trying to escape from the eternal rain and the cold.\n\nDaphne Marlatt\n00:08:54\nReads \"Go on\".\n \nDaphne Marlatt\n00:10:34\nThe next one which is also linked, I should have mentioned before the last one that the White Lunch--it must be a Vancouver phenomenon because I don't think I've seen it anywhere else. It's a chain of self-serve cafes, restaurants, and they're inexpensive of course, and their symbol outside is a huge white teacup and saucer, with these little coloured stooped figures running, eternally running around the saucer. This next poem is about a woman whose name I didn't know, I attributed a name to her, Emma. She could be seen, often around Berrard and Granville streets, and instead of going into the White Lunch, she used to go into the Bay, Hudson's Bay [https://www.wikidata.org/wiki/Q641129], and sit on the benches outside the elevator, and wait to warm up, I guess. Often, she seemed to me to be just to be interested in watching the weird kind of people who used to shop at the Bay, all those people with money. \"Razor Back Woman\" is taken from a John Stewart [https://www.wikidata.org/wiki/Q1393453] album, lyric of his.\n \nDaphne Marlatt\n00:12:05\nReads \"razorbackt woman\".\n \nDaphne Marlatt\n00:13:56\nOne last one that connects with the Kwakiutl Hamatsa society, this is going to need some explanation. Baxbakwalanuksiwe’, is--and I'm not responsible for my pronunciation for any people here who know how Kwakiutl sounds, because I don't--I'm just picking it up from various spellings and he was the original spirit who informed the Hamatsas, who gave them their cannibal right because an Indian managed to overcome him, through a trick.\n\nAudience Member 1\n00:14:48\nWhich one is that? Which name?\n\nDaphne Marlatt\n00:14:50\nHamatsa--Baxbakwalanuksiwe’. He was supposed to have been the first man, the first one to eat man at the mouth of the river, that's a quote. He was a sort of bird-like, obviously inhuman creature whose body was covered all over with mouths and he used to have various attendants around, and one of whom was a woman who was rooted to the floor of his cabin and she was very beautiful, and she used to lure people in who then became his victims. But in this particular occasion, these three Indian brothers somehow won her sympathy or something, but she told them, Baxbakwalanuksiwe’ was out at the moment, she told him that he would be expected back and that they were supposed to be his victims, and that the only way to overcome this was to build, to dig a deep pit in the floor, cover it over with boughs and then and have a trap that he could spring, that could release the boughs, and then when he did his dance, prior to killing and eating his victims, they would just pull the string or whatever it was and he would then fall into the pit. And then they could set fire to him. Qominaga is the woman, and I don't know if I should explain the B.C. [https://www.wikidata.org/wiki/Q1974] liquor laws or not. [Audience laughter]. Well, for those of you who don't know B.C., up until not so very long ago, what, five? No, must be longer than that, maybe ten years, the beer parlors used to be segregated, and men, alone, sat on one side, and women, alone, and women would be the escorts sat on the other side and you had to enter the beer parlor from different doors, one of which was marked \"Men\", and the other was \"Ladies and Escorts\". The men's side also used to have, in some of the beer parlors, used to have a wooden floor covered with sawdust, which was simply easier to keep clean because of course when expected, there were constant brawls on the men's side and a lot of broken glass and spilled beer, I suppose that was the rationale. This is dedicated to the Alcazar, Cecil, Belmont, [New Fountain (?)] [audience laughter].\n \nDaphne Marlatt\n00:17:33\nReads unnamed poem  “names stations of the way to\".\n \nDaphne Marlatt\n00:20:33\nLittle poems, for my niece who has, or had, she's probably over it by now, a thing about bugs. That bugs are horrible--any bug, no matter what. So I wrote these four poems to try and explain to her what it was like to be a bug, although it's very human, called \"Bugs in the Heart\", for Karen.\n \nDaphne Marlatt\n00:20:57\nReads \"Bugs in the Heart\" [published later in What Matters: Writing 1968-1970].\n \nDaphne Marlatt\n00:22:00\nThese are all fairly recent poems. \"Agenda\".\n \nDaphne Marlatt\n00:22:06\nReads \"Agenda\".\n \nDaphne Marlatt\n00:22:24\nLast Easter, we were in [Tousse (?)], took our swimsuits, expected to come back with a tan. Snowed every night, it was beautiful in the morning. \n \nDaphne Marlatt\n00:22:37\nReads unnamed poem. \"Points west, or south-west, wet downpour...\"\n \nDaphne Marlatt\n00:23:00\nWe're living on a farm and this is a poem, for practically the first time in our lives, this is a poem that I wrote last year, Phil's our landlord and he's always coming up with useful bits of information about, speaking of David, books, about what birds are what.\n \nDaphne Marlatt\n00:23:29\nReads unnamed poem. \"Depressed area space, lived in...\".\n \nDaphne Marlatt\n00:24:42\nThis is a poem that I wrote when I was about, oh I don't know, seven or eight months pregnant. \"Bird of Passage\", I wrote it in Vancouver. Spring time again.\n \nDaphne Marlatt\n00:25:02\nReads \"Bird of Passage\" [published later in What Matters: Writing 1968-1970]. \n \nDaphne Marlatt\n00:27:38\nOne of the in fact, the original Vancouver poem which was written in Bloomington [https://www.wikidata.org/wiki/Q490385], Indiana [https://www.wikidata.org/wiki/Q1415], probably out of a sense of nostalgia, it's about the man who used to collect the rents on the house that I lived in on Comox Street, and he had a little room up in the attic and he was kind of old, he was also the man who I met at the door when I first came to inquire about their rooms.\n \nDaphne Marlatt\n00:28:09\nReads unnamed poem. \"Old Bird, he...\"\n \nDaphne Marlatt\n00:29:31\nAbout Vancouver's fire, in 1868? 1886. There are a lot of quotes in here, and I think all of them, yes all of them are taken from a historical journal put out by the city archives and the body of it is concerned with W.H. Gallagher's eye-witness account. He was in a little office and had control of payroll for men who were working for the CPR clearing the land, the fire was caused by the clearing of the land, because the trees were knocked down bowling-pin method, that is a tree, a very large tree was chosen and then cut so that it would bring down a pile of trees as it fell and then the stuff was left because they didn't get around to burning it. And it was left over the summer, and got as dry as tinder. Not only that, but they were using gunpowder to blow up stumps. \n \nDaphne Marlatt\n00:30:46\nReads \"Our city is ashes\".\n \nDaphne Marlatt\n00:33:45\nThis is \"Bowen Island\".\n \nDaphne Marlatt\n00:33:50\nReads \"Bowen Island\" [published later as “Bowen” in Vancouver Poems].\n \nDaphne Marlatt\n00:35:48\nI know that there was a bridge in Vancouver with a jack-knife span that opened like London Bridge [https://www.wikidata.org/wiki/Q130206]. And I asked everyone I knew…What?\n\nAudience Member 2\n00:36:03\nMarple.\nDaphne Marlatt\n00:36:04\nMarple! Was that Marple? Because no one seemed to know, I even went down to the library to ask them. Well, I've got a footnote in my book that it wasn't true. So anyway, it began to be confused in my mind with the old Second Narrows Bridge [https://www.wikidata.org/wiki/Q643658], which at that time was being torn down. And so it's compounded with memories of old Second Narrows Bridge, which has a lift-span that rises and all kinds of warning signs--it used to be that when you were learning to drive you went down to Second Narrows Bridge and boy if you made that bridge, you could pass the test.\n\nDaphne Marlatt\n00:36:41\nReads \"Your\".\n \nDaphne Marlatt\n00:39:15\nThis is also a skid row poem, it's a combination of present and past, Water Street, which is a block below Cordova, where there used to be a couple of very popular beer parlours, before they were closed down, Water, the other side of Water, used to be the shore line, that is, the harbour came right up to Water street, and houses, the first houses were built on the southern side of Water. That's where Gassy Jack Deighton [https://www.wikidata.org/wiki/Q720322] built his saloon, the first saloon in Vancouver. That's how Vancouver got its original name, Gastown [https://www.wikidata.org/wiki/Q1495636], because this man was an eternal talker apparently. I use a word that's very foreign to me here, Leman, which means like his woman, and is a word that Alan Morley uses in his book about Vancouver and which I think captures the feeling of Gastown with all its small town morality and prudery. \n \nDaphne Marlatt\n00:40:32\nReads \"Trails\".\n \nEND\n00:42:24\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Daphne Marlatt had returned from Indiana, and was working on both Rings (1971), and Vancouver Poems (1972).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMarlatt is an important figure in Canadian poetry, living and writing for most of her life in Vancouver. She writes about Japanese Canadian immigrants and other Canadian minority groups, and was a founding member of Tessera, a bilingual feminist journal in Quebec. Marlatt has worked on many Canadian little magazines, and continues to teach at Canadian universities. Her direct connection to Sir George Williams is unknown.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/476332314&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poem Anthology. Toronto: Coach House Press, 1984.\"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol2/oclc/1156824609&referer=brief_results\",\"citation\":\"Carr, Brenda. “Marlatt, Daphne (1942-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Benson, Eugene and Conolly, L.W. (eds). London: Routledge, 1994. 2 vols. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Davey, Frank. “Marlatt, Daphne”. The Oxford Companion to Canadian Literature. Benson,  Eugene and Toye, William (eds). Oxford University Press, 2001.\"},{\"url\":\"https://www.worldcat.org/title/vancouver-poems/oclc/992191542&referer=brief_results\",\"citation\":\"Marlatt, Daphne. Vancouver Poems. Toronto: Coach House Press, 1972. \"},{\"url\":\"https://www.worldcat.org/title/what-matters-writing-1968-1970/oclc/7285228&referer=brief_results\",\"citation\":\"Marlatt, Daphne. What Matters: Writing 1968-1970. Toronto: Coach House Press, 1980. \"}]"],"_version_":1853670548917190656,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"\",\"filename\":\"I0086_11_0035_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Daphne Marlatt Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/daphne_marlatt_i086-11-035.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"daphne_marlatt_i086-11-035.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:42:24\",\"precision\":\"\",\"size\":\"101.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Daphne Marlatt\\n00:00:00\\nI thought that what I'd do first is read to you from the Vancouver Poems, which won't be published with a 'the', I hope. I guess I'll just try and explain allusions as I go along for those people who have never been to Vancouver [https://www.wikidata.org/wiki/Q24639] or know it because the poems tend to be pretty local, as they were intended to be, and I'll read you two quotes that I have at the beginning because they might help to explain certain concerns in the poem. The first one's from Rimbaud [https://www.wikidata.org/wiki/Q493], it's from a letter of his in which he was talking about his new conception of the poet and how the poet writes, and he said simply \\\"Je est une autre.\\\" The second quote is from a record recently released by Randy Newman [https://www.wikidata.org/wiki/Q318475], this is from one of his songs: \\\"She say I talk to strangers if I want to, 'coz I'm a stranger too\\\". These are all prose poems. Lagoon is Lost Lagoon, it's supposed to be lost because it was cut off from the sea by man-made walk, and there's a sort of local myth among the kids growing up there that Lost Lagoon is lost too, because it has no bottom, nobody has ever found the bottom. \\\"Lagoon\\\".\\n \\nDaphne Marlatt\\n00:01:42\\nReads \\\"Lagoon\\\" [published later in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:03:40\\nThe first poem in the book is sort of a, an entranceway to the book as a whole, it in some ways it sets up my method, I originally had, I'd been reading a lot about Japanese Noh plays, and I'd especially been interested in the Spirit Plays and my original figure in here was a Shite, who is the doer, the central figure in the Noh, who performs the dance and who the particular Noh is about. He usually first appears in the spirit plays as an old man, an old fisherman, or salt-gatherer, some kind of beat down, destitute person, an anonymous person, and the Waki comes along and somehow starts up a conversation and begins to wonder about this man, and usually asks him to tell him the story of the place where he is, assuming that this is some sort of historical shrine, which it often is, and the Waki has come specifically to see this place and as the old man begins to tell the story, he, well, there's actually a scene change, an act change, he reappears in all his glory as the original person whose life was lived out, usually tragically and very dramatically, often in a battle, who died in this place and whose spirit consequently haunts the area. Then I started reading about the Kwakiutl who are a tribe of the Indians somewhat to the north of Vancouver, about the furthest south they reach is the Campbell River [https://www.wikidata.org/wiki/Q270481] on Vancouver Island [https://www.wikidata.org/wiki/Q170479] which is, I don't know how many miles north of Vancouver, 100? 80, about 80. But I always figured that there must have been some sort of interchange between the Kwakiutl and the Salish, the particular tribe around the Fraser Delta [https://www.wikidata.org/wiki/Q269710]  in Vancouver. The thing that interested me the most about the Kwakiutl were one particular secret society called the \\\"Hamatsa\\\" and in the Hamatsa it writes, one goes into a sort of frenzy and is possessed by the original spirit, who then passed on the rituals, and the frenzy denotes the acquirement of a certain kind of power. I guess the Salish have something a little corresponding to that in that they have, I don't know what you call them, they're certain kinds of dances which are meant to perform the meeting between the individual who dances, the initiate, and the spirit of the particular place whom he encounters and who gives them, in result of this dance, particular powers. \\\"Wet fur wavers\\\", this is a Spanish Banks [https://www.wikidata.org/wiki/Q7573148] poem, about a walk, a Sunday walk along the Spanish Banks.\\n \\nDaphne Marlatt\\n00:06:56\\nReads \\\"Wet fur wavers\\\" [published later in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:08:16.15\\nAnd straight from that to another one that's somewhat linked up to that in terms of its content. This is about the public library, the old Carnegie Library [https://www.wikidata.org/wiki/Q1376408], which is, has since been closed down because the library rebuilt in an up-town area, the old Carnegie Library is located in the heart of skid row and used to be frequented mainly by old men reading who were reading newspapers who were trying to escape from the eternal rain and the cold.\\n\\nDaphne Marlatt\\n00:08:54\\nReads \\\"Go on\\\".\\n \\nDaphne Marlatt\\n00:10:34\\nThe next one which is also linked, I should have mentioned before the last one that the White Lunch--it must be a Vancouver phenomenon because I don't think I've seen it anywhere else. It's a chain of self-serve cafes, restaurants, and they're inexpensive of course, and their symbol outside is a huge white teacup and saucer, with these little coloured stooped figures running, eternally running around the saucer. This next poem is about a woman whose name I didn't know, I attributed a name to her, Emma. She could be seen, often around Berrard and Granville streets, and instead of going into the White Lunch, she used to go into the Bay, Hudson's Bay [https://www.wikidata.org/wiki/Q641129], and sit on the benches outside the elevator, and wait to warm up, I guess. Often, she seemed to me to be just to be interested in watching the weird kind of people who used to shop at the Bay, all those people with money. \\\"Razor Back Woman\\\" is taken from a John Stewart [https://www.wikidata.org/wiki/Q1393453] album, lyric of his.\\n \\nDaphne Marlatt\\n00:12:05\\nReads \\\"razorbackt woman\\\".\\n \\nDaphne Marlatt\\n00:13:56\\nOne last one that connects with the Kwakiutl Hamatsa society, this is going to need some explanation. Baxbakwalanuksiwe’, is--and I'm not responsible for my pronunciation for any people here who know how Kwakiutl sounds, because I don't--I'm just picking it up from various spellings and he was the original spirit who informed the Hamatsas, who gave them their cannibal right because an Indian managed to overcome him, through a trick.\\n\\nAudience Member 1\\n00:14:48\\nWhich one is that? Which name?\\n\\nDaphne Marlatt\\n00:14:50\\nHamatsa--Baxbakwalanuksiwe’. He was supposed to have been the first man, the first one to eat man at the mouth of the river, that's a quote. He was a sort of bird-like, obviously inhuman creature whose body was covered all over with mouths and he used to have various attendants around, and one of whom was a woman who was rooted to the floor of his cabin and she was very beautiful, and she used to lure people in who then became his victims. But in this particular occasion, these three Indian brothers somehow won her sympathy or something, but she told them, Baxbakwalanuksiwe’ was out at the moment, she told him that he would be expected back and that they were supposed to be his victims, and that the only way to overcome this was to build, to dig a deep pit in the floor, cover it over with boughs and then and have a trap that he could spring, that could release the boughs, and then when he did his dance, prior to killing and eating his victims, they would just pull the string or whatever it was and he would then fall into the pit. And then they could set fire to him. Qominaga is the woman, and I don't know if I should explain the B.C. [https://www.wikidata.org/wiki/Q1974] liquor laws or not. [Audience laughter]. Well, for those of you who don't know B.C., up until not so very long ago, what, five? No, must be longer than that, maybe ten years, the beer parlors used to be segregated, and men, alone, sat on one side, and women, alone, and women would be the escorts sat on the other side and you had to enter the beer parlor from different doors, one of which was marked \\\"Men\\\", and the other was \\\"Ladies and Escorts\\\". The men's side also used to have, in some of the beer parlors, used to have a wooden floor covered with sawdust, which was simply easier to keep clean because of course when expected, there were constant brawls on the men's side and a lot of broken glass and spilled beer, I suppose that was the rationale. This is dedicated to the Alcazar, Cecil, Belmont, [New Fountain (?)] [audience laughter].\\n \\nDaphne Marlatt\\n00:17:33\\nReads unnamed poem  “names stations of the way to\\\".\\n \\nDaphne Marlatt\\n00:20:33\\nLittle poems, for my niece who has, or had, she's probably over it by now, a thing about bugs. That bugs are horrible--any bug, no matter what. So I wrote these four poems to try and explain to her what it was like to be a bug, although it's very human, called \\\"Bugs in the Heart\\\", for Karen.\\n \\nDaphne Marlatt\\n00:20:57\\nReads \\\"Bugs in the Heart\\\" [published later in What Matters: Writing 1968-1970].\\n \\nDaphne Marlatt\\n00:22:00\\nThese are all fairly recent poems. \\\"Agenda\\\".\\n \\nDaphne Marlatt\\n00:22:06\\nReads \\\"Agenda\\\".\\n \\nDaphne Marlatt\\n00:22:24\\nLast Easter, we were in [Tousse (?)], took our swimsuits, expected to come back with a tan. Snowed every night, it was beautiful in the morning. \\n \\nDaphne Marlatt\\n00:22:37\\nReads unnamed poem. \\\"Points west, or south-west, wet downpour...\\\"\\n \\nDaphne Marlatt\\n00:23:00\\nWe're living on a farm and this is a poem, for practically the first time in our lives, this is a poem that I wrote last year, Phil's our landlord and he's always coming up with useful bits of information about, speaking of David, books, about what birds are what.\\n \\nDaphne Marlatt\\n00:23:29\\nReads unnamed poem. \\\"Depressed area space, lived in...\\\".\\n \\nDaphne Marlatt\\n00:24:42\\nThis is a poem that I wrote when I was about, oh I don't know, seven or eight months pregnant. \\\"Bird of Passage\\\", I wrote it in Vancouver. Spring time again.\\n \\nDaphne Marlatt\\n00:25:02\\nReads \\\"Bird of Passage\\\" [published later in What Matters: Writing 1968-1970]. \\n \\nDaphne Marlatt\\n00:27:38\\nOne of the in fact, the original Vancouver poem which was written in Bloomington [https://www.wikidata.org/wiki/Q490385], Indiana [https://www.wikidata.org/wiki/Q1415], probably out of a sense of nostalgia, it's about the man who used to collect the rents on the house that I lived in on Comox Street, and he had a little room up in the attic and he was kind of old, he was also the man who I met at the door when I first came to inquire about their rooms.\\n \\nDaphne Marlatt\\n00:28:09\\nReads unnamed poem. \\\"Old Bird, he...\\\"\\n \\nDaphne Marlatt\\n00:29:31\\nAbout Vancouver's fire, in 1868? 1886. There are a lot of quotes in here, and I think all of them, yes all of them are taken from a historical journal put out by the city archives and the body of it is concerned with W.H. Gallagher's eye-witness account. He was in a little office and had control of payroll for men who were working for the CPR clearing the land, the fire was caused by the clearing of the land, because the trees were knocked down bowling-pin method, that is a tree, a very large tree was chosen and then cut so that it would bring down a pile of trees as it fell and then the stuff was left because they didn't get around to burning it. And it was left over the summer, and got as dry as tinder. Not only that, but they were using gunpowder to blow up stumps. \\n \\nDaphne Marlatt\\n00:30:46\\nReads \\\"Our city is ashes\\\".\\n \\nDaphne Marlatt\\n00:33:45\\nThis is \\\"Bowen Island\\\".\\n \\nDaphne Marlatt\\n00:33:50\\nReads \\\"Bowen Island\\\" [published later as “Bowen” in Vancouver Poems].\\n \\nDaphne Marlatt\\n00:35:48\\nI know that there was a bridge in Vancouver with a jack-knife span that opened like London Bridge [https://www.wikidata.org/wiki/Q130206]. And I asked everyone I knew…What?\\n\\nAudience Member 2\\n00:36:03\\nMarple.\\nDaphne Marlatt\\n00:36:04\\nMarple! Was that Marple? Because no one seemed to know, I even went down to the library to ask them. Well, I've got a footnote in my book that it wasn't true. So anyway, it began to be confused in my mind with the old Second Narrows Bridge [https://www.wikidata.org/wiki/Q643658], which at that time was being torn down. And so it's compounded with memories of old Second Narrows Bridge, which has a lift-span that rises and all kinds of warning signs--it used to be that when you were learning to drive you went down to Second Narrows Bridge and boy if you made that bridge, you could pass the test.\\n\\nDaphne Marlatt\\n00:36:41\\nReads \\\"Your\\\".\\n \\nDaphne Marlatt\\n00:39:15\\nThis is also a skid row poem, it's a combination of present and past, Water Street, which is a block below Cordova, where there used to be a couple of very popular beer parlours, before they were closed down, Water, the other side of Water, used to be the shore line, that is, the harbour came right up to Water street, and houses, the first houses were built on the southern side of Water. That's where Gassy Jack Deighton [https://www.wikidata.org/wiki/Q720322] built his saloon, the first saloon in Vancouver. That's how Vancouver got its original name, Gastown [https://www.wikidata.org/wiki/Q1495636], because this man was an eternal talker apparently. I use a word that's very foreign to me here, Leman, which means like his woman, and is a word that Alan Morley uses in his book about Vancouver and which I think captures the feeling of Gastown with all its small town morality and prudery. \\n \\nDaphne Marlatt\\n00:40:32\\nReads \\\"Trails\\\".\\n \\nEND\\n00:42:24\\n\",\"notes\":\"Daphne Marlatt reads poems published later in books like Vancouver Poems (Coach House Press, 1972) and What Matters: Writing 1968-1970 (Coach House Press, 1980), as well as several poems from unknown sources.\\n\\n00:00- Daphne Marlatt Introduces “Lagoon” [INDEX: Vancouver Poems, local myth of the lost lagoon, prose poems, French poet Rimbaud, Randy Newman lyrics]\\n01:42- Reads “Lagoon”\\n03:40- Introduces “Wet fur wavers” [INDEX: Vancouver Poems, Japanese Noh plays: Waki, Spirit plays, Kwakiutl Native American Indians: Hamatsa Secret Society, Campbell River, B.C., Salish Native Americans of the Frasier Delta, Spanish Banks, B.C.]\\n06:56- Reads “Wet fur wavers”\\n08:16- Introduces “Go on” [INDEX: Vancouver Poems, Old Carnegie Library, Vancouver;    Howard Fink list “Old Carnegie Library”]\\n08:54- Reads “Go on”\\n10:34- Introduces “razorbackt woman” [INDEX: Vancouver Poems, White Lunch restaurant, The Hudson Bay’s Company, skid row, John Stewart lyrics]\\n12:05- Reads “razorbackt woman”\\n13:56- Introduces “Alcazar, Cecil, Belmont, New Fountain, names stations of the way,       to” [INDEX: Vancouver Poems, BaxwbakwAllenuksiwe, Coleman Okwas, Alcohol laws   \\tof B.C.]\\n17:33- Reads “Alcazar, Cecil, Belmont, New Fountain, names stations of the way, to”\\n20:33- Introduces “Bugs in the Heart”\\n20:57- Reads “Bugs in the Heart”\\n22:00- Reads “Agenda”\\n22:24- Introduces first line “Points west or south west, wet downpour...”\\n22:37- Reads first line “Points west or south west, wet downpour...”\\n23:00- Introduces first line “Depressed area space, lived in...” [INDEX: living on a farm;      Howard Fink List “Older, heart...”]\\n23:29- Reads first line “Depressed area space, lived in...”\\n24:42- Introduces “Bird of Passage”\\n25:02- Reads “Bird of Passage”\\n27:38- Introduces “Old bird, he” [INDEX: Vancouver Poems, Bloomington, Indiana, Comox Street Vancouver, Vancouver fire of 1886, W.H. Gallagher’s [Unknown A1] eyewitness account, City Archives Historical Journal, Second Narrows Bridge, Marple Bridge]\\n28:09- Reads first line “Old bird, he turned up this this time...”\\n29:31- Introduces “Our city is ashes” [INDEX: Vancouver Poems]\\n30:46- Reads “Our city is ashes”\\n33:45- Reads “Bowen” [INDEX: Howard Fink List “Bowen Island”.]\\n35:48- Introduces “Your” [INDEX: Vancouver Poems]\\n36:41- Reads first line “Your grey-green fathoms unfathomed...”\\n39:15- Introduces “Trails” [INDEX: Vancouver Poems, Bowen Island, Burrard and Granville Streets, Alan Morley's book on Vancouver, Gassy Jack Deighton of Vancouver]\\n40:32- Reads “Trails”\\n42:24.72- END OF RECORDING\\n   \\nFrom the Howard Fink list of poems:\\nNovember 6, 1970\\n \\n1. “Lagoon”\\n2. “Wet For A Wavers” (Spanish Banks)\\n3. “Old Carnegie Library”\\n4. “Razor-backed Woman”\\n5. “The Alcazar Cecil Belmont Newfoundland”\\n6. “Bugs In The Heart”\\n7. “Agenda”\\n8. [blank]\\n9. First line (?)“Older heart...”\\n10. “Bird of Passage”\\n11. (Vancouver Poem) first line (?) “Old Bird...”\\n12. First line (?) “Our City Is Ashes”\\n13. “Bohen Island”\\n14. “Ridge Pole (Second Narrows Bridge)”\\n15. “Trails”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/daphne-marlatt-at-sgwu-1970/\"}]"],"score":1.0374112},{"id":"9050","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Roy Miki Fonds "],"source_collection_label":["Roy Miki Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC 161"],"persistent_url":[""],"item_title":["The Astonishment Tapes Talks on Poetry and Autobiography with Robin Blaser and Friends in Vancouver, 1974 Tape 3 of 20"],"item_title_source":["Cassette and J-card "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Nichols, Miriam"],"creator_names_search":["Blaser, Robin","Tallman, Warren","Marlatt, Daphne","Nichols, Miriam"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\" 1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/44522700\",\"name\":\"Nichols, Miriam\",\"dates\":\"1952-\",\"notes\":\"Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1974],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/9050/Roy Miki Fonds_MsC 161_203.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\":\"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\":\"MsC161-203 Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:18\",\"precision\":\"\",\"size\":\"744.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MsC161-203 Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:21\",\"precision\":\"\",\"size\":\"745.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1974\",\"type\":\"Production Date\",\"notes\":\"We found the date online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"source\":\"Internet\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"We found the location online through this link: https://writing.upenn.edu/pennsound/x/Blaser.php\",\"address\":\"City Vancouver, Metro Vancouver Regional District, British Columbia, Canada \",\"latitude\":\"49.2600\",\"longitude\":\"-123.1149\"}]"],"Address":["City Vancouver, Metro Vancouver Regional District, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Robin Blaser provides an in-depth autobiographical account in a series of tapes (201 to 220), reflecting on his life and experiences. \\nIn this tape, he continues reflecting on his youth, providing insights into his high school years, his pivotal moment in literature, and individuals with a natural talent for writing in his family\\nOn side two, he elaborates on his keen ability to listen to the world around him, emphasizing his sharp auditory perception; he also talked about the poets who had huge influences on him\",\"type\":\"General\"},{\"note\":\"We found the info through the following link on https://www.amazon.ca/Astonishment-Tapes-Poetry-Autobiography-Friends/dp/0817358099\\n\\nRobin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.\\n\\nIn the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.\\n\\nIn The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.\\n\\nSometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670558005198848,"timestamp":"2026-01-07T15:00:02.246Z","score":0.9922678},{"id":"6274","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["Sacred Geography Seminar with Prof. Robin Blaser on October 29, 1976 tape 2 of 2 #634"],"item_title_source":["j-card"],"item_title_note":["Liner notes: see the photo in the material description"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[RB_634]"],"rights":["In Copyright (InC)"],"access":["Streaming"],"creator_names":["Blaser, Robin"],"creator_names_search":["Blaser, Robin"],"creators":["[{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1976],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/8117/634.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Excellent\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Clear box with j-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"https://digital.lib.sfu.ca/rbr-239/rb634a\",\"file_path\":\"\",\"filename\":\"634-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:31\",\"precision\":\"\",\"size\":\"29.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://digital.lib.sfu.ca/rbr-240/rb634b\",\"file_path\":\"\",\"filename\":\"634-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:34:05\",\"precision\":\"\",\"size\":\"33.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1976-10-29\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"Location taken from cassette #631\",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.276709600000004\",\"longitude\":\"-122.91780296438841\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada"],"Venue":["SFU"],"City":["Burnaby, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"Part 1 of 2 is on tape #635\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670555067088898,"timestamp":"2026-01-07T14:59:59.437Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t000\t\n\t\t002\tTape begins with Blaser’s voice in mid-sentence.  References to Olson & nature of the “primary” soon follow\n\t\t018\tThe historical task of the poet, the greater context.  Once this has been understood one can truly appreciate texts that stand outside their mere contemporary context, the “otherness” of a poetic text\n\t\t040\tThe 20th century “consciousness of language”, Blaser agrees that the Romantics started the move towards the notion of language but he thinks it was individuals such as Pound who began to comprehend and appreciate the polar relationships of poetry with a consciousness of the nature of language\n\t\t074\tBy way of an investigation into divine poetic nature, Blaser examines texts that detail the relationship between the Ancient (Homeric?) Greeks and their gods\n\t\t104\tThe balance of heaven and earth (“earth and sky”) and the emerging notion of “the universe”.  “A destiny of the Greeks is neither a justification nor disruption or elimination of the natural course of the world.  It is this natural course of the world itself”\n\t\t130\tTo create an understanding of the foundation of this world view, Blaser explains that to the Homeric Greeks the world was not an observable, examinable place but a “realm” of “the ever unobjective to which we are subordinate as long as the paths of birth and death, of blessing and curse, hold us thrust into being where the essential lessons of our history befall us and which are taken over and abandoned, misunderstood and again sought by us.  Their world’s the world.  Prof. Blaser is drawing most of his material from Victor Vycinas’ The Earth and Gods : an introduction to the Philosophy of Martin Heidegger\n\t\t142\tArt as the stabilizer of the lucidity of the world\n\t\t\tProf. Blaser, as he does on other tapes in the series, argues that, as part of human being’s nature, Truth is to be found only in “unreason”.  Truth as emerging from the primeval strife to “that which is”.  The strife between the world and the earth can “only become Truth when it takes a stand within the realm of openness obtained by it.  “….such a “stand” can only be actualized as an Artwork”\n\t\t220\tHermes, who “what he is, as an example of a deity.  The various roles and responsibilities of the god are listed and detailed; an attempt is made by Blaser to limit the god’s many titles into a conceptual whole\n\t\t269\tThe discussion on the many traits of Hermes continues\n\t\t276\tBlaser turns onto Zeus “The worldness of a world is Zeus”.  Zeus as a god of light, which innately infers that Zeus is a god of revealing, “of disclosing… by reflecting the truth of the god, these forms are true.  They are the logos of this god.  Zeus, then, is the logos par excellence\n\t\t289\tThe nature of Truth.  “Truth as Reason, becomes in the poetic argument simply our Reason.  And this confronts what Olson calls the “demonic nature of experience”.  The link is made easily between this notion and the notion of the polarity, the “tension” of experience in mythology.  Reference is made to Charles Olson’s Poetry and Truth (The Beloit Lectures and Poems).  In the existence that lies behind poetry, more than the language we speak\n\t\t311\tReturn of topic to the “tension of existence”.  Blaser notes the interdependence to the “other”.  Olson’s so-called attack on Einstein in Poetry and Truth is brought up to display the content of the concept; Einstein’s relativity is viewed as another one of the modes of reason.  Olson harkens to the dynamically-relational.  A Maurice Merleon-Ponty essay to be found in Sense-non-Sense, is cited by Blaser as summing up the issue at immediate hand here\n\t\t333\tThe disclosure of the world the way it appears to the I.  Again Olson’s Poetry and Truth is mentioned.  One point of particular noteworthiness is that the “I” is to be found “among” not isolated in any manner.  Notion of disclosure and concealment; the “active” agent of the unknown\n\t\t348\tSpeech as a stance of language, revealing the relationship(s) between intellect and objects.  Language and freedom.  Freedom as possessing the individual (not vice versa), Spicer and Olson cited.  Human referring as a result of the outward mode, Logos, in this primary sense, “is our assembling of otherness to ourselves”\n\t\t368\tClassroom confusion results in Blaser repeating his previous statements to clarify their meaning\n\t\t384\tMartin Heidegger is cited once again, a quotation “Our thinking is giving thanks”.  Further quotations are given and explored, all searching for the language behind language\n\t\t398\tOlson’s notion that “so say” (speech) is “to bring into appearance”.  Such a notion should not be confused with the “creation” of appearance; words do not follow things”.  Olson calls this “Mythologos”, words bringing things from their position of concealment\n\t\t407\tSide One ends\nTwo\t\t000\t\n\t\t003\tBlaser’s voice emerges in mid-sentence, discussing such topics as “truth” and “freedom”.  The movement toward “the future” and its being is discussed.  Vyainds’ is quoted and references to Olson and Spicer are made\n\t\t029\tThe future “as “improvised… in Utopias”; with the absence of a tradition, human beings “therefore… constantly break the ties of tradition by revolts”.  While the concept seemingly contradicts itself, Blaser proves the opposite to in fact be the case\n\t\t052\tContemporary human beings standing between philosophy and the upcoming of a greater thought, the thought of being itself”.  Blaser, utilizing Heidegger directly, states that thinking of the future assembles the language/being of the future thinking as no longer philosophy but now mythology\n\t\t106\tOperative and Representational language: Representational language represent the “red” of the world.  Operative language presents – discloses – what was previously covered.  The language is interactive when its operative sense\n\t\t132\tStructural elements of the world: Earth, Sky, Mortals and Gods.  Together they make up the “action of the world… its light”.  Concealment and Revealment are explored once again; Earth as having a “tendency to concealment, the World to revealment.  Art, the Truth, emerges from the strife between the Earth and the World\n\t\t160\tChaos as “the holiness itself: (L. Heidegger), it stands as the ultimate course of all.  The Realm of Destiny, binding everything.  Blaser embellishes this fully, conjuring up Heroditas, Spicer and Olson\n\t\t198\tThe song of the poet being the place where ghouls, human beings and holiness can all appear.  “All true poetry has its beginning in an encounter with the divine”\n\t\t215\tDiscussion moves onto earth-centered religions; the cathonoing society in which the dead are real and powerful in that they go to the earth.  Blaser notes that Spiker refused to separate the dead and the living, and in fact gave the dead a prominence over the living\n\t\t229\tOlympian religion gains prominence over the Cathonain religion, death is shunned.  Numerous references made to Homer’s place in this\n\t\t247\tThe reversal of Logos, the reversal of light.  Characteristics of Olympian and Cathonain religion are explored in contrast\n\t\t280\tEarth, Sky, Gods, Mortal men – “all of them are in strife, as parts of the world”.  Art as a creating a world, creating a hold on the “earth in the world”.  The guarding of the earth and the world in their strife is a fundamental feature of Art work.  Letting the Truth take place in the struggle between the worldness of the world and earth\n\t\t311\tBlaser draws a transition connecting concepts of the ancient world with the contemporary interest in “open form”.  Charles Olson is cited as using such “open form” as projective and as field; Jack Spicer is also cited for his “serial poems’ a constant opening of time itself\n\t\t322\tBlaser vocalizes his view that he feels the “openform” vs. “closed form” debate is little more than an intellectual “hang-up”\n\t\t330\tThe nature of “open form”; openness as it is “attached to a primary condition” – the narrative as a new stance, a new content.  Blaser quotes\n\t\t340\tClosing remarks.  Blaser answers a class question.  Blaser reading (his own work?)\n\t\t359\tSide Two ends"],"score":0.9749817},{"id":"7060","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman reading \"Word Refrains\" and \"Claw\" for Adeena Karasick in November, 1988"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren"],"creator_names_search":["Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Recordist\"]}]"],"contributors":["[]"],"Performance_Date":[1988],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10347/Warren Tallman Fonds_MsC 26.42_57.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\":\"Re-recordings 2023-57- Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:16\",\"precision\":\"\",\"size\":\"44.3 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\":\"Re-recordings 2023-57- Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:30\",\"precision\":\"\",\"size\":\"41 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\":\"1988-11\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Note":["[{\"note\":\"Warren Tallman also reads his poem \\\"Claw\\\" at 12:38 on side one\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556462743555,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7064","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's memento recorded in November 1988 for Steve McCaffery compiled with contributions from Adeena Karasick, Colin Browne, Warren Tallman, bpNichol, and Steve McCaffery reading poetry"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Browne, Colin","Karasick, Adeena","McCaffery, Steve","Nichol, bp (Barrie Phillip)","Tallman, Warren"],"creator_names_search":["Browne, Colin","Karasick, Adeena","McCaffery, Steve","Nichol, bp (Barrie Phillip)","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/105886216\",\"name\":\"Browne, Colin\",\"dates\":\"1946-\",\"notes\":\"Colin Browne reading Fred Wah \\\"Music at the Heart of Thinking\\\" at Langara College Theater on June 1 \",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"On the first side, Adeena Karasick reading \\\"Manipulating Stairs\\\" in Cranbrook at 1:46, and she is reconstructing Bill Bissett Phonetic A B C with various words they spell from London, Ontario at 13:00\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/38243\",\"name\":\"McCaffery, Steve\",\"dates\":\"1947-\",\"notes\":\"Reading at Bella Vista on November 22, 1988 \",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"bpNichol also reads some of his poems on June 1st at Langara College Theater\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"Warren Tallman reading a piece named \\\"Claw\\\" that he'd written for bp Nichol at Bowering's. It seems Warren recorded this part for [Adeena Karasick?] \",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Recordist\"]}]"],"contributors":["[]"],"Production_Date":[1988],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10348/Warren Tallman Fonds_MsC 26.42_58.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\":\"MSC26-58-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:52\",\"precision\":\"\",\"size\":\"61.7 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\":\"MSC26-58-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:56\",\"precision\":\"\",\"size\":\"61 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\":\"1988-11\",\"type\":\"Production Date\",\"notes\":\"This tape is recorded in November 1988 by Warren Tallman \",\"source\":\"J-card and Recording \"},{\"date\":\"1988-11-22\",\"type\":\"Production Date\",\"notes\":\"Steve McCaffery reading \",\"source\":\"Recording\"},{\"date\":\"1988-11-09\",\"type\":\"Production Date\",\"notes\":\"Adeena reading \\\"Manipulating Stairs\\\" in Cranbrook \",\"source\":\"Recording\"},{\"date\":\"1988-10-15\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman reading a piece named \\\"Claw\\\" that he'd written for bp Nichol at Bowering's \",\"source\":\"Recording\"},{\"date\":\"1988-06-01\",\"type\":\"Production Date\",\"notes\":\"Colin Browne reading Fred Wah \\\"Music at the Heart of Thinking\\\" at Langara College Theater on June 1 bpNichol also reads some of his poems on this date\",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Bowering's house\",\"notes\":\"Warren Tallman reading \\\"Claw\\\" on October 15th, 1988.\\nWarren Tallman mentions Bowering's house location at 14:20 on the first side\\n\",\"address\":\"[2499- Western E 7th?]\",\"latitude\":\"\",\"longitude\":\"\"},{\"url\":\"https://www.openstreetmap.org/way/30880923\",\"venue\":\"Warren Tallman’s House\",\"notes\":\"In the '70s(?) he moved to 3504 Bella Vista in East Vancouver V5N 3W9 and lived there till his death. We assume Steve McCaffery is reading at Warren Tallman’s house\",\"address\":\"3504 Bella Vista in East Vancouver V5N 3W9\",\"latitude\":\"49.25312\",\"longitude\":\"-123.07054\"},{\"url\":\"https://www.openstreetmap.org/node/51969524\",\"venue\":\"\",\"notes\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" on November 9th in Cranbrook\",\"address\":\"Cranbrook, Regional District of East Kootenay, British Columbia, V1C 2N0, Canada\",\"latitude\":\"49.5118\",\"longitude\":\"-115.7671\"},{\"url\":\"https://www.openstreetmap.org/way/23393992\",\"venue\":\"Langara College Theater \",\"notes\":\"Colin Browne reading Fred Wah's \\\"Music at the Heart of Thinking\\\" at Langara College Theater on June 1; bpNichol also reads some of his poems\",\"address\":\"College Langara College, 100, West 49th Avenue, Oakridge, Vancouver, Metro Vancouver Regional District, British Columbia, V5Y 2Z6, Canada\",\"latitude\":\"49.22484\",\"longitude\":\"-123.10867\"}]"],"Address":["[2499- Western E 7th?]","3504 Bella Vista in East Vancouver V5N 3W9","Cranbrook, Regional District of East Kootenay, British Columbia, V1C 2N0, Canada","College Langara College, 100, West 49th Avenue, Oakridge, Vancouver, Metro Vancouver Regional District, British Columbia, V5Y 2Z6, Canada"],"Venue":["Bowering's house","Warren Tallman’s House","Langara College Theater "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"We found some identical content on tapes #117 and #119\",\"type\":\"Related Version\"},{\"note\":\"almost duplicate/DUPLICATE with tapes #117 SWALLOW ID 7119 and #119 SWALLOW ID 7121\",\"type\":\"Related Version\"},{\"note\":\"A part of this tape is duplicate of tape 148 (Time slot 34:38). Steve McCaffery reading takes place on November 22 in 1988 at Tallman's home onBella Vista in Vancouver.\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670556462743556,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7065","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's compilation and introduction of  poetry readings by William Carlos Williams, Hilda Doolittle, Adeena Karasick, bpNichol, Bill Bissett, and Basil Bunting recorded for Eli Mandel at Buffalo – S.U.N.Y. University on May 11, 1987"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Doolittle, Hilda","Karasick, Adeena","Tallman, Warren","Williams, William Carlos","Bissett, Bill","Bunting, Basil","Mandel, Eli","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Doolittle, Hilda","Karasick, Adeena","Tallman, Warren","Williams, William Carlos","Bissett, Bill","Bunting, Basil","Mandel, Eli","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\"http://viaf.org/viaf/4925150\",\"name\":\"Doolittle, Hilda \",\"dates\":\"1886-1961\",\"notes\":\"Known as H.D.\\nAs Warren Tallman indicates at 27:20 on the first side, H.D. reads \\\"This Is One of the Great Privileges of Our Life\\\" poem by H.D.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/29542054\",\"name\":\"Williams, William Carlos\",\"dates\":\"1883-1963\",\"notes\":\"Here are this list of poems which William Carlos Williams reads from \\\"The Desert Music and Other Poems\\\"; poems he wrote after he'd had a stroke:\\n\\n\\\"The Descent\\\"\\n\\\"To Daphne and Virginia\\\"\\n\\\"The Orchestra\\\"\\n\\\"For Eleanor and Bill Monahan\\\"\\n\\\"The Yellow Flower\\\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"Bill Bissett reading at Warren Tallman's poetry class on November 24, 1986 in Vancouver\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/4949021\",\"name\":\"Bunting, Basil\",\"dates\":\"1900-1985\",\"notes\":\"Basil Bunting reading \\\"Cantos 4\\\" at UBC on November 30, 1970.\\nHis part is not audible \",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\" http://viaf.org/viaf/59095399\",\"name\":\"Mandel, Eli\",\"dates\":\"1922-1992\",\"notes\":\"Warren Tallman is recording this tape for him\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"bp reading a part of Meteorology in Warren Tallman's class at UBC on January 26, 1971\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10384/Warren Tallman Fonds_MsC 26.42_59.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"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\":\"MSC26-59-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:59\",\"precision\":\"\",\"size\":\"50.1 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\":\"MSC26-59-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:02\",\"precision\":\"\",\"size\":\"50.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1970-11-30\",\"type\":\"Production Date\",\"notes\":\"Basil Bunting reading \\\"Cantos 4\\\" at UBC\",\"source\":\"Recording\"},{\"date\":\"1986-11-24\",\"type\":\"Production Date\",\"notes\":\"Bill Bissett reading at Warren Tallman's poetry class in Vancouver\",\"source\":\"Recording\"},{\"date\":\"1971-01-26\",\"type\":\"Production Date\",\"notes\":\"BP reading a part of Meteorology in Warren Tallman's class at UBC \",\"source\":\"Recording\"},{\"date\":\"1987-05-11\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/68036581\",\"venue\":\"Buffalo – S.U.N.Y. (University at Buffalo)\",\"notes\":\"Warren Tallmen indicates that he is in Buffalo; We assume it refers to the University at Buffalo in New York. 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\"},{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"Bill Bissett reading at Warren Tallman's poetry class on November 24, 1986 in Vancouver\",\"address\":\"Vancouver, District of North Vancouver, Metro Vancouver Regional District, British Columbia, Canada\",\"latitude\":\"49.2604\",\"longitude\":\"-123.1145\"},{\"url\":\"https://www.openstreetmap.org/relation/1424987\",\"venue\":\"University of British Columbia \",\"notes\":\"BP reading a part of Meteorology in Warren Tallman's class at UBC on January 26, 1971 and Basil Bunting reading \\\"Cantos 4\\\" on November 30, 1970.\",\"address\":\"University of British Columbia, Long Trail, University of British Columbia, Electoral Area A, District of North Vancouver, Metro Vancouver Regional District, British Columbia, V6S 0A9, Canada\",\"latitude\":\"49.2600\",\"longitude\":\"-123.2469\"}]"],"Address":["Buffalo, NY 14260, United States","Vancouver, District of North Vancouver, Metro Vancouver Regional District, British Columbia, Canada","University of British Columbia, Long Trail, University of British Columbia, Electoral Area A, District of North Vancouver, Metro Vancouver Regional District, British Columbia, V6S 0A9, Canada"],"Venue":["Buffalo – S.U.N.Y. (University at Buffalo)","University of British Columbia "],"City":["Buffalo, New York","Vancouver, British Columbia","Vancouver, British Columbia"],"Note":["[{\"note\":\"The quality of sound increases in the parts which Warren Tallman speaks\\n\\nWarren Tallman held a temporary teaching appointment at SUNY Buffalo for the academic year 1987-1988, working alongside his good friend Robert Creeley.  (Creeley was faculty at SUNY Buffalo from 1966-2003 and Tallman visited him several times, though this was his only teaching appointment there).\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556463792128,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7066","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's Birthday Collage for Adeena Karasick that includes Warren Tallman reading Olivia's letter on May 28-30, 1990 and Roy Miki's letter on May 28, 1990"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"Warren Tallman is recording this tape on the occasion of her birthday.\\nShe's present on side two when Warren Tallman begin reading on May 28, 1991\",\"nation\":[],\"role\":[\"Author\",\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/7066/Warren Tallman Fonds_MsC 26.42_60.jpeg\",\"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\":\"MSC26-60-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:44\",\"precision\":\"\",\"size\":\"64.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-60-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:57\",\"precision\":\"\",\"size\":\"62.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-05-30\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman resumes reading after his break at 11:01\",\"source\":\"Recording\"},{\"date\":\"1990-06-01\",\"type\":\"Production Date\",\"notes\":\"It seems Warren Tallman is recording this tape on June 1 in 1990.\",\"source\":\"Recording\"},{\"date\":\"1991-05-28\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman reading Olivia letter on side two\",\"source\":\"Recording\"},{\"date\":\"1990-05-28\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman reading Olivia letter on side one\",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/298855107\",\"venue\":\"[Red Wallbarrow?]\",\"notes\":\"According to what Warren Tallman says in tape 60, [Red Wallbarrow?] is located at \\\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?] and named after William Carlos Williams by Warren Tallman. The Url we get for 88 East Pender Street, Vancouver, BC points to the current \\\"Vancouver Film School\\\". We are not sure, but this location could be the current Vancouver Film School in 88 E Pender.\\n\",\"address\":\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]\",\"latitude\":\"49.28018\",\"longitude\":\"-123.10266\"}]"],"Address":["109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]"],"Venue":["[Red Wallbarrow?]"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Warren Tallman reads Olivia and Roy Miki Letters on the second side, and he reads Olivia Letter which is duplicate of what we have on the first side) \",\"type\":\"General\"},{\"note\":\"It seems Warren Tallman reads the complete version of \\\"Olivia Letter\\\" and \\\"Roy Miki Letter\\\" on the second side. The Olivia Letter parts seem to be the same on both sides one and two. \\n\\nAt 10:40, on the first side, Warren Tallman explains that he could not record the whole Roy Miki Letter as one part since he was interrupted and he had to talk to another woman about a poem she'd written for her mother. \\n\\nThe beginning of Side B suggests that these letters are all for Adeena as addressee; \\\"Olivia\\\" and \\\"Roy Miki\\\" may be just discussed in the letters, rather than the intended recipients. bpNichol is also discussed at length and Lola [Lemire Tostevin]. Some of the discussion directed to Adeena should be approached with sensitivity.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556465889280,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7067","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's Birthday Collage for Adeena at Red Wallbarrow on June 11, 1990 with Tallman reading his Robert Creeley introduction for her birthday at The Western Front on June 1, 1990 "],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena","Creeley, Robert","Miki, Roy"],"creator_names_search":["Tallman, Warren","Karasick, Adeena","Creeley, Robert","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"Warren Tallman is recording this tape on the occasion of her birthday \",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"Warren Tallman reads his introduction for Robert Creeley at The Western Front\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"Roy Miki introduce Warren Tallman in the beginning of this event at The Western Front\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10502/Warren Tallman Fonds_MsC 26.42_61.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\":\"MSC26-61-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:47\",\"precision\":\"\",\"size\":\"67.2 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\":\"MSC26-61-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:46\",\"precision\":\"\",\"size\":\"63.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-06-01\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman is reading his \\\"Robert Creeley introduction\\\" as Western Front birthday gift\",\"source\":\"Recording\"},{\"date\":\"1990-06-11\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman states this date in the beginning of the first side. We are not sure, but it seems he recorded the second part of his collage birthday on this date.\",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/292460590\",\"venue\":\"The Western Front\",\"notes\":\"Warren Tallman is reading his \\\"Robert Creeley introduction\\\" as Western Front birthday gift\",\"address\":\"303 E 8th Ave E, Vancouver, BC V5T 1S1\",\"latitude\":\"49.26392\",\"longitude\":\"123.09870\"},{\"url\":\"https://www.openstreetmap.org/way/298855107\",\"venue\":\"[Red Wallbarrow?]\",\"notes\":\"According to what Warren Tallman says in tape 60, [Red Wallbarrow?] is located at \\\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?] and named after William Carlos Williams by Warren Tallman. The Url we get for 88 East Pender Street, Vancouver, BC points to the current \\\"Vancouver Film School\\\". We are not sure, but this location could be the current Vancouver Film School in 88 E Pender.\\n\",\"address\":\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]\",\"latitude\":\"49.28018\",\"longitude\":\"-123.10266\"}]"],"Address":["303 E 8th Ave E, Vancouver, BC V5T 1S1","109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]"],"Venue":["The Western Front","[Red Wallbarrow?]"],"City":["Vancouver, British Columbia","Vancouver, British Columbia"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670556466937856,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7068","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's Birthday Collage for Adeena Karasick at Red Wallbarrow on June 11, 1990 with Tallman later reading his Robert Creeley introduction from The Western Front event on June 1, 1990"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena","Creeley, Robert","Miki, Roy"],"creator_names_search":["Tallman, Warren","Karasick, Adeena","Creeley, Robert","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"Warren Tallman is recording this tape on the occasion of her birthday \",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"Warren Tallman reads his introduction for Robert Creeley at The Western Front\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"Roy Miki introduce Warren Tallman in the beginning of this event at The Western Front\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10516/Warren Tallman Fonds_MsC 26.42_62.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\":\"MSC26-62-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:37\",\"precision\":\"\",\"size\":\"54.7 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\":\"MSC26-62-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:35\",\"precision\":\"\",\"size\":\"55 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\":\"1990-06-04\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman states this date in the beginning of the first side although June 5 is written on the j-card\",\"source\":\"Recording\"},{\"date\":\"1990-06-01\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman is reading his \\\"Robert Creeley introduction\\\" as Western Front birthday gift\",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/292460590\",\"venue\":\"The Western Front\",\"notes\":\"Warren Tallman is reading his \\\"Robert Creeley introduction\\\" as Western Front birthday gift\",\"address\":\"303 E 8th Ave E, Vancouver, BC V5T 1S1\",\"latitude\":\"49.26392\",\"longitude\":\"123.09870\"},{\"url\":\"https://www.openstreetmap.org/way/298855107\",\"venue\":\"[Red Wallbarrow?]\",\"notes\":\"According to what Warren Tallman says in tape 60, [Red Wallbarrow?] is located at \\\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?] and named after William Carlos Williams by Warren Tallman. The Url we get for 88 East Pender Street, Vancouver, BC points to the current \\\"Vancouver Film School\\\". We are not sure, but this location could be the current Vancouver Film School in 88 E Pender.\\n\",\"address\":\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]\",\"latitude\":\"49.28018\",\"longitude\":\"-123.10266\"}]"],"Address":["303 E 8th Ave E, Vancouver, BC V5T 1S1","109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]"],"Venue":["The Western Front","[Red Wallbarrow?]"],"City":["Vancouver, British Columbia","Vancouver, British Columbia"],"Note":["[{\"note\":\"Following what Warren Tallman says in the beginning of the first side, this part refers to the time when birthday party was over \",\"type\":\"General\"},{\"note\":\"Tapes 61 and 62 are duplicates when Warren Tallman reads his introduction for Robert Creeley at The Western Front on June 1, 1990 from 5:36 to 15:44 on side one. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556466937857,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7069","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman reading from bpNichol's Martyrology Book 2 from the beginning of \"Sons and Divinations\""],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Tallman, Warren","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10517/Warren Tallman Fonds_MsC 26.42_63.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\":\"MSC26-63-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:30\",\"precision\":\"\",\"size\":\"55.5 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\":\"MSC26-63-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:35:08\",\"precision\":\"\",\"size\":\"111.2 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":["[]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"sides one and two are duplicate\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556466937858,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7070","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman talking and reading and Adeena Karasick and Warren Tallman practicing for \"Duncan Letter\" on January 27, 1993"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena","Duncan, Robert","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Tallman, Warren","Karasick, Adeena","Duncan, Robert","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert \",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"Warren Tallman reads some poems from bp Nichol\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1993],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10518/Warren Tallman Fonds_MsC 26.42_64.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"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\":\"MSC26-64-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:37\",\"precision\":\"\",\"size\":\"54 MB\",\"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\":\"MSC26-64-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:00:16\",\"precision\":\"\",\"size\":\"66.4 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\":\"1993-01-27\",\"type\":\"Production Date\",\"notes\":\"We suppose [Adeena Karasick?] states the date at the beginning of side two. It seems she is reading the [Duncan letter?]\",\"source\":\"Recording\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"We are not sure if side one has any relevance to the practice for Duncan letter since he keeps talking about impressionism \",\"type\":\"General\"},{\"note\":\"Side one: Warren Tallman talking about impressionism and reading poems from BPNichol, and Side two: practice for Duncan Letter: Adeena Karasick and Warren Tallman [Selvie hotel room?] \",\"type\":\"General\"},{\"note\":\"We suppose that [Adeena Karasick?] is reading the \\\"Duncan letter\\\" on the second side; it is likely that this was recorded at Hotel Selby in Toronto, which Karasick mentions. In correspondence dated Dec. 20, 1989, Tallman describes that the Hotel Selby is \\\"just three doors down from Adeena's house\\\" and also contains paintings by bill bissett in the lobby. \\n\\nThe j-card label \\\"Duncan Letter\\\" is unclear: Robert Duncan passed away in 1988 so this is a posthumous paper and recording.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556466937859,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7071","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman'a lecture on dyslexia and Warren Tallman's lecture on Robert Creeley's dictionary at Naropa Institute on July 7, 1991"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Jonson, Ben","Ginsberg, Allen","Creeley, Robert"],"creator_names_search":["Tallman, Warren","Jonson, Ben","Ginsberg, Allen","Creeley, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/292789691\",\"name\":\"Jonson, Ben\",\"dates\":\"1572-1637\",\"notes\":\"Warren Tallman reads a poem from him on the second side\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"He asks Warren Tallman a question on the first side; on the second side also he introduces Warren Tallman saying that Naropa organization is modelled based on what Warren had set up in Vancouver in 1963, and introduces him as the father of this kind of situations and programs like \\\"New American Poetics\\\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"This program held in Robert Creeley seminar week, and Warren Tallman's lectures is about him\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1991],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10530/Warren Tallman Fonds_MsC 26.42_65.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\":\"MSC26-65-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:03\",\"precision\":\"\",\"size\":\"63.3 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\":\"MSC26-65-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:57\",\"precision\":\"\",\"size\":\"59.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1991-07-07\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/391232001\",\"venue\":\"Naropa Institute\",\"notes\":\"We assume that the \\\"New American Poetics\\\" program held in Naropa Institute since Allen and Warren refers to it as \\\"here\\\" in their speeches \",\"address\":\" 2130 Arapahoe Ave, Boulder, CO 80302, United States\",\"latitude\":\"40.01405\",\"longitude\":\"-105.26695\"}]"],"Address":[" 2130 Arapahoe Ave, Boulder, CO 80302, United States"],"Venue":["Naropa Institute"],"Note":["[{\"note\":\"Side two: Warren Tallman lecture on Robert Creeley dictionary at the summer writing program called \\\"New American Poetics\\\" at Naropa Institute in Boulder, CO on July 7, 1991\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556467986432,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7072","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman reading the \"Invitation\" for Robert Creeley in Vancouver on April 8, 1990"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Creeley, Robert","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Creeley, Robert","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"Warren Tallman reading \\\"The Invitation\\\" for Robert Creeley\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10531/Warren Tallman Fonds_MsC 26.42_66.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\":\"MSC26-66-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:46\",\"precision\":\"\",\"size\":\"53.5 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\":\"MSC26-66-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:24\",\"precision\":\"\",\"size\":\"55.8 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\":\"1990-04-02\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman mentions another date at 4:23 on the first side. As he says, this date is the date when he wrote \\\"Invitation\\\" for Robert Creeley\",\"source\":\"Recording\"},{\"date\":\"[1990?]-03-04\",\"type\":\"Production Date\",\"notes\":\"As Warren Tallman says at on the first side, he plays part of Adeena Karasick's presentation on March 4 at the English department of York University.\\nHe does not mention the date, but we assume it must've been in the same year when he recorded this tape  \",\"source\":\"Recording\"},{\"date\":\"1990-04-08\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman mentions the date at the beginning of side one saying that \\\"Today is Sunday morning, just about 10:46 am, April 8, 1990  \",\"source\":\"Recording and J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/15396822\",\"venue\":\"York University\",\"notes\":\"Adeena Karasick's presentation March 4 at the English department of York University \",\"address\":\"4700 Keele St, Toronto, ON M3J 1P3, Canada\",\"latitude\":\"43.7737\",\"longitude\":\"-79.5038\"},{\"url\":\"https://www.openstreetmap.org/way/298855107\",\"venue\":\"[Red Wallbarrow?]\",\"notes\":\"The Url we get for 88 East Pender Street, Vancouver, BC points to \\\"Vancouver Film School\\\". We are not sure, but the location where Warren Tallman named [Red Wallbarrow?] could be the current Vancouver Film School in 88 E Pender.\\nHere we put the latitude, longitude, and url of Vancouver Film School \",\"address\":\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]\",\"latitude\":\"49.28018\",\"longitude\":\"-123.10266\"}]"],"Address":["4700 Keele St, Toronto, ON M3J 1P3, Canada","109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]"],"Venue":["York University","[Red Wallbarrow?]"],"City":["Toronto, Ontario","Vancouver, British Columbia"],"Note":["[{\"note\":\"Version also exists in Adeena Karasick Fonds as \\\"\\\"Invitation\\\" Tape for Robert Creeley, April 8, 1990\\\" SWALLOW ID 7270\",\"type\":\"Related Version\"},{\"note\":\"As Warren Tallman says at the beginning of the first side, he named the location of recording \\\"109, 88 East Pender Street, Vancouver, BC\\\", Red Wallbarrow? after William Carlos Williams.\\n\\nThis invitation precedes the discussions and reading in honour of Robert Creeley at Western front in early June 1990, also among Tallman's recordings.\\n\\nThe Red Wallbarrow describes an apartment and office space Tallman rented during this period, located in Vancouver's Chinatown. Tallman's fonds contain a red plastic sign that bears this name.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556467986433,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7073","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's program notes recorded in Vancouver on March 4, 1989 for Marthe Larsen for an upcoming poetry reading "],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Larsen, Marthe","[Tallman?], Ellen","[Kennedy?], Sarah"],"creator_names_search":["Tallman, Warren","Larsen, Marthe","[Tallman?], Ellen","[Kennedy?], Sarah"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/37145970004632250469\",\"name\":\"Larsen, Marthe \",\"dates\":\"\",\"notes\":\"Warren Tallman is recording Marthe Larsen a preface for the poetry reading event that he has with her\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"[Tallman?], Ellen\",\"dates\":\"\",\"notes\":\"Ellen is one of the names mentioned by Warren Tallman in the beginning of this tape. We are not sure if she is Ellen Tallman, it's just our guess based on the info we get listening to this tape\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"[Kennedy?], Sarah\",\"dates\":\"\",\"notes\":\"on the first side, Warren Tallman reads the poem \\\"Still Life\\\" from Sarah's book named \\\"Even in Winter\\\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1989],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10532/Warren Tallman Fonds_MsC 26.42_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\":\"MSC26-67-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:24:49\",\"precision\":\"\",\"size\":\"35.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-67-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:25:02\",\"precision\":\"\",\"size\":\"33.9 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\":\"1989-03-04\",\"type\":\"Production Date\",\"notes\":\"This tape was recorded on March 4, 1989 for an poetry reading event on March 5\",\"source\":\"Recording\"},{\"date\":\"1989-03-05\",\"type\":\"Production Date\",\"notes\":\"The poetry reading event that Warren Tallman is recording this tape for is on March 5, 1989\",\"source\":\"J-card and Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, British Columbia, Canada \",\"latitude\":\" 49.2530\",\"longitude\":\"-123.1128\"}]"],"Address":["Vancouver, British Columbia, Canada "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"It seems Warren Tallman is recording this tape for someone for named \\\"Alison\\\"; this is the name he mentions in the beginning of side one  \\n\\nMarthe Larsen, who may have gone by Marthe Whitcomb at this time, was Ellen Tallman's best friend when the girls were in their early twenties and met at Mills College (CA). Marthe--who both Warren and Ellen celebrate in other recordings for her intellectual and artistic giftedness--would go on to marry poet Kenneth Rexroth (and later, be in a relationship with Robert Creeley). Like Ellen Tallman, Larsen would have been at the center of poetry circles in San Francisco including Black Mountain and Beat poets, as well as Bay Area anarchist groups.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556467986434,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7074","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman, introduced by Adeena Karasick, reading at UBC Faculty Club on January 21, 1989"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"She introduces Warren Tallman at the beginning of side one\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1989],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10546/Warren Tallman Fonds_MsC 26.42_68.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\":\"MSC26-68-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:35:49\",\"precision\":\"\",\"size\":\"109.1 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\":\"MSC26-68-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:24\",\"precision\":\"\",\"size\":\"53.3 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\":\"1989-01-21\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1424987\",\"venue\":\"University of British Columbia\",\"notes\":\"\",\"address\":\"6398 University Blvd, Vancouver, BC V6T 1Z4\",\"latitude\":\"49.2586\",\"longitude\":\"-123.2452\"}]"],"Address":["6398 University Blvd, Vancouver, BC V6T 1Z4"],"Venue":["University of British Columbia"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"The first 47 minutes of the first side in blank, and Adeena Karasick begins introducing Warren Tallman at 48:50.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556467986435,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7075","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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On the second side, Warren Tallman asks an unidentified speaker [possibly Robert Kroetsch as Victoria is mentioned] and talks about bpNichol and everything regarding the publication the other speaker had done in Open Letter about bp; this tape finishes with Adeena Karasick reading one of bp's poems called \\\"Manipulating Stairs\\\" \\n\\nKarasick began her MA at York University working with Frank Davey and eventually worked primarily with Barbara Godard to support her interests in feminism.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556469035009,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7079","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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Warren Tallman refers to one of the readers by her name, [Julia?] at 10:37.\\n\\nWarren Tallman held a temporary teaching appointment at SUNY Buffalo during the 1987-88 academic year, working alongside his good friend Robert Creeley, so these lectures would have been recorded during the classes he taught there.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556471132162,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7088","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's ENGL 312 lecture on John Keats on November 30, 1986 at UBC"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Keats, John","Tallman, Warren"],"creator_names_search":["Keats, John","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/66508882\",\"name\":\"Keats, John\",\"dates\":\"1795-1821\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11083/Warren Tallman Fonds_MsC 26.42_83.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\":\"J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-83-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:29:17\",\"precision\":\"\",\"size\":\"105 MB\",\"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\":\"MSC26-83-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T02:16:52\",\"precision\":\"\",\"size\":\"166 MB\",\"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\":\"1986-11-30\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Side one and two are duplicate. They have the exact same content. \",\"type\":\"General\"},{\"note\":\"We have no idea what H&D stands for on the j-card\",\"type\":\"General\"},{\"note\":\"Warren Tallman begins his lecture by introducing John Keats and telling some details about his life and death, and then he starts talking about Keats' vision and poems. He shares the \\\"Cupid and Psyche\\\" tale and reads Keats' poem named \\\"Ode to Psyche\\\". \\nWarren Tallman also talks more about Keats' death, his personality, and shares another poem named \\\"Ode To A Nightingale\\\" by him.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556471132163,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7089","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["William Shakespeare's in-text song performances and Warren Tallman's ENGL 312 lecture on Ezra Pound on October 6 in 1986 at UBC"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Shakespeare, William","Pound, Ezra","Williams, William Carlos"],"creator_names_search":["Tallman, Warren","Shakespeare, William","Pound, Ezra","Williams, William Carlos"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/96994048\",\"name\":\"Shakespeare, William\",\"dates\":\"1564-1616\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\" http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/29542054\",\"name\":\"Williams, William Carlos\",\"dates\":\"1883-1963\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11086/Warren Tallman Fonds_MsC 26.42_84.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\":\"J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-84-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:13\",\"precision\":\"\",\"size\":\"61.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-84-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:53\",\"precision\":\"\",\"size\":\"60.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1986-10-06\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Warren Tallman's lecture is mostly related to the poems \\\"Medallion\\\" by Ezra Pound and \\\"Nantucket\\\" by William Carlos Williams. He spends some time discussing and getting some ideas regarding the poems' similarities and differences. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556471132164,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7090","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's ENGL 205 lectures on Ben Jonson and William Shakespeare's poetry and on \"Medallion\" by Ezra Pound and \"Nantucket\" by William Carlos Williams on October 3, 1986 at UBC"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Shakespeare, William","Jonson, Ben","Williams, William Carlos"],"creator_names_search":["Tallman, Warren","Shakespeare, William","Jonson, Ben","Williams, William Carlos"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\" http://viaf.org/viaf/96994048\",\"name\":\"Shakespeare, William\",\"dates\":\"1564-1616\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/292789691\",\"name\":\"Jonson, Ben\",\"dates\":\"1572-1637\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/29542054\",\"name\":\"Williams, William Carlos\",\"dates\":\"1883-1963\",\"notes\":\"Warren Tallman's lecture is on \\\"Nantucket\\\" by William Carlos Williams\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11104/Warren Tallman Fonds_MsC 26.42_85.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\":\"J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-85-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:20\",\"precision\":\"\",\"size\":\"50.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-85-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:34\",\"precision\":\"\",\"size\":\"51.2 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\":\"1986-10-03\",\"type\":\"Production Date\",\"notes\":\"Following the covered classrooms' topics on sides one and two, it seems they are two different classrooms on two different days. We have no idea whether side one or two is recorded on October 3. \",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Warren Tallman's lecture specifically focuses on poetry, highlighting Ben Jonson's and William Shakespeare in examples from their poetry and play-writing; on the second side he also discusses \\\"Nantucket\\\" by William Carlos Williams and \\\"Medallion\\\" be Ezra Pound\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556471132165,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7091","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's ENGL 205 lecture on William and Dorothy Wordsworth's biography and Wordsworth's theory on November 12, 1986 at UBC"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Coleridge, Samuel Taylor","Wordsworth, William","Wordsworth, Dorothy"],"creator_names_search":["Tallman, Warren","Coleridge, Samuel Taylor","Wordsworth, William","Wordsworth, Dorothy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\" http://viaf.org/viaf/24599809\",\"name\":\"Coleridge, Samuel Taylor\",\"dates\":\"1772-1834\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/35723133\",\"name\":\"Wordsworth, William\",\"dates\":\"1770-1850\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/19695644\",\"name\":\"Wordsworth, Dorothy\",\"dates\":\"1771–1855\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11110/Warren Tallman Fonds_MsC 26.42_86.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\":\"J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-86-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:31:09\",\"precision\":\"\",\"size\":\"108 MB\",\"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\":\"MSC26-86-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:57\",\"precision\":\"\",\"size\":\"60.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1986-11-12\",\"type\":\"Production Date\",\"notes\":\"Following the covered classrooms' topics on sides one and two, it seems they are two different classrooms on two different days. We have no idea whether side one or two is recorded on November 12. \",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Note":["[{\"note\":\"Warren Tallman's lecture mostly focuses on the William and Dorothy Wordsworth's biography and their relationship with Samuel Taylor Coleridge. As the title states his lecture's main focus is on William Wordsworth's theory of nature and how it connects with his attitude toward language \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556471132166,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7093","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's ENGL 205 lecture on \"The concept of energy in poetry\" on October 1, 1986 at UBC"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Jonson, Ben","Pound, Ezra"],"creator_names_search":["Tallman, Warren","Jonson, Ben","Pound, Ezra"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/292789691\",\"name\":\"Jonson, Ben\",\"dates\":\"1572-1637\",\"notes\":\"Warren Tallman talks about him, his theories, and reads some of his poets \",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"Warren Tallman talks about him and his theories toward the concept of energy in poetry on the second side.\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11112/Warren Tallman Fonds_MsC 26.42_88.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\":\"J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-88-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:43\",\"precision\":\"\",\"size\":\"60.5 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\":\"MSC26-88-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:48\",\"precision\":\"\",\"size\":\"60.2 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\":\"1986-10-01\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"We are not sure if sides one and two belong to the same lecture since Warren Tallman states at the end of side one that his time is up. We are not sure if both sides were recorded on October 1\",\"type\":\"General\"},{\"note\":\"As Warren Tallman states at the beginning of the first side, the main focus of this lecture is the major modes by which intelligence and energy move in a poem, named vowel, consonant, primary, and [Junkser?] stress. He does some poetry reading from Ben Jonson giving examples to support each concept. \\nOn the second side, Warren Tallman focuses on concept on energy in poetry. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556472180737,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7094","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman reading his paper in Halifax on February 7, 1980"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren"],"creator_names_search":["Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1980],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11120/Warren Tallman Fonds_MsC 26.42_89.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\":\"J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-89-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:03:11\",\"precision\":\"\",\"size\":\"69.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-89-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:03:14\",\"precision\":\"\",\"size\":\"71.8 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\":\"1980-02-07\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/9092218\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Halifax, Halifax Regional Municipality, Halifax County, Nova Scotia, Canada\",\"latitude\":\"44.6477\",\"longitude\":\"-63.5858\"}]"],"Address":["Halifax, Halifax Regional Municipality, Halifax County, Nova Scotia, Canada"],"City":["Halifax, Nova Scotia"],"Note":["[{\"note\":\"Warren Tallman reads his paper that he first wrote for Robert Matthew 18 months before this event in Halifax (August 1978). As he states, he'd revised it to the day of event, and it's his second time reading it. He does not seem to be sure what to call his paper, but he indicates that he might call it  \\\"American in Canada\\\"\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556472180738,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7095","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. 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This j-card is unlabelled so tape was likely recorded during a class at UBC, though it could also be during his temporary appointment at SUNY Buffalo.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556472180739,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7096","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. 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We decided not to put the same date for the second side. \",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1424987\",\"venue\":\"UBC\",\"notes\":\"On the second side, Warren Tallman refers to UBC as \\\"here\\\", so it's likely that Warren Tallman's lecture is at UBC\",\"address\":\"6398 University Blvd, Vancouver, BC V6T 1Z4\",\"latitude\":\"49.2586\",\"longitude\":\"-123.2452\"}]"],"Address":["6398 University Blvd, Vancouver, BC V6T 1Z4"],"Venue":["UBC"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Warren Tallman's main focus in on John Donne, his poems, his love life, and his poetry life. Warren Tallman reads some of Donne's poems such as \\\"The Bait\\\" and \\\"Go and Catch a Falling Star\\\".\\nOn the second side though Warren Tallman talks about contemporary masterpieces and the libraries and art galleries where they are held. He also talks about the permission and copyright policies of poets' works, and at the end he begins talking about contemporary BC poet Sharon Thesen and her writing \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556472180740,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7097","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's ENGL 242 lecture on \"American poem\" (Day 3) at Buffalo – S.U.N.Y. 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(University at Buffalo)\",\"notes\":\"We assume Buffalo on the j-card refers to the University at Buffalo in New York. 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":["[{\"note\":\"This tape was recorded during the ENGL 242 class he taught well on a temporary appointment at SUNY Buffalo. It's likely \\\"Day 3\\\" of the course, given this note on the j-card. Warren Tallman focuses on American poetry and the assignment that he wants students to do. He tries to clarify what exactly he'd like students to do. Meanwhile, he talks a bit about Emily Dickinson and William Carlos Williams.\\nIt seems students are supposed to write on poems that have some images. Students are supposed to write about what those images might possibly tell them and about the poems\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556472180741,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7098","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. 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University on January 20, 1987"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Dickinson, Emily","Whitman, Walt"],"creator_names_search":["Tallman, Warren","Dickinson, Emily","Whitman, Walt"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/31995584\",\"name\":\"Dickinson, Emily\",\"dates\":\"1830-1886\",\"notes\":\"Warren Tallman talks about Emily and her poetry on the second side\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/2478331\",\"name\":\"Whitman, Walt\",\"dates\":\"1819-1892\",\"notes\":\"Warren Tallman talks about Emily and Wall and their poetry elements on the first side\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1987],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11143/Warren Tallman Fonds_MsC 26.42_93.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"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\":\"MSC26-93-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:31\",\"precision\":\"\",\"size\":\"50.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-93-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:30\",\"precision\":\"\",\"size\":\"50.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1987-01-20\",\"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\":\"We assume Buffalo on the j-card refers to the University at Buffalo in New York. 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":["[{\"note\":\"On the first side, Warren Tallman's lecture mainly focuses on pre-modern and modern ear of American English literature language and its vocabularies. Meanwhile, he begins talking about Emily Dickinson and Walt Whitman and their poetry elements such as tone, syllabus; he continues on the second side talking about poets' primary stress, vowel, and consonant stress.\\n\\nWarren Tallman held a temporary teaching appointment at SUNY Buffalo during the 1987-88 academic year, working alongside his good friend Robert Creeley, so these lectures would have been recorded during the classes he taught there.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556472180742,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7099","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Students reading poetry in Warren Tallman's poetry class (1975-1976, likely at UBC)"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren"],"creator_names_search":["Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"He talks a bit at the end of the second side although due to poor sound quality his voice is not audible \",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11147/Warren Tallman Fonds_MsC 26.42_94.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\":\"MSC26-94-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:57\",\"precision\":\"\",\"size\":\"59.7 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\":\"MSC26-94-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:57\",\"precision\":\"\",\"size\":\"59 MB\",\"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":["[]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Unknown students reading poetry in Warren Tallman's classroom\",\"type\":\"General\"},{\"note\":\"J-card label reads \\\"Poetry Class 75-76\\\" which suggests this class was held in either 1975 or 1976.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556473229312,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7100","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's ENGL 205 lecture on mother language and literary language history in pre- and post-modern era on October 15, 1986"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"Her name is written on the j-card as someone who is present. We did not hear her though \",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11148/Warren Tallman Fonds_MsC 26.42_95.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\":\"MSC26-95-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:24:59\",\"precision\":\"\",\"size\":\"101 MB\",\"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\":\"MSC26-95-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:58\",\"precision\":\"\",\"size\":\"59.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1986-10-15\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"University of British Columbia\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Venue":["University of British Columbia"],"Note":["[{\"note\":\"Recorded lecture from Tallman's ENGL 205 class at UBC on October 15, 1986. Tallman notes on the j-card \\\"Adeena there,\\\" which indicates his student Adeena Karasick was present (and possibly participated in the recorded discussion).\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556473229313,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7101","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Speeches recorded on May 25, 1989 at Betty Ford Clinic during the last day Warren Tallman received treatment there\n"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren"],"creator_names_search":["Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1989],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11198/Warren Tallman Fonds_MsC 26.42_96.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"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\":\"MSC26-96-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:00\",\"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\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-96-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:03\",\"precision\":\"\",\"size\":\"50.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"Side two is blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1989-05-25\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"These speeches were recorded by others in treatment with Warren Tallman during his twenty eight day treatment for alcoholism the Betty Ford Clinic [in California]. Mentioned are the personal connections Tallman formed with each speaker and his help and assistance to him during this period. Speakers are anonymous and this recording should be handled with sensitivity and discretion. \",\"type\":\"General\"},{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556473229314,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7102","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's lecture on a variety of poets, including TISH poets and their poetry styles"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Duncan, Robert","Ginsberg, Allen","Creeley, Robert","Davey, Frank","Olson, Charles","Blaser, Robin","Bissett, Bill","Marlatt, Daphne"],"creator_names_search":["Tallman, Warren","Duncan, Robert","Ginsberg, Allen","Creeley, Robert","Davey, Frank","Olson, Charles","Blaser, Robin","Bissett, Bill","Marlatt, Daphne"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\" http://viaf.org/viaf/105142281\",\"name\":\"Duncan, Robert\",\"dates\":\"1919-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\" http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/5029235\",\"name\":\"Davey, Frank\",\"dates\":\"1940-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\", 1910-1970\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11199/Warren Tallman Fonds_MsC 26.42_97.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 and a sticky note saying Tallman lecture\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-97-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:00:24\",\"precision\":\"\",\"size\":\"76.2 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\":\"MSC26-97-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:00:31\",\"precision\":\"\",\"size\":\"76.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Warren Tallman talks about different poets, their poems and poetry styles. He mentions the names of different poets besides TISH poets trying to provide his students with some knowledge about them and their poetry. We just entered the poets whose names were repeated quite a number of times.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556473229315,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7103","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Tootsie, Warren Tallman's mother, interviewed by her son on September 11, 1982 and Daphne Marlatt talking and reading poems from \"Steveston\" in Tallman's poetry class at UBC on March 19, 1980"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Marlatt, Daphne","Tallman, Warren","Minden, Robert","Shepard, Dorothy"],"creator_names_search":["Marlatt, Daphne","Tallman, Warren","Minden, Robert","Shepard, Dorothy"],"creators":["[{\"url\":\"http://viaf.org/viaf/92127388\",\"name\":\"Marlatt, Daphne\",\"dates\":\"1942-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Interviewer\"]},{\"url\":\"\",\"name\":\"Minden, Robert \",\"dates\":\"\",\"notes\":\"He is the photographer whom Daphne Marlatt had a collaboration for her book called \\\"Steveston\\\". She talks about this collaboration on the second side\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"\",\"name\":\"Shepard, Dorothy\",\"dates\":\"1896-19?\",\"notes\":\"Warren Tallman's mother Tootsie\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1980],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11200/Warren Tallman Fonds_MsC 26.42_98.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"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\":\"MSC26-98-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:03:05\",\"precision\":\"\",\"size\":\"67.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-98-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:03:16\",\"precision\":\"\",\"size\":\"67.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1980-03-19\",\"type\":\"Production Date\",\"notes\":\"This date refers to Warren Tallman poetry class at UBC\",\"source\":\"J-card\"},{\"date\":\"11-09-1982\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1424987\",\"venue\":\"University of British Columbia\",\"notes\":\"Warren Tallman poetry class at UBC\",\"address\":\"6398 University Blvd, Vancouver, BC V6T 1Z4\",\"latitude\":\"49.2586\",\"longitude\":\"-123.2452\"},{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"[Olympia, WA, USA?]\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["6398 University Blvd, Vancouver, BC V6T 1Z4","[Olympia, WA, USA?]"],"Venue":["University of British Columbia"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"The quality improves on the second side. On Side A, the recording is clearer after the first two minutes.\",\"type\":\"General\"},{\"note\":\"On the first side, Warren Tallman interviews his mother, who goes by Tootsie. Tootsie's birth name was Dorothy Shepard and she was born in St. Joseph, MI (37:55). Tallman notes on tape that Tootsie was born in 1896 (5:29), her father was Arthur Shepard (1:00), her mother's last name was Jocelyn (1:19), and both parents \\\"died so young\\\" (1:47). Tootsie was raised by an Aunt Alice who was born in Fredonia, NY (4:21). Their conversation implies that Tootsie grew up in Niles, MI (37:51).\\n\\nThe interview's location is not given but it is likely taking place at Tootsie's home in Olympia (her dog, Jenny, is present). She may have been living with Tallman's sister Jean and Jean's husband David at the time. Though Warren is eager for Tootsie to  talk about her family she repeatedly refuses (and initially cites an earlier recording by Warren where \\\"we went through all this already on your tape recorder.\\\" They briefly discuss other U.S. cities, David Copperfield, Voltaire, a 1978 Disraeli TV mini series, history and politics from Reagan and Jefferson as well as pets, kitchens, and earrings. The interview finishes at 55:50 and abruptly cuts into  a few minutes of a recorded class or group conversation led by Robin Blaser, discussing the relation of language to reality and how this is managed by unnamed English department colleagues and other literary scholars. \\n\\nOn the second side, Daphne Marlatt talks about her book Steveston and her collaboration with Robert Minden.\\n\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556473229316,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7104","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman interviewed by Roy Miki in Vancouver on February 28, 1983 Session 2 Tape 7"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Miki, Roy"],"creator_names_search":["Tallman, Warren","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\",\"Recordist\"]}]"],"contributors":["[]"],"Production_Date":[1983],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11212/Warren Tallman Fonds_MsC 26.42_100.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\":\"MSC26-100-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:16:45\",\"precision\":\"\",\"size\":\"18.1 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\":\"MSC26-100-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:33:40\",\"precision\":\"\",\"size\":\"36.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1983-02-28\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\" 49.2530\",\"longitude\":\"-123.1128\"}]"],"Address":["Vancouver, BC, Canada"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Side one and the first 15 minutes of the second side are duplicate. The first side on tape one finishes while Roy Miki is talking and we assume that Warren Tallman interview tape three side two begins 17:43 on the second side. There is some blank parts between side one and two of tape one\",\"type\":\"General\"},{\"note\":\"Warren Tallman interview mostly focuses on the power of women in the literary world. Basically, he talks about feminine in literature in San Francisco and Seattle. He talks about the role of women and poets named [Ellen King?], [Martha Larsen?], Henry James, and [Laurence?]\",\"type\":\"General\"},{\"note\":\"Warren Tallman keeps talking about Ellen King and [Martha?] and the period when feminine moved in the literary circle and became the power \",\"type\":\"General\"},{\"note\":\"This tape is the third tape that Roy Miki is recording in the second session of his series of interview with Warren Tallman. \",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556474277888,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7105","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman interviewed by Roy Miki in Vancouver on February 28, 1983 Session 2 Tape 5"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Williams, William Carlos","Emerson, Ralph Waldo","Whitman, Walt","Dickinson, Emily","Miki, Roy"],"creator_names_search":["Tallman, Warren","Williams, William Carlos","Emerson, Ralph Waldo","Whitman, Walt","Dickinson, Emily","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/29542054\",\"name\":\"Williams, William Carlos\",\"dates\":\"1883-1963\",\"notes\":\"Roy Miki's thesis is somehow based on William Carlos Williams, he keeps talking about it all through his interview with Warren Tallman\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/27079964\",\"name\":\"Emerson, Ralph Waldo\",\"dates\":\"1803-1882\",\"notes\":\"On the second side of tape one, Warren Tallman keeps talking about Emerson, Emily, and Whitman and their impressive impact on the literary world\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/2478331\",\"name\":\"Whitman, Walt\",\"dates\":\"1819-1892.\",\"notes\":\"On the second side of tape one, Warren Tallman keeps talking about Emerson, Emily, and Whitman and their impressive impact on the literary world\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/31995584\",\"name\":\"Dickinson, Emily\",\"dates\":\"1830-1886\",\"notes\":\"On the second side of tape one, Warren Tallman keeps talking about Emerson, Emily, and Whitman and their impressive impact on the literary world\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\",\"Recordist\",\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1983],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11213/Warren Tallman Fonds_MsC 26.42_101.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\":\"MSC26-101-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:29\",\"precision\":\"\",\"size\":\"34.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-101-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:05:00\",\"precision\":\"\",\"size\":\"70.3 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\":\"1983-02-28\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\" 49.2530\",\"longitude\":\"-123.1128\"}]"],"Address":["Vancouver, BC, Canada"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Side one and the first 32 minutes of the second side are duplicate. The first side on tape one finishes while Roy Miki is talking and then Warren Tallman interview tape one side two begins 33:45 on the second side. There is some blank parts between side one and two of tape one\",\"type\":\"General\"},{\"note\":\"Tape one, Side two: Warren Tallman mostly focuses on Walt Whitman, Emily Dickinson, and Ralph Waldo Emerson and how their impressive literary works were off the flow and beat back then in their time, and how their works distinguish them from the British literal world \",\"type\":\"General\"},{\"note\":\"Tape one, Side one: Warren Tallman and Roy Miki mostly focus on Roy Miki's thesis on William Carlos Williams, and phone call he received regarding its publication; meanwhile he also talks about how he wrote his dissertation. He finally got to share the story how the briefcase that he had his notes and dissertation in got stolen\",\"type\":\"General\"},{\"note\":\"Following what we hear in the beginning of sides one and two, this tape is the first tape that Roy Miki is recording in the second session of his series of interview with Warren Tallman. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556474277889,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7059","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman poetry reading class at Buffalo – S.U.N.Y. University on March 28, 1987 - DUPLICATE 1 of 3"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1987],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/10318/Warren Tallman Fonds_MsC 26.42_52.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"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\":\"MSC26-52-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:10\",\"precision\":\"\",\"size\":\"59.5 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\":\"MSC26-52-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:15\",\"precision\":\"\",\"size\":\"60.9 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\":\"1987-03-28\",\"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\":\"We assume, Buffalo on the j-card refers to the University at Buffalo in New York. 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":["[{\"note\":\"Tapes #52 (Swallow ID 7059), #82 (Swallow ID 7087), and #105 (Swallow ID 7109) are duplicates. It is a poetry reading  happening at Buffalo – S.U.N.Y. (University at Buffalo) where Warren Tallman and some other authors, whose names are not mentioned, are reading poetry. Some readers mention the poems' titles  on the recording. Warren Tallman refers to one of the readers by her name, [Julia?] at 10:37 \\n\\nWarren Tallman held a temporary teaching appointment at SUNY Buffalo for the academic year 1987-1988, working alongside his good friend Robert Creeley.  (Creeley was faculty at SUNY Buffalo from 1966-2003 and Tallman visited him several times, though this was his only teaching appointment there).\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556475326467,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7106","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman interviewed by Roy Miki in Vancouver on February 21, 1983 Session 1 Tape 4"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Miki, Roy"],"creator_names_search":["Tallman, Warren","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\",\"Recordist\",\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1983],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11222/Warren Tallman Fonds_MsC 26.42_102.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\":\"MSC26-102-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:52\",\"precision\":\"\",\"size\":\"41.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-102-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:11\",\"precision\":\"\",\"size\":\"42.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1983-02-21\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\" 49.2530\",\"longitude\":\"-123.1128\"}]"],"Address":["Vancouver, BC, Canada"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"On the first side, Warren Tallman talks about his life focusing on his undergraduate life, his first and second marriage. He also talks about Ellen King (his second wife), how they met and got married. \\nOn the second side, his main focus is mostly on the authors and to some extent the poets whom were taught when Warren was a university student; and who he was interested in. He also explained about his PHD life, his thesis, and what his wife was doing and how she lost her interest in writing during this time. He also talked about his life in Vancouver and how he got his job at UBC   \",\"type\":\"General\"},{\"note\":\"This tape must be the third tape that Roy Miki is recording in the first session of his series of interview with Warren Tallman. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556475326468,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7111","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. 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On the second side, we get to hear some music performances, likely at the same event, including singalongs of songs like \\\"Frère Jacques.\\\"\\n\\nAt 18:04 on Side B, there is some discussion recorded.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556476375041,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7116","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Adeena Karasick reading  and sharing her experience of departure from Frankfurt Flughafen airport in November, 1991"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Karasick, Adeena","Tallman, Warren"],"creator_names_search":["Karasick, Adeena","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"This tape belongs to Warren Tallman collection, so put his name as one of the creators. Warren Tallman is not heard on this tape\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1991],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11345/Warren Tallman Fonds_MsC 26.42_114.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-114-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T0:47:03\",\"precision\":\"\",\"size\":\"61 MB\",\"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\":\"MSC26-114-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:43\",\"precision\":\"\",\"size\":\"61.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1991-11\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/30221936#map=15/50.0529/8.5699\",\"venue\":\"Frankfurt Flughafen\",\"notes\":\"\",\"address\":\"Frankfurt am Main Airport Long distance trains, Am Flughafen, Flughafen, Süd, Frankfurt, Hesse, 60549, Germany\",\"latitude\":\"50.0530\",\"longitude\":\"8.5699\"}]"],"Address":["Frankfurt am Main Airport Long distance trains, Am Flughafen, Flughafen, Süd, Frankfurt, Hesse, 60549, Germany"],"Venue":["Frankfurt Flughafen"],"Note":["[{\"note\":\"Adeena Karasick reads in German\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556476375042,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7117","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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What is recorded on side one of tape #115 is a duplicate of the recording on side two of tape #116, and the same applies in the opposite direction.\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670556476375044,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7119","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Adeena Karasick reading \"Manipulating Stairs\" at Cranbrook on November 11, Warren Tallman reading \"Claw\" at Bowering's on October 15, and Adeena Karasick and bpNichol  reading at Langara college on June 1, 1988 DUPLICATE 1 OF 2"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Karasick, Adeena","Nichol, bp (Barrie Phillip)","Tallman, Warren"],"creator_names_search":["Karasick, Adeena","Nichol, bp (Barrie Phillip)","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"On the first side, Adeena Karasick reading \\\"Manipulating Stairs\\\" in Cranbrook at 1:46, and she is reconstructing Bill Bissett Phonetic A B C with various words \",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"Warren Tallman reading a piece named \\\"Claw\\\" that he'd written for bp Nichol at Bowering's. It seems Warren recorded this part for [Adeena Karasick?] \",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1988],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11349/Warren Tallman Fonds_MsC 26.42_117.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\":\"MSC26-117-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:38\",\"precision\":\"\",\"size\":\"53.3 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\":\"MSC26-117-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:40\",\"precision\":\"\",\"size\":\"55 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\":\"1988-11-09\",\"type\":\"Production Date\",\"notes\":\"Adeena reading \\\"Manipulating Stairs\\\" in Cranbrook \",\"source\":\"Recording\"},{\"date\":\"1988-06-01\",\"type\":\"Production Date\",\"notes\":\"Adeena Karasick reconstructing Bill Bissett Phonetic A B C with various words they spell from London, Ontario \",\"source\":\"Recording\"},{\"date\":\"1988-10-15\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman reading a piece named \\\"Claw\\\" that he'd written for bp Nichol at Bowering's \",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Bowering's house\",\"notes\":\"Warren Tallman reading \\\"Claw\\\" on October 15th, 1988.\\nWarren Tallman mentions Bowering's house location at 14:20 on the first side\\n\",\"address\":\"[2499- Western E 7th?]\",\"latitude\":\"\",\"longitude\":\"\"},{\"url\":\"https://www.openstreetmap.org/way/23393992\",\"venue\":\"Langara College Theater \",\"notes\":\"Colin Browne reading Fred Wah \\\"Music at the Heart of Thinking\\\" at Langara College Theater on June 1; Adeena Karasick reconstructing Bill Bissett Phonetic A B C with various words they spell from London, Ontario \",\"address\":\"College Langara College, 100, West 49th Avenue, Oakridge, Vancouver, Metro Vancouver Regional District, British Columbia, V5Y 2Z6, Canada\",\"latitude\":\"49.22484\",\"longitude\":\"-123.10867\"},{\"url\":\"https://www.openstreetmap.org/node/51969524\",\"venue\":\"\",\"notes\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" on November 9th in Cranbrook\",\"address\":\"Cranbrook, Regional District of East Kootenay, British Columbia, V1C 2N0, Canada\",\"latitude\":\"49.5118\",\"longitude\":\"-115.7671\"}]"],"Address":["[2499- Western E 7th?]","College Langara College, 100, West 49th Avenue, Oakridge, Vancouver, Metro Vancouver Regional District, British Columbia, V5Y 2Z6, Canada","Cranbrook, Regional District of East Kootenay, British Columbia, V1C 2N0, Canada"],"Venue":["Bowering's house","Langara College Theater "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"This tape is relevant to tapes #58 and #119. We found the dates on tape #58. They are relevant tapes since both have almost the same content \",\"type\":\"Related Version\"},{\"note\":\"The quality of the tape is poor but still audible \",\"type\":\"General\"},{\"note\":\"also almost duplicate/DUPLICATE with tape #58 SWALLOW ID 7064\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670556476375045,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7120","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman and Adeena Karasick talking about bpNichol after his death on Vancouver Co-op Radio in October 1988 DUPLICATE 1 OF 2 and radio interviews"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena","Kerr, Sandra","Bailey, Roy","Wilson, Sheri-D","Harris, Richard Colebrook","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Tallman, Warren","Karasick, Adeena","Kerr, Sandra","Bailey, Roy","Wilson, Sheri-D","Harris, Richard Colebrook","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/62851955\",\"name\":\"Kerr, Sandra \",\"dates\":\"1942-\",\"notes\":\"On the second side, she performs a song from the collection names \\\"My Song is My Own\\\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/70503528\",\"name\":\"Bailey, Roy \",\"dates\":\"1935-2018\",\"notes\":\"He sings Rainforest Falls from Freedom Peacefully album on side two\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/6636281\",\"name\":\"Wilson, Sheri-D\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/118869390\",\"name\":\"Harris, Richard Colebrook\",\"dates\":\"1936-2022\",\"notes\":\"Better known as Cole Harris, a Canadian geographer and university professor, talks on side two.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1988],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11350/Warren Tallman Fonds_MsC 26.42_118.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-118-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:43\",\"precision\":\"\",\"size\":\"65.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-118-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:48\",\"precision\":\"\",\"size\":\"71 MB\",\"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\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/7802936235\",\"venue\":\"Vancouver Co-op Radio CFRO 100.5 FM\",\"notes\":\"\",\"address\":\"370 Columbia St, Vancouver, BC V6A 4J1\",\"latitude\":\"49.28181\",\"longitude\":\"-123.10203\"}]"],"Address":["370 Columbia St, Vancouver, BC V6A 4J1"],"Venue":["Vancouver Co-op Radio CFRO 100.5 FM"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Tape 202 is a duplicate of the part when Warren Tallman and Adeena Karasick interview with Co-op Radio\",\"type\":\"General\"},{\"note\":\"The first ten minutes of the first side Vancouver Co-op Radio hosts have a conversation with Adeena Karasick and Warren Tallman regarding BP Nichol death and his poetry life. Afterwards, the hosts switch the topic to if people should work and ask people to talk and express their opinions about the raised question. We get to hear some anonymous people's voices sharing their thoughts. \\nOn the second side though, the topic mostly focuses on the number of women who had been murdered, and concerns such as lack of safety, equality for people of color, prostitutes and dancers, and the protests happening back then then. \\nWe get to hear a radio host talks to a historical geographer from UBC talking about the historical geography of BC. \\nIn the last part of radio program, we hear the host talking to two guest discussing their opinion about a movie named \\\"Wedding in Galilee\\\"\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556477423616,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7121","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Adeena Karasick reading \"Manipulating Stairs\" in Cranbrook, BC on November 11, Warren Tallman reading \"Claw\" at Bowering's on October 15, and Adeena Karasick and bpNichol  reading at Langara college on June 1, 1988 DUPLICATE 2 OF 2"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Karasick, Adeena","Tallman, Warren","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Karasick, Adeena","Tallman, Warren","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"On the first side, Adeena Karasick reading \\\"Manipulating Stairs\\\" in Cranbrook at 1:46, and she is reconstructing Bill Bissett Phonetic A B C with various words \",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"bpNichol also reads some of his poems on June 1st at Langara College Theater\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1988],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11356/Warren Tallman Fonds_MsC 26.42_119.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\":\"MSC26-119-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:14\",\"precision\":\"\",\"size\":\"51.5 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\":\"MSC26-119-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:10\",\"precision\":\"\",\"size\":\"53.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1988-11-09\",\"type\":\"Production Date\",\"notes\":\"Adeena reading \\\"Manipulating Stairs\\\" in Cranbrook \",\"source\":\"Recording\"},{\"date\":\"1988-10-15\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman reading a piece named \\\"Claw\\\" that he'd written for bp Nichol at Bowering's \",\"source\":\"Recording\"},{\"date\":\"1988-06-01\",\"type\":\"Production Date\",\"notes\":\"bpNichol reading poetry at Langara College\",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Bowering's house\",\"notes\":\"Warren Tallman reading \\\"Claw\\\" on October 15th, 1988.\\nWarren Tallman mentions Bowering's house location at 14:20 on the first side\\n\",\"address\":\"[2499- Western E 7th?]\",\"latitude\":\"\",\"longitude\":\"\"},{\"url\":\"https://www.openstreetmap.org/node/51969524\",\"venue\":\"\",\"notes\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" on November 9th in Cranbrook\",\"address\":\"Cranbrook, Regional District of East Kootenay, British Columbia, V1C 2N0, Canada\",\"latitude\":\"49.5118\",\"longitude\":\"-115.7671\"},{\"url\":\"https://www.openstreetmap.org/way/23393992\",\"venue\":\"Langara College Theater \",\"notes\":\"bpNichol and Adeena Karasick reading at Langara College Theater on June 1\",\"address\":\"College Langara College, 100, West 49th Avenue, Oakridge, Vancouver, Metro Vancouver Regional District, British Columbia, V5Y 2Z6, Canada\",\"latitude\":\"49.22484\",\"longitude\":\"-123.10867\"}]"],"Address":["[2499- Western E 7th?]","Cranbrook, Regional District of East Kootenay, British Columbia, V1C 2N0, Canada","College Langara College, 100, West 49th Avenue, Oakridge, Vancouver, Metro Vancouver Regional District, British Columbia, V5Y 2Z6, Canada"],"Venue":["Bowering's house","Langara College Theater "],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"We found the dates on tape #58. They are relevant tapes since both have more or less the same content \",\"type\":\"Related Version\"},{\"note\":\"also almost duplicate/DUPLICATE with tape #58 SWALLOW ID 7064\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670556477423617,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7122","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Adeena Karasick reading “Intertextile, Text in Exile\"; and the repeat of her bpNichol paper that she'd read at York University grad colloquium on March 2, 1990 DUPLICATE 4 OF 4"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Karasick, Adeena","Damon, Maria","Tallman, Warren","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Karasick, Adeena","Damon, Maria","Tallman, Warren","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/43496891\",\"name\":\"Damon, Maria\",\"dates\":\"1955-\",\"notes\":\"Adeena Karasick had a collaboration with Maria Damon working on “Intertextile, Text in Exile: Shmata Mash-up: A Jewette for Two Voices”\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"Adeena Karasick reads for Warren Tallman and bp\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"Adeena Karasick reads for Warren Tallman and bp\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1989],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11357/Warren Tallman Fonds_MsC 26.42_120.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\":\"MSC26-120-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:24\",\"precision\":\"\",\"size\":\"52.2 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\":\"MSC26-120-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:25\",\"precision\":\"\",\"size\":\"53.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1989-12\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/4958306\",\"venue\":\"Sherbourne Street\",\"notes\":\"We could find the exact location; as it's written on the j-card, we assume it could be Sherbourne Street in Old Toronto \",\"address\":\"Sherbourne Street, Toronto Centre, Old Toronto, Toronto, Golden Horseshoe, Ontario, M4X 1W4, Canada\",\"latitude\":\"43.67198\",\"longitude\":\"-79.37671\"}]"],"Address":["Sherbourne Street, Toronto Centre, Old Toronto, Toronto, Golden Horseshoe, Ontario, M4X 1W4, Canada"],"Venue":["Sherbourne Street"],"City":["Toronto, Ontario"],"Note":["[{\"note\":\"The content of this tape is duplicate of the content on tapes #141, #129, and #128\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556477423618,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7123","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Re-recordings from two albums by the Dial-A-Poem Poets, Totally Corrupt (1976) and Sugar, Alcohol & Meat (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":["Sanders, Ed","Bukowski, Charles","Waldman, Anne","Baraka, Amiri","Higgins, Erica","Kesey, Ken","Mac Low, Jackson","Amirkhanian, Charles","Barg, Barbara","Sublette, Ned","Acker, Kathy","McCaffery, Steve","Olson, Charles","Weatherly, Tom","Merwin, W. S.","Owen, Maureen","Rothenburg, Jerome","Orlovsky, Peter","Bukowski, Charles","Burroughs, William Seward","Plath, Sylvia","Giorno, John","McLure, Michael","McLure, Michael"],"creator_names_search":["Sanders, Ed","Bukowski, Charles","Waldman, Anne","Baraka, Amiri","Higgins, Erica","Kesey, Ken","Mac Low, Jackson","Amirkhanian, Charles","Barg, Barbara","Sublette, Ned","Acker, Kathy","McCaffery, Steve","Olson, Charles","Weatherly, Tom","Merwin, W. S.","Owen, Maureen","Rothenburg, Jerome","Orlovsky, Peter","Bukowski, Charles","Burroughs, William Seward","Plath, Sylvia","Giorno, John","McLure, Michael","McLure, Michael"],"creators":["[{\"url\":\"http://viaf.org/viaf/22183708\",\"name\":\"Sanders, Ed \",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/64002815\",\"name\":\"Bukowski, Charles\",\"dates\":\"1920-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/84079610\",\"name\":\"Waldman, Anne \",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/39371896\",\"name\":\"Baraka, Amiri \",\"dates\":\"1934-2014\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Higgins, Erica\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Kesey, Ken\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/80245668\",\"name\":\"Mac Low, Jackson \",\"dates\":\"1922-2004\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/7489149108420668780004\",\"name\":\"Amirkhanian, Charles\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Barg, Barbara\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Sublette, Ned\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Acker, Kathy\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/38243\",\"name\":\"McCaffery, Steve\",\"dates\":\"1947-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles \",\"dates\":\"1910-1970\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Weatherly, Tom\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/110923132\",\"name\":\"Merwin, W. 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The tape's adhesive label could indicate Kedrick James is the recorder. Sides A and B represent a true mix tape in that few of the tracks or poets appear as they are arranged on the actual LPs; the re-recorder also works back and forth across both albums. Side A contains performances by Ed Sanders, Charles Bukowski, Anne Waldman, Amiri Baraka, Erica Higgins, Ken Kesey, Jackson Mac Low, Charles Amirkhanian, Barbara Barg, Ned Sublette, Kathy Acker, Steve McCaffery, and Gary Snyder, ending at 47:13. \\n\\nSide B includes readings by Tom Weatherly, Charles Olson, W.S. Merwin, Maureen Owen, Jerome Rothenburg, Peter Orlovsky, Charles Bukowski, Ed Dorn, William S. Burroughs, Sylvia Plath, John Giorno, and Michael McLure and ends at 47:34. \\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556478472192,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7124","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Adeena Karasick's practice tape from East Pender Street on October 13, 1989, in preparation for poetry event at the Vancouver Art Gallery on October 14"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Performer\"]}]"],"contributors":["[]"],"Production_Date":[1989],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11359/Warren Tallman Fonds_MsC 26.42_122.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\":\"MSC26-122-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:52\",\"precision\":\"\",\"size\":\"41.4 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\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-122-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:51\",\"precision\":\"\",\"size\":\"41 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\":\"1989-10-13\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Adeena Karasick is practicing poetry reading with the presence of Warren Tallman at East Pender Street a day before her poetry reading event at Vancouver Art Gallery on October 14, 1989.\\n\\nThis recording may have taken place at Tallman's apartment / office at 88 E. Pender Street in Vancouver's Chinatown, which he called \\\"Red Wallbarrow.\\\"\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556478472193,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7125","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Adeena Karasick's bpNichol Tribute in Vancouver, January, 1989  "],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Karasick, Adeena","Tallman, Warren","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Karasick, Adeena","Tallman, Warren","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1989],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11360/Warren Tallman Fonds_MsC 26.42_123.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\":\"MSC26-123-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00.24:59\",\"precision\":\"\",\"size\":\"27.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-123-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:25:00\",\"precision\":\"\",\"size\":\"27.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1989-01\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, Metro Vancouver Regional District, British Columbia, Canada\",\"latitude\":\"49.2609\",\"longitude\":\"-123.1135\"}]"],"Address":["Vancouver, Metro Vancouver Regional District, British Columbia, Canada"],"City":["Vancouver, British Columbia"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670556478472194,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7126","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Adeena Karasick and Warren Tallman's conversation and interview at Royal Scott Hotel, Victoria on May 20 and 23, 1990"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11361/Warren Tallman Fonds_MsC 26.42_125.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\":\"MSC26-125-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00.47:27\",\"precision\":\"\",\"size\":\"49.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-125-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:24\",\"precision\":\"\",\"size\":\"50.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-05-20\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"},{\"date\":\"1990-05-23\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/136795954#map=19/48.42013/-123.37309\",\"venue\":\"[Royal Scot Hotel & Suites?]\",\"notes\":\"We are not sure if Royal Scot on the j-card refers to the location; it's just our assumption \",\"address\":\"Hotel Royal Scot Hotel & Suites, 425, Quebec Street, James Bay, Victoria, Capital Regional District, British Columbia, V8V 1X3, Canada\",\"latitude\":\"48.42006\",\"longitude\":\"-123.37313\"}]"],"Address":["Hotel Royal Scot Hotel & Suites, 425, Quebec Street, James Bay, Victoria, Capital Regional District, British Columbia, V8V 1X3, Canada"],"Venue":["[Royal Scot Hotel & Suites?]"],"City":["Quebec City, British Columbia"],"Note":["[{\"note\":\"Adeena Karasick and Warren Tallman talk about Adeena's editing job, the impact of academia on it, the linear women poet, and many other topics. They also discuss if knowing the biography of authors matters when it comes to having a reflection on their written work.\\n\\nAdeena accompanied Tallman to Victoria as he developed his essays for In the Midst, published by Talonbooks in 1992. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556478472195,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7127","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's Birthday Collage for Adeena's at Red Wallbarrow on June 7, 1990 with Tallman reading his Robert Creeley introduction for her birthday at The Western Front on June 1, 1990 "],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena","Creeley, Robert","Miki, Roy"],"creator_names_search":["Tallman, Warren","Karasick, Adeena","Creeley, Robert","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"Warren Tallman is recording this tape on the occasion of her birthday \",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"Warren Tallman reads his introduction for Robert Creeley at The Western Front\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"Roy Miki introduce Warren Tallman in the beginning of this event at The Western Front\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11363/Warren Tallman Fonds_MsC 26.42_126.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\":\"MSC26-126-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:37\",\"precision\":\"\",\"size\":\"65.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-126-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:42\",\"precision\":\"\",\"size\":\"60.3 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\":\"1990-06-07\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman states this date in the beginning of the first side.\",\"source\":\"Recording\"},{\"date\":\"1990-06-01\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman is reading his \\\"Robert Creeley introduction\\\" as Western Front birthday gift\",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/292460590\",\"venue\":\"The Western Front\",\"notes\":\"Warren Tallman is reading his \\\"Robert Creeley introduction\\\" as Western Front birthday gift\",\"address\":\"303 E 8th Ave E, Vancouver, BC V5T 1S1\",\"latitude\":\"49.26392\",\"longitude\":\"123.09870\"},{\"url\":\"https://www.openstreetmap.org/way/298855107\",\"venue\":\"[Red Wallbarrow?]\",\"notes\":\"According to what Warren Tallman says in tape 60, [[Red Wallbarrow?]?] is located at \\\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?] and named after William Carlos Williams by Warren Tallman. The Url we get for 88 East Pender Street, Vancouver, BC points to the current \\\"Vancouver Film School\\\". We are not sure, but this location could be the current Vancouver Film School in 88 E Pender.\\n\",\"address\":\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]\",\"latitude\":\"49.28018\",\"longitude\":\"-123.10266\"}]"],"Address":["303 E 8th Ave E, Vancouver, BC V5T 1S1","109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]"],"Venue":["The Western Front","[Red Wallbarrow?]"],"City":["Vancouver, British Columbia","Vancouver, British Columbia"],"Note":["[{\"note\":\"Tapes 61, 62, and 126 have duplicate part of Warren Tallman's introduction for Robert Creeley at The Western Front on June 1, 1990\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670556478472196,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7128","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's Birthday Collage for Adeena recorded at Red Wallbarrow in June 1990 with Tallman reading his Robert Creeley introduction at The Western Front on June 1, 1990 "],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena","Creeley, Robert","McCaffery, Steve","Miki, Roy"],"creator_names_search":["Tallman, Warren","Karasick, Adeena","Creeley, Robert","McCaffery, Steve","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"Warren Tallman is recording this tape on the occasion of her birthday \",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"Warren Tallman reads his introduction for Robert Creeley at The Western Front\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/38243\",\"name\":\"McCaffery, Steve\",\"dates\":\"1947-\",\"notes\":\"Warren Tallman reading Steve McCaffery's \\\"North of Intention: Critical Writings 1973-1986\\\" on the second side  \",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"Roy Miki introduce Warren Tallman in the beginning of this event at The Western Front\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11384/Warren Tallman Fonds_MsC 26.42_127.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\":\"MSC26-127-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:32\",\"precision\":\"\",\"size\":\"64.5 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\":\"MSC26-127-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:44\",\"precision\":\"\",\"size\":\"62.4 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\":\"1990-06-01\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman is reading his \\\"Robert Creeley introduction\\\" as Western Front birthday gift\",\"source\":\"Recording\"},{\"date\":\"1990-06-04\",\"type\":\"Production Date\",\"notes\":\"Side one at 35:19 refers to the date when Adeena's birthday was over. Warren Tallman is at [Red Wallbarrow on E. Pender?] reading a letter\",\"source\":\"Recording \"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/292460590\",\"venue\":\"The Western Front\",\"notes\":\"Warren Tallman's Robert Creeley introduction for his Friday his reading on June 1 in 1998 at The Western Front\",\"address\":\"303 E 8th Ave E, Vancouver, BC V5T 1S1\",\"latitude\":\"49.26392\",\"longitude\":\"123.09870\"},{\"url\":\"https://www.openstreetmap.org/way/298855107\",\"venue\":\"[Red Wallbarrow?]\",\"notes\":\"According to what Warren Tallman says in tape 60, [Red Wallbarrow?] is located at \\\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?] and named after William Carlos Williams by Warren Tallman. The Url we get for 88 East Pender Street, Vancouver, BC points to the current \\\"Vancouver Film School\\\". We are not sure, but this location could be the current Vancouver Film School in 88 E Pender.\\n\",\"address\":\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]\",\"latitude\":\"49.28018\",\"longitude\":\"-123.10266\"}]"],"Address":["303 E 8th Ave E, Vancouver, BC V5T 1S1","109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]"],"Venue":["The Western Front","[Red Wallbarrow?]"],"City":["Vancouver, British Columbia","Vancouver, British Columbia"],"Note":["[{\"note\":\"Tapes 61, 62, 126, and 127 have duplicate part of Warren Tallman's introduction for Robert Creeley at The Western Front on June 1, 1990\",\"type\":\"Related Version\"},{\"note\":\"What's written on the j-card is irrelevant to the content of the audio files \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556478472197,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7129","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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It should be different dates because we see different dates on the tapes' j-cards.\\nThe date written on this tape's j-card is March 9, 1990\",\"type\":\"General\"},{\"note\":\"The content of this tape is an incomplete duplicate of the content on tapes #120, #129, and #141\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556479520768,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7130","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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Adeena might've been in Toronto when she recorded this tape.\\nThis is not the exact address; Sherbourne is a long street, and we just put the latitude and longitude of a part \",\"address\":\"Sherbourne Street, Toronto Centre, Old Toronto, Toronto, Golden Horseshoe, Ontario, M4X 1W4, Canada\",\"latitude\":\"43.67198\",\"longitude\":\"-79.37671\"},{\"url\":\"https://www.openstreetmap.org/way/15396822\",\"venue\":\"York University\",\"notes\":\"Adeena is reading the paper she'd read at York University on March 2nd.   \",\"address\":\"York University, Keele Campus, York University Busway, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 3M6, Canada\",\"latitude\":\"43.7736\",\"longitude\":\"-79.5040\"}]"],"Address":["Sherbourne Street, Toronto Centre, Old Toronto, Toronto, Golden Horseshoe, Ontario, M4X 1W4, Canada","York University, Keele Campus, York University Busway, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 3M6, Canada"],"Venue":["York University"],"City":["Toronto, Ontario","Toronto, Ontario"],"Note":["[{\"note\":\"The content of this tape is duplicate of the content on tapes #120, #128, and #141\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556479520769,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7131","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Adeena Karasick's rehearsal three of Sensasound at Kensington Kitchen on September 1, and Warren Tallman reading Lola's letter at Kensington Kitchen on September 2, 1990 "],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Karasick, Adeena","Tallman, Warren"],"creator_names_search":["Karasick, Adeena","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11442/Warren Tallman Fonds_MsC 26.42_130.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"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\":\"MSC26-130-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:07\",\"precision\":\"\",\"size\":\"52.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-130-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:34\",\"precision\":\"\",\"size\":\"53.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-09-02\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman reading Lola letter \",\"source\":\"J-card and Recording\"},{\"date\":\"1990-09-01\",\"type\":\"Production Date\",\"notes\":\"Adeena states the date in the beginning of side one; it's Adeena's rehearsal date \",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"we couldn't find the exact location\",\"address\":\"Kensington Kitchen\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Kensington Kitchen"],"Note":["[{\"note\":\"This practice is Duplicate of practice #3 on tape #131 SWALLOW ID7132\",\"type\":\"Related Version\"},{\"note\":\"The sound quality of the tape is poor, but it's still audible.\\n\\nIn \\\"ANERCA: woMANIFESTivO,\\\" Adeena Karasick writes, \\\"In 1988, Kedrick [James] and I moved for a year to Montreal where, connecting with both the renegade English and French poetry and music scenes, we organized SENSASOUND—a Sound Poetry Fest\\nin both Montreal at McGill and Toronto (at the Rivoli) where, together with bill bissett, Steve McCaffery, Lillian Allen, Christopher Dewdney, Rafael Barreto-Rivera, Paul Dutton, we tried to revivify a sense of performance in poetry within an increasingly sterile environment\\\" (22). \\n\\nSee: To Breathe Poetry Among the Neighbours: Two Essays on Anerca, a Journal of Experimental Writing (1985-1990), available in pdf format from library.buffalo.edu.\\n\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556479520770,"timestamp":"2026-01-07T15:00:00.772Z","score":0.8684184},{"id":"7132","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Adeena Karasick's practice tape four of Sensasound at different locations and dates"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Karasick, Adeena","Tallman, Warren"],"creator_names_search":["Karasick, Adeena","Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11453/Warren Tallman Fonds_MsC 26.42_131.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\":\"MSC26-131-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:32\",\"precision\":\"\",\"size\":\"50.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-131-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:56\",\"precision\":\"\",\"size\":\"60.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-08-27\",\"type\":\"Production Date\",\"notes\":\"Adeena's second practice; she states the date at 12:51 on the first side\",\"source\":\"Recording\"},{\"date\":\"1990-09-03\",\"type\":\"Production Date\",\"notes\":\"Adeena's fourth practice; she states the date at 38:29 on the first side\",\"source\":\"Recording\"},{\"date\":\"1990-09-13\",\"type\":\"Production Date\",\"notes\":\"Adeena's practice, tape 1; she states the date at 00:10 on the second side\",\"source\":\"Recording\"},{\"date\":\"1990-09-01\",\"type\":\"Production Date\",\"notes\":\"Adeena's third practice; she states the date at 25:36 on the first side. Het third rehearsal is duplicate of tape #130 when Adeena Karasick has her third practice at [Kensington Kitchen?]\",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/4301473\",\"venue\":\"\",\"notes\":\"It's not the exact address. Adeena mentions that the second practice occurs in Toronto, Concord, and Concord Ave. is named on the j-card.\",\"address\":\"Concord Avenue\",\"latitude\":\"43.65792\",\"longitude\":\"-79.4254\"}]"],"Address":["Concord Avenue"],"Note":["[{\"note\":\"Sides one and two are the four practices of Adeena Karasick Sensasound at various dates and places. J-card reads \\\"Concord Ave,\\\" which is in Toronto.\\n\\nIn \\\"ANERCA: woMANIFESTivO,\\\" Adeena Karasick writes, \\\"In 1988, Kedrick [James] and I moved for a year to Montreal where, connecting with both the renegade English and French poetry and music scenes, we organized SENSASOUND—a Sound Poetry Fest\\nin both Montreal at McGill and Toronto (at the Rivoli) where, together with bill bissett, Steve McCaffery, Lillian Allen, Christopher Dewdney, Rafael Barreto-Rivera, Paul Dutton, we tried to revivify a sense of performance in poetry within an increasingly sterile environment\\\" (22). \\n\\nSee: To Breathe Poetry Among the Neighbours: Two Essays on Anerca, a Journal of Experimental Writing (1985-1990), available in pdf format from library.buffalo.edu.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556678750208,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7133","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["CBC Radio Program with Adeena Karasick, Paul Dutton, and Rafael Barreto-Rivera on air talking about sound poetry on September 26, 1990 and Adeena Karasick's sound poetry performance "],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena","Dutton, Paul","Barreto-Rivera, Rafael"],"creator_names_search":["Tallman, Warren","Karasick, Adeena","Dutton, Paul","Barreto-Rivera, Rafael"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/36999806\",\"name\":\"Dutton, Paul\",\"dates\":\"1943-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/16154730\",\"name\":\"Barreto-Rivera, Rafael\",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11483/Warren Tallman Fonds_MsC 26.42_132.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\":\"MSC26-132-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:29\",\"precision\":\"\",\"size\":\"41.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-132-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:27\",\"precision\":\"\",\"size\":\"40.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-09-26\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/456341915#map=19/43.65360/-79.37320\",\"venue\":\"CBC Studio\",\"notes\":\"We assume that this tape war recorded in Toronto. CBC Toronto studio address was changed in 1993 (after this recording took place) to 205 Wellington Street West, Toronto, Ontario, M5V 3G7 from a smaller facility on Jarvis Street, near the former television transmitter. (Source: https://en.wikipedia.org/wiki/Canadian_Broadcasting_Centre)\",\"address\":\"Jarvis Street, Toronto, Ontario, Canada\",\"latitude\":\"43.6562555\",\"longitude\":\"-79.374232\"}]"],"Address":["Jarvis Street, Toronto, Ontario, Canada"],"Venue":["CBC Studio"],"City":["Toronto, Ontario"],"Note":["[{\"note\":\"The host mentions BamBoo club on Queen St. in the beginning of side one, so we thought this tape probably belongs to CBC Toronto radio program  \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556678750209,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7134","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's compilation on December 2, 1990 of Adeena Karasick's readings from bpNichol's \"Martyrology Book 7\" at The Western Front on September 31 in 1990 and reading her poems at Carnegie Hall "],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bowering, George","[Barbour, Douglas?]","Coleman, Victor","Karasick, Adeena","Tallman, Warren","Miki, Roy","Tostevin, Lola Lemire"],"creator_names_search":["Bowering, George","[Barbour, Douglas?]","Coleman, Victor","Karasick, Adeena","Tallman, Warren","Miki, Roy","Tostevin, Lola Lemire"],"creators":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935- \",\"notes\":\"He's introduced as the moderator of BP paper reading event at The Western Front \",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/14864700\",\"name\":\"[Barbour, Douglas?]\",\"dates\":\"1940-\",\"notes\":\"He's introduced by Warren Tallman as one of the readers of BP paper reading event at The Western Front. Warren Tallman does not put his part in his recorded tape\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/38160442\",\"name\":\"Coleman, Victor\",\"dates\":\"1944-\",\"notes\":\"He's introduced by Warren Tallman as one of the readers of BP paper reading event at The Western Front. Warren Tallman does not put his part in his recorded tape\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\",\"Author\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"He's introduced by Warren Tallman as one of the readers of BP paper reading event at The Western Front. Warren Tallman does not put his part in his recorded tape\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/8771515\",\"name\":\"Tostevin, Lola Lemire\",\"dates\":\"1937-\",\"notes\":\"she's introduced by Warren Tallman as one of the readers of bp paper reading event at The Western Front. Warren Tallman does not put her part in his recorded tape\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11484/Warren Tallman Fonds_MsC 26.42_133.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\":\"MSC26-133-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:44\",\"precision\":\"\",\"size\":\"60.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-133-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:49\",\"precision\":\"\",\"size\":\"60.5 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\":\"1990-09-31\",\"type\":\"Production Date\",\"notes\":\"Adeena Karasick reading from Martyrology book 7\",\"source\":\"Recording\"},{\"date\":\"1990-12-01\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman recorded this tape on this date at [Red Wallbarrow on E. Pender?]\",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/292460590\",\"venue\":\"The Western Front\",\"notes\":\"Adeena Karasick reading BPNichol work\",\"address\":\"303 E 8th Ave E, Vancouver, BC V5T 1S1\",\"latitude\":\"49.26391\",\"longitude\":\"-123.09869\"},{\"url\":\"https://www.openstreetmap.org/way/265148502\",\"venue\":\"Carnegie Hall\",\"notes\":\"Adeena Karasick reading her poem \",\"address\":\"Carnegie Hall, West 56th Street, Manhattan Community Board 5, Manhattan, New York County, New York, 10019, United States\",\"latitude\":\"40.76505\",\"longitude\":\"-73.97994\"},{\"url\":\"https://www.openstreetmap.org/way/298855107\",\"venue\":\"[Red Wallbarrow?]\",\"notes\":\"According to what Warren Tallman says in tape 60, [Red Wallbarrow?] is located at \\\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?] and named after William Carlos Williams by Warren Tallman. The Url we get for 88 East Pender Street, Vancouver, BC points to the current \\\"Vancouver Film School\\\". We are not sure, but this location could be the current Vancouver Film School in 88 E Pender.\\n\\nWarren Tallman recorded this tape on this date at [Red Wallbarrow?]\\n\",\"address\":\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]\",\"latitude\":\"49.28018\",\"longitude\":\"-123.10266\"}]"],"Address":["303 E 8th Ave E, Vancouver, BC V5T 1S1","Carnegie Hall, West 56th Street, Manhattan Community Board 5, Manhattan, New York County, New York, 10019, United States","109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]"],"Venue":["The Western Front","Carnegie Hall","[Red Wallbarrow?]"],"City":["Vancouver, British Columbia","Vancouver, British Columbia"],"Note":["[{\"note\":\"Warren Tallman records a tape which includes Adeena Karasick's reading performances at various locations and on different dates\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556678750210,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7135","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's compilation from May 15, 1990 of Adeena Karasick's four different readings of \"Manipulating Stairs\" "],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Browne, Colin","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Browne, Colin","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/105886216\",\"name\":\"Browne, Colin\",\"dates\":\"1946-\",\"notes\":\"Colin Browne reading Fred Wah \\\"Music at the Heart of Thinking\\\" at Langara College Theater on June 1 \",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"On the first side, Adeena Karasick reading \\\"Manipulating Stairs\\\" in Cranbrook; she is reconstructing Bill Bissett Phonetic A B C with various words they spell from London, Ontario\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1989],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11487/Warren Tallman Fonds_MsC 26.42_134.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\":\"MSC26-134-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:02:44\",\"precision\":\"\",\"size\":\"82 MB\",\"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\":\"MSC26-134-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:02:37\",\"precision\":\"\",\"size\":\"81.4 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\":\"1989-10-14\",\"type\":\"Production Date\",\"notes\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" at Vancouver Art Gallery on this date.\",\"source\":\"Recording\"},{\"date\":\"1990-04-02\",\"type\":\"Production Date\",\"notes\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" in Toronto on this date.\",\"source\":\"Recording\"},{\"date\":\"1988-11-09\",\"type\":\"Production Date\",\"notes\":\"Adeena reading \\\"Manipulating Stairs\\\" in Cranbrook\",\"source\":\"Recording\"},{\"date\":\"1990-03-09\",\"type\":\"Production Date\",\"notes\":\"Adeena is reading the paper she'd read at York University on March 2nd.   \",\"source\":\"Recording \"},{\"date\":\"1990-05-15\",\"type\":\"Production Date\",\"notes\":\"This date is written on the j-card; we assume it could be the date when Warren Tallman recorded this tape; it's just a guess \",\"source\":\"J-card\"},{\"date\":\"1989-08-14\",\"type\":\"Production Date\",\"notes\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" at [Red Wallbarrow?] on this date.\",\"source\":\"Recording\"},{\"date\":\"1988-06-01\",\"type\":\"Production Date\",\"notes\":\"Colin Browne reading Fred Wah \\\"Music at the Heart of Thinking\\\" at Langara College Theater on June 1 bpNichol also reads some of his poems on this date\",\"source\":\"Recording\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/4958306\",\"venue\":\"Sherbourne Street\",\"notes\":\"We could find the exact location; as it's written on the j-card, we assume it could be Sherbourne Street in Old Toronto \",\"address\":\"Sherbourne Street, Toronto Centre, Old Toronto, Toronto, Golden Horseshoe, Ontario, M4X 1W4, Canada\",\"latitude\":\"43.67198\",\"longitude\":\"-79.37671\"},{\"url\":\"https://www.openstreetmap.org/way/69701736\",\"venue\":\"Vancouver Art Gallery\",\"notes\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" on October 14, 1989\",\"address\":\"Gallery Vancouver Art Gallery, 750, Hornby Street, Yaletown, Downtown, Vancouver, Metro Vancouver Regional District, British Columbia, V6Z, Canada\",\"latitude\":\"49.28288\",\"longitude\":\"-123.12060\"},{\"url\":\"https://www.openstreetmap.org/way/15396822\",\"venue\":\"York University\",\"notes\":\"Adeena is reading the paper she'd read at York University on March 2nd.    \",\"address\":\"York University, Keele Campus, York University Busway, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 3M6, Canada\",\"latitude\":\"43.7736\",\"longitude\":\"-79.5040\"},{\"url\":\"https://www.openstreetmap.org/way/161835042\",\"venue\":\"[Rivoli Toronto?]\",\"notes\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" at [Rivoli Toronto?] on April 2 in 1990.\\nAs it's written on the tape's 223 j-card and mentioned by Warren Tallman, this language event happened at Rivoli Toronto, but we are not sure if it's the same as the location we put in here\",\"address\":\"Rivoli, 332-334, Queen Street West, Queen West, Spadina—Fort York, Old Toronto, Toronto, Golden Horseshoe, Ontario, M5V 2A2, Canada\",\"latitude\":\"43.64943\",\"longitude\":\"-79.39495\"},{\"url\":\"https://www.openstreetmap.org/way/298855107\",\"venue\":\"[Red Wallbarrow?]\",\"notes\":\"According to what Warren Tallman says in tape 60, [Red Wallbarrow?] is located at \\\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?] and named after William Carlos Williams by Warren Tallman. The Url we get for 88 East Pender Street, Vancouver, BC points to the current \\\"Vancouver Film School\\\". We are not sure, but this location could be the current Vancouver Film School in 88 E Pender.\\n\",\"address\":\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]\",\"latitude\":\"49.28018\",\"longitude\":\"-123.10266\"},{\"url\":\"https://www.openstreetmap.org/node/51969524\",\"venue\":\"\",\"notes\":\" Adeena Karasick reading \\\"Manipulating Stairs\\\" on November 9th in Cranbrook\",\"address\":\"Cranbrook, Regional District of East Kootenay, British Columbia, V1C 2N0, Canada\",\"latitude\":\"49.5118\",\"longitude\":\"-115.7671\"},{\"url\":\"https://www.openstreetmap.org/way/23393992\",\"venue\":\"Langara College Theater \",\"notes\":\"Colin Browne reading Fred Wah \\\"Music at the Heart of Thinking\\\" at Langara College Theater on June 1; bpNichol also reads some of his poems\",\"address\":\"College Langara College, 100, West 49th Avenue, Oakridge, Vancouver, Metro Vancouver Regional District, British Columbia, V5Y 2Z6, Canada\",\"latitude\":\"49.22484\",\"longitude\":\"-123.10867\"}]"],"Address":["Sherbourne Street, Toronto Centre, Old Toronto, Toronto, Golden Horseshoe, Ontario, M4X 1W4, Canada","Gallery Vancouver Art Gallery, 750, Hornby Street, Yaletown, Downtown, Vancouver, Metro Vancouver Regional District, British Columbia, V6Z, Canada","York University, Keele Campus, York University Busway, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 3M6, Canada","Rivoli, 332-334, Queen Street West, Queen West, Spadina—Fort York, Old Toronto, Toronto, Golden Horseshoe, Ontario, M5V 2A2, Canada","109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]","Cranbrook, Regional District of East Kootenay, British Columbia, V1C 2N0, Canada","College Langara College, 100, West 49th Avenue, Oakridge, Vancouver, Metro Vancouver Regional District, British Columbia, V5Y 2Z6, Canada"],"Venue":["Sherbourne Street","Vancouver Art Gallery","York University","[Rivoli Toronto?]","[Red Wallbarrow?]","Langara College Theater "],"City":["Toronto, Ontario","Vancouver, British Columbia","Toronto, Ontario","Toronto, Ontario","Vancouver, British Columbia","Vancouver, British Columbia"],"Note":["[{\"note\":\"Warren Tallman records a tape which includes Adeena Karasick's reading performances at various locations and on different dates\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556679798784,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7136","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Adeena Karasick reading her \"magpie letter\" at 8989 Arbutus Street in Vancouver on June 23, 1990"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11510/Warren Tallman Fonds_MsC 26.42_135.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\":\"MSC26-135-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:48\",\"precision\":\"\",\"size\":\"60.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-135-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:40\",\"precision\":\"\",\"size\":\"60.5 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\":\"1990-06-23\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/340581878#map=19/49.25152/-123.15299\",\"venue\":\"\",\"notes\":\"What we put here are the latitude and longitude of \\\"Secondary Road Arbutus Street, Arbutus-Ridge, Vancouver, Metro Vancouver Regional District, British Columbia, V6L, Canada\\\". We failed to find the very exact location \",\"address\":\"8989 Arbutus St Vancouver, BC V6M 4J2\",\"latitude\":\"49.25152\",\"longitude\":\"-123.15299\"}]"],"Address":["8989 Arbutus St Vancouver, BC V6M 4J2"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Ken, Frances Karasick is written on the j-card (Adeena's parents) and this recording takes place at their home.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556679798785,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7137","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman interviewed by Roy Miki in Vancouver on February 21, 1983 Session 1 Tape 3"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Miki, Roy"],"creator_names_search":["Tallman, Warren","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\",\"Recordist\",\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1983],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11246/Warren Tallman Fonds_MsC 26.42_103.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\":\"MSC26-103-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:27\",\"precision\":\"\",\"size\":\"35.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-103-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:04:52\",\"precision\":\"\",\"size\":\"70.6 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\":\"1983-02-21\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, BC, Canada\",\"latitude\":\" 49.2530\",\"longitude\":\"-123.1128\"}]"],"Address":["Vancouver, BC, Canada"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"The first 32 minutes of sides one and two are duplicate \",\"type\":\"General\"},{\"note\":\"This tape must be the second tape that Roy Miki is recording in the first session of his series of interview with Warren Tallman. \",\"type\":\"\"},{\"note\":\"On the first side, Warren Tallman talks about his childhood characteristics, his school literary world and activities; he also talks about his relationship with [Danna?] his first wife, his army life, and how he used to goof off not in that period instead of learning lots of disciplines. \\nHe talks about his early jobs and early exposure to poets like Allen Ginsberg, Snider, Robert Creeley, Robin Blaser.\\nOn the second side, Warren Tallman talks about his high school period, his courses specially his journalism course, and his writing skills  \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556681895938,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7108","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman's tape for Adeena Karasick recorded at Red Wallbarrow on March 29, 1990 including Tallman reading aloud to Roy Miki a letter he is writing to invite guests to events for Robert Creeley in June 1990\n"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Miki, Roy"],"creator_names_search":["Tallman, Warren","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"Warren Tallman reads the letter he'd written about Robert Creeley to Roy Miki at SFU. They also have a discussion regarding that letter afterwards\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11247/Warren Tallman Fonds_MsC 26.42_104.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-104-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:11\",\"precision\":\"\",\"size\":\"51.7 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\":\"MSC26-104-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:23\",\"precision\":\"\",\"size\":\"52.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-03-29\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/102254132\",\"venue\":\"SFU\",\"notes\":\"Warren Tallman reads his letter about Robert Creeley at Simon Fraser University \",\"address\":\"8888 University Dr, Burnaby, BC, Canada\",\"latitude\":\"49.2767\",\"longitude\":\"-122.9178\"},{\"url\":\"https://www.openstreetmap.org/way/298855107\",\"venue\":\"[Red Wallbarrow?]\",\"notes\":\"According to what Warren Tallman says in tape 60, [Red Wallbarrow?] is located at \\\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?] and named after William Carlos Williams by Warren Tallman. The Url we get for 88 East Pender Street, Vancouver, BC points to the current \\\"Vancouver Film School\\\". We are not sure, but this location could be the current Vancouver Film School in 88 E Pender.\\n\",\"address\":\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]\",\"latitude\":\" 49.28018\",\"longitude\":\"-123.10266\"}]"],"Address":["8888 University Dr, Burnaby, BC, Canada","109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]"],"Venue":["SFU","[Red Wallbarrow?]"],"City":["Burnaby, British Columbia","Vancouver, British Columbia"],"Note":["[{\"note\":\"As Warren Tallman states in the beginning of Side One, he records this tape for Adeena Karasick and plans to mail it to her address in Toronto. \\n\\nOn this tape he reproduces a conversation between he and Roy Miki the same day, at Simon Fraser University. Tallman reads Roy a letter he has been working on for invitees to events celebrating Robert Creeley, planned for early June, 1990. He begins reading with the salutation, \\\"Dear George [Bowering],\\\" but it seems to be a letter he will send to all invitees that is poetic in nature and reflects on Creeley's life. The letter continues until 15:42.\\n\\nRoy and Warren continue discussion of the invitation and events during Creeley's visit. Tallman debates speakers, \\\"Fred [Wah] and Pauline [Butling], George and Angela [Bowering],\\\" and Roy asks if they might collect photos of Creeley from the invitees. They also discuss the possibility of a feature in Miki's West Coast Line journal, which was published in Vol. 24, Iss. 3 (January 1990).\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556681895939,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7109","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman poetry reading class at Buffalo – S.U.N.Y. University on March 28, 1987 - DUPLICATE 3 OF 3"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1987],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11271/Warren Tallman Fonds_MsC 26.42_105.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\":\"MSC26-105-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:03:48\",\"precision\":\"\",\"size\":\"77.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-105-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:50:44\",\"precision\":\"\",\"size\":\"64.7 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\":\"1987-03-28\",\"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\":\"We assume Buffalo on the j-card refers to the University at Buffalo in New York. 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":["[{\"note\":\"Tapes #52 (Swallow ID 7059), #82 (Swallow ID 7087), and #105 (Swallow ID 7109) are duplicates. It is a poetry reading  happening at Buffalo – S.U.N.Y. (University at Buffalo) where Warren Tallman and some other authors, whose names are not mentioned, are reading poetry. Some readers mention the poems' titles  on the recording. Warren Tallman refers to one of the readers by her name, [Julia?] at 10:37. Warren Tallman held a temporary teaching appointment at SUNY Buffalo for the academic year 1987-1988, working alongside his good friend Robert Creeley.  (Creeley was faculty at SUNY Buffalo from 1966-2003 and Tallman visited him several times, though this was his only teaching appointment there).\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556681895940,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7142","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Extract poetry reading from Prismatic on January 30, 1991"],"item_title_source":["Cassette and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Wah, Fred"],"creator_names_search":["Tallman, Warren","Wah, Fred"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"It's Warren Tallman collection \",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/1330211\",\"name\":\"Wah, Fred\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1991],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11851/Warren Tallman Fonds_MsC 26.42_152.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\":\"MSC26-152-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:28\",\"precision\":\"\",\"size\":\"40.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-152-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:26\",\"precision\":\"\",\"size\":\"40.6 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\":\"1991-01-30\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Readers are not known \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556683993089,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7152","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Ellie Nichol reading in classroom at York University on November 28, 1991"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Nichol, Ellie","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Tallman, Warren","Nichol, Ellie","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Nichol, Ellie \",\"dates\":\"\",\"notes\":\"Ellie Nichol is BP Nichol's sister reading at Warren Tallman classroom \",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\" http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1991],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11941/Warren Tallman Fonds_MsC 26.42_161.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"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\":\"MSC26-161-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:45\",\"precision\":\"\",\"size\":\"49 MB\",\"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\":\"MSC26-161-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:34\",\"precision\":\"\",\"size\":\"50.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1991-11-28\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/15396822\",\"venue\":\"[York University?]\",\"notes\":\"\",\"address\":\"University York University, Keele Campus, Bowsfield Road, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 0K9, Canada\",\"latitude\":\"43.7739\",\"longitude\":\"-79.5048\"}]"],"Address":["University York University, Keele Campus, Bowsfield Road, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 0K9, Canada"],"Venue":["[York University?]"],"City":["Toronto, Ontario"],"Note":["[{\"note\":\"This Ellie Nichol reading would have taken place a few years after her husband bpNichol's passing in 1988. \\n\\nWarren Tallman taught an undergraduate class at York University entitled \\\"Modern Canadian Poetry\\\" in Spring 1992 as a guest instructor, so it is likely that Nichol visited another classroom prior to this time. Tallman traveled to York to visit his former student Adeena Karasick, his son Ken, and friends like bill bissett prior to this time too.\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556689235970,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7162","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Edwa Rose reading Indian Stories in Warren Tallman's classroom on March 16, 1981"],"item_title_source":["Cassette and J-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","[Rose, Edwa?]","Kroetsch, Robert","Wayman, Tom","[McFadden, David?]"],"creator_names_search":["Tallman, Warren","[Rose, Edwa?]","Kroetsch, Robert","Wayman, Tom","[McFadden, David?]"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"[Rose, Edwa?]\",\"dates\":\"\",\"notes\":\"She is Warren Tallman's student \",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/120613489\",\"name\":\"Kroetsch, Robert\",\"dates\":\" 1927-2011\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/98293283\",\"name\":\"Wayman, Tom\",\"dates\":\"1945-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/7405434\",\"name\":\"[McFadden, David?]\",\"dates\":\"1940-2018\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1981],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11959/Warren Tallman Fonds_MsC 26.42_163.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\":\"MSC26-163-Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:45:42\",\"precision\":\"\",\"size\":\"57.9 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\":\"MSC26-163-Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:44:54\",\"precision\":\"\",\"size\":\"56.2 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\":\"1981-03-16\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"We hear two individuals reading poetry in Warren Tallman's classroom on the second side. Edwa Rose's reading is recorded on part of an unknown poet who is reading.\\nEdwa's reading part begins at 6:01 and ends at 18:02; Edwa is reading her stories about about three Indian legends named [Angela Sydney?], [Kitty Smith?], and [ Rachel Daus?] -these spellings are just some guesses based on what we heard on the audio file-\\n\",\"type\":\"General\"},{\"note\":\"The poet who reads in Warren Tallman's classroom is a son of a father who is a poet himself; the father is a West Coast poet \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556690284545,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7163","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Jenny Shaw reading \"Katherine\" on Bella Vista Street on January 26, 1989"],"item_title_source":["Cassette and J-card"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Shaw, Jenny"],"creator_names_search":["Tallman, Warren","Shaw, Jenny"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"[http://viaf.org/viaf/114707759?]\",\"name\":\"Shaw, Jenny\",\"dates\":\"[1943-?]\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1989],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11960/Warren Tallman Fonds_MsC 26.42_164.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-164-Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:51\",\"precision\":\"\",\"size\":\"64.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC26-164-Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:40\",\"precision\":\"\",\"size\":\"63.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1989-01-26\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/30880923\",\"venue\":\"Warren Tallman’s House\",\"notes\":\"In the '70s(?) he moved to 3504 Bella Vista in East Vancouver V5N 3W9 and lived there till his death. We assume this reading happened at Warren Tallman’s House\",\"address\":\"3504 Bella Vista in East Vancouver V5N 3W9\",\"latitude\":\"49.25312\",\"longitude\":\"-123.07054\"}]"],"Address":["3504 Bella Vista in East Vancouver V5N 3W9"],"Venue":["Warren Tallman’s House"],"Note":["[{\"note\":\"Robert Creeley, Warren Tallman, and Clark Coolidge discuss Kerouac's works, including Dr. Sax, Visions of Cody, On the Road, Lonesome Traveler, and Old Angel Midnight. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556690284546,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7164","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Sensasound 90: Toronto Sound Poetry"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Bissett, Bill","Kemp, Penny","Barreto-Rivera, Rafael","Karasick, Adeena","Allen, Lillian","McCaffery, Steve","Dutton, Paul","Joseph, Clifton"],"creator_names_search":["Tallman, Warren","Bissett, Bill","Kemp, Penny","Barreto-Rivera, Rafael","Karasick, Adeena","Allen, Lillian","McCaffery, Steve","Dutton, Paul","Joseph, Clifton"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"This is Warren Tallman collection\",\"nation\":[],\"role\":[]},{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/43083879\",\"name\":\"Kemp, Penny\",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/16154730\",\"name\":\"Barreto-Rivera, Rafael\",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/33686390\",\"name\":\" Allen, Lillian\",\"dates\":\"1951-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/38243\",\"name\":\"McCaffery, Steve\",\"dates\":\"1947-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/36999806\",\"name\":\"Dutton, Paul\",\"dates\":\"1943-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/104182171\",\"name\":\"Joseph, Clifton\",\"dates\":\"1957-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11961/Warren Tallman Fonds_MsC 26.42_165.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\":\"MSC26-165-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:05\",\"precision\":\"\",\"size\":\"59.9 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\":\"MSC26-165-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:26\",\"precision\":\"\",\"size\":\"64.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/324211#map=11/43.7175/-79.3762\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Toronto, Golden Horseshoe, Ontario, Canada\",\"latitude\":\"43.6540\",\"longitude\":\"-79.3858\"}]"],"Address":["Toronto, Golden Horseshoe, Ontario, Canada"],"City":["Toronto, Ontario"],"Note":["[{\"note\":\"In \\\"ANERCA: woMANIFESTivO,\\\" Adeena Karasick writes, \\\"In 1988, Kedrick [James] and I moved for a year to Montreal where, connecting with both the renegade English and French poetry and music scenes, we organized SENSASOUND—a Sound Poetry Fest\\nin both Montreal at McGill and Toronto (at the Rivoli) where, together with bill bissett, Steve McCaffery, Lillian Allen, Christopher Dewdney, Rafael Barreto-Rivera, Paul Dutton, we tried to revivify a sense of performance in poetry within an increasingly sterile environment\\\" (22). \\n\\nSee: To Breathe Poetry Among the Neighbours: Two Essays on Anerca, a Journal of Experimental Writing (1985-1990), available in pdf format from library.buffalo.edu.\\n\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556690284547,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7165","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman reading and discussing his essay \"September: A Necessary Politics For Stan Persky\" at Vancouver East Cultural Centre on September 17, 1978"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Persky, Stan","Bowering, George","Bissett, Bill","Siegler, Karl","Williams, William Carlos","Blaser, Robin","Miki, Roy"],"creator_names_search":["Tallman, Warren","Persky, Stan","Bowering, George","Bissett, Bill","Siegler, Karl","Williams, William Carlos","Blaser, Robin","Miki, Roy"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/57448780\",\"name\":\"Persky, Stan\",\"dates\":\"1941-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"We get to hear a radio program on the second side at 20:32. The host talks about an ad that helps Vancouver poets to defend themselves from tax while one of Bill Bissette's sound poetry is begin played \",\"nation\":[],\"role\":[\"Performer\",\"Reader\",\"Speaker\"]},{\"url\":\"\",\"name\":\"Siegler, Karl\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/29542054\",\"name\":\"Williams, William Carlos\",\"dates\":\"1883-1963\",\"notes\":\"George Bowering reads a poem from William Carlos Williams\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/17240199\",\"name\":\"Blaser, Robin\",\"dates\":\"1925-2009\",\"notes\":\"He announces Warren Tallman in the beginning of side one\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/11979/Warren Tallman Fonds_MsC 26.42_166.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\":\"Re-recordings 2023-166- Side A\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:19\",\"precision\":\"\",\"size\":\"61.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"Re-recordings 2023-166- Side B\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:21\",\"precision\":\"\",\"size\":\"62.8 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\":\"1978-09-17\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/292789681\",\"venue\":\"Vancouver East Cultural Centre (Historic Theatre, The Cultch)\",\"notes\":\"We found the exact address on the internet (https://videoout.ca/catalog/necessary-politics-stan-persky-12)\",\"address\":\"Theatre The Cultch, 1895, Venables Street, Grandview-Woodland, Vancouver, Metro Vancouver Regional District, British Columbia, V5L, Canada\",\"latitude\":\"49.27690\",\"longitude\":\"-123.06610\"}]"],"Address":["Theatre The Cultch, 1895, Venables Street, Grandview-Woodland, Vancouver, Metro Vancouver Regional District, British Columbia, V5L, Canada"],"Venue":["Vancouver East Cultural Centre (Historic Theatre, The Cultch)"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Warren Tallman reads his essay \\\"September: A Necessary Politics, For Stan Persky,\\\" on September 17, 1978, and is introduced by Robin Blaser. (A typescript of this essay is held in SFU Library's Special Collections in Tallman's \\\"Manuscripts and Typescripts\\\").\\n\\nWe seem to hear a radio program on the second side at 20:32; there are poets talking in this program in regards to tax \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556690284548,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7167","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman reading and Warren Tallman recording Adeena Karasick reading her paper, that she'd read at York University's grad class on October 24 in 1990 at Red Wallbarrow on October 26 in 1990  "],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12125/Warren Tallman Fonds_MsC 26.44_168.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\":\"168 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:55\",\"precision\":\"\",\"size\":\"29.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"168 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:57\",\"precision\":\"\",\"size\":\"29.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-10-24\",\"type\":\"Production Date\",\"notes\":\"This is the date when Adeena Karasick reads at York University's grad class\",\"source\":\"J-card\"},{\"date\":\"1990-10-26\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman records this tape (side two) on this date at  [Red Wallbarrow?]\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/15396822\",\"venue\":\"York University\",\"notes\":\"Adeena is reading the paper she'd read at York University on October 24 in 1990\",\"address\":\"York University, Keele Campus, York University Busway, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 3M6, Canada\",\"latitude\":\"43.7736\",\"longitude\":\"-79.5040\"},{\"url\":\"https://www.openstreetmap.org/way/298855107\",\"venue\":\"Red Wallbarrow, Tallman's apartment / office\",\"notes\":\"According to what Warren Tallman says in tape 60, [Red Wallbarrow?] is located at \\\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?] and named after William Carlos Williams by Warren Tallman. The Url we get for 88 East Pender Street, Vancouver, BC points to the current \\\"Vancouver Film School\\\". We are not sure, but this location could be the current Vancouver Film School in 88 E Pender.\\n\",\"address\":\"109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]\",\"latitude\":\"49.28018\",\"longitude\":\"-123.10266\"}]"],"Address":["York University, Keele Campus, York University Busway, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 3M6, Canada","109, 88 East Pender Street, Vancouver, BC, [15L 1W7?]"],"Venue":["York University","Red Wallbarrow, Tallman's apartment / office"],"City":["Toronto, Ontario","Vancouver, British Columbia"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670556690284550,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7168","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Douglas Gordon (D.G.) Jones interviewed by Rose Marie on July 19, 1979"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Jones, D. G.","Marie, Rose"],"creator_names_search":["Jones, D. G.","Marie, Rose"],"creators":["[{\"url\":\"http://viaf.org/viaf/41883605\",\"name\":\"Jones, D. G. \",\"dates\":\"1929-2016\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Marie, Rose\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors":["[]"],"Production_Date":[1978],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12126/Warren Tallman Fonds_MsC 26.44_169.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\":\"169 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:02:18\",\"precision\":\"\",\"size\":\"57 MB\",\"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\":\"169 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:02:20\",\"precision\":\"\",\"size\":\"57 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1978-07-19\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Douglas Gordon Jones (D.G. Jones) begins by talking a bit about his background; he also talked about English Literature programs taught and their students. He discusses translation and the intellectual process of the translator as well as French poetry and English poetry and their cross cultural and political issues. \\nOn the second side, Jones talks about the poets who he believes might be good and interested in taking part in a particular conference. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556691333120,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7169","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman interviewed by Karl Jirgens at Bloor Street in Toronto on February 20, 1992"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Jirgens, Karl"],"creator_names_search":["Tallman, Warren","Jirgens, Karl"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/50647535\",\"name\":\"Jirgens, Karl\",\"dates\":\"1952-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]}]"],"contributors":["[]"],"Production_Date":[1992],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12127/Warren Tallman Fonds_MsC 26.44_170.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\":\"170 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:20\",\"precision\":\"\",\"size\":\"43.3 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\":\"170 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:41:03\",\"precision\":\"\",\"size\":\"92.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1992-02-20\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/35090560\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Tertiary Road Bloor Street, Mississauga, Peel Region, Golden Horseshoe, Ontario, L5A 1Z3, Canada\",\"latitude\":\"43.59977\",\"longitude\":\"-79.61130\"}]"],"Address":["Tertiary Road Bloor Street, Mississauga, Peel Region, Golden Horseshoe, Ontario, L5A 1Z3, Canada"],"Note":["[{\"note\":\"Tallman and Jirgens talk about the following topics: how Tish poetry magazine formed; Warren Tallman's idea of how one can come into present through writing; [process oriented writing?]; modernism and postmodernism and Tallman's view; Tallman and his identification of authors of being humanists; shifting of tendencies among recent authors.\\n\\nKarl Jirgens may have been an MA or PhD student at York University at this time, where Tallman taught a class in Spring 1992. Jirgens' name is found in listed in Tallman's notes at the time, along with Darren Wershler-Henry, Gayle Irwin, and Christian Bök.  \\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556691333121,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7170","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Hidden Culture Cost - Funding the Individual Literary Artist produced and edited by Paul Mutton for Vancouver Co-op Radio"],"item_title_source":["Recording and J-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Baker, Jonathon","Twigg, Alan","Maillard, Keith","Campbell, Gordon","Konyves, Tom","Elliott, [Katy?]","Kernaghan, Eileen","Yates, J.Michael","Murray, Gordon","Siegler, Karl","Johnson, Linda","Crossland, Jackie","Lee, Alma","Davies, Libby","Bowering, George","Baker, Jonathan","Mutton, Paul"],"creator_names_search":["Baker, Jonathon","Twigg, Alan","Maillard, Keith","Campbell, Gordon","Konyves, Tom","Elliott, [Katy?]","Kernaghan, Eileen","Yates, J.Michael","Murray, Gordon","Siegler, Karl","Johnson, Linda","Crossland, Jackie","Lee, Alma","Davies, Libby","Bowering, George","Baker, Jonathan","Mutton, Paul"],"creators":["[{\"url\":\"\",\"name\":\"Baker, Jonathon\",\"dates\":\"\",\"notes\":\"Vancouver Alderman\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/68950426\",\"name\":\"Twigg, Alan\",\"dates\":\"1952-\",\"notes\":\"Editor in BC\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/70211652\",\"name\":\"Maillard, Keith\",\"dates\":\"1942-\",\"notes\":\"UBC Creative Writing Department \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/4362924\",\"name\":\"Campbell, Gordon\",\"dates\":\"1948-\",\"notes\":\"Mayor of Vancouver \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/28334185\",\"name\":\"Konyves, Tom\",\"dates\":\"1947-\",\"notes\":\"The league of Canadian poet\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Elliott, [Katy?]\",\"dates\":\"\",\"notes\":\"Canadian Association Poetry in Vancouver \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/23429210\",\"name\":\"Kernaghan, Eileen\",\"dates\":\"1939-\",\"notes\":\"I found her date of birth on the internet. 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She was born on February 27 in 1953\\nVancouver Alderman\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"SFU English Department\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Baker, Jonathan\",\"dates\":\"\",\"notes\":\"Vancouver Alderman\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/105181366\",\"name\":\"Mutton, Paul\",\"dates\":\"\",\"notes\":\"He's also the editor of the program. He produced and edited the program in the Co-op Radio 102.7 FM\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12130/Warren Tallman Fonds_MsC 26.44_172.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\":\"172 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:32:24\",\"precision\":\"\",\"size\":\"29.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"172 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:31:43\",\"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\":\"\"}]"],"Dates":["[{\"date\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/7802936235\",\"venue\":\"Vancouver Co-op Radio CFRO 100.5 FM\",\"notes\":\"Where it was produced/edited\",\"address\":\"370 Columbia St, Vancouver, BC V6A 4J1\",\"latitude\":\"49.28181\",\"longitude\":\"-123.10203\"}]"],"Address":["370 Columbia St, Vancouver, BC V6A 4J1"],"Venue":["Vancouver Co-op Radio CFRO 100.5 FM"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"This tape is duplicate of #1023 tape in Reading in BC collection \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556691333123,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7172","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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She also talks a bit about her marriage [we assume to Robert Creeley]. She talks about her writing and what writing is like for her.  \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556691333124,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7173","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Brian Finn's performance of  Script No. 7"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Finn, Brian"],"creator_names_search":["Finn, Brian"],"creators":["[{\"url\":\"[http://viaf.org/viaf/56350252?]\",\"name\":\"Finn, Brian\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12162/Warren Tallman Fonds_MsC 26.44_181.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\":\"181 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:34:05\",\"precision\":\"\",\"size\":\"31.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"181 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:33:10\",\"precision\":\"\",\"size\":\"30.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"This contains a musical recording; may be a copy made for Tallman and Brian Finn not someone known to him.\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556693430275,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7181","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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Both tapes' j-cards have the same dates, locations, and people\",\"type\":\"General\"},{\"note\":\"The quality of the tape is low, but it seems Paul Dutton is giving a lecture in Warren Tallman's classroom. He mostly talks about sound poetry, how he got into sound when he was a child, and the beginning of The Four Horsemen; he also performs some sound poetry in the beginning of the second side. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556693430276,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7182","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Paul Dutton's Four Horsemen performance tape York University on December 5, 1991 Part 2 of 2 "],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Dutton, Paul","McCaffery, Steve","Barreto-Rivera, Rafael","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Dutton, Paul","McCaffery, Steve","Barreto-Rivera, Rafael","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\"http://viaf.org/viaf/36999806\",\"name\":\"Dutton, Paul\",\"dates\":\"1943-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/38243\",\"name\":\"McCaffery, Steve\",\"dates\":\"1947-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/16154730\",\"name\":\"Barreto-Rivera, Rafael\",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Publication_Date":[1978],"Production_Date":[1973],"Performance_Date":[1987],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12164/Warren Tallman Fonds_MsC 26.44_183.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\":\"183 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:36\",\"precision\":\"\",\"size\":\"43.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1987-10-09\",\"type\":\"Performance Date\",\"notes\":\"Two Nights, 1988 (Performed on October 9 & 10, 1987)\",\"source\":\"Internet \"},{\"date\":\"1987-10-10\",\"type\":\"Performance Date\",\"notes\":\"Two Nights, 1988 (Performed on October 9 & 10, 1987)\",\"source\":\"Internet\"},{\"date\":\"1977\",\"type\":\"Performance Date\",\"notes\":\"Live in the West (Toronto: Starborn Productions, 1977); 1978 is written on the j-card. 1978 could be its publication date \",\"source\":\"Internet\"},{\"date\":\"1973\",\"type\":\"Production Date\",\"notes\":\"Nada Canadada (Toronto: Griffin House, 1973). We are not sure if 1973 is the publication or production date. 1972 is written on the j-card; 1972 could be the performance date \",\"source\":\"Internet\"},{\"date\":\"1978\",\"type\":\"Publication Date\",\"notes\":\"Live in the West (Toronto: Starborn Productions, 1977); 1978 is written on the j-card. 1978 could be its publication date\",\"source\":\"Internet\"},{\"date\":\"1972\",\"type\":\"Performance Date\",\"notes\":\"Nada Canadada (Toronto: Griffin House, 1973). We are not sure if 1973 is the publication or production date. 1972 is written on the j-card; 1972 could be the performance date \",\"source\":\"Internet\"},{\"date\":\"1991-12-05\",\"type\":\"Production Date\",\"notes\":\"On tape 182, Paul Dutton has an interview with Warren Tallman regarding sound poetry and The Four Horsemen at [York University?] on December 5, 1991; we are not sure if he plays this tape (183) after his interview on not; this date is written on the j-card \",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/241163484#map=19/43.66857/-79.41299\",\"venue\":\"Music Gallery\",\"notes\":\"We are not sure about 2 Nights pieces on this tape, but 2 Nights is recorded and performed at The Music Gallery in Toronto on October 9 and 10 in 1987\",\"address\":\"918 Bathurst, 918, Bathurst Street, Seaton Village, University—Rosedale, Old Toronto, Toronto, Golden Horseshoe, Ontario, M5R 3G5, Canada\",\"latitude\":\"43.66859\",\"longitude\":\"-79.41300\"},{\"url\":\"https://www.openstreetmap.org/relation/324211#map=11/43.7175/-79.3762\",\"venue\":\"\",\"notes\":\"Live in the West (Toronto: Starborn Productions, 1977) and Nada Canadada (Toronto: Griffin House, 1973)\",\"address\":\"City Toronto, Golden Horseshoe, Ontario, Canada\",\"latitude\":\"43.6535\",\"longitude\":\"-79.3831\"},{\"url\":\"https://www.openstreetmap.org/way/876212862\",\"venue\":\"York University\",\"notes\":\"\",\"address\":\"York University, Keele Campus, Hackett Avenue, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 0K9, Canada\",\"latitude\":\"43.77393\",\"longitude\":\"-79.49883\"}]"],"Address":["918 Bathurst, 918, Bathurst Street, Seaton Village, University—Rosedale, Old Toronto, Toronto, Golden Horseshoe, Ontario, M5R 3G5, Canada","City Toronto, Golden Horseshoe, Ontario, Canada","York University, Keele Campus, Hackett Avenue, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 0K9, Canada"],"Venue":["Music Gallery","York University"],"City":["Toronto, Ontario","Toronto, Ontario","Toronto, Ontario"],"Note":["[{\"note\":\"Based on what it's written on the j-card, here are the list of the Four Horsemen performances on this tape:\\n\\nFrom Nada Canadada (Toronto: Griffin House, 1973): \\nAllegro \\nCoffee Break\\nIn the Middle of a Blue Balloon \\n\\nFrom Live in the West (Toronto: Starborn Productions, 1977):\\nMayakovsky\\nAssassin\\nSonada\\n\\nFrom Two Nights, 1988 (Performed on October 9 & 10, 1987)\\n\",\"type\":\"General\"},{\"note\":\"On tape 182, Paul Dutton has an interview with Warren Tallman regarding sound poetry and The Four Horsemen at [York University?] on December 5, 1991; we are not sure if he plays this tape (183) after his interview on not; this date is written on the j-card \",\"type\":\"General\"},{\"note\":\"We are not sure if this tape is part two of tape 182. Both tapes' j-cards have the same dates, locations, and people\",\"type\":\"General\"},{\"note\":\"Some interruptions occur all along this tape \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556693430277,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7183","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Warren Tallman on phone call reading his letter to Frank Davey on Mother's Day in Vancouver on May 13, 1990"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Davey, Frank","Karasick, Adeena"],"creator_names_search":["Tallman, Warren","Davey, Frank","Karasick, Adeena"],"creators":["[{\"url\":\" http://viaf.org/viaf/11397708\",\"name\":\" Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/5029235\",\"name\":\"Davey, Frank\",\"dates\":\"1940-\",\"notes\":\"Warren Tallman is talking to him although his voice is not heard \",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"Warren Tallman talks about Adeena Karasick while he is talking to Frank Davey\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12165/Warren Tallman Fonds_MsC 26.44_184.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\":\"184 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:30\",\"precision\":\"\",\"size\":\"43.4 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\":\"1990-05-13\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"Warren Tallman refers to Vancouver as \\\"here\\\"\",\"address\":\"Vancouver, Metro Vancouver Regional District, British Columbia, Canada\",\"latitude\":\"49.2604\",\"longitude\":\"-123.1145\"}]"],"Address":["Vancouver, Metro Vancouver Regional District, British Columbia, Canada"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Warren Tallman reads the letter he has written for Frank Davey while he is on the phone. In his letter Warren talks about Tish poets and and his belief in this group and its members; he also Pays Frank his compliments for forming Tish. He ends his letter talking about Adeena Karasick.\\n\\nAfter reading his letter, Warren begins talking about his career over the years at UBC and expressing his feelings. \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556694478848,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7184","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Robert Creeley Special  on Co-op Radio Program produced and edited by Paul Mutton in honor of Robert Creeley. (Broadcast or copyright August 12, 1990)"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Broadcast"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Creeley, Robert","Mutton, Paul","Bull, Hank","Kearns, Lionel","Little, Billy","Kroetsch, Robert","Tallman, Warren","Niechoda, Irene","Kamboureli, Smaro","Karasick, Adeena","Miki, Roy","Bowering, George","Watts, Charles"],"creator_names_search":["Creeley, Robert","Mutton, Paul","Bull, Hank","Kearns, Lionel","Little, Billy","Kroetsch, Robert","Tallman, Warren","Niechoda, Irene","Kamboureli, Smaro","Karasick, Adeena","Miki, Roy","Bowering, George","Watts, Charles"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/105181366\",\"name\":\"Mutton, Paul\",\"dates\":\"\",\"notes\":\"Robert Creeley Special program is produced and edited by Paul Mutton in the studios of Co-op radio in Vancouver; he is also the commentary for this program\",\"nation\":[],\"role\":[\"Speaker\",\"Producer\"]},{\"url\":\"http://viaf.org/viaf/205149294089180520706\",\"name\":\"Bull, Hank \",\"dates\":\"1949-\",\"notes\":\"Music is by Hank Bull\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/30784380\",\"name\":\"Kearns, Lionel\",\"dates\":\"1937-\",\"notes\":\"He talks at The Western Front on June 2nd. \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/223141797\",\"name\":\"Little, Billy\",\"dates\":\"1943-\",\"notes\":\"Known as Zonko\\nHe talks at The Western Front on June 2nd. \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/120613489\",\"name\":\"Kroetsch, Robert\",\"dates\":\"1927-2011\",\"notes\":\"He talks at The Western Front on June 2nd. \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\" http://viaf.org/viaf/11397708\",\"name\":\" 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files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-08-12\",\"type\":\"Publication Date\",\"notes\":\"This date is written in front of Paul Mutton copyright\",\"source\":\"J-card\"},{\"date\":\"1990-06-02\",\"type\":\"Production Date\",\"notes\":\"Event at The Western Front\",\"source\":\"J-card\"},{\"date\":\"1990-06-01\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman's armchair discussion at his house \",\"source\":\"J-card\"},{\"date\":\"1990-06-03\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman's armchair discussion at his house \",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/292460590\",\"venue\":\"The Western Front\",\"notes\":\"\",\"address\":\"303 E 8th Ave E, Vancouver, BC V5T 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Tape 194 SWALLOW ID 7193 includes the full original recording of the group conversation at Tallman's house.\",\"type\":\"Related Version\"},{\"note\":\"Tape 195 SWALLOW ID 7194 is a duplicate of parts of Tape 185 SWALLOW ID 7184, sides one and two. Tape 195 SWALLOW ID 7194 includes the full original recording of the group conversation at Tallman's house.\",\"type\":\"Related Version\"},{\"note\":\"Tape 197 SWALLOW ID 7196 is a duplicate of parts of Tape 185 SWALLOW ID 7184, sides one and two. Tape 197 SWALLOW ID 7196 includes the full original recording of the group conversation at Tallman's house.\",\"type\":\"Related Version\"},{\"note\":\"Tape 196 SWALLOW ID 7195 is a duplicate of parts of Tape 185 SWALLOW ID 7184, side two. Tape 196 SWALLOW ID 7195 includes the full original recording of the Robert Creeley Tribute event held at the Western Front on June 2, 1990.\",\"type\":\"Related Version\"},{\"note\":\"This tape is a Co-op Radio program produced by Paul Mutton with Warren Tallman's assistance. On the first side (Part 1), Mutton asks Creeley a couple of questions about Black Mountain College and education in general, and they discuss the theme of place with Warren Tallman. This was recorded on June 1st or June 2nd, 1990. The piano intro music is played by Hank Bull.\\n\\nOn the second side, we hear Robert Creeley's live event at the Western Front (June 2, 1990), followed by a discussion led by Warren Tallman  with a group of friends at Tallman's house. The live event broadcast on Co-op Radio includes readings by Lionel Kearns, Billy Little, Robert Kroetsch, Warren Tallman, and Robert Creeley. George Bowering is the emcee. The conversation at Tallman's home includes Creeley, Tallman, Irene Niechoda, Smaro Kamboureli, Adeena Karasick, and Roy Miki. (Miki features prominently). \",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556694478849,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7185","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Steve Swallow, Robert Creeley, and Sheila Jordan at The Red Mill, Rochester in New York on April 7, 1983"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Swallow, Steve","Jordan, Sheila","Creeley, Robert","Kuhn, Steve","Liebman, Dave","Mays, Lyle","Moses, Bob"],"creator_names_search":["Swallow, Steve","Jordan, Sheila","Creeley, Robert","Kuhn, Steve","Liebman, Dave","Mays, Lyle","Moses, Bob"],"creators":["[{\"url\":\"http://viaf.org/viaf/42026809\",\"name\":\"Swallow, Steve\",\"dates\":\"1940-\",\"notes\":\"Bass Player\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/34643571\",\"name\":\"Jordan, Sheila\",\"dates\":\"1928-\",\"notes\":\"Singer\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"Poet\",\"nation\":[],\"role\":[\"Author\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/84970988\",\"name\":\"Kuhn, Steve\",\"dates\":\"1938-\",\"notes\":\"Piano Player\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/120079184\",\"name\":\"Liebman, Dave\",\"dates\":\"1946-\",\"notes\":\"Saxophonist\\n\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/39562612\",\"name\":\"Mays, Lyle\",\"dates\":\"1953-2020\",\"notes\":\"Synthesizer Player\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/32184126\",\"name\":\"Moses, Bob\",\"dates\":\"1948-\",\"notes\":\"Drum Player\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Production_Date":[1983],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12169/Warren Tallman Fonds_MsC 26.44_188.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\":\"188 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:32\",\"precision\":\"\",\"size\":\"43.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"188 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:13\",\"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\":\"1983-04-07\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/176069\",\"venue\":\"The Red Mill\",\"notes\":\"We do not know the exact location of \\\"The Red Mill\\\"\",\"address\":\"Rochester, Monroe County, New York, United States\",\"latitude\":\"43.1576\",\"longitude\":\"-77.6157\"}]"],"Address":["Rochester, Monroe County, New York, United States"],"Venue":["The Red Mill"],"Note":["[{\"note\":\"Based on the j-card, here are the performed pieces:\\n\\nSome Echoes\\t\\n\\\"She Was Young...\\\" (From \\\"The Finger\\\")\\t\\n\\\"Nowhere One...\\\"\\t\\nColors\\t\\nHome\\t\\nIn The Fall\\t\\n\\\"You Didn't Think...\\\"\\t\\nIce Cream\\t\\nEcho\\t\\nMidnight\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556694478852,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7189","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Robert Creeley reading poetry in Vancouver on May 16, 1986 and Music performance by The Vancouver Art Trio"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Creeley, Robert","Vancouver Art Trio","Freedman, Bruce","Reed, Clyde","Simpson, Gregg"],"creator_names_search":["Creeley, Robert","Vancouver Art Trio","Freedman, Bruce","Reed, Clyde","Simpson, Gregg"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/137142705\",\"name\":\"Vancouver Art Trio\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\" http://viaf.org/viaf/151209964\",\"name\":\"Freedman, Bruce \",\"dates\":\"\",\"notes\":\"Vancouver Art Trio: Drum Player \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Reed, Clyde \",\"dates\":\"\",\"notes\":\"Vancouver Art Trio: Tenor Sax Player\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/62914314\",\"name\":\"Simpson, Gregg\",\"dates\":\"1947- \",\"notes\":\"Vancouver Art Trio: Bass Player \",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Production_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12180/Warren Tallman Fonds_MsC 26.44_190.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\":\"190 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:10\",\"precision\":\"\",\"size\":\"43.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"190 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:22\",\"precision\":\"\",\"size\":\"43.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1986-05-16\",\"type\":\"Production Date\",\"notes\":\"Robert Creeley reading poetry in Vancouver on May 16, 1986; We are not sure if The Vancouver Art Trio performance was recorded the same day\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, Metro Vancouver Regional District, British Columbia, Canada\",\"latitude\":\"49.2604\",\"longitude\":\"-123.1159\"}]"],"Address":["Vancouver, Metro Vancouver Regional District, British Columbia, Canada"],"City":["Vancouver, British Columbia"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670556695527425,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7190","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Gerry Gilbert, Robert Creeley, and The Vancouver Art Trio on Robert Creeley's 60th Birthday"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Creeley, Robert","Vancouver Art Trio","Simpson, Gregg","Freedman, Bruce","Reed, Clyde","Tallman, Warren","Gilbert, Gerry"],"creator_names_search":["Creeley, Robert","Vancouver Art Trio","Simpson, Gregg","Freedman, Bruce","Reed, Clyde","Tallman, Warren","Gilbert, Gerry"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/137142705\",\"name\":\"Vancouver Art Trio\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/62914314\",\"name\":\"Simpson, Gregg\",\"dates\":\"1947- \",\"notes\":\"Vancouver Art Trio: Drum Player \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\" http://viaf.org/viaf/151209964\",\"name\":\"Freedman, Bruce \",\"dates\":\"\",\"notes\":\"Vancouver Art Trio: Tenor Sax Player \",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Reed, Clyde \",\"dates\":\"\",\"notes\":\"Vancouver Art Trio: Bass Player\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"He talks about the event and all the contributors \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/13554305\",\"name\":\"Gilbert, Gerry \",\"dates\":\"1936-2009\",\"notes\":\"He introduces Robert Creeley\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]}]"],"contributors":["[]"],"Performance_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12181/Warren Tallman Fonds_MsC 26.44_191.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\":\"191 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:19\",\"precision\":\"\",\"size\":\"43.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"191 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:16\",\"precision\":\"\",\"size\":\"43.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1986-05\",\"type\":\"Performance Date\",\"notes\":\"It should be the end or the latest the beginning of may, because Creeley's birthday is on May 21\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, Metro Vancouver Regional District, British Columbia, Canada\",\"latitude\":\"49.2604\",\"longitude\":\"-123.1159\"}]"],"Address":["Vancouver, Metro Vancouver Regional District, British Columbia, Canada"],"City":["Vancouver, British Columbia"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670556695527426,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7191","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Robert Creeley's poetry reading and talk at S.U.N.Y. Buffalo on February 2, 1987 "],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Creeley, Robert","Therrien, Robert"],"creator_names_search":["Tallman, Warren","Creeley, Robert","Therrien, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Author\"]},{\"url\":\"http://viaf.org/viaf/25435812\",\"name\":\"Therrien, Robert\",\"dates\":\"1947-2019\",\"notes\":\"Warren Tallman and Robert Creeley have a dialogue reagrding \\\"Seven and Six\\\" portfolio made with collaboration of Robert Creeley, Robert Therrien, and Michel Butor \",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1987],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12184/Warren Tallman Fonds_MsC 26.44_192.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\":\"192 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:17\",\"precision\":\"\",\"size\":\"43.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"192 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:27\",\"precision\":\"\",\"size\":\"43.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1987-02-02\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"},{\"date\":\"1986-12\",\"type\":\"Production Date\",\"notes\":\"This date might refer to the time when Robert Creeley, Robert Therrien, and Michel Butor collaboratively made \\\"Seven and Six\\\" portfolio \",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/68036581\",\"venue\":\"Buffalo – S.U.N.Y. (University at Buffalo)\",\"notes\":\"\",\"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":["[{\"note\":\"Robert Creeley starts his talk by reading a poem written for his extraordinary great friend named Lise Hoshour. He talks a bit about his \\\"Seven and Six\\\" portfolio made in collaboration with Robert Therrien. Warren and Robert talk a bit about sculpture's language as well. \\n\\nWarren Tallman held a temporary teaching appointment at SUNY Buffalo for the academic year 1987-1988, working alongside his good friend Robert Creeley.  (Creeley was faculty at SUNY Buffalo from 1966-2003 and Tallman visited him several times, though this was his only teaching appointment there).\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556695527427,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7192","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Robert Creeley and Donald Allen interviewed by Warren Tallman on April 11, 1975 in Bolinas, CA"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Creeley, Robert","Allen, Donald"],"creator_names_search":["Tallman, Warren","Creeley, Robert","Allen, Donald"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"His voice is heard in this interview \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/79111075\",\"name\":\"Allen, Donald\",\"dates\":\"1912-2004\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1975],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12185/Warren Tallman Fonds_MsC 26.44_193.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\":\"193 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:15\",\"precision\":\"\",\"size\":\"42.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"193 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:17\",\"precision\":\"\",\"size\":\"42.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1975-04-11\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/150969386\",\"venue\":\"Donald Allen Residence\",\"notes\":\"Donald Allen had a residence in Bolinas, CA, so that was likely the location for this recording.\",\"address\":\"Bolinas, CA\",\"latitude\":\"37° 54' 20.39\\\" N \",\"longitude\":\"-122° 41' 6.59\\\" W\"}]"],"Address":["Bolinas, CA"],"Venue":["Donald Allen Residence"],"Note":["[{\"note\":\"This discussion may have taken place while Tallman and Creeley visited Donald Allen in Bolinas, CA, where he had a residence. \\n\\nTallman spent a sabbatical or study leave in Bolinas in the academic year 1974-1975 so this conversation was likely conducted during this period, though he visited at other times.\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556696576000,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7193","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Group discussion with Robert Creeley at Warren Tallman's house June 1-3, 1990 Tape 3 of 3"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Creeley, Robert","Karasick, Adeena","Kroetsch, Robert","Miki, Roy","Niechoda, Irene","Watts, Charles","Kamboureli, Smaro"],"creator_names_search":["Tallman, Warren","Creeley, Robert","Karasick, Adeena","Kroetsch, Robert","Miki, Roy","Niechoda, Irene","Watts, Charles","Kamboureli, Smaro"],"creators":["[{\"url\":\" http://viaf.org/viaf/11397708\",\"name\":\" Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"He talks at Warren Tallman's house on June 1,2, and 3, and his voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"She talks at Warren Tallman's house on June 1,2, and 3, and her voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/120613489\",\"name\":\"Kroetsch, Robert\",\"dates\":\"1927-2011\",\"notes\":\"He talks at Warren Tallman's house on June 1,2, and 3, and his voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"He talks at Warren Tallman's house on June 1,2, and 3, and his voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/43517276\",\"name\":\"Niechoda, Irene\",\"dates\":\"1957-2013\",\"notes\":\"She talks at Warren Tallman's house on June 1,2, and 3, Her voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Watts, Charles\",\"dates\":\"\",\"notes\":\"He talks at Warren Tallman's house on June 1,2, and 3, and his voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/56633719\",\"name\":\"Kamboureli, Smaro\",\"dates\":\"1955- \",\"notes\":\"She is probably present at Warren Tallman's house on June 1,2, and 3,\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12187/Warren Tallman Fonds_MsC 26.44_194.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\":\"194 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:03:21\",\"precision\":\"\",\"size\":\"58 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"194 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:03:22\",\"precision\":\"\",\"size\":\"58 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\":\"1990-06-01\",\"type\":\"Production Date\",\"notes\":\"Paul Mutton mentions the date on the second side of tape #185\",\"source\":\"Recording\"},{\"date\":\"1990-06-03\",\"type\":\"Production Date\",\"notes\":\"Paul Mutton mentions the date on the second side of tape #185\",\"source\":\"Recording\"},{\"date\":\"1990-06-02\",\"type\":\"Production Date\",\"notes\":\"We are not sure if the discussion at Warren Tallman's house happened on June 2 since Robert Creeley Tribute happened on this date. It's highly probable that Warren Tallman discussion happened on June 1 and 3  \",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/322025925\",\"venue\":\"Warren Tallman’s House\",\"notes\":\"Warren Tallman's home during the 70s, 80s, and 90s, where he lived with his daughter Karen Tallman DeBeck and her family.\",\"address\":\"3504 Bella Vista Street Vancouver BC V5N 3W9\",\"latitude\":\"49.252732\",\"longitude\":\"-123.070544\"}]"],"Address":["3504 Bella Vista Street Vancouver BC V5N 3W9"],"Venue":["Warren Tallman’s House"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Portions of Tape 194 SWALLOW ID 7193 are duplicated on Tape 185 SWALLOW ID 7184. Tape 194 SWALLOW ID 7193 may be the last in a series recording the full set of discussions upon which Mutton's radio broadcast, \\\"Robert Creeley Special\\\" (Tape 185 SWALLOW ID 7184) was based.\",\"type\":\"Related Version\"},{\"note\":\"Robert Creeley visited Vancouver in June 1990 and this series of tapes documents conversations held at Warren Tallman's home over June 1, 2, and 3, 1990. Parts of these group discussions were broadcast by Paul Mutton on Co-op Radio (likely on August 12, 1990). A live event \\\"Tribute to Robert Creeley\\\" was held at the Western Front on June 2, 1990 which was also recorded and broadcast in part. \\n\\nSide A begins with a discussion of education, modern poetry, and Allen Ginsberg, specifically Ginsberg's teaching and creative writing in relation to the institution. The group sings happy birthday to Adeena Karasick and eats cake. Primary speakers in this portion are Creeley and Tallman. \\n\\nSide B begins with a discussion of place and urbanization (primarily Creeley) and cuts after Tallman describes how the group will \\\"report\\\" the discussion to \\\"the Kroetschs\\\" (Smaro Kamboureli and Robert Kroetsch) and Roy Miki the following day (14:45). Here Tallman explains how the ideas for Creeley's visit coalesced around a special issue of Line magazine, \\\"Robert Creeley in Vancouver,\\\" proposed by Roy Miki. At 16:25 Tallman summarizes the previous day's discussion. The theme of place is extended and Roy Miki, Irene Niechoda, Smaro Kamboureli and Adeena Karasick discuss the illusions of place and identity.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556696576001,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7194","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Group discussion with Robert Creeley at Warren Tallman's house June 1-3, 1990 Tape 2 of 3"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Home recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Creeley, Robert","Karasick, Adeena","Kroetsch, Robert","Niechoda, Irene","Miki, Roy","Watts, Charles","Kamboureli, Smaro"],"creator_names_search":["Tallman, Warren","Creeley, Robert","Karasick, Adeena","Kroetsch, Robert","Niechoda, Irene","Miki, Roy","Watts, Charles","Kamboureli, Smaro"],"creators":["[{\"url\":\" http://viaf.org/viaf/11397708\",\"name\":\" Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Recordist\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"He talks at Warren Tallman's house on June 1,2, and 3, and his voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"She talks at Warren Tallman's house on June 1,2, and 3, and her voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/120613489\",\"name\":\"Kroetsch, Robert\",\"dates\":\"1927-2011\",\"notes\":\"He talks at Warren Tallman's house on June 1,2, and 3, and his voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/43517276\",\"name\":\"Niechoda, Irene\",\"dates\":\"1957-2013\",\"notes\":\"She talks at Warren Tallman's house on June 1,2, and 3, Her voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/94949252\",\"name\":\"Miki, Roy\",\"dates\":\"1942-2024\",\"notes\":\"He talks at Warren Tallman's house on June 1,2, and 3, and his voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Watts, Charles\",\"dates\":\"\",\"notes\":\"He talks at Warren Tallman's house on June 1,2, and 3, and his voice is heard on this tape\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/56633719\",\"name\":\"Kamboureli, Smaro\",\"dates\":\"1955-\",\"notes\":\"She is probably present at Warren Tallman's house on June 1,2, and 3,\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12190/Warren Tallman Fonds_MsC 26.44_195.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\":\"195 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:04:58\",\"precision\":\"\",\"size\":\"59.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"195 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:02:34\",\"precision\":\"\",\"size\":\"57.2 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\":\"1990-06-01\",\"type\":\"Production Date\",\"notes\":\"Paul Mutton mentions the date on the second side of tape #185\",\"source\":\"Recording\"},{\"date\":\"1990-06-03\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"},{\"date\":\"1990-06-02\",\"type\":\"Production Date\",\"notes\":\"We are not sure if the discussion at Warren Tallman's house happened on June 2 since Robert Creeley Tribute happened on this date. It's highly probable that Warren Tallman discussion happened on June 1 and 3  \",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/322025925\",\"venue\":\"Warren Tallman’s House\",\"notes\":\"Warren Tallman's home during the 70s, 80s, and 90s, where he lived with his daughter Karen Tallman DeBeck and her family.\",\"address\":\"3504 Bella Vista Street V5N 3W9\",\"latitude\":\"49.252732\",\"longitude\":\"-123.070544\"}]"],"Address":["3504 Bella Vista Street V5N 3W9"],"Venue":["Warren Tallman’s House"],"Note":["[{\"note\":\"Tape 185 SWALLOW ID 7184 includes portions of the discussion here on Tape 195 SWALLOW ID 7194 selected for broadcast by Paul Mutton for the Co-op Radio \\\"Robert Creeley Special.\\\"\",\"type\":\"Related Version\"},{\"note\":\"Robert Creeley visited Vancouver in June 1990 and this series of tapes documents conversations held at Warren Tallman's home over June 1, 2, and 3, 1990. Parts of these group discussions were broadcast by Paul Mutton on Co-op Radio (likely on August 12, 1990). A live event \\\"Tribute to Robert Creeley\\\" was held at the Western Front on June 2, 1990 which was also recorded and broadcast in part. \\n\\nSide A begins with Roy Miki discussing the relationship of place to one's sense of self as well as a concept of mother tongue and its suppression, in dialogue with Adeena Karasick, Tallman, Charles Watts. Later, Miki raises the examples of the Meech Lake Accord and Quebec separatism. Robert Kroetsch raises current questions of class and the group discusses urban poverty. Miki tells the story of his stolen thesis. They continue the general discussion of education.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556696576002,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7195","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. 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Tape 196 SWALLOW ID 7195 contains the recording of the full event for Robert Creeley on June 2, 1990.\",\"type\":\"Related Version\"},{\"note\":\"This Robert Creeley tribute event took place at the Western Front on June 2, 1990, organized by Warren Tallman and emceed by Angela and George Bowering. Presentations of poems and speeches are as follows on Side A:\\nHank Bull: piano opening\\nGeorge Bowering: intro, begins reading 4:05\\nAngela Bowering: 8:03\\nLionel Kearns: 17:03\\nGladys Hindmarch: 24:05\\nPeter Culley: 29:48\\nDaphne Marlatt: 39:02\\nRobert Kroetsch: 45:01\\nDavid Phillips: 48:00\\nEllen Tallman: 53:23\\nBarry McKinnnon: 55:52\\n\\nSide B\\nGerry Gilbert: 0:13\\nMaxine Gadd: 8:00\\nRalph Maud: 13:19\\nStan Persky: 20:45\\nGoh Poh Seng: 27:50 \\nJudith Copithorne: 32:50 \\nBilly Little: 36:49 \\nCharles Watts: 45:28 \\nRoy Miki: 52:20 (tape cuts at 59:53)\\n(Roy Kiyooka was introduced by George Bowering but was not recorded)\\n\\n\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556697624576,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7196","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Group discussion with Robert Creeley at Warren Tallman's house on June 1-3, 1990 Tape 1 of 3"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Creeley, Robert","Tallman, Warren","Mutton, Paul","Watts, Charles"],"creator_names_search":["Creeley, Robert","Tallman, Warren","Mutton, Paul","Watts, Charles"],"creators":["[{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\" http://viaf.org/viaf/11397708\",\"name\":\" Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"He is also the coordinator of this event for Robert Creeley \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/105181366\",\"name\":\"Mutton, Paul\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Watts, Charles\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]},{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12203/Warren Tallman Fonds_MsC 26.44_197.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"197 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:03:41\",\"precision\":\"\",\"size\":\"58.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"197 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:02:50\",\"precision\":\"\",\"size\":\"57.5 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\":\"1990-06-02\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/7802936235\",\"venue\":\"Vancouver Co-op Radio CFRO 100.5 FM\",\"notes\":\"\",\"address\":\"370 Columbia St, Vancouver, BC V6A 4J1\",\"latitude\":\"49.28181\",\"longitude\":\"-123.10203\"},{\"url\":\"https://www.openstreetmap.org/way/322025925\",\"venue\":\"Warren Tallman's House\",\"notes\":\"Warren Tallman's home during the 70s, 80s, and 90s, where he lived with his daughter Karen Tallman DeBeck and her family.\",\"address\":\"3504 Bella Vista Street Vancouver BC V5N 3W9\",\"latitude\":\"49.252732\",\"longitude\":\"-123.070544\"}]"],"Address":["370 Columbia St, Vancouver, BC V6A 4J1","3504 Bella Vista Street Vancouver BC V5N 3W9"],"Venue":["Vancouver Co-op Radio CFRO 100.5 FM","Warren Tallman's House"],"City":["Vancouver, British Columbia","Vancouver, British Columbia"],"Note":["[{\"note\":\"Portions of this discussion are duplicated on Tape 185 SWALLOW ID 7184, Paul Mutton's Co-op Radio broadcast of \\\"Robert Creeley Special.\\\"\",\"type\":\"General\"},{\"note\":\"This tape is labelled \\\"Interview - Black Mountain College June 2/90\\\" and \\\"1A\\\" so it may be the first recording in a series of discussions conducted with Robert Creeley at Warren Tallman's home from June 1-3, 1990. Paul Mutton reframes the discussion as an interview for his radio broadcast of the \\\"Robert Creeley Special\\\" on Co-op Radio, copyright August 12, 1990.\\n\\nMidway through Side A, Tallman mentions the date is June 2, 1990 and that the conversation is taking place at \\\"Red Wallbarrow Place School,\\\" which could be his home or an office space he used at the time. More than the other discussions, this conversation primarily features Creeley and Tallman. Charles Watts begins by offering the example of Kootenay School of Writing in Vancouver and Creeley and Tallman go on to discuss Black Mountain College and its closure as well as the broader political climate of the 1950s. Tallman queries the comparison of Black Mountain with Colorado's Naropa Institute, as well as, later, to UBC. They again discuss education in general, creative writing programs, and Side A concludes with Tallman returning to the topic of \\\"Robert Creeley in Vancouver\\\" (a premise for Roy Miki's special issue of Line by the same name).\\n\\nSide B returns to the interrogation of place, drawing from Tallman's ideas of poetic centers as well as Ginsberg and Olson. Here the main speakers are Creeley, Tallman and Watts. They refer to Stein, Kerouac, and Reznickoff.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556697624577,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7197","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. 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(Creeley was faculty at SUNY Buffalo from 1966-2003 and Tallman visited him several times, though this was his only teaching appointment there).\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556697624579,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7199","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Victor Coleman talks at Warren Tallman's class at York University on November 21, 1991"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Coleman, Victor","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Tallman, Warren","Coleman, Victor","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\" http://viaf.org/viaf/11397708\",\"name\":\" Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Interviewer\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/38160442\",\"name\":\"Coleman, Victor\",\"dates\":\"1944-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"Victor Coleman and Warren Tallman talk about BP Nichol and Victor's collaboration \",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1991],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12212/Warren Tallman Fonds_MsC 26.44_200.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\":\"200 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:00\",\"precision\":\"\",\"size\":\"43 MB\",\"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\":\"200 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:09\",\"precision\":\"\",\"size\":\"43.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1991-11-21\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/15396822\",\"venue\":\" York University\",\"notes\":\"\",\"address\":\"University York University, Keele Campus, The Pond Road, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 3M6, Canada\",\"latitude\":\"43.7741\",\"longitude\":\"-79.5045\"}]"],"Address":["University York University, Keele Campus, The Pond Road, Humber River—Black Creek, North York, Toronto, Golden Horseshoe, Ontario, M3J 3M6, Canada"],"Venue":[" York University"],"City":["Toronto, Ontario"],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556697624580,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7200","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Basil Bunting's lecture and reading from Ezra Pound's \"Cantos\" for his English class at UBC on November 30 1970 and bpNichol's reading"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Bunting, Basil","Pound, Ezra","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Tallman, Warren","Bunting, Basil","Pound, Ezra","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\" http://viaf.org/viaf/11397708\",\"name\":\" Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/4949021\",\"name\":\"Bunting, Basil\",\"dates\":\"1900-1985\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Reader\",\"Performer\"]}]"],"contributors":["[]"],"Production_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12214/Warren Tallman Fonds_MsC 26.44_201.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\":\"201 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:42\",\"precision\":\"\",\"size\":\"43.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"201 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:06\",\"precision\":\"\",\"size\":\"42.2 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\":\"1970-11-30\",\"type\":\"Production Date\",\"notes\":\"Basil Bunting reading poetry at Warren Tallman's classroom \",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1424987\",\"venue\":\"UBC\",\"notes\":\"\",\"address\":\"6398 University Blvd, Vancouver, BC V6T 1Z4\",\"latitude\":\"49.2586\",\"longitude\":\"-123.2452\"}]"],"Address":["6398 University Blvd, Vancouver, BC V6T 1Z4"],"Venue":["UBC"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Side A contains Basil Bunting's lecture for his own class at UBC on November 30 1970: he's reading from Pound's \\\"Cantos\\\" and discussing the selections of poems as labelled on the cassette's jcard: \\\"Canto 80,\\\" \\\"Canto 81,\\\" \\\"Canto 49\\\", and \\\"Canto 4\\\". Bunting was in a visiting professor position for Fall 1970, brought by Tallman and Peter Quartermain.\\n\\nSide B is a b.p. nichol reading introduced by another speaker (potentially Robin Blaser). It is not clear if this event took place in one of Blaser's classes at SFU, nor is any date given. \\nThe sound quality on side two is better than side one\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556698673152,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7201","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. 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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\":\"202 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:12\",\"precision\":\"\",\"size\":\"43.2 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"202 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:41\",\"precision\":\"\",\"size\":\"43.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"It's blank\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1988-10\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/7802936235\",\"venue\":\"Vancouver Co-op Radio CFRO 100.5 FM\",\"notes\":\"\",\"address\":\"370 Columbia St, Vancouver, BC V6A 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His voice is heard at the beginning of side one\",\"nation\":[],\"role\":[\"Speaker\",\"Recordist\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12216/Warren Tallman Fonds_MsC 26.44_203.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"203 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:45\",\"precision\":\"\",\"size\":\"43.7 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\":\"1990-02-08\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Except the part where Warren Tallman introduces Collin Browne, the tape is the duplicate of tape \\\"Colin Browne singing \\\"The Captain's Apprentice,\\\" reading \\\"Lunatic Bawling,\\\" and performing \\\"Bushes and Briars\\\" on February 8, 1990 Duplicate 2 of 2. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Bill Bissett and Adeena Karasick reading and performing poetry at Liquid Waze a language event at Rivoli, Toronto on April 2, 1990"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bissett, Bill","Karasick, Adeena"],"creator_names_search":["Bissett, Bill","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12313/Warren Tallman Fonds_MsC 26.44_223.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\":\"223 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:44:17\",\"precision\":\"\",\"size\":\"95.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"223 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:16:35\",\"precision\":\"\",\"size\":\"81.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-04-02\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/161835042\",\"venue\":\"Rivoli, Toronto\",\"notes\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" at [Rivoli, Toronto?] on April 2, 1990.\\nAs it's written on the j-card and mentioned by Warren Tallman on #134, this language event happened at Rivoli Toronto, but we are not sure if it's the same as the location we put in here\",\"address\":\"Rivoli, 332-334, Queen Street West, Queen West, Spadina—Fort York, Old Toronto, Toronto, Golden Horseshoe, Ontario, M5V 2A2, Canada\",\"latitude\":\"43.64943\",\"longitude\":\"-79.39495\"}]"],"Address":["Rivoli, 332-334, Queen Street West, Queen West, Spadina—Fort York, Old Toronto, Toronto, Golden Horseshoe, Ontario, M5V 2A2, Canada"],"Venue":["Rivoli, Toronto"],"City":["Toronto, Ontario"],"Note":["[{\"note\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" at Rivoli, Toronto on April 2, 1990.\\nAs it's written on the j-card and mentioned by Warren Tallman on #134, this language event happened at Rivoli Toronto, but we are not sure if it's the same as the location we put in here\\n\\nRivoli is a bar, restaurant and performance space. \",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556702867458,"timestamp":"2026-01-07T15:00:00.983Z","score":0.8684184},{"id":"7223","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Colin Browne reading his letter to Warren Tallman on April 23, 1989 DUPLICATE 2 of 2 and Fred Wah, and Robert Creeley reading their letters written for Warren Tallman on April 24, 1989"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren","Browne, Colin","Wah, Fred","Creeley, Robert"],"creator_names_search":["Tallman, Warren","Browne, Colin","Wah, Fred","Creeley, Robert"],"creators":["[{\"url\":\" http://viaf.org/viaf/11397708\",\"name\":\" Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/105886216\",\"name\":\"Browne, Colin\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/1330211\",\"name\":\"Wah, Fred\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]}]"],"contributors":["[]"],"Production_Date":[1989],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12218/Warren Tallman Fonds_MsC 26.44_205.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"205 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:47:17\",\"precision\":\"\",\"size\":\"43.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1989-04-24\",\"type\":\"Production Date\",\"notes\":\"Robert Creeley reads his letter\",\"source\":\"J-card\"},{\"date\":\"1989-04-23\",\"type\":\"Production Date\",\"notes\":\"the date is taken from the duplicate reading on tape #204 SWALLOW ID 7203\",\"source\":\"J-card\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Tape \\\"Colin Browne reads his letter written for Warren Tallman on April 23, 1989 DUPLICATE 1 of 2\\\" SWALLOW ID 7203 is a Duplicate of this tape\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670556904194050,"timestamp":"2026-01-07T15:00:01.192Z","score":0.8684184},{"id":"7205","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Colin Browne reading his preamble written for bpNichol and from Book 6 of The Martyrology"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Browne, Colin","Nichol, bp (Barrie Phillip)"],"creator_names_search":["Browne, Colin","Nichol, bp (Barrie Phillip)"],"creators":["[{\"url\":\"http://viaf.org/viaf/105886216\",\"name\":\"Browne, Colin\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, bp (Barrie Phillip)\",\"dates\":\"1944-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12219/Warren Tallman Fonds_MsC 26.44_206.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"206 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:07:05\",\"precision\":\"\",\"size\":\"6.48 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\":\"\",\"type\":\"\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670556904194051,"timestamp":"2026-01-07T15:00:01.192Z","score":0.8684184},{"id":"7206","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Colin Browne singing \"The Captain's Apprentice,\" reading \"Lunatic Bawling,\" and performing \"Bushes and Briars\" on February 8, 1990 Duplicate 2 of 2. The recording is compiled and introduced for Allen Ginsberg by Warren Tallman on March 1, 1991"],"item_title_source":["J-card and Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Browne, Colin","Tallman, Warren","Ginsberg, Allen"],"creator_names_search":["Browne, Colin","Tallman, Warren","Ginsberg, Allen"],"creators":["[{\"url\":\"http://viaf.org/viaf/105886216\",\"name\":\"Browne, Colin\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Recordist\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/108417923\",\"name\":\"Ginsberg, Allen\",\"dates\":\"1926-1997\",\"notes\":\"Warren Tallman recording a tape in Vancouver on March 1 in 1991 for Allen Ginsberg\",\"nation\":[],\"role\":[\"Author\"]}]"],"contributors":["[]"],"Production_Date":[1991],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12220/Warren Tallman Fonds_MsC 26.44_207.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"207 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:22:38\",\"precision\":\"\",\"size\":\"20.7 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\":\"1991-03-01\",\"type\":\"Production Date\",\"notes\":\"Warren Tallman recording this tape in Vancouver for Allen Ginsberg\",\"source\":\"Recording\"},{\"date\":\"1990-02-08\",\"type\":\"Production Date\",\"notes\":\"The exact date is written on tape's #203 j-card \",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/relation/1852574\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Vancouver, Metro Vancouver Regional District, British Columbia, Canada\",\"latitude\":\"49.2597\",\"longitude\":\"-123.1128\"}]"],"Address":["Vancouver, Metro Vancouver Regional District, British Columbia, Canada"],"City":["Vancouver, British Columbia"],"Note":["[{\"note\":\"Except the part where Warren Tallman introduces Collin Browne, the tape is the duplicate of tape \\\"Colin Browne singing \\\"The Captain's Apprentice\\\", reading \\\"Lunatic Bawling\\\", and performing \\\"Bushes and Briars\\\" on February 8, 1990 Duplicate 1 of 2\\\" #203 with SWALLOW id 7202 \",\"type\":\"Related Version\"},{\"note\":\"Warren Tallman introduces Colin Browne in the beginning of side one, and then Colin Browne starts performing.\\n\\nRecorded as part of Tallman's \\\"Birthday Collage\\\" for Ginsberg.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556904194052,"timestamp":"2026-01-07T15:00:01.192Z","score":0.8684184},{"id":"7207","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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Warren Tallman reading \"Claw\" Re-Beep on October 8, [1988?]"],"item_title_source":["Recording"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren"],"creator_names_search":["Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Recordist\"]}]"],"contributors":["[]"],"Production_Date":[0],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/8389/Warren Tallman Fonds_MsC 26.42_56.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\":\"MSC26-56-SideA.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:48:59\",\"precision\":\"\",\"size\":\"67.2 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\":\"MSC26-56-SideB.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:35:36\",\"precision\":\"\",\"size\":\"130.7 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\":\"[1988?]-10-08\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Recording\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"This tape is almost blank on both sides. Just in the early few seconds of both sides Warren Tallman says, \\\"Wait unit you hear the beep,\\\" and it goes blank. There is a part on tape #58 when Warren Tallman reads \\\"Claw\\\" and says this sentence prior to reading. \\nOn tape #58, Warren Tallman reads \\\"Claw\\\" on October 15th in1988 and he mentions the location which is Bowering's house at 14:20 on the first side of that tape. \\n\\n\\\"Beep\\\" on the J-card could refer to bpNichol.\\n\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670557456793600,"timestamp":"2026-01-07T15:00:01.720Z","score":0.8684184},{"id":"8391","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. 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The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["BLANK TAPE. 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Allen casa 21/9 2003\"; \"CASA L.Allen SET 2+Brian Chappell\"; \"W+M Sep 2003 Lillian Allen #3 Fortner Anderson \"."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Words and Music Show"],"item_subseries_title":["Series 1 - Mini Disk Years"],"item_subseries_description":["this is the subseries descriotion for mini disk years, swallow class 143"],"item_identifiers":["[WM20030921]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"rights_license":["Creative Commons Attribution, Non-Commercial, No Derivatives (BY-NC-ND)"],"rights_notes":["The permissions process for the Words and Music Show is ongoing."],"creator_names":["Ferrier, Ian"],"creator_names_search":["Ferrier, Ian"],"creators":["[{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"Ian Ferrier Introduces performers and also performs in the show.\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"contributors_names":["Allen, Lillian","Anderson, Fortner","Ferrier, Ian","Kellough, Kaie","Kidd, Catherine","May, Erin","Manchilde","O'Hara, Alexis","Baxter, Vince","Campbell, Brian"],"contributors_names_search":["Allen, Lillian","Anderson, Fortner","Ferrier, Ian","Kellough, Kaie","Kidd, Catherine","May, Erin","Manchilde","O'Hara, Alexis","Baxter, Vince","Campbell, Brian"],"contributors":["[{\"url\":\"http://viaf.org/viaf/33686390\",\"name\":\"Allen, Lillian\",\"dates\":\"1951-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/106026246\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1951-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/68351676\",\"name\":\"Kellough, Kaie\",\"dates\":\"1975-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/13542322/\",\"name\":\"Kidd, Catherine\",\"dates\":\"1967-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"May, Erin\",\"dates\":\"\",\"notes\":\"Not on databases.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Manchilde\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/106457511\",\"name\":\"O'Hara, Alexis\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Baxter, Vince\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Campbell, Brian\",\"dates\":\"\",\"notes\":\"Credited as musical guest on event poster.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Allen, Lillian","Anderson, Fortner","Ferrier, Ian","Kellough, Kaie","Kidd, Catherine","May, Erin","Manchilde","O'Hara, Alexis","Baxter, Vince","Campbell, Brian"],"Production_Date":[2003],"material_description":["[{\"side\":\"Only one side on a minidisc\",\"image\":\"../Uploads/11554/TDK_MiniDisc_and_AA-battery_200703.jpg\",\"other\":\"MD tracks: 39; 82; 128.\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"Sony\",\"generations\":\"Original\",\"Conservation\":\"No process has been performed on the disc.\",\"equalization\":\"None\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"3 Minidiscs: 120 Minutes\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Minidisc\",\"physical_composition\":\"Magneto-Optical\",\"accompanying_material\":\"Label with green masking tape on disc case indicates date.\",\"other_physical_description\":\"Disc is in clean condition.\"}]"],"material_designations":["Minidisc"],"physical_compositions":["Magneto-Optical"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"Dates":["[{\"date\":\"2003-09-21\",\"type\":\"Production Date\",\"notes\":\"Dates were written on the MiniDisc case.\",\"source\":\"Container\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1570292450\",\"venue\":\"Casa del Popolo (Montreal)\",\"notes\":\"The show took place in the main room of the Casa Del Popolo, before they had a concert room next door.\",\"address\":\"4873, Boulevard Saint-Laurent, Montreal, Quebec, Canada\",\"latitude\":\"45,5222118\",\"longitude\":\"-73,5905321\"}]"],"Address":["4873, Boulevard Saint-Laurent, Montreal, Quebec, Canada"],"Venue":["Casa del Popolo (Montreal)"],"City":["Montreal, Quebec"],"content_notes":["The Words & Music Show – \nCasa del Popolo – September 21, 2003\n\nSet 1\n\nIntro\n\nName\tAgreed?\tApproximate Length\tBio\nErin May\tYes\t8 minutes\tErin May was the easy winner of the Festivale Voix d\"Ameriques Poetry Slam in 2002.  Her work bridges genres from theatre to dance to voice improv.\n\nPadraic Scanlon\tYes\t7 minutes\tA young poet who wonm the League of Canadian Poets Young poet award this year.  This was his second appearnace at the Words & Music Show\nJeff Heinrich\tNot asked\t7 minutes\tA reporter for the Gazette newspaper.  This was the first time he ever publicly read a poem\nPaula Belina\tYes\t9 minutes\tPaula Belina is one of the new voices in the Montreal spoken word scene, but has made a strong impact in a very short time. Founder of Streeteaters litzine (now in its 16th issue) Paula's work appeared most recently in the Running with Scissors anthology from Cumulus Press. She has performed in the Wired on Words & Music shows numerous times, and last year was also featured in the Centaur Theatre's Wildside festival. She was born and lives in Montreal, and is currently a student at Concordia University.\n\nKaie Kellough\t\t\tKaie Kellough is a Montreal poet, performer, freelance writer.  His first book of poetry is currently being edited by George Elliott Clark for release in 2003-2004 by Cumulus Press.  A writer, performer and radio host. he has written for matrix, filling station, canadian dimension, and the globe and mail.  Kellough was a finalist in the CBC's Poetry Face-off event, and has coordinated radio segments for them as well.  He has performed in vancouver, calgary, toronto and montreal.  He recently released a chapbook titled \"fire escapes,\" and a 4-piece CD entitled Uptown Rundown.\n\n \n\nSet 2\n\nIntro\n\nIan Ferrier (with Bryan Highbloom on saxophone)\tYes\t7 minutes\tIan Ferrier is one of the core poet/performers in the North American performance literature scene.  His first CD/book-Exploding Head Man-was released by Planète Rebelle Press to national acclaim.   Ferrier is a founder of the Wired on Words performance literature label, and performs in Canada, the United States and Europe.\n\nCatherine Kidd\tYes\t15 minutes\n(tech problem; the music cut out).  If necessary, This piece was also recorded last year by Jane Lewis at CBC Montreal for their Urban Tales Series.\tCatherine Kidd is one of Montreal's most accomplished writer performers.  Her new CD/Book Sea Peach was released by Conundrum Press last fall (2002).  Her first performance collaborations with dj/composer jack beets were also released by Conundrum press in the cassette/book Everything I wanted to know about love I learned from taxidermy.  Kidd is just back from shows in England and Norway, and is considered one of the top names in the field of literature in performance.    \n\nLillian Allen\tNot asked\t25 minutes\t\nAlexis O’Hara\tYes\t11 minutes\tAlexis O'Hara's newest spoken word CD In Abulia was released in 2002.  Back in Montreal after a tour of North America, she is a triligual artist who writes, performs and improvises with musicians.  Last year she sent almost daily updates as she featured in over twenty shows in the States, Canada, and the Yukon (hey that's still Canada).\n\n\n \nSet 3\n\nFortner Anderson\tYes\t10 minutes\tExpatriate Tennessee preacher of the millennial news and patron saint of the Montreal Performance Poetry scene; \nlong-time host of CKUT radio's \"Dromotexte\" spoken word show, as well as promoter of Brazen Oralities spoken word reviews, Fortner tours and performs in eastern Canada, and resides in Montreal.  His last CD was Sometimes I think, \n(Wired on Words 2000), and his new one will be available this year.\nExcelano Project\tNot asked\t35 minutes\tThese were some American writers doing an international project to support hiv charities in Africa.  A lot of us objected to their material, which seemed like the appropriation of struggles and injustices that were not theirs to talk about\nManchilde\tYes\t8 minutes\tManchilde is one of the best-known names in Montreal's hip-hop and performance scene.  As a solo performer, and as a member of the Butta Babees, a Montreal based hiphop crew that have been crafting their sound over the last 5 years, Manchilde is both an excellent performer and a strong voice on the history of the community.  \n\nVince Baxter\tNot asked\t10 minutes\tA stand up comic from Edmonton\nBrian Campbell\tNot asked\t10 minutes\tA singer/songwriter\n\n"],"contents":["The Words and Music show presents Canadian dub legend Lillian Allen, performing alongside some of the best of Montreal's spoken word scene. The event poster boasts Fortner Anderson, Ian Ferrier, Kaie Kellough, Catherine Kidd, Erin May, Manchilde, Alexis O'Hara. The evening is rounded off with comic improv by Vince Baxter and music by Brian Campbell. At the Casa, $5, doors at 8PM."],"Note":["[{\"note\":\"This was a special edition of the Words and Music show devoted to the work of Lillian Allen.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/52540882?oclcNum=52540882\",\"citation\":\"Kellough, Kaie, lettricity (Montreal: Cumulus Press, 2004). ISBN 0-9733499-1-3\"}]"],"_version_":1853670548256587776,"timestamp":"2026-01-07T14:59:52.745Z","digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"29082019120457_DN-700R.wav\",\"channel_field\":\"Stereo\",\"sample_rate\":\"96kHz\",\"duration\":\"00:56:13\",\"precision\":\"\",\"size\":\"894.6\",\"bitrate\":\"24\",\"encoding\":\"Waveform\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"29082019130402_DN-700R.wav\",\"channel_field\":\"Stereo\",\"sample_rate\":\"96kHz\",\"duration\":\"01:14:55\",\"precision\":\"\",\"size\":\"1.23GB\",\"bitrate\":\"24\",\"encoding\":\"Waveform\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/wordsandmusic/wm_orig/files/2003/09/\",\"file_path\":\"files.spokenweb.ca> concordia> wordsandmusic> wm_orig> files> 2003> 09\",\"filename\":\"29082019110443_DN-700R.wav\",\"channel_field\":\"Stereo\",\"sample_rate\":\"96kHz\",\"duration\":\"00:55:07\",\"precision\":\"Double\",\"size\":\"915.3MB\",\"bitrate\":\"24\",\"encoding\":\"Waveform\",\"contents\":\"The Words and Music show presents Canadian dub legend Lillian Allen, performing alongside some of the best of Montreal's spoken word scene. The event poster boasts Fortner Anderson, Ian Ferrier, Kaie Kellough, Catherine Kidd, Erin May, Manchilde, Alexis O'Hara. The evening is rounded off with comic improv by Vince Baxter and music by Brian Campbell. At the Casa, $5, doors at 8PM.\",\"notes\":\"The Words & Music Show – \\nCasa del Popolo – September 21, 2003\\n\\nSet 1\\n\\nIntro\\n\\nName\\tAgreed?\\tApproximate Length\\tBio\\nErin May\\tYes\\t8 minutes\\tErin May was the easy winner of the Festivale Voix d\\\"Ameriques Poetry Slam in 2002.  Her work bridges genres from theatre to dance to voice improv.\\n\\nPadraic Scanlon\\tYes\\t7 minutes\\tA young poet who wonm the League of Canadian Poets Young poet award this year.  This was his second appearnace at the Words & Music Show\\nJeff Heinrich\\tNot asked\\t7 minutes\\tA reporter for the Gazette newspaper.  This was the first time he ever publicly read a poem\\nPaula Belina\\tYes\\t9 minutes\\tPaula Belina is one of the new voices in the Montreal spoken word scene, but has made a strong impact in a very short time. Founder of Streeteaters litzine (now in its 16th issue) Paula's work appeared most recently in the Running with Scissors anthology from Cumulus Press. She has performed in the Wired on Words & Music shows numerous times, and last year was also featured in the Centaur Theatre's Wildside festival. She was born and lives in Montreal, and is currently a student at Concordia University.\\n\\nKaie Kellough\\t\\t\\tKaie Kellough is a Montreal poet, performer, freelance writer.  His first book of poetry is currently being edited by George Elliott Clark for release in 2003-2004 by Cumulus Press.  A writer, performer and radio host. he has written for matrix, filling station, canadian dimension, and the globe and mail.  Kellough was a finalist in the CBC's Poetry Face-off event, and has coordinated radio segments for them as well.  He has performed in vancouver, calgary, toronto and montreal.  He recently released a chapbook titled \\\"fire escapes,\\\" and a 4-piece CD entitled Uptown Rundown.\\n\\n \\n\\nSet 2\\n\\nIntro\\n\\nIan Ferrier (with Bryan Highbloom on saxophone)\\tYes\\t7 minutes\\tIan Ferrier is one of the core poet/performers in the North American performance literature scene.  His first CD/book-Exploding Head Man-was released by Planète Rebelle Press to national acclaim.   Ferrier is a founder of the Wired on Words performance literature label, and performs in Canada, the United States and Europe.\\n\\nCatherine Kidd\\tYes\\t15 minutes\\n(tech problem; the music cut out).  If necessary, This piece was also recorded last year by Jane Lewis at CBC Montreal for their Urban Tales Series.\\tCatherine Kidd is one of Montreal's most accomplished writer performers.  Her new CD/Book Sea Peach was released by Conundrum Press last fall (2002).  Her first performance collaborations with dj/composer jack beets were also released by Conundrum press in the cassette/book Everything I wanted to know about love I learned from taxidermy.  Kidd is just back from shows in England and Norway, and is considered one of the top names in the field of literature in performance.    \\n\\nLillian Allen\\tNot asked\\t25 minutes\\t\\nAlexis O’Hara\\tYes\\t11 minutes\\tAlexis O'Hara's newest spoken word CD In Abulia was released in 2002.  Back in Montreal after a tour of North America, she is a triligual artist who writes, performs and improvises with musicians.  Last year she sent almost daily updates as she featured in over twenty shows in the States, Canada, and the Yukon (hey that's still Canada).\\n\\n\\n \\nSet 3\\n\\nFortner Anderson\\tYes\\t10 minutes\\tExpatriate Tennessee preacher of the millennial news and patron saint of the Montreal Performance Poetry scene; \\nlong-time host of CKUT radio's \\\"Dromotexte\\\" spoken word show, as well as promoter of Brazen Oralities spoken word reviews, Fortner tours and performs in eastern Canada, and resides in Montreal.  His last CD was Sometimes I think, \\n(Wired on Words 2000), and his new one will be available this year.\\nExcelano Project\\tNot asked\\t35 minutes\\tThese were some American writers doing an international project to support hiv charities in Africa.  A lot of us objected to their material, which seemed like the appropriation of struggles and injustices that were not theirs to talk about\\nManchilde\\tYes\\t8 minutes\\tManchilde is one of the best-known names in Montreal's hip-hop and performance scene.  As a solo performer, and as a member of the Butta Babees, a Montreal based hiphop crew that have been crafting their sound over the last 5 years, Manchilde is both an excellent performer and a strong voice on the history of the community.  \\n\\nVince Baxter\\tNot asked\\t10 minutes\\tA stand up comic from Edmonton\\nBrian Campbell\\tNot asked\\t10 minutes\\tA singer/songwriter\\n\\n\",\"title\":\"The Lillian Allen Show\",\"credit\":\"Recorded by Steve Godin\",\"caption\":\"Sound recording of the \\\"Lillian Allen Show\\\", special edition of the Words and Music Show.\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"}]"],"score":0.86502606},{"id":"4542","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Warren Tallman fonds"],"source_collection_label":["Warren Tallman fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2012.002"],"persistent_url":[""],"item_title":["arabia, as one, difference, indian summer / golden, natural love [and Warren Tallman lecture]"],"item_title_source":["Title written on artifact."],"item_title_note":["Side A title: arabia, as one, difference, indian summer\n\nSide B title: golden, natural love"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren"],"creator_names_search":["Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"Side B contains a recorded lecture by Warren Tallman.\",\"nation\":[],\"role\":[\"Recordist\",\"Speaker\"]}]"],"contributors":["[]"],"material_description":["[{\"side\":\"A & B\",\"image\":\"../Uploads/3723/UBCO_Tallman_2012_002_062_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Audio Magnetics Corporation of Canada Ltd.\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"30 minutes each side\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2012.002.062_arabia,_as_one,_difference,_indian_summer_SideA_(MA)_02-01.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:27:37\",\"precision\":\"\",\"size\":\"915 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2012.002.062_golden,_natural_love_SideB_(MA)_01.wav\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:30:20\",\"precision\":\"\",\"size\":\"1.0 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/91208094\",\"venue\":\"Buchanan Building, University of British Columbia\",\"notes\":\"Probable location of recording on Side B.\",\"address\":\"1866 Main Mall, Vancouver, B.C.\",\"latitude\":\"49.26827765\",\"longitude\":\"-123.25424162050663\"}]"],"Address":["1866 Main Mall, Vancouver, B.C."],"Venue":["Buchanan Building, University of British Columbia"],"City":["Vancouver, British Columbia"],"content_notes":["Contents entry temporary. Side A to be time stamped. Side B transcription complete."],"contents":["Side A contains music by an unknown band. The set list includes the songs as listed, \"arabia,\" \"as one,\" \"difference,\" and \"indian summer.\"\n\nSide B is mislabeled and contains an excerpt from an unknown lecture by Warren Tallman. In this recording Tallman tells a joke, gives a poetry reading kit, invites class to a party, and recites poems and songs from memory for the class."],"Note":["[{\"note\":\"Digitization complete. Side A to be time stamped. Side B transcription complete.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://www.poetryfoundation.org/poems/43671/the-little-black-boy\",\"citation\":\"Blake, William. \\\"The Little Black Boy.\\\" \"},{\"url\":\"https://www.mamalisa.com/?t=es&p=1493\",\"citation\":\"Anonymous. \\\"Goosey, Goosey Gander.\\\" \"},{\"url\":\"https://www.lyrics.com/lyric/6080114/The+Andrews+Sisters/Billy+Boy\",\"citation\":\"Dixon, Luther and Jack Douglas. \\\"Billy Boy.\\\" \"},{\"url\":\"https://www.poemhunter.com/poem/jest-fore-christmas/\",\"citation\":\"Field, Eugene. \\\"Jest 'Fore Christmas.\\\"\"},{\"url\":\"https://www.poetryfoundation.org/poems/44476/lines-on-the-mermaid-tavern\",\"citation\":\"Keats, John. \\\"Lines on Mermaid Tavern.\\\"\"},{\"url\":\"https://www.poetryfoundation.org/poems/44682/the-garden-56d223dec2ced\",\"citation\":\"Marvell, Andrew. \\\"The Garden.\\\" \"},{\"url\":\"https://www.bartleby.com/101/324.html\",\"citation\":\"Milton, John. Samson Agonistes.\"},{\"url\":\"https://www.irish-folk-songs.com/the-cow-kicked-nellie-lyrics-by-seamus-moore.html\",\"citation\":\"Moore, Seamus. \\\"The Cow Kicked Nellie.\\\" \"},{\"url\":\"https://www.poetryfoundation.org/poems/46964/hickory-dickory-dock\",\"citation\":\"Mother Goose. \\\"Hickory, dickory, dock.\\\" \"},{\"url\":\"https://www.poetryfoundation.org/poems/50427/song-when-that-i-was-and-a-little-tiny-boy-with-hey-ho-the-wind-and-the-rain\",\"citation\":\"Shakespeare, William. \\\"When that I was and a little tiny boy (With hey, ho, the wind and the rain).\\\" \"},{\"url\":\"https://www.bartleby.com/236/72.html\",\"citation\":\"Shelley, Percy Bysshe. Adonais.\"},{\"url\":\"https://poetrysociety.org/features/old-school/on-percy-bysshe-shelleys-evening-ponte-al-mare-pisa\",\"citation\":\"Shelley, Percy Bysshe. \\\"Evening, Ponte Al Mare, Pisa.\\\"\"},{\"url\":\"https://www.poetryfoundation.org/poems/43297/lapis-lazuli\",\"citation\":\"Yeats, William Butler. \\\"Lapis Lazuli.\\\"\"}]"],"_version_":1853670550981836808,"timestamp":"2026-01-07T14:59:55.538Z","score":0.8438615},{"id":"9979","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 3.3, Communal Memories, 20 December 2021, McLeod "],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/communal-memories/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2021],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/4fbf6de0-126c-4630-8919-4d8fac60e816/audio/088e183d-1d3a-421d-ade5-5e1c94090fcf/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"shortcuts-3-3-communal-listening.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:12:16\",\"precision\":\"\",\"size\":\"11,851,695 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"ShortCuts 3.3 Communal Listening\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/communal-memories/\"}]"],"Dates":["[{\"date\":\"2021-12-20\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"AUDIO CLIPS\\n\\nAll audio in this episode is from the Gerry Gilbert radiofreerainforest Collection, held at Simon Fraser University and part of SFU’s Digitized Collections.\\n\\nRESOURCES\\n\\nMaracle, Lee.\\nI Am Woman: A Native Perspective on Sociology and Feminism\\n. Vancouver: Press Gang, 1996.\\n\\nMaracle, Lee.\\nMemory Serves: Oratories\\n. Ed. Smaro Kamboureli. NeWest Press, 2015.\\n\\n“radiofreerainforest 3 & 28 July and 7 August, 1988.”\\nGerry Gilbert radiofreerainforest Collection.\\nSFU Digitized Collections.\\nhttps://digital.lib.sfu.ca/radiofreerainforest-357/radiofreerainforest-3-28-july-and-7-august-1988\\n\\n“ShortCuts 2.9: Situating Sound.”\\nThe SpokenWeb Podcast\\n, 21 June 2020.\\nhttps://spokenweb.ca/podcast/episodes/situating-sound/\\n\\nTaylor, Diana.\\nThe Archive and the Repertoire: Performing Cultural Memory in the Americas\\n. Durham, N.C: Duke UP, 2003.\\n\\nWilson, Michelle. “Forced Migration.”\\nThe SpokenWeb Podcast\\n, 6 December 2021.\\nhttps://spokenweb.ca/podcast/episodes/forced-migration/\"}]"],"_version_":1853670549809528832,"timestamp":"2026-01-07T14:59:54.290Z","contents":["As part two of ShortCuts 2.9 Situating Sound—and as one of the many remembrances of Stó:lō writer and activist Lee Maracle—this ShortCuts explores how the archive remembers and who these memories serve. The audio recording for this episode is a 1988 recording of Lee Maracle and Dionne Brand, recorded for broadcast on Gerry Gilbert’s radio program “radiofreerainforest” (Vancouver Coop Radio; SFU Digitized Collections). Building towards Maracle’s reading of the poem “Perseverance,” producer Katherine McLeod selects audio clips from this recording in which we can hear feminist placemaking in action. \n\n00:00\tShortCuts Theme:\t[Piano Overlaid With Distorted Beat]\n \n\n00:09\tHannah McGregor:\tWelcome to SpokenWeb ShortCuts. Each month on alternate fortnights (that’s every second week following the monthly SpokenWeb Podcast episode) join me, Hannah McGregor and our minisode host and curator, Katherine McLeod for SpokenWeb’s ShortCuts mini-series. We’ll share with you, especially curated audio clips from deep in the SpokenWeb archives to ask, what does it mean to cut and splice digitally? What kinds of new stories and audio criticism can be produced through these short archival clips? An extension of the ShortCuts blog posts on spoken web blog, this series brings Katherine’s favourite audio clips each month to the SpokenWeb Podcast feed. So if you love what you hear, make sure to head over to SpokenWeb.ca for more. without further ado. [End Music: Piano Overlaid With Distorted Beat] Without further ado, here is Katherine McLeod with SpokenWeb ShortCuts, mini-stories about how literature sounds. [SpokenWeb Podcast Theme Music: Instrumental Overlapped with Feminine Voice]\n \n\n01:17\tKatherine McLeod:\tWelcome to ShortCuts. Last time on ShortCuts, we were listening to recordings that made us think about and feel the emotional weight of archives. We were thinking about how archival recordings produce memories that can almost stand in for the lived memory itself. How does the archive remember? Is the archive, the archive as in the colonial archive, or is the archive something more attuned to embodied practice? And that understanding very much resonates with the most recent episode of the SpokenWeb Podcast, “Forced Migration.” That episode asks how stories are passed along in the case of bison migration. Artist and researcher Michelle Wilson mines colonial archives in order to create alternative stories of the human relations with the bison of Turtle Island. What do we call the collection of these stories, an archive, a community, and who do these memories serve? That is the question that will take us into the sounds of this ShortCuts, who do these memories serve.\n \n\n02:34\tKatherine McLeod:\tAnd here I’m thinking about Stó:lō writer and activist Lee Maracle’s book Memory Serves. On November 11th, 2021 Lee Maracle passed away… And I heard the news after finishing up the last ShortCuts and thinking about archival afterlives. I listened to all the tributes pouring in for Maracle across various media outlets and media platforms. We’re still listening to those tributes and remembrances. Recordings of Maracle’s voice are in SpokenWeb audio collections. For example, if you recall the episode in season two of ShortCuts on Dionne Brand’s reading from 1988, you’ll recall that Lee Maracle had read with her that night. I had planned on a part two of that ShortCuts to listen to Maracle in that recording. And now is the time to listen. At the same time, like in the last episode, I encourage you to take care while listening…\n \n\n03:35\tAudio Recording, Lee Maracle, 1988 Reading:\tTomorrow there’s a celebration of South Africa Women’s Day. And I was asked almost a year ago now, I think to do a poem for the boycott the shipments of sulphur from Vancouver harbour to South Africa. And I’m gonna read that one first.\n \n\n03:59\tKatherine McLeod:\tIt is a reading that was broadcast on the radio program, radiofreerainforest. And that’s how we end up with this recording. That is the archive. But the experience of being there is archived in the sound in the cadence of voice, in the noise, in the background, in the laughter in knowing that the recording cannot remember it all. We won’t listen to the entire recording, but we will listen to enough clips that you get a sense of it. And if you’d like to return to it, you’ll know that it is there. The audio clips that we will hear are ones that convey the sound of the room, what it would’ve felt like to be there, how we can hear kinship, how we can hear the relation between bodies in the room. Like in this moment, when Maracle explains that she is going to read an epigram for Dionne Brand…\n \n\n04:56\tAudio Recording, Lee Maracle, 1988 Reading:\tThis is for Dionne. [Laughter] She wrote this book called Winter Epigrams. You should all buy it if you get a chance [Laughter], it’s a great book of poems. But as you know, about 95% of Canada in the winter is covered in snow. So I answered her epigrams about the cold in this fashion. At that time, I hadn’t met Dionne, but I was supposed to read with her and, it never came to pass [Laughter]. Tonight is the first— [inaudible comment from Brand] [Laughter from Brand and Maracle] — and I wouldn’t these, but [Inaudible] [Shared Laughter]… This one’s called “Flowers for Dionne.” I hope I get it right!\n \n\n05:46\tKatherine McLeod:\tIt feels as though we’re listening to a private moment that has found its way into a more formal archive. There are jokes about how they had planned to read together didn’t and now here they are — and that continues later, when in her reading Brand replies to Maracle with an unfinished epigram in response.\n \n\n06:08\tAudio Recording, Dionne Brand, 1988 Reading:\tLee read the epigram back to me in Montreal. And I was very honoured too, that she had written it back to me and I’ve been trying to write her back an epigram. We might make a book [Audience Laughter]. So I haven’t got very far with the epigram except to say: “Write me out of this epigram, Lee, you are so much water. You are too much water, too much rock, so much eagle. Write me out of this epigram, Lee. I am so much bush, so much ocean, so much rage…” And that’s just the beginning. [Laughter] It’s not finished. [Clapping] It’s supposed to go and like “write us out of this goddamn epigram.” [Audience Laughter]. I want to read a couple poems about South Africa.\n \n\n07:21\tKatherine McLeod:\tBrand starts her reading after Maracle with a poem for South Africa. And that is exactly how Maracle had started hers. I am taking all of these audio clips out of their contexts, out of their linear order in which they would’ve been heard in the reading, but, in doing so, I’m trying to bring to the forefront, the connections that are embedded within it and the conversation happening between poets in the reading itself. Knowing the exchange that unfolds between Brand and Maracle about the epigrams, it becomes even more meaningful to hear what precedes it. And this is why I’ve taken all of that out of context, to build up to hearing this poem, a poem that Maracle introduces by saying that she wrote it for herself. Let’s now listen to Lee Maracle reading “Perseverance”…\n \n\n08:16\tAudio Recording, Lee Maracle, 1988 Reading:\tI once said that poetry is never a self-portrait, you know, poets are famous for writing for so and so and for so and so and for so and so… Well, I was feeling very narcissistic one day, and I decided this was for me. It’s called “Perseverance.”\n \n\n08:34\tAudio Recording, Lee Maracle, 1988 Reading:\t[Reading poem] There’s a dandelion on the roadside in Toronto, it’s leaves a dishevelled mix of green and brown. A dandelion straggling and limping along. There’s a flower beside a concrete stump on Bay Street in Toronto, perpetually rebelling against spiked heels and blue surge suits. The monetary March passed by five o’clock Bay Street, deaf to the cries of this thin ageing lion’s sneer. Chicken, yellow flower. My leaves, my face, my skin. I feel like my skin is being ripped off of me. There is a flower in Toronto on the roadside. It takes jack hammers and brutish machines to rip the concrete from the sidewalks in Toronto to beautify the city of blue suede suits. But for this dandy lion, it takes, but a seed, a little acid rain, a whole lot of fight, and a black desire to limp along and scraggle, forward. There is a flower. [Audience Laughter]\n \n\n09:41\tAudio Recording, Lee Maracle, 1988 Reading:\tThis is for Dionne.\n \n\n09:42\tKatherine McLeod:\tThat poem ends with the words, “There is a flower.” We can hear that those words are almost covered by the response from the audience — and, well, no, they’re not covered. It’s more that they’re supported by the sound. The sound holds them up. And that’s the moment that Maracle says, “This is for Dionne.” Listening again, I rushed to check a published version of the poem in I Am Woman to see that it ends with “There is a flower” because it really sounds like she says, “Here is a flower.” On the page, it says “There is a flower,” but I listen to it again. And it does sound like “here.” And thinking about it more, I thought, well, how beautiful would it have been? If she had said, “Here is a flower,” because she had said that this poem is for herself. To say, “here is a flower” is like saying a version of: “Here I am.” And that would make even more sense with how her audience responds. It’s as though she’s reached out her arms while saying it, and as though we can hear the warmth of the smiles and nods around her saying, yes, here she is. Let’s listen to that ending again…\n \n\n10:52\tAudio Recording, Lee Maracle, 1988 Reading:\t“…black desire to limp along and scraggle, forward. There is a flower. [Audience Laughter] This is for Dionne. [Lee Laughs] She wrote this called book called Winter Epigrams. You should all buy it if you get a chance. It’s a great book…\n \n\n11:11\tKatherine McLeod:\tThat was Lee Maracle reading with Dionne Brand in 1988. The recording is part of the radiofreerainforest collection, which is part of SpokenWeb’s audio collections held at Simon Fraser University. If you are a SpokenWeb researcher with an audio clip for shortcuts, do get in touch at spokenwebpodcast@gmail.com. If you are listening and you were at one of the readings played here on ShortCuts, please do get in touch at the same email spokenwebpodcast@gmail.com. [Start Music: ShortCuts Theme Music]\n \n\n11:42\tKatherine McLeod:\tShortcuts is mixed and mastered by Judith Burr, hosted by Hannah McGregor, transcribed by Kelly Cubbon, and produced by me, Katherine McLeod. Thanks for listening.\n \n"],"score":0.73739314},{"id":"4505","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Warren Tallman fonds"],"source_collection_label":["Warren Tallman fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["2012.002"],"persistent_url":[""],"item_title":["312 Nov 17 '86 CREELEY / Nov 19 312 OLSON-CREELEY 2 [Warren Tallman lecture]"],"item_title_source":["Title written on cassette."],"item_title_note":["Side A title reads: 312 Nov 17 '86 CREELEY\n\nSide B title reads: Nov 19 312 OLSON-CREELEY 2"],"item_language":["English"],"item_production_context":["Classroom recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Tallman, Warren"],"creator_names_search":["Tallman, Warren"],"creators":["[{\"url\":\"http://viaf.org/viaf/11397708\",\"name\":\"Tallman, Warren\",\"dates\":\"1921-1994\",\"notes\":\"Lecturer\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors_names":["Olson, Charles","Creeley, Robert","Pound, Ezra"],"contributors_names_search":["Olson, Charles","Creeley, Robert","Pound, Ezra"],"contributors":["[{\"url\":\"http://viaf.org/viaf/27091190\",\"name\":\"Olson, Charles\",\"dates\":\"1910-1970\",\"notes\":\"Warren Tallman reads and lectures about Charles Olson's poetry.\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/109562114\",\"name\":\"Creeley, Robert\",\"dates\":\"1926-2005\",\"notes\":\"Warren Tallman gives a lecture on Robert Creeley.\",\"nation\":[],\"role\":[\"Author\"]},{\"url\":\"http://viaf.org/viaf/24606774\",\"name\":\"Pound, Ezra\",\"dates\":\"1885-1972\",\"notes\":\"Warren Tallman lectures about Ezra Pound.\",\"nation\":[],\"role\":[\"Author\"]}]"],"author_name":["Olson, Charles","Creeley, Robert","Pound, Ezra"],"Performance_Date":[1986],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/2368/UBCO_Davey_2014_002_017_c.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Sony HF 90 Type I (Normal) Position\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2014.002.017_312_Nov_17_86_CREELEY_SideA_(MA)\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:47:14\",\"precision\":\"\",\"size\":\"1.64 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side A\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2014.002.017_Nov_19_312_OLSON-CREELEY_2_SideB_(MA)\",\"channel_field\":\"\",\"sample_rate\":\"96,000\",\"duration\":\"T00:44:41\",\"precision\":\"\",\"size\":\"1.55 GB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1986-11-17\",\"type\":\"Performance Date\",\"notes\":\"Date Side A lecture was recorded.\",\"source\":\"Listed on item\"},{\"date\":\"1986-11-19\",\"type\":\"Performance Date\",\"notes\":\"Date Side B lecture was recorded.\",\"source\":\"Listed on item\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2763312741\",\"venue\":\"Buchanan Building, The University of British Columbia\",\"notes\":\"\",\"address\":\"1866 Main Mall, Vancouver, BC, Canada\",\"latitude\":\"49.2690758\",\"longitude\":\"-123.254727\"}]"],"Address":["1866 Main Mall, Vancouver, BC, Canada"],"Venue":["Buchanan Building, The University of British Columbia"],"City":["Vancouver, British Columbia"],"content_notes":["Contents entry temporary."],"contents":["Side A: Tape consists of UBC English professor Warren Tallman giving a lecture to his ENGL 312: Studies in Poetry class on Robert Creeley. The lecture was held on November 17, 1986 in the Buchanan Buildings at UBC.\n\nSide B: Tape consists of Warren Tallman continuing on his previous lecture about Robert Creeley to his ENGL 312: Studies in Poetry class. Tallman also discusses the work of Ezra Pound and Charles Olson, and sings popular music about the moon from the early 20th century. The lecture was held on November 19, 1986 in the Buchanan Buildings at UBC."],"Note":["[{\"note\":\"Item #: 2012.002.065.\\n\\nPreviously numbered: 2014.002.017\",\"type\":\"General\"},{\"note\":\"Digitization complete. Transcription complete.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://www.poetryfoundation.org/poems/42839/i-know-a-man\",\"citation\":\"Creeley, Robert. \\\"I Know a Man.\\\" Poetry Foundation.\"},{\"url\":\"https://books.google.ca/books?id=HFSHcmlwxaQC&pg=PA145&lpg=PA145&dq=la+noche+robert+creeley&source=bl&ots=ctJBJfhNWE&sig=ACfU3U1DDnr7zKnn4uM39mBPtQ5oOuDZNQ&hl=en&sa=X&ved=2ahUKEwjWy4OglOvpAhUxFjQIHdY4AsEQ6AEwBHoECAkQAQ#v=onepage&q=la%20noche%20robert%20creeley&f=false\",\"citation\":\"Creeley, Robert. \\\"La Noche.\\\"\"},{\"url\":\"https://melodicverses.com/poems/19421/Like-They-Say\",\"citation\":\"Creeley, Robert. \\\"Like They Say.\\\"\"},{\"url\":\"https://www.poetryfoundation.org/poetrymagazine/poems/27979/the-door-56d211ce63a5f\",\"citation\":\"Creeley, Robert. \\\"The Door.\\\"\"},{\"url\":\"https://www.lyrics.com/lyric/1585242/It%27s+Only+a+Paper+Moon\",\"citation\":\"Arlen, Harold, Yip Harburg, and Billy Rose. \\\"It's Only A Paper Moon.\\\"\"},{\"url\":\"http://boppin.com/poets/creeley.htm\",\"citation\":\"Creeley, Robert. \\\"A Form of Women.\\\"\"},{\"url\":\"https://www.poetryfoundation.org/poems/54522/the-whip-56d234f509455\",\"citation\":\"Creeley, Robert. \\\"The Whip.\\\"\"},{\"url\":\"https://lyricsplayground.com/alpha/songs/t/taintnosintodancearoundinyourbones.html\",\"citation\":\"Donaldson, Walter and Edgar Leslie. \\\"T'ain't No Sin (To Dance Around in Your Bones).\\\"\"},{\"url\":\"https://www.lyricsondemand.com/miscellaneouslyrics/statesongslyrics/indianastatesonglyrics.html\",\"citation\":\"Dresser, Paul. \\\"On the Banks of the Wabash, Far Away.\\\"\"},{\"url\":\"https://lyricsplayground.com/alpha/songs/m/moonofmanakoorathe.html\",\"citation\":\"Loesser, Frank and Alfred Newman. \\\"Moon of Manakoora.\\\"\"},{\"url\":\"https://www.azlyrics.com/lyrics/andywilliams/moonriver.html\",\"citation\":\"Mercer, Johnny and Henry Mancini. \\\"Moon River.\\\"\"},{\"url\":\"https://www.lyrics.com/lyric/14829047/Kate+Smith/Shine+on+Harvest+Moon\",\"citation\":\"Norworth, Jack and Nora Bayes. \\\"Shine on Harvest Moon.\\\"\"},{\"url\":\"https://www.poetryfoundation.org/poems/54311/as-the-dead-prey-upon-us\",\"citation\":\"Olson, Charles. \\\"As the Dead Prey Upon Us.\\\"\"},{\"url\":\"https://www.azlyrics.com/lyrics/andywilliams/beginthebeguine.html\",\"citation\":\"Porter, Cole. \\\"Begin the Beguine.\\\"\"},{\"url\":\"https://www.poetryfoundation.org/poems/54316/canto-iv\",\"citation\":\"Pound, Ezra. “Cantos IV.”\"},{\"url\":\"https://www.poetryfoundation.org/poems/44914/envoi-56d2243243e40\",\"citation\":\"Pound, Ezra. “Envoi.\\\"\"}]"],"_version_":1853670550973448193,"timestamp":"2026-01-07T14:59:55.538Z","score":0.70030254},{"id":"8376","cataloger_name":["Leah,Van Dyk"],"partnerInstitution":["University of Calgary"],"collection_source_collection":["Robert Kroetsch fonds"],"source_collection_label":["Robert Kroetsch fonds"],"collection_contributing_unit":["University of Calgary, Archives and Special Collections"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":["https://searcharchives.ucalgary.ca/robert-kroetsch-fonds"],"item_title":["The Bards of March: Mar 15/86 Barbour/Prize Draw/Kroetsch (Nichol) Van Herk B Wiebe"],"item_title_source":["Transcribed from the artifact"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[29.10.1]"],"rights":["In Copyright (InC)"],"rights_notes":["Enters Public Domain at the end of 2036"],"creator_names":["Kroetsch, Robert"],"creator_names_search":["Kroetsch, Robert"],"creators":["[{\"url\":\"http://viaf.org/viaf/120613489\",\"name\":\"Kroetsch, Robert\",\"dates\":\"1927-2011\",\"notes\":\"\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Barbour, Doug","Nichol, B.P.","Van Herk, Aritha","Wiebe, Rudy"],"contributors_names_search":["Barbour, Doug","Nichol, B.P.","Van Herk, Aritha","Wiebe, Rudy"],"contributors":["[{\"url\":\"\",\"name\":\"Barbour, Doug \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/76350280\",\"name\":\"Nichol, B.P.\",\"dates\":\"1944-1988\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/110789564\",\"name\":\"Van Herk, Aritha\",\"dates\":\"-1954\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/39385421\",\"name\":\"Wiebe, Rudy\",\"dates\":\"-1934\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Barbour, Doug ","Nichol, B.P.","Van Herk, Aritha","Wiebe, Rudy"],"Performance_Date":[1986],"material_description":["[{\"side\":\"A and B\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"XHE\",\"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\":\"RK_Acc_775_04.25.29.10-1\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"T00:59:20\",\"precision\":\"\",\"size\":\"978.34 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1986-03-15\",\"type\":\"Performance Date\",\"notes\":\"Dates taken from container and/or accompanying material.\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"\",\"notes\":\"\",\"address\":\"Edmonton [?], Alberta, Canada\",\"latitude\":\"\",\"longitude\":\"\"}]"],"Address":["Edmonton [?], Alberta, Canada"],"City":["Edmonton, Alberta"],"content_notes":["\nReadings as well as prize draws for the NeWest event.\n- Doug Barbour, two poems about jazz: “Alone on the Road” and “That Gone Tune”. “That Gone Tune” inspired by listening to Dave Holland Quintet at the Yardbird Suite (jazz club in Edmonton). Third poem “For a Branch of Almond Tree in Bloom, 1890” a sonnet responding to Vincent van Gogh’s iconic “Branch of Almond Tree in Bloom” (find now as “Almond Blossom”). Untitled mixing sound and poetry, begins with epigraph from review Smaro Kambourelli wrote of Phyllis Webb.\n- Recording includes prize draw by Jack Lewis (NeWest manager): Rudy Wiebe giving away his books (Wiebe helped organize the event), art prize.\n- Robert Kroetsch (read by bpNichol): Nichol qualifies to read Robert Kroetsch because his father was born in Alberta. Nichol notes that Kroestch seeks to displace the “I” in his poetry, and this is about as far as he can displace it. Reading from section Advice to My Friends, \"1: For a Poet Who Has Stopped Writing,\" \"14: I Find Myself Reading the Old Guys Now December 6th 1983,\" \"Sonnet #1,\" \"I'm Getting Old Now,\" \"Sonnet #5\"; reading from section Sounding the Name, \"Sonnet for My Daughters\"; reading from section The Poet's Mother \"1,\" \"3,\" \"Envoy, To Begin With.\"\n- Aritha Van Herk: Reading from No Fixed Address: something is playing in the background during the reading. Section pertains to characters going to poetry reading, feminist and ironic view of poetry by novelists.\n- Rudy Wiebe: Reading from The Temptation of Big Bear, the last and only speech of big Bear, post-conviction.\n"],"contents":["Doug Barbour  \n[00:00:56]\nReads \"Alone on the Road\".\nDoug Barbour\n[00:03:30]\nReads \"That Gone Tune\".\nDoug Barbour\n[00:08:25]\nReads \"For a Branch of Almond Tree in Bloom, 1890\".\nUnknown\n[00:09:45]\nUntitled [begins with epigraph from review Smaro Kambourelli wrote of Phyllis Webb].\nB.P. Nichol\n[00:20:15]\nReads \"1: For a Poet Who Has Stopped Writing\" by Robert Kroetsch.\nB.P. Nichol\n[00:21:30]\nReads \"14: I Find Myself Reading the Old Guys Now December 6th 1983\" by Robert Kroetsch.\nB.P. Nichol\n[00:22:31]\nReads \"Sonnet #1\" by Robert Kroetsch.\nB.P. Nichol\n[00:23:32]\nReads \"I'm Getting Old Now\" by Robert Kroetsch.\nB.P. Nichol\n[00:24:42]\nReads \"Sonnet #5\" by Robert Kroetsch.\nB.P. Nichol\n[00:25:15]\nReads \"Sonnet for My Daughters\" by Robert Kroetsch.\nB.P. Nichol\n[00:26:00]\nReads \"1\" by Robert Kroetsch.\nB.P. Nichol\n[00:26:31]\nReads \"3\" by Robert Kroetsch.\nB.P. Nichol\n[00:27:05]\nReads \"Envoy, To Begin With\" by Robert Kroetsch.\nAritha Van Herk\n[00:30:57]\nReads excerpt from No Fixed Address.\nRuby Wiebe\n[00:47:04]\nReads excerpt from The Temptation of Big Bear."],"Note":["[{\"note\":\"\",\"type\":\"\"}]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Kroetsch, Advice to My Friends. Van Herk, No Fixed Address. Wiebe, The Tempation of Big Bear.\"}]"],"_version_":1853670558525292544,"timestamp":"2026-01-07T15:00:02.734Z","score":0.5624022},{"id":"1296","cataloger_name":["Mahtab,Banihashemi"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Jackson Mac Low at Sir George Williams University, The Poetry Series, 26 March 1971"],"item_title_source":["Cataloguer"],"item_title_note":["\"JACKSON MacLOW experiential poetry Recorded March 26, 1971 3.75 ips, 1/2 track 1 mil. tape Poorish technical quality\" written on sticker on the back of the tape's box. \"JACKSON MacLOW -1 I006/SR31.1\" written on sticker on the spine of the tape's box. \"Side 1 I006-11-031.1\" written on sticker on the reel.\n\n\"JACKSON MacLOW experiential poetry Recorded March 26, 1971 3.75 ips, 1/2 track 1 mil. tape Poorish technical quality\" written on sticker on the back of the tape's box. \"JACKSON MacLOW -2 I006/SR31.2\" written on sticker on the spine of the tape's box. \"I006-11-031.2\" written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[I006-11-031.1, I006-11-031.2]"],"creator_names":["Mac Low, Jackson"],"creator_names_search":["Mac Low, Jackson"],"creators":["[{\"url\":\"http://viaf.org/viaf/80245668\",\"name\":\"Mac Low, Jackson\",\"dates\":\"1922-2004\",\"notes\":\"Jackson Mac Low was born on September 12, 1922 in Chicago, Illinois, and became not only a poet, but a playwright, an editor, a literary critic, a translator, a teacher, a composer and a performer of verbal and theatrical works.  As a child, he studied music and poetry. Studying for an Associate in Arts degree in philosophy, poetics and literature at the University of Chicago from 1939 to 1943, Mac Low enrolled in Brooklyn College (now the City of University of New York) to pursue an A. B. degree in Greek, graduating cum laude. Jackson Mac Low was the poetry editor of Why? from 1950-1954. After holding a job as an editorial assistant at Funk & Wagnalls from 1957-1958, and again from 1961-1962, he taught at New York University for seven years. Mac Low married painter Iris Lezak in 1962 and had two children with her, however they divorced by 1978. Mac Low put on three plays, The Marrying Maiden: a play of changes from 1960-61, Verdurous Sanguinaria, 1961, and Questions & Answers...A Topical Play in 1963. He published his first set of plays The Twin Plays: Port-au-Prince & Adams County Illinois in 1963 (Something Else Press). The Pronouns- A Collection of 40 Dances-For the Dancers was first self-published in 1964, but was re-published numerous times in later years. Mac Low published a series of Light Poems, August Light Poems in 1967 (s.n. press), 22 Light Poems in 1968 (Black Sparrow Press), 23rd Light Poem: for Larry Eigner in 1969 (Tetrad Press), 38th Light Poem: In Memoriam Buster Keaton in 1975 (Permanent Press) and 54th Light Poem: For Ian Tyson in 1978 (Membrane Press). Stanzas for Iris Lezak, though written in 1968 was only published in 1972 (Something Else Press).  Publishing over twenty other books and performance pieces, Mac Low’s most noted works include Asymmetries 1-260: The First Section of a Series of 501 Performance Poems (Printed Editions, 1976), Antic Quatrains (Toothpaste Press for Bookslinger, 1980), Representative Works, 1938-1985 (Roof Books,1996) and Barnesbook: Four Poems Derived from Sentences by Djuna Barnes (Sun & Moon Press, 1996). Mac Low has won many awards, notably the American Academy of Arts and Sciences grant (1971), Creative Arts Public fellowship in multimedia (1973-1974) and in poetry (1976-77), Madeline Sadin Award in 1974, PEN American  Center grant 1974, National Endowment for the Arts fellowship (1979) and the Tanning Prize (1999). In 1990, he married the visual artist, poet and composer Anne Tardos. He then taught creative writing at numerous universities worldwide. Jackson Mac Low died of complications from a stroke on December 8, 2004.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"Duplicate\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Poor\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1971 3 26\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box and in written announcement \\\"SIR GEORGE WILLIAMS UNIVERSITY POETRY 5\\\"\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"What Goes On!\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. "],"contents":["jackson_maclow_i006-11-031-1.mp3 [File 1 of  2]\n \nUnknown\n00:00:02\nAmbient Sound [music; wood flute].\n \nJackson Mac Low\n00:00:36\nReads \"Glass Buildings\" accompanied by music. \n \nJackson Mac Low\n00:01:28\nReads “5.2.3.6.5., the 3rd biblical poem” [accompanied by music and other voices]. \n\nJackson Mac Low\n00:05:27\nFrom “Judges 6:4 to First Samuel 1:10”, written Saturday, 1st January 1955.\n \nJackson Mac Low\n00:05:40\nReads [“On the Glorious Burning of the Stars and Stripes in the Sheep Meadow in Central Park around about Noon on April 15, 1967 1967 May”].\n \nJackson Mac Low\n00:07:20\nNext is a “Word event for George Brecht” on the words 'anti-personnel bombs', this is a kind of poem that can be done on any words. I did it first on these words at a reading in New York [https://www.wikidata.org/wiki/Q60] where the Russian poet Voznesensky [https://www.wikidata.org/wiki/Q236619] joined some American poets in an anti-war reading.\n\nUnknown\n00:07:42\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n\nJackson Mac Low\n00:07:43\nPerforms “Word event for George Brecht” accompanied by recording.\n \nJackson Mac Low\n00:21:12\nAll the people who are going to read the \"Number to Symmetries\" please come up for the microphone...These were a group of a hundred poems, of the form that has holes in it, that is the format of the poems are used to indicate silences, where there's white space on the page, they're silences. Some of the phonemes on the ends of words are prolonged, and others are stuttered. I'm not sure that any of them that are stuttered are in this particular batch. I wrote about 500 of these in late 1961, early--late, let's see, late ‘60 and early ‘61. I wish you'd say your own names, because I didn't get all your names down in the book, be sure to write your names in my book when you leave. Would the people participating just tell their names to the audience because I don't know all of them?\n \nAudience Participants\n00:22:47\nPeter Boxer, [unintelligible], Walter Katjetski, Robert Graham, Jenny Burn, [unintelligible], Ivan [Lourd (?)].\n \nJackson Mac Low\n00:22:59\nRemember when you get to the end of one, then the next person will take the mic.\n\nAudience Member 1\n00:23:03\nDo we circulate while we’re off mic?\n\nJackson Mac Low\n00:23:06\nYeah, if you want. Yeah, that would be very nice.\n\nUnknown\n00:23:26\nAmbient Sound [voices].\n\nJackson Mac Low\n00:23:40\nYeah, just go after...Would you rather have these than the book? Would you rather have papers or the book? Probably easier for you to just put the book down and say “I’m here.”...No, I’m just going to do these. Alright, does anybody have a lot of short ones? I have a few more...So, you prolong those phonemes and [unintelligible] repeated this one...Yeah...Do you need any...Anybody have lots of short ones? Alright. [Unintelligible]. Okay, I would say move a little bit that way. Now those without mics, I think you might be picked up by the mics of those who have them to at least to get on the tape. Okay.\n \nJackson Mac Low\n00:25:23\nPerforms \"Number to Symmetries\" accompanied by audience members. \n \nJackson Mac Low\n00:41:01\nIn 1960, just before I wrote this group, I wrote a group of poems called the...Stanzas for Iris Lezak, they're--this is the summer of ‘60, they're presently being published this year by the Something Else Press [https://www.wikidata.org/wiki/Q2299703], which is nominally in New York and really in Newhall [https://www.wikidata.org/wiki/Q7018086], California [https://www.wikidata.org/wiki/Q99], at the centre of the earthquake. I'll first read a short group, solo, and then read one in a duet with the--of the earlier performance of it. \"Poe and Psychoanalysis\".\n \nJackson Mac Low\n00:42:30\nReads \"Poe and Psychoanalysis\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:42:57\nReads \"Marseille\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:11\nReads \"London\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:48\nReads \"Sydney\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:44:58\nReads \"Berlin\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:45:12\nReads \"Madrid\" from Stanzas for Iris Lezak.\n \nJackson Mac Low\n00:45:21\nReads \"Rome\" from Stanzas for Iris Lezak.\n\nUnknown\n00:45:59\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nUnknown\n00:46:00\nAmbient sound [music and voices].\n \nJackson Mac Low\n00:47:37\nI'll explain a bit, I took these from whatever I was reading from about April to October of 1960, the group of place-name poems were from scatter paper called The National Enquirer [https://www.wikidata.org/wiki/Q1814777]. This is from the, an article in the Scientific American [https://www.wikidata.org/wiki/Q39379]...\n\nUnknown\n00:48:05\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nJackson Mac Low\n00:48:06\nReads [“Asymmetry from Scientific American” from Stanzas for Iris Lezak]. \n\nAudience\n00:55:20\nApplause. \n\nJackson Mac Low\n00:55:27\nThis is a, a number of these are collages of various times and places, as well as spontaneity in this room here, on two of these tapes, you will hear a lady's voice along with my own. I did a concert of my works along with Jim Tenney [https://www.wikidata.org/wiki/Q715379] and Max Neuhaus [https://www.wikidata.org/wiki/Q2182711], in town hall, New York in September of 1966, and still earlier Max Neuhaus had realized this particular piece which is a piece produced by subjecting the electric typewriter keyboard to randomization by random numbers, so it looks like a lot of different characters from the electric typewriter, Neuhaus recorded it at the University of Illinois [https://www.wikidata.org/wiki/Q1145814] laboratory, I guess some time earlier in ‘66 or maybe ‘65 and then put it down four octaves. He and another guy were reading from--the readers read from this in any way they wish, now I'll have the live readers to come up here...So then in... in this ‘66 concert, I did it as a duet, reading through the negatives from which this was printed, the blinking light, and a Jeanne Lee [https://www.wikidata.org/wiki/Q274580], a very fine blues singer was in the various works that were performed in that concert, and she's on the duet that you hear, that you will hear. A year ago, or a little more, I guess in April of last year I performed this in a class at NYU [https://www.wikidata.org/wiki/Q49210] along with the-oh and the Neuhaus tape was along with that performance in NYU, then the town hall performance and the Neuhaus tape--all three were in the NYU performance along with the NYU performance, so now you'll hear it at least four different times, plus the present, something like that.\n \nJackson Mac Low\n00:58:23\nPerforms unnamed piece accompanied by recording. \n \nJackson Mac Low\n01:06:11\nI'll do a piece called \"Fifth Gatha'', which is another group piece, uh, the readers who learned it, please come up with copies, and I'll have to toss around tapes for a few minutes here. I might explain that this particular piece is one of a series I call \"Gathas\" that are written on graphed paper, they by chance operations. I take the mantra of one religion or another, this happens to be the great prajnaparamita mantra, which is basic to Northern Buddhism and Zen Buddhism, and it's arranged by the method so that it falls over an axis of 'a's, 'u's and 'm's that is the word 'aum', wherever a's, u's and m's appear in the mantra they may cross the mantra, there aren't many u's in this particular one, so there isn't any--nothing crossing the u-line, you may be able to see the empty gap there. The mantra in question is \"Gone, gone to the other shore, quite gone over the other shore, boldly, wisdom, spaha, pray. Guthe, guthe, paraguthe [unintelligible]...\" you may, those of you who know zen may be more familiar with it in its Japanese version, which is sort of a Japanization of the Sanskrit. The group version of it was done in the Chelsea Hotel [https://www.wikidata.org/wiki/Q240711], I think in '67, but the German editor and producer, Carl Weissner [https://www.wikidata.org/wiki/Q1040995], the whisper version you hear, I did at home, earlier, maybe in ‘66, ‘65, ‘66. \n \nJackson Mac Low\n01:09:35\nPerforms \"Fifth Gatha\" accompanied by audience members and recording.\n \nJackson Mac Low\n01:26:20\nThe last poem I read was also from Stanzas for Iris Lezak. It's based on the Tibetan prayer to the gurus and it's translated by W.Y. Evans-Wentz [https://www.wikidata.org/wiki/Q456451]. The next piece is all about bluebirds. It’s again--it uses the form of...In recent years I've gone back to writing poems in the form of the asymmetries that I wrote in ‘60 and ‘61, but these tended to cluster around one subject matter. There's one in the current Aspen Magazine [https://www.wikidata.org/wiki/Q4807826] about young turtles, no one really knows where they go once they've hatched, and they know when they come back, but they don't really know what they do in between hatching and there is a natural history magazine, there was a caption to a picture, and so there was a record in the current Aspen, that's of that group. This is the first one of this type that I did on bluebirds, was for a group event that a number of us, let’s see, Iris Lezak, Emmett Williams [https://www.wikidata.org/wiki/Q719185], Carol [Bouget (?)] and [Jet Yalka (?)] and I did a collective event for the University of Syracuse [https://www.wikidata.org/wiki/Q617433] at Utica [https://www.wikidata.org/wiki/Q2495519], which we called, which Emmett named for us [\"Jack-a-Jurismatics (?)”] and so one of the pieces I wrote for that was this bluebirds piece. Emmett Williams has a beautiful work that has bluebirds in it, it's a permutation poem that also appears in this anthology, although this is an anthology that La Monte Young [https://www.wikidata.org/wiki/Q432822] got together in ‘60 and we--‘60 and ‘61 I guess, and he had many difficulties between the time that it was designed and the time it was printed and finally got it out at first in 1963, it's called An Anthology of--well, various things--Chance Operations, and well I don't know what, concept art, anti-art, indeterminacy improvisation, meaningless work, natural disasters and so on. And well, just recently, our first edition is now a sort of a collector's item, sells around a hundred, but recently a German publisher re-published it for us and the current, the new editions is going for $8.50, so if anyone is--I don't have copies here but I'll be happy to send any to anybody. Contains work mostly, a lot of it is music, musical scores, there's some other poetry, including the Emmett Williams mention. The Emmett Williams poem does all the variations, does all the permutations of one group of things, \"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\", each of those is considered a run unit, and all the possible permutations of them are written out \"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\". I'd love to read it, but it's very long. Usually we read it with five different voices, each taking the unit and once in a while, people get through it without breaking down laughing. [Unintelligible]. This was taken from, the bluebird asymmetries were from two...were from two encyclopedia articles on bluebirds, one I think the Audubon Encyclopedia, and I've forgotten what the other one was. They're very complimentary. The voices you hear are, you heard in another performance of Leslie [Sixfin (?)], Amy [Spurling (?)] and Harvey [Lesain (?)], along with four of my students at the Mannes School of Music [https://www.wikidata.org/wiki/Q1519151] and about done in 1966, or 1967, I think it was May of 1967 that this was done. There's a specially gifted group I felt that I happened to get together in that class, just towards the end we were doing mostly, we were just doing ordinary grammar English, I'm an English teacher, for my bread.\n \nEND\n01:32:11\n\n\njackson_maclow_i006-11-031-2.mp3 [File 2 of  2]\n\nUnknown Speaker\n00:00:00\nThis is the one you wanted some light percussive stuff?\n\nJackson Mac Low\n00:00:04\nYeah, but very easy on it, not very, you know, keep the amplitude down to, no higher than mezzo piano. Did someone take one from here? I'm supposed to have one and ten. Try to start with the earlier ones and then go into the later ones if possible. Those with the first, the earlier numbers should be on mic first. Those with numbers between two and five I guess you would have. So that the [unintelligible] will hear the earlier ones more than the later ones. You can prolong any of the phonemes at the ends of lines. This is another piece called [unintelligible].\n \nUnknown\n00:01:49\nAmbient Sound [recorded performance plays; title uncertain].\n \nJackson Mac Low\n00:03:00\nPerforms \"Bluebird Asymmetries\" accompanied by audience members and recording.\n \nJackson Mac Low\n00:12:35\nI have one last one that none of these people have yet seen, and so this one has no rules, that is, the others have some rules for how you put in silences, these will, these...In the summer of ‘69 I did a project for the Los Angeles Museum of Art [https://www.wikidata.org/wiki/Q1641836], an art technology show that's going to open this May. Unfortunately, my machine was bombed out, the corporation seems to be on the rocks, they're not providing the machine, but luckily I had poems that appeared on cathode ray tubes or something called a programmable film reader, and the words appear at the same time we sent the same impulses through an audio system and they turned out to be, well the oboe family, everything down from sopranino oboe to double, double, double bass oboe according to how long the lines were and so I did quite a few poems, this particular one is \"The\", and it's the last one I did, and tried to grab I guess three pages each, just use whatever discretion you want to, and listen, listen, listen. Earlier I had very strict rules governed by chance operations and so on, in reading these, well, in reading these kind of simultaneous works, and more and more I came to the, well I always had the principal of the most important things was to listen hard to everything that was happening, including whatever was happening in the room, whatever’s happening outside and so on, but more and more I relied on the readers to judge when to come in, and in--perform--these I found, this is one very long print-out of this particular poem. I don't want to--I think in, I don't remember, someplace there's a description of the idea of how they were made and all that, but what I got was a number of messages that, of which the units were permuted, the earliest form of my program was simply permuting the words in each, single words in each message. Later on I was able to get carriage returns and things like that so that in this, each message is a group of short sentences, usually about the same thing, and you'll, so that on the page each message looks like a sort of a stanza or strophe, and the groups of sentences--any number of the groups of sentences from any one of these strophe units may appear at any time according to way the thing is programmed. Does everybody have about three pages? Let's just make it...\n \nJackson Mac Low\n00:16:24\nPerforms \"The\" accompanied by audience members.\n \nJackson Mac Low\n00:27:57\nThank you.\n \nEND\n00:27:57\n[Cut off abruptly].\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nJackson Mac Low was in the process of writing “Odes for Iris”, written after the breakup of his first marriage. He won the American Academy of Arts and Sciences grant, and The Pronouns was republished in 1971. Mac Low was the editor of WIN Magazine and an instructor at New York University at the American Language Institute.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nMac Low’s direct connection to Sir George Williams University is unknown, however, Mac Low was an important American avant-garde poet, playwright and professor.\",\"type\":\"General\"},{\"note\":\"Original transcript, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>3 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"http://www.jacksonmaclow.com/\",\"citation\":\"“Jackson Mac Low: Ten-Page Biography with Detailed Log of Activites 1985-1999”. Jackson Mac Low. Anne Tardos, 2009. \"},{\"url\":\"https://www.worldcat.org/title/stanzas-for-iris-lezak/oclc/795313792?referer=di&ht=edition\",\"citation\":\"Mac Low, Jackson. Stanzas For Iris Lezak. New York: Something Else Press, 1971. \"},{\"url\":\"\",\"citation\":\"Campbell, Bruce. \\\"Jackson Mac Low.\\\" American Poets Since World War II: Sixth Series. Joseph Mark Conte (ed). Dictionary of Literary Biography, Vol. 193. Detroit: Gale Research, 1998. \"},{\"url\":\"\",\"citation\":\"\\\"Jackson Mac Low.\\\" Contemporary Authors Online. Detroit: Gale, 2005.\"}]"],"_version_":1853670548943405056,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0031-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0031-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jackson Mac Low Tape Box 1 - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0031-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0031-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Jackson Mac Low Tape Box 1 - 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I did it first on these words at a reading in New York [https://www.wikidata.org/wiki/Q60] where the Russian poet Voznesensky [https://www.wikidata.org/wiki/Q236619] joined some American poets in an anti-war reading.\\n\\nUnknown\\n00:07:42\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n\\nJackson Mac Low\\n00:07:43\\nPerforms “Word event for George Brecht” accompanied by recording.\\n \\nJackson Mac Low\\n00:21:12\\nAll the people who are going to read the \\\"Number to Symmetries\\\" please come up for the microphone...These were a group of a hundred poems, of the form that has holes in it, that is the format of the poems are used to indicate silences, where there's white space on the page, they're silences. Some of the phonemes on the ends of words are prolonged, and others are stuttered. I'm not sure that any of them that are stuttered are in this particular batch. I wrote about 500 of these in late 1961, early--late, let's see, late ‘60 and early ‘61. I wish you'd say your own names, because I didn't get all your names down in the book, be sure to write your names in my book when you leave. Would the people participating just tell their names to the audience because I don't know all of them?\\n \\nAudience Participants\\n00:22:47\\nPeter Boxer, [unintelligible], Walter Katjetski, Robert Graham, Jenny Burn, [unintelligible], Ivan [Lourd (?)].\\n \\nJackson Mac Low\\n00:22:59\\nRemember when you get to the end of one, then the next person will take the mic.\\n\\nAudience Member 1\\n00:23:03\\nDo we circulate while we’re off mic?\\n\\nJackson Mac Low\\n00:23:06\\nYeah, if you want. Yeah, that would be very nice.\\n\\nUnknown\\n00:23:26\\nAmbient Sound [voices].\\n\\nJackson Mac Low\\n00:23:40\\nYeah, just go after...Would you rather have these than the book? Would you rather have papers or the book? Probably easier for you to just put the book down and say “I’m here.”...No, I’m just going to do these. Alright, does anybody have a lot of short ones? I have a few more...So, you prolong those phonemes and [unintelligible] repeated this one...Yeah...Do you need any...Anybody have lots of short ones? Alright. [Unintelligible]. Okay, I would say move a little bit that way. Now those without mics, I think you might be picked up by the mics of those who have them to at least to get on the tape. Okay.\\n \\nJackson Mac Low\\n00:25:23\\nPerforms \\\"Number to Symmetries\\\" accompanied by audience members. \\n \\nJackson Mac Low\\n00:41:01\\nIn 1960, just before I wrote this group, I wrote a group of poems called the...Stanzas for Iris Lezak, they're--this is the summer of ‘60, they're presently being published this year by the Something Else Press [https://www.wikidata.org/wiki/Q2299703], which is nominally in New York and really in Newhall [https://www.wikidata.org/wiki/Q7018086], California [https://www.wikidata.org/wiki/Q99], at the centre of the earthquake. I'll first read a short group, solo, and then read one in a duet with the--of the earlier performance of it. \\\"Poe and Psychoanalysis\\\".\\n \\nJackson Mac Low\\n00:42:30\\nReads \\\"Poe and Psychoanalysis\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:42:57\\nReads \\\"Marseille\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:11\\nReads \\\"London\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:48\\nReads \\\"Sydney\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:44:58\\nReads \\\"Berlin\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:45:12\\nReads \\\"Madrid\\\" from Stanzas for Iris Lezak.\\n \\nJackson Mac Low\\n00:45:21\\nReads \\\"Rome\\\" from Stanzas for Iris Lezak.\\n\\nUnknown\\n00:45:59\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nUnknown\\n00:46:00\\nAmbient sound [music and voices].\\n \\nJackson Mac Low\\n00:47:37\\nI'll explain a bit, I took these from whatever I was reading from about April to October of 1960, the group of place-name poems were from scatter paper called The National Enquirer [https://www.wikidata.org/wiki/Q1814777]. This is from the, an article in the Scientific American [https://www.wikidata.org/wiki/Q39379]...\\n\\nUnknown\\n00:48:05\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nJackson Mac Low\\n00:48:06\\nReads [“Asymmetry from Scientific American” from Stanzas for Iris Lezak]. \\n\\nAudience\\n00:55:20\\nApplause. \\n\\nJackson Mac Low\\n00:55:27\\nThis is a, a number of these are collages of various times and places, as well as spontaneity in this room here, on two of these tapes, you will hear a lady's voice along with my own. I did a concert of my works along with Jim Tenney [https://www.wikidata.org/wiki/Q715379] and Max Neuhaus [https://www.wikidata.org/wiki/Q2182711], in town hall, New York in September of 1966, and still earlier Max Neuhaus had realized this particular piece which is a piece produced by subjecting the electric typewriter keyboard to randomization by random numbers, so it looks like a lot of different characters from the electric typewriter, Neuhaus recorded it at the University of Illinois [https://www.wikidata.org/wiki/Q1145814] laboratory, I guess some time earlier in ‘66 or maybe ‘65 and then put it down four octaves. He and another guy were reading from--the readers read from this in any way they wish, now I'll have the live readers to come up here...So then in... in this ‘66 concert, I did it as a duet, reading through the negatives from which this was printed, the blinking light, and a Jeanne Lee [https://www.wikidata.org/wiki/Q274580], a very fine blues singer was in the various works that were performed in that concert, and she's on the duet that you hear, that you will hear. A year ago, or a little more, I guess in April of last year I performed this in a class at NYU [https://www.wikidata.org/wiki/Q49210] along with the-oh and the Neuhaus tape was along with that performance in NYU, then the town hall performance and the Neuhaus tape--all three were in the NYU performance along with the NYU performance, so now you'll hear it at least four different times, plus the present, something like that.\\n \\nJackson Mac Low\\n00:58:23\\nPerforms unnamed piece accompanied by recording. \\n \\nJackson Mac Low\\n01:06:11\\nI'll do a piece called \\\"Fifth Gatha'', which is another group piece, uh, the readers who learned it, please come up with copies, and I'll have to toss around tapes for a few minutes here. I might explain that this particular piece is one of a series I call \\\"Gathas\\\" that are written on graphed paper, they by chance operations. I take the mantra of one religion or another, this happens to be the great prajnaparamita mantra, which is basic to Northern Buddhism and Zen Buddhism, and it's arranged by the method so that it falls over an axis of 'a's, 'u's and 'm's that is the word 'aum', wherever a's, u's and m's appear in the mantra they may cross the mantra, there aren't many u's in this particular one, so there isn't any--nothing crossing the u-line, you may be able to see the empty gap there. The mantra in question is \\\"Gone, gone to the other shore, quite gone over the other shore, boldly, wisdom, spaha, pray. Guthe, guthe, paraguthe [unintelligible]...\\\" you may, those of you who know zen may be more familiar with it in its Japanese version, which is sort of a Japanization of the Sanskrit. The group version of it was done in the Chelsea Hotel [https://www.wikidata.org/wiki/Q240711], I think in '67, but the German editor and producer, Carl Weissner [https://www.wikidata.org/wiki/Q1040995], the whisper version you hear, I did at home, earlier, maybe in ‘66, ‘65, ‘66. \\n \\nJackson Mac Low\\n01:09:35\\nPerforms \\\"Fifth Gatha\\\" accompanied by audience members and recording.\\n \\nJackson Mac Low\\n01:26:20\\nThe last poem I read was also from Stanzas for Iris Lezak. It's based on the Tibetan prayer to the gurus and it's translated by W.Y. Evans-Wentz [https://www.wikidata.org/wiki/Q456451]. The next piece is all about bluebirds. It’s again--it uses the form of...In recent years I've gone back to writing poems in the form of the asymmetries that I wrote in ‘60 and ‘61, but these tended to cluster around one subject matter. There's one in the current Aspen Magazine [https://www.wikidata.org/wiki/Q4807826] about young turtles, no one really knows where they go once they've hatched, and they know when they come back, but they don't really know what they do in between hatching and there is a natural history magazine, there was a caption to a picture, and so there was a record in the current Aspen, that's of that group. This is the first one of this type that I did on bluebirds, was for a group event that a number of us, let’s see, Iris Lezak, Emmett Williams [https://www.wikidata.org/wiki/Q719185], Carol [Bouget (?)] and [Jet Yalka (?)] and I did a collective event for the University of Syracuse [https://www.wikidata.org/wiki/Q617433] at Utica [https://www.wikidata.org/wiki/Q2495519], which we called, which Emmett named for us [\\\"Jack-a-Jurismatics (?)”] and so one of the pieces I wrote for that was this bluebirds piece. Emmett Williams has a beautiful work that has bluebirds in it, it's a permutation poem that also appears in this anthology, although this is an anthology that La Monte Young [https://www.wikidata.org/wiki/Q432822] got together in ‘60 and we--‘60 and ‘61 I guess, and he had many difficulties between the time that it was designed and the time it was printed and finally got it out at first in 1963, it's called An Anthology of--well, various things--Chance Operations, and well I don't know what, concept art, anti-art, indeterminacy improvisation, meaningless work, natural disasters and so on. And well, just recently, our first edition is now a sort of a collector's item, sells around a hundred, but recently a German publisher re-published it for us and the current, the new editions is going for $8.50, so if anyone is--I don't have copies here but I'll be happy to send any to anybody. Contains work mostly, a lot of it is music, musical scores, there's some other poetry, including the Emmett Williams mention. The Emmett Williams poem does all the variations, does all the permutations of one group of things, \\\"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\\\", each of those is considered a run unit, and all the possible permutations of them are written out \\\"somewhere bluebirds are flying high in the sky, in the cellar even blackbirds are extinct\\\". I'd love to read it, but it's very long. Usually we read it with five different voices, each taking the unit and once in a while, people get through it without breaking down laughing. [Unintelligible]. This was taken from, the bluebird asymmetries were from two...were from two encyclopedia articles on bluebirds, one I think the Audubon Encyclopedia, and I've forgotten what the other one was. They're very complimentary. The voices you hear are, you heard in another performance of Leslie [Sixfin (?)], Amy [Spurling (?)] and Harvey [Lesain (?)], along with four of my students at the Mannes School of Music [https://www.wikidata.org/wiki/Q1519151] and about done in 1966, or 1967, I think it was May of 1967 that this was done. There's a specially gifted group I felt that I happened to get together in that class, just towards the end we were doing mostly, we were just doing ordinary grammar English, I'm an English teacher, for my bread.\\n \\nEND\\n01:32:11\\n\",\"notes\":\"Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. \\n\\n00:00- Flute is being played, Jackson Mac Low speaks [inaudible]\\n00:36- Jackson Mac Low performs “Last Buildings” first line “When fiery water...”\\n01:28- Performs unknown poem first line “Sustenance...52365 the first biblical poem...”\\n05:27- Performs unknown poem first line “From Judges 6:4 to first Samuel 1:10...”\\n05:40- Performs unknown poem first line “And the glorious burning of the stars and    stripes...”\\n07:20- Introduces “Word event for George Brecht” using the words “anti-personnel  \\tbomb” [INDEX: George Brecht, word event on ‘anti-personnel bombs’, New York City,  \\tRussian poet Voznesensky, anti-war reading]\\n07:43- Performs “Word event for George Brecht”.\\n21:12- Introduces “Number to Symmetries” [INDEX: Audience participation readings,        intentional/quasi-intentional/non-intentional methods, chance methods of composing   \\tpoetry]\\n25:23- Performs “Number to Symmetries”\\n41:13.73- END OF RECORDING\\n\\n00:00- Introduces “Poem Psychoanalysis” [INDEX: Stanzas for Iris Lezak, Something Else Press, Newhall, California]\\n01:16- Reads “Poem Psychoanalysis”\\n01:44- Reads “Marseille”\\n02:57- Reads “London”\\n03:35- Reads “Sydney”\\n03:45- Reads “Berlin”\\n03:58- Reads “Madrid”\\n04:08- Reads “Rome”\\n06:23- Explains the last set of place-name poems, Introduces “Scientific American” poems [INDEX: National Enquirer Magazine, Scientific American Magazine]\\n06:52- Reads “Scientific American” poems\\n14:13- Introduces unknown performance [INDEX: NYU and Town Hall recordings]\\n17:09- Performs unknown performance [random numbers and letters] [INDEX: Jim (James) Newhouse, New York City Town Hall, University of Illinois, Jeanne  Lee (Blues Singer), New York University]\\n24:57- Introduces “Fifth Gata” [INDEX: Zen Mantras, Recording at the Chelsea Hotel, Karl Wiesner]\\n28:21- Performs “Fifth Gata”\\n44:48- Introduces unknown poem from Stanzas for Iris Lezak [INDEX: W.Y. Evan-Wentz, Tibetan Prayer, Aspen Magazine, Turtles, blue birds, reading by Emmett Williams, Carl Bouget, Jet Yalka [sp?] at the University of Syracuse Utica called “Jack-a-   Jurismatics” [sp?], permutation of poetry, Anthology of Chance Operations by La Monte   Young, concept art, anti-art, meaningless work, natural disasters, Emmett William’s  \\tbluebird permutation poems, Audubon Encyclopedia of Birds, Amy Sixfan, Amy         \\tSpurling, Harvey Lessah [sp?], Manne’s School of Music]\\n50:58.11- END OF RECORDING.\\n\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/jackson_maclow_i006-11-031-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"jackson_maclow_i006-11-031-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:27:57\",\"precision\":\"\",\"size\":\"67.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"jackson_maclow_i006-11-031-2.mp3 [File 2 of  2]\\n\\nUnknown Speaker\\n00:00:00\\nThis is the one you wanted some light percussive stuff?\\n\\nJackson Mac Low\\n00:00:04\\nYeah, but very easy on it, not very, you know, keep the amplitude down to, no higher than mezzo piano. Did someone take one from here? I'm supposed to have one and ten. Try to start with the earlier ones and then go into the later ones if possible. Those with the first, the earlier numbers should be on mic first. Those with numbers between two and five I guess you would have. So that the [unintelligible] will hear the earlier ones more than the later ones. You can prolong any of the phonemes at the ends of lines. This is another piece called [unintelligible].\\n \\nUnknown\\n00:01:49\\nAmbient Sound [recorded performance plays; title uncertain].\\n \\nJackson Mac Low\\n00:03:00\\nPerforms \\\"Bluebird Asymmetries\\\" accompanied by audience members and recording.\\n \\nJackson Mac Low\\n00:12:35\\nI have one last one that none of these people have yet seen, and so this one has no rules, that is, the others have some rules for how you put in silences, these will, these...In the summer of ‘69 I did a project for the Los Angeles Museum of Art [https://www.wikidata.org/wiki/Q1641836], an art technology show that's going to open this May. Unfortunately, my machine was bombed out, the corporation seems to be on the rocks, they're not providing the machine, but luckily I had poems that appeared on cathode ray tubes or something called a programmable film reader, and the words appear at the same time we sent the same impulses through an audio system and they turned out to be, well the oboe family, everything down from sopranino oboe to double, double, double bass oboe according to how long the lines were and so I did quite a few poems, this particular one is \\\"The\\\", and it's the last one I did, and tried to grab I guess three pages each, just use whatever discretion you want to, and listen, listen, listen. Earlier I had very strict rules governed by chance operations and so on, in reading these, well, in reading these kind of simultaneous works, and more and more I came to the, well I always had the principal of the most important things was to listen hard to everything that was happening, including whatever was happening in the room, whatever’s happening outside and so on, but more and more I relied on the readers to judge when to come in, and in--perform--these I found, this is one very long print-out of this particular poem. I don't want to--I think in, I don't remember, someplace there's a description of the idea of how they were made and all that, but what I got was a number of messages that, of which the units were permuted, the earliest form of my program was simply permuting the words in each, single words in each message. Later on I was able to get carriage returns and things like that so that in this, each message is a group of short sentences, usually about the same thing, and you'll, so that on the page each message looks like a sort of a stanza or strophe, and the groups of sentences--any number of the groups of sentences from any one of these strophe units may appear at any time according to way the thing is programmed. Does everybody have about three pages? Let's just make it...\\n \\nJackson Mac Low\\n00:16:24\\nPerforms \\\"The\\\" accompanied by audience members.\\n \\nJackson Mac Low\\n00:27:57\\nThank you.\\n \\nEND\\n00:27:57\\n[Cut off abruptly].\",\"notes\":\"Jackson Mac Low reads from Stanzas for Iris Lezak (Something Else Press, 1971) and performs a number of pieces accompanied by recordings and audience participation. \\n\\n\\n00:00- Jackson Mac Low introduces poem “[inaudible word] and Ladders”\\n01:49- Performs “[inaudible word] and Ladders”\\n03:00- Performs “Blue Bird Asymmetries” [INDEX: from 21 Matched Asymmetries: The 10 Bluebird Asymmetries]\\n12:35- Introduces “The” [INDEX: Los Angeles Museum of Art project: Art and Technology program, 1969, reading permutations, chance operations, principals of Mac Low’s poetry \\treading techniques]\\n16:24- Performs “The”\\n27:57- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#2\"}]"],"score":0.55514586},{"id":"9597","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S4E6, Revisiting “Mountain Many Voices: The Archival Sounds of Fred Wah”, 3 April 2023, Shipton and Brock"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/revisiting-mountain-many-voices-the-archival-sounds-of-fred-wah/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 4"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Don Shipton","Teddie Brock"],"creator_names_search":["Don Shipton","Teddie Brock"],"creators":["[{\"url\":\"\",\"name\":\"Don Shipton\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Teddie Brock\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2023],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/0bf2a7c7-ddac-40e7-8106-659d4438a7d5/audio/55dfa8f4-b0b8-4048-bc33-a1f90eed0fdb/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"s4e6.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:39:47\",\"precision\":\"\",\"size\":\"38,194,826 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s4e6\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/revisiting-mountain-many-voices-the-archival-sounds-of-fred-wah/\"}]"],"Dates":["[{\"date\":\"2023-04-03\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Simon Fraser University Maggie Benston Centre\",\"notes\":\"\",\"address\":\"8888 University Drive, Burnaby, BC, V5A 1S6\",\"latitude\":\"49.276709600000004\",\"longitude\":\"-122.91780296438841\"}]"],"Address":["8888 University Drive, Burnaby, BC, V5A 1S6"],"Venue":["Simon Fraser University Maggie Benston Centre"],"City":["Burnaby, British Columbia"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Makarova, Liza. “The Night of the Living Archive.” Season 4, Episode 2, The SpokenWeb Podcast, https://spokenweb.ca/podcast/episodes/the-night-of-the-living-archive/.\\n\\nArchival Audio:\\n\\n“Ed Dorn reading in Albuquerque on October 30, 1963 Side 1 #109b.” Special Collections and Rare Books, Simon Fraser University.\\n\\n“Lionel Kearns, Mike Matthews, and Fred Wah reading poetry at UBC #258.” Special Collections and Rare Books, Simon Fraser University.\\n\\n“UBC Poetry Festival: Charles Olson on August 14, 1963 #48.” Special Collections and Rare Books, Simon Fraser University.\\n\\n“Louis Zukofsky reading at Library of Congress on November 3 and 4, 1960 Tape 1 of 2 #260a.” Special Collections and Rare Books, Simon Fraser University.\\n\\n“UBC Poetry Festival: Avison, Creeley, Duncan, Ginsberg, and Levertov on August 7, 1963 #45.” Special Collections and Rare Books, Simon Fraser University.\\n\\n“UBC Poetry Festival: Avison, Olson, Creeley, Duncan, Ginsberg, Whalen, and Levertov on August 9, 1963 #46b.” Special Collections and Rare Books, Simon Fraser University.\\n\\n“Around New Sound Daily Means: Selected Poems by Larry Eigner and Gary Snyder, Tape 1 of 3 #500a.”\"}]"],"_version_":1853670549538996224,"timestamp":"2026-01-07T14:59:53.966Z","contents":["In the summer of 2022, research assistants Don Shipton and Teddie Brock took part in a roundtable discussion that explored the archival work of student researchers involved with the audio archives of Canadian poet, Fred Wah. Alongside his literary and academic work, Wah has had a longstanding practice of recording poetry readings, lectures, and conversations, documenting key moments in North American poetry.\n\nThis sonic-archival meditation highlights the impact of recording technology on the trajectory of poetic circulation and composition, as it brings together the ‘many voices’ that constituted Wah’s listening and recording practices as a young poet. The first part of this episode will revisit a recording of Wah’s conversation with Deanna Fong, co-director of the Fred Wah Digital Archive, in which Wah reflects on the significance of portable tape recording to literary community-building and the development of a poetic ‘voice.’ The episode will also present a selection of archival clips documenting the poets whose recorded voices Wah encountered throughout the 1960s, including Charles Olson, Louis Zukofsky, Denise Levertov, and Ed Dorn, among others.\n\nSpecial thanks to Kate Moffatt and Miranda Eastwood for their production support in the making of this episode, and to Simon Fraser University’s Special Collections and Rare Books for hosting the “Mountain Many Voices” roundtable event.\n\n\n(00:04)\tSpokenWeb Podcast Theme Music:\t[Instrumental Overlapped With Feminine Voice] Can you hear me? I don’t know how much projection to do here.\n(00:18)\tKatherine McLeod\tWhat does literature sound like? What stories will we hear if we listen to the archive? Welcome to the SpokenWeb podcast, stories about how literature sounds.\n[SpokenWeb Theme music ends]\n\nMy name is Katherine McLeod, and each month I’ll be bringing you different stories of Canadian literary history and our contemporary responses to it, created by scholars, poets, students, and artists from across Canada. For each episode of the SpokenWeb podcast, the producers and production team are always thinking about recording; the microphones, zoom recorders, sound quality, from voiceover to interview to archival audio clips. And this month’s episode is all about recording and how recording shapes the way we encounter sound, particularly poetry.\n\nThe poet at the center of it all, Fred Wah, is known for both his poetry and also for his recording. Did you know that the sound recordings of the 1963 Vancouver Poetry Conference were thanks to Fred Wah being the guy who carried the tape recorder around? And let’s remember that tape recorders were not easy to carry around back then. And because he had the tape recorder, he was able to have it running during so many of the sessions, and there ends up being an audio archive of that now famous event in Canadian poetry.\n\nSo keeping that in mind, let’s jump to another event in 2022, when Simon Fraser University’s Special Collections and Rare Books hosted an event called Mountain Many Voices: the archival sounds of Fred Wah. That event was a round table discussion with Fred Wah himself, student researchers working on Wah archival materials, both from SFU and from Concordia, and moderated by Dr. Deanna Fong.\n\nBy the way, Fong leads the Fred Wah Digital Archive Project, which you can hear more about by listening to the episode “Night of the Living Archive” produced by Liza Makarova and aired on the SpokenWeb Podcast in November, 2022. And yes, Liza is also part of this round table discussion Mountain Many Voices. In this month’s episode, Teddie Brock and Donald Shipton, two of SFU’s research assistants, who also contributed to that round table revisit the event and they revisit its many voices along with recordings of Wah speaking about what he calls “the materialism of the voice”.\n\nYou’ll also hear recordings of other poets referenced during the event, such as Charles Olson, Louis Zukofsky, Denise Levertov, and Ed Dorn. When making this episode, Teddie and Don were inspired by live radio, and this episode has our producers becoming hosts themselves, curating, introducing, and sharing a rich selection of archival audio. Here’s the sixth episode of season four, Revisiting Mountain Mini Voices, the archival sounds of Fred Wah.\n\n[SpokenWen Podcast theme music begins and fades]\n\n(03:28)\tTeddie\t[Sound effect of static swells and fades]\nIn June of 2022, Simon Fraser University’s Special Collections and Rare Books hosted a round table event titled Mountain Many Voices, which centered on the audio archive of Canadian poet Fred Wah.\n\n(03:42)\tDon\tIn the following recording an excerpted conversation between Fred Wah and post-doctoral researcher Deanna Fong, you’ll hear the story of Wah’s first encounter with portable tape recording and how the social and technical practices associated with emergent audio technologies in turn shaped his own relationship to the reading, writing, and listening of contemporary poetry.\n(04:03)\tTeddie\tNext, we will play a selection of archival recordings, bringing together the sounds of the many voices of Wah’s personal literary history.\n(04:24)\tTeddie, Don, Deanna Fong, and Fred Wah all talking as they set up for the interview:\t[Somber string music plays while indistinguishable voices talking to one another.]\n(04:56)\tDeanna Fong\tI think we’re just gonna go in alphabetical order… Fred and I will have a little quick introduction here first. So I think the reason for our gathering is that we’ve all sort of been encountering Fred’s many voices through the archive through these many years of recordings that are held at different institutions which are being collected digitally in Fred Wah’s Digital Archive. I’m here at Special Collections, Simon Fraser University. So given that you’re the voice and your voice is kind of the reason for us gathering for today in that we’ve all done some work with your archival voice in one way or another. I thought we could just start off by having a quick discussion about your recording practice and how there came to be so many tapes [all laugh].\nBut in terms of, you know, just having a quick discussion about recording, I just wanted to start by asking you, so when did recording come into your life and when was the first time you saw a portable recording device? [Don laughs] And when was the first experience of hearing your own recorded voice?\n\n(05:56)\tFred Wah\tUh, yes. Let me contextualize my interest in recording, which is back around 1962. The poetry that we were involved with then with the Tish Group in Vancouver was this whole movement in poetry towards working around Charles Olson’s project first for us. And, the whole notion of the head by way, the ear to the syllable, the heart by way of the line to the breast or the breast to the line. So the formality, the materialism of the voice was very much a new thing then. Most of us had grown up with poetry on the page, and  with a silent experience, kind of conversation with oneself silently. So this was new. So the whole notion of making something oral was exciting to me. And, I was primarily a musician or was interested in music, so sound was prominent. And Robert Creeley showed up at UBC as a new American poet, and he at one point brought out his tape recorder.\nWow, what’s that? You know, it’s a machine and it was a kind of stainless steel machine. It’s a Wollensak Reel-to-Reel. And he had tapes that he had made of radio interviews he had done for a radio station in Albuquerque, New Mexico, where he lived and worked. And so he had tapes there of Louis Zukovsky and Ritter Binner, Ed Dorn.\n\n[Low electronic string music begins to play]\n\nI was fascinated by Ed Dorn’s poetry and I heard Ed Dorn’s voice. In those days, that was really a surprise to be able to hear the voice of a poet who you had been reading on the, off the page. [Low electronic string music ends] So I traded in my Marimba vibes and my trumpet for a Wollensak tape recorder [All laugh]. The first time I heard my own voice, I think, was a reading I did with Lionel Kearns and Mike Matthews at UBC, a Noon Hour Reading.\n\nAnd I must have taped it cuz I have the tape.\n\n[All laugh] I can’t remember doing it. And then, so I heard my voice that way, but we weren’t interested in necessarily recording everything. Like I don’t, I have no tapes of the Tish Poets reading or George or Frank or any one of those people reading. And then in 1963 we had the Vancouver Poetry, so-called Vancouver Poetry Conference, which was in the summer of 1963 out at UBC. And Warren Tallman, his father-in-law, gave him this beautiful big console tape recorder. And so he wanted to record the whole conference and he was really interested in recordings.\n\nAnd he asked me, because I knew a little bit about, was learning about tape recordings. He said, could you learn to run this and do that? So I did. But one of the very first sessions we had in the 63 conference, the take up reel broke.\n\n[Sound effect of tape breaking and falling on the floor] It broke down. So I sat there through the whole meeting winding, [All laugh] taking up, taking up the tape, and then I ended up using my own recorder, the Wollensak, to record the rest of the conference.\n\nSo I got into recording and I really enjoyed the notion of not so much documenting, but having the voices of these poets who, you know, a lot of us were interested in, sort of around and available. And they became kind of, it’s a kind of a precious thing and it, and it kind of melded with the whole notion, the whole technology that was going on there. Cuz Reel-to-Reel tape recording was relatively new in the late fifties, early sixties in North America. And eventually it led to other tape recorders and other forms and, and it’s gone on ever since. And I’ve always used tape recording as a, or audio recording as a way of registering more accurately the oral nature of how poetry is being made. [Light piano music begins to play]\n\nAnd I studied linguistics. I was really interested in the kind of nitty gritty of how language is its rhythm and stress is, is there. [Piano music fades and ends]\n\n(10:16)\tDeanna Fong\tI find that such a fascinating response because I think like one of the follow up questions I had was this question of, you know, what this sort of impetus to record was and in the way that you speak of it, and not necessarily a documentary sense, like not as a kind of living proof that you were there or whatever, but more thinking about it as a sort of tool that aids or at least says something about, you know, the affective register of the voice and, and a sort of tool towards composition, it seems like. Is that what you’re talking about?\n(10:47)\tFred Wah\tYeah, I think that recording was a way to sustain the notion of poetry as oral. It just helped. I know I didn’t necessarily know what I was doing. I wasn’t doing it for any specific, other than to collect the ‘63 conference, was basically documenting that. And I remember when we finished, UBC said they owned the tapes, so we gave them a set of the tapes and within a few months they had lost them [Deanna laughs]. And, and I said, do you want another set? No, we’re not, no nevermind. Just don’t bother [Fred laughs]. So it was kind of, you know, it’s kind of a disregard for what we had done in terms of the poetry.\n(11:34)\tDeanna Fong\tHmm. And it also sounds like it becomes a means of circulating poetry that you might not otherwise have access to, or at least not like certainly in oral form. Right?\n(11:45)\tFred Wah\tThat too. And it became, as you know, a way of sharing poetry and voices all over. So you could, you know, like the notion of pen sound or spoken word, all these efforts to get the voices out there has changed, I think, the context for making poetry, because it’s so shared, if you want to. You know, to be able to hear Larry Eigner after reading him carefully was just [Fred laughs]. My mind was blown. [All laugh] [Soft piano music begins to play]\nThat was just so, it was so different and so new. So poetry was made new in us, at least for myself and, I think, made others because of the voice. [Piano music ends]\n\n(12:36)\tDeanna Fong\tAnd also I was, cuz I know that you found a home for the Reel- to-Reel recordings, which include the original 1960s poetry conference recordings at Karis Shearer’s UBCO AMP Lab. And she mentioned that in that collection there’s also a tape that’s like an audio letter, which is either to you or from you, [Deanna laughs]  from Gladys Hindmarch.\n(12:59)\tFred Wah\tI think it’s from her. Okay. I haven’t listened to it because my tape, I didn’t have the tape. I don’t have a tape recording, so I asked Terrace to transcribe it. You know, the technology shifted. So we were able to get portable tape recorders that we had this small tape recorder that did small, could do small three inch reels. Right? And so we shared some letters with our friend Gladys Hindmarch, and, and I don’t know how much we did that with others. Actually, Louis Cabri was with me in Calgary when his friend Aaron [inaudible] from Philadelphia came up. We, Aaron came up and sat and recorded or transferred those old seven inch reels, which by then were 45 years old into mini disks [All laugh]. Right?\nAnd he sat there for a week doing all these transcripts, not transcriptions, but transferring into, into digital format. And luckily the tapes, because they had just been put away in a basement, were still okay. And in fact, I listened to some before I gave them to Karis, that they still seemed to be okay.\n\n(14:14)\tDeanna Fong\tYeah. Because sometimes we really only get the one shot. Hey?\n(14:16)\tFred Wah\tYeah.\n(14:16)\tDeanna Fong\t[Deanna laughs] So when you, when you were recording these things, did you have a sense of a future audience in mind?\n(14:25)\tFred Wah\tNo, not particularly. I was interested in recording, I guess for academic reasons. All through my tenure as a teacher, I would record visiting poets as a way of replaying them for students in classes and that, and I found being able to play recordings of someone reading something that they had read in a book was a valuable experience for students.\nSo pedagogically, they were useful. I didn’t have any other sense of where they might, [Fred laughs] what might happen to them or I, there was a kind of, they were valuable, they were precious things, these tapes. And when I put together these boxes of cassettes to give to Tony that, you know, to deposit up here in the archives there’re just hundreds of, I don’t know how many of there are, but there are a lot of cassette tapes of readings of, you know, particularly Canadian poets that came to Selkirk College or the University of Calgary area, or at least 300, I think.\n\nAnd, you know, so a lot of them probably aren’t of great quality. Just sticking a, I remember the ‘63 conference, we had one microphone. So we have a panel of, you know, six people and this one little Wollensack microphone and the cord wouldn’t reach that long [ All laugh], so people like Robert Dun would grab the whole machine and bring it so he could speak. [All laugh] But distant people sitting at the table, you know, like Phil Win, sitting at the table, you can’t even quite hear him.Things like that.\n\n(16:11)\tDeanna Fong\tYeah. So, what does that mean as like, maybe as a final question, what does that mean as a reader slash listener slash amateur of poetry? That all of these things are all of a sudden just kind of right available at our, our fingertips, our eardrums?\n(16:27)\tFred Wah\t[Somber electronic music begins to play]\nI think it grounds them a little bit more. It makes them, the materiality of them, brings them sort of closer to a different understanding of the event of the poem.\n\n(16:46)\tDon\tDuring their conversation, Fred Wah mentions numerous authors whose voices were instrumental in the development of his own. First among these writers is Charles Olson. From memory, Wah quotes a line from Olson’s now famous essay “Projective Verse”.\n(17:01)\tFred Wah\t“The head, by way, the ear to the syllable of the heart. By way of the rest of the line.”\n(17:06)\tDon\tThis idea of breath, providing the foundation for one’s poetry was influential to many poets writing throughout the 1960s, including a young Fred Wah. [Electronic music ends]\nWe’re gonna play Charles Olson reading “Maximus from Dogtown 2,” recorded at the so-called 1963 poetry conference. But before we do that, let’s begin with that UBC noon hour reading that Fred Wah gave with Lionel Kearns and Mike Matthews. The recording he cited as the first time he heard his own voice.\n\n(17:44)\tTeddie\t[Electronic music begins, interspersed with the sound of radio waves]\nYou are listening to “Revisiting Mountain Many Voices”, the archival sounds of Fred Wah. [Sound effect of a tape being put into a tape player and beginning to play]\n\n(18:04)\tArchival Audio of Fred Wah\tNo particular poetics today, except that I think you’ll probably hear the voices of Robert Duncan, Charles Olson, and Robert Creedey and Robert Kelly. That whole Black Mountain group coming in as I don’t think I’ve found my voice yet.\nThe cold and brisk breeze whipped today the cold and brisk breeze whipped today. But no snow comes such ardor, pure and freeze the muddy water on the streets. Me and my love, seraphic pride walked windward, smiling faces. A quiet morning, early morning and fog my darling, you are sleeping warm with sleep. Cold floor stretches in the dark boulevard and headlights past the glass, the start of day, eggs, coffee, cigarette. I walked before you already in the tired morning, no beginning, but our sleep and love, deep rhythms in our breathings. [Electronic music plays and fades]\n\n  (19:30)\tArchival Audio of Charles Olson\t“Maximus from Dogtown number 2”, or December 5th, 1959. Which I will open with.\nThe sea. Turn your back on the sea, go inland to Dogtown, the harbor, the shore, the city, are now shitty as the nation is, the world tomorrow. Unless the princes of the husting, the sons who refuse to be denied the demon. If Madea kills herself, Madea is a Phoenician wench, also daughter of the terror as Jason Johnson Hines son, hindsight. Charles John Hines, whole son, the Atlantic Mediterranean Black Sea. Time is done in Dun for gone. Jack Hammond put a stop to surface underwater galaxy, time. There is no sky, space or sea left. Earth is interesting. Ice is interesting, stone is interesting. Flowers are carbon. Carbon is Carboniferous, Pennsylvania age under Dogtown, the stone, the watered rock, carbon flowers, rills Aquarium time after fish, fish was Christ. Oh Christ picked the seeds out of your teeth. How handsome the dead dog lies horror X the migma is where the seeds Christ was supposed to pick out.\n\nW sh wunk grapevine Hok, the Dutch and the Norse. And Algonquins. He with a house in his head. She who lusted after the snake in the pond, Dogtown berry smell as the grub beaten fish. Take the smell out of the air. A you’re the tar of Dogtown, the tar matas. Here is the angel matter not to come until R 3000. We will carry water up the hill, the water, the water to make the flower hot. Jack and Jill will up Dogtown Hill on top. One day the vertical American thing will show from heaven. The latter come down to the earth of us all the many who know there is one, one mother, one son, one daughter, and each the father of him self. The genetic is ma the morphic is pa, the city is Mother Polish. The child made man, woman is Mary’s son Elizabeth Mangen the mangen in collagen in collagen time leap onto the leap onto the lamb.\n\nThe aquarium time. The greater the water you add, the greater the decomposition. So long as the agent is protein, the carbon of four is the corners in stately motion to sing in high voice the fables of wood and stone and man and woman love and loving in the snow and sun. The weather on Dogtown is protonic, but the other side of heaven is ocean filled in the flower, the weather on Dogtown. The other side of heaven is ocean Dogtown. The under vault heaven is carbon ocean Quam Dogtown. The under vault, the mother rock, the diamond coal, the Pennsylvanian age, the soft coal love age, the soft coal love hung up burning under the city. Thet is heart to be turned. Black stone, the black cri is the throne of creation. Ocean is the black gold flower.\n\n(23:32)\tTeddie\tNext you’re going to hear poems by Larry Eigner, Louis Zukovski and Ed Dorn. As well as a short clip of Robert Creeley from a panel at the UBC Poetry Conference. Each of these poets, while a part of their own literary coterie were associated with schools and states, were included in the 1960 anthology, the New American poetry edited by Donald Allen. It was this work which Wah referenced earlier when he mentioned the new American poets.\n(24:01)\tFred Wah\t[Echoing sound effect is added to Fred’s voice]\nYou know, to be able to hear Larry Eigner after reading him carefully was just [Fred laughs]. My mind was blown. That was just so, it was so different and so and so new. So poetry was made new in that sense.\n\n(24:28)\tArchival Audio of Larry Eigner\tLanguage is temporary king poetry, the mask on everyday life. What time of the day is it land? What have you to do with or gotten done? Love to poems, the unexpected, the magnetic power. The speed, the ocean drop, dry drop. If there were time they go drawn after us. The city is music is human in the events. The seas drag light in the earth. The greatest thing is orchestra. With men, the wind and the waves are fixed. Open road. You look in hundreds in the night sky, any place the drone would this time enough new each day. Bruce is enough of the old, the dying of oppos to the present contact communication. Explanation. Enough not we keep on.\n(26:31)\tFred Wah\tAnd so he had tapes there of Louis Zukovsky.\n(26:38)\tArchival Audio of Louis Zukovsky reading\tSong Three from 55 poems, compute leaf points water with slight dropped sounds. Turn coat sheet facts say for the springs, blooms fall the trees trunk has set the circling horn branch to cipher each drop the eye shot and the rain around. So cheated well let the fallen bloom wet clutter down and into and the heart fact hold Nothing. Desire is no excess. The eye points each leaf. The brain desire the ray, she recites their brief song. 13 in that this happening is not unkind. It put to shame every kindness mind mouths their words. People put sorrow on its body before sorrow had came. And before every kindness happening, for every sorrow before every kindness song 18, the mirror oval sabers playing the chips in the room next door. The voices behind the wall will be lit by highlights in the morning, in bed. A wall between continuing voices, chips stacking instead of bales, the water sounds extending a harbor, one sleepless, one sleeper on the fourth floor. In that this happening is not unkind. It put to shame every kindness mind mouths their words. People put sorrow on its body before sorrow. It came. And before every kindness happening, for every sorrow before every kindness Song 18, the mirror oval sabers playing the chips in the room next door. The voices behind the wall will be lit by highlights in the morning, in bed, a wall between continuing voices, chips stacking instead of bales. The water sounds extending a harbor, one sleepless, one sleeper on the fourth floor.\n(29:39)\tArchival Audio 5\tHow can you be other than where you are?\n(29:45)\tFred Wah\tI was fascinated by Ed’s poetry and I heard Ed’s voice in those days. That was really a surprise to be able to hear the voice of a poet who you had been reading off the page.\n(30:02)\tArchival Audio of Ed Dorn\tI sure never tried to do this without smoking [audience laughs]. This one is called Hawthorne. End of March, 1962. That day was dark fog fell down our mountain. The snows were wet patches and around the legs laid as like and around the barn, dark red shadows the day he died. The slow quiet break. What an odd person to die beside. Franklin Pierce never go to the mountains. Near the end, the air is spoken for. I thought how just Americans still love morality. With many preliminary question, he was fierce for the slight connection back to what there was. This poem is, uh, completely abstract, as far as I know. It’s called an inauguration poem. And I wrote it during the last inauguration. Unasked, of Course, [Audience laughs] Out of the zone of interior armies, the Nebraska of our terror flies pro gating the statistical laws of our starvation, where on the spinning habitation men’s eyes see the regiments of vegetation. And one man is the mouth of all and a narrowing harrowing rib in Denmark that dope delivered country is not starker than the staple deprived herdsman of the African. Who’s it? Out of the zone of interior armies come the advocates of nations where none can breathe outside the given crush, forsaking even established ignorance. Promo gating desire born against the honed knife of one secretary or another. Out of the zone of interior armies. The trains of El Presidente shoot laden with food for no destination anyone has charted because in a storage bin in the Midwest was held the grand conference on the grammar of scarcity. And the farmer stands beside the senseless soil and mumbles that this far starvation is named parody. Out of the interior skulls of our rulers stepped slim hygienic elegance of patrons of painted walls and bushman’s haircut, gut full with the art of wishing rice upon the multitude to make marriage of new nations to be ridiculed by coronets of old jazz. Like, don’t have too many babies unless you have the viles.\n(32:53)\tDon\tThat was Larry Eigner, Louis Zukofsky, Robert Creeley, and Ed Dorn. Next you’re going to hear a conversation between Denise Labov and Margaret Avison taken from a panel at the 1963 Poetry conference before coming back to that first tape of Fred Wah.\n(33:15)\tDenise Labov\tWell, I I think that if you’re, if you’re worrying about whether you are communicating while you’re writing it’s absolutely undermining. Well, to whom are you communicating? Are you communicating to, to someone you know who who who has, who’s who, whom you know to be your peer? Are you communicating to your landlady who isn’t gonna read it anyway? Are communicating on what level are you communicating? So you can’t possibly think about Tom about communication while you’re writing forth. But if you think about precision, if you really try to be absolutely accurate to what you know then chances are that you will communicate. Cause there seems to be a level of of, of communication that that comes about through through precision to one’s own knowledge.\n(34:10)\tMargaret Avison\tI used the word conversation earlier about the early stage of writing when you imitate. And I think that is a real communication of poetry you’re reading and it possesses you in a sense and you murmur back at it. You don’t do it intentionally. You usually feel bad when you discover you’ve done it. But I think most writers, at least when they’re 12 and 15 and so are doing that, aren’t they? And then you get away from that kind of communicating as you begin to find, yes, I have a voice.\n(34:55)\tArchival Audio of Ed Dorn\tOne last poem I’m going to sing in this one. So laugh if you want to. My voice is very good. But this is with lots of voices. Pound and especially Duncan Olson coming in. I can’t get away from it. But here it is a poem appealing for a life of pla passion and a place on earth where poetry is wanted are variations on a voice from Duncan. And if I live, I live for love of you. All things come together. So they say, and the way which one will show us which time it is in place of memory. I live for love of you. My life becomes the pin through the nude. Kneeling and worship becomes my wall. My white PHUs becomes light, strikes the beat. Time takes up making up remembrances. I call out ahead into the dark. Who is it? Who would love me? On the mountain side, the snow still falls and her glowing cheeks hang low ahead of me. The tracks are filling. I follow unanswered with the snow falling in my dream of love. And stay this place a while. Press her hanging to my breast. The lovers test, fragments of music ripple in my head. Unsteady notes in the lake light fall themselves into my eyes. Vow glides of water. Sing. Sleep. Sleep. Peel of poem from my memory. Sleep. Sleep. And if I live hold, let me live. Which also calls this place of passion speaks as it is poetry to me. And make it new reader. Strike out new you become old. In remembering, recall, I reproached you two summers ago at your excretions. I could only look at you that way. I can only speak to you now with your pants down. Those first few words are still as costly to my passion. Who would make life new when love grows old? Oh, show me the way to the next listener’s ear. Oh, don’t ask why. Oh, don’t ask. Why for I must find the next listener’s ear for if I don’t find the next listener’s ear. I tell you, we must die. I tell you, we must die. I tell you, I tell you. I tell you we must die. And if I live, he’ll let me live and sing. My poems a spool of passion. Ill let me live. We’re loved ones, but I reach with the hand for the new moon. And if I live, they’ll let me live in love of you. The song still sings And further on, that’s time King, queen of the Summer, throne of love in the sand stained the pins in tired, she floats backside in the lake water ripples in smooth furs about her nipples, breaking the sleek moon surface that summer night. And if I live, I’ve lived for love in full time. The beat strikes on time dances the memory to the full tune. Thank you.\n(38:19)\tTeddie\tThis has been Revisiting Mountain Many voices, the archival sounds of Fred Wah. If you want to hear more from Fred Waugh’s audio archive, check out the episode “Night of the Living Archive by” Liza Makarova.\n(38:48)\tKatherine McLeod\tThe SpokenWeb podcast is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from and created using Canadian literary archival recordings found at universities across Canada. Our producers this month are Teddie Brock and Donald Shipton, MA students at Simon Fraser University. Our supervising producer is Kate Moffatt. Our sound designer and audio engineer is Miranda Eastwood. And our transcriptionist is Zoe Mix. To find out more about SpokenWeb, visit spokenweb.ca. Subscribe to the SpokenWeb podcast on Apple Podcast, Spotify or wherever you may listen. If you love us, let us know. Rate us and leave a comment on Apple Podcasts or say hi on our social media at SpokenWeb Canada. Stay tuned to your podcast feed later this month for Shortcuts, with me, Katherine McLeod. Short stories about how literature sounds."],"score":0.5494766},{"id":"9617","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S3E4, SoundBox Signals Presents “Performing the Archive”, 3 January 2022, Shearer, Butchart and Sallam"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/soundbox-signals-presents-performing-the-archive/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 3"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Karis Shearer","Megan Butchart","Nour Sallam"],"creator_names_search":["Karis Shearer","Megan Butchart","Nour Sallam"],"creators":["[{\"url\":\"http://viaf.org/viaf/61365463\",\"name\":\"Karis Shearer\",\"dates\":\"1980-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Megan Butchart\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Nour Sallam\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/470425b9-3ec2-4306-83fc-49f6bc3a2b7d/audio/1c30fb73-bdd4-42e2-8a5b-6d70ff8f0b07/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"s3e4-soundboxsignals-performingthearchive.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:59:37\",\"precision\":\"\",\"size\":\"57,301,830 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s3e4-soundboxsignals-performingthearchive\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/soundbox-signals-presents-performing-the-archive/\"}]"],"Dates":["[{\"date\":\"2022-01-03\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/123757617\",\"venue\":\"University of British Colombia Okanagan AMP Lab\",\"notes\":\"\",\"address\":\"3333 University Way, Kelowna, BC, V1V 1V7\",\"latitude\":\"49.94217525\",\"longitude\":\"-119.39902819775307\"}]"],"Address":["3333 University Way, Kelowna, BC, V1V 1V7"],"Venue":["University of British Colombia Okanagan AMP Lab"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"John Lent’s “A Matins Flywheel”: https://thistledownpress.com/product/a-matins-flywheel/\\n\\nDavid R. Loy’s “Nonduality in Buddhism and Beyond”: https://www.simonandschuster.com/books/Nonduality/David-R-Loy/9781614295242\\n\\nDaphne Marlatt’s Ana Historic: https://houseofanansi.com/products/ana-historic\\n\\nInspired Word Cafe: http://www.inspiredwordcafe.com/\\n\\nRead more about the AMP Lab’s events with Daphne Marlatt:\\n\\nShearer, Karis. “Performing the Archive: Daphne Marlatt, leaf leaf/s, then and now.” The AMP Lab Blog. 17 November 2019. http://amplab.ok.ubc.ca/index.php/2019/11/17/performing-the-archive-daphne-marlatt-leaf-leaf-s-then-and-now/\\n\\nBuchart, Megan. “Poetry, Campus, Community: Tuum Est.” The AMP Lab Blog. 18 November 2019. http://amplab.ok.ubc.ca/index.php/2019/11/18/poetry-campus-community-tuum-est/ \\n\\nOddleifson, Shauna. “Performing the Archive: Daphne Marlatt.” In Featured Stories and Our Students, UBCO Faculty of Critical and Creative Studies. 11 September 2019. https://fccs.ok.ubc.ca/2019/09/11/performing-the-archive-daphne-marlatt/ \"}]"],"_version_":1853670549710962688,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This month on the SpokenWeb Podcast, we are excited to share with you a special episode from our sister podcast Soundbox Signals. Host Karis Shearer, guest curator Megan Butchart, and poet Daphne Marlatt have a conversation about Daphne Marlatt’s 1969 archival recording of leaf leaf/s and her experience of performing poetry with the archive in 2019. This episode was co-produced by Karis Shearer and Nour Sallam.\n\nProduced by the SpokenWeb team at AMP Lab at UBC Okanagan, SoundBox Signals brings literary archival recordings to life through a combination of ‘curated close listening’ and conversation. Hosted and co-produced by Karis Shearer, each episode is a conversation featuring a curator and special guests. Together they listen, talk, and consider how a selected recording signifies in the contemporary moment and ask what *listening* allows us to know about cultural history. Find out more at https://soundbox.ok.ubc.ca.\n\n00:05\tSpokenWeb Podcast Theme Music:\t[Instrumental Overlapped With Feminine Voice] Can you hear me? I don’t know how much projection to do here.\n \n\n00:18\tHannah McGregor:\tDoes literature sound like? What stories, what we hear if we listen to the archive? Welcome to the SpokenWeb Podcast: Stories about how literature sounds.\n \n\n00:35\tHannah McGregor:\tMy name is Hannah McGregor, and each month I’ll be bringing you different stories of Canadian literary history, and our contemporary responses to it, created by scholars, poets, students, and artists from across Canada. It can be both wonderful and surprising to notice the work of your favourite writer change over their years of inspiration and creation. The recorded literary events that we hold in collections across the SpokenWeb network give us a particular opportunity to reflect on the multiplicity of an artist: an opportunity to talk to living artists and writers about the recorded works and performances by their younger selves. Sound recordings can reveal layers of memory beyond a text. They can evoke embodied memories: What emotion can we hear in an author’s voice and tone? What can we hear of literary community in the sounds of the room, the staccato of laughter, and the bursts of cheers and applause? How do artists reflect on their own performances as they are carried across time in these recordings? Today we bring you an episode from our sister podcast, SoundBox Signals, that considers the poetry and practice of Canadian poet Daphne Marlatt across decades of writing and performance. In this episode, producers Karis Shearer and Megan Butchart record a thoughtful conversation with Marlatt. They use a 1969 archival recording of Marlatt reading from her book leaf leaf/s to reflect together on her readings from the collection 50 years apart. The SpokenWeb project uplifts the power of such work with living authors. This episode exists in conversation with others we’ve shared with you in our monthly episodes and ShortCuts minisodes. If you enjoy this episode, check out “Lisa Robertson and the Feminist Archive”, “Listening Ethically to the Spoken Word”, “Talking about Talking”, “the Sounds of Trance Formation”, and “Robert Hogg and the Widening Circle of Return” for more conversations with artists about their recorded works. SoundBox Signals is produced by the AMP Lab at UBC-Okanagan, which holds recordings of Daphne Marlatt’s work in the SoundBox Collection. This episode was originally aired in February 2020, and we are delighted to bring it to you today on the SpokenWeb Podcast. [Start Music: SpokenWeb Podcast Theme Music] Here is Karis Shearer and Megan Butchart with “Performing the Archive.” [End Music: SpokenWeb Podcast Theme Music]\n03:07\tSoundBox Signals Intro Music:\t[Start Music: SoundBox Signals Theme Music] I see you face to face. What is the voice? The certainty of others, the life, love, sight, hearing of others.\n \n\n03:19\tSoundBox Signals Intro Music:\tWhere is this voice coming from?\n \n\n03:23\tSoundBox Signals Intro Music:\tI see you also face to face.\n \n\n03:27\tKaris Shearer:\tThis is SoundBox Signals, a podcast that brings archival recordings to life through a combination of curated close listening and conversation. Together we’ll consider how these literary recordings signify in the contemporary moment and ask what listening allows us to know about cultural history. Full-length versions of these recordings are available online in our SpokenWeb archive at soundbox.ok.ubc.ca.\n \n\n03:52\tAudio recording, Clip of Warren Tallman reading “Crossing Brooklyn Ferry”:\tHow curious you are to me. [Tape Click]\n \n\n03:55\tKaris Shearer:\tHave you ever listened to a recording of yourself when you were younger and noticed how your voice has changed? On September 20th, 2019, Megan Butchart and I got together with Canadian poet Daphne Marlatt and talked with her about the experience of doing just that. In our SoundBox collection, we have a recording of Daphne from 1969 when she was just 26 years old talking with Warren Tallman about her second book leaf leaf/s. Yes, she had published two books by the time she was 26. Our conversation took place the day after contemporary Daphne had given a reading here in Kelowna with her younger self, or her archival recorded voice, as part of our “Performing the Archive” series. The event was co-hosted by Megan Butchart, Erin Scott, and Cole Mash, and took place at Milk Crate Records. It was sponsored by Tuum Est, SpokenWeb, City of Kelowna, and the Inspired Word Cafe. In this podcast episode, you’ll hear our conversation with Daphne Marlatt. But first, let’s rewind to July 1969 and hear Daphne read from leaf leaf/s  [Tape Click]\n \n\n05:01\tAudio Recording, Daphne Marlatt, 1969:\t“4pParts of morning for 714” i: that petals’ veins / rift blue  / pared with razor / edge / tired eyes against the / gold dust, daisies / in a jug dyes / slowly into water / seeping pink. ii: moon drops / early / roused rocks / dry already a / firefly / threats rain it / flickers / green light over / night / sink’s / rust.  iii: white hood of a white / pickup parked on / green / trucks can be / steam risers, lettered / white / hollyhocks / of sun a whirl, / Cézanne, in a / tall tree. / iv: like it / flowers hail / outside our / back door stars / saw as worm / clots trod / morning / glories in deeper / small shells. [Tape Click]\n \n\n06:13\tKaris Shearer:\tYou just heard “4 parts of morning for 714.” Now we’ll fast forward to our contemporary conversation. In the first half of it, you’ll hear us ask Daphne about her experience listening to and voicing poems at public readings. In the second half of our conversation, we will talk about the archival recording itself and the experience of performing poetry with it. [Music Interlude]\n \n\n06:37\tKaris Shearer:\tMy name is Karis Shearer.\n \n\n06:37\tDaphne Marlatt:\tMy name is Daphne Marlatt.\n \n\n06:41\tMegan Butchart:\tMy name is Megan Butchart.\n \n\n06:42\tKaris Shearer:\tAnd we are here podcasting, or preparing material for a podcast. So, we have nine questions in kind of three different areas. But we also have a lot of flexibility around adding more or, I encourage Daphne to also flip the questions back on us as well. So, it becomes kind of more of a conversation, if we would like to do that. So, there really is no firm structure, that’s for sure. The first questions though, have to do with poetry readings because you know, we are very interested in the poetry reading. And Megan, you have the first question. So, do you want to?\n \n\n07:19\tMegan Butchart:\tYeah. All right. So, Daphne –.\n \n\n07:21\tDaphne Marlatt:\tMm-hmm.\n \n\n07:21\tMegan Butchart:\tCan you recall the first time that you ever heard a poem read out loud?\n \n\n07:27\tDaphne Marlatt:\t I’m trying to remember, whether – well, the first poem that I ever saw that would have been a wonderful one to read out loud was on the wall of my grade 12 classroom at Delbrook High School in North Van and my English teacher had put up one of Allen Ginsberg’s poems, which was the first time I ever heard about Allen Ginsberg. I mean, we’d been reading much much further back. I don’t think we’d even got, we must have got to Dylan Thomas, but nothing like Ginsburg, and I can’t remember if Mr. Patterson, that was his name, actually read it aloud to us or not. It’s the kind of thing he could have done.\n \n\n08:20\tKaris Shearer:\tSo, building on that, can you, can you tell us about the first poetry reading you ever attended, and what kind of impact it had on you?\n \n\n08:30\tDaphne Marlatt:\tThe first poetry reading was probably at UBC. And Prism held poetry readings, it seems to me, and there was another student magazine that did too, Raven. The first one that I actually remember, because I was very nervous about it, was one that I had been asked to read in. And I suspect it was a Raven poetry reading. It wasn’t raven as in “R-A-V-I-N’,” it was raven as in the blackbird, the trickster. And I said I’m too nervous to read. I don’t think I can read my poem. And I can’t remember whether it was Frank or someone else who said, you know from the TISH group, who said “I’ll read it for you.” I have a feeling it might have been Frank. Anyway, he read it and I squirmed in my seat because he didn’t read it the way I thought it should be read and from then on, I vowed I would always read my own poems out loud to an audience. [Laughter]\n \n\n09:51\tMegan Butchart:\tAnd so, how do you prepare to deliver for a poetry reading then?\n \n\n09:56\tDaphne Marlatt:\tOh, that’s a very good question. [Laughs] Hmm, it’s really interesting because it has become more flexible as I age. I still start the same way, I look at the book and I look at what I feel like reading that day, and I look at maybe different kinds of line that I might do from poem to poem. Sometimes it turns out there is a kind of image motif that’s running through several poems. I think, well, maybe I’ll do that. Sometimes I look at a poem and I think, I don’t want to read this poem aloud. When I was younger, I would take the book and I would look at the book and I would say, “I don’t feel like reading any of these.” [Laughs]. And that was pure nervousness before a reading, but now I will sometimes get up and I think, no I want to read this other poem instead. I mean I prepare, I have a list of what I’m going to read. I even time it because everybody is so concerned about timing and if there are other readers, I don’t want to go over my allotted time. But sometimes, like last night, last night’s reading, I wasn’t going to read the “Beo” poem at all and I just thought, no, I really I think after hearing Kurt read his Caetani poem, which used a lot of the language origins of the Caetani family, I thought, yeah, I want to read “Beo,” because that brings up a little of it, and it certainly talks about the relationship that Sveva had with her mother. So, that felt more appropriate, I guess.\n \n\n12:09\tKaris Shearer:\tYeah. I was struck by that too, last night, how responsive you were to the audience and to the kind of moment and things that were going on. How you were kind of re-crafting the reading in the moment.\n \n\n12:19\tDaphne Marlatt:\tRight, Right. Yeah, now that I’m the ripe old age that I am [Laughs] I feel more comfortable in front of an audience, so it gives me more freedom to do that.\n \n\n12:34\tKaris Shearer:\tYeah. Can I connect that back to what you said about hearing Frank read your work and then deciding – that as an impulse to want to read your own work. Can you kind of draw us a line from that to kind of feeling much more comfortable and responsive and being flexible in that moment? Were there kind of key pieces along the way in readings?\n \n\n12:57\tDaphne Marlatt:\tNo. No, I can’t. I don’t think I can know how to respond to that. It’s more a sense of having grown into your own voice and you have a sense of what your own voice is. and it’s interesting to me that even then I was beginning to have a sense of my own voice and it was not the voice that was reading the poem.\n \n\n13:17\tKaris Shearer:\tNice. Yeah. Thank you.\n \n\n13:18\tMegan Butchart:\tDaphne, can you share some of your thoughts on the significance of the live poetry reading during the period of the 1960s?\n \n\n13:25\tDaphne Marlatt:\tYeah, the live poetry reading was very important. It was a social glue, in a sense, that held all of us writers together. It was an occasion for being serious and being hilarious at the same time. No doubt there was room for a lot of grandstanding. But because, the group of writers that I knew met regularly, once a month, anyway, and sometimes more if we met at Warren’s house, to read to each other or to discuss. For instance, we had one evening where we had a long discussion of Olson’s essay on projective verse trying to figure out what he was saying and how that applied to any of us. So, there was a lot of push and pull, give-and-take, and I think the importance of those live readings was that it brought the language back into the body. The body was very present in the voicing, each person’s characteristic voicing of line, voicing of sound patterns, and so on. And I think that it clued us into that very quickly.\n \n\n15:03\tKaris Shearer:\tAnd you were doing that as students, right? I mean I’m talking about a time when you were undergrads at UBC.\n \n\n15:06\tDaphne Marlatt:\tYeah. Yeah. Well, some of them were, I mean, several of them were older than me and they left in ’63 right after the ’63 conference and went on to graduate school. Whereas, I still had another year anyway as an undergraduate. Yeah, and I can’t figure out, I mean, some of them were doing student teaching too, I think so, I don’t know if they stayed an extra year or the Honours program required an extra year. I have no idea. I just don’t remember all of that.\n \n\n15:43\tKaris Shearer:\tAnd were you also that student group that’s kind of like the Writers Workshop group?\n \n\n15:47\tDaphne Marlatt:\tAnd the TISH group. Yeah.\n \n\n15:50\tKaris Shearer:\tWere you also going to see other visiting writers give –\n \n\n15:54\tDaphne Marlatt:\tOh, definitely. Yeah. Yeah, I remember Leonard Cohen coming to give a reading. Yes, a poetry reading from what was it, Spice Box of the Earth, his first book, and that was remarkable because, he started out, it was in a classroom in the Buchanan Building and he started out to read and he suddenly stopped in the middle of a line! And we all thought, what? what’s going on? And he said something like “no, that’s not right” and he started again. And I was very impressed by that, like he was being so true to his sense of the line and he wanted it to come across the way he wanted it to come across, and that was a moment of freedom. Freeing for me because I realized the importance of that. And then I heard Irving Layton read. I can’t remember maybe that was in the old Auditorium. Was odd. There was kind of a stage set up but it was lower than a proper theater stage. So, I don’t know where it was, which room, but there he was. He had two young women posed on this little stage on each side of him. [Laughs] Layton. And okay. Well, that’s okay. That’s Layton, that’s Irving Layton. It was a very different reading from Leonard Cohen’s. And then, of course, we had these arts festivals that began and they were starting to do that and they brought in incredible people like – all these names are going to escape me. At 77, memory begins to go. There’s a New York poet, I cannot remember his name, and he did these very, to us, astonishing readings, which were not readings, they were performances. And he assigned lines to a number of us to say as we walked around the auditorium. But that really stuck in my mind because it was the beginning of the language approach that the Language School of Writers in the U.S. and was a beginning of that, I think. Very different from the aesthetic that we had developed and grown up with through the San Francisco Poets coming up, especially Robert Duncan, but Jack Spicer too, and of course Robin Blaser. So, it was a bit of an eye-opener to me that you could do that kind of thing with language. And it was like doing in language what John Cage was doing in music.\n18:57\tKaris Shearer:\tCool.\n \n\n18:57\tDaphne Marlatt:\tYeah.\n \n\n18:57\tKaris Shearer:\tWho is organizing that festival? Is that Warren?\n \n\n18:59\tDaphne Marlatt:\tThere wasn’t. No, there was a group. There was a group of faculty people from, I think, theater people as well as music people and people from English. Literary people. It was great. It was wonderful. It brought the outside world to us in performance and it was very exciting.\n \n\n19:25\tKaris Shearer:\tSounds amazing.\n \n\n19:26\tDaphne Marlatt:\tYeah.\n \n\n19:27\tKaris Shearer:\tWere you there for the Jack Spicer reading in ’65? Was it ’65?\n \n\n19:31\tDaphne Marlatt:\tUh, no, I was not there. I was in Bloomington, Indiana.\n \n\n19:35\tKaris Shearer:\tRight. Okay.\n \n\n19:36\tDaphne Marlatt:\tYeah.\n \n\n19:37\tKaris Shearer:\tYeah. That sounds like an incredible, I mean, just I always kind of think about myself, being back at, wanting to be back and that kind of moment of just kind of heady readings.\n19:47\tDaphne Marlatt:\tOh yeah, well Robert Duncan, of course, was the big one for me and for a number of us. Because he himself was so dramatic. I can see him walking between the catalpa trees, striding between them in his black cape on the way to giving a reading in the Buchanan building. [Laughs]. I learned a lot from Robert Duncan, a lot about language and the music of language and how language carries breath and spirit.\n \n\n20:21\tKaris Shearer:\tYeah. Can I ask you, following on that – you would’ve read the Black Mountain Poets before they arrived in ’63, I mean, I guess they read at different times, some of them, at UBC.\n \n\n20:32\tDaphne Marlatt:\tYeah, yeah.\n \n\n20:33\tKaris Shearer:\tBut prior to meeting them in person, had you formed ideas about them that maybe were changed by meeting them in person?\n \n\n20:44\tDaphne Marlatt:\tYeah, I had no idea that Denise Levertov for instance was such a dynamic reader. That was a wonderful event. And she was so open to young women poets. I mean I had a coffee with her and chat about my imminent marriage and whether I could continue writing, and she was great. She was very supportive. Robert Duncan, we knew because he’d come up several times before ’63. Olson was a revelation, because he was such a large man and his work was so large in its scope and yet he was very open to talking to us. You know, one of the things he said to me in Warren and Ellen’s kitchen, was when I told him – he asked me where I’d grown up. And so I told him I spent my childhood in Penang and grew up North Van. And he said, you should write about Penang. And I’m only just doing this now in my late 70s. [Laughs]. But some things kind of stay with you, you know. You get gifts like that. And Creeley. We knew Creeley, and he had taught a wonderful Creative Writing course. I think it was the first Creative Writing course that the English Department had given and it was – I mean Edward Bernie was busy trying to get a Creative Writing Department going, but I took that one from Robert and Bob Creeley. Yeah, Bob didn’t teach it like a workshop, like we know Creative Writing workshops these days. What he did was he brought in a lot of ideas in the form of reading assignments and discussions of what we had read and how does that relate to what you’re writing? It was very opening for me. It was about at the level of the older TISH poets. So, I was floundering around a bit, but it set the tone for me. Set the bar high, intellectually. Yeah.\n \n\n23:22\tKaris Shearer:\tNice. Nice. Can I pick up on that and ask, I mean, some of the things that strike me about like your descriptions of the Creative Writing course or your experiences in English courses are so different from how courses are run these days, typically –.\n \n\n23:37\tDaphne Marlatt:\tI know. [Laughs] Yeah.\n \n\n23:37\tKaris Shearer:\t– so that description and then what you said the other night about Warren teaching an English course, but having students do a lot of reading aloud.\n \n\n23:53\tDaphne Marlatt:\tYeah, right.\n \n\n23:54\tKaris Shearer:\tCan you take us back to that for a second, just the role of reading aloud?\n \n\n23:54\tDaphne Marlatt:\tRight. Right. That was that course, we did a lot of Whitman in and it was a poetry reading. It was a course on poetry and it’s funny, I can’t remember who else we studied. But Whitman was an eye-opener because in a way it was a bit excruciating for the class. He didn’t want to talk about the content of the poem, several poems, he just had different students read aloud. He would point to someone say, “okay, you read this one.” Person would read and he’d say, “you read that! and you read that!”. And of course, we would hear all these different versions of the same poem and we would all be thinking, “okay, what is the version he’s looking for?” But what it did was, it opened us up to hearing the poetry, hearing how the words were moving together, musically, rhythmically, semantically\n \n\n25:03\tKaris Shearer:\tNice. So, we have another set of questions that have to do with this recording of leaf leaf/s in an interview that you did with Warren Tallman in July 21st, 22nd, 25th, 1969. [Marlatt Laughs] Warren is not really sure what day it was recorded. But I wanted to ask you about that recording in the next couple of questions, and whether you can recall how you came to do that recording, that interview?\n \n\n25:32\tDaphne Marlatt:\tWhich one month was it?\n \n\n25:34\tKaris Shearer:\tJuly 1969. Some recording of an interview with Warren’s Tallman about leaf leaf/s and you’ve heard a copy of this where you read the full book in two parts, and he asks you a series of questions about it.\n \n\n25:49\tDaphne Marlatt:\tInteresting that date, because I had given birth to my son at the beginning of May. So, I was a young mother, my body had gone through a major experience. That was not the experience that I had had when I wrote those poems, so what was interesting to me hearing last night at the reading. There was so much, my voice was so much more present in those poems than I had remembered my voice being, and I think it’s because of the giving birth experience. You know, I mean we sat in the living room where he usually recorded and I was very happy that he wanted to record the whole book and then talk about it, but I think we had some slight – we had different approaches to my writing at that point because I had gone somewhere else. I had been in Bloomington and then I had been in the Napa Valley in California and in Bloomington. I belonged to – I joined a small writing group that Clayton Eshleman organized and D. Alexander was part of the deal. D. was a linguist. And we had a very significant conversation, significant for me, in one of the local student pubs. They don’t call them “pubs” down there, “bars,” in Bloomington, about language. And he pointed out to me that there was, there’s an elasticity, and a semantic associativeness and flexibility that I was not paying attention to because I wasn’t thinking of language just as a medium, as language. I was thinking of language referring to objects and actions in the world. And he said, I mean, this is Saussure, right? It’s basic Saussure. “No, you should read Saussure, for one thing, but language is a medium unto itself and it has all these currents in it that you could be hearing.” And that was a big eye-opener for me. So, leaf leaf/s was very much written out of learning that and trying to put that into practice. I find it a rather abstract book now, but it taught me a lot about writing because it taught me a lot about language.\n \n\n28:40\tMegan Butchart:\tAnd so, what does this recording mean to you now to listen back to it?\n \n\n28:44\tDaphne Marlatt:\tWell, as I said, I was surprised that my voice was so present in it, in the language. I was happy to hear that. I was still, I mean reading it in Warren’s living room was very familiar territory for me. So, it wasn’t like reading it aloud to an audience, which I still then found very nerve-wracking. But reading it to Warren –I can’t remember if other people were present or not. I know when he had me read frames of a brain, frames of a book, of a story…. Yeah, see, I can’t even remember the title of my first book! [Laughs]. Frames of a Story. He had me read that in his living room to a group of people when it first came out. I think it was – it might have been a fireplace. There might have been a fire burning in the fireplace. I felt very much at home there, and a lot of my friends were there in the living room and it was a big experience for me to read the whole, the whole of that book! “Warren, are you sure? really all of it?” “Yes. Yes. Yes.” [Laughs] So leaf leaf/s was after that. And it seems to me it was more, I don’t think there were many other people there, if any other people were there.\n \n\n30:13\tKaris Shearer:\tYeah. I didn’t get the sense listening to it that there were others.\n \n\n30:15\tDaphne Marlatt:\tYeah, yeah. Yeah. I think Warren was trying to figure out what had happened to my language while I was away. I suspect that occasioned that.\n \n\n30:27\tKaris Shearer:\tYeah, that transition from that kind of Black Mountain Poetics. It’s Duncan, Creeley, especially. He really wants to emphasize [inaudible], right?\n \n\n30:37\tDaphne Marlatt:\tThat’s right. Well he is very close to Creeley’s work. Yeah, yeah.\n \n\n30:41\tKaris Shearer:\tCan I take a little detour and ask about this concept of reading the entire book? Because that comes up in the Sir George Williams University recording as well where George Bowering says, back in Vancouver we would just – a reading, you would just read the whole book to your friends. Was that a common thing?\n \n\n31:00\tDaphne Marlatt:\tNot that I remember, no. I think Warren probably, I think, George was probably thinking about Warren, because I don’t remember that happening elsewhere, the whole book.\n \n\n31:13\tKaris Shearer:\tOkay. Yeah. I was just curious.\n \n\n31:16\tMegan Butchart:\tHow do you think that changes the reading experience though? To read just single poems versus reading something consecutive?\n \n\n31:24\tDaphne Marlatt:\tYeah. Well, for me, there’s always what you might call a kind of, it’s not a narrative in a book of poetry, necessarily, but narrative has always been of interest to me and that’s what Frames was. It told the narrative, but there’s a sense in a collection of poems some sort of line of a development through the book, and so you would only get that if you read the whole book.\n \n\n32:00\tKaris Shearer:\tAs a listener, I really love these moments where we get to attend a reading where someone reads the entire book because it feels like you’ve in advance made a commitment to staying for that kind of duration, it’s a significant duration –\n \n\n32:15\tDaphne Marlatt:\tThat’s right. That’s right. It is.\n \n\n32:16\tKaris Shearer:\t– and a kind of dedication to that person who’s going to read. They’re always –they’re very – and they also feel like a kind of communal dedication everybody in the room is there for the whole for the whole thing.\n \n\n32:25\tDaphne Marlatt:\tThat’s right. Yeah, yeah.\n \n\n32:28\tKaris Shearer:\tI long for those occasions, although one cannot have them all the time. [Laughs]\n \n\n32:32\tDaphne Marlatt:\tNo, but it was particularly nice to have an occasion like that in Warren’s living room. I should always say Warren and Ellen – because it was both of them – they were both such wonderful supporters of young writers. Really, I mean that whole phenomenon that’s become known as the TISH group wouldn’t have happened without them.\n \n\n32:59\tKaris Shearer:\tCan you talk a little bit about Ellen’s role in that? I know it was significant.\n \n\n33:02\tDaphne Marlatt:\tYeah. Ellen was very significant because not only did she help organize that 1963 conference, but she had the contacts because of growing up in Berkley and going to –I mean growing up in San Francisco and going to Berkeley. She had the contacts with Robert Duncan and Jack Spicer, and Robin Blazer, and she brought those with her when they moved to Vancouver. So, there was a clear line, a clear artery, if you like, for infusion. I knew Ellen not as a teacher. She became a teacher. She taught at UBC later. But when I knew her she was more, the one that everyone could talk to about their personal lives, their problems. She was remarkable. I’ve never known anyone who could cook a whole meal in the kitchen while talking to somebody about their deep emotional angst. [Laughs] She was a phenomenon in herself and I was really glad when she started writing in her later life about her experiences meeting all those people. And I wished, I mean, she had a very busy career as a therapist, and she was very, very supportive to a number of people in the AIDS community who it would have been very different for them without Ellen. And she didn’t have much room left in her life for writing. But the pieces that she did write were so good, and I kept encouraging her to try and find more time to write, but it was difficult. And she had her health problems as she aged to deal with. So, yeah.\n \n\n34:59\tKaris Shearer:\tI think of her very much, as you say, that social, as someone who had the kind of social connections to invite those writers up, but also who received them when they did come. And he talks on one of the recordings about choosing Robert Duncan’s poems and choosing the entire lineup for him and kind of orchestrating behind the scenes.\n \n\n35:24\tDaphne Marlatt:\tYeah. Yep, yep. Yeah, she was –she was intelligent and I think a lot of people might not have known that in the early days. She was very intelligent. Yeah. And also, intuitive about people. Yeah.\n \n\n35:37\tKaris Shearer:\tYeah. We need to talk more about that kind of work behind the writing. Because it’s so important.\n \n\n35:44\tDaphne Marlatt:\tIt is, and Gladys fulfilled that role too.\n \n\n35:48\tKaris Shearer:\tYeah.\n \n\n35:49\tDaphne Marlatt:\tYeah Gladys Hindmarch, Maria.\n \n\n35:53\tKaris Shearer:\tYeah, very much. So, I want to turn to, if you don’t mind, talking about last night’s reading, because it was a pretty marvelous, marvelous event in so many ways and I can’t stop thinking about it. Last night, you read with your former self [Marlatt Laughs], as we and sort of billed it –\n \n\n36:14\tDaphne Marlatt:\t[Laughs] That’s right.\n \n\n36:15\tKaris Shearer:\t–with your 26-year-old voice, from the archive as part of our “Performing the Archive” series. I know you’ve only had a short time to maybe think and reflect on that, but what was it like to collaborate with yourself?\n \n\n36:30\tDaphne Marlatt:\tWell, first of all, I was very very glad that Craig would key me in, because I didn’t want to read the poems as I heard them. I didn’t want to read them on the page. I wanted to hear them. And so, I couldn’t always remember when a poem would end. And so, I was always looking at him to clue me in to when to start reading in my current voice from that book. And we did this sandwiching thing, past and present, past and present, past and –so, it was interesting because it felt, well, it felt peculiar, in one sense, to hear my voice played back to me. And it wasn’t my voice as it is now. Bridget commented afterward that she noticed that there was still more English pronunciations, English-English pronunciations in it, which – and probably in the tone more than anything, I would think. And that voice was very clear about what it wanted, how it wanted the line to sound and exactly where the brakes went. It was a musical score, basically. The poems were kind of a musical score, and that voice was very keen on paying attention to that. And then when I read in my present voice, there was more focus on maybe image, and on the movement of a poem as a whole. Yeah, I don’t know what other people heard.\n \n\n38:20\tKaris Shearer:\tWell, actually, I’m going to turn to Megan and ask her. What did you hear in that kind of movement from the archival voice to the contemporary voice?\n \n\n38:31\tMegan Butchart:\tWell, it was interesting to me because you have two different contexts in which you’re reading. So, the 1969 voice is just you and Warren in the living room, which you would think would be the more intimate setting, whereas last night’s reading was in front of a crowd of I don’t even know how many –\n \n\n38:46\tKaris Shearer:\t70 people.\n \n\n38:46\tMegan Butchart:\t70 people.\n \n\n38:47\tDaphne Marlatt:\t70, huh?\n \n\n38:48\tMegan Butchart:\tAnd in that case, it seems like you would naturally want to perform more. And I actually found that the 1969 voice was more performative, in a sort of deliberate sense. Whereas, your reading last night was, like, I got musicality of the words together more –\n \n\n39:06\tDaphne Marlatt:\tOh, wonderful.\n \n\n39:08\tMegan Butchart:\t– I felt it was a softer reading, and I feel like everyone was so intent and so attentive, to your reading that there was sort of this silence around your speaking almost, it was incredible.\n \n\n39:21\tDaphne Marlatt:\tIt was a wonderful – well, it was a wonderful audience. And you know, we’d heard such diverse voices before I got up to read and that audience was open to every one of us. That was the astonishing thing.\n \n\n39:36\tMegan Butchart:\tYeah.\n \n\n39:37\tKaris Shearer:\tYeah. Erin Scott and Cole Mash have really crafted – I mean, that’s been a reading series over the past more than two years and every time I’ve been to it the audience is so generous and so warm.\n \n\n39:51\tDaphne Marlatt:\tWell Cole really sets that up. He’s so spontaneous and himself. And no posing at all on stage.\n \n\n40:00\tKaris Shearer:\tListening to him afterwards, one of the things I love about the way he hosts is he manages to kind of move between the sort of different registers, like that comic register, this sort of open, outrageous comedy, but then very respectful, thoughtful attentiveness and seriousness as well. And he’s able to move through those registers back and forth in a way that is very energizing. But also, yeah, just really attentive to the audience.\n \n\n40:30\tDaphne Marlatt:\tAnd the space was really good for a reading because even though I’m surprised to hear there were 70 people there because it didn’t feel like that, I mean, there’s all the records at the back and the shirts, t-shirts hanging up in the back and so on, but on the in the front this peculiar platform of a stage with an Asian carpet spread out on it [Laughs] and…\n \n\n40:57\tKaris Shearer:\tAnd a Mickey Mouse table. [Laughs]\n \n\n40:59\tDaphne Marlatt:\tAnd a Mickey Mouse table, that’s right. It’s very – well, it reminded me of the 70s actually. So, I felt really at home there. And also, the way, it was announced that this was probably the last event there, because people were being evicted, had to move, and Richard, I mean the flowers for Richard, the owner, not owner, but manager of Milk Crate Records, I guess he’s the owner of Milk Crate Records, not the owner of the building, and how he got up and spoke so, with such determination about the future of the place and then the diversity of the poets, the three poets before, and then Sari reading. It did feel almost like being in somebody’s living room. Yeah.\n \n\n41:58\tMegan Butchart:\tYeah. I mean, even there’s a couch in the front row –\n \n\n42:01\tDaphne Marlatt:\tThat’s right.\n \n\n42:02\tMegan Butchart:\t– and everyone’s just hanging around.\n \n\n42:05\tDaphne Marlatt:\tWith footstools – with hassocks with footstools or, yeah.\n \n\n42:08\tKaris Shearer:\tOne of the things I’ve been reminded over the last couple of days from the events that we’ve been doing. Just the kind of diversity of audience for poetry that really, I find very invigorating. You know, we’ve had at the “curated close listening” event, first-year students and students who are coming with sometimes very little background in poetry itself or knowledge of a particular poet, and they’re coming for a variety of reasons and contributing amazing things to the conversation. Yeah, and that struck me too with Milk Crate, with the reading last night, we saw a variety of different performers, different styles.\n \n\n42:50\tDaphne Marlatt:\tRight. Very much so. Yeah. Yeah. Yeah. And there was a variety in the audience too.\n \n\n42:56\tKaris Shearer:\tYeah, definitely.\n \n\n42:59\tDaphne Marlatt:\tWell, I hope they find a good place.\n \n\n43:01\tKaris Shearer:\tMe too.\n \n\n43:02\tDaphne Marlatt:\tAnd keep it going. Because it is, it does remind me of what the Vancouver poetry scene was like, and there were readings in folk music coffee shops [Laughs] and readings in bookshops. It wasn’t always this staged thing where you sold tickets or whatever.\n \n\n43:32\tKaris Shearer:\tYeah, it reminds me too, I mean Milk Crate Records is a venue for music and has been so welcoming to poetry. And so, Sari’s response last night, to your question Megan, about what undergrad course had most influenced her. I mean our connection sometimes are very much outside of the literary classroom, if you will, or the poetry community proper, and I think that those other connections are often where it finds growth.\n \n\n44:00\tDaphne Marlatt:\tWell, poetry should never be just an academic subject. It was never meant to be that in the beginning. And in one of the things that, I feel, the commercialization of the literary industry in Canada’s done is make it much more ambitious, the whole award business for one thing, I mean I’ve been on one of those juries and it’s impossible to choose the best book for the year. It’s a matter of people’s tastes finally vying and you get some kind of compromise. But poetry comes out of life, it comes out of lived experience and it also reaches for something that I was thinking of this morning, as philosophy in the original sense ‘philos’’sofia’, the love of wisdom. It’s about how to live, how to be alive in this time with all that we’re facing, as a culture as a society, and going through one’s individual life journey as well, at the same time.\n \n\n45:31\tKaris Shearer:\tDefinitely. I mean in that sense it has to reach out beyond the poetry community, proper. Draw from and be responsive to.\n \n\n45:43\tDaphne Marlatt:\tYeah. Yeah.\n \n\n45:46\tMegan Butchart:\tDo you think it could describe a little bit more, sort of, how you’re reading style has changed? I mean your voice has changed some, it has become less English, perhaps, but, like, your reading style.\n \n\n45:58\tDaphne Marlatt:\tWell, how did you hear it? How did you hear the difference?\n \n\n46:02\tMegan Butchart:\tI mean I heard the difference is being less deliberately performative, which is interesting. And maybe it was sort of the intimacy of having the mic right there instead of perhaps just, you know, a reel-to-reel machine in the room, right? So, there might have been a little bit.\n \n\n46:16\tDaphne Marlatt:\tSo, I didn’t have to project as much.\n \n\n46:18\tMegan Butchart:\tPerhaps not. Yeah. But I’m not sure. Karis, do you have any thoughts about that?\n \n\n46:22\tKaris Shearer:\tYeah, I mean, I think what I heard in the recording was a voice that was clipped and deliberate and for a long time, when I think about leaf leaf/s I think about that recording and that’s kind of in my head, the reference point for the sound of it. What struck me when you were reading last night was the way that you kind of opened up some of the vowels and it kind of lengthened and some of the vowels and it felt much more kind of flowy, and the turns more gentle. Then yeah, that particular – but I still hear echoes of the style, of course, across both.\n \n\n47:03\tDaphne Marlatt:\tOh, that’s good feedback for me. Yeah. Thank you.\n \n\n47:06\tKaris Shearer:\tYeah.\n \n\n47:07\tDaphne Marlatt:\tYeah, well, I’ve always had these two diverging interests in writing and one is narrative and one is the lyric. And the narrative also fights against the sense of sequence, that sequence doesn’t have to be narrative. And yet I’ve written narratives, I’ve written two novels, if not three, and I fought against, in each case, I fought against writing a traditional narrative [Laughs]. So, there’s an interesting conflict that feeds into the writing. And the lyric side of it has to do with my feeling that poetry is not about being declamatory. It’s about music. It’s what the music in the language, how it informs one, even sometimes unconsciously. Writing feels to me much more like improvisation than trying to get from A to B. So, there’s a funny kind of uneasy balance in my work between getting from A to B, as in a narrative, and the improvisatory.\n \n\n48:42\tSpeaker 5:\tWhen you were finishing with leaf leaf/s last night and transitioning to some of the other work, you mark that transition with a reference to the longer line, right? The very short lines of leaf leaf/s and the move into this like long the longer line of Steveson, for example. Can you talk a little bit about that?\n \n\n49:02\tDaphne Marlatt:\tYeah. Well it was wonderful for me to be able to stretch out into a longer line. And of course, I started trying to do that with the Vancouver poems. But even there they would come back to a short line here a short line there and so on, whereas with Steveston the writing was really informed by the flow of the Fraser River that ran underneath everything I wrote about Steveston. I wanted the flow of the river there, and the flow of history, which has a kind of, what’s the word I want? It has a kind of fatality to it, that is like the flow of the river out to sea, you can’t reverse it. You can’t reverse the tide. Not the tide, but the current in the river. It keeps on going out, and it keeps going out into this disappearance, into the oceanic. And I wanted to talk about the fatality of that awful moment in Canadian history when people who are born here as citizens, Japanese-Canadian citizens, were suddenly stripped of their citizenship and sent off, basically imprisoned and in camps in the Interior. And how fear it has a kind of fatality in it that grabs people so that they cannot see outside it. I wanted some of that to come through, and so there was this, you could call it a driving force, that was driving the line. But at the same time, it was aware of the music of the line because when a river flows it eddies around the banks and at eddies around whatever it encounters in the current and so there was this waylaying, musically, of that current driving forward. And I was really intrigued with a balance of that or trying to balance that in some way.\n \n\n51:31\tKaris Shearer:\tThat’s also picked up on the, I mean, the spaciousness of the page as well, I think. Right?\n \n\n51:35\tDaphne Marlatt:\tYeah. Yeah, which is why I thought the books have those white pages. Yes. I ran into such trouble trying to submit poems from Steveston to anthologies or magazines. I mean sometimes anthologies would ask me for poems, and “please, don’t cut the line!”\n \n\n51:58\tKaris Shearer:\tAnd so, to pick up on that is the page a unit for you in that sense?\n \n\n52:04\tDaphne Marlatt:\tYeah, the page is a kind of unit. And of course, then, poems will go over the page. And so that’s interesting. Where did they go? Over the page. How do they get over the page?\n \n\n52:27\tKaris Shearer:\tYeah, and especially when you’re in when the work is anthologized, I mean if you’ve had control or input in the page as a compositional unit in the original publication that gets –.\n \n\n52:38\tDaphne Marlatt:\tCompletely undone, yeah.\n \n\n52:38\tKaris Shearer:\t–compromised unintentionally.\n \n\n52:38\tDaphne Marlatt:\tYeah, that has been a cause of great aggravation.\n \n\n52:39\tKaris Shearer:\tI want to ask, Daphne, you, and Megan. We’ll start with Daphne. Is there anything you’re reading right now that you would recommend to the audience, the listeners?\n \n\n52:49\tDaphne Marlatt:\tYeah, there’s a book. I picked up at Mosaic Books here in Kelowna. That I was delighted to see — it’s John Lent’s new book. It’s called Matten Flywheel and they are remarkable poems because they’re written in the aftermath of a near-fatal heart attack and he, I would say those poems, they radiate that kind of ‘philosophia’ that I was talking about as what poetry reaches for. There’s a lot of it in there as well as the daily. But it always has to be. The daily always has to be there too. And the other book I’m reading that I’m very interested in is David R. Loy’s Nondual Thought.It’s a very exciting investigation of how the Buddhist notion of emptiness, which is very present in Chan and Zen Buddhism, and in Mahayana Buddhism. It has been presaged – there are connections with earlier Western philosophers, including Heidegger and Kant and he’s talking about the non-binary. And I think that is such an important concept. It’s one that I was first came in contact with through Rachel Blau Duplessis’s work and the work of feminist theorists generally and of course, Loy doesn’t talk about that, which he should do, but he doesn’t. He’s philosophical. And it’s a really interesting investigation of that, of those kinds of connections, and he’s now applying that to ecology and the environment. So, I’m going to be curious to hear what he has to say about that.\n \n\n55:04\tKaris Shearer:\tThat’s great, Thank you very much. Megan, over to you, for final thoughts. What would you recommend?\n \n\n55:10\tMegan Butchart:\tI’m in class right now. So, I’m reading a lot of books for class. But I’ve also been re-reading Ana Historic. Kind of in anticipation of this visit. That’s a book that’s meant a lot to me, because of its topics with archival work and archival studies and trying to retrieve voices, often marginalized voices from the periphery that have been silenced. So yeah, just re-reading that and also thinking about the SpokenWeb project more broadly and the sort of work that it’s it’s hopefully doing, yeah.\n \n\n55:47\tDaphne Marlatt:\tGreat.\n \n\n55:48\tMegan Butchart:\tYeah.\n \n\n55:48\tDaphne Marlatt:\tWonderful.\n \n\n55:49\tKaris Shearer:\tThank you so much.\n \n\n55:49\tDaphne Marlatt:\tWell, the archival is very interesting. Of course, I’ve used archives a lot in my work. What was it Olive Senior said in her recent talk? At the Writers Union, their little magazine writing has a kind of synopsis of it, but she said something like “place is never fixed.” It’s not fixed in time. We affect place, place affects us too. And the archival is interesting because it gives us a sense of what was there before we encounter it. We tend to think what we encounter is all there is, it isn’t. And we need to have not only a sense of what was there before we encountered it, but where it’s all moving to now, especially with climate change. So, there’s, I don’t know what you’d call the opposite of the archival, but it has to leap forward from the archival, just as Indigenous knowledge, and what the elders teach moves from very very far back in what preceded us, now, here, and forward to seven generations, they affect seven generations down the line. That’s the kind of view we need in our culture.\n \n\n57:19\tKaris Shearer:\tYeah.\n \n\n57:19\tMegan Butchart:\tYeah.\n \n\n57:20\tDaphne Marlatt:\tSorry to get a little [inaudible] –.\n \n\n57:21\tKaris Shearer:\tBut, a kind of a living archive that is not just passed on, but also co-created maybe?\n \n\n57:30\tDaphne Marlatt:\tYeah. Well the understanding of it has to be very much in the present, but it looks back and it looks forward and it should be a guide for action. [Start Music: SoundBox Signals Theme Music]\n \n\n57:47\tKaris Shearer:\tThat was episode two of SoundBox Signals. You were listening to a recording by Daphne Marlatt from our archive called the SoundBox Collection. I want to thank Daphne Marlatt for talking with us and for allowing us to share the recording online, and also to the Warren Tallman estate for the same permission. You can find full-length recordings online at soundbox.ok.ubc.ca. I’m your host Karis Shearer and I will see you next time. [End Music: SoundBox Signals Theme Music]\n \n\n58:26\tHannah McGregor:\t[Start Music: SpokenWeb Podcast Theme Music] SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. The episode we shared with you this month was produced by Karis Shearer and Megan Butchart for our sister podcast, SoundBox Signals, from UBC-Okanagan’s “Audio-Media-Poetry” Lab – a.k.a. – the AMP Lab. You can follow the work of the AMP Lab on Instagram @amplab_ubco. The SpokenWeb Podcast project manager and supervising producer is Judith Burr. This episode was transcribed by Kelly Cubbon and Nour Sallam. To find out more about SpokenWeb visit: spokenweb.ca and subscribe to The SpokenWeb Podcast on Apple Podcasts, Spotify, or wherever you may listen. If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Stay tuned to your podcast feed later this month for ShortCuts with Katherine McLeod, mini stories about how literature sounds. [End Music: SpokenWeb Podcast Theme Music]\n\n"],"score":0.53456974},{"id":"3980","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-01-16, bissett and Nelson"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset, corroborated by Lee Gotham, who introduces the two event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","bissett, bill","Nelson, Sharon H."],"creator_names_search":["Gotham, Lee","bissett, bill","Nelson, Sharon H."],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"https://viaf.org/viaf/96127023\",\"name\":\"bissett, bill\",\"dates\":\"1939-\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/108207169\",\"name\":\"Nelson, Sharon H.\",\"dates\":\"1948-2016\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Phil","Duncan, Scott","Berger, Halina","McGrail, Justin","Paul","Unknown_Reader1","Bro","Unknown_Reader2","Unknown_Reader3"],"contributors_names_search":["Duncan, Drew","Phil","Duncan, Scott","Berger, Halina","McGrail, Justin","Paul","Unknown_Reader1","Bro","Unknown_Reader2","Unknown_Reader3"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Phil\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/135986318\",\"name\":\"Duncan, Scott\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Berger, Halina\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Paul\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Unknown_Reader1\",\"dates\":\"\",\"notes\":\"Open-mic performer. Identified as Unknown_Reader1 in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Bro\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Unknown_Reader2\",\"dates\":\"\",\"notes\":\"Open-mic performer. Identified as Unknown_Reader2 in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Unknown_Reader3\",\"dates\":\"\",\"notes\":\"Open-mic performer. Identified as Unknown_Reader3 in the transcription.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Phil","Duncan, Scott","Berger, Halina","McGrail, Justin","Paul","Unknown_Reader1","Bro","Unknown_Reader2","Unknown_Reader3"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/3980/Enough_Said-VHS2-19950116_19950130_19950206_19950213.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset (note and poster).\",\"other_physical_description\":\"VHS #2 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EYDa-ZjscPRJkywPZjj5wM8BVyNzPPBs9_bD6fgGcIKVKQ?e=DUoweY\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950116-bissett_Nelson.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:53:22\",\"precision\":\"\",\"size\":\"3.2 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring bill bissett and Sharon H. Nelson as part of the Enough Said series, organized by Lee Gotham, with extra open-mic performances by Justin McGrail, Scott Duncan, Halina Berger, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:b:/g/personal/carlosa_pittella_concordia_ca/ES6KwHDTCzlNk-T8yYdfS5wBw9IsHM_2bg74jsWfKgyupw?e=mNricO\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950116-Bisset_Nelson-poster.pdf\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"1.7 MB on disk\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"1 poster: black ink printed on blue paper, with handwritten yellow-marker highlights.\",\"notes\":\"The poster features a photograph of bill bissett credited to Jamie Vandermoer and the following text: \\\"bill bisett | 'enough said' presents! | poetry reeding (sic) | place: BISTRO 4, 4040 St. Laurent | time: 9 pm. Monday Jan 16 '95\\\"\",\"title\":\"bill bissett\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Document\",\"featured\":\"Yes\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-01-16\",\"type\":\"Performance Date\",\"notes\":\"Though in Asset VHS #2, this event happened in between the Swifty-Lazar event and the Wiernik-and-Anderson event, both recorded in VHS #1.\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of VHS #2 asset, which contains multiple events."],"Note":["[{\"note\":\"Faith Paré\",\"type\":\"Cataloguer\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #2 asset. Contains recordings of multiple events: (1) Enough Said 1995-01-16, bissett and Nelson; (2) Enough Said 1995-01-30, Stanton and Stephens; (3) Enough Said 1995-02-06, Brulé; and (4) Enough Said 1995-02-13, Benefit Part 1. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://worldcat.org/en/title/30817502\",\"citation\":\"bissett, bill. Inkorrect Thots. Vancouver, BC: Talonbooks, 1992.\"},{\"url\":\"https://worldcat.org/en/title/35317870\",\"citation\":\"bissett, bill. Th Influenza uv Logik. Vancouver, BC: Talonbooks, 1995.\"},{\"url\":\"https://worldcat.org/en/title/1035975435\",\"citation\":\"bissett, bill. Th last photo uv th human soul. Vancouver, BC: Talonbooks, 1993.\"},{\"url\":\"https://worldcat.org/en/title/18641644\",\"citation\":\"bissett, bill. What We Have. Vancouver, BC: Talonbooks, 1988.\"},{\"url\":\" https://worldcat.org/en/title/49305136\",\"citation\":\"Nelson, Sharon H. This Flesh, These Words. Victoria, BC: Ekstasis Editions, 2002.\"},{\"url\":\"https://worldcat.org/title/27851248\",\"citation\":\"Nelson, Sharon H. Grasping men's metaphors. Dorion, QC: Muses' Co. = Compagnie des Muses, 1993.\"}]"],"_version_":1853670549161508864,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:16\n[Ambient sounds (movement, conversation).] | Video Description: Colour video. Camera view at first rocks, unstable, as it repositions. Long shot of the Bistro 4 (Quatre) stage, with audience members before it sitting at tables and chairs also in view. The stage is slightly below street level, with numerous large window panes that face Saint-Laurent Boulevard. Vague shapes of cars, streetlights, and passerby are visible through the window. Yellow curtains frame the windows, and a large light hangs from the ceiling above the audience. A painting or illustration is on the wall adjacent to stage right. Event organizer and host Lee Gotham is in the camera foreground, speaking to an unknown audience member and pointing at something out-of-frame. Gotham wears a green shirt and light brown shoulder-length hair. Behind Lee Gotham, bill bissett stands facing audience on the stage. bissett wears a graphic t-shirt, thick-framed glasses, and chin-length hair. \n\nbill bissett \n00:00:19\n[Performs Unnamed Poem 1 with chant-like vocalizations and maraca including the line \"I got a feeling we're going to make (?) strong.\"] | Video Description: Camera zooms into closeup on bill bissett performing a piece and keeping rhythm with a maraca. bissett wears a black and white patterned vest over a blue tie-dye shirt with a white graphic on the front, large square plastic-framed glasses, and shoulder-length light brown hair with a receding hairline. Camera zooms in and out between closeup and medium closeup on bissett and his maraca. Lee Gotham briefly passes through camera view.\n\nbill bissett \n00:06:39\n[Finishes Unnamed Poem 1. Audience applause. bill bissett addresses audience.] | Video Description: bill bissett stops the rhythm and brings the maraca to his lips. Camera zooms out into a long shot as bissett puts maraca in his back pocket and picks up a binder with multiple documents inside. Audience members applaud. bissett addresses audience.\n\nbill bissett \n00:06:58\n[Reads “n e c k s” (from Th last photo uv th human soul, Talonbooks, 1993). Audience laughter throughout.] | Video Description: Camera zooms in and out between long shot, medium long shot, and closeup on bill bissett reading poem from lifted binder. \n\nbill bissett\n00:11:07\n[Finishes reading “n e c k s”. Audience applause. bill bissett introduces Sharon H. Nelson. Audience laughter and applause.] Video Description: bill bissett closes binder and rubs hand across forehead. Camera pans across the room, capturing a full venue of applauding audience members. Camera zooms into closeup on bissett addressing audience. bill bissett begins walking off stage via stage left. \n\nSharon H. Nelson\n00:11:48\n[Ambient sounds (voices).] | Video Description: Nelson stands up from audience and places hand on bissett’s shoulder before moving by him. Nelson speaks to an audience member out-of-frame (bissett?) before walking to the microphone stand on stage.\n\nSharon H. Nelson\n00:11:59\n[Addresses audience. Interacts with bill bissett. Audience laughter. Addresses audience, introducing Unnamed Poem 1 as a response to bissett's \"(ken and heath made for life?).\" Audience laughter.] | Video Description: Sharon H. Nelson speaks into the microphone, which is set significantly higher on the stand than their height. Nelson wears a green and orange patterned dress, long dark hair, and a necklace. Nelson addresses bill bissett (off-screen). Nelson addresses audience. An unseen audience member adjusts microphone stand to Nelson's height. Nelson spits out gum and looks for place to put chewed wad. An unseen audience member stretches out palm in front of Nelson. Nelson addresses audience before glancing down at the pages they hold.\n\nSharon H. Nelson\n00:13:28\n[Reads poem beginning with the line \"I hear the geese before I see them.\" Audience laughter throughout.] | Video Description: Camera zooms in and out on Sharon H. Nelson reading from pages. Nelson breaks from reading to address audience before returning to reading.\n\nSharon H. Nelson and bill bissett\n00:17:09\n[Finishes Unnamed Poem 1. Audience applause. bill bissett addresses audience. Sharon H. Nelson interacts with bill bissett. Audience laughter.] | Video Description: Sharon H. Nelson puts down sheets of paper on the floor and walks off via stage left. Camera zooms out to long shot, capturing applauding audience members. bill bissett walks up to microphone stand via stage left. bissett addresses audience and adjusts microphone stand height. Camera pans right. Nelson addresses bissett. Audience members laugh. Lee Gotham is at one of the large window panes, adjusting a fixture. Camera pans left, back toward bissett on stage. Audience members briefly pass through camera view. bissett adjusts glasses, opens binder, and flips through pages.\n\nbill bissett\n00:18:00\n[Reads Unnamed Poem 2 beginning with the line \"Vapours, don't blame it on the dog.\"] | Video Description: Medium shot of bissett reading a poem from a lifted binder\n\nbill bissett\n00:20:51 \n[Finishes Unnamed Poem 2. Audience applause. bill bissett thanks audience.] | Video Description: bill bissett flips page and addresses audience.\n\nbill bissett\n00:21:01\n[Reads “unmatching phenomena” (from Inkorrect Thots, Talonbooks, 1992). Audience laughter throughout.] | Video Description: billl bissett reads from binder. Audience members briefly pass through camera view. \n\nbill bissett\n00:23:06\n[Finishes “unmatching phenomena”. Audience applause. bill bissett thanks audience. Audience laughter. Begins poem before breaking off to address audience. Audience laughter.] | Video Description: bill bissett lowers binder and glances down, flipping through it. bill bissett lifts binder again and addresses audience. bissett smiles at audience laughter and addresses audience, lifting hand.\n\nbill bissett\n00:23:21\n[Resumes reading “last nite I had a nitemare abt free trade” (from Inkorrect Thots). Audience laughter throughout.] | Video Description: bill bissett resumes reading from binder.\n\nbill bissett\n00:25:09\n[Finishes “last nite I had a nitemare abt free trade”. Audience applause. bill bissett thanks audience.] | Video Description: Camera zooms in and out as bill bissett lowers binder and flips through its pages. bissett addresses audience.\n\nbill bissett\n00:25:22\n[Begins reading Unnamed Poem 3 beginning with the line \"Who wrote the script though? Don't you always wonder that?\" before breaking off to addresses audience. Audience laughter. Resumes reading poem before addressing audience and interacting with Unknown_Audience_Member. Audience laughter. bill bissett interacts with another Unknown_Audience_Member. Audience laughter. Resumes reading poem. Audience laughter and applause throughout.] | Video Description: bill bissett begins reading from binder before addressing audience, raising hand. bissett resumes reading before addressing audience again. An unseen audience member addresses bissett and they interact. bissett interacts with another unseen audience member. bissett resumes reading from binder.\n\nbill bissett\n00:27:44\n[Finishes Unnamed Poem 3. Audience applause. bill bissett thanks audience. Unknown_Audience_Member and bissett interact.] | Video Description: Camera zooms out to long shot as bill bissett lowers binder and flips through pages. Camera pans across audience members applauding. bill bissett addresses audience. bissett interacts with an unseen audience member.\n\nbill bissett\n00:28:06\n[Reads “reflex blu” (from What We Have, Talonbooks, 1988, https://worldcat.org/en/title/18641644).] | Video Description: Camera zooms in and out between closeup and medium closeup on bill bissett reading from binder. \n\nbill bissett\n00:30:38\n[Finishes “reflex blu”. Audience applause. Introduces Sharon H. Nelson. Audience applause.] | Video Description: bill bissett lowers binder and adjusts glasses, looking out at audience. bill bissett addresses audience. bill bissett walks toward Sharon H. Nelson stage-left and they shake hands and exchange a kiss. Nelson walks toward microphone stand. bissett takes seat adjacent to stage left.]\n\nSharon H. Nelson\n00:31:16 \n[Addresses audience. Addresses Unknown_Audience_Member. Addresses audience. Introduces \"Form and Structure\" (from Grasping Men's Metaphors, Muses' Co., 1993) mentioning Dorothy Parker. Audience laughter.] | Video Description: Camera zooms into a closeup on Sharon H. Nelson tilting microphone downward and addressing audience. An unknown audience member walks into the frame, kneeling to adjust microphone stand to Nelson's height. Nelson addresses unknown audience member.\n\nSharon H. Nelson\n00:32:29\n[Reads “Form and Structure”. Audience laughter throughout.] | Video Description: Sharon H. Nelson reads to the audience, with gestures to accentuate the poem’s humour.\n\nSharon H. Nelson\n00:33:04\n[Finishes “Form and Structure”. Audience applause. Introduces “On the Success of a Middle-Aged Poet”. Audience laughter.]  | Video Description: Sharon H. Nelson smiles at the audience as camera zooms out into a medium long shot. Nelson flips through the book in their hands. Nelson addresses audience.\n\nSharon H. Nelson\n00:33:39\n[Reads “On the Success of a Middle-Aged Poet”.] | Video Description: Camera zooms into a closeup on Sharon H. Nelson reading from book.\n\nSharon H. Nelson\n00:34:17\n[Audience laughter. Audience applause. Sharon H. Nelson introduces Unnamed Poem 2 in the style of nursery rhymes, and mentioning playing show-and-tell in school. Sharon H. Nelson begins to read Unnamed Poem 2 beginning with the line \"When we were little children and playing show-and-tell,\" breaking off to address audience. Audience members respond.] | Video Description: Sharon H. Nelson nods.  Addresses audience. Looks down to read, before glancing up and address audience.\n\nSharon H. Nelson\n00:34:49\n[Resumes reading Unnamed Poem 2. Audience laughter throughout. Addresses audience member resuming reading poem.] | Video Description: Sharon H. Nelson glances down and reads from book. Glances up to address audience before resuming reading.\n\nSharon H. Nelson\n00:36:17\n[Pauses. Audience applause.] | Video Description: Sharon H. Nelson smiles, raises a finger, and addresses audience (inaudible). \n\nSharon H. Nelson\n00:36:25\n[Resumes Unnamed Poem 3. Audience laughter throughout.] | Video Description: Sharon H. Nelson resumes reading poem.\n\nSharon H. Nelson\n00:37:01\n[Finishes Unnamed Poem 3. Audience laughter and applause. Introduces bill bissett.] | Video Description: Sharon H. Nelson puts down book and smiles at audience. Gestures toward and addresses offscreen audience member (bill bissett?). Camera zooms out into medium long shot as Nelson exits via stage left. Backs of audience members' heads. Nelson and bissett interact off-screen. bissett approaches microphone via stage left.\n\nbill bissett\n00:37:28\n[Ambient sounds (voices, movement).] | Video Description: bill bissett adjusts microphone stand height. bissett flips and sorts through pages, putting one briefly in his mouth. An unknown audience member briefly passes through camera view. bissett selects a page, places something down, and turns back toward the microphone.\n\nbill bissett \n00:38:27\n[Performs “evreewun needs a gud fuck n th rest is bullshit jack sd” (from Inkorrect Thots). Audience laughter throughout.] | Video Description: Camera zooms out and in between extreme closeup and medium long shot on bill bissett performs and vocalizes into microphone. bissett holds up and references pages throughout the performance, occasionally flipping. \n\nbill bissett \n00:45:11\n[Finishes “evreewun needs a gud fuck n th rest is bullshit jack sd”. Audience applause. Thanks audience. Addresses audience, talking about quinine, TV detectives, and murder mysteries. Audience laughter throughout.] | Video Description: bill bissett goes silent and slowly lowers outstretched arms. Camera zooms out to long shot of applauding audience members in front of the stage, with one unknown audience member in an orange sweater moving through the crowd. Lee Gotham approaches the stage via stage left and interacts with bissett before returning to his seat. bissett picks up binder and flips through pages. Camera zooms in as bissett addresses audience. bissett drinks from a glass, puts it on the floor, and flips through binder.\n\nbill bissett \n00:46:32\n[Reads Unnamed Poem 4 beginning with the line \"Mr. and Mrs. Ridge of Venus Land\". Audience laughter throughout.] | Video Description: bill bissett reads from binder.\n\nbill bissett \n00:47:45\n[Laughs. Audience laughter.] | Video Description: bill bissett laugh before looking back down at binder.\n\nbill bissett \n00:47:51\n[Resumes reading Unnamed Poem 4. Audience laughter throughout.] | Video Description: Camera zooms into closeup on bill bissett reading from binder.\n\nbill bissett \n00:49:23\n[Finishes Unnamed Poem 4. Audience laughter and applause. Introduces Sharon H. Nelson.] | Video Description: bill bissett lowers and closes binder. Gestures to offscreen audience member (Sharon H. Nelson). bissett addresses audience and applauds along with them. bissett begins exiting via stage left. bissett and Nelson embrace and address one another as Nelson walks toward microphone stand.\n\nSharon H. Nelson\n00:49:44\n[Addresses audience. Addresses bill bissett.] | Video Description: Sharon H. Nelson addresses audience and looks over to bill bissett to address him. An unknown audience member briefly obscures camera view. \n\nSharon H. Nelson\n00:46:49\n[Ambient sounds (voices, movement).] | Sharon H. Nelson flips through pages, and an unknown audience member adjusts the microphone stand to Nelson’s height. Nelson addresses audience member adjusting microphone stand and thanks them. Camera zooms into a closeup on Nelson.\n\nSharon H. Nelson\n00:50:29\n[Addresses audience, discussing bissett’s artwork. Audience laughter. Introduces “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991).”] | Video Description: Sharon H. Nelson addresses audience.\n\nSharon H. Nelson\n00:52:15\n[Reads “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991)”.] | Video Description: Sharon H. Nelson reads from pages.\n\nSharon H. Nelson\n00:56:32\n[Finishes “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991)”. Audience applause. Sharon H. Nelson addresses audience. Introduces “The Best Minds of My Generation” (from This Flesh These Words, Ekstasis Editions, 2002), mentioning the piece is dedicated to bill bissett and to George (Predelli?), a former Catholic priest. Audience laughter. Sharon H. Nelson addresses audience.] | Video Description: Camera zooms out into long shot as Sharon H. Nelson gathers pages and nods toward audience. Camera pans across applauding audience members. Nelson addresses audience and flips through pages.\n\nSharon H. Nelson\n00:57:49\n[Coughs. Introduces and reads “The Best Minds of My Generation”.] | Video Description: Sharon H. Nelson coughs into fist. An audience member briefly obscures view of stage. Nelson reads from pages. \n\nSharon H. Nelson\n01:02:18\n[Thanks audience. Audience applause.] | Video Description: Sharon H. Nelson addresses audience. Sharon H. Nelson picks pages up from floor and exits stage via stage left. Camera pans across applauding audience members. Sharon H. Nelson sits in audience as bill bissett returns to the microphone stand on stage. bill bissett adjusts microphone stand height. \n\nbill bissett \n01:02:50\n[Addresses audience. Audience applause.] | Video Description: bill bissett addresses audience. bill bissett raises glass to offscreen audience member (Sharon H. Nelson?) and sips from it. \n\nbill bissett\n01:03:04\n[Ambient sounds (voices, movement).] | Video Description: Camera zooms out into medium long shot as bill bissett adjusts glasses and flips through pages. Lee Gotham passes through camera view, glancing right into the lens. \n\nbill bissett \n01:03:24\n[Reads “why dew we feer change feer uv th unknown” (from Th Influenza uv Logik, Talonbooks, 1995).] | Video Description: bill bissett reads from binder. Camera zooms in and out between closeup on bissett and long shot of bissett on stage, panning across the audience members listening to the reading and smoking. \n\nbill bissett\n01:08:11\n[Finishes \"why dew we feer change feer uv th unknown.\" Audience applause. Thanks audience.] | Video Description: bill bissett briefly closes binder before opening it again. \n\nAudience\n01:08:23\n[Ambient sounds (voices).] | Video Description: Camera begins to zoom out to a long shot revealing applauding audience members. bissett turns to an unknown audience member upstage left and interacts with them. The unknown audience member holds bissett's binder as bissett searches for a page inside it. Camera pans across audience members sitting adjacent to stage left.\n\nbill bissett\n01:08:34\n[Performs Unnamed Poem 5 beginning with the line \"Jennifer Rawlins.\"] | Video Description: bill bissett performs and vocalizes into microphone, holding sheet of paper.\n\nbill bissett\n01:11:34\n[Finishes Unnamed Poem 5. Audience applause. Thanks audience. Thanks Sharon H. Nelson. Addresses audience.] | Video Description: Camera pans over applauding audience members throughout the room. bill bissett addresses audience. Lee Gotham moves through crowd and approaches stage. bissett is given his binder by the unknown audience member holding it. Gotham and bissett hug. bissett addresses audience before exiting stage left as Gotham approaches the microphone stand.\n\nLee Gotham\n01:12:16\nWow, I think we need—Woo! Just a little time to cool down now after that. Geez, you know, I can’t, I can’t say how happy I am to, you know, be a part of something that involves not only a generous helping of spectacle but, you know, a whole lotta love, and just generally rejuvenating experience. I think what I’d like to do is, like I said, take a little break. Any of the open-mikers who’ve hung out and are still up for it are more than welcome to have their day in the rain in a moment or two. I can’t encourage people enough, as well, to come over to the corner at some point if you’re going hang out for a bit. We’ve got loads of books, both Sharon’s, bill’s, and some small press offerings of various natures. You know, when I first bill, I was doing my degree at Concordia. I went down to the stacks in what was at that time the Norris Library. Do you know there are 41 titles of bill’s in that library? Several of Sharon’s as well. But 41—you’re not going to find a lot of them in the bookstores anymore, but bill is part of a very, very vital scene, going back a good twenty odd years. [Sharon H. Nelson interacts (“Pushing thirty!”)] Pushing thirty! And they’re all still in the stacks, you know? You go down to what’s now the Webster Library, or over to the Redpath, or any other incredible institution of those varieties, you can check the stuff out because I tell you, a whole lot of innovation went into the years between then and now. Okay, so—enjoy, hang out. I should mention the coming weeks. Second in the series, Wired Words—spoken word documents prepared by Corey Frost, Colin Christie, and ga Press, that’s featuring Fortner Anderson and Neil Wiernik next week, same time, same place. I’d like to send a thought out to my future performer for the week after, Ian Stephens, is not very well and I think with all the love in the air here this evening maybe we can all share a thought with Ian. And yeah, hang out, please, as long as you’d like, and we’ll get right to a little impromptu reading in a moment. Thanks. [Audience applause].  | Video Description: Lee Gotham addresses audience while adjust microphone stand height. Gotham addresses audience and at one point addresses Sharon H. Nelson (off-screen) before returning his focus to the audience. Gotham begins walking off off via stage right.\n\nAudience\n01:15:11\n[Ambient sounds (voices, movement).] | Video Description: Camera cuts to unknown audience members flipping through copies of bill bissett’s books. Camera pans downward to a table full of glasses and a stack of books. In the foreground, an unknown audience member (face out of frame) holds a stack of pages with poems on them. Camera zooms into the stack of books that reads “bill bissett” and “Talonbooks” on the spine. Camera pans up and zooms into audience members holding bissett’s book open in their hands as they read. Camera pans across tables full of audience members sitting, smoking, drinking, and chatting at tables.\n\nLee Gotham\n01:16:10 \n[Addresses audience.].| Video Description: Camera zooms into audience members sitting at table, in chairs, and at the bar, some of who turn toward the stage (off-screen) at the sound of Lee Gotham’s voice.\n\nUnknown_Reader1\n01:16:29\n[Cut to Unknown_Reader 1 reading a poem including the line \"Warms my heart, always one step below.\"] | Video Description: Sudden cut. Camera quickly zooms in from long shot to close up on Unknown_Reader1 reading from pages. Unknown_Reader1 wears a maroon sweater and curly chin-length brown hair. An audience member briefly passes through camera view.\n\nUnknown_Reader1\n01:17:22\n[Finishes poem. Audience applause. Introduces \"Token Golden Showpiece\".] | Video Description: Unknown_Reader1 lowers pages to flip through them. An audience member partially obstructs camera view when sitting down. Unknown_Reader1 addresses audience.\n\nUnknown_Reader1\n01:17:33\n[Reads “Token Golden Showpiece”.] | Video Description: Unknown_Reader1 reads from pages. \n\nUnknown_Reader1\n01:19:14\n[Finishes “Token Golden Showpiece”. Audience applause.] | Video Description: Unknown_Reader1 glances up and begins walking away from microphone. Unknown_Reader1 smiles at the audience applause. They exit via stage left. \n\nUnknown_Reader2\n01:19:19\n[Thanks audience. Addresses audience. Audience laughter. Introduces \"The Prisoner's Song\".] | Video Description: Unknown_Reader2 fishes pieces of paper out of the front pocket of their shirt. Unknown_Reader2 wears a black and grey flannel shirt atop a graphic t-shirt, and a brown ponytail. Unknown_Reader2 addresses audience.\n\nUnknown_Reader2\n01:19:52\n[Reads “The Prisoner’s Song”.] | Video Description: Unknown_Reader2 reads from piece of paper.\n\nUnknown_Reader2\n01:23:10\n[Finishes “The Prisoner’s Song”. Audience applause.] | Video Description: Unknown_Reader2 exits via stage right. Camera zooms out to reveal Lee Gotham, clapping and rising from his seat to go to microphone. Lee Gotham addresses audience. \n\nLee Gotham\n01:23:22\n[Addresses audience member (Scott Duncan). Introduces Scott Duncan. Audience applause. Promotes \"Pawn to Infinity\" (magazine). Introduces Scott Duncan. Audience applause.] | Video Description: Lee Gotham adjusts microphone and addresses audience member. Camera zooms out and pans to the left, toward the back of the venue. Audience members clap and walk through the back of the venue. Camera pans slowly right, toward the stage. Audience members listen and chat at their tables.\n\nScott Duncan\n01:24:16\n[Addresses audience.] | Video Description: Scott Duncan (short dark hair, black t-shirt with white graphic, black flatcap) approaches microphone via stage left. Scott Duncan addresses audience.\n\nScott Duncan \n01:24:29\n[Begins performing piece, repeatedly spelling out \"P-O-M.\" Audience laughter. Unknown audience member interacts with Duncan. Resumes performing piece. Audience laughter throughout.] | Video Description: Camera zooms into closeup on Scott Duncan as he recites poem from memory. Scott Duncan pauses briefly and looks over toward off-screen audience member who interacts with him. Duncan resumes performing. Then Duncan lifts shirt to reveal and rub his abdomen marked with the same letters that he spells out in the poem, \"P O M\". Duncan resumes performing. Lee Gotham passes briefly through camera view. Duncan lifts shirt again, which he does throughout the performance.\n\nScott Duncan\n01:27:26\n[Finishes piece. Audience applause.] | Video Description: Scott Duncan smiles at audience and exits stage via stage left. Lee Gotham rises from seat and approaches microphone. Camera pans toward the left, following Scott Duncan moving to his seat and sitting down.\n\nLee Gotham\n01:27:35\n[Addresses audience. Addresses Scott Duncan. Scott Duncan interacts with Lee Gotham. Promotes Fluffy Pagan Echoes performance series. Introduces Phil. Audience applause.] | Video Description: Camera pans back toward stage where Lee Gotham speaks into the microphone. Gotham addresses Scott Duncan before addressing audience. Camera pans toward the left and zooms into Phil, the next open mic performer, rising from their seat.\n\nPhil\n01:28:10\n[Ambient sounds (voices, movement).]  | Video Description: Phil takes guitar out of case at the back of the venue as tables of audience members chat and drink. Phil moves to the stage and sets down a sheet of paper on a music stand. Phil puts guitar strap over shoulder and adjusts microphone stand.\n\nPhil\n01:28:55\n[Addresses audience. Audience laughter. Unknown audience member addresses Phil, and they interact. Audience laughter.] | Video Description: Phil addresses audience. Phil wears  a white long-sleeved shirt and a shaved head. Phil interacts with an audience member (offscreen). Phil rests slightly back on a ledge on stage and looks down at the piece of paper.\n\nPhil\n01:29:40\n[Performs composition beginning with the line \"And all the while.\" Audience laughter throughout. Bistro 4 landline rings.] | Video Description: Phil performs a composition, picking guitar strings with one hand while glancing occasionally at a piece of paper in the other hand. Passersby look into the venue through the large-paned windows.\n\nPhil\n01:32:25\n[Finishes composition. Audience applause.] | Video Description: Phil stands and takes guitar strap off of shoulder. Phil leaves the stage via stage right. Camera pans to follow Phil walking toward the back of the venue to return to seat. \n\nLee Gotham\n01:32:38\n[Announces Halina Berger. Audience applause.] | Video Description: Lee Gotham calls out for Halina Berger via the microphone. Berger confirms attendance (offscreen) and Lee Gotham announces their set. Lee Gotham addresses an audience member (offscreen) who sits adjacent to stage left, before sitting. Berger (short brown hair, red blouse) enters the stage via stage right.\n\nHalina Berger\n01:32:55\n[Addresses audience. Reads poem beginning with the line \"If I could be at peace with everybody.\"] | Video Description: Halina Berger addresses audience. Berger wears a red blouse and short brown hair. An audience member briefly obstructs camera view. Berger reads from a piece of paper in hand.\n\nHalina Berger\n01:34:30\n[Finishes poem. Audience applause.] | Video Description: Halina Berger looks up from piece of paper and nods at audience. Berger exits stage via stage right. Lee Gotham, clapping, rises from seat and approaches microphone.\n\nLee Gotham\n01:34:39\n[Thanks Halina Berger. Addresses Justin McGrail. Announces Justin McGrail. Audience applause.] | Video Description: Lee Gotham addresses Halina Berger. Lee Gotham steps toward stage right, looking for someone toward the back of the venue. Gotham addresses Justin McGrail and then addresses audience. Gotham returns to seat. McGrail (short brown hair, button-down shirt with rolled-up sleeves, suspenders, grey trousers, ear piercing) enters stage via stage right. McGrail cups hands over mouth before turning toward microphone.\n\nJustin McGrail\n01:34:59\n[Performs poem beginning with the line \"The trick is, was, used to be seem to be seen as structurally strict\".] | Video Description: Justin McGrail performs poem from memory, with gestures to accentuate language. McGrail wears a white button-down shirt with sleeves rolled-up to elbows, green pants with suspenders, and short dark brown hair.\n\nJustin McGrail\n01:36:44\n[Finishes poem. Audience applause.] | Video Description: Justin McGrail walks off via stage right. Lee Gotham enters frame, clapping, and stands in front of microphone.\n\nLee Gotham\n01:36:57\n[Addresses audience. Promotes Fluffy Pagan Echoes.] | Video Description: Lee Gotham addresses audience.\n\n[Bistro 4 stage]\n01:37:03\nVideo Description: Sudden cut. The tilted camera captures the yellow curtains lining the windows behind the stage.\n\nUnknown_Reader3\n01:37:06\n[Performs poem beginning with the line \"X-Factor (?) and sub-atomic fumes.\"] | Video Description: Camera zooms out and resets its angle to capture the stage. Camera zooms in from long shot to closeup on Unknown_Reader3 reading from a piece of paper. Unknown_Reader3 wears a white long-sleeved shirt with sleeves rolled-up to elbows and short brown hair.\n\nUnknown_Reader3\n01:39:04\n[Finishes poem. Audience applause.] | Video Description: Unknown_Reader3 lowers piece of paper and exits via stage right. Lee Gotham enters frame applauding and adjusts microphone.\n\nLee Gotham\n01:39:12\n[Addresses audience. Announces Paul. Audience applause.] | Video Description: Lee Gotham addresses audience. Camera tilts upward toward windows.\n\nPaul\n01:39:23\n[Addresses audience. Audience laughter. Unknown audience member interacts with Paul. Audience laughter. Paul thanks unknown audience member.] | Video Description: Camera resets angle back toward stage. Paul addresses audience. Paul wears a grey sweater, fleece vest, buzzed dark hair, and a goatee. Paul laughs at unknown audience member's (offscreen) comment. Paul looks down at pages and then addresses unknown audience member.\n\nPaul\n01:39:44\n[Reads “Tell Us”. Briefly interjects to announce title, before resuming reading.] | Video Description: Paul reads poem pieces of paper. Paul briefly addresses audience before resuming reading, occasionally turning pages.\n\nPaul\n01:41:35\n[Finishes “Tell Us”. Addresses audience. Audience laughter and applause. Introduces “Egg”. Audience laughter.] | Video Description: Paul addresses audience and smiles.\n\nPaul\n01:41:52\n[Reads “Egg”.] | Video Description: Paul reads poem from pages, occasionally flipping pages.\n\nPaul\n01:43:40\n[Ambient sounds (movement, voices).] | Video Description: Paul trails off and blinks at pages. Paul rocks back and forth, trying to hold onto microphone stand, and stumbles out of frame. Camera pans slightly to the right. Lee Gotham’s shoulder is seen, as well as the slight view his head turning to look toward the stage. Gotham rushes toward stage. Camera zooms out, revealing Gotham and multiple unknown audience members assisting Paul stand up. Paul blinks and touches chest.\n\nPaul\n01:43:59\n[Addresses audience. Audience laughter and applause. Addresses audience. Audience laughter and applause.] | Video Description: Paul addresses audience. Unknown audience members assisting tend to Paul as Paul picks up spilled pages from the floor. Paul is handed a glass and they drink. Paul speaks into the microphone and holds up pages. Gotham pats Paul on the back as assisting audience members return to their seats. Gotham claps as he returns to his seat. Paul is handed additional pages.\n\nPaul\n01:44:28\n[Resumes reading “Egg”.] | Video Description: Paul reads from pages.\n\nPaul\n01:45:00\n[Finishes “Egg”. Audience applause.] | Video Description: Paul exits via stage left and returns to their seat. Lee Gotham takes to the microphone. \n\nLee Gotham\n01:45:13\n[Addresses Paul. Audience laughter. Thanks Paul. Calls next performer.] | Video Description: Lee Gotham addresses Paul. Gotham calls out for and addresses next performer. The next performer moves through tables toward the stage. Gotham pats them on the back as they pass each other. \n\n“Bro”\n01:45:51\n[Addresses audience. Audience laughter. Promotes gig at Bar L'Exterieur. Introduces themself as Bro. Introduces \"The Way of Zen\" (?).] | Video Description: Bro addresses audience and flips through pages in hand. Bro wears a black t-shirt, glasses, dark shoulder-length hair with male pattern baldness, and a dark thick beard beginning to go white.  \n“Bro”\n01:46:33\n[Reads “The Way of Zen” (?). Audience laughter.] | Video Description: “Bro” reads poem from pages.\n\n“Bro”\n01:47:38\n[Finishes “The Way of Zen” (?). Audience laughter and applause. Addresses audience. Audience laughter. Introduces Unnamed Poem 1 (“The story of my life can be summed up very briefly…”).] | Video Description: “Bro” sheafs through pages and tilts microphone. Armstrong addresses audience. \n\n“Bro”\n01:47:55\n[Reads poem beginning with the line \"The story of my life can be summed up very briefly.\"] | Video Description: Bro reads from pages.\n\n“Bro”\n01:49:03\n[Finishes poem. Audience applause. Addresses audience. Introduces another unnamed poet’s work, “For Henry”. ] | Video Description: “Bro” lowers pages to sheaf through them, placing toothpick (?) in their mouth. Armstrong addresses audience. \n\n“Bro”\n01:49:37\n[Reads another unnamed poet’s work, “For Henry”.] | Video Description: “Bro” reads from pages.\n\n“Bro”\n01:51:49\n[Finishes “For Henry”. Audience applause.] | Video Description: “Bro” lowers pages and exits via stage left. Lee Gotham rises from seat and approaches microphone stand.\n\nLee Gotham\n01:51:55\n[Thanks, Bro. Addresses audience. Announces end of event. Promotes following week’s event (Fortner Anderson and Neil Wiernik, and Wired on Word cassette launch) and the upcoming Pawn’s magazine launch. Audience applause.] | Video Description: Lee Gotham addresses audience. Camera pans toward the left across venue, with audience members applauding, rising from their seats, drinking, and putting on coats.\n\nEND\n01:53:04\n[End of recording.]"],"score":0.51030535},{"id":"1288","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":[" Al Purdy at Sir George Williams University, The Poetry Series, 13 March 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"AL PURDY Recorded March 13, 1970 3.75 ips, 1/2 tracl on 1 mil. tape\" written on sticker on the back of the tape's box. \"AL PURDY I006/SR37.1\" written on sticker on the spine of the tape's box. \n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 4"],"item_identifiers":["[]"],"creator_names":["Purdy, Alfred Wellington"],"creator_names_search":["Purdy, Alfred Wellington"],"creators":["[{\"url\":\"http://viaf.org/viaf/7398775\",\"name\":\"Purdy, Alfred Wellington\",\"dates\":\"1918-2000\",\"notes\":\"Canadian poet Al Purdy was born on December 30, 1918, in Wooler, Ontario of United Empire Loyalists. Purdy attended Dufferin Public school in Trenton, Albert Collegiate in Belleville and Trenton Collegiate Institute, writing poems along the way. During the Second World War, Purdy enrolled in the RCAF, serving most at the remote base Woodcock, on the Skeena River in northern British Columbia. Purdy married Eurithe Mary Jane Parkurst in 1941, and they had a son, Alfred. His first collection of poems was The Enchanted Echo (Clarke & Stuart Company, 1944), but it was his second collection, Pressed on Sand (Ryerson Press, 1955) that showcased Purdy’s literary accomplishment. Despite this, he worked odd jobs across the country, and published poems and short stories in magazines like North and The Beaver. Purdy received his first Canada Council grant in 1960, and published Poems for all the Annettes (Contact Press, 1962) and The Cariboo horses (McClelland & Stewart, 1965) which won a Governor General’s Award. His next publication, North of summer: poems from Baffin Island (McClelland & Stewart, 1967) came out of a second Canada Council Grant, which he spent in the Baffin Islands, and was followed by Wild Grape Wine (McClelland & Stewart, 1968). That year, Purdy also became an editor for the Tamarack Review, an anthology, The New Romans, and Fifteen Winds. Purdy has published dozens more collections of poetry along with writing in other genres, including In search of Owen Roblin (McClelland & Stewart, 1974), autobiographical essays, No Other Country (McClelland & Stewart, 1977), Being alive: poems 1958-78 (McClelland & Stewart, 1978), a memoir, Morning and it’s summer (1983), a collection of letters, The Bukowski/Purdy letters 1964-1984 (Quadrant Editions, 1983), his only novel A Splinter in the Heart (McClelland & Stewart, 1990), a selection of prose recollections, Reaching for the Beaufort Sea: an autobiography (Harbour Publishing,1993), and Starting from Ameliasburgh: the collected prose of Al Purdy (Harbour Publishing, 1995). Purdy’s The Collected Poems of Al Purdy, 1956-1986 (McClelland & Stewart, 1986) won his second Governor General’s Award, and he was appointed to the Order of Canada in 1982 and the Order of Ontario in 1987. Dividing most of his time between North Saanich, B.C. and Roblin Lake, Ontario, Purdy supported himself through his poetry, guest lecturing, readings and editing. Al Purdy died in North Saanich, on April 21, 2000. His last collection of poetry, Beyond Remembering: The Collected Poems of Al Purdy (Harbour Publishing, 2000) was released posthumously. The Voice of the Land Award was created to honour Purdy’s contributions to Canadian poetry.\",\"nation\":[],\"role\":[\"Performer\",\"Author\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 3 13\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the back of the tape's box. Date also specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\\n\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"Location specified in written announcement \\\"Poetry Four: Sir George Williams Poetry Series\\\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Al Purdy reads from a wide variety of his books, including Selected Poems (McClelland and Stewart, 1972), Love in a Burning Building (McClelland and Stewart, 1970), The Cariboo Horses (McClelland and Stewart, 1965), Poems for all the Annettes (Contact Press, 1962), and North of Summer (McClelland and Stewart, 1967)."],"contents":["al_purdy_i006-11-037-1.mp3\n\nGeorge Bowering\n00:00:00\nAs you know, the reader tonight is Al Purdy [https://www.wikidata.org/wiki/Q4704621], a man who's been described as, by Doug Featherling, as the most Canadian of all possible poets. And who has, as they say, paid his dues, and in that time, won all the prizes, like the President's Medal [https://www.wikidata.org/wiki/Q39089691], and the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and countless numbers of Canada Council [https://www.wikidata.org/wiki/Q2993809] Grants and all those other things that come to you. [Laughter]. Currently, I don't know if whether or not I'm supposed to mention this or not, but currently making an excursion amongst the academics at...in other words, straightening people out at Simon Fraser University [https://www.wikidata.org/wiki/Q201603]. And a very welcome addition to our series. Al Purdy. \n \nUnknown\n00:00:55\n[Cut or edit in tape. Unknown amount of time elapsed]. \n \nAl Purdy\n00:00:56\nWhen I started to write poems about sixty-eight years ago, Bliss Carman [https://www.wikidata.org/wiki/Q3068116] was the only one writing. So I imitated Bliss Carman, and this first poem is a sort of imitation of Bliss Carman. [Audience laughter]. And there are hardly any new poems in there because it takes me two years to revise them for two years and then conclude them in a reading, and then besides which as George [https://www.wikidata.org/wiki/Q1239280] said, I've joined the academics because all the American members of the department at Simon Fraser have guilty consciences so they wanted a Canadian on staff [audience laughter].  \"About being a member of our armed forces\". This is, this is thirty years after I started to write poems. Remember--Oh, I should say, there are two, three phrases in this that would not ordinarily be understood by you people. \"Zombies,\" who were conscripts in the last war, and well, the CWACs were women members, Canadian Women's Army Corp [https://www.wikidata.org/wiki/Q5030688]. And during the early part of the last war, there were no rifles. So they used wooden rifles to drill with. \n \nAl Purdy\n00:02:09\nReads \"About Being a Member of Our Armed Forces\" [from Selected Poems; audience laughter throughout].\n \nAl Purdy\n00:03:29\nAs I said, I've become an academic lately, and one of the students in this class has asked for all my cigar tubes, little metal tubes that, you know, I get cigars in. He wants to put poems in them and float them down the North Saskatchewan River [https://www.wikidata.org/wiki/Q2237] [audience laughter]. And for some reason or other, this, that became the title of this particular poem. \"Floating Down the North Saskatchewan River\". [Audience laughter].\n \nAl Purdy\n00:04:01\nReads \"Floating Down the North Saskatchewan River\" [audience laughter throughout].\n \nAl Purdy\n00:04:40\nFunny, eh? [Audience laughter]. Something called \"Jubilate\", and I'm going to leave that out of there. \"Flight 17 Eastbound\". Ah...I keep revising some of these and I'm reading now from manuscript because I revised a lot of the poems here and I can't remember which ones I revised, so if they're in manuscript I'm sure they're either revised or that there's some reason for them being there. \n \nAl Purdy\n00:05:13\nReads \"Flight 17 Eastbound\".\n \nAl Purdy\n00:06:47\nI don't know what that means but it must be profound. [Audience laughter]. I'm getting together a collection of love poems, or I have gotten a collection of love poems together. They are, I am told, fairly hard-boiled love poems. Because when Jack McClelland [https://www.wikidata.org/wiki/Q6113965], of McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322], heard about them they thought it was a good idea that Harold Town [https://www.wikidata.org/wiki/Q827127] should do some illustrations. But when they saw the poems, and of course it wasn't because they were bad poems, I'm sure, he didn't want to do the illustrations anymore, they said they were hard-boiled. As I said, they can't be bad poems. This was one of them. It's got...no, I don't think I'll read that anyway. I don't like it. However, here's another one along the same lines. [Audience laughter]. It's called \"With Words, Words\".\n \nAl Purdy\n00:07:51\nReads \"With Words, Words\" [from Love in a burning building].\n \nAl Purdy\n00:10:49\nI lived in Vancouver [https://www.wikidata.org/wiki/Q24639] for a while, and up till 1955 or 6. The first play I wrote for CBC [https://www.wikidata.org/wiki/Q461761] was accepted, and I thought I was a genius, and moved to Montreal  [https://www.wikidata.org/wiki/Q340] in order to reap the rewards of my genius. For a year in Montreal I think my...I sold a couple of adaptations to CBC. And eventually we moved to Roblin Lake [https://www.wikidata.org/wiki/Q22447801], near Ameliasburgh [https://www.wikidata.org/wiki/Q4742321] in Ontario [https://www.wikidata.org/wiki/Q1904], and built a house. And my wife having quit her job, she having decided that if I could get away without working she could too. So we sat down for a couple of years looking at each other, waiting for the other one, to see which one would break first. But this is a poem about that particular time, called \"One Rural Winter\".\n \nAl Purdy\n00:11:50\nReads \"One Rural Winter\" [from Selected Poems; audience laughter throughout].\n \nAl Purdy\n00:15:22\nI was in the Arctic [https://www.wikidata.org/wiki/Q25322] in '65, but this is a poem written long after that about the Arctic. And I suppose...certainly about the Canadian Arctic. I called it \"Arctic Romance\", but I think it should be just \"Arctic\", or something like that.\n \nAl Purdy\n00:15:46\nReads \"Arctic Romance\".\n \nAl Purdy\n00:17:13\nScrewed that up, I guess. You get tired of reading your own stuff, after a while. You forget what it sounded like the last time. This is a poem I kind of like but I keep revising it also, or have been several times in the last few years, called \"Dark Landscape\". It uses a couple of lines from an American poet who died thirty years ago called Vachel Lindsay [https://www.wikidata.org/wiki/Q1197667], whom probably nobody ever heard of. And it starts in a very prosy way, and is meant to sound that way, and then the rhythm quickens. \"Dark Landscape\".\n \nAl Purdy\n00:18:07\nReads \"Dark Landscape\".\n \nAl Purdy\n00:21:45\nIn case anybody is wondering about the particular Vachel Lindsay line, it was \"The spring comes on forever, and the Chinese nightingale\". And he also had \"Aladdin to the jinn\", except that Aladdin to the jinn, his jinn was J-I-N-N and mine was two J-I-N-N's, and one G-I-N. So that, always a little difficult to understand it without seeing it on the page. Kind of a sweet little poem, this was after we moved to Roblin Lake, and as I say, I sold a couple of plays and we bought a pile of used lumber with the proceeds and put the down payment on the lot and build this house. \n \nAl Purdy\n00:22:27\nReads \"Winter at Roblin Lake\" [from The Cariboo Horses].\n \nAl Purdy\n00:22:52\nAlso the same period, about building the house, or rather after the house was built. Trouble is, you can't, you can't smoke a cigar here, can you, something I...it always goes out. Anyway. \"Interruption\". \n \nAl Purdy\n00:23:13\nReads \"Interruption\" [from Selected Poems].\n \nAl Purdy\n00:24:49\nWhen I...when we first moved down to Ameliasburg, or to Roblin Lake, I should say, because Roblin Lake where we are is about a mile or so from Ameliasburg...I, after Montreal, and after the job I'd had in Vancouver, I suddenly had to become my own disciplinary straw boss, and it was quite difficult, and in other words, you know, I'd try to get up at a certain hour of the day and start writing. Which I could always, you know, I can always write prose, whenever I feel like it, but poems, I write them, well, I should say, I write poems whenever I feel like it, but you can, I can regimen my own prose, which I don't do much of these days. Anyway, when we moved to Roblin Lake, I wasn't physically regimented myself, so that I was waking up all hours of the day. And this is a short poem about that, but I also screwed up the poem, because I put lines at the end of, or words at the end of each line so that I don't know where the emphasis should be placed, even though I've read it dozens of times. It's called \"Late Rising at Roblin Lake\".\n \nAl Purdy\n00:25:57\nReads \"Late Rising at Roblin Lake\" [from The Cariboo Horses].\n \nAl Purdy\n00:26:47\nAnother poem about the same particular period, called \"Wilderness Gothic\". Uh...don't think there's a thing to say about this particular poem at all. \n \nAl Purdy\n00:27:03\nReads \"Wilderness Gothic\" [from Selected Poems].\n \nAl Purdy\n00:29:33\nWhen you read a bunch of poems over several years, I think you pick out the ones that you think will read the best, which is certainly what I do, because there are many of my own poems that I rarely read, or never read at all. In fact I, I never read this one. It's called \"Love Poem\".\n \nAl Purdy\n00:29:58\nReads \"Love Poem\" [from Poems for all the Annettes].\n \nAl Purdy\n00:31:40\nIn...This poem dates, the actual time of the poem dates about fifteen years ago. The poem itself was written about five years ago. At the time, a friend of mine was there also, which, other than his particular presence I might have acted a little bit differently than I did. You'll see what I mean in a, when I read the poem. Because nobody would take this chance in placing themselves in such a vulnerable position with a woman. \"Homemade Beer\".\n \nAl Purdy\n00:32:12\nReads \"Homemade Beer\" [from The Cariboo Horses].\n \nAudience\n00:33:48\nLaughter.\n \nUnknown\n00:33:51\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nAl Purdy\n00:33:52\nOne called \"The Drunk Tank\". It's...Dates back two or three years ago when, after the time when I was in the Air Force [https://www.wikidata.org/wiki/Q25456], a friend of mine got out of the Air Force much later, so we celebrated. And...it was after quite a turbulent evening with my friend in Belleville [https://www.wikidata.org/wiki/Q34227], Ontario, we decided to get a couple of bottles of liquor and go out to the country where we wouldn't be disturbed, and drink it. But the farmer phoned the cops, and we were both thrown in jail. And this particular poem is about the first part of that experience, I mean the early part of being thrown in jail, more or less. But not the end of it, it turned into a sort of fantasy that means something other than I intended. \n \nAl Purdy\n00:34:43\nReads \"The Drunk Tank\" [from The Poems of Al Purdy].\n \nAl Purdy\n00:36:51\nThis is called \"Poem for Rita\", and about a couple of years ago in Toronto [https://www.wikidata.org/wiki/Q172], there was a couple of girls staying with myself, my wife and myself, and she kept asking me to write a poem. So after a while, I wrote this.\n \nAl Purdy\n00:37:10\nReads \"Poem for Rita\".\n \nAudience\n00:37:25\nLaughter.\n \nAl Purdy\n00:37:28\nThat's all. [Audience laughter]. I think it was actually kind of unkind on my part, because I was never sure whether she understood that or not, and I didn't know whether I wanted her to understand it. [Audience laughter]. There...when we first moved to Ameliasburg, as I mentioned, I was broke as hell. And after having lived in Vancouver, I learned how to make wine of one kind or another, and there was no way to, I didn't have enough money to make beer, so there were a lot of wild grapes around there and we made, I made wild grape wine, and one time, one particular season, I had about five hundred bottles. [Audience laughter]. I attribute the effects of this wine to having made me what I am today [audience laughter], if I could figure that out. But the poem eventually came out of it, called \"The Winemaker's Beatitude\".\n \nAl Purdy\n00:38:39\nReads \"The Winemaker's Beatitude\" [from Selected Poems].\n \nAl Purdy\n00:41:16\nIn '65, I went up to Baffin Island [https://www.wikidata.org/wiki/Q81178] on some government money, public money, rode a commercial airline plane from Montreal to Frobisher Bay [https://www.wikidata.org/wiki/Q1004067], hitchhiked a ride on what I thought was a DOT plane, but was a construction plane, a construction company charter, and then at Pangnirtung [https://www.wikidata.org/wiki/Q631747], which is on the Arctic Circle, the original administrator there arranged that I go along with an Eskimo family in their canoe to some islands in Cumberland Sound [https://www.wikidata.org/wiki/Q938327]. A year and a half after I got back from the Arctic, I got a bill for a hundred and ten dollars from the construction company that I thought I'd, whose plane I thought I'd hitchhiked on. Which I haven't paid. But anyway, all of these poems, except perhaps I think one or two, were written up there, written in the Arctic, except that after I got back from the Arctic I kept revising them. So you can make up your own mind whether they're written there or not. Among the poems here, there's one called \"At the Movies\".\n \nAl Purdy\n00:42:37\nReads \"At the Movies\" [from North of Summer].\n\n Al Purdy\n00:44:55\nThe business about the caribou draining in the bilge water was one of the reasons, I suppose, I found it so extraordinary that, perhaps, that Eskimos should enjoy these shoot-em-up movies, was that they had just come a hundred miles or so after shooting caribou, bringing them back to Pang, Pangnirtung on the, on the Sound, on the...jeez, my memory's failing, I can't even remember the fjord it was. But anyway, they had just shot them and come a hundred miles back with them, and yet...and they were draining in their Peterhead boats, and yet they found these movies so exciting--I suppose I shouldn't find that so unusual, but I do. A crappy Hollywood [https://www.wikidata.org/wiki/Q34006] movie. And here's one called \"The Sculptors\".\n \nAl Purdy\n00:45:50\nReads \"The Sculptors\" [from North of Summer].\n\nAl Purdy\n00:48:17\nI think I'm going to have about time for two more, so that I'd better...I could probably go on, oh I'd better make it three more  I'll give ya...this is, the trees in the Arctic are about, are very low, and well, this is treeless country on Baffin Island, where there, where practically nothing grows except moss and that, and the like of that, but I wrote a poem about trees at the Arctic Circle, and this is it....I see I'm getting, I'm only talking about the physical things about the Arctic, and I have some poems about the people, too, which, which I should read. Anyway, \"Trees at the Arctic Circle\".\n \nAl Purdy\n00:49:05\nReads \"Trees at the Arctic Circle\" [from North of Summer].\n \nAl Purdy\n00:51:07\nI want to read at least one about, about, about people there, because I used to, when I was on these islands, [inaudible] Islands in Cumberland Sound, the Eskimo women used to come over every day and drink tea. They could not speak any English and I could speak no Eskimo, and I would feed them tea and we would sit there, myself feeling about as silly as I could, so eventually I grew a bit desperate and I would read them poems and I would sing songs or I'd do any damn thing. However, eventually there was some kind of, I think, positive liking on my part. But this poem may express it as well as anything. \"Wash Day\".\n \nAl Purdy\n00:51:54\nReads \"Wash Day\" [from North of Summer].\n \nAl Purdy\n00:54:03\nTalking about shit, there's actually a poem that has a little bit to do with it here. The Arctic dogs have some qualities that are more pronounced and magnified in Arctic dogs than in southern dogs, that is, they like to eat the stuff. So that when you go, as all, everybody must go at some time or other in their lives, possibly once a day or not, one takes an Eskimo kid along to throw stones and keep the dogs off. When I came back from the Arctic I saw an hour-long film about the George River [https://www.wikidata.org/wiki/Q966023] Eskimos, and one scene in it showed about fifty Eskimos trying to get into a tent, and the Eskimos beating them into the tent, and the next thing you showed the same dogs trying to get out of the tent and the Eskimos beating them out of the tent. And the announcer said not one single word. And then I remembered that whenever the Eskimos leave a campsite, they use it for a privy, and then send the dogs in to clean up. So, actually, this is a poem about that.  \"When I Sat Down to Play the Piano\". [Audience laughter].\n \nAl Purdy\n00:55:10\nReads \"When I Sat Down to Play the Piano\" [from North of Summer; audience laughter throughout].\n\nAl Purdy\n00:58:23\nI've got one more poem if my voice can hold out. When Robert Kennedy  [https://www.wikidata.org/wiki/Q25310] was shot...I always think about anything that I'm interested and emotionally moved by, always, at least I have in the past, till I got to Simon Fraser, think about writing a poem about it. So the same thing was happening after Kennedy was shot and died, and I was thinking about writing a poem about it, and then the Star Weekly [https://www.wikidata.org/wiki/Q17112122] phoned up and asked me to write a poem about it. So this poem eventually got written. \"A Lament for Robert Kennedy\".\n \nAl Purdy\n00:59:06\nReads \"A Lament for Robert Kennedy\".\n\nAudience\n01:04:39\nApplause.\n \nEND\n01:04:55\n"],"Note":["[{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Al Purdy published Love in a Burning Building (McClelland and Stewart). George Bowering’s study on Al Purdy came out that year, Al Purdy (Copp Clarke Co).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAl Purdy became an important figure in Canadian poetry, and was known as a “people’s poet”. He published over thirty books of poetry, but also published in dozens of other genres. Purdy was known as a generous mentor, and his work received several Governor General's Awards as well as other high Canadian honours. He lived in Vancouver, Montreal, and several locations in Ontario, and his poetry reflected Canadian landscape themes. Over the years he has been called the ‘most’ Canadian poet, the ‘first’ Canadian poet and the ‘last’ Canadian poet. In 1963, George Bowering convinced the University of British Columbia to invite Al Purdy to give a reading, where the two poets first met. Later on, Purdy was in contact with George Bowering, as he was completing a book about Purdy.\",\"type\":\"General\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.cbc.ca/archives/topic/al-purdy-an-uncommon-poet\",\"citation\":\"“Al Purdy, An Uncommon Poet”. CBC Digital Archives. Canadian Broadcasting Corporation, \\t2008.\"},{\"url\":\"https://www.worldcat.org/title/al-purdy/oclc/469555161&referer=brief_results\",\"citation\":\"“Al Purdy- The Voice of the Land”. Save Al Purdy’s Home. Harbour Publishing, 2009. \\nBowering, George. Al Purdy. Studies in Canadian Literature. Hugo McPherson and Gary Geddes (eds). Toronto: Copp Clarke Publishing Company, 1970. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Brown, Russel and George Woodcock. \\\"Purdy, Al\\\". The Oxford Companion to Canadian         Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-x2/oclc/40224711\",\"citation\":\"Geddes, Gary. “Al Purdy”. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/al-purdy-at-sgwu-1970-george-bowering\",\"citation\":\"“Poetry Four: Sir George Williams Poetry Series, Ninth Reading, Al Purdy”. Montreal, Quebec: Sir George Williams University, 1970. Found in “The Stephen Morrissey Papers, 1963 - 1998”, McGill McLennan Library, Special Collections and Rare Books, Montreal, Quebec, Canada. \"},{\"url\":\"https://www.worldcat.org/title/splinter-in-the-heart/oclc/47271421&referer=brief_results\",\"citation\":\"Purdy, Al. A Splinter in the Heart. Toronto: McClelland & Stewart, 2000.\"},{\"url\":\"https://www.worldcat.org/title/in-search-of-owen-roblin/oclc/245733376&referer=brief_results\",\"citation\":\"Purdy, Al. In Search of Owen Roblin. McClelland and Stewart, 1974. \"},{\"url\":\"https://www.worldcat.org/title/north-of-summer-poems-from-baffin-island/oclc/457913&referer=brief_results\",\"citation\":\"Purdy, Al. North of Summer. Toronto: McClelland and Stewart, 1967. \"},{\"url\":\"https://www.worldcat.org/title/poems-for-all-the-annettes/oclc/819106789&referer=brief_results\",\"citation\":\"Purdy, Al. Poems for all the Annettes. Toronto: Contact Press, 1962. \"},{\"url\":\"https://www.worldcat.org/title/selected-poems/oclc/637245&referer=brief_results\",\"citation\":\"Purdy, Al. Selected Poems. Toronto: McClelland and Stewart, 1972.\"},{\"url\":\"https://www.worldcat.org/title/cariboo-horses/oclc/869024275&referer=brief_results\",\"citation\":\"Purdy, Al. The Cariboo Horses. Toronto: McClelland and Stewart, 1965. \"},{\"url\":\"https://www.worldcat.org/title/poems-of-al-purdy/oclc/490247728&referer=brief_results\",\"citation\":\"Purdy, Al. The Poems of Al Purdy. Toronto: McClelland and Stewart, 1976. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Steele, James. \\\"Purdy, Al(fred) (Wellington)\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"}]"],"_version_":1853670548980105216,"timestamp":"2026-01-07T14:59:53.477Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_tape.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"Al Purdy Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_front.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy Tape Box - Front\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_back.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0037-1_side.jpg\",\"file_path\":\"\",\"filename\":\"I0006_11_0037-1_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Al Purdy Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/al_purdy_i006-11-037-1.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"al_purdy_i006-11-037-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:04:55\",\"precision\":\"\",\"size\":\"155.8 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"George Bowering\\n00:00:00\\nAs you know, the reader tonight is Al Purdy [https://www.wikidata.org/wiki/Q4704621], a man who's been described as, by Doug Featherling, as the most Canadian of all possible poets. And who has, as they say, paid his dues, and in that time, won all the prizes, like the President's Medal [https://www.wikidata.org/wiki/Q39089691], and the Governor General's Award [https://www.wikidata.org/wiki/Q283256], and countless numbers of Canada Council [https://www.wikidata.org/wiki/Q2993809] Grants and all those other things that come to you. [Laughter]. Currently, I don't know if whether or not I'm supposed to mention this or not, but currently making an excursion amongst the academics at...in other words, straightening people out at Simon Fraser University [https://www.wikidata.org/wiki/Q201603]. And a very welcome addition to our series. Al Purdy. \\n \\nUnknown\\n00:00:55\\n[Cut or edit in tape. Unknown amount of time elapsed]. \\n \\nAl Purdy\\n00:00:56\\nWhen I started to write poems about sixty-eight years ago, Bliss Carman [https://www.wikidata.org/wiki/Q3068116] was the only one writing. So I imitated Bliss Carman, and this first poem is a sort of imitation of Bliss Carman. [Audience laughter]. And there are hardly any new poems in there because it takes me two years to revise them for two years and then conclude them in a reading, and then besides which as George [https://www.wikidata.org/wiki/Q1239280] said, I've joined the academics because all the American members of the department at Simon Fraser have guilty consciences so they wanted a Canadian on staff [audience laughter].  \\\"About being a member of our armed forces\\\". This is, this is thirty years after I started to write poems. Remember--Oh, I should say, there are two, three phrases in this that would not ordinarily be understood by you people. \\\"Zombies,\\\" who were conscripts in the last war, and well, the CWACs were women members, Canadian Women's Army Corp [https://www.wikidata.org/wiki/Q5030688]. And during the early part of the last war, there were no rifles. So they used wooden rifles to drill with. \\n \\nAl Purdy\\n00:02:09\\nReads \\\"About Being a Member of Our Armed Forces\\\" [from Selected Poems; audience laughter throughout].\\n \\nAl Purdy\\n00:03:29\\nAs I said, I've become an academic lately, and one of the students in this class has asked for all my cigar tubes, little metal tubes that, you know, I get cigars in. He wants to put poems in them and float them down the North Saskatchewan River [https://www.wikidata.org/wiki/Q2237] [audience laughter]. And for some reason or other, this, that became the title of this particular poem. \\\"Floating Down the North Saskatchewan River\\\". [Audience laughter].\\n \\nAl Purdy\\n00:04:01\\nReads \\\"Floating Down the North Saskatchewan River\\\" [audience laughter throughout].\\n \\nAl Purdy\\n00:04:40\\nFunny, eh? [Audience laughter]. Something called \\\"Jubilate\\\", and I'm going to leave that out of there. \\\"Flight 17 Eastbound\\\". Ah...I keep revising some of these and I'm reading now from manuscript because I revised a lot of the poems here and I can't remember which ones I revised, so if they're in manuscript I'm sure they're either revised or that there's some reason for them being there. \\n \\nAl Purdy\\n00:05:13\\nReads \\\"Flight 17 Eastbound\\\".\\n \\nAl Purdy\\n00:06:47\\nI don't know what that means but it must be profound. [Audience laughter]. I'm getting together a collection of love poems, or I have gotten a collection of love poems together. They are, I am told, fairly hard-boiled love poems. Because when Jack McClelland [https://www.wikidata.org/wiki/Q6113965], of McClelland and Stewart [https://www.wikidata.org/wiki/Q6800322], heard about them they thought it was a good idea that Harold Town [https://www.wikidata.org/wiki/Q827127] should do some illustrations. But when they saw the poems, and of course it wasn't because they were bad poems, I'm sure, he didn't want to do the illustrations anymore, they said they were hard-boiled. As I said, they can't be bad poems. This was one of them. It's got...no, I don't think I'll read that anyway. I don't like it. However, here's another one along the same lines. [Audience laughter]. It's called \\\"With Words, Words\\\".\\n \\nAl Purdy\\n00:07:51\\nReads \\\"With Words, Words\\\" [from Love in a burning building].\\n \\nAl Purdy\\n00:10:49\\nI lived in Vancouver [https://www.wikidata.org/wiki/Q24639] for a while, and up till 1955 or 6. The first play I wrote for CBC [https://www.wikidata.org/wiki/Q461761] was accepted, and I thought I was a genius, and moved to Montreal  [https://www.wikidata.org/wiki/Q340] in order to reap the rewards of my genius. For a year in Montreal I think my...I sold a couple of adaptations to CBC. And eventually we moved to Roblin Lake [https://www.wikidata.org/wiki/Q22447801], near Ameliasburgh [https://www.wikidata.org/wiki/Q4742321] in Ontario [https://www.wikidata.org/wiki/Q1904], and built a house. And my wife having quit her job, she having decided that if I could get away without working she could too. So we sat down for a couple of years looking at each other, waiting for the other one, to see which one would break first. But this is a poem about that particular time, called \\\"One Rural Winter\\\".\\n \\nAl Purdy\\n00:11:50\\nReads \\\"One Rural Winter\\\" [from Selected Poems; audience laughter throughout].\\n \\nAl Purdy\\n00:15:22\\nI was in the Arctic [https://www.wikidata.org/wiki/Q25322] in '65, but this is a poem written long after that about the Arctic. And I suppose...certainly about the Canadian Arctic. I called it \\\"Arctic Romance\\\", but I think it should be just \\\"Arctic\\\", or something like that.\\n \\nAl Purdy\\n00:15:46\\nReads \\\"Arctic Romance\\\".\\n \\nAl Purdy\\n00:17:13\\nScrewed that up, I guess. You get tired of reading your own stuff, after a while. You forget what it sounded like the last time. This is a poem I kind of like but I keep revising it also, or have been several times in the last few years, called \\\"Dark Landscape\\\". It uses a couple of lines from an American poet who died thirty years ago called Vachel Lindsay [https://www.wikidata.org/wiki/Q1197667], whom probably nobody ever heard of. And it starts in a very prosy way, and is meant to sound that way, and then the rhythm quickens. \\\"Dark Landscape\\\".\\n \\nAl Purdy\\n00:18:07\\nReads \\\"Dark Landscape\\\".\\n \\nAl Purdy\\n00:21:45\\nIn case anybody is wondering about the particular Vachel Lindsay line, it was \\\"The spring comes on forever, and the Chinese nightingale\\\". And he also had \\\"Aladdin to the jinn\\\", except that Aladdin to the jinn, his jinn was J-I-N-N and mine was two J-I-N-N's, and one G-I-N. So that, always a little difficult to understand it without seeing it on the page. Kind of a sweet little poem, this was after we moved to Roblin Lake, and as I say, I sold a couple of plays and we bought a pile of used lumber with the proceeds and put the down payment on the lot and build this house. \\n \\nAl Purdy\\n00:22:27\\nReads \\\"Winter at Roblin Lake\\\" [from The Cariboo Horses].\\n \\nAl Purdy\\n00:22:52\\nAlso the same period, about building the house, or rather after the house was built. Trouble is, you can't, you can't smoke a cigar here, can you, something I...it always goes out. Anyway. \\\"Interruption\\\". \\n \\nAl Purdy\\n00:23:13\\nReads \\\"Interruption\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:24:49\\nWhen I...when we first moved down to Ameliasburg, or to Roblin Lake, I should say, because Roblin Lake where we are is about a mile or so from Ameliasburg...I, after Montreal, and after the job I'd had in Vancouver, I suddenly had to become my own disciplinary straw boss, and it was quite difficult, and in other words, you know, I'd try to get up at a certain hour of the day and start writing. Which I could always, you know, I can always write prose, whenever I feel like it, but poems, I write them, well, I should say, I write poems whenever I feel like it, but you can, I can regimen my own prose, which I don't do much of these days. Anyway, when we moved to Roblin Lake, I wasn't physically regimented myself, so that I was waking up all hours of the day. And this is a short poem about that, but I also screwed up the poem, because I put lines at the end of, or words at the end of each line so that I don't know where the emphasis should be placed, even though I've read it dozens of times. It's called \\\"Late Rising at Roblin Lake\\\".\\n \\nAl Purdy\\n00:25:57\\nReads \\\"Late Rising at Roblin Lake\\\" [from The Cariboo Horses].\\n \\nAl Purdy\\n00:26:47\\nAnother poem about the same particular period, called \\\"Wilderness Gothic\\\". Uh...don't think there's a thing to say about this particular poem at all. \\n \\nAl Purdy\\n00:27:03\\nReads \\\"Wilderness Gothic\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:29:33\\nWhen you read a bunch of poems over several years, I think you pick out the ones that you think will read the best, which is certainly what I do, because there are many of my own poems that I rarely read, or never read at all. In fact I, I never read this one. It's called \\\"Love Poem\\\".\\n \\nAl Purdy\\n00:29:58\\nReads \\\"Love Poem\\\" [from Poems for all the Annettes].\\n \\nAl Purdy\\n00:31:40\\nIn...This poem dates, the actual time of the poem dates about fifteen years ago. The poem itself was written about five years ago. At the time, a friend of mine was there also, which, other than his particular presence I might have acted a little bit differently than I did. You'll see what I mean in a, when I read the poem. Because nobody would take this chance in placing themselves in such a vulnerable position with a woman. \\\"Homemade Beer\\\".\\n \\nAl Purdy\\n00:32:12\\nReads \\\"Homemade Beer\\\" [from The Cariboo Horses].\\n \\nAudience\\n00:33:48\\nLaughter.\\n \\nUnknown\\n00:33:51\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nAl Purdy\\n00:33:52\\nOne called \\\"The Drunk Tank\\\". It's...Dates back two or three years ago when, after the time when I was in the Air Force [https://www.wikidata.org/wiki/Q25456], a friend of mine got out of the Air Force much later, so we celebrated. And...it was after quite a turbulent evening with my friend in Belleville [https://www.wikidata.org/wiki/Q34227], Ontario, we decided to get a couple of bottles of liquor and go out to the country where we wouldn't be disturbed, and drink it. But the farmer phoned the cops, and we were both thrown in jail. And this particular poem is about the first part of that experience, I mean the early part of being thrown in jail, more or less. But not the end of it, it turned into a sort of fantasy that means something other than I intended. \\n \\nAl Purdy\\n00:34:43\\nReads \\\"The Drunk Tank\\\" [from The Poems of Al Purdy].\\n \\nAl Purdy\\n00:36:51\\nThis is called \\\"Poem for Rita\\\", and about a couple of years ago in Toronto [https://www.wikidata.org/wiki/Q172], there was a couple of girls staying with myself, my wife and myself, and she kept asking me to write a poem. So after a while, I wrote this.\\n \\nAl Purdy\\n00:37:10\\nReads \\\"Poem for Rita\\\".\\n \\nAudience\\n00:37:25\\nLaughter.\\n \\nAl Purdy\\n00:37:28\\nThat's all. [Audience laughter]. I think it was actually kind of unkind on my part, because I was never sure whether she understood that or not, and I didn't know whether I wanted her to understand it. [Audience laughter]. There...when we first moved to Ameliasburg, as I mentioned, I was broke as hell. And after having lived in Vancouver, I learned how to make wine of one kind or another, and there was no way to, I didn't have enough money to make beer, so there were a lot of wild grapes around there and we made, I made wild grape wine, and one time, one particular season, I had about five hundred bottles. [Audience laughter]. I attribute the effects of this wine to having made me what I am today [audience laughter], if I could figure that out. But the poem eventually came out of it, called \\\"The Winemaker's Beatitude\\\".\\n \\nAl Purdy\\n00:38:39\\nReads \\\"The Winemaker's Beatitude\\\" [from Selected Poems].\\n \\nAl Purdy\\n00:41:16\\nIn '65, I went up to Baffin Island [https://www.wikidata.org/wiki/Q81178] on some government money, public money, rode a commercial airline plane from Montreal to Frobisher Bay [https://www.wikidata.org/wiki/Q1004067], hitchhiked a ride on what I thought was a DOT plane, but was a construction plane, a construction company charter, and then at Pangnirtung [https://www.wikidata.org/wiki/Q631747], which is on the Arctic Circle, the original administrator there arranged that I go along with an Eskimo family in their canoe to some islands in Cumberland Sound [https://www.wikidata.org/wiki/Q938327]. A year and a half after I got back from the Arctic, I got a bill for a hundred and ten dollars from the construction company that I thought I'd, whose plane I thought I'd hitchhiked on. Which I haven't paid. But anyway, all of these poems, except perhaps I think one or two, were written up there, written in the Arctic, except that after I got back from the Arctic I kept revising them. So you can make up your own mind whether they're written there or not. Among the poems here, there's one called \\\"At the Movies\\\".\\n \\nAl Purdy\\n00:42:37\\nReads \\\"At the Movies\\\" [from North of Summer].\\n\\n Al Purdy\\n00:44:55\\nThe business about the caribou draining in the bilge water was one of the reasons, I suppose, I found it so extraordinary that, perhaps, that Eskimos should enjoy these shoot-em-up movies, was that they had just come a hundred miles or so after shooting caribou, bringing them back to Pang, Pangnirtung on the, on the Sound, on the...jeez, my memory's failing, I can't even remember the fjord it was. But anyway, they had just shot them and come a hundred miles back with them, and yet...and they were draining in their Peterhead boats, and yet they found these movies so exciting--I suppose I shouldn't find that so unusual, but I do. A crappy Hollywood [https://www.wikidata.org/wiki/Q34006] movie. And here's one called \\\"The Sculptors\\\".\\n \\nAl Purdy\\n00:45:50\\nReads \\\"The Sculptors\\\" [from North of Summer].\\n\\nAl Purdy\\n00:48:17\\nI think I'm going to have about time for two more, so that I'd better...I could probably go on, oh I'd better make it three more  I'll give ya...this is, the trees in the Arctic are about, are very low, and well, this is treeless country on Baffin Island, where there, where practically nothing grows except moss and that, and the like of that, but I wrote a poem about trees at the Arctic Circle, and this is it....I see I'm getting, I'm only talking about the physical things about the Arctic, and I have some poems about the people, too, which, which I should read. Anyway, \\\"Trees at the Arctic Circle\\\".\\n \\nAl Purdy\\n00:49:05\\nReads \\\"Trees at the Arctic Circle\\\" [from North of Summer].\\n \\nAl Purdy\\n00:51:07\\nI want to read at least one about, about, about people there, because I used to, when I was on these islands, [inaudible] Islands in Cumberland Sound, the Eskimo women used to come over every day and drink tea. They could not speak any English and I could speak no Eskimo, and I would feed them tea and we would sit there, myself feeling about as silly as I could, so eventually I grew a bit desperate and I would read them poems and I would sing songs or I'd do any damn thing. However, eventually there was some kind of, I think, positive liking on my part. But this poem may express it as well as anything. \\\"Wash Day\\\".\\n \\nAl Purdy\\n00:51:54\\nReads \\\"Wash Day\\\" [from North of Summer].\\n \\nAl Purdy\\n00:54:03\\nTalking about shit, there's actually a poem that has a little bit to do with it here. The Arctic dogs have some qualities that are more pronounced and magnified in Arctic dogs than in southern dogs, that is, they like to eat the stuff. So that when you go, as all, everybody must go at some time or other in their lives, possibly once a day or not, one takes an Eskimo kid along to throw stones and keep the dogs off. When I came back from the Arctic I saw an hour-long film about the George River [https://www.wikidata.org/wiki/Q966023] Eskimos, and one scene in it showed about fifty Eskimos trying to get into a tent, and the Eskimos beating them into the tent, and the next thing you showed the same dogs trying to get out of the tent and the Eskimos beating them out of the tent. And the announcer said not one single word. And then I remembered that whenever the Eskimos leave a campsite, they use it for a privy, and then send the dogs in to clean up. So, actually, this is a poem about that.  \\\"When I Sat Down to Play the Piano\\\". [Audience laughter].\\n \\nAl Purdy\\n00:55:10\\nReads \\\"When I Sat Down to Play the Piano\\\" [from North of Summer; audience laughter throughout].\\n\\nAl Purdy\\n00:58:23\\nI've got one more poem if my voice can hold out. When Robert Kennedy  [https://www.wikidata.org/wiki/Q25310] was shot...I always think about anything that I'm interested and emotionally moved by, always, at least I have in the past, till I got to Simon Fraser, think about writing a poem about it. So the same thing was happening after Kennedy was shot and died, and I was thinking about writing a poem about it, and then the Star Weekly [https://www.wikidata.org/wiki/Q17112122] phoned up and asked me to write a poem about it. So this poem eventually got written. \\\"A Lament for Robert Kennedy\\\".\\n \\nAl Purdy\\n00:59:06\\nReads \\\"A Lament for Robert Kennedy\\\".\\n\\nAudience\\n01:04:39\\nApplause.\\n \\nEND\\n01:04:55\\n\",\"notes\":\"Al Purdy reads from a wide variety of his books, including Selected Poems (McClelland and Stewart, 1972), Love in a Burning Building (McClelland and Stewart, 1970), The Cariboo Horses (McClelland and Stewart, 1965), Poems for all the Annettes (Contact Press, 1962), and North of Summer (McClelland and Stewart, 1967).\\n\\n00:00- George Bowering introduces Al Purdy. [INDEX: Doug Featherling describes Purdy as“the most Canadian of all possible poets”, won the President’s Medal, Governor General’s award, Canada Council Grants, Simon Fraser University]\\n00:56- Al Purdy introduces the reading, and “About Being a Member of Our Armed Forces”. [INDEX: Bliss Carman as influence, Simon Fraser University, joining ‘academia’, conscripts in the war, CWAC: women members of the Canadian Women’s Army Corps, wooden drill rifles; from Selected Poems (McClelland and Stewart, 1972)].\\n02:09- Reads “About Being a Member of Our Armed Forces”.\\n03:29- Introduces “Floating Down the North Saskatchewan River”. [INDEX: student in his class, student’s poems in Purdy’s cigar tubes floating down the North Saskatchewan\\nRiver; read from unknown source].\\n04:01- Reads “Floating Down the North Saskatchewan River”.\\n04:40- Introduces “Flight 17 Eastbound”. [INDEX: revising his manuscript; from unknown source, could be known as “Jubilate on Flight 17, Eastbound”].\\n05:13- Reads “Flight 17 Eastbound”.\\n06:47- Introduces “With Words, Words”. [INDEX: collection of love poems, Jack McClelland and Stewart, Harold Town (illustrator); from Love in a burning building (McClelland and Stewart, 1970)].\\n07:51- Reads “With Words, Words”.\\n10:49- Introduces “One Rural Winter”. [INDEX: Vancouver, 1955-6, play for CBC accepted, moved to Montreal, Roblin Lake near Ameliasburg in Ontario, built house, *note that explanation is almost word-for-word identical as his explanation for the same poem, in the reading at the Vancouver Art Gallery (I086-11-042)*; from Selected Poems (1972)].\\n11:50- Reads “One Rural Winter”.\\n15:22- Introduces “Arctic Romance”. [INDEX: Arctic trip in 1965, naming of the poem; from unknown source; Howard Fink List “Arctic”].\\n15:46- Reads “Arctic Romance”.\\n17:13- Introduces “Dark Landscape”. [INDEX: reading, revising, lines from American pet\\nVachel Lindsay; from unknown source].\\n18:07- Reads “Dark Landscape”.\\n21:45- Explains Vachel Lindsay line, Introduces “Winter at Roblin Lake”. [INDEX: Vachel\\nLindsay line “The spring comes on forever, and the Chinese nightingale”, “Aladdin to the\\njinn”, changes Purdy made to the poem, Roblin lake, sold plays, building house of used\\nlumber; from The Cariboo Horses (McClelland and Stewart, 1965)].\\n22:27- Reads “Winter at Roblin Lake”.\\n22:52- Introduces “Interruption”. [INDEX: building house, smoking a cigar; from Selected\\nPoems (1972); not in Howard Fink List of poems].\\n23:13- Reads “Interruption”.\\n24:49- Introduces “Late Rising at Roblin Lake”. [INDEX: Ameliasburg, Montreal, Vancouver, discipline of writing, writing prose vs. writing poetry, process of reading many times; from The Cariboo Horses (1965)]\\n25:57- Reads “Late Rising at Roblin Lake”.\\n26:47- Introduces “Wilderness Gothic”. [INDEX: from Selected Poems (1972); Howard Fink List “One Ernest Gothic”].\\n27:03- Reads “Wilderness Gothic”.\\n29:33- Introduces “Love Poem”. [INDEX: preparing poems to be read, poems Purdy’s never read; from Poems for all the Annettes (Contact Press, 1962)].\\n29:58- Reads “Love Poem”.\\n31:40- Introduces “Homemade Beer”. [INDEX: poem dates five years prior; from The Cariboo Horses (1965)].\\n32:12- Reads “Homemade Beer”.\\n33:52- Introduces “The Drunk Tank”. [INDEX: Air Force, Belleville, Ontario, drinking with\\nfriend, cops called, thrown in jail, ending meaning something other than what was\\nintended; from The Poems of Al Purdy (McClelland and Stewart, 1976)].\\n34:43- Reads “The Drunk Tank”.\\n36:51- Introduces “Poem for Rita”. [INDEX: Toronto, girls staying with Purdy and his wife, girl asked him to write a poem; from unknown source, Howard Fink List “Poem for\\nEda”].\\n37:10- Reads “Poem for Rita”.\\n37:25- Introduces “The Winemaker’s Beat Etude”, and explains more about “Poem for Rita”. [INDEX: Ameliasburg, Vancouver, making homemade wine; from Selected Poems\\n(1972)].\\n38:39- Reads “The Winemaker’s Beat Etude”.\\n41:16- Introduces “At the Movies”. [INDEX: 1965, trip to Baffin Island on government money, plane from Montreal to Frobisher Bay, hitchhiked on DOT plane, construction company charter, Pangnirtung on Arctic Circle, “Eskimo” family’s canoe, bill for plane, Arctic poems; from North of Summer (McClelland and Stewart, 1967)].\\n42:36- Reads “At the Movies”.\\n44:55- Introduces “The Sculptors”. [INDEX: caribou draining, “Eskimos” shooting caribou then watching movies, Pangnirtung Sound, Peterhead boats, Hollywood movie; from North of Summer]\\n45:50- Reads “The Sculptors”.\\n48:17- Introduces “Trees at the Arctic Circle”. [INDEX: Trees on Baffin Island; from North of Summer].\\n49:05- Reads “Trees at the Arctic Circle”.\\n51:07- Introduces “Wash Day”. [INDEX: Cumberland Sound, Eskimo women, language\\nbarriers, tea, sing songs; from North of Summer].\\n51:54- Reads “Wash Day”.\\n54:03- Introduces “When I Sat Down to Play the Piano”. [INDEX: Arctic dogs, film about the George River Eskimos; from North of Summer].\\n55:10- Reads “When I Sat Down to Play the Piano”.\\n58:23- Introduces unknown poem “A Lament for Robert Kennedy”, perhaps actually “Death of John F. Kennedy”. [INDEX: Shooting of Robert Kennedy (John F?), Simon Fraser, writing poem about shooting, Star Weekly asked Purdy for a poem about it].\\n59:06- Reads “A Lament for Robert Kennedy”. [INDEX: perhaps “Death of John F.\\nKennedy”, found in The Cariboo Horses].\\n1:04:55- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/al-purdy-at-sgwu-1970-george-bowering/\"}]"],"score":0.501836},{"id":"9290","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S2E10, Robert Hogg & The Widening Circle of Return, 5 July 2021, Carpenter"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/robert-hogg-the-widening-circle-of-return/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 2"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Craig Carpenter"],"creator_names_search":["Craig Carpenter"],"creators":["[{\"url\":\"http://viaf.org/viaf/13172193219706490344\",\"name\":\"Craig Carpenter\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2021],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/7dd301e3-2ea3-4ad4-928a-50c123f42cfd/audio/85084a62-41f6-40e0-bfaf-b9835fe7c239/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"swp-s2e10-roberthogg.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:45:35\",\"precision\":\"\",\"size\":\"43,818,467 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"swp-s2e10-roberthogg\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/robert-hogg-the-widening-circle-of-return/\"}]"],"Dates":["[{\"date\":\"2021-07-05\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"University of British Columbia Okanagan Creative and Critical Studies Building\",\"notes\":\"\",\"address\":\"1148 Research Road, Kelowna, BC, V1V 1V7\",\"latitude\":\"49.93921425\",\"longitude\":\"-119.39841307186015\"}]"],"Address":["1148 Research Road, Kelowna, BC, V1V 1V7"],"Venue":["University of British Columbia Okanagan Creative and Critical Studies Building"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Sound Recordings Featured:\\n\\nArchival Audio from PennSound.com\\n\\nShort intro clips of: Warren Tallman, Fred Wah, Daphne Marlatt, George Bowering: all from PennSound digital archives.\\n\\nRecording of “The Red Wheelbarrow” by William Carlos Williams: http://writing.upenn.edu/pennsound/x/Williams-WC/the_red_wheelbarrow_multiple.php\\n\\nRecording of “Often I am Permitted to Return to a Meadow” by Robert Duncan: https://media.sas.upenn.edu/pennsound/authors/Duncan/Berk-Conf-1965/Duncan-Robert_01_Often-I-am-Permitted_Berkeley-CA_1965.mp3\\n\\nRecording of “I Know a Man” by Robert Creely: http://www.writing.upenn.edu/pennsound/x/Creeley/i_know_a_man.php\\n\\nRecording of “Maximus From Dogtown I” by Charles Olson: https://media.sas.upenn.edu/pennsound/authors/Olson/Boston-62/Olson-Charles_14_Maximus-Dogtown-2_Boston_06-62.mp3\\n\\nArchival Audio from AMP Lab’s Soundbox Collection\\n\\nRobert Hogg reads at Black Sheep Books, Vancouver, 1995: https://soundbox.ok.ubc.ca/\\n\\nArchival Audio from KPFA \\n\\nRobert Hogg reads at Berkeley Poetry Conference, 1965: http://www.kpfahistory.info/bpc/readings/Young%20poets.mp3\"}]"],"_version_":1853670549511733248,"timestamp":"2026-01-07T14:59:53.966Z","contents":["In the late 1950s and early 1960s, a group of poets at UBC Vancouver began a little magazine: the TISH poetry newsletter. The TISH poets would later be called one of the most cohesive writing movements in Canadian literary history. In the summer of 2019, Craig Carpenter visited one of the former editors of TISH magazine —who is also his former professor of modern Canadian poetry. Based on interviews conducted during this visit and a subsequent visit in the winter of 2019, Craig has created an episode that explores his evolving relationship with his former professor and scenes from more than 50 years of literary history. Craig takes us through the relationships and the stories that formed a part of the TISH movement and the poet that Robert Hogg has become.\n\nCraig gives a heartfelt thank you to all those who took the time to offer feedback on early script drafts: Deanna Fong, Judith Burr, Mathieu Aubin, Marjorie Mitchell. Special thanks to Dr. Karis Shearer, all of his  colleagues at the UBC Okanagan AMP Lab, and, of course, to Robert Hogg.\n\n0:00\tSpokenWeb Podcast Theme Music:\t[Instrumental Overlapped with Feminine Voice Begins] Can you hear me? I don’t know how much projection to do here.\n \n\n00:18\tHannah McGregor:\tWhat does literature sound like? What stories will we hear if we listen to the archive? Welcome to the SpokenWeb Podcast, stories about how literature sounds. [End Theme Music]\n \n\n00:35\tHannah McGregor:\tMy name is Hannah McGregor, and each month I’ll be bringing you different stories of Canadian literary history and our contemporary responses to it created by scholars, poets, students, and artists from across Canada. In the late 1950s and early 1960s, one of the most cohesive writing movements in Canadian literary history began at UBC Vancouver—the TISH poetry movement. The voices of many TISH community members have been archived and cared for within the SoundBox collection at UBC Okanagan’s AMP Lab as part of the SpokenWeb Project. Today, UBCO Masters student Craig Carpenter brings us on an immersive and personal sonic journey into the life and poetry of one TISH: poet Robert Hogg. Craig was a student of Dr. Hogg’s, and in this episode, he weaves archival recordings together with original interviews with Bob, taking listeners on a poetic journey. The episode takes us back and forth in time—into the sonic spaces of poetry readings, the laughter of present day conversations, and worlds of memory and reflection. This is an audio story about Robert Hogg the professor, Bobby the poet, the TISH community, the power of Canadian poetry, and the moving emotion of mentorship and connection across decades of shared inspiration. Here is Craig Carpenter with Episode 10 of the SpokenWeb Podcast: Robert Hogg and the Widening Circle of Return.\n \n\n \n\n02:11\tOriginal Music Score by Chelsea Edwardson:\t[Begin Music Gentle Instrumental] [Faint voice and car sounds in background] Mountain Path Farms…Hogg.\n \n\n02:31\tCraig Carpenter:\tIt’s August of 2019. I’m on my way to visit my old professor at his farm on the outskirts of Ottawa. As I approach, I notice one of the “Gs” of his last name has fallen off the sign at the foot of the long drive towards Mountain Path Farm. This is where Robert Hogg raised his family, ran his flour mill, and studied and crafted his poetry since the 1970s. It’s been a quarter of a century since I knew Bob as my professor of modern Canadian poetry at Carleton University.\n \n\n03:10\tSound Effects Mixed with Original Music Score by Chelsea Edwardson:\n \n\n[Gentle Instrumental Music Continues] [Sound of car key turning off the ignition and car door opening]\n03:24\tCraig Carpenter:\tWhen Bob greets me at the door, I reflexively call him Professor Hogg. He is just as I remember, except a little more rounded and perhaps a bit more jovial in nature. As Bob offers a quick tour of the old farmhouse, our feet creek the fat wooden plank flooring, and I wonder—who else has trod these floors? What stories could they tell? [End Gentle Instrumental Music] [Sound Effect: Whirring sounds of tape rise] [Faster Instrumental Music Begins]\n \n\n04:01\tCraig Carpenter:\tI have decided to return to school to work with Dr. Karis Shearer on the SpokenWeb Project. A box of tapes donated by my former professor awaits digitization. [Sound Effect: Whirring sounds of tape end] The box contains recordings of his own poetry community from the 1960s at UBC’s Vancouver campus.\n \n\n04:24\tAudio Recording, Short clips of Warren Tallman, Fred Wah, Daphne Marlatt, and George Bowering from PennSound Archives:\n \n\n[Instrumental Music Continues] The microphone may seem like a lot of rigmarole, but actually…it’s necessary. [Faint voice] This isn’t working? [echoing inaudible voices] Poem. Poem. [Stammering voice] Did that introduction – does that come off my twenty minutes?\n04:46\tCraig Carpenter:\t[Gentle Instrumental Music Continues] The voices of his former professor Warren Tallman and his peers, Frank Davey, Daphne Marlatt, Gladys Hindmarch, Fred Wah, and George Bowering are not only being preserved through digitization, but remediated and re-presented through new forms, such as podcasts like this one.\n \n\n05:10\tOriginal Music Score by Chelsea Edwardson:\n \n\n[Gentle Instrumental Music Continues] [Audio recording, Sounds of door latch opening]\n05:17\tCraig Carpenter:\tAfter the tour of the farm house, Bob asked me to give him a hand moving a few things in the barn. The barn is oddly clean for a barn, I think. In fact, there is an astonishing order to everything at Hogg farm. Even the out-of-order tractors appear to be meticulously cared for. Bob shows me the remnants of his old grain mill. He somewhat softly recounts its last days of operation. And then his demeanor shifts. There’s a sudden bounce in his step as I follow him up a set of stairs to what used to be a hayloft. We take a bin filled with periodicals down to an old office. [Recording of voices rises in the background] The former office is jammed with books, magazines, and bins of papers. There’s scarcely room to step as we enter. This is what Bob refers to as the overflow of his poetry collection. [Gentle Instrumental Music Continues]\n \n\n06:21\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\n \n\n[Inaudible] …this says sun, S-U-N… [Sounds of rustling papers.] Georgia Straight…one of my poems was in there too. Anyways, somebody somewhere along the line will want to go through all this stuff, I knew most of the Beat poets…\n06:31\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Craig Carpenter:\n \n\nYou did.\n06:33\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\n \n\n…The only really important Beat poet I never met with Jack Kerouac…[Recording continues and fades. Gentle Instrumental Music Continues]\n06:34\tCraig Carpenter:\tIt would be easy to spend hours sifting through the old journals. But finally, we head back to the house and up the narrow wooden stairs to Bob’s writing room. [Instrumental Music Tempo Increases] The slanted ceiling meets an entire wall of books stacked with first edition Ginsbergs and Kerouacs. Knowing this is where Bob crafts his poems, the attic feels like a cathedral of sorts. Bob positions himself behind his desk and turns on his computer. He is keen to record himself reciting his work.\n \n\n07:19\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\n \n\nAlright.\n07:20\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Craig Carpenter:\n \n\nAnd let me just get this in a better position, and…[inaudible]…I’ll just monitor that while you read…Just do a test first.\n07:31\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\n \n\nYeah…Okay, so I’m going to read a poem called “Amber Alert”, and I’ll just read the first few lines and we’ll test it out.  [Reading poem] It  was a day like any/ other you know / the kind the poet/ wrote about /people/ going about their business. [Ends Poem]\n 07:44\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Craig Carpenter:\n \n\nThat’s good. Yeah, I think we’ve got that good so… [We hear a click as Craig presses play on the recording and Bob’s voice appears again] “a day like any/other you know / the kind the poet/ wrote about /people/ going about their business.”\n07:56\tCraig Carpenter:\t[Gentle Instrumental Music Continues] Bob reads a few newer poems. I’m reminded of William Carlos Williams by some of Bob’s poetry, and we begin to talk about the poetics of Williams and Ezra Pound who were both major influences on the TISH and the American Black Mountain poets. We discuss Williams’ statement: “No ideas but in things.”\n \n\n08:17\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\tYou do need to remember that one of the problems with modern verse, when you drop all the trappings that were typical of  traditional writing in the form and structure—like a sonnet, for example, with its rhyme scheme and everything—you are left with a fairly naked body of words, right? And something in those words has to keep that poem cohering for people…it has to keep jumping at you in some way. And of course, between Pound’s insistence on the image and Williams’ more direct insistence on the Thing, which is also of course the image — you know, that helps to bring that idea of the vividness of experience into focus in the writing of poetry. [End Gentle Instrumental Music]\n \n\n09:02\tAudio Recording, PennSound recording of William Carlos Williams reading “The Red Wheelbarrow”:\n \n\nThe red wheelbarrow // so much depends / upon// a red wheel / barrow // glazed with rain / water // beside the white / chickens\n09:11\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\tThings trigger, right? They really do. They are they—I think that could be, that could be quite, quite exciting at times. And I guess, sometimes it leads to something quite profound and other times it just leads to something, you know, a little bit more expressive or it widens the perception or whatever it does, or deepens it maybe. Hand me those scissors. You can hand them to yourself. [Craig laughs] This poem is called “A Miller’s Tale.” [Reading poem] These tailors sheers / that long before I was born / cut yards of fabric my English grandfather sewed into clothes / for Finchley’s finest /  somehow passed onto my father / settled in Canada after the Great War / never used them for anything so far as I can tell / except to leave them to me who gave them a second life / when I opened the flour mill / mountain township 1983/found them rusting slightly / ideal for trimming paper flower bags / 25 to 10 kg / and after stitching cut the thread old job once again / as fate would have it/lying now on the carpet of my study floor /  tucked under the tredel of mom’s old Singer sewing machine/sent from Langley decades back / the plywood crate reworked to become the grain hopper of both my 30 inch stone mill / it must be 30 years before it all went still. [Poem ends] And that’s the sewing machine over there, and they typically lay underneath the treadle. I have been using them lately so that’s why they’re in my drawer. Yeah. Yeah. [Sound effect of shearers clipping echoing.] [Gentle Instrumental Music Begins]\n \n\n10:49\tCraig Carpenter:\tIt’s 1959 in the sleepy town of Abbotsford, British Columbia. Among the carousels of paperbacks at Bennion’s Pharmacy the teenage Bobby Hogg is stumbling across Jack Kerouac’s On the Road. The only poetry Bobby has heard spoken aloud up to this point is the Victorian verse his father recited to him as a child. He loved listening to his Dad recite poems. But like so many of his generation, it’s On the Road that opens up a new way of hearing words and seeing the world. It isn’t long before his high school friend Frank Davey, who has skipped a couple of grades and gone off to UBC ahead of him, is bringing Bobby the City Lights Pocket Poets Series books. Bobby devours the little books filled with free verse. Among his favourites: Ginsberg’s Howl, Gasoline by Gregory Corso and the selected poems of Robert Duncan.\n \n\n11:47\tSound Effects Mixed with Original Music Score by Chelsea Edwardson:\n \n\n[Gentle Instrumental Music Continues] [Low rumble of a car driving mixes with the music]\n11:56\tCraig Carpenter:\tAt the end of December 1959, Frank pulls into Bobby’s driveway in Langley where his family had just moved. He’s driving his ‘47 Ford coupe. He orders Bobby to get in. [Sound of car door shutting] Frank’s professor Warren Tallman and his wife Ellen have invited Robert Duncan to Vancouver to read. Duncan is here. In person. In the Tallmans’ basement. Tonight. Bobby didn’t have a choice.\n \n\n12:26\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\tI said, “well, I’m busy,” he said that doesn’t matter how busy you are, you’ve gotta come. And it was like, I mean, if he put a shotgun to me as it were. And says, if you don’t come to this you’re blowing your whole life—which was, totally would have been true. So, I can’t remember now whether I jumped in his car with him. We both had—he had a ‘47 Ford coupe and I had a ‘48 Ford coupe. Real classic cars in our time. And so, I either went with him, which I think I did, and then he must have had to bring me back again the next day or something. In any case he did. We went in together and I heard Robert Duncan read his poetry in Warren’s basement. That was absolutely the quintessential moment in my entire life in terms of poetry, because I couldn’t believe what I was hearing. I was really hearing poetry from a distinguished person that I had never been able to hear before. I mean I’d read famous poets but I’d never heard one read. So I went from being just sort of genuinely interested in poetry to being converted, I guess you could say, by this experience. And I think I felt from that moment on I would probably have to write poetry as a means to survive, right. In my spiritual side, right. And it’s been true for me ever since. And he read the poems that were then subsequently published in The Opening of the Field including that famous poem, “Often I am Permitted to Return to a Meadow,” which is the poem I think he started off the reading with. [End Gentle Instrumental Music]\n \n\n13:40\tAudio Recording, PennSound recording of Robert Duncan reading “Often I am Permitted to Return to a Meadow”:\tOften I am permitted to return to a meadow // as if it were a scene made up by the mind, / that is not mine, but is a made place, // that is mine, it is so near to the heart, / an eternal pasture folded in all thought / so that there is a hall therein // that is a made place, created by light // wherefrom the shadows that are forms fall. // Wherefrom fall all architectures I am / I say are likenesses of the First Beloved / whose flowers are flames lit to the Lady. // She it is Queen Under The Hill / whose hosts are a disturbance of words within words / that is a field folded. // It is only a dream of the grass blowing / east against the source of the sun / in an hour before the sun’s going down // whose secret we see in a children’s game / of ring a round of roses told. // Often I am permitted to return to a meadow / as if it were a given property of the mind / that certain bounds hold against chaos, // that is a place of first permission, / everlasting omen of what is.\n \n\n14:45\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Craig Carpenter:\n \n\nWhat was the effect of actually hearing him?\n14:48\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\tWell, the effect was incredible, because we hadn’t—The Opening of the Field was not yet in print. It came out that year actually in 1960. But, well, the next year—it was ‘59 when I actually heard him. But still, it was almost 1960, it was like the end of December, 1959. And that book came out with Grove Press just a few months later. But he was reading from manuscripts still, right? So the poems that were in The Selected Poems were not like the poems in The Opening of the Field. He broke new ground there. It was a lot more accessible. It was a lot—to me it was a lot more poetry that somehow spoke about poetry. I mean that very poem “Often I am Permitted to Return to a Meadow”—that meadow immediately becomes a page, it becomes the subject of poetry itself. [recites part of the poem] as if it were a scene made up by the mind, / that is not mine, that is a made place // that is mine, it is so near to the heart, / an eternal pasture folded in all thought. [ends recitation] I mean, all those things are statements about writing, right? And then he says, “that is mine, it is so near to the heart.” Okay, [laughs] I’m hearing that, and I’d never heard anybody talk about the act of writing. I mean, I think I intuited right away that this was a poem about writing not about a meadow or some children playing a children’s game. It really was all about the process of writing. That’s what I think I heard — something new about writing, which is often about writing. It’s surprising how much of modern poetry [Begin Gentle Instrumental Music] and maybe all poetry has been to some degree about writing.\n \n\n16:21\tCraig Carpenter:\tBob tells me this now mythic Duncan reading set off a chain of events that included the evolution of TISH. We now know, from the work on hidden labour that SpokenWeb researchers Deanna Fong and Karis Shearer have done, that it was Warren Tallman’s wife, Ellen, who knew Duncan personally, and not only arranged for him to come read, but also helped select which poems he would read. Bob explains to me what it was about this reading that changed his relationship to poetry.\n \n\n16:52\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\tWhat that reading that he gave in Warren’s basement did for me, I think, that nobody else had done before [End Gentle Instrumental Music] and probably very few people have done since, was that it gave me a sense of the physicality of language as it was being spoken. Not only in the gestures that he was making. The body—the way he embodied, he seemed to embody poetry for god’s sake, he was like a walking poem. He was very much—he was a showman and he was very much involved in being like a shaman, shamanistically, you know demonstrating with his body what the poem was about. Robin Blaser was a bit like that too. I don’t mean to say in the cheapest sense of showmanship, there was a bit of showmanship in it too, let’s face it. But it really had to do with wanting to show physically what was going on in the physical nature of the poem. I had been taught about poetry that had things going on in it. Like you could scan a poem and you could say, yeah it’s got iambic pentameter, it’s got anapestic, whatever, four beats to a line, or whatever. But nobody made me hear a poem, nobody made me think of the poem as a physical gesture that was being spoken aloud. And that was the thing that I really got from Duncan’s reading. I heard poetry being read aloud as though this was what its real articulation was, not on the page but in the air. And in his body and my body because we’re both in the same room together and I’m hearing and feeling it, the way you do music. It’s like trying to stand still when some really incredible rock band is playing right in front of you. It’s pretty hard [laughs], sometimes you just gotta move with it. You just want to say, oh my god, I really feel, I just want to dance. The dance that was part and parcel of Duncan’s poetic sensibility and his gestures as a writer I think really hit home for me. [Begin Gentle Instrumental Music]\n \n\n18:49\tCraig Carpenter:\tDeclared “the Wonder Merchants” by Warren Tallman in his essay of the same title, the group of poets who created TISH magazine were all students of Tallman’s at UBC in the late 1950s and early 1960s. They are known for having been heavily influenced by the American Black Mountain poets, including Charles Olson, Robert Creeley, and Robert Duncan. Critic C.H. Gervais calls TISH one of the most cohesive writing movements in Canadian literary history. My old professor, another Robert, was a “TISHITE” or a member of TISH himself and considered part of the second wave of the movement. After Bob hears Duncan read, the following fall, he follows Frank to UBC. Like his friends Frank and George Bowering who precede him, and other second-wave TISH editors like Daphne Marlatt and Gladys Hindmarch, Bob takes poetry classes with Warren Tallman.\n \n\n19:51\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\t[Gentle Instrumental Music Continues] The most important thing, in some ways, besides Duncan’s reading in Vancouver at that time, was the emergence of the New American Poetry Anthology by Donald Allen, right. Not only did it have poetry by all these people in it—\n \n\n20:02\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Craig Carpenter:\n \n\nThat was the book I think we studied.\n20:04\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\n \n\nYeah, yeah. In my class. Yeah, no doubt. I still have copies. I even have my original here. This is my old original copy. If this was on video it would be exciting. [Gentle Instrumental Music and Audio Recording continue under narration]\n20:14\tCraig Carpenter:\tAs his cat jumps onto his desk, Bob pulls a well-thumbed and  marked-up copy of the New American Poetry Anthology from his bookshelf.\n \n\n20:21\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Multiple Speakers:\n \n\nI’ll take a photo of it. This is a first edition probably. It is utterly falling apart. 1960, see that? Bob Hogg. What’s it say, Arts one at UBC. [Laughter]\n20:37\tCraig Carpenter:\t[Gentle Instrumental Music Continues] Like the old books on Bob’s shelf, there are audio reels from the late 50s and early 60s that are also falling apart. These reels hold living memory in voice. They are the only means we have to hear how poets spoke their poems aloud. And unlike books, these literary analog audio objects are at risk of decaying and disappearing forever [Sound Effect: tape slowing down on reel] if they are not preserved through digitization. [Sound Effect: Sound of click and reels rewinding]\n \n\n21:04\tCraig Carpenter:\t[Begin Faster-Paced Instrumental Music] It’s late Spring of 2019 and Professor Karis Shearer and I are in the AMP Lab at UBC Okanagan. Karis shows me the box of analog reels given to her by her colleague Jody Castricano. Warren Tallman gave Jody the box and told her when the time was right she’d know what to do with them. It’s been over two decades since I’d threaded a reel-to-reel machine. Scrubbing my memory from second year radio journalism class, I manage to loop the brittle 50-plus year old magnetic tape across the playheads and onto the take up reel. [Sound effect: Threading tape and clicking play]\n \n\n21:50\tAudio Recording, PennSound recording of Warren Tallman:\tFlood tide below me, I see you face to face. [Inaudible] of the west…[Recording continues under narration]\n \n\n21:57\tCraig Carpenter:\tTallman’s voice leaps out of the machine at us. As if magically fast forwarding through time, his rich harmonic tone captures us immediately. [Audio, from recording: …the tires and the usual costumes…] Its magnetic authority and ringing certainty must have been incredibly moving to hear in person as a student.\n \n\n22:19\tAudio Recording, PennSound recording of Warren Tallman:\n \n\n…Are more curious….\n22:21\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\t[Recording Ends] [End Faster-Paced Instrumental Music] Well, he was a remarkably beautiful prof. How else to say it? I think he did more to make poetry available to me as a young writer and as a young reader. I think those two words are almost synonymous with each other. I try to tell people today, if you’re not a reader of poetry, you can’t be a writer  of poetry. And if you think that reading your friend’s poetry is being a reader of poetry, you’ve got another learning curve coming because there’s so much wonderful poetry that’s been written throughout the ages that we all have to become more immersed in in order to have some sense of what we are trying to do ourselves as writers. And  Warren was remarkably eclectic in his appreciation of poetry. Warren had a great capacity for reading poetry and letting every syllable of the poem have its own articulation. And I guess I might’ve said this before, and I’m not sure if it was in talking with you, but one poem he read was “Lapis Lazuli” by Yeates, which just absolutely blew me away. And I can still hear him reading that poem with his slow, deliberative unfolding as the poem progresses so I can’t recite in full, but…[Sound Effect: Click and whirring of tape on a reel] [Begin Gentle Instrumental Music]\n \n\n23:49\tCraig Carpenter:\tIt’s the fall of 1995. Ottawa is overflowing with small poetry journals and regular poetry readings. I’m studying poetry with Bob at Carleton. We read Charles Olson and Canadian poet bpNichol. I take over editing the Carleton Arts Review from the infamous Ottawa poet, the lowercase rob mclennan. rob churns out zines, pamphlets, posters, littering the city with free verse. This same year, Bob flies back to Vancouver to revisit the stomping grounds of his old poetry community and give a reading. Among the box of tapes Bob has donated to the Lab, is the 1995 recording of his reading at Black Sheep Books. [Sound Effect: Tape sounds] It is among the first tapes to be digitized from the box Bob donated to the Lab.\n \n\n24:49\tAudio Recording, Robert Hogg reading “Extreme Positions for bp” at Black Sheep Books in 1995:\tExtreme positions for bp. [Gentle Instrumental Music Ends] The lovely play language is / the lay of the poem / the place made / the dropping or adding of a letter / tension / Love crosses all bodies of water / or of land / violent / Love knows its own bounds but crosses these / willingly / Knows to stay / stray / brings the point of light / right up to the eye. Knows that all event is also a screen /  retina / page / where the hand trembles / to leave a mark in / violet space / so great the mind’s demand that a map be drawn / lines be drawn / against chaos / but also break the edge / put an S on things / put S in the world / sing / silent / space / spell / sound / light / words standing / alone / essential / free / The lovely play / love is / a language made / sign / against unknowing. [Sound Effect: Click of a stop button]\n \n\n26:17\tCraig Carpenter:\t[Begin Gentle Instrumental Music] My younger self never thought to ask Professor Hogg much about his own poetry. I had no clue that my professor had not only studied under Charles Olson in the early 60s at SUNY, Buffalo but  had written his thesis on Olson’s MAXIMUS POEMS under the guidance of Robert Creeley. As I sit with Bob in August of 2019, I feel so grateful that time’s turned as it has and I find myself meeting him again. I am beginning to get to know Bobby the poet.\n \n\n26:48\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\t[Gentle Instrumental Music Continues] …general literature course and creative writing. Then in my third year, I could take poetry or whatever. And I actually got the credit for the poetry course by taking the summer conference. So, in a way I was with Bob Creeley and Ginsberg and all  the rest of them for that. [End Gentle Instrumental Music] But I knew Bob, and I hung around him to a certain degree, not a huge amount, but was in his presence and heard him read on at least a couple of occasions I’m sure in that year he was in Vancouver. Also, he read from The Island, which just came out. And when he read the prose in The Island when it first came out, and he read almost like a poem.\n \n\n27:19\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Craig Carpenter:\tYeah, a big inspiration to me. Hearing him from these tapes, I have a recording. [Bob: Okay.] I could even play you some of it. What is it…[recites from poem] goddamn big car and drive. [Bob: Oh yeah. Drive he said, yeah.] Yeah, drive he said. But the way that he read it was so different than how I read that. I was sort of whoa. Even the way that—I thought, well, no, there’s a break there.\n \n\n27:39\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\tThat’s right, in that particular poem he really freaked me out too. I never got that poem right until I heard him read it, right? Yeah, exactly. Exactly. Exactly. Yeah. That’s funny, a lot of people misunderstood that poem. [Laughs]\n \n\n27:58\tAudio Recording, PennSound recording of Robert Creeley reading “I Know a Man”:\tThis is a poem called “I Know a Man.” As I sd to my / friend, because I am / always talking,–John, I // sd, which was not his / name, the darkness sur- / rounds us, what // can we do against/ it, or else, shall we & / why not, buy a goddamn big car, // drive, he sd, for / christ’s sake, look / out where yr going. [Audience laughter]\n \n\n28:17\tCraig Carpenter:\t[Begin Gentle Instrumental Music] Some critics of TISH say their work was too influenced by the American Black Mountain School. Bob explains to me that it was more their poetics than their poetry that had really attracted TISH members. Bob had met Olson at the 1963 Vancouver poetry conference organized by the Tallmans. In the Fall of ’64, Bob visits Buffalo and attends one of Olson’s lectures. With the support of Olson, the young Bobby is fast-tracked to his PhD at SUNY.\n \n\n28:45\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\tYeah, very lucky. And then when I first went there, it was like many of us who were there for Olson were only there for Olson, we were not there for a PhD. [End Gentle Instrumental Music] Fred was there for that, I was there for that. Some of the English poets like John Temple and Andrew Crozier. Many many people that were hanging around Olson were there—‘oh my God this guy’s interesting, this is why I want to be here.’ Some stayed on and did the doctorate with either like, with him or, in my case, on him, later on, under Bob Creeley.\n \n\n29:10\tCraig Carpenter:\t[Begin Gentle Instrumental Music ] The attraction to study with Charles Olson was in large part because of the incredible power of his poetic manifesto: the “Projective Verse.” The dense and poetic prose of the “Projective Verse” essay can be confounding. Olson works with words like a sculptor’s stone, shaping them physically, employing ALL CAPS and indents creatively with a force that opens the ear anew.\n \n\n29:37\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\tBut I mean, I think it really, really was unique. And I’ve said this to so many people, [End Gentle Instrumental Music] when you read something like the projective verse essay, you weren’t just reading Olsen’s ideas, you were reading about his own percussive and projective style. It was the style in which that essay was written that was hammering itself out to you. And like you said earlier, like with the typewriter, the way Olson made use of the typewriter and typeface, which he also talks about in that essay, was extremely important. And so we’re talking about changing the morphology of language itself and the structure of language. And grammar. I was very interested in how the grammar of poetry was not like the grammar of prose, and that’s continued to interest me in all my own writing. So then when I got reading the “Maximus from Dogtown” poems, which is basically how the second sequence starts, the second section of the Maximus poem starts, I became really fascinated by the spiritual and mythological and cosmological aspects of that. And that became the center. [Sound Effect: Typewriter Typing] I was reading Jung for my own interest, and of course, he was big on Jung. He was reading psychology and alchemy and other things by Jung, Symbols of Transformation…\n \n\n30:44\tAudio Recording, PennSound recording of Charles Olson reading “Maximus From Dogtown I”:\n \n\nMaximus from Dogtown — 1/ proem. [Sound Effect: Typing Sound Ends] The sea was born of the earth without sweet union of love Hesiod says// But the then she lay for heaven and she bear the thing which encloses/ every thing. Okeanos the one which all things are and by which nothing/ is anything but itself, measured so// screwing earth, in whom love lies which are unnerves the limbs and by its/ heat floods the mind and all gods and men into further nature// Vast earth rejoices,// deep-swirling Okeanos steers all things through all things,/ everything issues from the one, the soul is led from drunkenness/ to dryness, the sleeper lights up from the dead,/ [Sound Effect: Ticking Sound Begins] [Begin Gentle Instrumental Music] the man awake lights up from the sleeping.\n \n\n31:48\tCraig Carpenter:\t[Sound Effect: Ticking Sound merges with highway sounds and cars whooshing by] [Gentle Instrumental Music Continues] It’s the fall of 1964 and Bob, having completed his undergrad at UBC is ready to see the world. He hitchhikes to New York City via Toronto and Buffalo. There, he connects with Beat poets Allen Ginsberg, Carole Berge, and Ted Berrigan. During his final year at UBC, Bob became more involved with TISH magazine. Despite his immersion in TISH and his passion for verse, in 1964 Bob had yet to publish a book of poems. In New York, Bob writes most of the poems that make up his first book, The Connexions. His inspiration for that book—that pours out in a matter of months—is not the poetry scene around him, but a deadly illness that tears through his body. As he lies in his bed fighting for his life, poetry becomes a necessity for survival.\n \n\n32:45\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\tSo, when I went to Buffalo in the Spring of 1965, I had already written in New York City quite a lot of poems about my illness there. And then I continued to write about that [Ticking Sound and End Gentle Instrumental Music] when I got to Buffalo because I was actually still ill and living in the infirmary on campus. And, so, I ended up with a book of poems in my hands called The Connexions, as it turned out. So the strange thing is that that book of poems was a-hundred-percent written in New York City and Buffalo. There might have been a scrap of a poem that was written in Vancouver before I left. Because there’s one that talks about the coast range of the mountains, towards the end. But whether I actually wrote it in Vancouver or wrote it in Buffalo, I can’t remember now for sure. When some of these poets from the States came up and did read in Vancouver, they did have a strong strong effect on some of us. And I know that Duncan’s reading had a huge effect on what kind of—how I would write my poems thereafter. [Sound Effect: Sound of tape rewinding] Although I didn’t sit down and write one that was like, that emulated “Often I am Permitted to Return to a Meadow”, right, which was the poem he read that blew me away. But I know that that poem sank into my bloodstream, as it were, and never left.\n \n\n33:53\tCraig Carpenter:\t[Begin Gentle Instrumental Music] [Sound Effect: Sound of tape rewinding ends] It’s the summer of 1965, and Bob has recovered from his near death experience. He has made it down to Berkeley, California where Charles Olson is headlining the 1965 poetry conference. He carries with him a manuscript of The Connexions. [Sound Effect: Protest Chanting Sounds Begin] Amid the growing upheaval in opposition to the Vietnam War and student protests at Berkeley, the poetry conference quietly continues. [Sound Effect: Protest Chanting Sounds End] Tallman was supposed to arrange a contingent of Canadian poets to read. As it turns out, Bob is one of two Canadians and one of five tyros, as he refers to them, to read at the conference. [End Gentle Instrumental Music]\n \n\n34:41\tAudio Recording, KPFA recording of Robert Hogg reading at Berkeley Poetry Conference, 1965:\tSo small falls in the Cariboo. My famous Cariboo, one of my friends anyway. Called Little Falls on South Bonaparte River. And when I was about 10 years old, we lived on a ranch in the Cariboo. And the neighbor girl was daring enough to walk across the precipice of this falls. And of course, all I could do was watch her, because I wasn’t about to walk across it too. This poem is written very recently. So it’s a memory from way back. [Begins reading poem] And the voice said, walk / Up river then / You will find her / at Little Falls / where I had left her / ankles amid flow / walking the precipice / brazen she was / not afraid to fall / or that she would fall / down / as the water as I did one fall / years later, walking up river / the rifle / clattered and fell / gouged by the rock / And I hurt my knee while hunting / I had meant to speak of an old woman / whose hair / and of a bend in the river / where / and of a tree whose leaves hang over / it was all mirrored there. [Ends poem] I’ll close the reading with a small poem, simply entitled “Song.” It’s also the last poem in this series that I have in The Connexions. [Begins reading poem] The sun is mine / and the trees are mine / The light breeze is mine / and the birds that inhabit the air are mine / Their voices upon the wind / are in my ear. [Ends poem] Thank you. [Applause]\n \n\n37:13\tCraig Carpenter:\t[Gentle Instrumental Music Begins] It’s December 2019, and I have returned once more to visit Bob at his farm. There is snow on the ground now. I can see my breath as I walk up to the door. The fields of flowing wheat that once fed his mill turned to white sheets. This time, we don’t go into the barn but straight to the attic. I sit with my old professor in his attic writing room surrounded by his poetry books. There is a generosity of spirit in the air that seems to have expanded since my last visit in the summer. I imagine the spines of his poetry books bursting with ideas beyond my own ability to name. In preparation for a reading the next night, Bob is keen to share some of his poems aloud. I try to keep quiet and listen closely. I’m hearing something more this time. [End Gentle Instrumental Music]\n \n\n38:06\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\tSo, this could interest you, ‘cause phonology of course is something you guys could do too, you know. [Begins reading poem] “The Phonology of Love” I speak of love/ as though it were // a word as though / it were syntactic // simply /said // oval /lips// breathe out / a gesture // lungs send / sound in a tongue curl // palatal L / down throat // a velar/ cord song // voiced / fricative // ending/  lip to enamel //teeth where/ resonant// air is /evocation // love / that is a dance of tongue// teeth and tendon / turn // breath/ into word. [Ends poem] So actually, it’s a description of the word love. These are all poems that are hopefully going to come out in this volume to be called “Postcards from America.” So these are poems that were written in Buffalo, never got published. [Craig: Yeah, they’re good. It’s good.] I think they are actually. Here’s another one…[Craig: Hot morning sun, read that one] [Bob Begins reading poem] To my friends / a hot morning sun / white for noon / through glass / waves of hot blood in my spine / line a blue vein / I go through / fluid as fire is / a kindling surge. [Ends poem] I wanted to read this poem too. It’s called “Four Seasons.” [Craig: Yeah, I was looking at that, it looks nice on the page.] Yeah, well it didn’t start like this. It started in a different form, and it started falling into tercets I’ve called them here, like little three line poems, right. Or three line stanzas. And I didn’t know what else to call them. So, and it was written quite literally by sitting on my deck, which you saw earlier. In the summer when the honeysuckles were blooming and the berries were falling. [Begins reading poem] First white and pink flowers / now little red berries / fall from the honeysuckle / onto our cedar deck / Next leaves browning / with summer sun / soon abundant snow [Poem Ends] [Bob Laughs] Which is what we’ve got now! [Craig: Yeah] Yeah. So there was the four seasons. Like I was just like sitting there…\n \n\n40:22\tAudio recording, Poetry reading at the Carleton Tavern in 2019, Ambient Sounds:\n \n\n[Bob’s voice fades into a recording from the poetry reading the next night. We hear the sounds of people talking before the reading as Craig’s narration begins.]\n40:27\tCraig Carpenter:\tThe next evening, Ottawa’s poets congregate in the back room on the second floor of the Carleton Tavern.\n \n\n40:33\tAudio recording, Poetry reading at the Carleton Tavern in 2019, rob mclennan:\tI’m not waiting for him. Thank you very much for coming to this, to our little annual event. The Peter F. Yacht Club, you know, holiday extravaganza. You’ve got to start calling it that, that would be cool. There are books in a book table…\n \n\n40:47\tCraig Carpenter:\t[Audio recording of rob mclennan speaking continues under narration] rob mclennan has invited Bob and other local poets to read at the annual above/ground press Christmas party. Bob tells me rob has mellowed with the years. Perhaps he has recognized his own gift to the community I think—his dogged persistence of publishing so damn much, now a document of the moving of time through the eyes of poets. The room is packed pre-pandemic style. Beers are flowing. The scene reminds me of my time here in the 90s. rob mclennan sits at a table registering the evening’s readers. When I approach to say hello, in typical fashion with a mocking gasp, he points out just how much I have aged. His signature long hair and goatee whiter now. But he’s the same lowercase rob mclennan. And, it’s true, he has mellowed. Or maybe it’s me who’s mellowed. Either way, I find myself happy to see him and smiling as he introduces the evening. [Begin Gentle Instrumental Music] As the night draws to a close, a few of us head to a cafe for some food and drink. I think about the poets—all their poems still jangling around in my heart and mind. It was a good night. This is Bob’s community. It’s mine too. Poets don’t much like to form alliances. So, when poets do come together to create books, magazines or events like tonight’s—something turns. It’s hard to mark time. Like sound, we cannot pause it. It keeps passing. As I listen to Bob recite a poem he has dedicated to Bob Creeley called Dig-it, I sense time turn. It turns in widening circles of return.\n \n\n42:44\tAudio Recording, Robert Hogg interview with Craig at Mountain Path Farm, Robert Hogg:\t[Gentle Instrumental Music Continues] Here. Can I read this one? [Craig: Please do.] This one’s called “Dig-it.” [Craig: Now, this is for Bob Creeley.] This is for Bob Creeley. I wrote it last night, or yesterday sometime. [Craig Laughs] Had nothing to do with today, it was just one of these things that came to me. Bob Creeley was always saying, dig it, dig it, you dig it, dig it—right? But if you take the hyphen out, it becomes a different word. Alright. So, “Dig-It” for Bob Creeley. [Begins reading poem] 11:11 my clock reads / 1 1 1 1 / marching across / the face of it / twice a day / just like that / marking time / we say / standing in one / place / one / minute / marking time [Ends Poem] [Bob laughs]\n \n\n43:35\tOriginal Music Score by Chelsea Edwardson:\n \n\n \n\n[Gentle instrumental music rises and fades into outro narration.]\n44:19\tHannah McGregor:\t[Start Music: SpokenWeb Podcast Theme Music, Instrumental Overlapped with Feminine Vocals] SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from and created using Canadian literary archival recordings found at universities across Canada. This episode was written, produced, sound-designed and voiced by Craig Carpenter, with additional audio courtesy of the SoundBox Collection, PennSound, and KPFA. The musical score was composed by Chelsea Edwardson. Special thanks to Karis Shearer, Robert Hogg, Deanna Fong, Mathieu Aubin, Marjorie Mitchell, and Judith Burr for their feedback on drafts of this episode. Our podcast project manager and supervising producer is Judith Burr. To find out more about SpokenWeb visit SpokenWeb.ca and subscribe to the SpokenWeb Podcast on Apple Podcasts, Spotify, or wherever you may listen. If you love us, let us know. Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Stay tuned to your podcast feed later this month for ShortCuts, a new take on audio of the month with Katherine McLeod, mini stories about how literature sounds. 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Handwritten labels on sides.\",\"other_physical_description\":\"VHS #Highlights_1 asset.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EZqRGcc6dflKkkGyuItbFQUBqh_jgswUaeBvFt1T6YkLnQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-Feature_Highlights-Part1.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"04:56:03\",\"precision\":\"\",\"size\":\"8.36 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing highlights from the Enough Said series, selected by Lee Gotham.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1996\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of VHS #Highlights_1 Asset."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #Highlights_1 asset. The asset was digitized, generating both uncompressed and compressed video files. Metadata based on the compressed file.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670549197160448,"timestamp":"2026-01-07T14:59:53.772Z","contents":["The tape includes excerpts from six different events: (1) Enough Said 1994-12-19, Gotham and Diamond; (2) Enough Said 1995-01-09, Swifty Lazarus; (3) Enough Said 1995-01-16, bissett and Nelson; (4) Enough Said 1995-01-23, Wiernik and Anderson; (5) Enough Said 1995-01-30, Stanton and Stephens; and (6) Enough Said 1995-02-13, Benefit.\n\n[No signal] \n00:00:17\n[Ambient sounds (white noise).]  | Video Description: Black screen with white text that reads \"ENOUGH SAID!\"\n\nLee Gotham\n00:00:24\n[Cuts to Gotham saying Unknown_Musician1 and Sam Shalabi are performing with himself for the first time.] | Video Description: Out-of-focus extreme closeup focuses and zooms out to closeup as Gotham speaks into the mic standing beside Unknown_Musician1 and Sam Shalabi. Gotham wears a grey collared shirt with sleeves rolled to elbows atop a white collared shirt, black taqiyah-style hat with a small folded visor, and shoulder length brown hair. Unknown_Musician1 wears a blue and white argyle sweater with sleeves rolled up to elbows, a silver watch, glasses, and short curly dark brown hair. Sam Shalabi wears a red button-down shirt with sleeves rolled up to elbows, large metal-rimmed glasses, and thinning dark brown hair.\n\n[Cataloguer note: Gotham performs a long poem without announcing any section breaks. To enhance readability, this transcription will break when Gotham pauses for a significant period, denoted by the phrase “Gotham pauses” or “Gotham Gotham and music by Unknown_Musician1 and Sam Shalabi pauses.”] \n\nLee Gotham \n00:00:46\n[Begins performing a piece beginning with the line “Attention project proposals, explorations grants competition, Canada Arts Council.”] | Video Description: Closeup as Gotham begins performing a piece. Zooms into extreme closeup as Gotham says the line “one idea is a death of experience.” Looks over to Unknown_Musician1 and Sam Shalabi.\n\nUnknown_Musician1 and Sam Shalabi\n00:01:14\n[Strike a discordant cord.] | Video Description: Off-screen. \n\nLee Gotham\n00:01:15\n[Resumes performing piece. Gotham pauses.] | Video Description: Extreme closeup zooms out to medium closeup as Gotham resumes performing a piece. \n\nLee Gotham\n00:02:33\n[Resumes performing piece with the line “No, musicians should play as they see fit.”] | Video Description: Medium closeup as Gotham resumes performing a piece. \n\nUnknown_Musician1 and Sam Shalabi\n00:02:34\n[Quietly playing uncertain chords and sparse drumming as Gotham continues performing.] | Video Description: Off-screen.\n\nLee Gotham\n00:02:40\n[Resumes performing piece with the line “The performer picks up a hammer.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium closeup zooms out to long shot as Gotham picks up hammer from off-screen. In between lines, dramatically hits a wooden block on stand to his right with hammer. \n\nLee Gotham\n00:03:19     \n[Resumes performing piece with the line “There can be no pause for the cause.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Camera angle alternates between closeups and medium shots of Gotham performing a piece and long shots of Gotham performing a piece, Unknown_Musician1 playing drums, and Sam Shalabi playing guitar. \n\nLee Gotham\n00:05:38       \n[Resumes performing piece with the line “The performer is blurting out opinions to strangers.” Music by Unknown_Musician1 and Sam Shalabi begins quietly but becomes more prominent in background. Gotham pauses.] | Video Description: Camera alternates between medium closeups and extreme closeups of Gotham performing a piece. \n\nLee Gotham\n00:08:11\n[Resumes performing piece with the line “Opinions again: that’s what I call using your head.” Music by Unknown_Musician1 and Sam Shalabi begins quietly but becomes more prominent in background. Gotham pauses.] | Video Description: Extreme closeup zooms out to medium closeup as Gotham performs a piece. \n\nLee Gotham\n00:09:08\n[Resumes performing piece with the line “It’s a milk and honey mid-September, an [?] Indian coffee and cigarette summer” Music by Unknown_Musician1 and Sam Shalabi becomes louder and more complex in background. Gotham pauses.] | Video Description: Long shot as Gotham performs a piece. Zooms into medium shot partway through.\n\nLee Gotham\n00:10:51\n[Resumes performing piece with the line “I went to the doctor for the first time in twelve years.” Music by Unknown_Musician1 and Sam Shalabi softens in background. Gotham pauses.] | Video Description: Medium shot as Gotham performs a piece.\n\nLee Gotham\n00:11:22\n[Resumes performing piece with the line “Less about what you think, I still don’t get it.” Music by Unknown_Musician1 and Sam Shalabi becomes louder in background with staccato chords. Asks Unknown_Musician1 and Sam Shalabi to play more soothingly. Laughter. Says “or ignore him.”] | Video Description: Closeup as Gotham performs a piece. Looks over to Unknown_Musician1 and Sam Shalabi, who are off-screen.\n\nUnknown_Musician1 and Sam Shalabi\n00:11:50\n[Sam Shalabi continues to play complex drum beat, Unknown_Musician1 softens chord attack but plays complex progression.] | Video Description: Off-screen. \n\nLee Gotham\n00:11:57\nVideo Description: Medium shot as Gotham sits down on something unseen and, holding the mic away from him, mouths something unseen to Unknown_Musician1 and Sam Shalabi.\n\nUnknown_Musician1 and Sam Shalabi\n00:12:03\n[Play calmer jazz music.] | Video Description: Camera pans to long shot of Unknown_Musician1 playing drums with brushes and Sam Shalabi playing guitar.\n\nLee Gotham\n00:12:04\n[Resumes performing piece with the line “We were still sitting there on the beach listening to the crazy old Indian.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham and music by Unknown_Musician1 and Sam Shalabi pauses.] | Video Description: Camera pans to medium closeup as Gotham performs a piece sitting down. Camera alternates between closeups, medium shots and medium closeups as Gotham performs a piece.\n\nLee Gotham\n00:14:58\n[Resumes performing piece with the line “Well, there wasn’t a lot of story to it.” Music by Unknown_Musician1 and Sam Shalabi resumes in major key. Gotham pauses.] | Video Description: Closeup zooms out to medium closeup as Gotham performs a piece. Gotham stands up. Zooms out to longshot as Gotham picks up hammer on his left and pretends to hit himself on the head with it in between lines. Zooms into medium closeup. \n\nLee Gotham\n00:18:11\n[Resumes performing piece with the line “That’s good, that’s just fine, now we’ll just relax” delivered in a deeper tone than previously. Music by Unknown_Musician1 and Sam Shalabi barely audible in background. Gotham pauses.] | Video Description: Medium closeup as Gotham performs a piece.\n\nLee Gotham\n00:19:04\n[Resumes performing piece with the line “An escaped convict fell into a deep hole someone had dug beside the roadway.” Music reminiscent of middle-Eastern music by Unknown_Musician1 and Sam Shalabi plays in background. Sam Shalabi stops playing guitar part way through. Gotham pauses.] | Video Description: Medium closeup as Gotham leans backwards on something unseen and performs a piece. Zooms into closeup part way through. Zooms out to medium shot as Gotham stands up and continues performing piece.\n\nUnknown_Musician1 and Sam Shalabi\n00:22:47\n[Music by Unknown_Musician1 and Sam Shalabi continues in background.] | Video Description: Zooms out to show Unknown_Musician1 and Sam Shalabi playing their instruments beside Gotham. \n\nLee Gotham\n00:22:54\n[Resumes performing piece with the line “The water’s run out.” Music by Unknown_Musician1 and Sam Shalabi becomes busier in the background.] Video Description: Long shot as Gotham performs a piece. \n\nSam Shalabi\n00:23:15\nVideo Description: Zooms into medium shot of Sam Shalabi playing guitar and chewing.  \n\nUnknown_Musician1\n00:23:31\nVideo Description: Pans to medium shot of Unknown_Musician1 playing drums. Gotham is visible on the right side of screen. \n\nLee Gotham \n00:23:38\n[Continues performing piece. Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium shot zooms into medium closeup as Gotham continues performing a piece. Zooms out to medium shot part way through. Gotham expands arms like flying bird while performing. \n\nLee Gotham \n00:25:04\n[Continues performing piece with the line “Well now, where were we. You wanted to talk about sex today?” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham Gotham and music by Unknown_Musician1 and Sam Shalabi pause.] | Video Description: Medium closeup as Gotham performs piece. Camera alternates between medium closeups and medium shots throughout . \n\nLee Gotham\n00:28:43\n[Continues performing piece with the line “I’d like to make it reasonably clear that I’m a frightened man.” Sombre music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium shot as Gotham performs a piece.\n\nLee Gotham\n00:31:09\n[Continues performing piece with the line “The performer gradually regains his composure.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham and music by Unknown_Musician1 and Sam Shalabi pause.] | Video Description: Medium closeup as Gotham sips water and performs a piece. Zooms into closeup part way through, then zooms out to medium shot. \n\nLee Gotham\n00:35:18\n[Continues performing piece with the line “Failure to recognize boundaries between self and the world outside.” Music by Unknown_Musician1 and Sam Shalabi ceases in the background. Thanks audience. Applause. Thanks audience and announces break before Ann Diamond’s performance] | Video Description: Medium shot as Gotham performs a piece. Takes cigarette package out of pocket. Zooms out to long shot during applause. Zooms into medium shot when Gotham resumes speaking into mic. \n \n[No signal] \n00:37:00\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nLee Gotham\n00:37:11\n[Cuts to Gotham introducing Swifty Lazarus.] | Video Description: Varying degrees of closeup as Gotham speaks into the mic. Gotham wears a black zippered sweater with unknown white graphics on the back, a small white logo on the front left side, and sleeves rolled up to the elbows; black rimmed cap; and hair in a ponytail through the hole in the back.\n\nSwifty Lazarus \n00:37:55\n[Recording of cinematic music with harp and horns plays. Todd Swift performs a piece beginning with the line “After the end of the world, there is much work to be done.”] | Video Description: Loose closeup as Swift performs a piece. Todd Swift wears a black suit jacket atop a white button-down shirt with a black bowtie, black rectangular glasses, and dark hair close cropped on the sides and parted just off-centre. Tom Walsh wears a leather vest with decorative zippers atop a black long-sleeved shirt and short dark hair.\n\nSwifty Lazarus\n00:39:32\n[Recording of uneasy and discordant string instrument music plays. Shifts to cacophonous horn and percussion sounds and screeching. Swift performs a piece titled “(?) Barbershop.” Brief applause and laughing. Video Description: Swift stands perpendicular to the mic. Walsh stands up. Swift approaches the mic and performs a piece. Loose closeup throughout. \n\nSwifty Lazarus\n00:41:28\n[Recording of cinematic string and horn music plays. In a radio-esque transatlantic accent, a recorded voice delivers monologue that includes the line “the hearts of men, a shadow now.”] | Video Description: Swift holds up a white handheld cassette tape player to the mic. Looks at watch. Takes tape player away from mic. Loose closeup throughout.\n\nSwifty Lazarus\n00:42:25\n[Recording of spare xylophone music plays. In a muted, mid-twentieth-century-radio tone, Swift performs a piece beginning with the line, “The theory of tunnel (work?) is a powerful distinction between a (ledger?) and employment.” Music gradually adds both cinematic and discordant strings reminiscent of earlier musical sections.] | Video Description: Loose closeup to closeup as Smith performs a piece with a trumpet mute up to their lips.\n\nSwifty Lazarus\n00:45:38\n[Recording of discordant string music and vocalization plays. Swift performs a piece beginning with the line “The shadowy man (has guilt inside?) (? and sighs?). Moscow.”.] | Video Description: Medium shot as Swift turns away from the mic. Closeup as Swift turns back and performs a piece, reading off a newspaper. \n\nSwifty Lazarus\n00:47:38\n[Recording of up-beat jazz music with xylophone and horns plays. Swift performs a piece beginning with the line, “History is dead and the full weight of the present (?)” Laughter periodically throughout. The music and Swift’s delivery gets faster and more chaotic partway through. Music suddenly cuts seemingly on purpose and Swift continues reading. Music recommences. Applause] | Video Description: Closeup and extreme closeup as Swift performs a piece. \n\nSwifty Lazarus\n00:51:04\n[Recording of a single unknown string or horn instrument playing seemingly random notes plays. A recording of two voices conversing plays.] | Video Description: Varying degrees of closeup as Swift holds a white handheld cassette tape player to the mic. Nods and smiles along with the audio. \n\nSwifty Lazarus\n00:52:35\n[Recording of simple snare and bass drum beat plays, in which short guitar or horn melodies quip periodically. Swift performs a piece beginning with the line “So much rain in one hat band.”] | Video Description: Medium shots and loose closeups as Swift performs a piece. \n\nSwifty Lazarus\n00:55:17\n[Old recording of a two-voice conversation plays. Swift softly delivers a piece. Uneasy vintage horror movie music begins partway through.] | Video Description: Walsh stands and lights a cigarette. Closeup as Swift performs a piece. \n\nSwifty Lazarus\n00:56:53\n[Old recording of a two-voice phone conversation plays. The first verse of a child choir singing “Oh Canada” plays. A recording of steady gong or cymbal hits plays. Swift performs a piece beginning with the line “One softness (?) going, the sea turns like glass.” Recording of staccato pulses of unknown instruments begin partway through.] | Video Description: Closeup as Swift performs a piece.\n\nSwifty Lazarus\n00:59:48\n[Old recording of a newscast beginning with the line “The Nazi war criminal died” plays. Swift performs a piece beginning with the line “But when the Berlin Wall fell five years ago, it was a signal.” A recording of raucous percussion plays after the first line, evolves into quiet sirens.] | Video Description: Closeup of the microphone while Swift smokes a cigarette off-camera. Closeup as Swift performs a piece.\n\nSwifty Lazarus\n01:01:45\n[Recording of hopeful and content piano and drum music plays. Swift strongly performs a piece beginning with the line “There’s one thing I remember right from childhood. From the beginning. And it is the smell of roses.” Music slowly shifts to high-pitched and discordant electric organ chords with periodic driving percussion. Applause] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:11:58\n[Long pause.] | Video Description: Medium shot and closeup as Swift faces away from the mic checking watch and adjusting headphones, sometimes out of frame. \n\nSwifty Lazarus\n01:13:06\n[Recording of ominous stringed instrument music plays. Swift performs a piece beginning with the line “What happened to you when you were murdered?”] | Video Description: Closeup as Swift performs a piece, ending with an extreme closeup. \n\nSwifty Lazarus\n01:16:21\n[Recording of unknown screeching instrument plays. Recording of one person pleading “no” and “stop” and another person talking sinisterly plays. Recording of a two-voice conversation plays.] Video Description: Extreme closeup as Swift holds up a white handheld cassette tape player to the mic. Swift’s face reacts to the dialogue in the recordings. \n\nSwifty Lazarus\n01:18:15\n[Recording of intense large wind instrument and large drums plays. Swift performs a piece beginning with the line “The architect of the future.”] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:20:40\n[Recording of ominous ambient music plays. Swift performs a piece beginning with the line “I’ve seen a man stagger with a thousand arrows in his back.” Applause.] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:24:55\n[Swift announces, “this is the last one.” Recording of happy horn and drum music plays, cuts suddenly, and recommences. Swift performs a piece that may be titled “Ten Rose Songs.” Music cuts and recommences in different styles rapidly and repeatedly throughout performance. Laughter throughout. Applause.] | Video Description: Walsh stands up, leans over to Swift, sits back down. Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:28:58\n[Walsh introduces Swift and themselves. Explains that the name of their group is inspired by “Hollywood’s greatest entrepreneur,” Irving Paul \"Swifty\" Lazar. | Video Description: Medium shot as Swift and Walsh stand side by side. Closeup as Walsh speaks into the mic. \n\nLee Gotham\n01:29:46\n[Hopes everyone “soaked that up.” Encourages people to stay after the show. Mentions that bill bisset is next week’s performer. Mentions further future events. Applause.] | Video Description: Loose closeup to extreme closeup as Gotham speaks into the mic. \n\n[Bistro 4]\n01:31:04\nVideo Description: Camera zooms out from closeup to long shot of the lone mic on stage. \n\n[No signal] \n01:31:15\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nbill bissett\n01:31:18\n[Cuts to bissett performing Unknown Composition 1.] | Video Description: Camera zooms into closeup on bill bissett, vocalizing and singing into the microphone and keeping rhythm with a maraca. Camera zooms in and out between closeup and medium closeup on bissett and his maraca. bissett wears thick-framed glasses, chin-length hair, and a graphic t-shirt. Lee Gotham briefly passes through camera view. He wears a green collared shirt and long brown hair.\n\nbill bissett \n01:37:37\n[Finishes Unknown Composition 1. Audience applause. bill bissett addresses audience.] | Video Description: bill bissett stops the rhythm and brings the maraca to his lips. Camera zooms out into a long shot as bissett puts maraca in his back pocket and picks up a binder with multiple documents inside. Audience members applaud. bissett addresses audience.\n\nbill bissett \n01:37:58\n[Reads “n e c k s” (from Th last photo uv th human soul, Talonbooks, 1993). Audience laughter throughout.] | Video Description: Camera zooms in and out between long shot, medium long shot, and closeup on bill bissett reading poem from lifted binder. \n\nbill bissett\n01:42:06\n[Finishes reading “n e c k s”. Audience applause. bill bissett introduces Sharon H. Nelson. Audience laughter and applause.] Video Description: bill bissett closes binder and rubs hand across forehead. Camera pans across the room, capturing a full venue of applauding audience members. Camera zooms into closeup on bissett addressing audience. bill bissett begins walking off stage via stage left. \n\nSharon H. Nelson\n01:42:48\n[Ambient sounds (voices).] | Video Description: Nelson stands up from audience and places hand on bissett’s shoulder before moving by him. Nelson speaks to an audience member out-of-frame (bissett?) before walking to the microphone stand on stage.\n\nSharon H. Nelson\n01:42:59\n[Addresses audience. Interacts with bill bissett. Audience laughter. Addresses audience, introducing Unknown Poem 1 as a response to bissett’s “(ken and heath made for life?).” Audience laughter.] | Video Description: Sharon H. Nelson speaks into the microphone, which is set significantly higher on the stand than their height. Nelson wears green and orange patterned dress, long dark hair, and a necklace. Nelson addresses bill bissett (off-screen). Nelson addresses audience. An unseen audience member adjusts microphone stand to Nelson’s height. Nelson spits out gum and looks for place to put chewed wad. An unseen audience member stretches out palm in front of Nelson. Nelson addresses audience before glancing down at the pages they hold.\n\nSharon H. Nelson\n01:44:28\n[Reads Unknown Poem 1. Audience laughter throughout.] | Video Description: Camera zooms in and out on Sharon H. Nelson reading from pages. Nelson breaks from reading to address audience before returning to reading.\n\nSharon H. Nelson\n01:48:09\n[Finishes Unknown Poem 1. Audience applause. bill bissett addresses audience. Sharon H. Nelson interacts with bill bissett. Audience laughter.] | Video Description: Sharon H. Nelson puts down sheets of paper on the floor and walks off via stage left. Camera zooms out to long shot, capturing applauding audience members. bill bissett walks up to microphone stand via stage left. bissett addresses audience and adjusts microphone stand height. Camera pans right. Nelson addresses bissett. Audience members laugh. Lee Gotham is at one of the large window panes, adjusting a fixture. Camera pans left, back toward bissett on stage. Audience members briefly pass through camera view. bissett adjusts glasses, opens binder, and flips through pages.\n\nbill bissett\n01:49:00\n[Reads Unknown Poem 1 (“vapours / don’t blame it on the dog / are you barking?…”). Audience laughter throughout.] | Video Description: bill bissett reads from binder. Camera shakes, panning from stage and over various audience members, before panning back and zooming in and out on bissett. \n\nbill bissett\n01:51:50\n[Finishes Unknown Poem 1. Audience applause. bill bissett thanks audience.] | Video Description: bill bissett flips page and addresses audience.\n\nbill bissett\n01:52:03\n[Reads “unmatching phenomena” (from Inkorrect Thots, Talonbooks, 1992). Audience laughter throughout.] | Video Description: billl bissett reads from binder. Audience members briefly pass through camera view. \n\nbill bissett\n01:54:05\n[Finishes “unmatching phenomena”. Audience applause. bill bissett thanks audience. Audience laughter. Begins poem before breaking off to address audience. Audience laughter.] | Video Description: bill bissett lowers binder and glances down, flipping through it. bill bissett lifts binder again and addresses audience. bissett smiles at audience laughter and addresses audience, lifting hand.\n\nbill bissett\n01:54:32\n[Resumes reading “last nite I had a nitemare abt free trade” (from Inkorrect Thots). Audience laughter throughout.] | Video Description: bill bissett resumes reading from binder.\n\nbill bissett\n01:56:10\n[Finishes “last nite I had a nitemare abt free trade”. Audience applause. bill bissett thanks audience.] | Video Description: Camera zooms in and out as bill bissett lowers binder and flips through its pages. bissett addresses audience.\n\nbill bissett\n01:56:22\n[Begins reading Unknown Poem 2 (“who wrote the script though? / don’t you always wonder that…”) before breaking off to addresses audience. Audience laughter. Resumes reading Unknown Poem 2 before addressing audience and interacting with Unknown Audience Member 1. Audience laughter. bill bissett interacts with Unknown Audience Member 2. Audience laughter. Resumes reading Unknown Poem 2. Audience laughter and applause throughout.] | Video Description: bill bissett begins reading from binder before addressing audience, raising hand. bissett resumes reading before addressing audience again. An unseen audience member addresses bissett and they interact. bissett interacts with another unseen audience member. bissett resumes reading from binder.\n\nbill bissett\n01:58:44\n[Finishes Unknown Poem 2. Audience applause. bill bissett thanks audience. Unknown Audience Member 3 and bissett interact.] | Video Description: Camera zooms out to long shot as bill bissett lowers binder and flips through pages. Camera pans across audience members applauding. bill bissett addresses audience. bissett interacts with an unseen audience member.\n\nbill bissett\n01:59:06\n[Reads “reflex blu” (from What We Have, Talonbooks, 1988).] | Video Description: Camera zooms in and out between closeup and medium closeup on bill bissett reading from binder. \n\nbill bissett\n02:01:40\n[Finishes “reflex blu”. Audience applause. Introduces Sharon H. Nelson. Audience applause.] | Video Description: bill bissett lowers binder and adjusts glasses, looking out at audience. bill bissett addresses audience. bill bissett walks toward Sharon H. Nelson stage-left and they shake hands and exchange a kiss. Nelson walks toward microphone stand. bissett takes seat adjacent to stage left.]\n\nSharon H. Nelson\n02:02:14\n[Addresses audience. Addresses Unknown Audience Member 4. Addresses audience. Introduces “Form and Structure” (from Grasping Men’s Metaphors, Muses’ Co., 1993) mentioning Dorothy Parker. Audience laughter.] | Video Description: Camera zooms into a closeup on Sharon H. Nelson tilting microphone downward and addressing audience. An unknown audience member walks into the frame, kneeling to adjust microphone stand to Nelson’s height. Nelson addresses unknown audience member.\n\nSharon H. Nelson\n02:03:20\n[Reads “Form and Structure”. Audience laughter throughout.] | Video Description: Sharon H. Nelson reads to the audience, with gestures to accentuate the poem’s humour.\n\nSharon H. Nelson\n02:04:02\n[Finishes “Form and Structure”. Audience applause. Introduces “On the Success of a Middle-Aged Poet”. Audience laughter.]  | Video Description: Sharon H. Nelson smiles at the audience as camera zooms out into a medium long shot. Nelson flips through the book in their hands. Nelson addresses audience.\n\nSharon H. Nelson\n02:04:38\n[Reads “On the Success of a Middle-Aged Poet”.] | Video Description: Camera zooms into a closeup on Sharon H. Nelson reading from book.\n\nSharon H. Nelson\n02:05:18\n[Audience laughter. Audience applause. Sharon H. Nelson introduces Unknown Poem 2, in the style of nursery rhymes, and mentioning playing show-and-tell in school. Sharon H. Nelson begins to read Unknown Poem 2, breaking off to address audience. Audience members respond.] | Video Description: Sharon H. Nelson nods.  Addresses audience. Looks down to read, before glancing up and address audience.\n\nSharon H. Nelson\n02:05:48\n[Resumes reading Unknown Poem 2. Audience laughter throughout. Addresses audience member resuming reading Unknown Poem 2.] | Video Description: Sharon H. Nelson glances down and reads from book. Glances up to address audience before resuming reading.\n\nSharon H. Nelson\n02:07:17\n[Pauses. Audience applause.] | Video Description: Sharon H. Nelson smiles, raises a finger, and addresses audience (inaudible). \n\nSharon H. Nelson\n02:07:25\n[Resumes Unknown Poem 2. Audience laughter throughout.] | Video Description: Sharon H. Nelson resumes reading Unknown Poem 2.\n\nSharon H. Nelson\n02:08:01\n[Finishes Unknown Poem 2. Audience laughter and applause. Introduces bill bissett.] | Video Description: Sharon H. Nelson puts down book and smiles at audience. Gestures toward and addresses offscreen audience member (bill bissett?). Camera zooms out into medium long shot as Nelson exits via stage left. Backs of audience members’ heads. Nelson and bissett interact off-screen. bissett approaches microphone via stage left.\n\nbill bissett\n02:08:27\n[Ambient sounds (voices, movement).] | Video Description: bill bissett adjusts microphone stand height. bissett flips and sorts through pages, putting one briefly in his mouth. An unknown audience member briefly passes through camera view. bissett selects a page, places something down, and turns back toward the microphone.\n\nbill bissett \n02:09:26\n[Performs “evreewun needs a gud fuck n th rest is bullshit jack sd” (from Inkorrect Thots). Audience laughter throughout.] | Video Description: Camera zooms out and in between extreme closeup and medium long shot on bill bissett performs and vocalizes into microphone. bissett holds up and references pages throughout the performance, occasionally flipping. \n\nbill bissett \n02:16:11\n[Finishes “evreewun needs a gud fuck n th rest is bullshit jack sd”. Audience applause. Thanks audience. Addresses audience, talking about quinine, TV detectives, and murder mysteries. Audience laughter throughout.] | Video Description: bill bissett goes silent and slowly lowers outstretched arms. Camera zooms out to long shot of applauding audience members in front of the stage, with one unknown audience member in an orange sweater moving through the crowd. Lee Gotham approaches the stage via stage left and interacts with bissett before returning to his seat. bissett picks up binder and flips through pages. Camera zooms in as bissett addresses audience. bissett drinks from a glass, puts it on the floor, and flips through binder.\n\nbill bissett \n02:17:30\n[Reads Unknown Poem 3 (“Mr. and Mrs. Ridge of Venus Land…”). Audience laughter throughout.] | Video Description: bill bissett reads from binder. \n\nbill bissett \n02:18:44\n[Laughs. Audience laughter.] | Video Description: bill bissett laugh before looking back down at binder.\n\nbill bissett \n02:18:50\n[Resumes reading Unknown Poem 3. Audience laughter throughout.] | Video Description: Camera zooms into closeup on bill bissett reading from binder.\n\nbill bissett \n02:20:22\n[Finishes Unknown Poem 3. Audience laughter and applause. Introduces Sharon H. Nelson.] | Video Description: bill bissett lowers and closes binder. Gestures to offscreen audience member (Sharon H. Nelson). bissett addresses audience and applauds along with them. bissett begins exiting via stage left. bissett and Nelson embrace and address one another as Nelson walks toward microphone stand.\n\nSharon H. Nelson\n02:20:40\n[Addresses audience. Addresses bill bissett.] | Video Description: Sharon H. Nelson addresses audience and looks over to bill bissett to address him. An unknown audience member briefly obscures camera view. \n\nSharon H. Nelson\n02:20:43\n[Ambient sounds (voices, movement).] | Sharon H. Nelson flips through pages, and an unknown audience member adjusts the microphone stand to Nelson’s height. Nelson addresses audience member adjusting microphone stand and thanks them. Camera zooms into a closeup on Nelson.\n\nSharon H. Nelson\n02:21:21\n[Addresses audience, discussing bissett’s artwork. Audience laughter. Introduces “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991).”] | Video Description: Sharon H. Nelson addresses audience.\n\nSharon H. Nelson\n02:23:14\n[Reads “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991)”.] | Video Description: Sharon H. Nelson reads from pages.\n\nSharon H. Nelson\n02:27:31\n[Finishes “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991)”. Audience applause. Sharon H. Nelson addresses audience. Introduces “The Best Minds of My Generation” (from This Flesh These Words, Ekstasis Editions, 2002), mentioning the piece is dedicated to bill bissett and to George (Predelli?), a former Catholic priest. Audience laughter. Sharon H. Nelson addresses audience.] | Video Description: Camera zooms out into long shot as Sharon H. Nelson gathers pages and nods toward audience. Camera pans across applauding audience members. Nelson addresses audience and flips through pages.\n\nSharon H. Nelson\n02:28:45\n[Coughs. Reads “The Best Minds of My Generation”.] | Video Description: Sharon H. Nelson coughs into fist. An audience member briefly obscures view of stage. Nelson reads from pages. \n\nSharon H. Nelson\n02:33:18\n[Thanks audience. Audience applause.] | Video Description: Sharon H. Nelson addresses audience. Sharon H. Nelson picks pages up from floor and exits stage via stage left. Camera pans across applauding audience members. Sharon H. Nelson sits in audience as bill bissett returns to the microphone stand on stage. bill bissett adjusts microphone stand height. \n\nbill bissett \n02:33:29\n[Addresses audience. Audience applause.] | Video Description: bill bissett addresses audience. bill bissett raises glass to offscreen audience member (Sharon H. Nelson?) and sips from it. \n\nbill bissett\n02:34:04\n[Ambient sounds (voices, movement).] | Video Description: Camera zooms out into medium long shot as bill bissett adjusts glasses and flips through pages. Lee Gotham passes through camera view, glancing right into the lens. \n\nbill bissett \n02:34:22\n[Reads “why dew we feer change feer uv th unknown” (from Th Influenza uv Logik, Talonbooks, 1995).] | Video Description: bill bissett reads from binder. Camera zooms in and out between closeup on bissett and long shot of bissett on stage, panning across the audience members listening to the reading and smoking. \n\nbill bissett\n02:39:11\n[Finishes \"why dew we feer change feer uv th unknown.\" Audience applause. Thanks audience.] | Video Description: bill bissett briefly closes binder before opening it again. \n\nAudience\n02:08:23\n[Ambient sounds (voices).] | Video Description: Camera begins to zoom out to a long shot revealing applauding audience members. bissett turns to an unknown audience member upstage left and interacts with them. The unknown audience member holds bissett's binder as bissett searches for a page inside it. Camera pans across audience members sitting adjacent to stage left.\n\nbill bissett\n02:39:33\n[Performs Unknown Poem 4 (“Jennifer Rawlins”?).] | Video Description: bill bissett performs and vocalizes into microphone, holding sheet of paper. \n\nbill bissett\n02:42:34\n[Finishes Unknown Poem 4. Audience applause. Thanks audience. Thanks Sharon H. Nelson. Addresses audience.] | Video Description: Camera pans over applauding audience members throughout the room. bill bissett addresses audience. Lee Gotham moves through crowd and approaches stage. bissett is given his binder by the unknown audience member holding it. Gotham and bissett hug. bissett addresses audience before exiting stage left as Gotham approaches the microphone stand.\n\nLee Gotham\n02:43:15\nWow, I think we need—Woo! Just a little time to cool down now after that. Geez, you know, I can’t, I can’t say how happy I am to, you know, be a part of something that involves not only a generous helping of spectacle but, you know, a whole lotta love, and just generally rejuvenating experience. I think what I’d like to do is, like I said, take a little break. Any of the open-mikers who’ve hung out and are still up for it are more than welcome to have their day in the rain in a moment or two. I can’t encourage people enough, as well, to come over to the corner at some point if you’re going hang out for a bit. We’ve got loads of books, both Sharon’s, bill’s, and some small press offerings of various natures. You know, when I first bill, I was doing my degree at Concordia. I went down to the stacks in what was at that time the Norris Library. Do you know there are 41 titles of bill’s in that library? Several of Sharon’s as well. But 41—you’re not going to find a lot of them in the bookstores anymore, but bill is part of a very, very vital scene, going back a good twenty odd years. [Sharon H. Nelson interacts (“Pushing thirty!”)] Pushing thirty! And they’re all still in the stacks, you know? You go down to what’s now the Webster Library, or over to the Redpath, or any other incredible institution of those varieties, you can check the stuff out because I tell you, a whole lot of innovation went into the years between then and now. Okay, so—enjoy, hang out. | Video Description: Lee Gotham addresses audience while adjust microphone stand height. Gotham addresses audience and at one point addresses Sharon H. Nelson (off-screen) before returning his focus to the audience. \n\n[No signal] \n02:45:13\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nIan Stephens\n02:45:16\n[Cuts to Stephens introducing and performing a piece titled “(Reegan’s?) Mind”. Laughter throughout. Applause.] | Video Description: Stephens wears a black parka atop a black sweater, a red, black, and white scarf, a white cloth face mask tied around his head, red nail polish on some fingernails, and close-cropped light-brown hair. Loose closeup as Stephens takes off parka and puts up hood of sweater. Closeup zooms into extreme closeup as Stephens places two fake eyes over his eyelids and squints to keep them in place. Varying degrees of closeup as Stephens performs a piece. Gestures close to face throughout. Takes off hood partway through. Medium shot zooms out to long shot as Stephens extends arms upwards, finishes the piece, and puts on parka.\n\nLee Gotham\n02:51:58\n[Thanks Ian and the audience for attending. Introduces Fortner Anderson as the “other half of ‘Broken Spoken.’” Promotes cassettes and publications for sale. Invites Anderson to the stage. Applause.] | Video Description: Varying degrees of closeup as Gotham speaks into the mic. \n\nFortner Anderson\n02:53:00\n[Performs a piece beginning with the line “I’m a man. I’m a good man.” Laughter throughout. Applause.] | Video Description: Closeup as Anderson takes mic off stand, turns away from the camera briefly, and turns back to perform the piece. Fortner wears a dark grey suit jacket atop a black button-down shirt, black leather belt, black and gold glasses, and dark brown hair that sweeps across forehead and waves away from face. Zooms into medium shot as Anderson casually walks around the stage. Turns away from the camera and pauses after piece concludes. \n\nFortner Anderson \n02:58:24\n[Performs a piece beginning with the line “Every day, I don’t care, and I will never care.” Applause.] | Video Description: Camera alternates between long shots and medium shots as Anderson performs a piece and casually walks around the stage. Walks out of frame for a moment partway through. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson \n03:01:41\n[Performs a piece beginning with the line “Sometimes I think I’m a young boy staring into a distant, sepia-toned future.” Alternates between full voice, whispering, and shouting. Applause.] | Video Description: Camera alternates between medium shots and loose closeups as Anderson performs a piece and casually walks around the stage. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson\n03:10:48\n[Performs a piece beginning with the line “I got hurt so bad today.” Applause.] | Video Description: Medium shot as Anderson performs a piece and casually walks around the stage.\n\nFortner Anderson\n03:15:08\n[Thanks Ian, Neil, Joelle, and the Fluffy Pagan Echoes. Directs audience to table to buy “souvenirs.” Applause.] | Video Description: Long shot zooms into medium shot as Anderson speaks into the mic. Places mic on stool. \n\nLee Gotham\n03:15:39\n[Thanks Anderson for “the climax of the evening’s offerings.” Announces brief pause and that the open mic will continue afterwards.] | Video Description: Medium shot as Gotham puts mic back on stand and speaks into it while smoking a cigarette. \n\n[No signal]\n03:16:09\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nLee Gotham\n03:16:16\n[Cuts to Gotham introducing Ian Stephens.] | Video Description: Medium long shot as Lee Gotham talks to Ian Stephens, who is masked and sitting upstage. Gotham wears a dark sweater with snowflake motifs, rolled-up sleeves, black baseball cap turned back, stubble, long hair. Zoom into a closeup as Gotham goes to the mic and invites Ian Stephens to the stage.\n\nIan Stephens\n03:16:50\n[Calls for Peter. Reads an epistolary poem to Peter. Invites Peter to the stage.] | Video Description: Zoom into a closeup as Ian Stephens interacts with the audience and reads a poem directed to an audience member. Stephens wears a brown jacket atop a t-shirt with the words “BAD RELIGION” partially visible, a black scarf with red and grey stripes, buzz haircut.\n\nPeter\n03:18:44\n[Reads “Science Fiction,” beginning with the line “I live in a very old beautiful home.” Applause. Calls Ian Stephens to the stage.] | Video Description: Zoom out to a medium closeup as Peter enters the stage. Peter wears a plaid brown shirt with rolled-up sleeves atop a white shirt, black scarf, black beanie hat, close-trimmed beard. Peter reads a piece.\n\nIan Stephens\n03:22:20\n[Organizes objects on stage, in front of him. Introduces “Regan's mind #2, or, Reagan remembers.” Continues setting up the stage. Puts on a cowboy hat. Sits down. Explains that, in this piece, he is Reagan’s mind. Puts on fake eyeballs, one larger than the other.] | Video Description: Medium closeup as Ian Stephens sets the stage.\n\nIan Stephens\n03:25:22\n[Performs “Regan's mind #2, or, Regan remembers.” The piece is spoken against the background recording of a radio that keeps switching between stations; Stephens frequently comments upon the different pieces of music. Applause. Thanks the audience.] | Video Description: Medium closeup as Ian Stephens performs a piece while sitting down and holding the mic. After the opening the line, the fake eyeballs fall. Stephens readjusts them, but they fall multiple times. Stephens holds props during the performance, including a doll. At the end of the piece, amid applause, Stephens removes the cowboy hat.\n\nIan Stephens\n03:41:43\n[Introduces and reads “The holy city,” crediting the music to Kevin Komoda (Stephen’s collaborator in the Wining Dining Drilling musical group). Performs “The holy city,” against background music by Kevin Komoda. Thanks the audience. Applause.] | Video Description: Medium shot, then zoom into a closeup as Ian Stephens introduces and performs a piece. Stephens stands up to perform, holding a notebook and the mic; the camera zooms out and back into a medium closeup, following Stephens.\n\nIan Stephens\n03:49:37\n[Announces he wants to try something different at the end, opening space for questions from the audience. Introduces “a few sweet terror poems,” adding that it is tricky but not impossible to read them (referring to the fact he’s wearing a mask). Before reading, names objects from what he calls “Reagan’s mind’s desk,” including a book titled “Guilt Free.” Adds that Reagan is a lucky man to have Alzheimer’s.] | Video Description: Medium closeup as Ian Stephens leafs through a notebook, talks with the audience, then puts on a skeleton mask.\n\nIan Stephens\n03:51:37\n[Reads a poem from the “Let’s be dead” sequence, beginning with the line, “I drew a picture of my coffin.” Explains it was not included in the book (Diary of a Trademark, The Muses’ Co., 1995) because it was “too deadly.”] | Video Description: Medium closeup as Ian Stephens performs a piece.\n\nIan Stephens\n03:52:30\n[Reads “Let’s be dead,” opening with the line “I know the club where you got the blow-job” (with slight differences from the version published in Diary of a Trademark, The Muses’ Co., 1995). Thanks audience. Applause.] | Video Description: Medium closeup as Ian Stephens performs a poem. Removes the mask mid-performance.\n\nIan Stephens\n04:00:11\n[Introduces “I Started to get sick in New York” mentioning it is also from the book (Diary of a Trademark, The Muses’ Co., 1995) and another piece with music by Kevin Komoda. States the piece is dedicated to David Wojnarowicz. Performs piece, with significant differences from the version published in the book. Thanks the audience. Applause.] | Video Description: Medium shot then zoom into a medium closeup as Ian Stephens introduces and performs a piece.\n\nIan Stephens\n04:06:35\n[Asks the audience if they have any questions.] | Video Description: Medium shot then zoom into a medium closeup as Ian Stephens welcomes questions from the audience.\n\nAudience_Member1\n04:06:42\nDid I know you in Lennoxville in 1972? [Laughter.] | Video Description: Zoom into a medium closeup as Ian Stephens listens to a question from the audience.\n\nIan Stephens\n04:06:48\nA hypothetical question. Yes. [Laughter.] | Video Description: Medium closeup as Ian Stephens answers the question.\n\nLee Gotham\n04:07:03\n…speaking about a journalist, and we had a difference of opinion of your work, and she said, in spite of frequent irony, it wasn’t rescued, that there was something wrong with it [laughter]; and I thought, well, it’s more just sort of brute reality of it that appeals to me, more often than not, above and beyond all the crap and whatnot. What do you say, when someone has this adverse sort of reaction? | Video Description: Medium closeup then zoom out to a medium shot as Ian Stephens listens to a question from Lee Gotham.\n\nIan Stephens\n04:07:41\nI don’t care. [Laughter. Asks if anybody has another question.] | Video Description: Medium shot as Ian Stephens receives the mic back from Lee Gotham then zoom into a closeup as Stephens answers Gotham’s question.\n\nAudience_Member2\n04:08:03\n[Asks if Stephens is happy to be back in Montreal]. | Video Description: Medium closeup as Ian Stephens listens to a question from the audience.\n\nIan Stephens\n04:08:10\nOh yeah, I love Montreal, my home, I was born here, raised here. Everything I see around here resonates. (Certain little memories?). (?) Montreal was a province unto itself. | Video Description: Medium closeup as Ian Stephens answers to the question.\n\nLee Gotham\n04:08:33\n[Asks about other performers or events that Ian Stephens would like see throughout the town.] | Video Description: Medium closeup as Ian Stephens listens to a question from Lee Gotham.\n\nIan Stephens\n04:08:48\nI think things are moving in a half-decent pace. [Lee Gotham interrupts.] I think the spoken word is getting passé. You have to make the leap into performance and you do that by getting out of the text; I’m still going through transition. But once you get beyond the text, it becomes performance poetry, which is a leap a lot of poets can’t do. The academics cannot do it. And I think that’s the litmus test. The academics, they wonder why their books don’t sell, they are unpopular, or whatever. You have to make that leap, I think. If you want to work with an audience, other than a very limited book reader. Ok, no more questions. Thank you very much. | Video Description: Medium closeup as Ian Stephens answers Gotham’s question. Zoom out to a medium long shot as Stephens puts scarf on and organizes objects amid applause.\n\nLee Gotham\n04:10:00\n[Thanks Ian Stephens. Announces break.] | Video Description: Zoom into a medium closeup as Lee Gotham takes the mic and announces a break.\n\n[No signal]\n04:10:15\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nLee Gotham\n04:10:20\n[Cuts to Gotham introducing Robert Allen as one of his favourite profs from Concordia. Invites Allen to the stage to read from novels, poetry collections, and Moosehead Anthologies he has been a part of. Mentions Allen is a new editor at Matrix Magazine. Gotham wears a black and white knit sweater with geometric designs and sleeves rolled up to elbows and straight shoulder-length hair down.\n\nRobert Allen\n04:11:30\n[Thanks Gotham. Introduces and performs a piece titled “The Arnold Schwarzenegger and Maria Shriver Wedding Poem.”] | Video Description: Medium closeup as Allen introduces and performs a piece. Allen wears a grey long-sleeve plaid shirt with black buttons and a black hood, and slightly curly light brown chin-length hair.\n\nRobert Allen\n04:13:17\n[Explains that the next piece is about the plane crash of a French rugby team in the Andes mountains and it involves cannibalism. Introduces and performs a piece titled “Rugby Players Stranded in the Andes.” Applause.] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen\n04:16:34\n[Explains that the next piece is about the mail order pornography business. Introduces and performs a piece titled “Late Romantics.”] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen \n04:18:03\n[Explains that the next piece encapsulates nineteenth-century Russian literature in five lines. Introduces and performs a piece titled “A Sadder Scene Than You Know at Tolstoy(’s?) Station.”] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen\n04:18:48\n[Mentions he lives in the country with Anne Stone. Introduces and performs a piece titled “Mount Cloud.” Applause. Hard cut.] | Video Description: Closeup as Allen introduces and performs a piece. Zooms out to long shot as Allen leaves stage. Hard cut. \n\nLee Gotham\n04:21:00\nIntroduces Doug Isaac. Mentions Isaac’s poetry collection Past, Present: Tense will be published with Imperial (Note: book actually published with BuschekBooks.) Applause.] | Video Description: Closeup zooms out to medium shot as Gotham speaks into the mic. \n\nDouglas (Doug) Isaac\n04:21:30\n[Introduces piece titled “Centres of Treatment” that is in part a homeless man’s verbatim dialogue, while the other half is dialogue written by Isaac. Says he will use different voices for each character.] | Video Description: Closeup as Isaac lowers the mic and speaks to the audience. Isaac wears a black button-down shirt with sleeves rolled up to elbows atop a white shirt that has an indiscernible pattern, and medium brown hair pushed back from face. \n\nSpokenWeb notes \n04:22:39\nAt 04:23:30 and 00:23:43, Isaac says a racial slur. \n\nDouglas (Doug) Isaac\n04:22:44\n[Performs \"Centres of Treatment.\" Applause.] | Video Description: Zooms out to medium shot as Isaac performs a piece, alternating between performing into the mic and stepping slightly away from it. \n\nLee Gotham\n04:33:33\n[Thanks Douglas (Doug) Isaac.] | Video Description: Medium shot of Gotham speaking into the mic.\n\n[No signal]\n04:33:43\nAmbient sounds (white noise).] | Video Description: Black screen with static.\n\nColin Christie and Corey Frost\n04:33:53\n[Cuts to Colin Christie and Corey Frost performing a piece about suicide. Alternate between singing songs such as “Crimson and Clover” by Tommy James & The Shondells (Roulette, single, 1968), vocally imitating vehicles, and performing the piece. Play the children’s clapping game “Miss Mary Mack.” Applause.] | Video Description: Long shot of Christie and Frost performing a piece without mics, singing, walking around the stage area, gesturing, and becoming different characters for an embodied and theatrical performance. Christie wears a light blue long-sleeved plaid shirt open atop a black shirt, a necklace, and light brown hair. Frost wears a plaid vest atop a medium blue plaid shirt, a necklace with a large gold ring, and long curly dark brown hair.\n\nLee Gotham \n04:39:01\n[Thanks Colin Christie and Corey Frost.] Video Description: Long shot of Bistro 4 and Gotham speaking into the mic.]\n\n[No signal]\n04:40:03\n[Ambient sounds (white noise).] | Video description: Black screen with white text that reads \"-0:00:32.\"\n\nLee Gotham\n04:40:07\n[Cuts to Gotham inviting Ian Ferrier to the stage.] | Video Description: Medium closeup zooms out to medium long shot as Gotham speaks into the mic.\n\nIan Ferrier \n04:41:09\n[Introduces and performs a piece titled “St. Valentine’s Day Massacre.” Laughter throughout. Applause.] Video Description: Medium shot zooms into closeup as Ferrier adjusts the mic, speaks into the mic, and performs a piece. Ferrier wears an unzipped black winter jacket atop a black graphic t-shirt with a white logo, dark brown hair with a strip shaved out of it from above left eye to crown of head.\n\nIan Ferrier \n04:44:57\n[Introduces and performs a piece titled “The Theatre of Three AM.” Applause.] | Video Description: Closeup as Ian Ferrier speaks into the mic and performs a piece. \n\nIan Ferrier\n04:46:24\n[Introduces and performs a piece titled “Politician.” Laughter throughout. Applause.] | Video Description: Closeup as Ian Ferrier speaks into the mic and performs a piece. \n\n[Bistro 4]\n04:49:00\n[Ambient noise, applause.] | Closeup zooms out to a long shot of the lone mic on the stage. \n\n[No signal] \n04:49:11\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nSteve Luxton\n04:49:15\n[Cuts to Luxton introducing and performing a piece titled “Sweeney Todd.” Applause.] | Video Description: Medium shot zooms into loose closeup as Luxton speaks into the mic and performs a piece. Luxton wears a red button-down shirt, round metal-rimmed glasses, wavy blonde ear-length hair.\n\n[Bistro 4]\n04:52:38\n[Ambient noise, applause.] | Closeup zooms out to a long shot of the lone mic on the stage.\n\n[No signal]\n04:52:45\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nSpokenWeb notes\n04:52:50\nIn the following performance, Raymond Filip uses an outdated term in reference to a cross-dressing man.\n\nRaymond Filip\n04:52:50\n[Cuts to Filip reading “Transvestite at his Toilette.” Applause.] | Video Description: Cut to medium shot as Filip performs a piece. Filip wears a dark plaid sport coat atop a brown button-down shirt, brown shaggy hair, mustache, and chin beard.\n\n[No signal]\n04:54:56\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nEND\n04:56:03\n[End of recording.]"],"score":0.3679034},{"id":"1291","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Ted Berrigan Reading at Sir George Williams University, The Poetry Series, 4 December 1970"],"item_title_source":["Cataloguer"],"item_title_note":["\"RT 551 TED BERRIGAN Recorded December 4, 1970 at Sir George Williams University 3.75 ips on 1. mil tape, 1/2 track\" written on sticker on the back of the tape box. \"RT 551\" written on sticker on the front of the tape box. \"TED BERRIGAN I086-11-004\" written on spine of the tape box. \"TED BERRIGAN I086-11-004\" and \"RT 551\" written on stickers on the reel.\n\nWrong tape and information photographed ??"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 5"],"item_identifiers":["[]"],"creator_names":["Berrigan, Ted"],"creator_names_search":["Berrigan, Ted"],"creators":["[{\"url\":\"http://viaf.org/viaf/64027570\",\"name\":\"Berrigan, Ted\",\"dates\":\"1934-1983\",\"notes\":\"Poet and editor Ted Berrigan was born in Providence, Rhode Island on November 15, 1934. He studied briefly at Providence College until 1954 when he joined the US army, which he served three years, an eighteen months of which were spent in the Korean War. Berrigan returned to the US and completed a Bachelor’s degree in English literature at the University of Tulsa, Oklahoma in 1595. It was there that he met Ron Padgett and Joe Brainard. Berrigan completed his MA in 1962, and soon after, with a number of friends from Tulsa, went north to the Lower East Side of New York City. By 1963, Berrigan had established C: A Journal of Poetry, which published not only the work of his friends, but the poetry of the older generation of New York poets and artists like Andy Warhol. In 1964, Berrigan published his most accomplished collection of poems, The Sonnets (Lorenz & Ellen Gude, 1964). Berrigan also taught at the St. Mark’s Poetry Project at its conception by Paul Blackburn, helping to shape the project and its programmes in its early days. He also lectured at the State University of Michigan, University of Iowa, Yale University, the University of Michigan, and at the Jack Kerouac School of Disembodied Poetics at Naropa Institute in Boulder, Colorado. A selection of his publications include A Lily for My Love (Self published, 1959), In the Early Morning Rain (Cape Goliard Press, 1970), Red Wagon (Yellow Press, 1976), Galileo; or Finksville a play (1964) and Bean Spasms (Kulchur Press, 1967) written with Ron Padgett. Ted Berrigan died on July 4, 1983. The most comprehensive collection of his poetry can be found in So Going Around Cities: New and Selected Poems 1958-1979 (Blue Wind Press, 1980).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Bowering, George"],"contributors_names_search":["Bowering, George"],"contributors":["[{\"url\":\"http://viaf.org/viaf/34469976\",\"name\":\"Bowering, George\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Bowering, George"],"Series_organizer_name":["Bowering, George"],"Performance_Date":[1970],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1970 12 4\",\"type\":\"Performance Date\",\"notes\":\"Date reference on tape box\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Ted Berrigan reads from In the Early Morning Rain (Cape Goliard, 1970), The Sonnets (Grove Press, 1964), Many Happy Returns (Corinth, 1969) and poems later collected in So Going Around Cities (Berkley, 1980) as well as a few unknown poems."],"contents":["ted_berrigan_i086-11-004.mp3\n\nGeorge Bowering\n00:00:00\nWelcome to at last the second reading in the series, for this year.  As you probably know, the series that we have, it might be loosely called a kind of an avant-garde series, and in the, this is our fifth year, and this is the first time we've ever had anybody from the New York School [https://www.wikidata.org/wiki/Q1972942]--it's not going to be the last time, we're going to have Kenneth Koch [https://www.wikidata.org/wiki/Q2708628] in the spring, and we're looking for Tom Clarke [https://www.wikidata.org/wiki/Q7815337] next fall. Berrigan [https://www.wikidata.org/wiki/Q2399732] is I guess now, one of the, say the halfback, I supposed, or quarterback of the New York School. Many of you have probably seen...[laughter] yeah, linebacker! When you ask when you're a little thin... And most of you have probably seen the propaganda sheet that's been around, downstairs and so on, and so you've heard the words that some of his confreres have said about him. I'd just like to add a little bit, in addition to those earlier books such as The Sonnets, and Bean Spasms, there's a couple of new books that have just appeared, one's called In the Early Morning Rain, which will be available here because it's a Cape Goliard book, and it's distributed in Canada [https://www.wikidata.org/wiki/Q16] by one of the big Toronto [https://www.wikidata.org/wiki/Q172] publishers, and another one with a Kraut title that I can't read that's bilingual, half-German and half-English that I'm sure we'll hear some from....\n \nTed Berrigan\n00:01:31\nThe title's [unintelligible] Guillaume Apollinaire [https://www.wikidata.org/wiki/Q133855] ist ...\n \nGeorge Bowering\n00:01:34\nOh I see, yeah right.\n \nTed Berrigan\n00:01:35\nHowever I don't have any available, only in Berlin [https://www.wikidata.org/wiki/Q64].\n \nGeorge Bowering\n00:01:38\nRight, so if you happen to be in Berlin, snap up a copy of Guillaume Apollinaire ist tot und Anders. So I'd like to mention that Ted Berrigan is going to read one set, and then he wants to stop for a very short intermission, say like a five-minute intermission, and then haul you back in again and do a second set. So ladies and gentlemen, etcetera, Ted Berrigan.\n \nAudience\n00:02:05\nApplause. \n \nUnknown\n00:02:07\n[Cut or edit made in tape. Unknown amount of time elapsed]. \n \nTed Berrigan\n00:02:08\nIn the first set I'm going to read mostly poems I've written over the last four or five years. Actually, longer than that, some going back to 1962, or '61. I don't know how long this set'll be. It'll, should be less than a half-hour. In the second set I'll read poems I've written over the last year or two. However I want to start with a poem that I wrote about two years ago. It's called \"Heroin\" I read this in high schools in Ann Arbor [https://www.wikidata.org/wiki/Q485172] which I went to read in a program called Poetry Ann Arbor, and I wanted, I read the title and then I wanted to, I read the title and then I wanted to, I found it real funny because it was called \"Heroin,\" and I wanted to disclaim that it was a pro-heroin poem. So I said, this poem is not a pro-heroin poem.Then I realized there wasn't an anti-heroin poem either.  So I ended them, it was just sort of an on-heroin poem. [Audience laughter]. All my poems are pretty much alike, and this is fairly typical of what you'll be hearing the rest of the evening. \n \nTed Berrigan\n00:03:19\nReads \"Heroin\".\n \nTed Berrigan\n00:04:22\nThis poem is called \"Frank O'Hara's Question\". Frank O'Hara [https://www.wikidata.org/wiki/Q951010] is a poet from New York [https://www.wikidata.org/wiki/Q60], who's dead, he died when he was forty years old a couple of years ago in an automobile accident. The title doesn't have too much to do with the poem, except that it sort of states something that Frank O'Hara evidently had to say, and so it says something that I have to say too in my own way, not that I have to say it the same way that Frank did. \n \nTed Berrigan\n00:04:56\nReads \"Frank O’Hara’s Question\".\n \nTed Berrigan\n00:05:42\nThis is a poem I wrote in 1962. It's called \"Words for Love\". It's a bit rhetorical, but it's the best I could do in 1962, and I still like it a lot, albeit I wonder at some of it.  \"Words for Love\". It was written, actually, at a very difficult time in my life, and I guess I felt the need to make some sort of statement.\n \nTed Berrigan\n00:06:09\nReads \"Words for Love\".\n \nTed Berrigan\n00:08:07\nReads [\"I wake up 11:30, back aching\"].\n \nTed Berrigan\n00:09:23\nReads “Personal Poem #7. \n \nTed Berrigan\n00:10:23\nReads “Personal Poem”.\n \nAudience\n00:11:08\nApplause.\n\nTed Berrigan\n00:11:10\nThank you. Charlie Stanton liked that one too. [Audience laughter]. This is the last one of those kind of poems [audience laughter]. \n \nTed Berrigan\n00:11:21\nReads “Personal Poem #9”.\n\nTed Berrigan\n00:12:32\nI've always liked that poem. [Laughter]. All of those are written around 1962, 61 and 62.  I want to skip up to around 1967. I wrote this poem called \"Things to do in New York City\". I was leaving New York, and this poem, like many of my poems, was written for a specific occasion. It was for someone's birthday. And the poem, it's just my poem, it's not about the other person's birthday, it's just a present for him on his birthday. \n \nTed Berrigan\n00:13:24\nReads \"Things to do in New York City\".\n \nTed Berrigan\n00:14:20\nThis poem is called \"Ten Things I do Every Day,\" which is...it's true, as a matter of fact, in a way. In a manner of speaking. But it's not true that it's ten things. Alas. But that was just the title, like the ten greatest movies of the year. \n \nTed Berrigan\n00:14:40\nReads \"Ten Things I do Every Day\".\n\nAudience\n00:15:16\nLaughter.\n \nTed Berrigan\n00:15:21\nThat's what you do in New York. [Audience laughter]. I'll read this poem called \"Resolution\". \n \nTed Berrigan\n00:15:35\nReads \"Resolution”.\n \nTed Berrigan\n00:15:58\nI don't know what I'll do about it if you do, but...something. All those dramatic poems. \n \nTed Berrigan\n00:16:06\nReads “Sonnet XXXVII”.\n \nTed Berrigan\n00:17:08\nI want to move around a little and not do exactly what I said. This is a poem I wrote last summer in London [https://www.wikidata.org/wiki/Q84], it's dedicated to the poet Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and his wife. They lived in Colchester [https://www.wikidata.org/wiki/Q184163], which is an hour or two train-ride from London, and I was supposed to go down and see them, and I didn't go. And by way of apologies, I wrote this poem to Tom and to his wife, Val.\n \nTed Berrigan\n00:17:33\nReads \"Apologies to Val and Tom\".\n \nTed Berrigan\n00:19:05\nI'll read this one for George Bowering's old lady, [audience laughter] Mrs. Angela Bowering. It's called \"Things to do on Speed\". [Audience laughter].\n \nTed Berrigan\n00:19:19\nReads \"Things to do on Speed\" [audience laughter throughout].\n \nTed Berrigan\n00:20:58 [Laughter] I forgot about that one.  \n\nAudience \n00:21:01\nLaughter.\n \nTed Berrigan\n00:21:03\nResumes reading \"Things to do on Speed\".\n \nTed Berrigan\n00:22:21\nI wrote that one courtesy of The New York Times [https://www.wikidata.org/wiki/Q9684]. Okay, one more this set. This is called, \"Things to do in Providence\". [Audience laughter]. Which is, Providence [https://www.wikidata.org/wiki/Q18383], Rhode Island [https://www.wikidata.org/wiki/Q1387], or whatever else you can make of it.\n \nTed Berrigan\n00:22:50\nReads \"Things to do in Providence\".\n \nAudience\n00:26:23\nLaughter.\n \nTed Berrigan\n00:26:29\nResumes reading \"Things to do in Providence\".\n \nAudience\n00:27:46\nApplause.\n \nTed Berrigan\n00:27:52\n[Unintelligible].\n \nUnknown\n00:27:55\n[Cut or edit made in tape. Unknown amount of time elapsed].\n \nGeorge Bowering\n00:27:55\nHere he is again, terrible Ted Berrigan. \n \nTed Berrigan\n00:28:01\nAll the poems I'm going to read in this set are from my book, In the Early Morning Rain.  The title of this book I got from Gordon Lightfoot [https://www.wikidata.org/wiki/Q359552], the Canadian folk singer-songwriter, and I didn't know, I made, I decided to use that title before Bobby Dylan's [https://www.wikidata.org/wiki/Q392] album Self-Portrait [https://www.wikidata.org/wiki/Q634569] came out, so I didn't know that Bobby was going to record this song. I would have used it anyway, I'm sure. But, I mean if Dylan can steal it, I can steal it. And this book is a collection of poems of mine from over the last ten years, and I'm just going to read around in it. I wrote a lot of different kind of poems. I don't very often try for...I mean, I just take my poems where they come. This poem is called \"Hello\". \n \nTed Berrigan\n00:28:51\nReads \"Hello\" from In the Early Morning Rain.\n \nTed Berrigan\n00:29:06\nNow I'm going to read two or three poems that are from a section of this book called \"Life of a Man\".  \"Life of a Man\" is a book of poems in Italian by an Italian poet, a very great Italian poet who died not too long ago called Giuseppe Ungaretti [https://www.wikidata.org/wiki/Q311802]. There's a little story behind these. A lady poet named Barbara Guest [https://www.wikidata.org/wiki/Q807448] once asked my friend Ron Patchett and I, would we translate some of Ungaretti's poems, because Ungaretti was coming to America [https://www.wikidata.org/wiki/Q30]. And she thought it would be nice if we would translate them as a sort of homage to him. And so I told her, I said, “Barbara, but we don't understand Italian,” and she said, “Oh, I'm sure you can do it, you two are marvelous”.  And she said, “Just get a dictionary, and you can look up the words”. So I looked at Ron and he looked at me, and we said, yeah, we can translate 'em, sure, but we don't want to get any dictionaries. So we just translated 'em without any dictionaries. [Audience laughter]. And we never showed them to Ungaretti but we showed them to Barbara Guest and she had the horrors. The first one is called \"Matinee\". \n \nTed Berrigan\n00:30:16\nReads \"Matinee\" from In the Early Morning Rain [audience laughter throughout].\n\nTed Berrigan\n00:30:26\nThe next one is called \"December\" [audience laughter].\n \nTed Berrigan\n00:30:30\nReads \"December\" from In the Early Morning Rain [audience laughter throughout].\n \nTed Berrigan\n00:30:38\nAnd this one is called \"The Reply to the Fragile.\" \n \nTed Berrigan\n00:30:42\nReads \"The Reply to the Fragile\" from In the Early Morning Rain.\n \nTed Berrigan\n00:30:53\nThat one's a little, that's rated X. [Audience laughter]. And this is the last one, it's called “Corporal Pellegrini”. If any of you know Italian, you can understand where all these words came from [audience laughter].\n \nTed Berrigan\n00:31:09\nReads \"Corporal Pellegrini\" from In the Early Morning Rain.\n \nTed Berrigan\n00:31:38\nI think Ungaretti would've liked them. [Audience laughter]. He probably would have retranslated them and gotten some new ones. This next work is a translation too and it's a translation I did from French, which I understand some. And so this time I only had to leave certain words. This time I translated a lot of it accurately. But it's called \"Life among the woods\". And it's a translation of a page from a grammar book, some kind of book written in the French language. After I'd gotten this much done I decided it was over. Anyway, it's called \"Life Among the Woods\".\n \nTed Berrigan\n00:32:20\nReads \"Life Among the Woods\" from In the Early Morning Rain.\n \nTed Berrigan\n00:34:30.58\nPretty interesting family. This is a poem called \"In Four Parts.\"\n \nTed Berrigan\n00:34:40.14\nReads \"In Four Parts\" from In the Early Morning Rain.\n \nTed Berrigan\n00:35:22\nThat was four sentences from the New York Times. They had this secret continuity. [Laughter]. This is a poem called \"March 17th, 1970\".\n \nTed Berrigan\n00:35:35\nReads \"March 17th, 1970\" from In the Early Morning Rain.\n \nTed Berrigan\n00:36:03\nAnd you'd better believe it. Only not right now, right then. I don't know if I can subject you to this poem. I guess I will anyway. This is called \"The Ten Greatest Books of the Year, 1968\".\n \nTed Berrigan\n00:36:28\nReads \"The Ten Greatest Books of the Year, 1968\" from In the Early Morning Rain [audience laughter throughout].\n \nTed Berrigan\n00:38:02\nYou people that are laughing are getting it.\n\nTed Berrigan\n00:38:04\nResumes reading \"The Ten Greatest Books of the Year, 1968\" from In the Early Morning Rain. \n\nAudience\n00:38:14\nLaughter.\n\nTed Berrigan\n00:38:17\nThis is a poem called \"Thirty\".\n \nTed Berrigan\n00:38:18\nReads \"Thirty\" from In the Early Morning Rain\n \nTed Berrigan\n00:38:24\nThat's for all of you guys that did thirty. This poem is called \"Things to do in Anne's Room\".\n \nTed Berrigan\n00:38:34\nReads \"Things to do in Anne's Room\" from In the Early Morning Rain\n \nTed Berrigan\n00:39:42\nThis is called \"The Great Genius\".\n \nTed Berrigan\n00:39:45\nReads \"The Great Genius\" from In the Early Morning Rain.\n \nTed Berrigan\n00:39:56\nThis is called \"Anti-War Poem\". It's another New Year's poem, actually.\n \nTed Berrigan\n00:40:03\nReads \"Anti-War Poem\" from In the Early Morning Rain.\n \nTed Berrigan\n00:40:41\nAnd this poem is called \"Tough Brown Coat\".\n \nTed Berrigan\n00:40:43\nReads \"Tough Brown Coat\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:04\nThis poem is called \"Babe Rainbow\".\n \nTed Berrigan\n00:41:08\nReads \"Babe Rainbow\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:25\nAnd this is called \"In My Room\".\n \nTed Berrigan\n00:41:30\nReads \"In My Room\" from In the Early Morning Rain.\n \nTed Berrigan\n00:41:54\nThis is called \"Ann Arbor Elegy\". It was written for a girl who was killed in an automobile accident. September 27th, 1969. The funny thing about this poem is it was written before she was killed. And when I looked at it after she was dead, I saw that I didn't have to write an elegy for her, that somehow I'd written one already. \n \nTed Berrigan\n00:42:17\nReads \"Ann Arbor Elegy - For Franny Winston\" from In the Early Morning Rain.\n \nTed Berrigan\n00:43:13\nAnd this is a sort of berserk work, which I wrote called \"Wake Up,\" which is about all it says, really.\n \nTed Berrigan\n00:43:23\nReads \"Wake up\" from In the Early Morning Rain.\n \nTed Berrigan\n00:44:18\nI have another poem which I'd like to read but I won't, but it's a series of aphorisms from the works of Francis Picabia [https://www.wikidata.org/wiki/Q157321], the French poet and painter. And this friend Jim Carroll [https://www.wikidata.org/wiki/Q444806] and I translated these from French. I'll read you my favourite one, in any case, which Jim Carroll translated. It says, \"Spinoza [https://www.wikidata.org/wiki/Q35802] is the one who threw a pass to move Spinoza.\" I really...in this book I put some poems by some of my friends so I wouldn't have to read all my works. Though when I read I never read theirs, I notice. This poem is called \"In Bed\".\n \nTed Berrigan\n00:44:56\nReads \"In Bed\" from In the Early Morning Rain.\n \nTed Berrigan\n00:45:12\nThat's an example of saying nothing. [Audience laughter]. This poem is called \"Easy Living\". It's dedicated to a boy named David Henderson, a poet who was a friend of mine, whom I once took a trip to Pittsburgh [https://www.wikidata.org/wiki/Q1342] with. Had a very nice time. \n \nTed Berrigan\n00:45:33\nReads \"Easy Living\" from In the Early Morning Rain.\n \nTed Berrigan\n00:46:25\nThis is a poem I wrote, it's called \"Like Poem\". A friend of mine wrote a love poem to this girl, and I thought I should do that too. But I only wanted to write a like poem to her, because I don't want to have any obligations. [Audience laughter]. No, that isn't the reason why, but that's what came out. This is called \"Like Poem,\" it's to Joan Fagan, who's the wife of my friend Larry Fagan [https://www.wikidata.org/wiki/Q95906997], the poet. \n \nTed Berrigan\n00:46:50\nReads \"Like Poem\" from In the Early Morning Rain.\n \nTed Berrigan\n00:47:06\nThis poem is called \"Ann Arbor Song\". This poem I actually tried to write a poem out of a very corny feeling that I'd had, which nevertheless is very genuine. It starts at a poetry reading in Ann Arbor, but it's really about being in Ann Arbor and realizing I was leaving soon, and thinking about all the things that wouldn't happen to me again, because this trip was going to be over.  Even though, I'm--it's not all that sentimental, I mean I knew I might go to Ann Arbor again and all that, it was just that this particular trip was going to be over. I also wrote it with the idea in mind of reading it at a poetry reading too.  \"Ann Arbor Song\".\n \nTed Berrigan\n00:47:45\nReads \"Ann Arbor Song\" from In the Early Morning Rain.\n \nTed Berrigan\n00:49:22\nI'm going to read two more. First one's called \"Peace\".\n \nTed Berrigan\n00:49:29 \nReads \"Peace\" from In the Early Morning Rain.\n\nTed Berrigan\n00:50:37\nAlright, and this is the last poem. I hate to end heavy, but there's no place to read this poem but at the end. This poem is called \"People Who Died\". It's just a list. \"People Who Died\".\n \nTed Berrigan\n00:50:55\nReads \"People Who Died\" from In the Early Morning Rain.\n \nAudience\n00:52:48\nApplause.\n \nTed Berrigan\n00:52:53\nNot the most, uh...[laughter].\n \nEND\n00:52:59\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1970, Ted Berrigan published In the Early Morning Rain (Cape Goliard Press), and also privately published Scorpion, Eagle & Dove.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nTed Berrigan’s connection to Sir George Williams University is unclear at the moment, but Berrigan was part of the so called ‘Second Beat’ movement, as well as part of the ‘New York School’ of poetry. In this recording, he dedicates a poem to Angela Bowering, (George Bowering’s wife) so he either had met her before this reading or because of the occasion.\",\"type\":\"General\"},{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/in-the-early-morning-rain/oclc/563054848&referer=brief_results\",\"citation\":\"Berrigan, Ted. In the Early Morning Rain. London: Cape Goliard, 1970. \"},{\"url\":\"https://www.worldcat.org/title/sonnets/oclc/934480499&referer=brief_results\",\"citation\":\"Berrigan, Ted. The Sonnets. New York: Grove Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/many-happy-returns-poems/oclc/564000383&referer=brief_results\",\"citation\":\"Berrigan, Ted. Many Happy Returns. New York: Corinth Press, 1969. \"},{\"url\":\"https://www.worldcat.org/title/so-going-around-cities-new-and-selected-poems-1958-1979/oclc/255865532&referer=brief_results\",\"citation\":\"Berrigan, Ted. So Going Around Cities. Los Angeles: Berkley Press, 1980. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/937869379&referer=brief_results\",\"citation\":\"Horning, Ron. \\\"Berrigan, Ted\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ed. Ian Hamilton. Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Berrigan, Ted (Edmund J.M. Berrigan, Jr.)\\\". The Oxford Companion to American Literature. James D. Hart, ed., rev. Phillip W. Leininger. Oxford University Press 1995. \"},{\"url\":\"\",\"citation\":\"Pursglove, Glyn. “Berrigan, Ted”. Literature Online Biography. 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As you probably know, the series that we have, it might be loosely called a kind of an avant-garde series, and in the, this is our fifth year, and this is the first time we've ever had anybody from the New York School [https://www.wikidata.org/wiki/Q1972942]--it's not going to be the last time, we're going to have Kenneth Koch [https://www.wikidata.org/wiki/Q2708628] in the spring, and we're looking for Tom Clarke [https://www.wikidata.org/wiki/Q7815337] next fall. Berrigan [https://www.wikidata.org/wiki/Q2399732] is I guess now, one of the, say the halfback, I supposed, or quarterback of the New York School. Many of you have probably seen...[laughter] yeah, linebacker! When you ask when you're a little thin... And most of you have probably seen the propaganda sheet that's been around, downstairs and so on, and so you've heard the words that some of his confreres have said about him. I'd just like to add a little bit, in addition to those earlier books such as The Sonnets, and Bean Spasms, there's a couple of new books that have just appeared, one's called In the Early Morning Rain, which will be available here because it's a Cape Goliard book, and it's distributed in Canada [https://www.wikidata.org/wiki/Q16] by one of the big Toronto [https://www.wikidata.org/wiki/Q172] publishers, and another one with a Kraut title that I can't read that's bilingual, half-German and half-English that I'm sure we'll hear some from....\\n \\nTed Berrigan\\n00:01:31\\nThe title's [unintelligible] Guillaume Apollinaire [https://www.wikidata.org/wiki/Q133855] ist ...\\n \\nGeorge Bowering\\n00:01:34\\nOh I see, yeah right.\\n \\nTed Berrigan\\n00:01:35\\nHowever I don't have any available, only in Berlin [https://www.wikidata.org/wiki/Q64].\\n \\nGeorge Bowering\\n00:01:38\\nRight, so if you happen to be in Berlin, snap up a copy of Guillaume Apollinaire ist tot und Anders. So I'd like to mention that Ted Berrigan is going to read one set, and then he wants to stop for a very short intermission, say like a five-minute intermission, and then haul you back in again and do a second set. So ladies and gentlemen, etcetera, Ted Berrigan.\\n \\nAudience\\n00:02:05\\nApplause. \\n \\nUnknown\\n00:02:07\\n[Cut or edit made in tape. Unknown amount of time elapsed]. \\n \\nTed Berrigan\\n00:02:08\\nIn the first set I'm going to read mostly poems I've written over the last four or five years. Actually, longer than that, some going back to 1962, or '61. I don't know how long this set'll be. It'll, should be less than a half-hour. In the second set I'll read poems I've written over the last year or two. However I want to start with a poem that I wrote about two years ago. It's called \\\"Heroin\\\" I read this in high schools in Ann Arbor [https://www.wikidata.org/wiki/Q485172] which I went to read in a program called Poetry Ann Arbor, and I wanted, I read the title and then I wanted to, I read the title and then I wanted to, I found it real funny because it was called \\\"Heroin,\\\" and I wanted to disclaim that it was a pro-heroin poem. So I said, this poem is not a pro-heroin poem.Then I realized there wasn't an anti-heroin poem either.  So I ended them, it was just sort of an on-heroin poem. [Audience laughter]. All my poems are pretty much alike, and this is fairly typical of what you'll be hearing the rest of the evening. \\n \\nTed Berrigan\\n00:03:19\\nReads \\\"Heroin\\\".\\n \\nTed Berrigan\\n00:04:22\\nThis poem is called \\\"Frank O'Hara's Question\\\". Frank O'Hara [https://www.wikidata.org/wiki/Q951010] is a poet from New York [https://www.wikidata.org/wiki/Q60], who's dead, he died when he was forty years old a couple of years ago in an automobile accident. The title doesn't have too much to do with the poem, except that it sort of states something that Frank O'Hara evidently had to say, and so it says something that I have to say too in my own way, not that I have to say it the same way that Frank did. \\n \\nTed Berrigan\\n00:04:56\\nReads \\\"Frank O’Hara’s Question\\\".\\n \\nTed Berrigan\\n00:05:42\\nThis is a poem I wrote in 1962. It's called \\\"Words for Love\\\". It's a bit rhetorical, but it's the best I could do in 1962, and I still like it a lot, albeit I wonder at some of it.  \\\"Words for Love\\\". It was written, actually, at a very difficult time in my life, and I guess I felt the need to make some sort of statement.\\n \\nTed Berrigan\\n00:06:09\\nReads \\\"Words for Love\\\".\\n \\nTed Berrigan\\n00:08:07\\nReads [\\\"I wake up 11:30, back aching\\\"].\\n \\nTed Berrigan\\n00:09:23\\nReads “Personal Poem #7. \\n \\nTed Berrigan\\n00:10:23\\nReads “Personal Poem”.\\n \\nAudience\\n00:11:08\\nApplause.\\n\\nTed Berrigan\\n00:11:10\\nThank you. Charlie Stanton liked that one too. [Audience laughter]. This is the last one of those kind of poems [audience laughter]. \\n \\nTed Berrigan\\n00:11:21\\nReads “Personal Poem #9”.\\n\\nTed Berrigan\\n00:12:32\\nI've always liked that poem. [Laughter]. All of those are written around 1962, 61 and 62.  I want to skip up to around 1967. I wrote this poem called \\\"Things to do in New York City\\\". I was leaving New York, and this poem, like many of my poems, was written for a specific occasion. It was for someone's birthday. And the poem, it's just my poem, it's not about the other person's birthday, it's just a present for him on his birthday. \\n \\nTed Berrigan\\n00:13:24\\nReads \\\"Things to do in New York City\\\".\\n \\nTed Berrigan\\n00:14:20\\nThis poem is called \\\"Ten Things I do Every Day,\\\" which is...it's true, as a matter of fact, in a way. In a manner of speaking. But it's not true that it's ten things. Alas. But that was just the title, like the ten greatest movies of the year. \\n \\nTed Berrigan\\n00:14:40\\nReads \\\"Ten Things I do Every Day\\\".\\n\\nAudience\\n00:15:16\\nLaughter.\\n \\nTed Berrigan\\n00:15:21\\nThat's what you do in New York. [Audience laughter]. I'll read this poem called \\\"Resolution\\\". \\n \\nTed Berrigan\\n00:15:35\\nReads \\\"Resolution”.\\n \\nTed Berrigan\\n00:15:58\\nI don't know what I'll do about it if you do, but...something. All those dramatic poems. \\n \\nTed Berrigan\\n00:16:06\\nReads “Sonnet XXXVII”.\\n \\nTed Berrigan\\n00:17:08\\nI want to move around a little and not do exactly what I said. This is a poem I wrote last summer in London [https://www.wikidata.org/wiki/Q84], it's dedicated to the poet Tom Raworth [https://www.wikidata.org/wiki/Q7817338] and his wife. They lived in Colchester [https://www.wikidata.org/wiki/Q184163], which is an hour or two train-ride from London, and I was supposed to go down and see them, and I didn't go. And by way of apologies, I wrote this poem to Tom and to his wife, Val.\\n \\nTed Berrigan\\n00:17:33\\nReads \\\"Apologies to Val and Tom\\\".\\n \\nTed Berrigan\\n00:19:05\\nI'll read this one for George Bowering's old lady, [audience laughter] Mrs. Angela Bowering. It's called \\\"Things to do on Speed\\\". [Audience laughter].\\n \\nTed Berrigan\\n00:19:19\\nReads \\\"Things to do on Speed\\\" [audience laughter throughout].\\n \\nTed Berrigan\\n00:20:58 [Laughter] I forgot about that one.  \\n\\nAudience \\n00:21:01\\nLaughter.\\n \\nTed Berrigan\\n00:21:03\\nResumes reading \\\"Things to do on Speed\\\".\\n \\nTed Berrigan\\n00:22:21\\nI wrote that one courtesy of The New York Times [https://www.wikidata.org/wiki/Q9684]. Okay, one more this set. This is called, \\\"Things to do in Providence\\\". [Audience laughter]. Which is, Providence [https://www.wikidata.org/wiki/Q18383], Rhode Island [https://www.wikidata.org/wiki/Q1387], or whatever else you can make of it.\\n \\nTed Berrigan\\n00:22:50\\nReads \\\"Things to do in Providence\\\".\\n \\nAudience\\n00:26:23\\nLaughter.\\n \\nTed Berrigan\\n00:26:29\\nResumes reading \\\"Things to do in Providence\\\".\\n \\nAudience\\n00:27:46\\nApplause.\\n \\nTed Berrigan\\n00:27:52\\n[Unintelligible].\\n \\nUnknown\\n00:27:55\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n \\nGeorge Bowering\\n00:27:55\\nHere he is again, terrible Ted Berrigan. \\n \\nTed Berrigan\\n00:28:01\\nAll the poems I'm going to read in this set are from my book, In the Early Morning Rain.  The title of this book I got from Gordon Lightfoot [https://www.wikidata.org/wiki/Q359552], the Canadian folk singer-songwriter, and I didn't know, I made, I decided to use that title before Bobby Dylan's [https://www.wikidata.org/wiki/Q392] album Self-Portrait [https://www.wikidata.org/wiki/Q634569] came out, so I didn't know that Bobby was going to record this song. I would have used it anyway, I'm sure. But, I mean if Dylan can steal it, I can steal it. And this book is a collection of poems of mine from over the last ten years, and I'm just going to read around in it. I wrote a lot of different kind of poems. I don't very often try for...I mean, I just take my poems where they come. This poem is called \\\"Hello\\\". \\n \\nTed Berrigan\\n00:28:51\\nReads \\\"Hello\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:29:06\\nNow I'm going to read two or three poems that are from a section of this book called \\\"Life of a Man\\\".  \\\"Life of a Man\\\" is a book of poems in Italian by an Italian poet, a very great Italian poet who died not too long ago called Giuseppe Ungaretti [https://www.wikidata.org/wiki/Q311802]. There's a little story behind these. A lady poet named Barbara Guest [https://www.wikidata.org/wiki/Q807448] once asked my friend Ron Patchett and I, would we translate some of Ungaretti's poems, because Ungaretti was coming to America [https://www.wikidata.org/wiki/Q30]. And she thought it would be nice if we would translate them as a sort of homage to him. And so I told her, I said, “Barbara, but we don't understand Italian,” and she said, “Oh, I'm sure you can do it, you two are marvelous”.  And she said, “Just get a dictionary, and you can look up the words”. So I looked at Ron and he looked at me, and we said, yeah, we can translate 'em, sure, but we don't want to get any dictionaries. So we just translated 'em without any dictionaries. [Audience laughter]. And we never showed them to Ungaretti but we showed them to Barbara Guest and she had the horrors. The first one is called \\\"Matinee\\\". \\n \\nTed Berrigan\\n00:30:16\\nReads \\\"Matinee\\\" from In the Early Morning Rain [audience laughter throughout].\\n\\nTed Berrigan\\n00:30:26\\nThe next one is called \\\"December\\\" [audience laughter].\\n \\nTed Berrigan\\n00:30:30\\nReads \\\"December\\\" from In the Early Morning Rain [audience laughter throughout].\\n \\nTed Berrigan\\n00:30:38\\nAnd this one is called \\\"The Reply to the Fragile.\\\" \\n \\nTed Berrigan\\n00:30:42\\nReads \\\"The Reply to the Fragile\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:30:53\\nThat one's a little, that's rated X. [Audience laughter]. And this is the last one, it's called “Corporal Pellegrini”. If any of you know Italian, you can understand where all these words came from [audience laughter].\\n \\nTed Berrigan\\n00:31:09\\nReads \\\"Corporal Pellegrini\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:31:38\\nI think Ungaretti would've liked them. [Audience laughter]. He probably would have retranslated them and gotten some new ones. This next work is a translation too and it's a translation I did from French, which I understand some. And so this time I only had to leave certain words. This time I translated a lot of it accurately. But it's called \\\"Life among the woods\\\". And it's a translation of a page from a grammar book, some kind of book written in the French language. After I'd gotten this much done I decided it was over. Anyway, it's called \\\"Life Among the Woods\\\".\\n \\nTed Berrigan\\n00:32:20\\nReads \\\"Life Among the Woods\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:34:30.58\\nPretty interesting family. This is a poem called \\\"In Four Parts.\\\"\\n \\nTed Berrigan\\n00:34:40.14\\nReads \\\"In Four Parts\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:35:22\\nThat was four sentences from the New York Times. They had this secret continuity. [Laughter]. This is a poem called \\\"March 17th, 1970\\\".\\n \\nTed Berrigan\\n00:35:35\\nReads \\\"March 17th, 1970\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:36:03\\nAnd you'd better believe it. Only not right now, right then. I don't know if I can subject you to this poem. I guess I will anyway. This is called \\\"The Ten Greatest Books of the Year, 1968\\\".\\n \\nTed Berrigan\\n00:36:28\\nReads \\\"The Ten Greatest Books of the Year, 1968\\\" from In the Early Morning Rain [audience laughter throughout].\\n \\nTed Berrigan\\n00:38:02\\nYou people that are laughing are getting it.\\n\\nTed Berrigan\\n00:38:04\\nResumes reading \\\"The Ten Greatest Books of the Year, 1968\\\" from In the Early Morning Rain. \\n\\nAudience\\n00:38:14\\nLaughter.\\n\\nTed Berrigan\\n00:38:17\\nThis is a poem called \\\"Thirty\\\".\\n \\nTed Berrigan\\n00:38:18\\nReads \\\"Thirty\\\" from In the Early Morning Rain\\n \\nTed Berrigan\\n00:38:24\\nThat's for all of you guys that did thirty. This poem is called \\\"Things to do in Anne's Room\\\".\\n \\nTed Berrigan\\n00:38:34\\nReads \\\"Things to do in Anne's Room\\\" from In the Early Morning Rain\\n \\nTed Berrigan\\n00:39:42\\nThis is called \\\"The Great Genius\\\".\\n \\nTed Berrigan\\n00:39:45\\nReads \\\"The Great Genius\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:39:56\\nThis is called \\\"Anti-War Poem\\\". It's another New Year's poem, actually.\\n \\nTed Berrigan\\n00:40:03\\nReads \\\"Anti-War Poem\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:40:41\\nAnd this poem is called \\\"Tough Brown Coat\\\".\\n \\nTed Berrigan\\n00:40:43\\nReads \\\"Tough Brown Coat\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:04\\nThis poem is called \\\"Babe Rainbow\\\".\\n \\nTed Berrigan\\n00:41:08\\nReads \\\"Babe Rainbow\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:25\\nAnd this is called \\\"In My Room\\\".\\n \\nTed Berrigan\\n00:41:30\\nReads \\\"In My Room\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:41:54\\nThis is called \\\"Ann Arbor Elegy\\\". It was written for a girl who was killed in an automobile accident. September 27th, 1969. The funny thing about this poem is it was written before she was killed. And when I looked at it after she was dead, I saw that I didn't have to write an elegy for her, that somehow I'd written one already. \\n \\nTed Berrigan\\n00:42:17\\nReads \\\"Ann Arbor Elegy - For Franny Winston\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:43:13\\nAnd this is a sort of berserk work, which I wrote called \\\"Wake Up,\\\" which is about all it says, really.\\n \\nTed Berrigan\\n00:43:23\\nReads \\\"Wake up\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:44:18\\nI have another poem which I'd like to read but I won't, but it's a series of aphorisms from the works of Francis Picabia [https://www.wikidata.org/wiki/Q157321], the French poet and painter. And this friend Jim Carroll [https://www.wikidata.org/wiki/Q444806] and I translated these from French. I'll read you my favourite one, in any case, which Jim Carroll translated. It says, \\\"Spinoza [https://www.wikidata.org/wiki/Q35802] is the one who threw a pass to move Spinoza.\\\" I really...in this book I put some poems by some of my friends so I wouldn't have to read all my works. Though when I read I never read theirs, I notice. This poem is called \\\"In Bed\\\".\\n \\nTed Berrigan\\n00:44:56\\nReads \\\"In Bed\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:45:12\\nThat's an example of saying nothing. [Audience laughter]. This poem is called \\\"Easy Living\\\". It's dedicated to a boy named David Henderson, a poet who was a friend of mine, whom I once took a trip to Pittsburgh [https://www.wikidata.org/wiki/Q1342] with. Had a very nice time. \\n \\nTed Berrigan\\n00:45:33\\nReads \\\"Easy Living\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:46:25\\nThis is a poem I wrote, it's called \\\"Like Poem\\\". A friend of mine wrote a love poem to this girl, and I thought I should do that too. But I only wanted to write a like poem to her, because I don't want to have any obligations. [Audience laughter]. No, that isn't the reason why, but that's what came out. This is called \\\"Like Poem,\\\" it's to Joan Fagan, who's the wife of my friend Larry Fagan [https://www.wikidata.org/wiki/Q95906997], the poet. \\n \\nTed Berrigan\\n00:46:50\\nReads \\\"Like Poem\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:47:06\\nThis poem is called \\\"Ann Arbor Song\\\". This poem I actually tried to write a poem out of a very corny feeling that I'd had, which nevertheless is very genuine. It starts at a poetry reading in Ann Arbor, but it's really about being in Ann Arbor and realizing I was leaving soon, and thinking about all the things that wouldn't happen to me again, because this trip was going to be over.  Even though, I'm--it's not all that sentimental, I mean I knew I might go to Ann Arbor again and all that, it was just that this particular trip was going to be over. I also wrote it with the idea in mind of reading it at a poetry reading too.  \\\"Ann Arbor Song\\\".\\n \\nTed Berrigan\\n00:47:45\\nReads \\\"Ann Arbor Song\\\" from In the Early Morning Rain.\\n \\nTed Berrigan\\n00:49:22\\nI'm going to read two more. First one's called \\\"Peace\\\".\\n \\nTed Berrigan\\n00:49:29 \\nReads \\\"Peace\\\" from In the Early Morning Rain.\\n\\nTed Berrigan\\n00:50:37\\nAlright, and this is the last poem. I hate to end heavy, but there's no place to read this poem but at the end. This poem is called \\\"People Who Died\\\". It's just a list. \\\"People Who Died\\\".\\n \\nTed Berrigan\\n00:50:55\\nReads \\\"People Who Died\\\" from In the Early Morning Rain.\\n \\nAudience\\n00:52:48\\nApplause.\\n \\nTed Berrigan\\n00:52:53\\nNot the most, uh...[laughter].\\n \\nEND\\n00:52:59\\n\",\"notes\":\"Ted Berrigan reads from In the Early Morning Rain (Cape Goliard, 1970), The Sonnets (Grove Press, 1964), Many Happy Returns (Corinth, 1969) and poems later collected in So Going Around Cities (Berkley, 1980) as well as a few unknown poems.\\n\\n(Rachel has indexed individual poems)\\n00:00- George Bowering introduces Ted Berrigan. [INDEX: second reading in the series in 1970, series called ‘avant-garde series’, fifth year, first reader from the ‘New York School’, Kenneth Coke, Tom Clarke, quarterback of the school, ‘propaganda’ (advertisement) paper of reading, The Sonnets (1967), Bean Spasms (Kulchur Press, 1967, In the Early Morning Rain (Cape Goliard, 1970), Cape Goliard, distributed by big Toronto publisher, ‘Kraut’ title, half German, half English, Guillaume Apollinaire ist tot und Anders (sp?), Berlin.]\\n02:08- Ted Berrigan introduces “Heroin”. [INDEX: poems read from last 4-5 years, in first set   some read from 1961-62, in second set poems read from year or two before, poem read in high schools in Ann Arbour, program called Poetry Ann Arbour, not a pro-heroin poem, not anti-heroin poem either, ‘on-heroin poem’; from In the Early Morning Rain (Cape Goliard, 1970).]\\n03:19- Reads “Heroin”. [INDEX: list, heroin, photograph, Kerouac, Anne, heart, light, streets.]\\n04:22- Introduces “Frank O’Hara’s Question”. [INDEX: O’Hara: dead poet from new York, car accident, significance of title; from In the Early Mornin Rain (Cape Goliard, 1970).]\\n04:56- Reads “Frank O’Hara’s Question”. [INDEX: Frank O'Hara, list, sky, letter, Isaac        Dennison, high, happy, long poem, art, guard, mess, message.]\\n05:42- Introduces “Words for Love”. [INDEX: written in 1962, rhetorical; from Many Happy Returns (Corinth, 1969).]\\n06:09- Reads “Words for Love”. [INDEX: winter, snow, read, poetry, weakness, obsession, Jackson Pollock, Rilke, Benedict Arnold, psyche, high, drugs, poems, list, words, time, lady of the lake, God, heart]\\n08:07- Reads first line “I wake up at 11:30, back aching...”. [INDEX: confessional, New York, Pat, Ron, birthday, Pepsi, high, class, book, Juan Gris, poems, ballad, sonnet, Shakespeare, Auden, Spenser, Stevens, Pound, Frank O'Hara, Jan, Helen, Babe, David, ego, self, wonder, toilet paper; poem not indicated on Howard Fink Poem List.]\\n09:23- Reads “Personal Poem #7”. [INDEX: confessional, New York, drugs, sex, John   Ashbery, food, write, stealing; from Many Happy Returns (Corinth, 1969); poems not    \\tindicated on Howard Fink Poem List.]\\n10:23- Reads “Personal Poem #8”. [INDEX: confessional, diary, journal, love, Ray Joss, New York, court, wife, police, John Stanton; from Many Happy Returns (Corinth, 1969); poems not indicated on Howard Fink Poem List.]\\n11:07- Introduces first line “Personal Poem #9”. [INDEX: Charlie Stanton; from Many Happy   Returns (Corinth, 1969); poems not indicated on Howard Fink Poem List.]\\n11:21- Reads first line “Personal Poem #9”. [INDEX: confessional, journal, diary,      \\tBrooklyn, New York, Pepsi, food, memory, book.]\\n12:32- Explains last selection of poems, introduces “Things to do in New York City”. [INDEX: selection written in 1961-2, “Things to do in New York City” written around 1967, leaving New York, written for a birthday present.]\\n13:24- Reads “Things to do in New York City”. [INDEX: confessional, occasional poem, city, New York, By the Waters of Manhattan, drugs, cigarette, read, break, girls, love, death, birth, friends, departure; from Many Happy Returns (Corinth, 1969).]\\n14:20- Introduces “Ten Things I do Every Day”. [INDEX: title; from Many Happy    \\tReturns (Corinth, 1969).]\\n14:40- Reads “Ten Things I do Every Day”.  [INDEX: New York, waking, smoking, pot, love, eating, food, cat, sound, song, streets, read, children, friends, Pepsi.]\\n15:21- Introduces “Resolution”. [INDEX: New York City; from Many Happy  \\tReturns (Corinth, 1969).]\\n15:35- Reads “Resolution”. [INDEX: city, New York, snow, winter, New Year's, driving]\\n15:58- Introduces “Sonnet XXXVII”. [INDEX: from The Sonnets (Grove Press, 1964).] \\n16:06- Reads “Sonnet XXXVII”. [INDEX: night, sleep, Guillaume Apollinaire, poem, dream, crying, song, library, tear, light]\\n17:08- Introduces “Apologies to Val and Tom”. [INDEX: written last summer in London, dedicated to poet Tom Raworth and his wife, Colchester, London, apology; from unknown source.]\\n17:33- Reads “Apologies to Val and Tom”. [INDEX: place, London, apology, night, city, memory, remembrance, New York, friend, poem, visit.]\\n19:05- Introduces “Things to do on Speed”. [INDEX: for Angela Bowering, George Bowering; from the section “How We Live in the Jungle 1969-1970 in So Going Around Cities (Berkley, 1980).]\\n19:19- Reads “Things to do on Speed”. [INDEX: list, typewriter, mind, writing, book, desk, Pepsi, sleep, dream, paper, song, sickness, drugs, imperative, talking, New York, city, work, hallucination, high, sex, heroin, speed]\\n22:21- Explains “Things to do on Speed” and introduces “Things to do in Providence. [INDEX: New York Times, Providence, Rhode Island.]\\n22:50- Reads “Things to do in Providence”. [INDEX: confessional, place, Providence, Rhode Island, city, drugs, imperative, list, food, TV, war, Texas, movie, Western, tear, cowboy, New York, drunk, children, phone, talk, family, mother, birth, work, cigarette, hippie, teenager, home, car, death, grandmother, heart, stranger, sleep; from the section “Buffalo Days: Summer 1970 in So Going Around Cities (Berkley, 1980).]\\n27:55- After a break (cut in recording), George Bowering introduces Ted Berrigan again.\\n28:01- Ted Berrigan introduces “Hello”. [INDEX: poems read from In the Early Morning Rain, title from Gordon Lightfoot: Canadian Folk singer-songwriter, Bob Dylan’s Self Portrait Album, stealing titles, collection from last ten years; from In the Early Mornin Rain (Cape Goliard, 1970).] \\n28:51- Reads “Hello”. [INDEX: hello, etymology, health.]\\n29:06- Introduces section of book, “Life of a Man”, and poem “Matinee”. [INDEX: Italian poet Giuseppe Ungaretti, poet Barbara Guest, Ron Patchett, translate Ungaretti’s poems, translation without dictionary; from In the Early Mornin Rain (Cape Goliard, 1970).]  \\n30:16- Reads “Matinee”. [INDEX: translation, morning.]\\n30:26- Reads “December” [INDEX: translation, farewell, mother, brother, sister, sex, heart; from In the Early Morning Rain (Cape Goliard, 1970).]\\n30:38- Reads “Reply to the Fragile”. [INDEX: translation, bite, pain, sex, breasts; from In the Early Morning Rain (Cape Goliard, 1970).]\\n30:53- Introduces “Corporal Pellegrini”. [INDEX: Italian; from In the Early Mornin Rain    (Cape Goliard, 1970).]\\n31:09- Reads “Corporal Pellegrini”. [INDEX: translation, corporal, sex, horse, soldier, death.]\\n31:38- Introduces “Life Among the Woods”. [INDEX: Ungaretti, retranslated to make new poems, translation from French, from grammar book; from In the Early Mornin Rain  (Cape Goliard, 1970).] \\n32:20- Reads “Life Among the Woods”. [INDEX: translation, Paris, boat, woods, family, children, rich, house, garden, cooking, list.]\\n34:30- Reads “In Four Parts”.  [INDEX: beach, Israel, Mayor Frank X. Graves, Allen    Ginsberg, marijuana, news, William Carlos Williams, poet, American, New York Times;  \\tfrom In the Early Mornin Rain (Cape Goliard, 1970).]\\n35:22- Explains “In Four Parts”, introduces “March 17th, 1970”. [INDEX: sentences from the New York Times, secret continuity.] \\n35:35- Reads “March 17th, 1970”. [INDEX: love, like, phone, wire, listening, kill.]\\n36:03- Introduces “The Ten Greatest Books of the Year, 1968”.\\n36:28- Reads “The Ten Greatest Books of the Year, 1968”. [INDEX: book, list, William Carlos Williams, Charles Olson, Chicago Review, dictionary, Aristotle, language, Frank O'Hara, Ralph Conners, zodiac, consciousness, names, rank, sonnet; from In the Early Mornin Rain (Cape Goliard, 1970).]\\n38:13- Introduces “30”. [INDEX: from In the Early Morning Rain (Cape Goliard, 1970).]\\n38:18- Reads “30”.\\n38:34- Introduces “Things to do in Anne’s Room”.\\n38:34- Reads “Things to do in Anne’s Room”.  [INDEX: room, house, place, imperative, list, sex, couple, book, Moby Dick, Planet of the Apes, clothes, bed, alone, death; from In the Early Morning Rain (Cape Goliard, 1970).]\\n39:42- Reads “The Great Genius”. [INDEX: man, crazy; from In the Early Morning Rain (Cape Goliard, 1970).]\\n39:56- Introduces “Anti-War Poem”. [INDEX: New Year’s poem; from In the Early Morning Rain (Cape Goliard, 1970)\\n40:03- Reads “Anti-War Poem”. [INDEX: peace, war, resolution, New Year's Eve, 1968, Iowa City, city, memory, remembrance, death.]\\n40:41- Reads “Tough Brown Coat”. [INDEX: coat, description, clothes, death; from In the Early Morning Rain (Cape Goliard, 1970).]\\n41:04- Reads “Babe Rainbow”. [INDEX: smoke, cigarette, burn, bed, read; from In the Early Morning Rain (Cape Goliard, 1970)\\n41:25- Reads “In My Room”. [INDEX: place, house, room, list, Thanksgiving.]\\n42:17- Introduces “Ann Arbor Elegy”. [INDEX: girl killed in automobile accident on \\tSeptember 27, 1969, written before her accident; from In the Early Morning Rain (Cape   Goliard, 1970).]\\n42:17- Reads “Ann Arbor Elegy”. [INDEX: for Franny Winston, party, night, drinking, alcohol, high, girl, place, Ann Arbor, death, morning, sky, food, news.]\\n43:13- Reads “Wake Up”. [INDEX: morning, wake, bed, girl, work, Jim Dine, day, list, imperative; from In the Early Morning Rain (Cape Goliard, 1970).]\\n44:15- Introduces “In Bed”. [INDEX: series of aphorisms, Francis Picabia French poet and painter, Jim Carroll, translation from French, placing other poet’s work in his books; from In the Early Morning Rain (Cape Goliard, 1970).] \\n44:56- Reads “In Bed”. [INDEX: girl, bed, sex.]\\n45:12- Introduces “Easy Living”. [INDEX: dedicated to boy named David Henderson,    Pittsburgh; from In the Early Morning Rain (Cape Goliard, 1970).] \\n45:33- Reads “Easy Living”.   [INDEX: travel, Africa, time, rain, heat, weather, David    Henderson, Pittsburgh.]\\n46:25- Introduces “Like Poem”. [INDEX: friend wrote love poem, to Joan Fagan, wife of poet Larry Fagan; in the section “In the Wheel: Winter 1969” in So Going Around Cities (Berkley, 1980).]\\n46:50- Reads “Like Poem”. [INDEX: couple, drugs, Joan Fagan, like.]\\n47:06- Introduces “Ann Arbor Song”. [INDEX: feeling, poetry reading in Ann Arbor, trip.]\\n47:45- Reads “Ann Arbor Song”.  [INDEX: place, Ann Arbor, poetry, poetry reading, poem, boredom, Jack, Anne, high, drugs, friends, time, memory, remembrance.]\\n49:22- Reads “Peace”. [INDEX: heart, day, east, west, peace, couple, love, woman; unknown source.]\\n50:53- Introduces “People Who Died”. [INDEX: heavy poem, end of reading, list; from In the Early Morning Rain (Cape Goliard, 1970).]\\n50:55- Reads “People Who Died”. [INDEX: death, list, dates, friends, accidents, cancer, suicide, Neal Cassidy, Frank O'Hara, Ann Kepler, Franny Winston, Jack Kerouac.]\\n52:59.60- END OF RECORDING.\\n \\nPoems with Time Stamps and Duration                         \\tTime           \\tDuration (mins.)\\n“Heroin”                                                                             \\t00:03:19      \\t01:02  \\n“Frank O’Hara’s Question”            \\t                                \\t           00:04:56      \\t00:44\\n“Words For Love”                                                              \\t00:06:09      \\t01:57\\n[“I wake up 11:30, back aching”]                                       \\t00:08:07      \\t01:13\\n“Personal Poem #7                                                             \\t00:09:23      \\t00:58\\n“Personal Poem” (#8?)                                                       \\t00:10:23      \\t00:42\\n“Personal Poem #9                                                             \\t00:11:21      \\t01:08\\n“Things To Do in New York City”            \\t                       \\t00:13:24      \\t00:55\\n“Ten Things I Do Every Day”                                                    00:14:40      \\t00:35\\n“Resolution”                                                                       \\t00:15:35      \\t00:17\\n“Sonnet XXXVII”  \\t        \\t                                            \\t00:16:06      \\t01:01\\n“Apologies to Val And Tom”                                             \\t00:17:33      \\t01:31\\n“Things To Do On Speed”                                                 \\t00:19:19      \\t02:58\\n“Things To Do In Providence”                                           \\t00:22:50      \\t04:55\\n“Hello”                                                                                \\t00:28:51      \\t00:15\\n“Matinee”                                                                           \\t00:30:16      \\t00:09\\n“December”                                                                        \\t00:30:30      \\t00:07\\n“Reply to the Fragile”                                                        \\t00:30:42      \\t00:10\\n“Corporal Pelegrini”                                                           \\t00:31:09      \\t00:28\\n“Life Among the Woods”                                                   \\t00:32:20      \\t02:09\\n“In Four Parts”                                                                    \\t00:34:40      \\t00:40\\n“March 17, 1970”                                                               \\t00:35:35      \\t00:28\\n“The Ten Greatest Books of the Year – 1968”                  \\t00:36:28      \\t01:45\\n“Thirty”                                                                              \\t00:38:18      \\t00:06\\n“Things To Do In Anne’s Room”                                      \\t00:38:34      \\t01:09\\n“The Great Genius”                                                            \\t00:39:45      \\t00:10\\n“Anti-War Poem”                                                               \\t00:40:03      \\t00:37  \\n“Tough Brown Coat”                                                          \\t00:40:43      \\t00:20\\n“Babe Rainbow”                                                                 \\t00:41:08      \\t00:16\\n“In My Room”                                                                    \\t00:41:30      \\t00:23\\n“Ann Arbor Elegy”                                                             \\t00:42:17      \\t00:57\\n“Wake Up”                                                                         \\t00:43:23      \\t00:56\\n “In Bed”                                                                             \\t00:44:56      \\t00:15\\n“Easy Living”                                                                     \\t00:45:33      \\t00:50\\n“Like Poem”                                               \\t                    \\t00:46:50      \\t00:16\\n“Ann Arbor Song”                                                              \\t00:47:45      \\t01:46\\n“Peace”                                                                               \\t00:49:29      \\t01:07\\n“People Who Died”                                                            \\t00:50:55      \\t01:51\\n \\nHoward Fink List of Poems:\\n“Ted Berrigan”\\nIntroduction by George Bowering\\nRecorded December 4, 1970\\nNote: “Personal Poems” do not appear on this list, and an extra first line in between “Wake Up” and “In Bed” reads “Spinoza is the one who threw a pass...”.\\npg. 66\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/ted-berrigan-at-sgwu-1970/\"}]"],"score":0.3638758},{"id":"3976","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-04-17, Joseph"],"item_title_source":["Asset"],"item_title_note":["On tape labels and corroborated by Lee Gotham, who introduces the event headliner."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Joseph, Clifton"],"creator_names_search":["Gotham, Lee","Joseph, Clifton"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"https://viaf.org/viaf/104182171\",\"name\":\"Joseph, Clifton\",\"dates\":\"1957-\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Marcel (?)","Nawrocki, Norman","McGrail, Justin","Hawley, Steve (Liquid)","Sabrina","Paco W.","Andy","Unknown Performer","Ed","Lion Man","Christine","Godin, Steve","Simon","Tom","David J.","Mark"],"contributors_names_search":["Duncan, Drew","Marcel (?)","Nawrocki, Norman","McGrail, Justin","Hawley, Steve (Liquid)","Sabrina","Paco W.","Andy","Unknown Performer","Ed","Lion Man","Christine","Godin, Steve","Simon","Tom","David J.","Mark"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Marcel (?)\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/34063513\",\"name\":\"Nawrocki, Norman\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106300281\",\"name\":\"Hawley, Steve (Liquid)\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Sabrina\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Paco W.\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Andy\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Unknown Performer\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Ed\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Lion Man\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Christine\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/105712077\",\"name\":\"Godin, Steve\",\"dates\":\"1956-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Simon\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Tom\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"David J.\",\"dates\":\"\",\"notes\":\"Open-mic performer. Referred to as \\\"David Jaeger\\\" on the label of #SpokenWord_Sampler asset.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Mark\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]}]"],"performer_name":["Nawrocki, Norman","McGrail, Justin","Hawley, Steve (Liquid)"],"Recordist_name":["Duncan, Drew"],"Reader_name":["Marcel (?)","Sabrina","Paco W.","Andy","Unknown Performer","Ed","Lion Man","Christine","Godin, Steve","Simon","Tom","David J.","Mark"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1563/Enough_Said-VHS5-19950410_19950417_19950501.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK SHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side.\",\"other_physical_description\":\"VHS #5 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EbglSQmBIXFFnO0aC_QgYuMBfiv0DqqcFLnOFTPpCIJOVQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950417-Joseph.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"02:28:14\",\"precision\":\"\",\"size\":\"4.18 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring Clifton Joseph as part of the Enough Said series, organized by Lee Gotham, with extra open-mic performances by Norman Nawrocki, Justin McGrail, Steve Godin, Steve \\\"Liquid\\\" Hawley, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-04-17\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at at 01:26:02:01 of VHS #5 asset, which contains multiple events."],"Note":["[{\"note\":\"VHS #5 asset. Contains recordings of multiple events: (1) Enough Said 1995-04-10, ga press; (2) Enough Said 1995-04-17, Joseph; and (3) Enough Said 1995-05-01, Stephens, Suderman, Diamond and McGrail. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Faith Paré\",\"type\":\"Cataloguer\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/757290350\",\"citation\":\"Nawrocki, Norman. Rebel Moon: @narchist Rants & Poems. Edinburgh: AK Press, 1997.\"},{\"url\":\"https://www.worldcat.org/title/15946845\",\"citation\":\"Joseph, Clifton. Metropolitan blues. Toronto: Domestic Bliss, c1983.\"},{\"url\":\"https://www.worldcat.org/title/755015866\",\"citation\":\"Zetlin, Liz, & Myke Dyer (directors). Words Aloud : the spoken word festival, 2007 [DVD]. Markdale, ON & Mississauga, ON.: McNabb Connolly, 2009 [Includes performances by Clifton Joseph].\"}]"],"_version_":1853670549157314560,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:04\nVideo description: Colour video. Long-shot of host Lee Gotham on the stage of the venue Bistro 4 (Quatre), addressing audience with opening remarks. Stage is juxtaposed with four large windowpanes that look onto vehicles and passerby on Saint-Laurent Boulevard. Evening. A large orb-shaped light hangs above the stage. Orange curtains are draped at the top of the windows. A number of unknown audience members are visible in the initial camera view. \n\nLee Gotham\n00:00:05\nEvening, peoples, peoples, peoples. Thank you very much, once again, for coming out, taking in some of the sights and sounds of the Main on a Monday evening in spring. We've got a hot show for you guys tonight. [Laughs] It'll be a lot of fun, gonna be some serious fun as well. To get into things without blabbing about local events, as I'll probably find ample opportunity to do so during various points during the evening, I'd like to just say, well, you know, thanks for coming. Clifton's really going to dig it, I know you're going to dig him and, um, I got a couple special surprises, the first of who I'll introduce right now. It's Norman Nawrocki. Can you welcome Norman, he's going to kick things off for us. [Audience applause]. | Video Description: Camera zooms in as Lee Gotham addresses audience while adjusting microphone stand. Gotham wears a white collared shirt atop a graphic t-shirt, long brown hair in bun, and a beard. Gotham introduces Norman Nawrocki, and adjusts microphone.\n\nNorman Nawrocki\n00:00:57\n[Addresses audience. Introduces \"Soldiers for Jesus, Get Off!\" (later published in Rebel Moon: Anarchist Rants and Poems, AK Press, 1997). Audience laughter and applause throughout.] | Video Description: Norman Nawrocki enters via stage left. Narrocki wears a hoodie atop a collared shirt and short blond/brown hair. C. Lee Gotham exits frame.\n\nNorman Nawrocki\n00:01:30\n[Performs \"Soldiers for Jesus.\" Audience snapping, stomping, and laughter throughout. Audience applause at the end.] | Video Description: Norman Nawrocki reads poem from a sheet of paper, snapping fingers to lead audience. After performing, Nawrocki exits via stage left. Lee Gotham passes through camera view. Various unknown audience members pass back and forth through camera view, briefly blocking Gotham.\n\nLee Gotham\n00:03:40\n[Introduces Marcel (?). Audience applause.] | Video Description: Lee Gotham addresses audience. Lee Gotham introduces Marcel and exits stage left.\n\nMarcel\n00:04:17\n[Addresses audience. Reads in French and then translates to English a few lines from Victor Hugo's \"La Function du poète,\" beginning with \"Peuples ! Écoutez le poète !\"] | Video Description: Marcel enters from stage right. Marcel wears a white turtleneck, short brown hair, and a grey beard.  Addresses audience through microphone then reads poem from book.\n\nMarcel\n00:05:07\n[Addresses audience and reads \"Poem,\" beginning with the line \"There's a rustling in the silence.\" Audience applause.] | Video Description: Marcel addresses audience while flipping through publications, then reads poem from held publication.\n\nMarcel\n00:07:20\n[Addresses audience and performs Unnamed Poem 2, in English. Audience applause.] | Marcel briefly addresses audience and reads poem from publication, pacing back and forth on stage, projecting voice without using microphone. \n\nMarcel\n00:09:00\n[Performs Unnamed Poem 3, beginning in French then switching to English mid-poem. Audience applause]. | Video Description: Marcel shuffles through papers and publications then performs Unnamed Poem 3, moving from stage left to stage right throughout. Nods at audience, gathers pages and publications; then nods to Lee Gotham who walks onto stage from stage left. Marcel and Gotham briefly interact and Marcel exits stage right. \n\nLee Gotham\n00:13:26\n[Addresses audience. Introduces Mark.] | Video Description: Lee Gotham addresses audience at microphone. Introduces Mark and exits stage left. \n\nMark\n00:14:21\n[Addresses audience. Promotes Inkling Magazine. Introduces \"The Man in the Street\".] | Video Description: Mark enters stage left and addresses audience. Mark wears a black graphic t-shirt and long curly black hair.\n\nMark\n00:15:00\n[Reads \"The Man in the Street.\"] | Video Description: Mark reads short story from a stack of pages.\n\nMark \n00:22:45\n[Interacts with Lee Gotham, saying \"almost.\" Addresses audience. Resumes reading \"The Man in the Street\". Audience applause.] | Video Description: Lee Gotham leans into camera view, saying something to Mark. Mark and Gotham briefly interact. Gotham exits frame. Mark addresses audience and finishes reading, before exiting stage left.\n\nLee Gotham\n00:26:45\n[Addresses audience. Introduces Justin McGrail, from Fluffy Pagan Echoes.] | Video Description: Lee Gotham adjusts microphone stand and addresses audience. Lee Gotham walks off via stage left. \n\nJustin McGrail\n00:27:36\n[Interacts with an offscreen audience member. Addresses audience. Introduces the dance-poetry show \"Of Fire and Sword\" as context for his first piece.] | Video Description: Justin McGrail walks on stage from stage left. McGrail wears a brown coat or blazer with pins on collar and short brown hair. McGrail briefly interacts with unseen audience member before addressing audience through microphone.\n\nJustin McGrail\n00:28:13\n[Begins performing \"Of Fire and Sword\" but immediately laughs and addresses audience. Audience laughter. Resumes performing \"Of Fire and Sword.\" Audience applause.] | Video Description: Justin McGrail closes eyes and recites words. Turns face away and mutters before laughing. Then addresses audience into microphone and resumes reciting the poem.\n\nJustin McGrail\n00:29:45\n[Addresses audience. Introduces and performs \"Circle\". Thanks audience. Audience applause. | Video Description: Camera zooms in on Justin McGrail addressing audience. McGrail reads poem from piece of paper. Addresses audience before exiting via stage left.\n\nLee Gotham\n00:31:02\n[Addresses audience. Promotes next edition of Enough Said. Announces fifteen-minute break.] | Video Description: Lee Gotham enters stage via stage right and addresses audience. Lee Gotham adjusts microphone. Audience members passing in front of camera briefly obscures view.\n\n[Bistro 4 stage]\n00:31:55\nAmbient sounds, voices. | Video Description: Camera cuts to a close up shot of the lone mic.\n\nLee Gotham\n00:31:57\n[Addresses audience. Promotes Norman Nawrocki's Human Life International counterprotests. Introduces Clifton Joseph. Audience applause.] | Video Description: Lee Gotham walks onto stage via stage right and addresses audience at microphone.\n\nClifton Joseph\n00:34:16\n[Interacts with Lee Gotham. Addresses audience. Audience laughter throughout.] | Video Description: Clifton Jospeh enters stage via stage left, drinking from glass. Joseph wears a brown button-up vest atop a light green short-sleeved shirt, black-framed glasses, and short black hair. Lee Gotham adjusts microphone to Clifton Joseph's height. Clifton Joseph addresses audience.\n\nClifton Joseph\n00:35:57\n[Recites from Samuel Taylor Coleridge's \"The Rime of the Ancient Mariner.\" Addresses audience throughout. Audience laughter throughout.] | Video Description: Clifton Joseph addresses audience and recites poetry, making occasional gestures that emphasize portions of the poem.\n\nClifton Joseph\n00:36:30\n[Laughs. Addresses audience, mentioning Allen Ginsberg, John Giorno, Jack Kerouac, LeRoi Jones/Amiri Baraka, Jayne Cortez, bill bissett, and The Four Horsemen (sound poetry group), among others. Audience laughter throughout.] | Video Description: Clifton Joseph addresses audience.\n\nClifton Joseph\n00:41:25\n[Performs poem beginning with singing and the line, \"When I look at the situation\".] | Video Description: Clifton Joseph performs poem, occasionally using pointing, snaps, and other gestures to emphasize the performance.\n\nClifton Joseph\n00:42:26\n[Performs a poem with vocalizing a melody and the line \"See, you never know what a man may do\". Audience clapping along to beat.] | Video Description: Clifton Joseph performs poem.\n\nClifton Joseph\n00:43:07\n[Performs poem beginning with the line \"Damn, damn, damn, what a scam, what a sham\". Addresses audience. Audience laughter and applause.] | Video Description: Clifton Joseph performs poem. Sips from glass. Addresses audience.\n\nClifton Joseph\n00:44:11\n[Imitates R&B singing group. Sings from \"Harlem Blues\". Addresses audience. Asks audience for lighter. Audience laughter throughout.] | Video Description: Clifton Joseph addresses audience. Clifton Joseph takes out a pack of cigarettes and lights one with a match from an audience member.\n\nClifton Joseph\n00:46:30\n[Resumes addressing audience. Introduces and performs \"I Remember Back Home\". Audience applause.] | Video Description: Clifton Joseph addresses audience. Performs poem. Ashes cigarette and drinks from glass. \n\nClifton Joseph\n00:49:30\n[Performs \"Pimps.\"] | Video Description: Clifton Joseph performs poem. \n\nClifton Joseph\n00:52:05\n[Initiates call-and-response with audience.] | Video description: Cups hand to ear.\n\nClifton Joseph\n00:53:29\n[Addresses audience. Audience applause; audience laughter throughout.] | Video Description: Clifton Joseph smokes cigarette and crushes it under foot. Drinks from glass. Addresses audience.\n\nClifton Joseph\n00:55:35\n[Performs \"Chuckie Prophesy\". Audience applause. Addresses audience. Audience laughter.] | Video Description: Clifton Joseph performs poem. Drinks from water glass. Addresses audience.\n\nAudience_Member1\n00:58:10\n[Interacts with Clifton Joseph.] | Video Description: Audience_Member1 interacts with Clifton Joseph.\n\nClifton Joseph\n00:58:16\n[Addresses audience.] | Video Description: Camera zooms out as Clifton Joseph addresses audience.\n\nClifton Joseph\n00:59:13\n[Performs \"Slo-Mo\". Audience applause.] | Video Description: Clifton Joseph performs poem. Drinks from glass. \n\nClifton Joseph\n01:04:00\n[Begins performing \"A Chant for Monk\". Interacts with unknown audience member off-screen. Laughs. Audience laughter. Resumes performing \"A Chant for Monk\".] | Video Description: Clifton Joseph performs poem. Camera zooms in as Clifton Joseph interacts briefly with offscreen audience member.\n\nClifton Joseph\n01:08:08\n[Initiates audience call-and-response. Resumes performing \"A Chant for Monk\".] | Video Description: Clifton Joseph performs, with gestures that accentuate performance. \n\nClifton Joseph\n01:09:12\n[Finishes performing \"A Chant for Monk\". Audience applause.] | Video Description: Clifton Joseph interacts with Lee Gotham. Clifton Joseph bows for audience applause.\n\nLee Gotham\n01:09:51\n[Addresses audience. Promotes upcoming events, including Clifford Duffy’s \"The Invention of God.\"] | Video Description: Camera zooms in as Lee Gotham adjusts microphone and addresses audience. \n\nLee Gotham\n01:11:06\n[Introduces Clifton Joseph's second set. Audience applause.] | Video Description: Jump cut. Extreme close-up on Lee Gotham addressing audience. \n\nClifton Joseph\n01:12:14\n[Addresses audience. Audience applause and laughter throughout.] | Video Description: Camera zooms in and out on Clifton Joseph speaking into microphone, addressing audience. \n\nClifton Joseph\n01:13:32\n[Introduces and performs \"Lookin' for a Job.\" Audience laughter. Audience applause.] | Video Description: Clifton Joseph drinks from a glass in front of the microphone, then continues addressing audience. Camera zooms in and out on Clifton Joseph performing. Joseph improvises various gesticulations for emphasis, such as raising glasses off his face on the word \"sight.\" \n\nClifton Joseph\n01:16:06\n[Addresses audience. Interacts with audience member. Audience laughter throughout. Introduces and performs \"(Metropolitan Blues?).\" Audience applause.] | Video Description: Clifton Joseph walks around the microphone to drink from a glass. Camera zooms in and out on Clifton Joseph performing and laughing into microphone.\n\nClifton Joseph\n01:24:00\n[Briefly performs from \"Special Request\" before addressing audience.] | Video Description: Clifton Joseph walks around the microphone to drink from a glass. Briefly gesticulates as he performs lines from a song. Adjusts and speaks into microphone.\n\nClifton Joseph\n01:24:45\n[Performs poem beginning with the line \"It is dumb, dumb, dumb.\" Concludes with audience call-and-response. Audience applause.] | Video Description: Clifton Joseph performing into microphone. Clifton Joseph points toward audience to initiate call-and-response.\n\nClifton Joseph\n01:26:13\n[Addresses audience, interacting with individual audience members throughout. Audience laughter throughout.] | Video Description: Clifton Joseph walks around the microphone to drink from a glass. Camera zooms in and out as Clifton Joseph addresses audience. Accepts glass from unseen audience member and drinks from it. \n\nClifton Joseph\n01:30:27\n[Performs poem beginning with loud vocalizations that turn from singing to screaming. Audience applause.] | Video Description: Camera zooms out as Clifton Joseph removes microphone from stand, places down glass, and holds microphone in hand. Camera pans across stage as Clifton Joseph performs, facing away from audience. Joseph turns toward audience and places microphone in stand. Lee Gotham briefly adjusts microphone as Joseph performs. Joseph moves microphone stand to stage right. Camera follows Joseph as he walks through audience performing. Audience applauds. Joseph wipes face with hand and walks through the crowd, exiting the camera's view. Camera pans back toward the stage. Lee Gotham enters frame and approaches microphone from stage left.\n\nLee Gotham\n01:34:23\n[Addresses audience. Audience applause.] | Video Description: Camera zooms in on Lee Gotham, who speaks into microphone and claps along with audience. He exits the frame. Camera pans across audience applauding. Joseph reenters frame. Camera pans, following Joseph walking toward the stage. Camera zooms in as Lee Gotham and Joseph embrace, and Joseph dances on stage. Joseph bows.\n\nClifton Joseph\n01:35:00\n[Addresses audience. Audience laughter.] | Video Description: Clifton Joseph speaks into microphone, addressing audience. Drinks from glass before walking off stage via stage left. Lee Gotham walks to stage.\n\nLee Gotham\n01:35:21\n[Addresses audience and announces break. Laughs.] | Video Description: Lee Gotham adjusts microphone stand and addresses audience. Brief VCR static.\n\nLee Gotham\n01:36:02\n[Addresses audience. Reads from Unnamed Periodical. Addresses audience member (\"See you later, Bob\") and resumes addressing audience. Announces open mic and its first performer, Steve Hawley.] | Video Description: Close-up on Lee Gotham speaking into microphone and reading from a periodical. Lee Gotham exits frame and returns with a dictionary. Waves to an audience member off-screen before addressing audience again. \n\nSteve \"Liquid\" Hawley\n01:37:38\n[Addresses audience. Addresses Audience_Member2.] | Video Description: Lee Gotham moves out of frame. Steve \"Liquid\" Hawley enters stage from stage left. Hawley wears a black sweatshirt and backward baseball cap on short dark hair. Hawley holds a cigarette. Hawley lifts microphone from stand and holds it close to mouth while addressing audience. Camera zooms out, revealing Hawley holding a glass.\n\nSteve \"Liquid\" Hawley\n01:38:21\n[Performs a piece beginning with the line \"We got (?) children's candy.] | Video Description: Steve \"Liquid\" Hawley raps into microphone.\n\nSteve \"Liquid\" Hawley\n01:38:46\n[Addresses audience. Interacts with unknown audience member. Introduces and performs piece beginning with the line \"I see people on a mission every day of their lives\". Laughs; audience laughter.] | Video Description: Steve \"Liquid\" Hawley speaks to audience and briefly dances while making a joke. Places down glass. Camera zooms in to close-up as Hawley introduces and performs next piece. Hawley raps into microphone, briefly laughs, and continues performing.\n\nSteve \"Liquid\" Hawley\n01:41:14\n[Introduces and performers piece beginning with the line \"It's rough, growing up without peers.\" Addresses audience. Audience applause.] | Video Description: Steve \"Liquid\" Hawley raps into microphone. Camera zooms out as Hawley exits frame. Lee Gotham claps while walking up to microphone.\n\nLee Gotham\n01:43:27\n[Addresses audience. Announces Sabrina. Audience applause.] | Video Description: Lee Gotham adjusts microphone. Camera zooms in as Gotham speaks to audience. Sabrina moves across screen, walking toward stage. Gotham adjusts microphone to Sabrina's height and exits stage left. \n\nSabrina\n01:43:45\n[Addresses audience. Introduces and performs \"(?) Blues.\" Laughs and addresses audience mid-poem. Audience laughter and applause.] | Video Description: Camera zooms in and out as Sabrina addresses audience. Sabrina wears a dark jacket, patterned scarf around neck, and brown, shoulder-length hair with a clip. Reads poem from a piece of paper. Looks toward applauding audience members off-screen. Stops reading and addresses audience, making \"finger-gun\" motions. Laughs and looks behind left shoulder, away from audience, then recites the rest of the poem. Walks out of frame.\n\nLee Gotham\n01:47:35\n[Addresses audience. Announces Andy. Interacts with Andy, before announcing Paco W.] | Video Description: Sabrina moves across camera view as Lee Gotham arrives at microphone. Lee Gotham addresses audience. Gotham exits frame.\n\nPaco W.\n01:48:31\n[Reads a piece beginning with the line \"I will telling of nothing, nothing, I'll tell you.\" Audience applause.] | Video Description: Paco walks to microphone and makes brief \"sign of the horns\" gesture. Paco wears a collared shirt, an earring in left ear, and short brown hair. Paco adjusts microphone before reading poem from a stack of pages.\n\nPaco W.\n01:50:26\n[Introduces and reads from \"Fragments of Our (Kin?).\" Audience applause.] | Video Description: Paco steps briefly away from microphone. Passing audience member obscures camera view. Paco looks down toward pages and steps back in front of microphone. Reads into microphone from stack of pages. Walks off-screen. Lee Gotham returns to microphone and adjusts stand.\n\nLee Gotham\n01:51:51\n[Addresses Andy. Introduces Andy. Audience applause.] | Video Description: Lee Gotham addresses Andy (who is off-screen) before walking off-screen.\n\nAndy\n01:52:13\n[Addresses audience. Reads Unnamed Piece. Audience applause.] | Video Description: Camera tilts upward as Andy walks to microphone. Andy wears a red shirt, black toque, a necklace, and curly chin-length hair. Andy reads from notebook.\n\nAndy\n01:53:35\n[Reads \"Quiet.\" Audience laughter throughout. Audience applause.] | Video Description: Andy closes notebook and turns around to grab a piece of paper before speaking into microphone. Looks down at page while reading. Moves away from microphone and walks out-of-frame via stage left. Lee Gotham moves to microphone.\n\nLee Gotham\n01:55:20\n[Addresses and introduces David J.] | Video Description: Lee Gotham speaks into microphone addressing David J. (who is off-screen) before exiting stage-left, out of frame. \n\nDavid J.\n01:55:29\n[Addresses audience. Introduces and reads \"Who Do?\" Audience laughter, applause.] | Video Description: David J. walks to microphone and addresses audience. J. wears a black sweater atop a grey collared shirt and short black hair. Camera zooms out as David speaks to audience while flipping through a notebook. Reads from notebook.\n\nDavid J.\n01:56:10\n[Introduces \"Cadillac Bomb.\" Audience applause.] | Video Description: David J. speaks to audience while flipping through notebook. Reads from notebook. \n\nDavid J.\n01:56:55\nIntroduces and reads \"The Devil's Got the Goods\". Audience applause.] | Video Description: David J. steps away from microphone and flips through notebook. Speaks, inaudibly, to off-screen audience member. Addresses audience. Camera zooms in as David reads from notebook. David steps away from microphone and nods to audience, before walking stage left, off-screen. Lee Gotham approaches microphone.\n\nLee Gotham\n01:58:42\n[Addresses audience. Asks about Jeff, then invites Unknown_Reader1 to the stage.] | Video Description: Lee Gotham speaks to audience. An unnamed audience member briefly passes in front of Lee Gotham. \n\nUnknown_Reader1\n01:59:23\n[Introduces and reads (\"Also Badge\"?).] | Video Description: Unknown_Reader1 approaches microphone with a stack of papers. Unknown_Reader1 wears a pink t-shirt and long straight brown hair. Reads from stack of papers.\n\nUnknown_Reader1\n01:59:55\n[Introduces and reads \"For Salman\" (Salman Rushdie). Audience applause.] | Video Description: Unknown_Reader1 briefly steps away from microphone before introducing another poem. Reads from stack of papers.\n\nUnknown_Reader1\n02:00:32\n[Introduces and reads Unnamed Poem. Thanks audience. Audience applause.] | Video Description: Unknown_Reader1 briefly steps away from microphone before introducing another poem. Reads from stack of papers. Addresses audience and walks from microphone, exiting stage left. Camera zooms out as Lee Gotham approaches microphone.\n\nLee Gotham\n02:01:41\n[Addresses audience. Interacts with Ed.] | Video Description: Lee Gotham speaks to audience before interacting briefly with Ed off-screen. Ed enters from stage left as Lee Gotham adjusts microphone. Camera zooms in as Ed moves toward microphone and Lee Gotham exits stage left.\n\nEd\n02:01:59\n[Introduces and reads \"Open Hand, Empty Hand.\" Thanks audience. Audience applause.] | Video Description: Ed addresses audience. Ed wears a dark trench coat atop a collared shirt and brown hair in bowl-cut style. Reads poem. Addresses audience and exits stage left. Lee Gotham enters and moves to microphone.\n\nLee Gotham\n02:04:06\n[Addresses audience. Announces Lion Man.] | Video Description: Lee Gotham speaks into microphone, addressing audience and Lion Man. Gotham adjusts microphone as Lion Man enters frame from stage right.\n\nLion Man\n02:04:25\n[Makes purring noise into microphone. Audience laughter.] | Video Description: Lion Man addresses audience. Lion man wears an emerald green vest, a brown collared shirt, and straight chin-length brown hair. \n\nLion Man\n02:04:30\n[Performs \"Impropaganda.\" Audience applause.] | Video Description: Lion Man recites poem into the microphone.\n\nLion Man\n02:06:28\n[Addresses audience. Audience laughter. Introduces and reads Unnamed Poem, about \"if water and plant life could speak to us.\" Audience applause.] | Video Description: Lion Man steps away from microphone and smiles. Addresses audience. Flips through notebook before addressing audience. Reads poem from notebook. Closes notebook and steps away from microphone, exiting stage right. Camera zooms out as Lee Gotham enters from stage left, clapping, and walks up to microphone.\n\nLee Gotham\n02:09:33\n[Thanks Lion Man. Announces Christine. Promotes upcoming event, Clifford Duffy’s \"The Invention of God,\" at the Woodstock Bar.] | Video Description: Lee Gotham addresses audience, speaking into microphone. Christine enters frame from stage left and flips through papers. Gotham adjusts microphone and walks off-camera, exiting stage left.\n\nChristine\n02:10:04\n[Addresses audience. Audience response. Laughs and resumes addressing audience.] | Video Description: Christine stands to the side of microphone, flipping through pages. Christine wears a black collared shirt, light-wash jeans with a large belt buckle, and short blonde hair. Christine walks up to the microphone and addresses audience. Christine laughs at and flips through pages. \n\nChristine\n02:10:43\n[Reads a poem beginning with the line \"Why do I feel so (?) like a little girl.\" Audience applause.] | Video Description: Camera zooms in and out on Christine reading from notebook. Looks down away from audience. Camera zooms out as Christine flips to a new page.\n\nChristine\n02:11:52\n[Reads a poem beginning with the line \"Okay, it's all over now.\" Audience applause.] | Video Description: Christine reads from notebook. Flips through notebook pages before settling on a new page.\n\nChristine\n02:13:30\n[Reads from \"Unfinished Poems.\" Audience applause.] | Video Description: Christine reads from notebook. Walks from microphone and off-screen via stage left. Christine is seen again passing through camera's view. Lee Gotham enters from stage left and walks to microphone.\n\nLee Gotham\n02:14:37\n[Addresses audience. Thanks Christine. Announces Steve Godin.] | Video Description: Lee Gotham addresses audience. An unknown audience member passes briefly through camera view. Gotham exits as Steve Godin walks toward the microphone from stage right.\n\nSteve Godin\n02:14:57\n[Addresses audience. Introduces and reads Unnamed Poem 1. Audience applause. Thanks audience.] | Video Description: Steve Godin addresses audience while looking through pages. Godin wears a black leather jacket atop a black t-shirt and long grey straight hair. Reads from a stack of pages. Addresses audience and exits via stage right. Lee Gotham approaches microphone from stage left.\n\nLee Gotham\n02:18:47\n[Thanks Steve Godin. Announces Simon.] | Video Description: Lee Gotham addresses audience and exits stage left. \n\nSimon\n02:19:05\n[Addresses audience. Introduces and reads \"Pulling Me In.\" Audience applause.] | Video Description: Camera tilts down as Simon approaches microphone. Simon wears a blue long sleeve t-shirt, round glasses, and collar-length straight brown hair. Camera zooms in as Simon addresses audience. Simon reads into the microphone.\n\nSimon\n02:19:50\n[Addresses audience. Introduces and reads \"The Day with the Face.\" Thanks audience. Audience applause.] | Video Description: Simon steps briefly away from microphone before stepping back and addressing audience. Simon raises stack of pages higher, into frame. Reads from stack of pages. Steps away from microphone and looks down. Speaks briefly into microphone before exiting stage left. Camera zooms out as Lee Gotham approaches microphone from stage right. Gotham takes cigarette out of mouth.\n\nLee Gotham\n02:23:43\n[Thanks Simon. Interacts with off-screen audience member (Jean-Luc). Introduces Tom. Audience applause.] | Video Description: Lee Gotham addresses audience, laughing throughout. Gotham moves from microphone and exits stage right. \n\nTom\n02:24:31\n[Addresses audience. Audience laughter] Introduces and performs \"Call Before You Dig.\"] | Video Description: Tom enters from stage left. Tom wears a navy flannel jacket, black backwards baseball cap, and blond hair. Reads from pages.\n\nTom\n02:26:20\n[Addresses audience. Audience applause. Introduces and reads \"The Conspiracy of the (?) Dentist.\" Laughs. Addresses audience. Audience laughter and applause.] | Video Description: Tom steps away from microphone and shuffles through pages. Approaches microphone and addresses audience. Reads from pages. Then exits stage left. Camera zooms out as Lee Gotham approaches microphone clapping. Lee Gotham adjusts microphone.\n\nLee Gotham\n02:27:56\n[Addresses audience with concluding remarks.] | Video Description: Lee Gotham addresses audience, removes cigarette from mouth, and resumes speaking. An audience member briefly passes through camera view.\n\nEND\n02:28:05\n[End of recording.]"],"score":0.33872336},{"id":"1295","cataloger_name":["Bindu,Reddy"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SGWU Reading Series-Concordia University Department of English fonds"],"source_collection_label":["SGWU Reading Series-Concordia University Department of English fonds"],"collection_contributing_unit":["Records Management and Archives"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The fonds consists of some administrative records of the SGWU Department of English and the Concordia Department of English between 1971 and 2000. It also consists of some SGWU Department of English records related to student academic activities in the 1940s and to public readings and lectures, and a few interviews, produced between 1966 and 1972. The fonds mainly includes minutes of departmental meetings and some course timetables. It also includes some student papers in bound volumes and 63 sound recordings (80 audio reels) mainly composed of poetry readings (see the Concordia SpokenWeb project which uses this material) but also a few lectures given at SGWU. There are also loose typed sheets describing some of the SGWU poetry readings."],"collection_source_collection_id":["I086"],"persistent_url":["http://archives.concordia.ca/I086"],"item_title":["Gary Snyder at Sir George Williams University, The Poetry Series, 5 November 1971\n"],"item_title_source":["Cataloguer"],"item_title_note":["\"POETRY READING GARY SNYDER #1 I006-11-106.1\" written on sticker on the spine of the tape's box. \"I006-11-106.1\" written on sticker on the reel\n\n\"POETRY READING GARY SNYDER #2 I006-11-106.2\" written on sticker on the spine of the tape's box. \"I006-11-106.2\" written on sticker on the reel\n\n\"POETRY READING GARY SNYDER #3 I006-11-106.3\" written on sticker on the spine of the tape's box. \"POETRY READING GARY SNYDER I006-11-106.3\" written on sticker on the reel\n\n\"POETRY READING GARY SNYDER #4 I006-11-106.4\" written on sticker on the spine of the tape's box. \"POETRY READING GARY SNYDER I006-11-106.4\" written on sticker on the reel\n"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 6"],"item_identifiers":["[I006-11-106.1, I006-11-106.2, I006-11-106.3, I006-11-106.4]"],"creator_names":["Snyder, Gary"],"creator_names_search":["Snyder, Gary"],"creators":["[{\"url\":\"http://viaf.org/viaf/68944804\",\"name\":\"Snyder, Gary\",\"dates\":\"1930-\",\"notes\":\"American poet and nature activist Gary Snyder was born in San Francisco on May 8, 1930. He spent most of his early life exploring the wilderness and cultures along the Pacific Coast around his parent’s dairy farm in Washington State. In 1942, his family moved to Portland, Oregon and in 1947 he enrolled in Reed College to study literature and anthropology. His senior thesis was later published in 1978 and called He Who Hunted Birds in His Father’s Village: The Dimensions of a Haida Myth (Grey Fox Press). Snyder then worked various jobs with the U.S. Forest Service and Park Service, with timber companies on Native American Reservations, and Snyder even climbed aboard a ship traveling to South America. In 1951, Snyder completed his bachelor’s degree and went to Indiana University to study linguistics, which only lasted one semester, after which, he traveled to San Francisco. Snyder met and lived with the poet Philip Whalen before entering into the University of California, Berkley in 1952 to begin graduate studies in East Asian languages. The poetry scene in San Francisco (San Francisco Renaissance) had begun to take shape and on October 7, 1955, Snyder read with Allen Ginsberg, Philip Lamantia, Michael McClure, Kenneth Rexroth and Philip Whalen at the famous “Six Poets at the Six Gallery”, a reading which launched the ‘Beat’ movement. In 1956, Snyder began formal Buddhist training in Kyoto, Japan, and traveled back and forth from the U.S. several times during the next decade, studying Buddhism and writing poetry. Snyder’s first collection of poetry was Riprap (Four Seasons Foundation, 1959), which was followed the next year by Myths and Texts (Totem Press, 1960), Six Sections from Mountains and Rivers without End (1965), Cold Mountain Poems (Four Seasons, 1965), The Back Country (New Directions, 1968), a collection of essays Earth House Hold (New Directions, 1969), Regarding Wave (Windhover Press, 1969), Manzanita (Four Seasons Foundation, 1972), The Fudo Trilogy (Shaman Drum, 1973) and the Pulitzer Prize-winning Turtle Island (New Directions, 1974). With an increase in popularity, Snyder became a spokesman for environmental issues and served on the Board for the California Arts Council between 1974 and 1979. He began local projects and schools, including the North San Juan School House and the Ring-of-Bone Zendo Buddhist community centre. Snyder then published a series of essays and prose in The Old Ways (City Lights Books, 1977), The Real Work: Interviews and Talks, 1964-1979 (New Directions, 1980), and an account of his travels with poets Joanne Kyger and Allen Ginsberg Passage through India (1983), and a return to poetry with Axe Handles (North Point Press, 1983), and Left Out in the Rain (North Point Press, 1986). Snyder then began teaching at the University of California, Davis, in both the English and Nature and Culture Departments. More recently, he has published essays and poetry in No Nature: New and Selected Poems (Pantheon Books, 1992), a completed version of a long poem previously published Mountains and Rivers without End (Counterpoint, 1996) which won the Bollingen Prize. His collected poetry can be found in The Gary Snyder Reader: Prose, Poetry and Translations 1952-1998 (Counterpoint, 1999) and The High Sierra of California: Poems and Journals of Gary Snyder (Quail Press, 2000). Snyder retired from teaching in 2002, but has continued advocating for environmental issues and writing poetry, publishing Danger on Peaks (Shoemaker & Hoard, 2004), Back on the Fire: Essays (Shoemaker & Hoard, 2007).\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Sommer, Richard"],"contributors_names_search":["Sommer, Richard"],"contributors":["[{\"url\":\"http://id.loc.gov/authorities/names/n84036163\",\"name\":\"Sommer, Richard\",\"dates\":\"1934-2012\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Presenter\"]}]"],"Presenter_name":["Sommer, Richard"],"Series_organizer_name":["Sommer, Richard"],"Production_Date":[1971],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"},{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"2 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel","Reel to Reel","Reel to Reel","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape","Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue","Analogue","Analogue"],"AV_type":["Audio","Audio","Audio","Audio"],"playback_mode":["Stereo","Stereo","Stereo","Stereo"],"Dates":["[{\"date\":\"1971 11 5\",\"type\":\"Production Date\",\"notes\":\"Date apecified in written announcements\\n\",\"source\":\"Supplemental Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Room H-651\",\"notes\":\"\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Room H-651"],"City":["Montreal, Quebec"],"content_notes":["Gary Snyder reads poems later collected in Turtle Island (New Directions, 1974), originally published in a limited edition book called Manzanita (Four Seasons Press, 1972). He also reads one poem from Regarding Wave (Fulcrum Press, 1971), one poem from Coyote’s Journal #9 (1971), one poem from The Fudo Trilogy (Shaman Drum, 1973), and several from Mountains and Rivers Without End (Counterpoint) only published in 1997, as well as other poems from unknown sources. "],"contents":["gary_snyder_i006-11-106-1.mp3 [File 1 of 4]\n\nRichard (Dick) Sommer\n00:00:00\nProbably some of us are here in order to look at or touch the Gary Snyder [https://www.wikidata.org/wiki/Q315963] who actually went and did all those semi-mythological things, who has climbed mountains and traveled in India with Allen Ginsberg [https://www.wikidata.org/wiki/Q6711], who provided Kerouac [https://www.wikidata.org/wiki/Q160534] with a book character, who has lived in or on the edges of several different kinds of wilderness, who has lived in the precincts of Japanese Buddhist monasteries, who has fought, I think has fought hard, to keep other cultures than ours, and other kinds of life than human life, from obliteration. And who has written poems out of the consciousness of these things. For myself, Gary Snyder hasn't made poems so much as he has provided me with windows made out of words. These are windows that have had a way of, themselves disappearing, leaving me usually standing where I think I want to be, out in the open world. So, I came here, I've come here, to meet whoever it is that makes so many good windows. I'll let you discover for yourselves how much this window-maker is what a windowmaker should be, himself, just open and clear. I'd like to present Gary Snyder.\n\nGary Snyder\n00:02:58\nI forgot one more thing I wanted to have out here. Good evening. I'm going to read in two sets this evening, with a little intermission. And first of all, I'm not going to read any poems tonight from my published books, because those poems are available and what is interesting to me is always what I'm doing, where I'm moving. So I'm going to read from a cycle of short poems, moderately short poems, which I call \"Charms\", and\nthen there'll be a break, and then I'm going to read recent sections that I've been working on from a long poem in progress called \"Mountains and Rivers Without End\". I came back to the United States [https://www.wikidata.org/wiki/Q30] from Japan [https://www.wikidata.org/wiki/Q17] with my wife and children about three years ago now, and went as rapidly as possible to settle in the foothills of the Sierra Nevada [https://www.wikidata.org/wiki/Q26777], on the north slope of the south fork of the Yuba river [https://www.wikidata.org/wiki/Q181973] at three-thousand foot elevation. And I've been living there for almost two years now. I'm saying this by way of introduction to this first cycle of poems called \"Charms\". I was brought up on a farm, and all of my ancestors that I know of, for the last few generations on both sides, were rural people, or miners, miners in Colorado [https://www.wikidata.org/wiki/Q1261], Leadville [https://www.wikidata.org/wiki/Q286702], places like that. And it amazes me in a mysterious way how to get back to doing what my father was doing when I was a little boy, and what, and which I remember as a little boy, and to get back to doing what my grandfather was doing, which is to say--again, looking at the fences, looking at the stumps, looking at the house, looking at the well, looking at the spring and saying, how are we going to do it--touches me more deeply than I can possibly explain. And at the same time, being confronted again with these choices, which are the choices of the American frontier, and also the choices of medieval Europeans, and neolithic Mediterranean people, and neolithic Japanese people, and neolithic Chinese people. With what I've come to understand, a little more now, about history, anthropology, and biology, I feel an extraordinary responsibility to understand why I make the choices I make, in such matters as, where does one break the ground and locate a garden, or which trees does one select to fall. In other words, I find myself again in that position of entering virgin land, and this time, I want to understand, in the process of making my own choices, I want to understand why we did it wrong, every time before, and hope to get some insights in how one goes about doing it right, this time. In moving toward that understanding, in making the choices that I have to make, about how we are going to live, in the semi-wilderness and true wilderness of the Sierra Nevada, my teachers have to be scientific foresters, biologists and ecologists on the one hand, and the American Indians on the other. There are no other teachers available for these choices.\n\nGary Snyder\n00:08:02\nAnd so these poems, in the cycle called \"Charms\", reflect those debts and reflect the search for that knowledge, insofar as I've gotten into it up to this point. It starts with a little chant, called \"Grace for Love\". Before we...grace, in the sense of the grace that we say before meals. Which is, grace is gratitude, an expression of gratitude for a meal. And the gratitude that we say at my rancheria is a kind of a rough translation from a Japanese Buddhist grace which goes like this in English: \"We venerate the three treasures and are thankful for this meal, the work of other people, and the suffering of other forms of life.\" The need for grace, for love, is something I became aware of when I realized that there was a level of validity in the Catholic Church's objection to contraceptive devices, insofar as love, like food, is a sacrament, and that there is level in which the act of love should inevitably be connected with the consciousness of its role in moving the seed, in transmitting the energy of the knowledge of the biomass, as transmitted down through time. But I felt that the church is far too simple-minded in assuming that the energy aroused in the sacrament of love, in the direction of fertility, has to mean literally that the people who are acting that sacrament out have to necessarily procreate their own kind. And so we came to this, I and several other people, came to this, as what primitive people would call the transferral of merit, or species-increase ritual. In other words, we make love with gratitude to other beings, and wish to transfer our fertility from the human race to the vanishing species.\n\nGary Snyder\n00:11:09\nPerforms \"Grace for Love\".\n\nGary Snyder\n00:14:20\nReads \"A Curse on the Man In the Pentagon, Washington\".\n\nGary Snyder\n00:16:37\nThat's from a Cheyenne ghost dance song, that little last chorus.\n\nGary Snyder\n00:16:43\nReads \"I went into the Maverick Bar\" [published later  in Turtle Island].\n\nGary Snyder\n00:18:25\nThe Navajo word \"Anasazi\" means \"the ancient ones.\" It's the name that the Navajo gave to the people who lived in the canyons and cliffs of Chaco Canyon [https://www.wikidata.org/wiki/Q49786970] and Canyon De Chelly [https://www.wikidata.org/wiki/Q41679118] and Mesa Verde [https://www.wikidata.org/wiki/Q6821095] and many other sites. Probably the people were the ancestors of the present Pueblo people, living there probably up until the twelfth century, till the great drought of the thirteenth century. The people who more than any others, to judge from what the Pueblo people are still able to transmit today, the people who more than any others have achieved what could truly be called \"civilization\" on this continent, and whose lore embodies perhaps two millennia of deep experience. I wrote this at Canyon De Chelly.\n\nGary Snyder\n00:19:52\nReads “Anasazi” [published later in Turtle Island].\n\nGary Snyder\n00:21:11\nThe Canyon De Chelly, which will come up in another poem I'm going to read later today, and in fact, all over the West, all over the Great Basin [https://www.wikidata.org/wiki/Q966943], and in other parts of North America [https://www.wikidata.org/wiki/Q49] too, notably on the granite outcroppings on th]e northern shores of Lake Superior [https://www.wikidata.org/wiki/Q1066], for example, are designs pecked into the rocks, petroglyphs. Anthropologists, Americanists, whatever you call 'em, haven't had much time to study those petroglyphs yet, because they've been engaged through all the years of this century in a hasty, half-successful salvage operation. Salvaging the remnants of this or that dying culture, recording and taping the last words of a dying language, and they've had no time to give to studying these older things that they know are there, such as the petroglyphs. But the petroglyphs have a repeated vocabulary of motifs which are found in patterns distributed all over North America, and particularly in the West. One of the most widespread is a hand, that someone has put on a cliff or a boulder face, apparently outlined, and then filled it in with red, hematite, or a red hand. That red hand often is lacking a finger, or lacking a finger-joint. This would not be notable in itself if it weren't that in the caves of southern France [https://www.wikidata.org/wiki/Q142] and northern Spain [https://www.wikidata.org/wiki/Q29], there are dated, back as far as 40,000 years, the same red hands, with missing fingers and missing finger-joints are found. This is only one of a number of things which are found all the way. And so this next poem, \"The Way West Underground\", is one of a number of poems, and this is perhaps the most intellectual of them, in which I'm trying to trace out how you get back to make the line of connection between what I know the American knows, what I am beginning to know the American Indian knew, and what I am beginning to know our prehistoric ancestors knew, which was not a different knowledge. And the question of why our prehistoric ancestors lost it is another question. Actually the main impetus of this poem deals with the bears, because there's an international mystery religion called the Bear Cult, that runs all the way from Finland [https://www.wikidata.org/wiki/Q33] to Utah [https://www.wikidata.org/wiki/Q829], across Siberia [https://www.wikidata.org/wiki/Q5428], and it shares the mysterious central theme, which is a girl who marries a bear. I've written several poems about that girl. And about the bears. And so this is coming in on that from another angle.\n\nGary Snyder\n00:25:12\nReads \"The Way West Underground\" [published later in Turtle Island].\n\nEND\n00:26:55\n\n\ngary_snyder_i006-11-106-2.mp3 [File 2 of 4]\n\nGary Snyder\n00:00:00\n--which is a way Finnish men sing folk songs together.\n\nGary Snyder\n00:00:05\nResumes reading of \"The Way West Underground\".\n\nUnknown\n00:02:20\n[Cut or edit made in tape].\n\nGary Snyder\n00:02:21\nSo I had to trace back again in my mind, with my eyes, with my observation: of course, the plants produce seeds, the birds feed on the seeds, and so forth. Small members of the food chain. The ocean is similar but in a different set of relationships. We live on an exuberance of sexuality. We eat the reproductive organs of grasses: wheat, rice. Because herring or cod have millions of eggs that hatch into millions of almost-microscopic fry, the food chains of the ocean are made possible.\n\nGary Snyder\n00:03:16 \nReads \"The Song of the Taste\" from Regarding Wave.\n\nGary Snyder\n00:04:51\nI read that because it goes so nicely with this other poem, called \"Song to the Raw Material\". I really think a lot about these things these days because I've put myself deliberately in the position of having to know where my food comes from, and it's no longer a question of, like do I eat natural foods or supermarket foods, or do I eat meat or am I a vegetarian, it's more sophisticated than that, it's a lot more subtle than that. Like literally, where did it come from. And by what means can I have a sense of responsibility and gratitude to what it is that I'm eating and in what sense can I repay that world, whichever world it is, that I am feeding off of. Well of course one way you can repay it is by being a willing, and gracious, member of the food chain yourself. Now we are rather large animals, which means that we are rather high in the food chain. But nonetheless, quite edible. And it would be a great honour, really, to be eaten by a large, rare predator, and I can't think of any way I'd rather finish my days than to give myself to a grizzly bear, if I could, you know, choose when. [Laughter]. Like get all my affairs in order first. I'm not ready yet! Or at least, go back, as large creatures often do, go back into the cycle of feeding smaller creatures. But you can see the basic biological ignorance of this society, the ignorance of what systems really are, what basic systems are, and what our responsibilities to our membership in basic systems is, by the fact that they either burn people up or they fill them full of chemicals which make them not tasty, and lock them in bronze caskets, and so forth. The only people in the world who are righteous about this particular question seem to be the Tibetans and the Parsis, I mean, really righteous about it. The Tibetans and the Parsis have an old tradition, which is mentioned, it's so old that it's mentioned by Herodotus [https://www.wikidata.org/wiki/Q11925546], in talking about a group of people called the Magi, in Persia [https://www.wikidata.org/wiki/Q794], that is to say they expose their dead in elevated places and feed them to the vultures. That's one very elegant way, actually, to deal with it. The Eskimo, an Eskimo shaman whose name I forget, is reputed to have said, \"We live dangerous lives, because our food consists entirely of souls\". “Song to the Raw Material”.\n\nGary Snyder\n00:08:12\nReads \"Song of the Raw Material\".\n\nGary Snyder\n00:09:12\nReads \"Steak\" [published later in Turtle Island; audience laughter and applause throughout].\n\nGary Snyder\n00:10:53\nI saw that in Lethbridge [https://www.wikidata.org/wiki/Q270887], Alberta [https://www.wikidata.org/wiki/Q1951]. [Audience laughter]. The creation mythology of Japan, called the kojiki, is very long, and very complicated. I tried to boil it down to some kind of a formula I could understand, at least boil down the first hundred pages of it, so I wrote this--it's about how the world is created according to the Japanese creation mythology. I think. I think that's what it is.\n\nGary Snyder\n00:11:28\nReads \"No matter, never mind\" [published later in Turtle Island].\n\nAudience\n00:12:14\nLaughter and applause.\n\nGary Snyder\n00:12:24\nIt's funny how the language is smarter than we are, [audience laughter] yeah. Like we can get hung up on mind/matter dualism, but the language won't accept it. It says the same thing two ways. \"The Bath\". Where we live we don't have any electricity or propane, and so we do everything with wood, including heating our bath, which we found the best wood-fired bathing system was a Finnish-type sauna, and...so this poem, you know just to set the scene, it's a somewhat longer poem, this poem is a sauna, with a wood-burning stove that also heats a tank of water on the side, and with a bench that you sit up on and a lower place that you can get down on and wash with. You can get these wood-fired sauna-stoves from some Finnish outfit in Michigan [https://www.wikidata.org/wiki/Q1166]. The only place in the United States that I have been able to locate that makes sauna stoves that fire wood. I highly recommend them. The personae in this are my wife, my three-year old son, my three-and a-half year old son, my two-year-old son.\n\nGary Snyder\n00:14:00\nReads \"The Bath\" [published later in Turtle Island].\n\nGary Snyder\n00:19:31\nSome friends said to us, when we moved up to the backcountry, ah, you're just getting away from your responsibilities. You're evading the struggle. So I wrote this little poem as a, kind of a light answer to that. It's called \"Front Lines\".\n\nGary Snyder\n00:19:59\nReads \"Front Lines\" [published later in Turtle Island].\n\nGary Snyder\n00:21:36\nThat poem is not an exaggeration of what we're doing. We are, like, where I am and a number of other people I know around this continent, have their backs up against the wilderness, so to speak, and they're not going to let this thing go past them. If they can help it, or as you say, over my dead body. The California Indians used to set control burns, as distinct from wildfires, forestry terms, which contributed to the maintenance of what you might call a climax timber stand, keeping the undergrowth burnt out, keeping an annual deer-forage coming in, and protecting the large timber, as it were, from destructive forest fires, because whenever a forest fire--which is very common in California [https://www.wikidata.org/wiki/Q99], it's an annual event--whenever forest fires go through, went through the forests when they were in that condition, it simply went through taking the ground cover off, but couldn't get hot enough or high enough to kill the large trees. With the advent of logging, mining, and the Manzanita brush that follows on that, the whole flora of California changed radically. All of the flora of California changed. What happened was that the woods got very brushy, and then the early forestry practices which were, of course, to put forest fires out whenever they came on them, in some ways contributed to the increasingly dangerous situation of dense brush, logging slash laying around, second-growth trees not really very large yet, and a situation where every brush fire that went through killed absolutely everything grew up. And that's the state of the state now, to a large extent, although there are some hip foresters now who are back into control burns as best as they can. This poem is called \"Control Burn\" and it only starts from what I'm just talking about, taking that as an image.\n\nGary Snyder\n00:24:00\nReads \"Control Burn\" [published later in Turtle Island].\n\nGary Snyder\n00:25:37\nReads \"The Great Mother\" [published later in Turtle Island].\n\nEND\n00:26:55\n\n\ngary_snyder_i006-11-106-3.mp3 [File 3 of 4]\n\nGary Snyder\n00:00:00\nEverything in this next poem is all true. Almost everything.\n \nGary Snyder\n00:00:17\nReads \"The Call of the Wild\", Part I [published later in Turtle Island]. \n \nGary Snyder\n00:00:32\nReads \"The Call of the Wild\", Part II [published later in Turtle Island]. \n \nAnnotation\n00:01:52.06\nReads \"The Call of the Wild,\" Part III [published later in Turtle Island]. \n \nGary Snyder\n00:04:11\nReads \"Source\" [published later in Turtle Island]. \n \nGary Snyder\n00:05:40\nIn the poem \"Charms\", which is dedicated to Michael McClure [https://www.wikidata.org/wiki/Q1390054], who has more than any other living poet, or person even that I know, has gone farther than anyone else, I think, into becoming one with, in understanding, in penetrating, in perceiving the consciousness of other beings.\n \nGary Snyder\n00:06:15\nReads \"Charms\" [published later in Turtle Island]. \n \nAudience\n00:07:45\nApplause. \n \nGary Snyder\n00:08:01\nI want to read one little poem that kind of, that I just wrote on the plane the other day.  Flying in here yesterday I wrote this. And then we'll take a break. But this belongs, really, with these poems. \n \nGary Snyder\n00:08:15\nReads \"How did a great red-tailed Hawk come to lie on the shoulder of Interstate 5\" [published later in Turtle Island]. \n \nGary Snyder\n00:10:05\nOkay, let's take a break.  \n\nAudience\n00:10:07\nApplause.\n\nUnknown\n00:10:17\nAmbient Sound [voices].\n \nAudience Member 1\n00:10:29\nDo you remember getting tiny toys for your children from San Francisco [https://www.wikidata.org/wiki/Q62]? There was a small book that I saw in the States, folded out in a certain, section-by-section, parts of the earth kinda, growing larger and larger and larger...\n \nGary Snyder\n00:10:46\nI haven't seen it.\n \nAudience Member 1\n00:10:48\nNo, I guess...it's sort of, um, anti-war toys.\n \nGary Snyder\n00:10:51\nSounds nice. Yeah. Some place in San Francisco you can get it?\n \nAudience Member 1\n00:10:56\nUm, I don't know, it was from a certain, a certain group of people, and I don't remember their names. It was beautiful. Nice gift to give little kids.\n \nGary Snyder\n00:11:07\nI shall watch for it when I go there again. Thank you. \n \nAudience Member 1\n00:11:13\nOkay. You bet. [Inaudible]\n \nGary Snyder\n00:11:14\nOkay. [Laughter].\n \nAudience Member 2\n00:11:19\nMan you're incredible. You're so good. I really dig your stuff.\n \nGary Snyder\n00:11:26\n[Laughter]. Thank you.\n \nAudience Member 2\n00:11:26\nI really dig it, will you come for a drink with me later? With me and my friends?\n \nGary Snyder\n00:11:31\nI gotta go some place later.\n \nAudience Member 2\n00:11:33\nYou sure? \n \nGary Snyder\n00:11:34\nYeah. I mean, like I...they got something set up for me. \n \nAudience Member 2\n00:11:38\nI don't, I don't know, I really dig that, I really dig that [inaudible] I just came in, I thought your stuff was so incredible...Your stuff, the way you bring it across to people!\n \nGary Snyder\n00:11:51\nWell, that's what I try to do.\n \nAudience Member 2\n00:11:54\nHave you written a book?\n \nGary Snyder\n00:11:54\nI've written a lot of books. [Laughter].\n \nAudience Member 2\n00:11:58\nNo no no, no really, no really, I don't know too much about...Gary Snyder, you know?\n \nGary Snyder\n00:12:04\nWell, you'd probably find, I don't know, because I'm coming here, because of my being here now, they've probably got some of my books in the bookstore, if you want to go look. [Laughter].\n \nAudience Member 2\n00:12:13\nSee I'm writing this play right now, you know? I'm trying to express myself and it's really...it's really strange [Cut off abruptly].\n \nUnknown\n00:12:27\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nGary Snyder\n00:12:28\nWell, there has been a great deal of opposition to nuclear energy, and nuclear power-generating stations, in the United States so effective in some areas that a lot of generating plants have been blocked or slowed down in their construction. And I think that the United States government is about to launch on an enormous effort to calm the public and to lull it into accepting massive developments of nuclear energy generating centres, fast-breeder and later, perhaps, fusion. Now I myself would have no objection to such a thing if I could be convinced that it was safe, both in the long term and the short term, and although it might be conceivably safe in the short term, I can see no way in which it would be safe in the long run, because nuclear wastes accumulated over, say, several centuries, as they might be, or more, in increasing quantities around the globe, are going to out eventually, and even though you can say, well, we're putting it off for five hundred thousand years, five hundred thousand years is not a very long time.  And if we are feeding a wasteful, industrial, technological, consumer society for a few more centuries, buying it a few more centuries of life, at the expense of all future biological health on the planet, it's obviously not worth it. The Amchitka test, which is possibly interested in such things as what uses very large explosions would have in releasing oil from oil-bearing shale or something like that, I think the U.S. administration is going ahead with this test in the face of all this criticism, deliberately, as a deliberate and very intelligent gamble. The chances are that nothing will happen. When nothing happens, then they will be able to say, \"All you people were hysterical. You see?  Nothing happened\".  And that will buy them a lot of time and a lot of credibility to proceed strongly and forcibly with more nuclear testing and more nuclear power generation development. And the conservationists, perhaps, have in a way, played into their hands, by making such a big issue out of it, so that they will be left holding an empty bag if nothing happens. If something does happen, then the administration can say, \"You're right, we were wrong\", and Nixon [https://www.wikidata.org/wiki/Q9588] perhaps forfeits the next election. That's all. Okay. \n \nGary Snyder\n00:15:25.61\n\"Mountains and Rivers Without End\" is a poem that I've been working on, it's a long poem, a long series of interconnected long poems that I've been working on for some years. I'm going to read several sections from that tonight. Including one or two that are very recent, in fact these are all pretty recent. \"Mountains and Rivers without End\". The title of the poem comes from a Yuan Dynasty [https://www.wikidata.org/wiki/Q7313] Chinese scroll, that unfolds sideways and is thirty-five feet long. By way of introduction, a little poem called \"The Rabbit\". There are many sections to this, I'm only going to read [counts under breath.]..six tonight.\n \nGary Snyder\n00:16:27\nReads \"The Rabbit\" [published later in Mountains and Rivers Without End].\n \nGary Snyder\n00:18:04\n\"The California Water Plan\". The state of California at the moment is engaged in a large, incredibly wasteful, incredibly stupid, illegal, even by their own terms, water plan project, which if they're lucky, will salinate the Sacramento Valley [https://www.wikidata.org/wiki/Q1686914] and make agriculture permanently impossible. I was up in the Minarets [https://www.wikidata.org/wiki/Q2412852] in the Sierra last summer, thinking about the California Water Plan [https://www.wikidata.org/wiki/Q28228216], and I perceived something of what the true California Water Plan was. So I wrote this down. It refers to an obscure little Buddhist god called Fudo, or Achala [https://www.wikidata.org/wiki/Q337624], who is my particular guardian, my personal guardian and my personal teacher, and, so I use, I refer to him, in several poems. The other two poems in which I refer to him actually are a piece called \"Smokey the Bear Sutra\", and another piece called \"Spell Against Demons\". This is the final, actually, this is the third and final poem in the trilogy of Fudo poems. Also. But you'll find all about Fudo in this poem, it'll drive you crazy.    \n \nGary Snyder\n00:19:48\nReads \"The California Water Plan\" [later published in The Fudo Trilogy].\n \nGary Snyder\n00:25:34\n\"Kumarajiva's Mother\". Now, the rest of these poems that I'm going to read this evening are cutting back and forth between ancient India [https://www.wikidata.org/wiki/Q668] and ancient North America. I--living as I do and where I have lived all my life, we face the Pacific [https://www.wikidata.org/wiki/Q98]. And, the American Indian came from Asia [https://www.wikidata.org/wiki/Q48], or vice versa, the Asians came from North America. I mean I know a Shoshone who says that. He says, \"We've always been here, those Asians came from here\". [Laughter].  \"What do you mean we came from someplace else, that's some white anthropologist theory\". [Laughter]. \"Kumarajiva's Mother.\" Kumarajiva [https://www.wikidata.org/wiki/Q335293] was a great Buddhist monk-scholar-translator, who was kidnapped by the Chinese from Central Asia, by force, and carried off to China [https://www.wikidata.org/wiki/Q148] where he was made to translate Sanskrit Buddhist texts into Chinese, and he stayed there the rest of his life, with a crew of about eighty Chinese assistants, day and night, translating sutras. He did a lot of translation. He also got in trouble, because he liked girls, and on one occasion, because he actually had mistresses apparently, he ate a bowl of needles, like you sew with needles, in front of an assembly of all the monks and assistants in Peking [https://www.wikidata.org/wiki/Q956], or no it wasn't Peking in those days, it was Chang'an [https://www.wikidata.org/wiki/Q6501000], all of the monks and assistants in the capital, Chang'an, and then he said, \"When you boys can eat needles, you can have girlfriends too\". [Audience laughter]. But this poem is about his mother. [Audience laughter]. And I really, I mean I could explain to you why I wrote this poem but it isn't really worth explaining, I'll just read it. It has to do partly with the fact that my mother has freckles. And I was trying to figure out at this time, when I wrote this, I was trying to figure out whatever happened to women in Buddhism? Like something happened to 'em. They got lost. For a long time, anyway.\n \nGary Snyder\n00:28:22\nReads \"Kumarajiva's Mother\".\n \nEND\n00:30:59\n\n\ngary_snyder_i006-11-106-4.mp3 [File 4 of 4]\n \nGary Snyder\n00:00:00\n...alone in the 8th century, and studied at an enormous Buddhist, Mahayana university called Nalanda [https://www.wikidata.org/wiki/Q216243], for fifteen years, and then walked back to China, with a fraying pack full of books, which he translated for the next twenty years after he got back to China. He brought the school of Buddhism, which is called the school of Mind Only, and the school of Emptiness. That's one aspect of this next poem. Another aspect is a little petroglyph, American Indian petroglyph figure, called the hump-backed flute player, a little stick figure playing the flute, with a pack on his back, walking. He was found pecked on the rocks from Sonora [https://www.wikidata.org/wiki/Q46422], Mexico [https://www.wikidata.org/wiki/Q96] up into the Great Basin, and about which almost nothing is known. The Ghost Dance, which was a Messianic Indian religion, started by a Paiute named Wovoka https://www.wikidata.org/wiki/Q558420], which asserted that perhaps by magic the white man could be swept away from North America and the game would return.  And finally, the oldest living beings are the bristle-coned pine, who live in the White Mountains [https://www.wikidata.org/wiki/Q1556007], at an elevation of nine thousand feet in eastern California, the oldest of which is something like four thousand five hundred years old. So this poem is called \"The Humpbacked Flute Player\".\n \nGary Snyder\n00:01:59\nReads \"The Humpbacked Flute Player\" from Coyote’s Journal #9 [and published later in Mountains and Rivers Without End]. \n \nGary Snyder\n00:08:36\nI'm going to finish with one more poem called \"Down\". These poems are not in the order that they're going to be, but they're in a convenient order for the moment.\n \nGary Snyder\n00:09:05\nReads \"Down\".\n \nAudience\n00:11:48\nApplause.\n \nRichard (Dick) Sommer\n00:12:18\nI can't thank you for that. I don't know any way. Charles Simic [https://www.wikidata.org/wiki/Q722555] will be reading on November 19th. Thank you. \n\nAudience\n00:12:40 \nApplause.\n\nEND\n00:12:45\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1971, Gary Snyder published The back country (New Directions Press) and First time round (Roaring Fork Press), the first edition of Manzanita (Kent State University), Swimming naked in the Yuba River (Maidu Press), Anasazi (Yes! Press), Regarding Wave: Poems (Fulcrum Press) contributed to Sky, sea, birds, trees, earth, house, beasts, flowers (Unicorn Press) with Kenneth Rexroth, to Coyote’s journal: #9 (Book People) with Albert Glover, James Coller and Allen Ginsberg, and to Six poems/seven prints (Kent State University) with Alex Gildzen, John Ashbery, James Bertolino, Gwendolyn Brooks, Denise Levertov and Steven Osterlund.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nIt is not clear what Gary Snyder’s connection to Sir George Williams University or Montreal was, but he no doubt had an influential role in the shaping of American poetry, specifically in the San Francisco Renaissance and the Beat movement. The series tried to include poets from all types of poetry backgrounds and from both Canada and the U.S.; Snyder was an important American poet at this time.\",\"type\":\"General\"},{\"note\":\"Original transcript and print catalogue by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"4 reel-to-reel tapes>2 CDs>4 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#1\",\"citation\":\"Boxer, Avi; Bryan McCarthy and Graham Seal. “Letters: re: Reverend Richard J. Sommer”. The Georgian. Montreal: Sir George Williams University, 12 November 1971, page 4. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#1\",\"citation\":\"Boxer, Avi; Bryan McCarthy and Graham Seal. “Letters: Get Your Shit Together...”. The Georgian. Montreal: Sir George Williams University, 19 November 1971, page 4. \"},{\"url\":\"https://www.worldcat.org/title/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"DiFranco, Aaron K. \\\"Snyder, Gary\\\". The Oxford Encyclopedia of American Literature. Jay Parini (ed). Oxford University Press, 2004. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Maxwell, Glyn. \\\"Snyder, Gary\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#1\",\"citation\":\"Morrissey, Stephen. “Letters: Inexcusable Ignorance”. The Georgian. Montreal: Sir George Williams University, 26 November 1971, page 4. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#1\",\"citation\":\"Pearson, Allen. “Letters: The Second Coming?”. The Georgian. Montreal: Sir George Williams University, 12 November 1971, page 4. \"},{\"url\":\"https://www.worldcat.org/title/fudo-trilogy/oclc/622284906&referer=brief_results\",\"citation\":\"Snyder, Gary. The Fudo Trilogy. Berkley, California: Shaman Drum, 1973. \"},{\"url\":\"https://www.wikidata.org/wiki/Q6925688\",\"citation\":\"Snyder, Gary. Mountains and Rivers Without End. Washington, D.C.: Counterpoint Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/regarding-wave-gary-snyder/oclc/463402884&referer=brief_results\",\"citation\":\"Snyder, Gary. Regarding Wave. New York: New Directions Press, 1967. \"},{\"url\":\"https://www.worldcat.org/title/six-sections-from-mountains-and-rivers-without-end/oclc/295205&referer=brief_results\",\"citation\":\"Snyder, Gary. Six Sections from Mountains and Rivers Without End. San Francisco: Four Seasons Press, 1965. \"},{\"url\":\"https://www.worldcat.org/title/concise-oxford-companion-to-american-literature/oclc/1146399202&referer=brief_results\",\"citation\":\"\\\"Snyder, Gary\\\". The Concise Oxford Companion to American Literature. James D. Hart (ed). Oxford University Press, 1986. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Snyder, Gary [Sherman]\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press, 1995. \"},{\"url\":\"\",\"citation\":\"Snyder, Gary. Turtle Island. 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And who has written poems out of the consciousness of these things. For myself, Gary Snyder hasn't made poems so much as he has provided me with windows made out of words. These are windows that have had a way of, themselves disappearing, leaving me usually standing where I think I want to be, out in the open world. So, I came here, I've come here, to meet whoever it is that makes so many good windows. I'll let you discover for yourselves how much this window-maker is what a windowmaker should be, himself, just open and clear. I'd like to present Gary Snyder.\\n\\nGary Snyder\\n00:02:58\\nI forgot one more thing I wanted to have out here. Good evening. I'm going to read in two sets this evening, with a little intermission. And first of all, I'm not going to read any poems tonight from my published books, because those poems are available and what is interesting to me is always what I'm doing, where I'm moving. So I'm going to read from a cycle of short poems, moderately short poems, which I call \\\"Charms\\\", and\\nthen there'll be a break, and then I'm going to read recent sections that I've been working on from a long poem in progress called \\\"Mountains and Rivers Without End\\\". I came back to the United States [https://www.wikidata.org/wiki/Q30] from Japan [https://www.wikidata.org/wiki/Q17] with my wife and children about three years ago now, and went as rapidly as possible to settle in the foothills of the Sierra Nevada [https://www.wikidata.org/wiki/Q26777], on the north slope of the south fork of the Yuba river [https://www.wikidata.org/wiki/Q181973] at three-thousand foot elevation. And I've been living there for almost two years now. I'm saying this by way of introduction to this first cycle of poems called \\\"Charms\\\". I was brought up on a farm, and all of my ancestors that I know of, for the last few generations on both sides, were rural people, or miners, miners in Colorado [https://www.wikidata.org/wiki/Q1261], Leadville [https://www.wikidata.org/wiki/Q286702], places like that. And it amazes me in a mysterious way how to get back to doing what my father was doing when I was a little boy, and what, and which I remember as a little boy, and to get back to doing what my grandfather was doing, which is to say--again, looking at the fences, looking at the stumps, looking at the house, looking at the well, looking at the spring and saying, how are we going to do it--touches me more deeply than I can possibly explain. And at the same time, being confronted again with these choices, which are the choices of the American frontier, and also the choices of medieval Europeans, and neolithic Mediterranean people, and neolithic Japanese people, and neolithic Chinese people. With what I've come to understand, a little more now, about history, anthropology, and biology, I feel an extraordinary responsibility to understand why I make the choices I make, in such matters as, where does one break the ground and locate a garden, or which trees does one select to fall. In other words, I find myself again in that position of entering virgin land, and this time, I want to understand, in the process of making my own choices, I want to understand why we did it wrong, every time before, and hope to get some insights in how one goes about doing it right, this time. In moving toward that understanding, in making the choices that I have to make, about how we are going to live, in the semi-wilderness and true wilderness of the Sierra Nevada, my teachers have to be scientific foresters, biologists and ecologists on the one hand, and the American Indians on the other. There are no other teachers available for these choices.\\n\\nGary Snyder\\n00:08:02\\nAnd so these poems, in the cycle called \\\"Charms\\\", reflect those debts and reflect the search for that knowledge, insofar as I've gotten into it up to this point. It starts with a little chant, called \\\"Grace for Love\\\". Before we...grace, in the sense of the grace that we say before meals. Which is, grace is gratitude, an expression of gratitude for a meal. And the gratitude that we say at my rancheria is a kind of a rough translation from a Japanese Buddhist grace which goes like this in English: \\\"We venerate the three treasures and are thankful for this meal, the work of other people, and the suffering of other forms of life.\\\" The need for grace, for love, is something I became aware of when I realized that there was a level of validity in the Catholic Church's objection to contraceptive devices, insofar as love, like food, is a sacrament, and that there is level in which the act of love should inevitably be connected with the consciousness of its role in moving the seed, in transmitting the energy of the knowledge of the biomass, as transmitted down through time. But I felt that the church is far too simple-minded in assuming that the energy aroused in the sacrament of love, in the direction of fertility, has to mean literally that the people who are acting that sacrament out have to necessarily procreate their own kind. And so we came to this, I and several other people, came to this, as what primitive people would call the transferral of merit, or species-increase ritual. In other words, we make love with gratitude to other beings, and wish to transfer our fertility from the human race to the vanishing species.\\n\\nGary Snyder\\n00:11:09\\nPerforms \\\"Grace for Love\\\".\\n\\nGary Snyder\\n00:14:20\\nReads \\\"A Curse on the Man In the Pentagon, Washington\\\".\\n\\nGary Snyder\\n00:16:37\\nThat's from a Cheyenne ghost dance song, that little last chorus.\\n\\nGary Snyder\\n00:16:43\\nReads \\\"I went into the Maverick Bar\\\" [published later  in Turtle Island].\\n\\nGary Snyder\\n00:18:25\\nThe Navajo word \\\"Anasazi\\\" means \\\"the ancient ones.\\\" It's the name that the Navajo gave to the people who lived in the canyons and cliffs of Chaco Canyon [https://www.wikidata.org/wiki/Q49786970] and Canyon De Chelly [https://www.wikidata.org/wiki/Q41679118] and Mesa Verde [https://www.wikidata.org/wiki/Q6821095] and many other sites. Probably the people were the ancestors of the present Pueblo people, living there probably up until the twelfth century, till the great drought of the thirteenth century. The people who more than any others, to judge from what the Pueblo people are still able to transmit today, the people who more than any others have achieved what could truly be called \\\"civilization\\\" on this continent, and whose lore embodies perhaps two millennia of deep experience. I wrote this at Canyon De Chelly.\\n\\nGary Snyder\\n00:19:52\\nReads “Anasazi” [published later in Turtle Island].\\n\\nGary Snyder\\n00:21:11\\nThe Canyon De Chelly, which will come up in another poem I'm going to read later today, and in fact, all over the West, all over the Great Basin [https://www.wikidata.org/wiki/Q966943], and in other parts of North America [https://www.wikidata.org/wiki/Q49] too, notably on the granite outcroppings on th]e northern shores of Lake Superior [https://www.wikidata.org/wiki/Q1066], for example, are designs pecked into the rocks, petroglyphs. Anthropologists, Americanists, whatever you call 'em, haven't had much time to study those petroglyphs yet, because they've been engaged through all the years of this century in a hasty, half-successful salvage operation. Salvaging the remnants of this or that dying culture, recording and taping the last words of a dying language, and they've had no time to give to studying these older things that they know are there, such as the petroglyphs. But the petroglyphs have a repeated vocabulary of motifs which are found in patterns distributed all over North America, and particularly in the West. One of the most widespread is a hand, that someone has put on a cliff or a boulder face, apparently outlined, and then filled it in with red, hematite, or a red hand. That red hand often is lacking a finger, or lacking a finger-joint. This would not be notable in itself if it weren't that in the caves of southern France [https://www.wikidata.org/wiki/Q142] and northern Spain [https://www.wikidata.org/wiki/Q29], there are dated, back as far as 40,000 years, the same red hands, with missing fingers and missing finger-joints are found. This is only one of a number of things which are found all the way. And so this next poem, \\\"The Way West Underground\\\", is one of a number of poems, and this is perhaps the most intellectual of them, in which I'm trying to trace out how you get back to make the line of connection between what I know the American knows, what I am beginning to know the American Indian knew, and what I am beginning to know our prehistoric ancestors knew, which was not a different knowledge. And the question of why our prehistoric ancestors lost it is another question. Actually the main impetus of this poem deals with the bears, because there's an international mystery religion called the Bear Cult, that runs all the way from Finland [https://www.wikidata.org/wiki/Q33] to Utah [https://www.wikidata.org/wiki/Q829], across Siberia [https://www.wikidata.org/wiki/Q5428], and it shares the mysterious central theme, which is a girl who marries a bear. I've written several poems about that girl. And about the bears. And so this is coming in on that from another angle.\\n\\nGary Snyder\\n00:25:12\\nReads \\\"The Way West Underground\\\" [published later in Turtle Island].\\n\\nEND\\n00:26:55\\n\",\"notes\":\"Gary Snyder reads poems later collected in Turtle Island (New Directions, 1974), originally published in a limited edition book called Manzanita (Four Seasons Press, 1972). He also reads one poem from Regarding Wave (Fulcrum Press, 1971), one poem from Coyote’s Journal #9 (1971), one poem from The Fudo Trilogy (Shaman Drum, 1973), and several from Mountains and Rivers Without End (Counterpoint) only published in 1997, as well as other poems from unknown sources. \\n\\nI006-11-106=AC.1\\n00:17- Introducer (Perhaps Richard Sommer) introduces Gary Snyder. [INDEX: semi mythological things, climbed mountains and traveled to India with Allen Ginsberg, Jack\\nKerouac’s book character, wilderness, living in precincts of Japanese Buddhist\\nmonasteries, keeping cultures from obliteration, poems out of the consciousness,\\nwindows, open world, window-maker].\\n02:58- Gary Snyder introduces the reading, and poetry cycle “Charms” and long poem\\n“Mountains and Rivers Without End”. [INDEX: reading in two sets, all poems read\\nare unpublished, long poem in-progress “Mountains and Rivers Without End”, returning\\nfrom Japan to the U.S. three years prior, wife and children, settling in the foothills of the\\nSierra Nevada, north slope of the south fork of the Yuba river, three-thousand foot\\nelevation, origins on a farm, miners in Leadville, Colorado, how to get back to father’s\\noccupation, childhood, grandfather, fences, as a child in nature, spring (river), American\\nfrontier, medieval Europeans, neolithic Mediterranean people, neolithic Japanese people, neolithic Chinese people, history, anthropology, biology, responsibility of humans’ place on earth, choices we make in terms of nature, scientific foresters, ecologists, American Indians (as teachers)].\\n08:02- Introduces poetry cycle “Charms”, and “Grace for Love”. [INDEX: debts, search for knowledge, grace (gratitude for meal), rancheria, Japanese Buddhist grace, love, level of validity in the Catholic Church’s objection to contraception, food, sacrament, act of love, transference of ‘seed’ or knowledge, transferral of merit, species-increase ritual; from unknown source].\\n11:09- Chants “Grace for Love”.\\n14:20- Reads “A Curse on the Man in the Pentagon, Washington”. [INDEX: from unknown source].\\n16:37- Explains last chorus of “A Curse on the Man in the Pentagon, Washington”.\\n16:43- Reads “I went into the Maverick Bar”. [INDEX: from Turtle Island].\\n18:25- Introduces “Anasazi”. [INDEX: means ‘ancient ones’ in Navajo, name of people living in Chaco Canyon, Mesa Verde and Canyon de Chelly, ancestors of present Pueblo people, 12th century, the great drought of the 13th century, civilization, two millennia of ‘deep experience’, written at Canyon de Chelly; from Turtle Island]\\n19:52- Reads “Anasazi”.\\n21:11- Introduces “The Way West Underground”. [INDEX: Canyon de Chelly, West and Great Basin, granite outcroppings of the northern shores of Lake Superior, petroglyphs,\\nAnthropologists, salvaging remnants of dying cultures, vocabulary of motifs, hand\\npetroglyph, caves of southern France and northern Spain, 40,000 years ago, intellectual\\npoem, tracing out lines of connections between Americans, American Indians, prehistoric ancestors, main impetus of the poem is an international mystery religion called the Bear Cult, runs from Finland to Utah, Siberia, central theme: girl who marries a bear; from Turtle Island].\\n25:12- Reads “The Way West Underground”.\\n26:55- Interjects comment about poem. [INDEX: Finnish men singing folk songs].\\n[*note: cut or edit made in transcript, time elapsed unknown*]\\n29:16- Snyder is talking (not sure if it’s about the poem). [INDEX: observation, plants, seeds, birds, small members of food chain, ocean, exuberance of sexuality, reproductive organs of grasses, wheat, rice, herring, cod, millions of eggs, food chain of the ocean].\\n30:11- Reads “The Song of the Taste”. [INDEX: from Regarding Wave].\\n31:46- Introduces “Song for the Raw Material”. [INDEX: food, natural vs. supermarket foods, vegetarian vs. carnivore, being part of the food chain, being eaten by a bear, biological ignorance of society, basic systems, chemicals, Tibetans and Parsis, Herodotus, Maghi in Persia, feeding dead to the vultures, Eskimo shaman quote].\\n35:07- Reads “Song of the Raw Material”. [INDEX: perhaps “Song to the Raw Material”,\\nunknown source].\\n36:07- Reads “Steak”. [INDEX: from Turtle Island].\\n37:48- Introduces “No matter, never mind”. [INDEX: Lethbridge, Alberta, creation mythology of Japan (koji-ki); from Turtle Island].\\n38:23- Reads “No matter, never mind”.\\n39:19- Introduces “The Bath”. [INDEX: no electricity (wood heating), Finnish sauna, poem as a sauna, Michigan, personae in the poem are his wife, three sons; from Turtle Island].\\n40:55- Reads “The Bath”.\\n46:26- Introduces “Front Lines”. [INDEX: evading the struggle; from Turtle Island].\\n46:54- Reads “Front Lines”.\\n48:31- Explains parts of “Front Lines”, introduces “Control Burn”. [INDEX: wilderness,\\nCalifornia ‘Indians’, control burns, forest fires in California, logging, mining, Manzanita\\nbrush, flora changing; from Turtle Island].\\n50:55- Reads “Control Burn”.\\n52:32- Reads “The Great Mother”. [INDEX: from Turtle Island].\\n\\nFIRST CD (I006-11-106=AC.1)\\nPoem Read:\\t\\t\\t\\t\\t\\tTime Stamp\\tDuration (mins):\\n\\n“Grace for Love”  \\t\\t\\t\\t\\t00:11:09   \\t03:10\\n“A Curse on the Man in the Pentagon…” \\t00:14:20        02:17\\n“I went into the Maverick Bar…”  \\t\\t\\t00:16:23        01:42\\n“Anasazi”  \\t\\t\\t\\t\\t\\t00:19:52        02:17\\n“The Way West Underground”  \\t\\t\\t00:25:12        04:01\\n“The Song of the Taste”  \\t\\t\\t\\t00:30:11        01:35\\n“Song for the Raw Material”  \\t\\t\\t00:35:07        00:58\\n“Steak”  \\t\\t\\t\\t\\t\\t00:36:07        01:41\\n“No Matter, Never Mind”   \\t\\t\\t\\t00:38:23        00:46\\n“The Bath” \\t\\t\\t\\t\\t\\t00:40:55        05:29\\n“Front Lines” \\t\\t\\t\\t\\t\\t00:46:54        01:36\\n“Control Burn” \\t\\t\\t\\t\\t00:50:55        01:37\\n“The Great Mother”  \\t\\t\\t\\t00:52:32        00:42\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#1\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/gary_snyder_i006-11-106-2.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"gary_snyder_i006-11-106-2.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:26:55\",\"precision\":\"\",\"size\":\"63.2 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"gary_snyder_i006-11-106-2.mp3 [File 2 of 4]\\n\\nGary Snyder\\n00:00:00\\n--which is a way Finnish men sing folk songs together.\\n\\nGary Snyder\\n00:00:05\\nResumes reading of \\\"The Way West Underground\\\".\\n\\nUnknown\\n00:02:20\\n[Cut or edit made in tape].\\n\\nGary Snyder\\n00:02:21\\nSo I had to trace back again in my mind, with my eyes, with my observation: of course, the plants produce seeds, the birds feed on the seeds, and so forth. Small members of the food chain. The ocean is similar but in a different set of relationships. We live on an exuberance of sexuality. We eat the reproductive organs of grasses: wheat, rice. Because herring or cod have millions of eggs that hatch into millions of almost-microscopic fry, the food chains of the ocean are made possible.\\n\\nGary Snyder\\n00:03:16 \\nReads \\\"The Song of the Taste\\\" from Regarding Wave.\\n\\nGary Snyder\\n00:04:51\\nI read that because it goes so nicely with this other poem, called \\\"Song to the Raw Material\\\". I really think a lot about these things these days because I've put myself deliberately in the position of having to know where my food comes from, and it's no longer a question of, like do I eat natural foods or supermarket foods, or do I eat meat or am I a vegetarian, it's more sophisticated than that, it's a lot more subtle than that. Like literally, where did it come from. And by what means can I have a sense of responsibility and gratitude to what it is that I'm eating and in what sense can I repay that world, whichever world it is, that I am feeding off of. Well of course one way you can repay it is by being a willing, and gracious, member of the food chain yourself. Now we are rather large animals, which means that we are rather high in the food chain. But nonetheless, quite edible. And it would be a great honour, really, to be eaten by a large, rare predator, and I can't think of any way I'd rather finish my days than to give myself to a grizzly bear, if I could, you know, choose when. [Laughter]. Like get all my affairs in order first. I'm not ready yet! Or at least, go back, as large creatures often do, go back into the cycle of feeding smaller creatures. But you can see the basic biological ignorance of this society, the ignorance of what systems really are, what basic systems are, and what our responsibilities to our membership in basic systems is, by the fact that they either burn people up or they fill them full of chemicals which make them not tasty, and lock them in bronze caskets, and so forth. The only people in the world who are righteous about this particular question seem to be the Tibetans and the Parsis, I mean, really righteous about it. The Tibetans and the Parsis have an old tradition, which is mentioned, it's so old that it's mentioned by Herodotus [https://www.wikidata.org/wiki/Q11925546], in talking about a group of people called the Magi, in Persia [https://www.wikidata.org/wiki/Q794], that is to say they expose their dead in elevated places and feed them to the vultures. That's one very elegant way, actually, to deal with it. The Eskimo, an Eskimo shaman whose name I forget, is reputed to have said, \\\"We live dangerous lives, because our food consists entirely of souls\\\". “Song to the Raw Material”.\\n\\nGary Snyder\\n00:08:12\\nReads \\\"Song of the Raw Material\\\".\\n\\nGary Snyder\\n00:09:12\\nReads \\\"Steak\\\" [published later in Turtle Island; audience laughter and applause throughout].\\n\\nGary Snyder\\n00:10:53\\nI saw that in Lethbridge [https://www.wikidata.org/wiki/Q270887], Alberta [https://www.wikidata.org/wiki/Q1951]. [Audience laughter]. The creation mythology of Japan, called the kojiki, is very long, and very complicated. I tried to boil it down to some kind of a formula I could understand, at least boil down the first hundred pages of it, so I wrote this--it's about how the world is created according to the Japanese creation mythology. I think. I think that's what it is.\\n\\nGary Snyder\\n00:11:28\\nReads \\\"No matter, never mind\\\" [published later in Turtle Island].\\n\\nAudience\\n00:12:14\\nLaughter and applause.\\n\\nGary Snyder\\n00:12:24\\nIt's funny how the language is smarter than we are, [audience laughter] yeah. Like we can get hung up on mind/matter dualism, but the language won't accept it. It says the same thing two ways. \\\"The Bath\\\". Where we live we don't have any electricity or propane, and so we do everything with wood, including heating our bath, which we found the best wood-fired bathing system was a Finnish-type sauna, and...so this poem, you know just to set the scene, it's a somewhat longer poem, this poem is a sauna, with a wood-burning stove that also heats a tank of water on the side, and with a bench that you sit up on and a lower place that you can get down on and wash with. You can get these wood-fired sauna-stoves from some Finnish outfit in Michigan [https://www.wikidata.org/wiki/Q1166]. The only place in the United States that I have been able to locate that makes sauna stoves that fire wood. I highly recommend them. The personae in this are my wife, my three-year old son, my three-and a-half year old son, my two-year-old son.\\n\\nGary Snyder\\n00:14:00\\nReads \\\"The Bath\\\" [published later in Turtle Island].\\n\\nGary Snyder\\n00:19:31\\nSome friends said to us, when we moved up to the backcountry, ah, you're just getting away from your responsibilities. You're evading the struggle. So I wrote this little poem as a, kind of a light answer to that. It's called \\\"Front Lines\\\".\\n\\nGary Snyder\\n00:19:59\\nReads \\\"Front Lines\\\" [published later in Turtle Island].\\n\\nGary Snyder\\n00:21:36\\nThat poem is not an exaggeration of what we're doing. We are, like, where I am and a number of other people I know around this continent, have their backs up against the wilderness, so to speak, and they're not going to let this thing go past them. If they can help it, or as you say, over my dead body. The California Indians used to set control burns, as distinct from wildfires, forestry terms, which contributed to the maintenance of what you might call a climax timber stand, keeping the undergrowth burnt out, keeping an annual deer-forage coming in, and protecting the large timber, as it were, from destructive forest fires, because whenever a forest fire--which is very common in California [https://www.wikidata.org/wiki/Q99], it's an annual event--whenever forest fires go through, went through the forests when they were in that condition, it simply went through taking the ground cover off, but couldn't get hot enough or high enough to kill the large trees. With the advent of logging, mining, and the Manzanita brush that follows on that, the whole flora of California changed radically. All of the flora of California changed. What happened was that the woods got very brushy, and then the early forestry practices which were, of course, to put forest fires out whenever they came on them, in some ways contributed to the increasingly dangerous situation of dense brush, logging slash laying around, second-growth trees not really very large yet, and a situation where every brush fire that went through killed absolutely everything grew up. And that's the state of the state now, to a large extent, although there are some hip foresters now who are back into control burns as best as they can. This poem is called \\\"Control Burn\\\" and it only starts from what I'm just talking about, taking that as an image.\\n\\nGary Snyder\\n00:24:00\\nReads \\\"Control Burn\\\" [published later in Turtle Island].\\n\\nGary Snyder\\n00:25:37\\nReads \\\"The Great Mother\\\" [published later in Turtle Island].\\n\\nEND\\n00:26:55\\n\",\"notes\":\"Gary Snyder reads poems later collected in Turtle Island (New Directions, 1974), originally published in a limited edition book called Manzanita (Four Seasons Press, 1972). He also reads one poem from Regarding Wave (Fulcrum Press, 1971), one poem from Coyote’s Journal #9 (1971), one poem from The Fudo Trilogy (Shaman Drum, 1973), and several from Mountains and Rivers Without End (Counterpoint) only published in 1997, as well as other poems from unknown sources. \\n\\nI006-11-106=AC.1\\n00:17- Introducer (Perhaps Richard Sommer) introduces Gary Snyder. [INDEX: semi mythological things, climbed mountains and traveled to India with Allen Ginsberg, Jack\\nKerouac’s book character, wilderness, living in precincts of Japanese Buddhist\\nmonasteries, keeping cultures from obliteration, poems out of the consciousness,\\nwindows, open world, window-maker].\\n02:58- Gary Snyder introduces the reading, and poetry cycle “Charms” and long poem\\n“Mountains and Rivers Without End”. [INDEX: reading in two sets, all poems read\\nare unpublished, long poem in-progress “Mountains and Rivers Without End”, returning\\nfrom Japan to the U.S. three years prior, wife and children, settling in the foothills of the\\nSierra Nevada, north slope of the south fork of the Yuba river, three-thousand foot\\nelevation, origins on a farm, miners in Leadville, Colorado, how to get back to father’s\\noccupation, childhood, grandfather, fences, as a child in nature, spring (river), American\\nfrontier, medieval Europeans, neolithic Mediterranean people, neolithic Japanese people, neolithic Chinese people, history, anthropology, biology, responsibility of humans’ place on earth, choices we make in terms of nature, scientific foresters, ecologists, American Indians (as teachers)].\\n08:02- Introduces poetry cycle “Charms”, and “Grace for Love”. [INDEX: debts, search for knowledge, grace (gratitude for meal), rancheria, Japanese Buddhist grace, love, level of validity in the Catholic Church’s objection to contraception, food, sacrament, act of love, transference of ‘seed’ or knowledge, transferral of merit, species-increase ritual; from unknown source].\\n11:09- Chants “Grace for Love”.\\n14:20- Reads “A Curse on the Man in the Pentagon, Washington”. [INDEX: from unknown source].\\n16:37- Explains last chorus of “A Curse on the Man in the Pentagon, Washington”.\\n16:43- Reads “I went into the Maverick Bar”. [INDEX: from Turtle Island].\\n18:25- Introduces “Anasazi”. [INDEX: means ‘ancient ones’ in Navajo, name of people living in Chaco Canyon, Mesa Verde and Canyon de Chelly, ancestors of present Pueblo people, 12th century, the great drought of the 13th century, civilization, two millennia of ‘deep experience’, written at Canyon de Chelly; from Turtle Island]\\n19:52- Reads “Anasazi”.\\n21:11- Introduces “The Way West Underground”. [INDEX: Canyon de Chelly, West and Great Basin, granite outcroppings of the northern shores of Lake Superior, petroglyphs,\\nAnthropologists, salvaging remnants of dying cultures, vocabulary of motifs, hand\\npetroglyph, caves of southern France and northern Spain, 40,000 years ago, intellectual\\npoem, tracing out lines of connections between Americans, American Indians, prehistoric ancestors, main impetus of the poem is an international mystery religion called the Bear Cult, runs from Finland to Utah, Siberia, central theme: girl who marries a bear; from Turtle Island].\\n25:12- Reads “The Way West Underground”.\\n26:55- Interjects comment about poem. [INDEX: Finnish men singing folk songs].\\n[*note: cut or edit made in transcript, time elapsed unknown*]\\n29:16- Snyder is talking (not sure if it’s about the poem). [INDEX: observation, plants, seeds, birds, small members of food chain, ocean, exuberance of sexuality, reproductive organs of grasses, wheat, rice, herring, cod, millions of eggs, food chain of the ocean].\\n30:11- Reads “The Song of the Taste”. [INDEX: from Regarding Wave].\\n31:46- Introduces “Song for the Raw Material”. [INDEX: food, natural vs. supermarket foods, vegetarian vs. carnivore, being part of the food chain, being eaten by a bear, biological ignorance of society, basic systems, chemicals, Tibetans and Parsis, Herodotus, Maghi in Persia, feeding dead to the vultures, Eskimo shaman quote].\\n35:07- Reads “Song of the Raw Material”. [INDEX: perhaps “Song to the Raw Material”,\\nunknown source].\\n36:07- Reads “Steak”. [INDEX: from Turtle Island].\\n37:48- Introduces “No matter, never mind”. [INDEX: Lethbridge, Alberta, creation mythology of Japan (koji-ki); from Turtle Island].\\n38:23- Reads “No matter, never mind”.\\n39:19- Introduces “The Bath”. [INDEX: no electricity (wood heating), Finnish sauna, poem as a sauna, Michigan, personae in the poem are his wife, three sons; from Turtle Island].\\n40:55- Reads “The Bath”.\\n46:26- Introduces “Front Lines”. [INDEX: evading the struggle; from Turtle Island].\\n46:54- Reads “Front Lines”.\\n48:31- Explains parts of “Front Lines”, introduces “Control Burn”. [INDEX: wilderness,\\nCalifornia ‘Indians’, control burns, forest fires in California, logging, mining, Manzanita\\nbrush, flora changing; from Turtle Island].\\n50:55- Reads “Control Burn”.\\n52:32- Reads “The Great Mother”. [INDEX: from Turtle Island].\\n\\nFIRST CD (I006-11-106=AC.1)\\nPoem Read:\\t\\t\\t\\t\\t\\tTime Stamp\\tDuration (mins):\\n\\n“Grace for Love”  \\t\\t\\t\\t\\t00:11:09   \\t03:10\\n“A Curse on the Man in the Pentagon…” \\t00:14:20        02:17\\n“I went into the Maverick Bar…”  \\t\\t\\t00:16:23        01:42\\n“Anasazi”  \\t\\t\\t\\t\\t\\t00:19:52        02:17\\n“The Way West Underground”  \\t\\t\\t00:25:12        04:01\\n“The Song of the Taste”  \\t\\t\\t\\t00:30:11        01:35\\n“Song for the Raw Material”  \\t\\t\\t00:35:07        00:58\\n“Steak”  \\t\\t\\t\\t\\t\\t00:36:07        01:41\\n“No Matter, Never Mind”   \\t\\t\\t\\t00:38:23        00:46\\n“The Bath” \\t\\t\\t\\t\\t\\t00:40:55        05:29\\n“Front Lines” \\t\\t\\t\\t\\t\\t00:46:54        01:36\\n“Control Burn” \\t\\t\\t\\t\\t00:50:55        01:37\\n“The Great Mother”  \\t\\t\\t\\t00:52:32        00:42\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#2\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/gary_snyder_i006-11-106-3.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"gary_snyder_i006-11-106-3.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:30:59\",\"precision\":\"\",\"size\":\"74.4 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"gary_snyder_i006-11-106-3.mp3 [File 3 of 4]\\n\\nGary Snyder\\n00:00:00\\nEverything in this next poem is all true. Almost everything.\\n \\nGary Snyder\\n00:00:17\\nReads \\\"The Call of the Wild\\\", Part I [published later in Turtle Island]. \\n \\nGary Snyder\\n00:00:32\\nReads \\\"The Call of the Wild\\\", Part II [published later in Turtle Island]. \\n \\nAnnotation\\n00:01:52.06\\nReads \\\"The Call of the Wild,\\\" Part III [published later in Turtle Island]. \\n \\nGary Snyder\\n00:04:11\\nReads \\\"Source\\\" [published later in Turtle Island]. \\n \\nGary Snyder\\n00:05:40\\nIn the poem \\\"Charms\\\", which is dedicated to Michael McClure [https://www.wikidata.org/wiki/Q1390054], who has more than any other living poet, or person even that I know, has gone farther than anyone else, I think, into becoming one with, in understanding, in penetrating, in perceiving the consciousness of other beings.\\n \\nGary Snyder\\n00:06:15\\nReads \\\"Charms\\\" [published later in Turtle Island]. \\n \\nAudience\\n00:07:45\\nApplause. \\n \\nGary Snyder\\n00:08:01\\nI want to read one little poem that kind of, that I just wrote on the plane the other day.  Flying in here yesterday I wrote this. And then we'll take a break. But this belongs, really, with these poems. \\n \\nGary Snyder\\n00:08:15\\nReads \\\"How did a great red-tailed Hawk come to lie on the shoulder of Interstate 5\\\" [published later in Turtle Island]. \\n \\nGary Snyder\\n00:10:05\\nOkay, let's take a break.  \\n\\nAudience\\n00:10:07\\nApplause.\\n\\nUnknown\\n00:10:17\\nAmbient Sound [voices].\\n \\nAudience Member 1\\n00:10:29\\nDo you remember getting tiny toys for your children from San Francisco [https://www.wikidata.org/wiki/Q62]? There was a small book that I saw in the States, folded out in a certain, section-by-section, parts of the earth kinda, growing larger and larger and larger...\\n \\nGary Snyder\\n00:10:46\\nI haven't seen it.\\n \\nAudience Member 1\\n00:10:48\\nNo, I guess...it's sort of, um, anti-war toys.\\n \\nGary Snyder\\n00:10:51\\nSounds nice. Yeah. Some place in San Francisco you can get it?\\n \\nAudience Member 1\\n00:10:56\\nUm, I don't know, it was from a certain, a certain group of people, and I don't remember their names. It was beautiful. Nice gift to give little kids.\\n \\nGary Snyder\\n00:11:07\\nI shall watch for it when I go there again. Thank you. \\n \\nAudience Member 1\\n00:11:13\\nOkay. You bet. [Inaudible]\\n \\nGary Snyder\\n00:11:14\\nOkay. [Laughter].\\n \\nAudience Member 2\\n00:11:19\\nMan you're incredible. You're so good. I really dig your stuff.\\n \\nGary Snyder\\n00:11:26\\n[Laughter]. Thank you.\\n \\nAudience Member 2\\n00:11:26\\nI really dig it, will you come for a drink with me later? With me and my friends?\\n \\nGary Snyder\\n00:11:31\\nI gotta go some place later.\\n \\nAudience Member 2\\n00:11:33\\nYou sure? \\n \\nGary Snyder\\n00:11:34\\nYeah. I mean, like I...they got something set up for me. \\n \\nAudience Member 2\\n00:11:38\\nI don't, I don't know, I really dig that, I really dig that [inaudible] I just came in, I thought your stuff was so incredible...Your stuff, the way you bring it across to people!\\n \\nGary Snyder\\n00:11:51\\nWell, that's what I try to do.\\n \\nAudience Member 2\\n00:11:54\\nHave you written a book?\\n \\nGary Snyder\\n00:11:54\\nI've written a lot of books. [Laughter].\\n \\nAudience Member 2\\n00:11:58\\nNo no no, no really, no really, I don't know too much about...Gary Snyder, you know?\\n \\nGary Snyder\\n00:12:04\\nWell, you'd probably find, I don't know, because I'm coming here, because of my being here now, they've probably got some of my books in the bookstore, if you want to go look. [Laughter].\\n \\nAudience Member 2\\n00:12:13\\nSee I'm writing this play right now, you know? I'm trying to express myself and it's really...it's really strange [Cut off abruptly].\\n \\nUnknown\\n00:12:27\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nGary Snyder\\n00:12:28\\nWell, there has been a great deal of opposition to nuclear energy, and nuclear power-generating stations, in the United States so effective in some areas that a lot of generating plants have been blocked or slowed down in their construction. And I think that the United States government is about to launch on an enormous effort to calm the public and to lull it into accepting massive developments of nuclear energy generating centres, fast-breeder and later, perhaps, fusion. Now I myself would have no objection to such a thing if I could be convinced that it was safe, both in the long term and the short term, and although it might be conceivably safe in the short term, I can see no way in which it would be safe in the long run, because nuclear wastes accumulated over, say, several centuries, as they might be, or more, in increasing quantities around the globe, are going to out eventually, and even though you can say, well, we're putting it off for five hundred thousand years, five hundred thousand years is not a very long time.  And if we are feeding a wasteful, industrial, technological, consumer society for a few more centuries, buying it a few more centuries of life, at the expense of all future biological health on the planet, it's obviously not worth it. The Amchitka test, which is possibly interested in such things as what uses very large explosions would have in releasing oil from oil-bearing shale or something like that, I think the U.S. administration is going ahead with this test in the face of all this criticism, deliberately, as a deliberate and very intelligent gamble. The chances are that nothing will happen. When nothing happens, then they will be able to say, \\\"All you people were hysterical. You see?  Nothing happened\\\".  And that will buy them a lot of time and a lot of credibility to proceed strongly and forcibly with more nuclear testing and more nuclear power generation development. And the conservationists, perhaps, have in a way, played into their hands, by making such a big issue out of it, so that they will be left holding an empty bag if nothing happens. If something does happen, then the administration can say, \\\"You're right, we were wrong\\\", and Nixon [https://www.wikidata.org/wiki/Q9588] perhaps forfeits the next election. That's all. Okay. \\n \\nGary Snyder\\n00:15:25.61\\n\\\"Mountains and Rivers Without End\\\" is a poem that I've been working on, it's a long poem, a long series of interconnected long poems that I've been working on for some years. I'm going to read several sections from that tonight. Including one or two that are very recent, in fact these are all pretty recent. \\\"Mountains and Rivers without End\\\". The title of the poem comes from a Yuan Dynasty [https://www.wikidata.org/wiki/Q7313] Chinese scroll, that unfolds sideways and is thirty-five feet long. By way of introduction, a little poem called \\\"The Rabbit\\\". There are many sections to this, I'm only going to read [counts under breath.]..six tonight.\\n \\nGary Snyder\\n00:16:27\\nReads \\\"The Rabbit\\\" [published later in Mountains and Rivers Without End].\\n \\nGary Snyder\\n00:18:04\\n\\\"The California Water Plan\\\". The state of California at the moment is engaged in a large, incredibly wasteful, incredibly stupid, illegal, even by their own terms, water plan project, which if they're lucky, will salinate the Sacramento Valley [https://www.wikidata.org/wiki/Q1686914] and make agriculture permanently impossible. I was up in the Minarets [https://www.wikidata.org/wiki/Q2412852] in the Sierra last summer, thinking about the California Water Plan [https://www.wikidata.org/wiki/Q28228216], and I perceived something of what the true California Water Plan was. So I wrote this down. It refers to an obscure little Buddhist god called Fudo, or Achala [https://www.wikidata.org/wiki/Q337624], who is my particular guardian, my personal guardian and my personal teacher, and, so I use, I refer to him, in several poems. The other two poems in which I refer to him actually are a piece called \\\"Smokey the Bear Sutra\\\", and another piece called \\\"Spell Against Demons\\\". This is the final, actually, this is the third and final poem in the trilogy of Fudo poems. Also. But you'll find all about Fudo in this poem, it'll drive you crazy.    \\n \\nGary Snyder\\n00:19:48\\nReads \\\"The California Water Plan\\\" [later published in The Fudo Trilogy].\\n \\nGary Snyder\\n00:25:34\\n\\\"Kumarajiva's Mother\\\". Now, the rest of these poems that I'm going to read this evening are cutting back and forth between ancient India [https://www.wikidata.org/wiki/Q668] and ancient North America. I--living as I do and where I have lived all my life, we face the Pacific [https://www.wikidata.org/wiki/Q98]. And, the American Indian came from Asia [https://www.wikidata.org/wiki/Q48], or vice versa, the Asians came from North America. I mean I know a Shoshone who says that. He says, \\\"We've always been here, those Asians came from here\\\". [Laughter].  \\\"What do you mean we came from someplace else, that's some white anthropologist theory\\\". [Laughter]. \\\"Kumarajiva's Mother.\\\" Kumarajiva [https://www.wikidata.org/wiki/Q335293] was a great Buddhist monk-scholar-translator, who was kidnapped by the Chinese from Central Asia, by force, and carried off to China [https://www.wikidata.org/wiki/Q148] where he was made to translate Sanskrit Buddhist texts into Chinese, and he stayed there the rest of his life, with a crew of about eighty Chinese assistants, day and night, translating sutras. He did a lot of translation. He also got in trouble, because he liked girls, and on one occasion, because he actually had mistresses apparently, he ate a bowl of needles, like you sew with needles, in front of an assembly of all the monks and assistants in Peking [https://www.wikidata.org/wiki/Q956], or no it wasn't Peking in those days, it was Chang'an [https://www.wikidata.org/wiki/Q6501000], all of the monks and assistants in the capital, Chang'an, and then he said, \\\"When you boys can eat needles, you can have girlfriends too\\\". [Audience laughter]. But this poem is about his mother. [Audience laughter]. And I really, I mean I could explain to you why I wrote this poem but it isn't really worth explaining, I'll just read it. It has to do partly with the fact that my mother has freckles. And I was trying to figure out at this time, when I wrote this, I was trying to figure out whatever happened to women in Buddhism? Like something happened to 'em. They got lost. For a long time, anyway.\\n \\nGary Snyder\\n00:28:22\\nReads \\\"Kumarajiva's Mother\\\".\\n \\nEND\\n00:30:59\\n\",\"notes\":\"I006-11-106=AC.2\\n00:02- Gary Snyder introduces “The Call of the Wild”. [INDEX: true; from Turtle Island (New Directions, 1974).]\\n00:17- Reads “The Call of the Wild”, Part I.\\n00:32- Reads “The Call of the Wild”, Part II.\\n01:52- Reads “The Call of the Wild”, Part III.\\n04:11- Reads “Source”. [INDEX: from Turtle Island (New Directions, 1974).]\\n05:40- Introduces “Charms”. [INDEX: dedicated to Michael McClure, consciousness of other beings; from Turtle Island (New Directions, 1974).]\\n06:15- Reads “Charms”.\\n08:01- Introduces “The Dead by the Side of the Road” [INDEX: wrote on the plane the        previous day; from Turtle Island (New Directions, 1974)]\\n08:15- Reads “The Dead by the Side of the Road”.\\n09:55- Break is taken, audience member #1 asks question. [INDEX: suggests small anti-war children’s toys.]\\n11:26- Audience member #2 asks question (part is cut). [INDEX: books, bookstore, writing play]\\n12:21- Gary Snyder speaks about opposition to nuclear energy. [INDEX: nuclear energy, nuclear power-generating stations, U.S. government, energy generating centres, industrial technological consumer society, expense on the future biological health of the planet, Amchitka test, oil-bearing shale, conservationists, Nixon, election.]\\n15:25- Introduces “Mountains and Rivers Without End” and “The Rabbit”. [INDEX: long \\tpoem, inter-connected long poems, reading several sections from it, title from Yuan     \\tDynasty Chinese scroll, little poem called “The Rabbit”, many sections- only reading 6;   \\tperhaps published as “Jackrabbit”, published much later in Mountains and Rivers Without End (Counterpoint, 1997).]\\n16:27- Reads “The Rabbit”.\\n18:04- Introduces “The California Water Plan”. [INDEX: state of California, water plan      project, salinate the Sacramento Valley and make the Sacramento Valley agriculturally  \\tdead, Minarets in the Sierra, Buddhist god called Fudo or Achala, personal guardian or    teacher, other two poems that reference Buddhist god: “Smokey the Bear Sutra” and “Spell Against Demons”, third poem in trilogy of Fudo poems; from The Fudo Trilogy      \\t(Shaman Drum, 1973).]\\n19:48- Reads “The California Water Plan”.\\n25:34- Introduces “Kumarajiva’s Mother”. [INDEX: rest of poems read are from ancient India and ancient North America, Pacific Ocean, American Indians from Asia or vice versa, Shoshone, white anthropologist theory, Kumarajiva was Buddhist monk-scholar-  \\ttranslator, Central Asia, China, translated Sanskrit Buddhist texts to Chinese, translating sutras, Peking (or Chang’an), Snyder’s mother, women in Buddhism; from unknown         source.]\\n28:22- Reads “Kumarajiva’s Mother”.\\n30:59- CUT made in tape, Snyder begins mid-sentence, introduces “The Humpbacked Flute Player”. [INDEX: 8th century, Mahayana university called NAllenda, China, Buddhism, school of the Mind Only, the school of Emptiness, two aspects of the poem, American Indian petroglyph figure of a hump-backed flute player, Sonora, Mexico, Great Basin, The Ghost Dance (Messianic Indian Religion started by a Paiute named Wovoka), oldest living beings are the bristle-coned pine, White Mountains, California; published in Coyote’s Journal 9 (1971) and in Mountains and Rivers Without End (Counterpoint, 1997).]\\n32:59- Reads “The Humpbacked Flute Player”.\\n39:36- Introduces “Down”. [INDEX: ordering of poems; from unknown source.]\\n40:05- Reads “Down”.\\n43:18- Introducer Richard Sommer thanks Gary Snyder, announces Charles Simic’s     \\treading. [INDEX: Charles Simic, November 19th, 1971.]\\n \\nSECOND CD (I006-11-106=AC.2) \\nPoems Read                                   \\t\\t\\t\\tTime Stamp:  Duration:\\n“The Call of the Wild” – Part I                                          \\t00:00:17      \\t00:16\\n“The Call of the Wild” – Part II                                         \\t00:00:32      \\t01:17\\n“The Call of the Wild” – Part III                                        \\t00:01:52      \\t02:15\\n“Source”                                                                             \\t00:04:11      \\t01:27\\n“Charms”                                                                            \\t00:06:15      \\t01:29\\n“The Dead by the Side of the Road”                                  \\t00:08:15      \\t01:40\\n“The Rabbit”                                                                       \\t00:16:27      \\t01:35\\n“The California Water Plan”                                  \\t        \\t00:19:48      \\t05:45\\n“Kumurajiva’s Mother”      \\t                                            \\t00:28:22      \\t02:36\\n“The Hump-Backed Flute Player”                                     \\t00:32:59      \\t06:34\\n“Down”                                                                               \\t00:40:05      \\t02:42\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#3\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/gary_snyder_i006-11-106-4.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"gary_snyder_i006-11-106-4.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:12:45\",\"precision\":\"\",\"size\":\"30.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"gary_snyder_i006-11-106-4.mp3 [File 4 of 4]\\n \\nGary Snyder\\n00:00:00\\n...alone in the 8th century, and studied at an enormous Buddhist, Mahayana university called Nalanda [https://www.wikidata.org/wiki/Q216243], for fifteen years, and then walked back to China, with a fraying pack full of books, which he translated for the next twenty years after he got back to China. He brought the school of Buddhism, which is called the school of Mind Only, and the school of Emptiness. That's one aspect of this next poem. Another aspect is a little petroglyph, American Indian petroglyph figure, called the hump-backed flute player, a little stick figure playing the flute, with a pack on his back, walking. He was found pecked on the rocks from Sonora [https://www.wikidata.org/wiki/Q46422], Mexico [https://www.wikidata.org/wiki/Q96] up into the Great Basin, and about which almost nothing is known. The Ghost Dance, which was a Messianic Indian religion, started by a Paiute named Wovoka https://www.wikidata.org/wiki/Q558420], which asserted that perhaps by magic the white man could be swept away from North America and the game would return.  And finally, the oldest living beings are the bristle-coned pine, who live in the White Mountains [https://www.wikidata.org/wiki/Q1556007], at an elevation of nine thousand feet in eastern California, the oldest of which is something like four thousand five hundred years old. So this poem is called \\\"The Humpbacked Flute Player\\\".\\n \\nGary Snyder\\n00:01:59\\nReads \\\"The Humpbacked Flute Player\\\" from Coyote’s Journal #9 [and published later in Mountains and Rivers Without End]. \\n \\nGary Snyder\\n00:08:36\\nI'm going to finish with one more poem called \\\"Down\\\". These poems are not in the order that they're going to be, but they're in a convenient order for the moment.\\n \\nGary Snyder\\n00:09:05\\nReads \\\"Down\\\".\\n \\nAudience\\n00:11:48\\nApplause.\\n \\nRichard (Dick) Sommer\\n00:12:18\\nI can't thank you for that. I don't know any way. Charles Simic [https://www.wikidata.org/wiki/Q722555] will be reading on November 19th. Thank you. \\n\\nAudience\\n00:12:40 \\nApplause.\\n\\nEND\\n00:12:45\\n\",\"notes\":\"I006-11-106=AC.2\\n00:02- Gary Snyder introduces “The Call of the Wild”. [INDEX: true; from Turtle Island (New Directions, 1974).]\\n00:17- Reads “The Call of the Wild”, Part I.\\n00:32- Reads “The Call of the Wild”, Part II.\\n01:52- Reads “The Call of the Wild”, Part III.\\n04:11- Reads “Source”. [INDEX: from Turtle Island (New Directions, 1974).]\\n05:40- Introduces “Charms”. [INDEX: dedicated to Michael McClure, consciousness of other beings; from Turtle Island (New Directions, 1974).]\\n06:15- Reads “Charms”.\\n08:01- Introduces “The Dead by the Side of the Road” [INDEX: wrote on the plane the        previous day; from Turtle Island (New Directions, 1974)]\\n08:15- Reads “The Dead by the Side of the Road”.\\n09:55- Break is taken, audience member #1 asks question. [INDEX: suggests small anti-war children’s toys.]\\n11:26- Audience member #2 asks question (part is cut). [INDEX: books, bookstore, writing play]\\n12:21- Gary Snyder speaks about opposition to nuclear energy. [INDEX: nuclear energy, nuclear power-generating stations, U.S. government, energy generating centres, industrial technological consumer society, expense on the future biological health of the planet, Amchitka test, oil-bearing shale, conservationists, Nixon, election.]\\n15:25- Introduces “Mountains and Rivers Without End” and “The Rabbit”. [INDEX: long \\tpoem, inter-connected long poems, reading several sections from it, title from Yuan     \\tDynasty Chinese scroll, little poem called “The Rabbit”, many sections- only reading 6;   \\tperhaps published as “Jackrabbit”, published much later in Mountains and Rivers Without End (Counterpoint, 1997).]\\n16:27- Reads “The Rabbit”.\\n18:04- Introduces “The California Water Plan”. [INDEX: state of California, water plan      project, salinate the Sacramento Valley and make the Sacramento Valley agriculturally  \\tdead, Minarets in the Sierra, Buddhist god called Fudo or Achala, personal guardian or    teacher, other two poems that reference Buddhist god: “Smokey the Bear Sutra” and “Spell Against Demons”, third poem in trilogy of Fudo poems; from The Fudo Trilogy      \\t(Shaman Drum, 1973).]\\n19:48- Reads “The California Water Plan”.\\n25:34- Introduces “Kumarajiva’s Mother”. [INDEX: rest of poems read are from ancient India and ancient North America, Pacific Ocean, American Indians from Asia or vice versa, Shoshone, white anthropologist theory, Kumarajiva was Buddhist monk-scholar-  \\ttranslator, Central Asia, China, translated Sanskrit Buddhist texts to Chinese, translating sutras, Peking (or Chang’an), Snyder’s mother, women in Buddhism; from unknown         source.]\\n28:22- Reads “Kumarajiva’s Mother”.\\n30:59- CUT made in tape, Snyder begins mid-sentence, introduces “The Humpbacked Flute Player”. [INDEX: 8th century, Mahayana university called NAllenda, China, Buddhism, school of the Mind Only, the school of Emptiness, two aspects of the poem, American Indian petroglyph figure of a hump-backed flute player, Sonora, Mexico, Great Basin, The Ghost Dance (Messianic Indian Religion started by a Paiute named Wovoka), oldest living beings are the bristle-coned pine, White Mountains, California; published in Coyote’s Journal 9 (1971) and in Mountains and Rivers Without End (Counterpoint, 1997).]\\n32:59- Reads “The Humpbacked Flute Player”.\\n39:36- Introduces “Down”. [INDEX: ordering of poems; from unknown source.]\\n40:05- Reads “Down”.\\n43:18- Introducer Richard Sommer thanks Gary Snyder, announces Charles Simic’s     \\treading. [INDEX: Charles Simic, November 19th, 1971.]\\n \\nSECOND CD (I006-11-106=AC.2) \\nPoems Read                                   \\t\\t\\t\\tTime Stamp:  Duration:\\n“The Call of the Wild” – Part I                                          \\t00:00:17      \\t00:16\\n“The Call of the Wild” – Part II                                         \\t00:00:32      \\t01:17\\n“The Call of the Wild” – Part III                                        \\t00:01:52      \\t02:15\\n“Source”                                                                             \\t00:04:11      \\t01:27\\n“Charms”                                                                            \\t00:06:15      \\t01:29\\n“The Dead by the Side of the Road”                                  \\t00:08:15      \\t01:40\\n“The Rabbit”                                                                       \\t00:16:27      \\t01:35\\n“The California Water Plan”                                  \\t        \\t00:19:48      \\t05:45\\n“Kumurajiva’s Mother”      \\t                                            \\t00:28:22      \\t02:36\\n“The Hump-Backed Flute Player”                                     \\t00:32:59      \\t06:34\\n“Down”                                                                               \\t00:40:05      \\t02:42\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#4\"}]"],"score":0.22379822},{"id":"9606","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S6E5, Sounding New Sonic Approaches – A Podcast of A Live Recording Session of A Journal Issue Located in Multiple Spaces and Temporal Dimensions, 10 March 2025, Camlot"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/new-sonic-approaches/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 6"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Jason Camlot"],"creator_names_search":["Jason Camlot"],"creators":["[{\"url\":\"http://viaf.org/viaf/90740324\",\"name\":\"Jason Camlot\",\"dates\":\"1967-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2025],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/4a081369-0b04-4bfa-917f-2a3a734e3020/audio/3c52525a-bd89-41d3-b0ee-cb006a4c8c6c/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"s6e5-mixdown-ext-outro-music.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:58:19\",\"precision\":\"\",\"size\":\"55,996,320 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s6e5-mixdown-ext-outro-music\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/new-sonic-approaches/\"}]"],"Dates":["[{\"date\":\"2025-03-10\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"“Amen Drum Break” samples all downloaded from:\\n\\nhttps://pixabay.com/sv/sound-effects/. The file names of “amen drum break” samples used are:\\n\\n140-bpm-amen-break-original-processed-6945\\n20_ca_amens-104513\\namen-sequence-01-dirty-180-bpm-102243\\namen-darkness-74126\\n175bpm-amen-punchy-loop-104487\\ndv-amen-break-133bpm-103971\\namen-break-remixed-loop-01-160-bpm-235384\\namen-break-no-copyright-remake-120bpm-25924\\nBach, Johann Sebastian. “BACH Goldberg_Variations_BWV_988_Variation 25_1955.” Looped excerpt. Performed by Glenn Gould.\\n\\nbissett, bill. “bill bissett at SGWU, 1969. 31 October 1969.” I006-11-083. SpokenWeb\\n\\nMontreal Sir George Williams University Reading Series collection. Concordia University, Montreal.\\n\\nCamlot, Jason. All music used to score the episode was produced from\\n“artifact sounds” derived from the source recordings combined with effects and other synthetic digital manipulations.These include:\\n\\nWork 1: “Zoom Music” developed from high-frequency sounds resulting from Zoom connectivity, equalization and reverb effects.\\n\\nWork 2: “Endless Vision” developed from interval noise run through long delay effects.\\n\\nWork 3: “EVOCalities” developed from event participants’ ambient talk and noise recorded after the event had ended, sped up and run through phase effects, delay.\\n\\nWork 4: “Pedalboard Drones and Drips” developed from sounds derived from outdoor microphone run through digital simulations of guitar pedal effects, mainly overdrive, chorus, and delay.\\n\\nWork 5: “Shapeless Fragments with Voices” developed from sounds of participants\\n\\nGinsberg. Allen. “Allen Ginsberg at SGWU, 1969.” I006-11-033.1. SpokenWeb\\n\\nMontreal Sir George Williams University Reading Series collection, Concordia University.\\n\\nhttps://montreal.spokenweb.ca/sgw-poetry-readings/allen-ginsberg-at-sgwu-1969/#1\\n\\nMartin, Daniel. “Martin_Mouth by Daniel Martin.”\\n\\nMitchell,Christine.  “Can you hear me?” Sound Collage from audio of the Sir George Williams Poetry Series.  Amodern 4: The Poetry Series (March 2015), edited by Jason Camlot and Christine Mitchell.\\n\\nhttps://amodern.net/article/can-you-hear-me/\\n\\nRobertson, Lisa. Clips downloaded from PennSound,\\n\\nhttps://writing.upenn.edu/pennsound/x/Robertson.php. File names are as follows:\\n\\nRobertson-Lisa_Voice-Box-Condensary_8-31-10\\nRobertson-Lisa_02_Introduction-to-The-Weather_PhillyTalks17_UPenn_10-03-00\\n“Vinyl Needle Drop, eclectic kitty, September 28th, 2024. https://freesound.org/people/eclectic-kitty/sounds/757639/\\n\\n“waterfall-in-the-forest_nature-sound-149379” by NickyPe.\\n\\nhttps://pixabay.com/sound-effects/waterfall-in-the-forest-nature-sound-149379/\\n\\nWaterman, Ellen. “Excerpt Dusk at Warbler’s Roost.”\"}]"],"_version_":1853670549683699712,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This podcast episode performs a sound-media meditation on a live event based on a collection of printed scholarly articles. In May 2023 a triple-issue of English Studies in Canada (ESC) was published on the topic of “New Sonic Approaches in Literary Studies,” edited by Jason Camlot and Katherine McLeod. The issue, designed to explore how sound, literature, and critical methodologies intersect, included thirteen scholarly articles, and an interdisciplinary forum on the place of listening as a methodology in a wide range of scholarly and artistic fields.\n\nAs the editors considered what kind of “launch” would be best suited to this issue, they felt it should build on the printed scholarship, but also take it further – respond to it,  sound it, and perform it. They asked, “What would this journal issue sound like as a chorus or collage of voices?” They proceeded to organize an event to enact the idea of sounding and performing a scholarly collection as a kind of poetic reading of criticism. Each contributor was invited to select an excerpt to perform, and the performances unfolded in sequence within the 4th Space research showcase venue at Concordia University, and through the virtual participation of some contributors on Zoom. The performance event was also the object of an experiment in the multi-track recording of a spoken word event, with microphones of different kinds situated throughout 4th Space, and even outside the venue itself.\n\nThe eight tracks of audio resulting from that recording session serve as the raw material, the bed tracks, for a podcast that playfully explores the affordances of sound design for the presentation of scholarly research about literary audio. Some of the simple yet profound possibilities of working in sound to think and argue about sound that are explored here are those of amplitude (playing with the relative loudness of sounds), temporality (the movement and mixing of historically-situated times), speed (the movement of sounds in time), space (the relationship of sounds to the places they happened), noise (the sounds we are supposed not to want to hear), intelligibility (the intention of sounding for meaning), positionality (from where and to whom one is sounding), timbre (the textural quality of sounds and what they do), among many others. The goal of this production has not been to deliver the content of the journal as one might grasp it from the print journal (read the special issue for that!), but to emphasize the possibilities and features of sound, sometimes apposite and sometimes in opposition to the intention and circumstances of the intended message. Archival voices and sounds haunt, taunt and disrupt the planned “Sounding New Sonic Approaches” event. Parallel temporal situations compete with each other. Time is sped and stretched. Speech and vocal timbre are mimicked and mutated by an occasional soundtrack scored for monotonic analogue synths. One mode of meaning is lost, while the potential for new kinds of meaning and feeling-making in sonic scholarly production are amplified for the listener’s consideration and pleasure.\n\n00:00:03\tSpokenWeb Intro\t[Audio recording] Oh, boy. Can you hear me? Don’t know how much projection to do here.\n00:00:18\tHannah McGregor\tWhat does literature sound like? What stories will we hear if we listen to the archive?\nWelcome to the SpokenWeb podcast stories about how literature sounds.\n\nMy name is Hannah McGregor.\n\n00:00:36\tKatherine McLeod\tAnd my name is Katherine McLeod. And each month we’ll be bringing you different stories that explore the intersections of sound, poetry, literature and history created by scholars, poets, students and artists from across Canada.\nIn this episode of the SpokenWeb, podcast producer Jason Camlot explores the affordances of sound design for the presence of presentation of scholarly research about literary audio. The raw audio material for this episode was recorded at an event, a sounding of the special issue of English Studies in Canada called “New Sonic Approaches in Literary Studies.”\n\nIt was recorded live in the room and online on zoom and with mics placed all around the room and even outside. But what you are about to hear is so much more than that live recording of the event you are about to hear.\n\nA new sound work.\n\nA new sound work that performs an exploration of the possibilities of working in and with sound.\n\nArchival voices and found sounds haunt, taunt and disrupt. Parallel temporal situations compete with each other. Time is sped and stretched. Speech and vocal timbre are mimicked and manipulated. One mode of meaning is lost, while the potential for new meanings and feeling making in sonic scholarly production are amplified for the listener’s consideration and pleasure.\n\nHere is episode five of season six of the SpokenWeb podcast: Sounding New Sonic Approaches, a podcast of a live recording session of a journal issue located in multiple spaces and temporal dimensions.\n\n[SpokenWeb theme song starts playing]\n\n00:02:28\tDifferent Recordings Edited Together\t[Chaotic overlapping voices, testing microphones]\nVoice 1: Hello? Can you hear me?\nVoice 2: I hope you can hear me.\nVoice 1: Test, test, test.\nVoice 3: If you can’t hear me, I think there are more seats up here.\nVoice 4: I’ll try to speak a little louder on my own.\nVoice 5: Is it hard to hear back there?\nVoice 6: Even with the microphone?\n\n[Multiple voices testing simultaneously]\n\nVoice 1: Test, test, test.\nVoice 4: There we go.\nVoice 5: If I talk louder into the mic, does that help?\nVoice 6: Can you hear that?\nVoice 3: It’s hard to tell.\nVoice 2: Hello? Can you hear me now?\nVoice 4: Is it still hard to hear back there?\nVoice 1: Hello? Can you hear me with this mic?\nVoice 5: Can you hear me now?\nVoice 6: Y’all hear me?\n\n[Laughter, sound stabilizing]\n\n00:03:13\tDouglas Moffat\t[Regular audio resumes, background instrumental music begins]\nOkay. Hello, everyone. I’m just going to start things up here. Thank you very much.\n\nHello, everyone. Welcome to Concordia University’s Fourth Space. Thank you for joining us for today’s event, Sounding New Sonic Approaches.\n\n[Soft instrumental music continues in the background]\n\nTo help situate you, we are streaming this event live on YouTube from Fourth Space, here on Unceded Indigenous Lands in Tiohtià:ke/Montreal.\n\nWe are also running this event as a live-streamed Zoom meeting—though, as you may have already noticed, this is a bit of an unusual setup for us.\n\nWith that, it is my pleasure to hand things over to the editors of New Sonic Approaches in Literary Studies, Jason Camlot and Katherine McLeod.\n\nWelcome, both of you. Over to you.\n\n00:03:57\tKatherine McLeod\tWelcome to Sounding New Sonic Approaches, a live recording session.\nWe are recording this event here at Fourth Space at Concordia University and online on Zoom. And we’re live with an audience.\n\nWelcome, everyone! Let’s hear a round of applause.\n\n[Applause]\n\nThe idea behind today’s event is to create a spoken sound work drawn from our collective special issue of English Studies in Canada. Each contributor will sound their article—either by reading an excerpt from their piece in the journal or by selecting surrogate sounds that capture the essence of their discussion.\n\n[Scattered clapping, sound cues shifting in the background]\n\n00:04:50\tJason Camlot\tThe sounds of speech—whether spoken through microphones, over Zoom, or pre-recorded and played back through Zoom—will be layered through multiple outputs.\n[Jason’s voice subtly shifts as different sound devices are introduced]\n\nThese sounds will be played through a variety of speakers, both inside and outside Fourth Space.\n\n[A mechanical whirring sound begins in the background]\n\nThe audio from these various sources will be captured and sent to a mixing desk, where SpokenWeb audio engineer James Healy will be recording everything on multiple tracks using an RME Fireface digital converter.\n\nThis will then be used to create a new sonic approaches sound work, which Katherine and I will be producing as a SpokenWeb podcast episode from today’s performance.\n\n[Persistent clapping continues in the background]\n\nSo, that’s the basic idea. Think of this event as a big poetry reading, or maybe an open mic collaborative performance, or even a kind of literary sonic manifesto—but one that’s being recorded from a variety of sources, in multi-track layers.\n\nSpecial thanks to James Healy, Douglas Moffett, and the Fourth Space team for helping bring this event to life and for creatively reimagining how to record it.\n\n00:05:59\tKatherine McLeod\t[Katherine’s voice echoes, slightly distant]\nWe have a set list for our readers—[Sudden distorted noise cuts in]\n—which also serves as the table of contents for the special issue.\n\n[Echo fades out, sound stabilizes]\n\nWhen it is your turn, please state your name and the title of your article before reading. Keep it brief, and we’ll smoothly move from one reader to the next.\n\n[Brief pause]\n\nWith that—let’s begin.\n\nStart recording.\n\nSounding New Sonic Approaches, take one.\n\n00:06:26\tKatherine and Jason\t[Voices overlapping, slightly out of sync]\nRolling, rolling, rolling.\n00:06:30\tJason Camlot\tMy name is Jason Camlot–\n00:06:32\tKatherine McLeod\tand I’m Katherine McLeod–\n00:06:34\tJason Camlot\tand we will be reading from–\n00:06:37\tKatherine McLeod\tIntroduction New Sonic Approaches in Literary Studies.\n00:06:43\tJason Camlot\t[Jason’s voice echoes, layered and resonant]\nThe sound of literature is now discernible as never before.[Echo fades, voice stabilizes]\nThis emerging discernibility—inciting new sonic approaches to literature—is due, in the first instance, to digitized audio assets and online environments that have made previously analog collections of literary recordings more accessible and valuable for research and study.\n[A soft whirring sound begins in the background]\n\nBeyond this infrastructural shift, the heightened discernibility of sonic approaches to literary culture has come from a recent interaction and convergence of methods between literary studies and sound studies as a broad interdisciplinary field.\n\n[The whirring sound grows louder, filling the space]\n\n00:07:23\tKatherine McLeod\tOur Call for Papers for this special issue of English Studies in Canada invited submissions that pursue sound-focused studies of literary works, events, and performances—exploring the intersections between literary studies and sound studies.\nFrom the outset, we framed literature as an intentionally expansive concept, one that has shaped the diverse case studies featured in this collection—ranging from archival objects to live performances.\n\n[Katherine’s voice begins to distort, subtly warping]\n\nThe authors whose work we received and selected for this issue embody this diversity in their approaches.\n\n[Distortion fades, voice stabilizes]\n\nIn asking our contributors to—or rather—[laughs]—in asking them to be…\n\n[Soft whirring begins again, subtly shifting in the background]\n\n…thinking sonically, as we put it, we challenged them to write from their perspectives as listeners.\n\nIn other words, we asked them to conflate literary studies and sound studies—to do literary sound studies—while critically reflecting on what it means to listen within the context of their discipline.\n\n[Whirring fades into silence]\n\n00:08:28\tJason Camlot\tThis is Jason Camlot again, and Annie Murray will be joining me.\nAnnie, do you want to say hi?\n\n00:08:35\tAnnie Murray\tHi.\n00:08:37\tJason Camlot\tDarren Wershler can’t be with us today, but we three are the co-authors of an article called The Afterlife of Performance.\n[Sound of cymbals and drums from a ritual chant]\n\nThe afterlife of performance—\n\n[Cymbal sound repeats, layered with an eerie resonance]\n\n—is riddled with assumptions about life, death, and time.\n\n[Another cymbal strike, now accompanied by a distant, guttural yell]\n\nOne major assumption is the possibility of distinction between the live—\n\n[Cymbal strike reverberates]\n\n—and something else. Not so much death—\n\n[Cymbal clangs again, layered with rising tension]\n\n—but an afterlifeness, shaped by various theorizations of media in what we might call the Age of the Zombie.\n\n[Cymbal clang echoes, now joined by chaotic grunts and shouts of exertion]\n\nBut we’re not so much interested in how particular instantiations of liveness are produced.\n\nRather, we’re examining how the afterlife of performance is produced, managed, and maintained—through the application of various cultural techniques.\n\n[The sound of rhythmic clattering, like a drum being struck]\n\nA network of people, using specific hardware, capturing performance in a particular space, on particular kinds of storage media—\n\n[Drum strike repeats, layered with subtle distortions]\n\n—along with techniques such as mastering—\n\n[Drum beat sharpens]\n\n—editing, filing, labeling—\n\n[The sound repeats, layered with an accelerating intensity]\n\n—holding (that is, long periods of neglecting), digitizing, remastering, and circulating—\n\n[The rhythmic pulse builds, overlapping voices chanting and talking]\n\n—all working together to produce our sense of the relative worth of a recording.\n\nA recording of another group of people—chanting, talking, reading.\n\n[Clattering intensifies, layered with cheers and echoes of past voices]\n\nIf we examine this assemblage closely, we can see its inner workings—the mechanism that produces literary value.\n\n[Final crescendo, then silence]\n\n00:10:13\tAnnie Murray\tI’m Annie Murray, also reading from The Afterlife of Performance.\nOnly some of the materials that document poetic practice in the late 1960s have ever crossed the formal archival threshold.\n\nOthers have been ignored, lost, or destroyed.\n\n[Faint background noise begins, like shifting paper and distant murmurs]\n\nSome, like the Sir George Williams University series, only became formal institutional records after a chance discovery, followed by validation through concerted scholarly and institutional effort.\n\n[The background noise grows slightly, a textured hum of archival handling]\n\nBeing attuned to the concept of the archival multiverse allows us to rationalize the messiness—the expanse, duplication, and incompleteness of literary legacy, especially for event-driven records.\n\nAnd finally, we can see the role of the Web—how it makes archival content both ubiquitous and messy, introducing new complexities in preservation.\n\nThinking in a multiverse way allows us to layer and intersect poetic events, poets, and their literary and geographical movements, as well as the movement and proliferation of evidentiary traces of their work.\n\nIt invites us to gain comfort with a decentralized model of both preservation and dissemination.\n\n[A whispered echo repeats:]\n“…preservation and dissemination.”\n\n00:11:35\tJason Camlot\tNext will be Julia Polyck-O’Neill.\n[Distant echo repeats:]\n“Next will be Julia Polyck-O’Neill.”\n\n00:11:46\tAudio Recording\t[Applause erupts, transitioning into a recorded voice]\n[Recording of a woman:]\n“Thanks a lot, Louis, and thanks, everybody, for coming.”\n\n00:11:50\tJulia Polyck-O’Neill\tHi there, I’m Julia Polyck-O’Neill.\nI’m reading from my article, Archives, Intimacy: Encountering the Sound Subject in the Literary Archive.\n\n00:11:59\tJason Camlot\t[Faint echo, layered and reverberating]\n“Next will be Julia Polyck-O’Neill.”\n00:12:01\tJulia Polyck-O’Neill\tWhile researching Robertson—\n[A sharp mechanical hum begins, like an electric current surging]\n\n—meaning Lisa Robertson at SFU, I inquired about the different media available in their collections that might allow me to better access Robertson’s—\n\n[More mechanical noise, layered with a subtle distortion]\n\n—personal feminist networks, a key topic in my work.\n\nI’m particularly interested in materials related to poet, curator, and organizer Nancy Shaw, a scholar responsible for many changes in KSW’s operations, especially in its connections to Artspeak, a Vancouver artist-run center.\n\n[The mechanical noise persists, a rhythmic pulsing of archived media playback]\n\nDuring our time working together, Robertson repeatedly stressed the importance of looking into Shaw’s work within KSW and Artspeak, and more broadly, given my focus on how KSW intersected with the Vancouver art world and the group’s feminist activity.\n\n[The machine sound fades, leaving an ambient electronic hum]\n\n00:12:29\tJulia Polyck-O’Neill\t[Julia’s voice echoes]\nDuring our time working together, Robertson repeatedly stressed the importance of looking into Shaw’s work within KSW and Artspeak, and more broadly, given my interest in how KSW intersected— [Voice distortion]—with the Vancouver art world and the group’s feminist activity.\n\n00:12:45\tJulia Polyck-O’Neill\tPresented with a box of tapes from the Kootenay School of Writing—[whirring sound]—fonds, also held at SFU, I selected the hand-annotated tapes bearing Robertson’s name, as well as those of Shaw, which only roughly corresponded with the finding aid.\n00:12:58\tJulia Polyck-O’Neill\t[Julia’s voice echoes]\nIt was explained that the tapes had been annotated somewhat ad hoc over the years. [Voice stabilizes] Again, the experience was heightened and singular—[whirring sound]—made even more so by the privacy of the listening space. Putting on a pair of ear-covering headphones, I pressed play on the first tape—only to realize it had to be rewound first.\n\n[Background noise]\n\nAll of these attributes build momentum for the initial moments of listening to—[voice echoes]—the recording. Thank you. [Applause]\n\n00:13:39\tAudio Recording\t[Applause blends into an audio recording]\nThanks, Colter. Thanks, Jacqueline. This is… This is nice to be here in the living room.\n\n00:13:47\tJason Camlot\tNext, we’re going to hear a sound clip of Michael O’Driscoll reading—[sound of truck driving by]\n00:13:54\tMichael O’Driscoll\t[Voice starts in an echo]\nThis essay features a reel-to-reel recording of a 1969 classroom lecture during which Canadian poet and playwright James Rainey demonstrates sound collage in relation to his celebrated 1967 play “Colours in the Dark.”\n\nOn first encountering the recording, the listener will notice—[sound of something large approaching]—the extraordinarily intrusive presence of a jackhammer, located somewhere near the classroom.\n\n00:14:24\tAudio Recording\t[Audio blends into a recording with applause]\nThanks very much. I’ve already given you about a quarter of the reading on tape and gramophone. [Jackhammer begins]\n\nAnd fortunately, before the jackhammer started, the first thing I played was from Karl Orff’s “Music for Children,” which begins with nursery rhymes and lists of names that children recite…\n\n00:16:28\tMichael O’Driscoll\tRainey’s equanimity in this moment is astounding. One could well imagine canceling the lecture—especially one focused on attentive listening. Rainey, however, simply absorbs the intrusive jackhammer into the performance, adopting—or adapting—the sonic dissonance into the logic of a lesson already leaning toward an appreciation of—[voice starts to echo]—the affective tension and political force of jarring oral juxtaposition.\n00:17:03\tKatherine McLeod\tNext up, we have Mathieu Aubin.\nThe paper is entitled “Listening Queerly for Queer Sonic Resonances in the Poetry Series at Sir George Williams University, 1966–1971.”\n\n[Distorted] And we’ll be listening to a recording.\n\n00:17:23\tMathieu Aubin\tA short history on queer listening.\n[Faint sound of a man, poet bill bissett, singing in the background]\n\nIn the 1960s and 1970s, listening to and recording queer people from a police perspective was a means of documenting and regulating their behavior.\n\n[Background singing increases] Surveillance efforts targeted queer writers, monitoring their activities through bugged homes, wiretaps, and infiltration of their communities. Police forces compiled this data, circulating it across networks to justify increased surveillance.\n\n00:18:01\tMathieu Aubin\tBut quite the opposite—some queer writers saw listening as a form of homosocial rapprochement. Writers like Allen Ginsberg practiced a tender form of listening, using it to build queer bonds. Rather than being exploitative, tender listening was a way for queer people to connect, orient themselves toward each other, and foster solidarity. [Mathieu’s voice echoes faintly]\nSimilarly, some queer writers performed close listening as a practice of careful consideration—both for meaning and for social potential.\n\n00:19:15\tMathieu Aubin\tAs Jack Halberstam theorizes in Queer Time, queer uses of time and space are developed according to other logics of location, movement, and identification—rather than the heteronormative life model of marriage, family, and reproduction.\n[Singing momentarily increases]\n\n00:20:13\tKatherine McLeod\tJason Wiens: Voicing Appropriations: Sounding Found Poetry in 1960s Canada [Amen drum break sample  plays]\n00:20:20\tJason Wiens\tThe oral performance of found poetry adds a new layer of interpretive complexity to an already complex practice of appropriation and recontextualization.\n[Fast drums continue]\n\nHowever, little consideration has been given to the oral performance or audio recording of found or appropriated poetry—whether from the historical moment I discuss here or in contemporary conceptual poetry.\n\n00:23:25\tKlara du Plessis\t[Voice echoes]\nMy name is Klara du Plessis.\n\n[Whistling sound] I’m reading from “Do You Read Me, Kaie Kellough: The Words of Music”\n\n[Distorted voice and whistling]\n\n00:23:41\tKlara du Plessis\t[Very distorted and echoed voice] In fact, I’m not reading from my essay. In fact, I’m not. Instead, I’m reading from a handwritten scan titled Word Sound System 1: Read Part A, which is included in Kaie Kellough’s 2010 poetry collection.\n[Voice becomes slightly clearer]\n\nThe piece, Maple Leaf Also Reads, instructs that letters indicated by numbers should be stressed to emphasize rhythm. The goal is to repeat until the rhythmic pattern is understood.\n\n[Layered voices overlapping]\n\nD—o—u—d—o—y—d—o—y—o—u.\n\nUnderstood.\n\nE—a—d—m—a—d—d—o—u—d—o—y—d—o—e—y—o—m—a—e—n—d—o—m—y—o—u.\n\nD—r—o—a—d—o—a—o—o—d—u—e—y—o—u—m—r—o—a—u—r—o—y.\n\nD—o—u—r—y—a—r—e—d—r—o—y—o—u—y—o—a—r—I—o—e—r—e—d—o—y—o—u—r—e—a.\n\n[Voice becomes more coherent]\n\nEach component follows a logical continuation.\n\nY—o—o—y—o—a—d—and—e.\n\nSorry, the notes are confusing.\n\nEach component is a continuation of the previous—and once they are strung together, they form a tidy loop that can repeat infinitely.\n\n00:25:48\tJason Camlot\tThanks, Klara. That’s the first cover of a Kaie Kellough sound poem I’ve ever heard. [Jason’s voice blends into a recording]\n00:25:52\tAudio Recording\tYes, [Laughter]\n00:25:53\tJason Camlot\tNext, we’ll hear an audio clip from Kate Moffitt, Kandice Sharren, and Michel Levy, co-authors of Modeling the Audio Edition with Mavis Gallant’s 1984 Reading of “Grip” and “Posh”.\n00:26:11\tKandice Sharren\tThe rationale behind the copy text aligns with the impulse to prioritize the story itself in our audio edition, rather than the physical artifact or recording event. In some ways, audio offers unique advantages—for instance, when a story is read by its author, it can clarify ambiguities through intonation or even provide the most authoritative version of the text.\n00:26:31\tKandice Sharren\tIn this case, our copy text was the story as Mavis Gallant performed it [eerie sound] on 14 February 1984—a version that clearly had her seal of approval.\nProducing the two podcast episodes required listening to Gallant’s reading dozens of times, and in doing so, Moffitt noticed a significant aside:\n\nNear the end of the recording, Gallant deviates from the story and remarks–\n\n00:26:54\tAudio Recording\t[Cuts to the audio recording of Mavis Gallant] I have an editorial query here. Is he imagining this? Yes, these are proofs.\n00:27:00\tKate Moffatt\tDuring a Q&A session celebrating the first episode’s release, we discussed Gallant’s reference to these elusive proofs.\nFollowing that event, SFU Professor Carol Gerson informed us that the proofs for this story, along with a cassette copy of the 1984 reading, were held by the Thomas Fisher Rare Book Library.\n\nWith help from Roma Kail, a librarian at Victoria University, we were able to access scans and confirm that these were the exact same proofs Gallant had been reading from.\n\nOn page 24, Gallant’s editor had added an interlinear pencil notation between lines 6 and 7, stating:\n\nIs he imagining this?\n\nJust as Gallant had read aloud in 1984.\n\n00:27:38\tKatherine McLeod\t[Echo effect] Next up, Kelly Baron.\n00:27:40\tKelly Baron\t[Bell dings] I’m Kelly Baron, and I’m reading from Oral Memory in Madeleine Thien’s Do Not Say We Have Nothing.\nIn the opening pages of Thien’s novel—which explores intergenerational trauma resulting from the Cultural Revolution in Chinese-Canadian communities—[Voice distorts, accompanied by soft piano notes]\n\nLi Ling, the novel’s protagonist, is walking through Vancouver’s Chinatown when she hears Bach’s Sonata for Piano and Violin No. 4 playing from a store speaker.\n\nShe feels drawn towards it, as keenly as if someone were pulling her by the hand—the counterpoint of the music binding together the composer, the musicians, and even the silence.\n\nThe music, with its spiraling wave of grief and rapture, was everything she remembered.\n\n00:28:26\tKelly Baron\tThat moment sparks a memory of her father.\nIn the act of listening, he becomes so alive, so beloved that the incomprehensibility of his suicide resurfaces, grieving her all over again.\n\nBy her own admission, she had never before experienced such a pure memory of her father, Dong Kai, in the two decades since his death.\n\nLi Ling’s experience in Vancouver’s Chinatown raises important questions about the role of music in literary depictions of intergenerational memory and trauma:\n\n– How does music shape memory recall in novels like this?\n\n– How can listening to the music within literature expand our understanding of trauma and memory transmission?\n\nIn this article, I argue that listening within a literary context provides a methodology for understanding intergenerational trauma—one rooted in the sensory experiences that accompany inherited trauma.\n\nThese experiences are defined by rhythmic repetition, a new setting, and an emotional distinction that alters perception.\n\n00:29:32\tKelly Baron\tI propose that listening to music in literature represents a new method for identifying intergenerational memory.\nThis method focuses not only on the literary depictions of sound but also on how that sound shapes the experiences of future generations.\n\nIf traumatic memories are communicated through silences and gaps in declarative or narrative memory, then sound itself becomes the conduit—a means by which these memories are passed down to future generations.\n\n00:30:04\tDaniel Martin\tMy essay is called— [A recording starts playing]— Girl, the Piercing.\n00:30:09\tSPK_1\t[Recording plays] Yeah, the hell were you doing with her? It’s not what you think.\n00:30:16\tDaniel Martin\t[A low humming sound begins in the background] My essay, The Child’s Stuttering Mouth and the Ruination of Language in Jordan Scott’s Blurt and Shelley Jackson’s Riddance, explores how we read and write about the enigmatic experiences of people who stutter—without succumbing to metaphor, stigma, or the valorization of creative stuttering inherent in all textualities.\n00:30:43\tDaniel Martin\tWe put aside critical methodologies that expose the tensions between voice and text in literary expression and instead imagine the experiences of children who stutter through playful and experimental fantasies of language, devourment, and ruination. [Brief static sound] Despite their differences in genre—one a celebrated Canadian sound poetry work, the other an experimental text by an innovator in hypertext and found-document fiction—\n00:31:11\tDaniel Martin\tBoth Jordan Scott’s Blurt and Shelley Jackson’s Riddance reimagine stuttered speech beyond the prosaic deconstruction of voice and text—presence and absence, fluency and disfluency—that have shaped so much critical study on literary voicings. [Humming sound increases]\n00:31:29\tDaniel Martin\tBoth texts examine what it means to return, in Scott’s words, to the fact of the mouth. These works do not merely romanticize the stutter as inherent to language systems, nor do they simply deconstruct speech versus text, presence versus absence, or phonemic versus phonetic binaries that dominate most literary voice studies.\n00:31:51\tDaniel Martin\tOur critical and theoretical methodologies have grounded literary voice studies in these binaries, but there are other ways to reimagine the romanticization of communicative breakdowns. [A voice in the background hums an extended “mmm” sound]\n00:32:06\tDaniel Martin\tScott and Jackson both reorient the reader’s response away from a logic of extractive meaning toward an invitation to participate in the childlike pleasures of—[stutters]—devouring, ingesting, and ruining language. With this pleasure comes trauma, longing, and loss, inevitable aspects of such a destructive relationship with language. [A distorted voice emerges, layering over Daniel’s words] [Daniel’s voice starts stuttering] Their work experiments with devices, techniques, and tricks introduced under biomedical imperatives for speech cure and management.\n00:32:42\tDaniel Martin\tBoth texts raise profound questions about the history of speech therapy, the cultural history of the stutter, and its status as a haunted and haunting presence—one that is both internal and external to the speaking mouth. [A voice in the background repeats an extended “mmm” sound]\n00:33:03\tDaniel Martin\tFundamentally, these works suggest that reading or speaking fluently is not necessarily a triumph. For people who stutter, reading can feel threatening—it introduces a fragility in the relationship between speaker and language. The stutter itself is a threat of undoing. It creates a hole, swallowing up the very binary distinctions we rely on to make meaning.\nSometimes, that hole becomes a portal—a doorway to other dimensions and voices. Other times, it is simply a giant mouth, consuming language and eroding meaning, a threat as gleeful and destructive as a child’s indulgent play. These texts introduce disfluent joy, embodying the stutterer’s ruinous relationship with words.\n\n00:33:51\tKatherine McLeod\tNext is Kristen Smith.\n00:33:56\tKristen Smith\tHello, I’m Kristen Smith. I’m so grateful to voice an excerpt from Unsounding: A New Method for Processing Non-Linguistic Poetry. [Faint static noise in the background]\n00:34:15\tKristen Smith\tThe comparison of a non-linguistic poem to a graphic score emphasizes the openness of the art form. The poem as score foregrounds the reader’s role as both performer and interpreter, yet it offers no clear guidance in executing either role.\n00:34:35\tKristen Smith\tAt every turn, with each proposed paradigm for assessment, non-linguistic poetry resists. [Faint static continues] Non-linguistic poetry rejects totalizing methods for reading and unsounding. In No Medium, Krecht Dworkin performs close readings of unfilled, erased, or blank pages—seemingly silent texts.\n00:35:03\tKristen Smith\tIn his analysis of Cage’s 4’33”, Dworkin asserts: Silence is always ideal and illusory. Silence is a thought experiment—provocative and unverifiable. [Eerie, distant tones rise in the background] Unsounds are filled with interpretative possibilities and semantic meaning.\n00:35:22\tKristen Smith\tThis essay specifically examines works that are not blank but still eliminate linguistic material and prevent sounding. These texts are composed of unsound.\n00:35:35\tKristen Smith\t[Eerie sound increases] Dworkin pushes further, suggesting that in such works, medium itself is as unrealizable as silence. Non-linguistic poems subvert expectations of medium or category. Moreover, these works compel readers to adopt new reading practices.\nWorks like Soult’s Moonshot Sonnet, Bergwoll’s Drift, and Schmaltz’s Surfaces require the reader to meet the poem on the page and actively work through it on its own terms.\n\n00:36:07\tKristen Smith\tWhen encountering a non-linguistic poem, the reader is forced to question their relationship to reading, sound, and communication. [Distorted, eerie sounds grow louder]\nBy resisting any singular method for interpretation, these works show that both sounding and resisting sound can communicate multivalent, albeit elusive, messages.\n\n00:36:36\tKristen Smith\tYet, these communications are incomplete without the reader’s participation—perhaps through unsounding the poetic material. The reader is essential to the visual poem’s communication. The reader is integral to the poem’s becoming. [Eerie sounds linger before fading]\n00:36:57\tJason Camlot\tNow we’re going to hear from the Readers’ Forum on Disciplinary Listening.\n00:37:01\tJason Camlot\tThis is Jason Camlot.\n00:37:03\tKatherine McLeod\tAnd this is Katherine McLeod.\n00:37:05\tJason Camlot\tAnd we’ll be reading from Forum on Disciplinary Listening: An Introduction.\n00:37:08\tKatherine McLeod\tWe have developed this forum to invite further reflection from experts who have worked with sound across a variety of disciplines. We asked—\n00:37:23\tJason Camlot\t– How has your discipline taught you to listen?\n– What does listening mean within your discipline?\n\n– How do you understand sonic approaches in relation to disciplinarity?\n\n– What aspects of sound studies as an interdisciplinary field do you translate or transpose into your approaches as a researcher and teacher within a specific discipline of knowledge and university department?\n\n00:37:56\tKatherine McLeod\tNow, we invite you to listen to this voice forum as a conversation and to consider what you would write in response to these same questions. Notice the constellations of listeners evoked, the resonances in reflections. Immerse yourself in the listening that each writer educes on the page. [Static noise begins]\n00:38:20\tJason Camlot\tThis is Jason Camlot again, reading from my short article Towards a History of Literary Listening. The story of literary listening may tell of two long-lasting, concurrent desires within literary encounters. One desire embraces literature as something best apprehended through sound and listening. The other seeks to extricate sound and listening—and, perhaps by extension, the intimacy of other kinds of exchange and communication that involve presence—\n00:38:56\tJason Camlot\t[Static noise fades] —from the scenario of literary study. The latter desire—to remove sound and listening from literary study—seems particularly disciplinary in its motivation. [Static starts again] This removal is often justified as a way to protect literary appreciation from the corrupting effects of sound. To the extent that literary criticism seeks to justify its status as a discipline—with established principles of literary judgment—it may be that an interesting technique for contemporary literary listening emerges precisely through acts of listening that ride the contradictions of these competing desires. These contradictory desires reflect larger critical tensions—the desire to hear the past in the present, to feel presence in absence, to know and feel the literary as it exists here and now, as it was, and as it will be.\n00:40:03\tJason Camlot\t[Jason’s voice shifts slightly] Next, we’re going to hear from Tanya E. Clement—reading from Distant Listening and Resonance. [Sound clip begins]\n00:40:14\tTanya E. Clement\tSpeech recordings: sound is text—the words people speak—but also other sounds that indicate a speaking and listening context. Tone, laughter, coughing, crying, birdsong, car engines, horns— [Tanya’s voice begins to echo]—a baby crying, thunder clapping, gunshots, the nano dropping. Using computation to analyze large datasets of sound texts has been called distant listening in digital humanities literature. I describe distant listening to sound texts as a process that uses computing to—[voice distorts slightly]—”distill the multi-layered, four-dimensional space of the text of performance—embodied within the performer’s hour of interpretation in time and space—into a two-dimensional script called code.”\n00:40:59\tTanya E. Clement\tDistant is often understood as implying a lack of presence, an observation removed in both space and emotion—detached from individual, subjective knowledge.\n00:41:12\tTanya E. Clement\t[Tanya’s voice subtly shifts] Yet, sound travels differently—and what is lacking in distance is often made up for in other ways. [Eerie sound rises in the background] What is too close can be deafening. What is far away can be heard loud and clear. As both a physical property and a cultural hermeneutic, resonance serves as a useful theory for articulating how distant listening can create meaning differently. [Sound fades]\n00:41:41\tKatherine McLeod\tNext, we have Kim Fox and Reem Elmaghraby. Kim, would you like to say hello and read your title to start off?\n00:41:51\tKim Fox\tSure, I can do that. Thanks for having me—I’m really excited to join you all. Though it is 11:43 PM in Cairo, Reem and I have an essay titled Reflections on Evaluating Soundscapes and Gathering Sounds in Cairo: The Case of the AUC Diaries Project.\n00:42:12\tReem Elmaghraby\tSo, it is now 10:30 AM, and I should probably open the curtains to see what the weather is like. [Sound of curtains opening]\nWell, it’s raining heavily, and the sky is extremely dull. What a depressing way to start the day. [Sound of liquid pouring] Time to make my everyday morning coffee—an espresso shot with a bit of lactose-free foamed milk, no sugar. [Sound of ceramic clattering] Super basic.\n\n00:42:37\tReem Elmaghraby\tI tend to get really bad headaches when I skip my morning coffee dose. I also get super grumpy, so let’s try and avoid that. [Alarm sound goes off]\n00:42:48\tSPK_1\t[Sound blends into an audio recording] It’s 6:30 AM, and I must get up for my 8:30 class at AUC. The sound of the alarm, which I snooze over and over again, is not enough to get me out of bed. That’s why I always leave the curtains open.\nI don’t like getting up this early. I don’t like it one bit. [Sound of door opening] In fact, I hate it. You know what, maybe I’ll just skip today’s morning class. [Sound of shower running] I’m too tired.\n\nNo, I need the grade. What I do slightly appreciate about this pre-8:30 class ritual is its peacefulness—the silence of everyone still asleep.\n\nAnyways, I grab my things and head out to a busy Thursday. [Sound of keys jingling, bag zipping]\n\n00:43:32\tReem Elmaghraby\t[Back to Reem] I stare at the usual pictures of my classmates—and at the black screens with names in the bottom left corner—as I listen to the lecture. [Sighs]\nThe professor just gave us an assignment, so I write it down in my bullet journal, my calendar, and on a sticky note that I put up on my wall.\n\nOrganization is the only thing keeping me afloat this semester. Otherwise, I’d get nothing done. [Sound of a pencil writing on paper]\n\nMy desk is probably my favourite place to be. The best way I could describe it? If a crazy wizard started hoarding objects from his many journeys.\n\nI have stickers on my wall, art from my favourite artists, tech gadgets, makeup, accessories—honestly, anything of interest to me is somewhere on my desk.\n\n00:44:15\tSPK_1\t[Audio switches to another recording] Minute 63—Egypt scores! [Background chatter and cheering] But then, Congo ties the score in minute 87.\n[More background cheers] We need one goal to qualify. With two minutes left, it felt hopeless. People walked out.\n\nBut then—minute 94—Mohamed Salah scores, in a moment that will go down in Egyptian history. [Loud cheers, static interference]\n\nMy microphone couldn’t handle the reaction. [Cheering and static noise blend together] It wasn’t any tamer on the streets either. [Sound of drums]\n\nIt didn’t look like I could drive home tonight, so I decided to sleep over at Andrew’s.\n\n00:44:56\tKatherine McLeod\tKristin Moriah—That Men Might Listen Earnestly to It: Hearing Blackness.\n00:45:06\tKristin Moriah\t[Audio recording begins—rain-like sound gets louder, then fades]\n00:45:06\tJason Camlot\tNext, we’re going to hear from Nina Sun Eidsheim and Juliette Bellocq.\n00:45:28\tNina Sun Eidsheim\tListening techniques are naturalized within an area of study. [Eerie music starts playing faintly]\nIn the PEER Lab—the Practice-Based Experimental Epistemology Research Lab, which I started a few years ago—we seek to listen to the ways different people and different fields listen.\n\nOur goal is to understand more about how the world appears through specific listening techniques.\n\nOne of my main collaborators is the graphic designer Juliette Bellocq. We took the invitation to contribute to this volume as an opportunity for me to learn more about her listening practices.\n\nThe piece we created together is called What They Say is What They Mean: Listening to Someone’s Story.\n\n00:46:09\tNina Sun Eidsheim\tI started by asking Juliette—what is listening for a graphic designer?\n00:46:16\tJuliette Bellocq\tAs a graphic designer, I agree not to be the sole author of the content in my work. Graphic design, in my practice, means sharing content.\nI place myself in a position to translate something I’ve heard, understood, seen, or reconfigured. That means that I have a voice—I am an author, but there is also a co-author.\n\nThis co-author can be a client or a community, so listening is essential.\n\nBesides working with the PEER Lab, I primarily work with architects in designing spaces. And the key question when we visit a space or meet with people is: What are their stories?\n\nListening is our primary tool and resource. [Faint instrumental music begins playing]\n\n00:47:03\tNina Sun Eidsheim\tDo you listen similarly or differently from architects or even other graphic designers? And if so, how do these different types of listening come together?\n00:47:15\tJuliette Bellocq\tI do think that I listen differently than some other designers because my primary goal is not to solve people’s problems—which is a big part of what graphic design is often about.\nMy job now is to capture something in the air, make it visible for everyone, and see if it can participate in the culture.\n\nI work to transcribe or crystallize ideas that already exist for all of us.\n\nIf I do not listen well, I have nothing to create. Does that make sense?\n\n00:47:45\tNina Sun Eidsheim\tIt does, but I’m wondering—is listening a metaphor for all the ways we absorb things?\n00:47:53\tJuliette Bellocq\tIt’s not a metaphor. It’s note-taking and research to make sure we heard correctly.\nIt’s cross-checking information to ensure that what people meant was actually what we heard.\n\nIt’s about understanding group stories before producing anything visual or graphic.\n\nIt’s a kind of listening that is meant to engage with something alive.\n\n00:48:16\tJuliette Bellocq\tSo, we have to listen in a way that is—hopefully, when done well—non-intrusive.\nIt should not orient the story but let people say what they want authentically.\n\nIt is about understanding their words in the right context before finally proposing something that can participate in the culture it comes from.\n\nSo, listening is a way to circumvent assumed knowledge.\n\n00:48:43\tNina Sun Eidsheim\tThank you.\n00:48:46\tMara Mills\tMara Mills and Andy Slater, Blind Mode: Blind Listening Techniques.\nI’m Mara Mills, a media studies professor and historian of electroacoustics and disability. My co-author, Andy Slater, is a blind sound artist who records, transcribes, and documents blind listening techniques—or what Andy calls Blind Mode.\n\n00:49:11\tMara Mills\tI first learned about Andy’s work when I was researching the history of the C1 cassette player.\nThis machine was released by the National Library Service for the Blind and Print Disabled in the United States in 1981.\n\nIt included a time-stretching or pitch-restoration feature so that blind people could speed-read talking books without distorting the narrator’s voice.\n\n00:49:37\tMara Mills\tTo my surprise, this tape player—which is no longer in production—still has a fan base in noise and experimental music scenes.\nAndy uses sounds from the C1, among many other accessibility tools, in his compositions.\n\nAnd now, we’ll hear a recording of that.\n\n00:50:07\tAndy Slater\t[Static sound] [Robotic voice begins] Tape decks and 8-RPM record players were ugly and bulky.\nThey were meant for home use—out of sight, hidden from embarrassment.\n\nMuch like large print books and the white cane itself, some of us knew the glory of the talking book players.\n\nEverything could sound weird if we let it. [Background sound warps slightly]\n\nReading is fundamental, but any Paul Anka song could sound like sword fighting against Yamat the Chromatic Dragon on those players.\n\nJust as many of us discovered that sound itself can be an alternative to photographs and paintings.\n\n00:50:34\tAndy Slater\tThese tools, designed to be unappealing so no one would steal them, were also phenomenal noisemakers—antiquities of blind culture. [Voice gets deeper and more distorted]\nAnd they are not that different from contemporary assistive technology. Both can be used creatively—and both can disrupt and annoy.\n\nPhones talk aloud, lid detectors double as theremins, and object recognition apps are often wrong.\n\nBlind folks process multiple sound sources at once because of our use of this tech.\n\n[Voice gets faster and higher] When you compose and perform using these tools, filling the room with blind people’s sounds, you’re most likely making people uncomfortable—which is often the motive of any noise artist.\n\n00:51:10\tAndy Slater\tBut in my case, it’s about deconstructing my own culture and using tools made specifically for me.\nIt gives more meaning to the art and experience.\n\nIt’s political. It’s entitled. And it’s not just some guy showing off a thrift store find.\n\n00:51:22\tSPK_1\t[Switches to another audio recording] [Overlapping and distorted voices] What does this sound look like?\nHow is my hair? Do any disabled people work here? Am I wearing a red shirt? Can you tell me how to find the bathroom? [Sound of tape rewinding]\n\n00:52:08\tJason Camlot\tThank you, Mara and Andy.\n00:52:09\tKatherine McLeod\tAnd next, here on Zoom—Ellen Waterman.\n00:52:14\tEllen Waterman\tMy piece reflects on a research-creation project with Deaf culture artists, Spill Propagation. It’s called Reorienting Audition through Bodily Listening in Place.\n00:52:35\tEllen Waterman\t[Sound of a page flipping] The practice I’m calling bodily listening in place requires something akin to what Natasha Myers and Joe Dumit have termed improvising in a state of mid-embodiment.\nWriting about the interactive practices and responsive bodies of scientists, Myers and Dumit describe how researchers engage with experimental media, communicate their findings through narrative and embodied gesture, and develop new forms of dexterity in the process.\n\n00:53:22\tEllen Waterman\tTheir concept of the responsive excitability of bodies helps explain how experimentalists acquire new kinesthetic, affective, and conceptual dexterities—as they learn to see, feel, and know.\nTheir description matches my embodied experience. I am learning all over again how to listen. [High-pitched sound begins faintly]\n\n00:53:30\tEllen Waterman\tOf course, Myers and Dumit’s article is implicitly ableist. It assumes a hearing, seeing, mobile subject—and in that respect, it resembles most writing about music, sound, and listening.\nWe need to account for the complexities of working across Deaf and hearing music cultures. And what draws me to this work is precisely what can be learned in this reciprocal, intercultural encounter.\n\n00:53:55\tEllen Waterman\tFor example, my work with Spill Propagation has made me attuned to vibrations—seen and felt—with an intensity I have never experienced in my five decades of making music.\nWhen I listen to music through the vibrotactile vest, I can only discern a generalized buzzing and rhythmic thumping.\n\nMy haptic sense is, it seems, woefully undeveloped.\n\nWhat does it mean to acquire dexterity in a sensory mode?\n\nOr better—what does it mean to adopt an intersensory approach to listening that encompasses multiple sensory modes?\n\nAnd what happens when we foreground interdependence as a valid and precious foundation for musical creativity?\n\nThese questions animate my desire to reorient audition through bodily listening in place. [Sound of book closing]\n\n00:54:51\tJason Camlot\tThank you, Ellen. And we’re going to close this reading from the special issue of English Studies in Canada with Katherine McLeod: Archival Listening.\n00:55:02\tKatherine McLeod\tThis is Katherine McLeod, reading from Archival Listening. [Faint background sound]\nArchival listening is listening to archives while reflecting on how you are listening—and how you intend to share what you have heard.\n\nArchival listening listens with a future listener in mind.\n\nArchival listening is a practice of attending to the archival apparatus—holding the sound.\n\nWhile you were away, I held you like this in my mind.\n\n00:55:34\tKatherine McLeod\tArchival listening is hearing the body in time.\nArchival listening is situating oneself as a listening body in time.\n\nArchival listening understands that there are limits to knowing—and makes room for what cannot be heard. [Static and overlapping voices in the background]\n\nArchival listening takes time.\n\n00:55:54\tKatherine McLeod\tWe want to remember what the archive seems to remember.\nArchival listeners are removed from the time and space of a recorded event—but having heard its sound, a new memory of that event is formed, and the feeling of hearing it remains.\n\n00:56:16\tKatherine McLeod\tThat ends our recording. Thank you all for listening. [Sound fades into a whistle]\n00:56:21\tHannah McGregor\t[Beat music starts playing] You’ve been listening to the SpokenWeb Podcast—a monthly podcast produced by the SpokenWeb team.\nThis podcast is part of our work distributing the audio collected from and created using Canadian literary archival recordings found at universities across Canada.\n\n00:56:45\tKatherine McLeod\tThis month’s episode was produced by Jason Camlot.\nIt features the voices and sounds of Douglas Moffat, Katherine McLeod, Jason Camlot, Annie Murray, Julia Polyck-O’Neill, Michael O’Driscoll, Mathieu Aubin, Jason Wiens, Klara du Plessis, Kandice Sharren, Kelly Baron, Nina Sun Eidsheim, Juliette Bellocq, Kim Fox, Reem Elmaghraby, Kristin Moriah, Daniel Martin, Kristen Smith, Tanya E. Clement, Mara Mills, Andy Slater, and Ellen Waterman.\n\n00:57:20\tKatherine McLeod\tThe New Sonic Approaches in Literary Studies event was produced by Jason Camlot, Katherine McLeod, James Healy, and Douglas Moffat. [SpokenWeb theme song starts playing]\nCheck the show notes for all of those names again—and for a link to the journal issue itself that this sound piece performed.\n\n00:57:36\tKatherine McLeod\tThe SpokenWeb Podcast team includes: – Supervising producer: Maia Harris\n– Sound designer: TJ MacPherson\n\n– Transcriber: Yara Ajib\n\n– Co-hosts: Hannah McGregor and me, Katherine McLeod\n\n00:57:48\tKatherine McLeod\tTo find out more about SpokenWeb, visit spokenweb.ca and subscribe to the SpokenWeb Podcast on Apple Podcasts, Spotify, or wherever you listen.\nIf you love us, let us know—rate us and leave a comment on Apple Podcasts or say hi on social media.\n\n00:58:05\tKatherine McLeod\tFor now—thanks for listening.\n00:58:08\tSpokenWeb Outro\t[SpokenWeb theme song plays] [Harmonizing voices singing]"],"score":0.20303465},{"id":"1504","cataloger_name":["Emma,Telaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Alan Lord collection"],"source_collection_label":["Alan Lord collection"],"collection_contributing_unit":["SpokenWeb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Alan Lord collection contains all the archives regarding the Ultimatum poetry readings and the Ultimatum & Ultimatum II festivals, including film, sound and documentation."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Colette Tougas at Ultimatum Festival 1985-05-01"],"item_title_source":["Container and Brochure "],"item_title_note":["On tape \"U-1-4\" and festival schedule corroborated in brochure. "],"item_language":["French"],"item_production_context":["Documentary recording"],"item_series_title":["Alan Lord Collection"],"item_subseries_title":["Ultimatum [1]"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. Alan Lord has permission waivers. We may wish to seek permission from individual artists.  "],"creator_names":["Tougas, Colette"],"creator_names_search":["Tougas, Colette"],"creators":["[{\"url\":\"http://viaf.org/viaf/50700299\",\"name\":\"Tougas, Colette \",\"dates\":\"1950-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Lord, Alan"],"contributors_names_search":["Lord, Alan"],"contributors":["[{\"url\":\"http://viaf.org/viaf/80186482\",\"name\":\"Lord, Alan\",\"dates\":\"1954-\",\"notes\":\"Alan Lord has been designated Contributor when in the role of series organizer and Creator when in the role of Performer. \\n\",\"nation\":[],\"role\":[\"Series organizer\"]}]"],"Series_organizer_name":["Lord, Alan"],"Performance_Date":[1985],"material_description":["[{\"side\":\"Tracks 7-8. \",\"image\":\"../Uploads/5881/Screen Shot 2020-11-07 at 1.17.54 PM.png\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Ampex 406\",\"generations\":\"Audio taken from original reel to reel 8 track tape.\",\"Conservation\":\"Perforation repairs. Baked. \",\"equalization\":\"NAB. \",\"playback_mode\":\"Mono\",\"playing_speed\":\"15 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"8 track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten notes on front and back. Sticker identifying tape as U-1-4.\",\"other_physical_description\":\"Reel U-1-4\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-4/U-1-4_t07_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-4_t07_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:18:58\",\"precision\":\"\",\"size\":\"312.77 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 7 of 8 tracks on tape U-1-4 containing a vocal track from Colette Tougas. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/alanlord/2/Deliverables/Audio_Deliverables/U-1-4/U-1-4_t08_preservation.wav\",\"file_path\":\"\",\"filename\":\"U-1-4_t08_preservation.wav\",\"channel_field\":\"Mono\",\"sample_rate\":\"96kHz\",\"duration\":\"00:18:58\",\"precision\":\"\",\"size\":\"312.77 MB\",\"bitrate\":\"2304000 \",\"encoding\":\"Waveform \",\"contents\":\"This is track 8 of 8 tracks on tape U-1-4 containing a vocal track from Colette Tougas. \",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1985-05-01\",\"type\":\"Performance Date\",\"notes\":\"According to brochure, performance began at 22:00. \",\"source\":\"Container. Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["According to festival pamphlet \"Ultimatum Programme\", Colette Tougas performs \"Clara la Brune\". Corroborated in listening.\n\nTranscription by Emma Telaro.  "],"contents":["Ultimatum_Mixdown_Colette Tougas_U-1-4_T7_T8.mp3\n\nThe following is a transcription of the Colette Tougas set at Ultimatum, Wednesday May 1st, 1984 at the Foufounes Électriques. Tougas performs “Clara La Brune”, an alluring, dramatic monologue with a refrain sung throughout. In his memoirs, Alan Lord counts the performance as one of the festival highlights, recalling “Writer Colette Tougas singing a capella the sultry Modesty in her smoldering breathy voice, which I just had to put on the festival's documentary LP...” Colette Tougas is a translator, writer of fiction and of essays, recently contributing art criticism to the online magazine, Ciel Variable. She is the author of Le Porphyre de la Rue Dezery (1985).  \n\nTRANSCRIPT\n\nAudience\n00:00:00\nAmbient Sounds [voices and laughter audible throughout]. \n\nColette Tougas\n00:00:04\nIntroduces performance “Clara La Brune”. | Keywords: Clara La Brune, seduction.\n\nColette Tougas\n00:00:13\nPerforms “Clara La Brune”. Sings refrain throughout ‘On m’appelle Clara La Brune, on m’appelle la dame qui fume des cigarettes russes’. \n\nColette Tougas \n00:00:28\nPerforms “Clara La Brune”. | Keywords: tigane, Roumanie, Adam, Ève, Clara, femme fictive, nounours, malaise, moderne, amour, Paris.  \n\n[Unknown]\n00:03:37\nLaughter. \n\nColette Tougas \n00:03:39\nSpeaks “Merci”.\n\nColette Tougas \n00:03:43\nContinues “Clara La Brune”. \n\nColette Tougas \n00:03:51\nSings in Italian. Repeated throughout. Keywords: prima volta, uomo, tanto bello.\n\nColette Tougas\n00:04:10\nContinues “Clara La Brune”. |  Keywords: automne, chien Kiki, homme.  \n\n[Unknown]\n00:04:24\nLaughter. \n\nColette Tougas\n00:04:26\nSings Italian refrain. \n\nColette Tougas\n00:04:44 \nContinues “Clara La Brune”. | Keywords: mondaine, Roumanie, Italienne. \n\nColette Tougas \n00:05:13\nSings Italian refrain. \n\nColette Tougas\n00:05:31\nContinues “Clara La Brune”. | Keywords: chien Kiki, Paris, homme. \n\nColette Tougas\n00:05:48\nSings Italian refrain. \n\nColette Tougas\n00:06:10\nContinues performance. | Keywords: Amour, Cinéma, alcohol, fumée, russe, cinéaste, chat, beau, laid, bonheur, prince, novembre, séduction, âme, beurrier, obsession, malaise, désir, amoureux.\n\n[Unknown]\n00:11:10\nClaps preemptively. \n\nColette Tougas\n00:11:12 \n“J’ai pas fini j’m’excuse” [laughs].\n\nColette Tougas\n00:11:17\nSings “Modesty”. | Keywords: diamonds, neck, lip, mink coat, fur, pur, presents, Rolls Royce.\n\nAudience\n00:13:46\nApplause \n\nColette Tougas \n00:13:58\nSpeaks “Merci”.\n\nColette Tougas \n00:14:01\nContinues “Clara La Brune”. | Keywords: désir, volonté, corps, veille de Noël, potins, flirt, l’art de la séduction, l’autre, regard, cigarette, boisson, passion. \n\nColette Tougas \n00:17:06\nSings French refrain, “On m’appelle Clara La Brune, on m’apelle la dame qui fume des cigarettes russes”. \n,\nColette Tougas\n00:17:16\nContinues “Clara La Brune”. | Keywords: femme fatale, sentimentale, banal, verticale. \n\nColette Tougas\n00:17:31\nSings French refrain.\n\nColette Tougas \n00:17:41\nContinues “Clara La Brune”. | Keywords: caserne, pompiers, escaliers, ascension, vanité, pâtissier, infini.\n\nColette Tougas\n00:18:06\nSings French refrain. \n\nColette Tougas\n00:18:17\nContinues “Clara La Brune”. \n\nColette Tougas \n00:18:31 \nSings French refrain.\n\nAudience \n00:18:42 \nApplause. \n"],"Related_works":["[{\"url\":\"http://cielvariable.ca/en/auteurscv/tougas-colette-en/\",\"citation\":\"Contributions to the online magazine \\\"Ciel Variable\\\". \\n\"},{\"url\":\"\",\"citation\":\"Title of piece performed, \\\"Clara la Brune\\\". \"},{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"https://soundcloud.com/alan-lord-4/05-colette-tougas-modesty\",\"citation\":\"Alan Lord soundcloud. Recording of Colette Tougas singing \\\"Modesty\\\". \"},{\"url\":\"\",\"citation\":\"Alan Lord unpublished memoirs. \"},{\"url\":\"https://www.discogs.com/release/2341164-Various-Ultimatum\",\"citation\":\"Ultimatum LP on discogs. \"},{\"url\":\"https://www.pleinelune.qc.ca/titre/255/le-porphyre-de-la-rue-dezery\",\"citation\":\"Le porphyre de la rue Dézéry, novel by Colette Tougas.\"},{\"url\":\"\",\"citation\":\"Tougas, Colette. Contract, bionote, and performance plan for Ultimatum, 25 Feb. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_tou. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Tougas, Colette. Typescript and manuscript versions of \\\"Modesty\\\" for Ultimatum, c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_tou. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Transcription by Emma Telaro. \n\nNotes from Alan Lord file \"ULTIMATUM - BANDE U-1-3.pdf\" :\n\nULTIMATUM - PISTES SUR LA BANDE U-1-3\n\nU-1-3_t01_LEFEBVRE-BT_MONTAMBAULT-BT_1\nPiste musique de fond Lefebvre - jusqu'à 9:03\nPiste musique de fond Montambault - débute à 9:48 jusqu'à la fin, à 24:28\nmais avec un long vide au milieu\n\nU-1-3_t02_LEFEBVRE-BT_MONTAMBAULT-BT_2\nPiste musique de fond Lefebvre - jusqu'à 9:03\nPiste musique de fond Montambault - débute à 9:48 jusqu'à la fin, à 24:28\nmais avec un faible signal à partir de 15:36\n\nU-1-3_t03_MONTAMBAULT-VT\nPiste voix - Steve Montambault - débute à 6:56 jusqu'à la fin, à 24:28\n\nU-1-3_t04_LEFEBVRE-VT\nPiste voix - Michel Lefebvre\nPiste micro de Lefebvre, mais qui capte bande de fond, jusqu'à 5:40 Piste vide de 5:40 jusqu'à la fin, à 24:28\n\nU-1-3_t05_MONTAMBAULT-BT_LETARTE-BT\nPiste musique de fond Montambault - jusqu'à 5:56\nPiste musique de fond Geneviève Letarte - débute à 6:25 jusqu'à la fin, à 24:03\n\nU-1-3_t06_LETARTE-BT\nPiste musique de fond - Geneviève Letarte Du début à la fin, à 24:03\n\nU-1-3_t07_MONTAMBAULT-VT_LETARTE-BT\nPiste voix Montambault - jusqu'à 5:56\nPiste musique de fond Geneviève Letarte - débute à 6:13 jusqu'à la fin, à 24:03\n\nU-1-3_t08_LETARTE-VT\nPiste voix - Geneviève Letarte\nDébute à 7:45 - jusqu'à la fin de la bande, 24:03"],"contents":["Ultimatum_Mixdown_Geneviève Letarte_U-1-3_T5_T6_T7_T8_U-1-4_T1_T2_T3_T4.mp3\n\nThe following is a transcription of Genevieve Letarte’s performance at Ultimatum, Monday May 1st, 1985. Letarte is an interdisciplinary artist from Montréal, Québec, Canada, writing under various modes and capacities: she is the author of 4 novels, among them, Souvent la nuit tu te reveilles (2002) and Les Vertiges Molino (1996), a poet, singer and songwriter. Her most recent publication is a poetry collection entitled Mes Ailleurs (2020). Her performances often combine text, song and music, as does the following multimodal performance from Ultimatum ’85, which mixes sound, song and poetry. The Ultimatum LP features “Petite Nuage Et Betelgeueuse” from this set, with electronic percussion by Bernard Poirier, music by Trafic D’Influences, synthesizer and trombone by Claude Saint-Jean, and word and voice by Geneviève Letarte. \n\nGeneviève Letarte\n00:00:00\nPerforms [music, drums, instruments, electronic instruments, saxophone, chanting, singing, poetry, electronic sounds, vocal performance] | Keywords: répeter, texte, geste, oublier. \n\nGeneviève Letarte\n00:02:53\nPerforms [poetry, singing, music, keyboard, electronic sounds] | Keywords: reincarnation, négociation, ville, harpie, voyage, vide, magie, Afrique, café, Parisien, crash, cochonnes, silence.\n\nGeneviève Letarte\n00:07:55\nPerforms [poetry, electronic sounds] | Keywords: Saturne, dommage, Américaniser, absence, retrouvailles.  \n\nGeneviève Letarte\n00:11:01\nPerforms [poetry, music, electronic sounds, guitar] | Keywords: cheval, enfant, amour, laboratoire, tranquille, texte, peau, livre, bouche, téléphone, stylo, vacances, tendresse, chagrin, distance.\n\nUnknown\n00:17:48\nTape cut \n\nGeneviève Letarte\n00:17:51\nPerforms [poetry, singing, music, saxophone, electronic sounds] | Keywords: chair, peur, baiser, marcher, idoles, amant, coeur, théorie, train, maison. \n\nAudience\n00:21:40\nApplause \n\nEnd\n00:22:01\n\n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet]\"},{\"url\":\"http://www.edhexagone.com/genevieve-letarte/auteur/leta1003\",\"citation\":\"Geneviève Letarte bio on l'Hexagone [Québecor Média]\"},{\"url\":\"https://www.supermusique.qc.ca/fr/artistes/letarte_ge\",\"citation\":\"Artist bio, audio, and events on supermusique.ca.ca\"},{\"url\":\"https://www.discogs.com/artist/591749\",\"citation\":\"Discogs entry Geneviève Letarte\"},{\"url\":\"https://actuellecd.com/fr/artiste/letarte_ge/Genevi%C3%A8ve_Letarte\",\"citation\":\"Artist bio, press, and web links. \"},{\"url\":\"https://www.renaud-bray.com/Livres_Produit.aspx?id=3293463&def=Mes+ailleurs%2CLETARTE%2C+GENEVI%C3%88VE%2C9782896454013\",\"citation\":\"Link to purchase novel by Geneviève Letarte, \\\"Mes ailleurs\\\". \"},{\"url\":\"\",\"citation\":\"Letarte, Geneviève. Typescript of \\\"Petit Nuage et Betelgeuse,\\\" for Ultimatum, c. 1985 May, Alan Lord fonds (F039), Box 1, folder AL-Folder1_let. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Letarte, Geneviève. Contract for Ultimatum, 12 Apr. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_let. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Butterfield, Sarah. Photo of Geneviève Letarte, n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder2_let. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Maheux, Camille. Photo of Geneviève Letarte, n.d., Alan Lord fonds (F039), Box 1, folder AL-Folder2_let. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Various manuscript notes for Ultimatum, Apr. 1985–May 1986, Alan Lord fonds (F039), Box 1, folder AL-Folder1_ult. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Ultimatum Administrative Council. Miscellaneous organizational material for Ultimatum, Feb.–Jun. 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_ult. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Giorno, John, Anonyme Sanregret (Pierre Cornudet), and Geneviève Letarte. Typescript and manuscripts of \\\"Last night I gambled with my anger (and lost),\\\" \\\"Microprocesseur,\\\" and \\\"Petit Nuage et Betelgeuse,\\\" c. May 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_gio-let-san. 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