[{"id":"1053","cataloger_name":["Tomasz,Neugebauer"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Quality Assurance collection"],"source_collection_label":["Quality Assurance collection"],"collection_contributing_unit":["Quality Assurance Unit"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["A test collection with maximum record complexity."],"collection_source_collection_id":["SGWU_77657/Concordia"],"persistent_url":[""],"item_title":["John Wieners at Sir George Williams University, The Poetry Series, 8 October 1966 - COPY"],"item_title_source":["Catalgouer"],"item_title_note":["\"J. WIENES I006/SR119\" written on sticker on the spine of the tape's box. J. WIENES refers to John Wieners. Wieners is mispelled "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_series_description":["This is a test description of a series."],"item_subseries_title":["Poetry 1"],"item_subseries_description":["subseries description for Poetry 1, swallow ID 141"],"item_identifiers":["[I006/SR119]"],"rights":["No Copyright non commercial reuse only (NoCNC)"],"rights_license":["Creative Commons Attribution, Non-Commercial, No Derivatives (BY-NC-ND)"],"rights_notes":["May use for research and teaching purposes. Non commercial use, with full citation."],"creator_names":["Wieners, John"],"creator_names_search":["Wieners, John"],"creators":["[{\"url\":\" http://viaf.org/viaf/90723960\",\"name\":\"Wieners, John\",\"dates\":\"1934-2002\",\"notes\":\" American poet, playwright and essayist John Wieners was born in Boston on January 6, 1934. In 1934, Wieners earned a B.A. in English from Boston College, and subsequently worked at Harvard University’s Lamont Library. A 1955 poetry reading by Charles Olson inspired Wieners to attend Black Mountain College in North Carolina, where he met and was mentored by Charles Olson and Robert Duncan. After completing studies in 1956, John Wieners moved back to Boston and started Measure, a (short-lived) literary magazine, as well as becoming involved in the Poet’s Theater in Cambridge. At the age of 24, (in 1958) Wieners moved to San Francisco and met Beat Poets Jack Kerouac, Jack Spicer and Allen Ginsberg, and published his first book of poems, The Hotel Wentley Poems (Dave Haselwood Publishing, 1965). John Wieners’ San Francisco journal, The Journal of John Wieners Is To Be Called 707 Scott Street for Billie Holiday, 1959, was published in 1966 by Sun & Moon Press. Wieners wrote plays that were never published during this time, until 1964 when he published Ace of Pentacles (published by James F. Carr & Robert A. Wilson). Charles Olson asked Wieners to be a graduate student and a teaching assistant at the State University of New York at Buffalo in 1965, and Wieners eventually became the university’s chair of poetics, when he left by 1967. John Wieners suffered from mental illness, and was institutionalized for the second time in 1969, where he wrote Asylum Poems (For My Father) (Press of the Black Flag Raised). In 1970, he published Nerves (Cape Goliard Press), an internationally published book of poetry, and between 1967 to 1972, he published six smaller books of poetry. Behind the State Capitol; or, Cincinnati Pike (Good Gay Poets Press) was published in 1975 and thus marked the last of his published poems. John Wieners’ poetry, while highly appraised by Beat Poets, Black Mountain Poets and his peers, did not achieve wide public acclaim or readership. In 1985, however, Selected Poems, 1958-1984 (Black Sparrow Press) was compiled with the help of Robert Creeley and Allen Ginsberg. In the 70’s, John Wieners lived and became involved with anti-war movements and became an activist for gay rights, living at 44 Joy Street in Boston. Becoming more and more reclusive after the mid 70’s, John Wieners died of an apparent stroke on March 1, 2002. Michael Carr edited a posthumous collection of Wiener’s 1971 journals which was published in 2007.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Layton, Irving"],"contributors_names_search":["Layton, Irving"],"contributors":["[{\"url\":\"https://viaf.org/viaf/66482092/#Layton,_Irving,_1912-2006.\",\"name\":\"Layton, Irving\",\"dates\":\"1912-2006\",\"notes\":\"Irving Layton was on the Poetry Series organizing committee the year that John Wieners read at Sir George Williams University.\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1966],"material_description":["[{\"side\":\"Single Track\",\"image\":\"../Uploads/11552/I0006_11_0119_tape.jpg\",\"other\":\"The reel is shorter than most in the Poetry Series, with no additional real documenting this event. One wonders why it was recorded at 7.5 ips if only a 5 inch reel was available.\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch RB-5\",\"generations\":\"Original\",\"Conservation\":\"Not baked before being digitized.\",\"equalization\":\"None\",\"playback_mode\":\"Mono\",\"playing_speed\":\"7 1/2 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T00:00:24\",\"physical_condition\":\"Good\",\"track_configuration\":\"Half-track\",\"material_designation\":\"Reel to Reel\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Cardboard tape box.\",\"other_physical_description\":\"In good condition.\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1966 10 08\",\"type\":\"Performance Date\",\"notes\":\"The date of the performance was originally found in the Howard Fink inventory list, and then corroborated with reference to student newspaper articles.\",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"The Hall Building Art Gallery is currently occupied by Reggie's Pub and The Hive Co-op restaurant.\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["John Wieners reads from Ace of Pentacles (Carr & Wilson, 1964) as well as works published in 1985 in Selected Poems, 1958-1984 (Black Sparrow Press)."],"contents":["john_wieners_i006-11-119.mp3\n\nJohn Wieners\n00:00:00\nReads “Invocation to Summer” [recording begins abruptly].\n \nJohn Wieners\n00:01:09\n\"Invitation Au Voyage: II\". Do you know that poem of Baudelaire's [https://www.wikidata.org/wiki/Q501]? It's something at the end of the world. He’s speaking to his beloved, very simple. You know, lots of the German Romanticism was very simple.\n \nJohn Wieners\n00:01:30\nReads \"Invitation Au Voyage: II\".\n \nJohn Wieners\n00:03:15\nWell let's go back to the old poems then, that have been published. Stuart Montgomery, well it doesn't matter. But that--I can send it off to England [https://www.wikidata.org/wiki/Q21] to the Fulcrum Press [https://www.wikidata.org/wiki/Q5507820] doing a lot of Basil Bunting [https://www.wikidata.org/wiki/Q2886803] and the English poet of 65, resuscitated in America [https://www.wikidata.org/wiki/Q30] again, it's about time.\n \nJohn Wieners\n00:03:44\nReads \"Long Nook\" [from Ace of Pentacles].\n \nJohn Wieners\n00:04:38\nI'll just make random choices. \"At Big Sur\".\n \nJohn Wieners\n00:04:53\nReads \"At Big Sur” [from Ace of Pentacles].\n \nJohn Wieners\n00:05:12\n\"Louise\".\n \nJohn Wieners\n00:05:21\nReads \"Louise\" [from Ace of Pentacles].\n \nJohn Wieners\n00:05:48\n\"The Pool of Light\".\n \nJohn Wieners\n00:05:53\nReads \"The Pool of Light\" [from Ace of Pentacles].\n \nJohn Wieners\n00:06:14\nFor Mari--No, this is “For Marion\".\n \nJohn Wieners\n00:06:19\nReads \"For Marion\" [from Ace of Pentacles].\n \nJohn Wieners\n00:07:05\n“The Mermaid Song”, forgive me for this, I thought the other poems would carry me through, but I'm reading and keeping with the mood for tonight, it seems to be more lyrical. \"The Serpent's Hiss\".\n \nJohn Wieners\n00:07:52\nReads \"The Serpent's Hiss\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:08:37\nAnd this is called \"Tuesday, 5 pm\".\n \nJohn Wieners\n00:08:43\nReads \"Tuesday, 5 pm\" [published later as “Tuesday 7:00 PM” in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:10:45\nI'm going to read the \"The Imperatrice\". Ace of Pentacles is a card in the Tarot deck, but the book should be called ‘pente’ which all the words that appeared in a hypnagogic vision, hypnagogic is the state between waking and sleeping, it's what Jung [https://www.wikidata.org/wiki/Q41532] practiced and his Marie Louise Franz would take down the things that came to him in the state between waking and sleeping and the letters ‘pente’ appeared in that state and I didn't know what they meant so I kept hunting around and I made the word 'pinnacles' out of it and somebody said why don't you call it \"Ace of Pinnacles\" and we made a whole thing about the Tarot deck, but that's not the title of the book. It should be ‘pente’ and that's from the Greek  which is ‘wall’. And I'd like have as a fronts piece for the book William Blake's [https://www.wikidata.org/wiki/Q41513] \"The Chimney Sweep\"  [https://www.wikidata.org/wiki/Q2587725] the second version of that from the \"Songs of Experience\" [https://www.wikidata.org/wiki/Q27890603] when he says that my mum and father have gone up to the church to pray and they make a heaven of my misery. That kind of thing. Imperatrice there's another card from the Tarot deck it's the third card of the deck.\n \nJohn Wieners\n00:12:09\nReads \"The Imperatrice\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:13:38\nThere is something else I thought I'd like to read after that one. I'll read a poem for Sylvia Plath [https://www.wikidata.org/wiki/Q133054] who was an American poet who married an English man, Ted Hughes [https://www.wikidata.org/wiki/Q272194] and had mental troubles and wrote a novel about it called The Bell Jar [https://www.wikidata.org/wiki/Q1213085] under a pseudonym Victoria Lucas, so not to embarrass her mother, and then things became too much for her and I think in 1963, she did away with herself in London [https://www.wikidata.org/wiki/Q84], and it was a great loss, some people feel that and some do not, they feel that at least--Lowell has written an introduction to her poems posthumously printed called Ariel [https://www.wikidata.org/wiki/Q224733] and her first book was The Colossus [https://www.wikidata.org/wiki/Q29889462]. But Victoria Lucas was, The Bell Jar, was, you could buy it through William Hiderman and it came down from Canada [https://www.wikidata.org/wiki/Q16] to the United States and it's never been printed in the country. This is \"The Suicide\".\n \nJohn Wieners\n00:15:06\nReads \"The Suicide\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:16:57\nLet's read some happy poems, I'm getting depressed.\n\nUnknown\n00:17:03\n[Cut or edit made in tape].\n\nJohn Wieners\n00:17:04\nReads \"Ode on a Common Fountain\" [from Ace of Pentacles; recording jumps to mid-poem].\n \nJohn Wieners\n00:19:51\nThat's the first poem, I ever, I was twenty, so that was twelve years ago, that poem was written. Now I can go back--I'm still writing about Acis [https://www.wikidata.org/wiki/Q419156] and Galatea [https://www.wikidata.org/wiki/Q241070] but these are terribly sentimental and distraught, drunken poems, you can call them. Maybe we'll have one more, or is that anything from that first reading that you'd like to hear again? I'd rather not go into it. [Unknown audience member suggests poem. Title unintelligible]. Okay, that's what Spender [https://www.wikidata.org/wiki/Q448764] did say to me, he said you look like a de-frocked priest, so. Which I thought was awfully cruel, but I think I am one, my sister was a nun, I'll be a priest. Poets are priests, you know.\n \nJohn Wieners\n00:20:54\nReads “There are holy orders in life...” [published later in Selected Poems, 1958-1984].\n \nEND\n00:21:42\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\n From 1965-67, John Wieners was at State University of New York (SUNY) at Buffalo, either working as a graduate student or as the chair of poetics. At that time, Charles Olson left SUNY in 1966, to be replaced by Robert Creeley. Wieners’ The Journal of John Wieners Is To Be Called 707 Scott Street for Billie Holiday, 1959, was published in 1966.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections between John Wieners and Sir George Williams University are known, however Wieners was an important poet, connected with poets from both the Black Mountain school and Beat movements. \\n\",\"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 (mp3)\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"Foster, Edward Halsey. \\\"Gay Literature: Poetry and Prose\\\". The Oxford Encyclopedia of American Literature. Jay Parini (ed). Oxford University Press, 2004. \"},{\"url\":\"https://www.independent.co.uk/news/obituaries/john-wieners-9143191.html\",\"citation\":\"Ward, Geoff. “John Joseph Wieners, poet, Jan. 6th 1934 - March 1st 2002”. The Independent, 15 March 2000.\"},{\"url\":\"https://www.worldcat.org/title/ace-of-pentacles-a-new-book-of-poems-by-john-wieners/oclc/702932793?referer=di&ht=edition\",\"citation\":\"Wieners, John. Ace of Pentacles. New York: Carr & Wilson, 1964\"},{\"url\":\"https://www.worldcat.org/title/selected-poems-1958-1984/oclc/743392421&referer=brief_results\",\"citation\":\"Wieners, John. Selected Poems, 1958-1984. Santa Barbara: Black Sparrow Press, 1985.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/john-wieners-at-sgwu-1966/\",\"citation\":\"Thoms, Kathleen. “Poetry Readings Inaugurated”. The Georgian. Montreal: Sir George Williams University, 10 October 1966, p. 6. \"},{\"url\":\"\",\"citation\":\"“Wieners, John, 1934-”. Literature Online Biography. Literature Online: ProQuest, 2009. \"},{\"url\":\"https://drive.google.com/drive/folders/12H55HcY0pAZtzJ9AmxLabbX2hdjvCaX0\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548245053440,"timestamp":"2026-01-07T14:59:52.745Z","digital_description":["[{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"John Wieners 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\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"John Wieners 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/john_wieners_i006-11-119.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"john_wieners_i006-11-119.mp3\",\"channel_field\":\"Standard\",\"sample_rate\":\"44.1kHz\",\"duration\":\"00:21:42\",\"precision\":\"Double\",\"size\":\"52.1 MB\",\"bitrate\":\"320 Kbps\",\"encoding\":\"compressed\",\"contents\":\"John Wieners\\n00:00:00\\nReads “Invocation to Summer” [recording begins abruptly].\\n \\nJohn Wieners\\n00:01:09\\n\\\"Invitation Au Voyage: II\\\". Do you know that poem of Baudelaire's [https://www.wikidata.org/wiki/Q501]? It's something at the end of the world. He’s speaking to his beloved, very simple. You know, lots of the German Romanticism was very simple.\\n \\nJohn Wieners\\n00:01:30\\nReads \\\"Invitation Au Voyage: II\\\".\\n \\nJohn Wieners\\n00:03:15\\nWell let's go back to the old poems then, that have been published. Stuart Montgomery, well it doesn't matter. But that--I can send it off to England [https://www.wikidata.org/wiki/Q21] to the Fulcrum Press [https://www.wikidata.org/wiki/Q5507820] doing a lot of Basil Bunting [https://www.wikidata.org/wiki/Q2886803] and the English poet of 65, resuscitated in America [https://www.wikidata.org/wiki/Q30] again, it's about time.\\n \\nJohn Wieners\\n00:03:44\\nReads \\\"Long Nook\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:04:38\\nI'll just make random choices. \\\"At Big Sur\\\".\\n \\nJohn Wieners\\n00:04:53\\nReads \\\"At Big Sur” [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:05:12\\n\\\"Louise\\\".\\n \\nJohn Wieners\\n00:05:21\\nReads \\\"Louise\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:05:48\\n\\\"The Pool of Light\\\".\\n \\nJohn Wieners\\n00:05:53\\nReads \\\"The Pool of Light\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:06:14\\nFor Mari--No, this is “For Marion\\\".\\n \\nJohn Wieners\\n00:06:19\\nReads \\\"For Marion\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:07:05\\n“The Mermaid Song”, forgive me for this, I thought the other poems would carry me through, but I'm reading and keeping with the mood for tonight, it seems to be more lyrical. \\\"The Serpent's Hiss\\\".\\n \\nJohn Wieners\\n00:07:52\\nReads \\\"The Serpent's Hiss\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:08:37\\nAnd this is called \\\"Tuesday, 5 pm\\\".\\n \\nJohn Wieners\\n00:08:43\\nReads \\\"Tuesday, 5 pm\\\" [published later as “Tuesday 7:00 PM” in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:10:45\\nI'm going to read the \\\"The Imperatrice\\\". Ace of Pentacles is a card in the Tarot deck, but the book should be called ‘pente’ which all the words that appeared in a hypnagogic vision, hypnagogic is the state between waking and sleeping, it's what Jung [https://www.wikidata.org/wiki/Q41532] practiced and his Marie Louise Franz would take down the things that came to him in the state between waking and sleeping and the letters ‘pente’ appeared in that state and I didn't know what they meant so I kept hunting around and I made the word 'pinnacles' out of it and somebody said why don't you call it \\\"Ace of Pinnacles\\\" and we made a whole thing about the Tarot deck, but that's not the title of the book. It should be ‘pente’ and that's from the Greek  which is ‘wall’. And I'd like have as a fronts piece for the book William Blake's [https://www.wikidata.org/wiki/Q41513] \\\"The Chimney Sweep\\\"  [https://www.wikidata.org/wiki/Q2587725] the second version of that from the \\\"Songs of Experience\\\" [https://www.wikidata.org/wiki/Q27890603] when he says that my mum and father have gone up to the church to pray and they make a heaven of my misery. That kind of thing. Imperatrice there's another card from the Tarot deck it's the third card of the deck.\\n \\nJohn Wieners\\n00:12:09\\nReads \\\"The Imperatrice\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:13:38\\nThere is something else I thought I'd like to read after that one. I'll read a poem for Sylvia Plath [https://www.wikidata.org/wiki/Q133054] who was an American poet who married an English man, Ted Hughes [https://www.wikidata.org/wiki/Q272194] and had mental troubles and wrote a novel about it called The Bell Jar [https://www.wikidata.org/wiki/Q1213085] under a pseudonym Victoria Lucas, so not to embarrass her mother, and then things became too much for her and I think in 1963, she did away with herself in London [https://www.wikidata.org/wiki/Q84], and it was a great loss, some people feel that and some do not, they feel that at least--Lowell has written an introduction to her poems posthumously printed called Ariel [https://www.wikidata.org/wiki/Q224733] and her first book was The Colossus [https://www.wikidata.org/wiki/Q29889462]. But Victoria Lucas was, The Bell Jar, was, you could buy it through William Hiderman and it came down from Canada [https://www.wikidata.org/wiki/Q16] to the United States and it's never been printed in the country. This is \\\"The Suicide\\\".\\n \\nJohn Wieners\\n00:15:06\\nReads \\\"The Suicide\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:16:57\\nLet's read some happy poems, I'm getting depressed.\\n\\nUnknown\\n00:17:03\\n[Cut or edit made in tape].\\n\\nJohn Wieners\\n00:17:04\\nReads \\\"Ode on a Common Fountain\\\" [from Ace of Pentacles; recording jumps to mid-poem].\\n \\nJohn Wieners\\n00:19:51\\nThat's the first poem, I ever, I was twenty, so that was twelve years ago, that poem was written. Now I can go back--I'm still writing about Acis [https://www.wikidata.org/wiki/Q419156] and Galatea [https://www.wikidata.org/wiki/Q241070] but these are terribly sentimental and distraught, drunken poems, you can call them. Maybe we'll have one more, or is that anything from that first reading that you'd like to hear again? I'd rather not go into it. [Unknown audience member suggests poem. Title unintelligible]. Okay, that's what Spender [https://www.wikidata.org/wiki/Q448764] did say to me, he said you look like a de-frocked priest, so. Which I thought was awfully cruel, but I think I am one, my sister was a nun, I'll be a priest. Poets are priests, you know.\\n \\nJohn Wieners\\n00:20:54\\nReads “There are holy orders in life...” [published later in Selected Poems, 1958-1984].\\n \\nEND\\n00:21:42\",\"notes\":\"John Wieners reads from Ace of Pentacles (Carr & Wilson, 1964) as well as works published in 1985 in Selected Poems, 1958-1984 (Black Sparrow Press).\\n\\n00:00- Reading “Invitation to Summer” [recording does not start at beginning of poem]\\n01:09- Introduces “Invitation Au Voyage” [INDEX: German Romanticism]\\n01:30- Reads “Invitation Au Voyage”\\n03:15- Introduces “Long Nook” [Howard Fink list “One Look”] [INDEX: Stuart Montgommery, Fulcrum Press, Basil Bunting]\\n03:44- Reads “Long Nook”\\n04:38- Introduces “At Big Sur”\\n04:53- Reads “At Big Sur”\\n05:12- Introduces “Louise”\\n05:21- Reads “Louise”\\n05:48- Introduces “The Pool of Light”\\n05:53- Reads “The Pool of Light”\\n06:14- Introduces “Not For Marion” [Howard Fink List “I have found her snow white in my head”]\\n06:19- Reads “For Marion”\\n07:05- Introduces “The Serpent’s Hiss”\\n07:52- Reads “The Serpent’s Hiss”\\n08:37- Introduces “Tuesday, 5 pm” [published as “Tuesday 7:00 PM”]\\n08:43- Reads “Tuesday, 5 pm”\\n10:45- Introduces “Imperatrice” [INDEX: Ace of Pentacles, Tarot, hypnogogic, Karl Yung, Marie Louise Franz, William Blake’s “The Chimney Sweep”, “Songs of Experience”]\\n12:09- Reads “Imperatrice”\\n13:38- Introduces “The Suicide” [INDEX: Sylvia Plath, Ted Hughes, mental illness, The Bell Jar 1963, Ariel, The Colossus, Victoria Lucas, William Hiderman]\\n15:06- Reads “The Suicide”\\n17:04- Introduces unknown poem, mid-sentence “About your pipes and mouth...” [Howard Fink first line “In patience wait the flooding...”]\\n19:51- Introduces unknown poem “I was born to be a priest...” [Howard Fink first line “There are holy orders in life...] [INDEX: Asis, Galatea, Spender]\\n20:54- Reads unknown poem\\n21:24.91- END OF RECORDING\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0119_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Wieners Tape Box - Reel\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"\",\"title\":\"John Wieners Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"https://digital.lib.sfu.ca/rbr-62/rb757a\"}]"],"score":1.3784283},{"id":"1252","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":["John Wieners at Sir George Williams University, The Poetry Series, 8 October 1966"],"item_title_source":["Catalgouer"],"item_title_note":["\"J. WIENES I006/SR119\" written on sticker on the spine of the tape's box. J. WIENES refers to John Wieners. Wieners is mispelled "],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"access":["Closed"],"creator_names":["Wieners, John"],"creator_names_search":["Wieners, John"],"creators":["[{\"url\":\" http://viaf.org/viaf/90723960\",\"name\":\"Wieners, John\",\"dates\":\"1934-2002\",\"notes\":\" American poet, playwright and essayist John Wieners was born in Boston on January 6, 1934. In 1934, Wieners earned a B.A. in English from Boston College, and subsequently worked at Harvard University’s Lamont Library. A 1955 poetry reading by Charles Olson inspired Wieners to attend Black Mountain College in North Carolina, where he met and was mentored by Charles Olson and Robert Duncan. After completing studies in 1956, John Wieners moved back to Boston and started Measure, a (short-lived) literary magazine, as well as becoming involved in the Poet’s Theater in Cambridge. At the age of 24, (in 1958) Wieners moved to San Francisco and met Beat Poets Jack Kerouac, Jack Spicer and Allen Ginsberg, and published his first book of poems, The Hotel Wentley Poems (Dave Haselwood Publishing, 1965). John Wieners’ San Francisco journal, The Journal of John Wieners Is To Be Called 707 Scott Street for Billie Holiday, 1959, was published in 1966 by Sun & Moon Press. Wieners wrote plays that were never published during this time, until 1964 when he published Ace of Pentacles (published by James F. Carr & Robert A. Wilson). Charles Olson asked Wieners to be a graduate student and a teaching assistant at the State University of New York at Buffalo in 1965, and Wieners eventually became the university’s chair of poetics, when he left by 1967. John Wieners suffered from mental illness, and was institutionalized for the second time in 1969, where he wrote Asylum Poems (For My Father) (Press of the Black Flag Raised). In 1970, he published Nerves (Cape Goliard Press), an internationally published book of poetry, and between 1967 to 1972, he published six smaller books of poetry. Behind the State Capitol; or, Cincinnati Pike (Good Gay Poets Press) was published in 1975 and thus marked the last of his published poems. John Wieners’ poetry, while highly appraised by Beat Poets, Black Mountain Poets and his peers, did not achieve wide public acclaim or readership. In 1985, however, Selected Poems, 1958-1984 (Black Sparrow Press) was compiled with the help of Robert Creeley and Allen Ginsberg. In the 70’s, John Wieners lived and became involved with anti-war movements and became an activist for gay rights, living at 44 Joy Street in Boston. Becoming more and more reclusive after the mid 70’s, John Wieners died of an apparent stroke on March 1, 2002. Michael Carr edited a posthumous collection of Wiener’s 1971 journals which was published in 2007.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1966],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Scotch\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"7 1/2 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\":\"1966 10 08\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"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 Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["John Wieners reads from Ace of Pentacles (Carr & Wilson, 1964) as well as works published in 1985 in Selected Poems, 1958-1984 (Black Sparrow Press)."],"contents":["john_wieners_i006-11-119.mp3\n\nJohn Wieners\n00:00:00\nReads “Invocation to Summer” [recording begins abruptly].\n \nJohn Wieners\n00:01:09\n\"Invitation Au Voyage: II\". Do you know that poem of Baudelaire's [https://www.wikidata.org/wiki/Q501]? It's something at the end of the world. He’s speaking to his beloved, very simple. You know, lots of the German Romanticism was very simple.\n \nJohn Wieners\n00:01:30\nReads \"Invitation Au Voyage: II\".\n \nJohn Wieners\n00:03:15\nWell let's go back to the old poems then, that have been published. Stuart Montgomery, well it doesn't matter. But that--I can send it off to England [https://www.wikidata.org/wiki/Q21] to the Fulcrum Press [https://www.wikidata.org/wiki/Q5507820] doing a lot of Basil Bunting [https://www.wikidata.org/wiki/Q2886803] and the English poet of 65, resuscitated in America [https://www.wikidata.org/wiki/Q30] again, it's about time.\n \nJohn Wieners\n00:03:44\nReads \"Long Nook\" [from Ace of Pentacles].\n \nJohn Wieners\n00:04:38\nI'll just make random choices. \"At Big Sur\".\n \nJohn Wieners\n00:04:53\nReads \"At Big Sur” [from Ace of Pentacles].\n \nJohn Wieners\n00:05:12\n\"Louise\".\n \nJohn Wieners\n00:05:21\nReads \"Louise\" [from Ace of Pentacles].\n \nJohn Wieners\n00:05:48\n\"The Pool of Light\".\n \nJohn Wieners\n00:05:53\nReads \"The Pool of Light\" [from Ace of Pentacles].\n \nJohn Wieners\n00:06:14\nFor Mari--No, this is “For Marion\".\n \nJohn Wieners\n00:06:19\nReads \"For Marion\" [from Ace of Pentacles].\n \nJohn Wieners\n00:07:05\n“The Mermaid Song”, forgive me for this, I thought the other poems would carry me through, but I'm reading and keeping with the mood for tonight, it seems to be more lyrical. \"The Serpent's Hiss\".\n \nJohn Wieners\n00:07:52\nReads \"The Serpent's Hiss\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:08:37\nAnd this is called \"Tuesday, 5 pm\".\n \nJohn Wieners\n00:08:43\nReads \"Tuesday, 5 pm\" [published later as “Tuesday 7:00 PM” in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:10:45\nI'm going to read the \"The Imperatrice\". Ace of Pentacles is a card in the Tarot deck, but the book should be called ‘pente’ which all the words that appeared in a hypnagogic vision, hypnagogic is the state between waking and sleeping, it's what Jung [https://www.wikidata.org/wiki/Q41532] practiced and his Marie Louise Franz would take down the things that came to him in the state between waking and sleeping and the letters ‘pente’ appeared in that state and I didn't know what they meant so I kept hunting around and I made the word 'pinnacles' out of it and somebody said why don't you call it \"Ace of Pinnacles\" and we made a whole thing about the Tarot deck, but that's not the title of the book. It should be ‘pente’ and that's from the Greek  which is ‘wall’. And I'd like have as a fronts piece for the book William Blake's [https://www.wikidata.org/wiki/Q41513] \"The Chimney Sweep\"  [https://www.wikidata.org/wiki/Q2587725] the second version of that from the \"Songs of Experience\" [https://www.wikidata.org/wiki/Q27890603] when he says that my mum and father have gone up to the church to pray and they make a heaven of my misery. That kind of thing. Imperatrice there's another card from the Tarot deck it's the third card of the deck.\n \nJohn Wieners\n00:12:09\nReads \"The Imperatrice\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:13:38\nThere is something else I thought I'd like to read after that one. I'll read a poem for Sylvia Plath [https://www.wikidata.org/wiki/Q133054] who was an American poet who married an English man, Ted Hughes [https://www.wikidata.org/wiki/Q272194] and had mental troubles and wrote a novel about it called The Bell Jar [https://www.wikidata.org/wiki/Q1213085] under a pseudonym Victoria Lucas, so not to embarrass her mother, and then things became too much for her and I think in 1963, she did away with herself in London [https://www.wikidata.org/wiki/Q84], and it was a great loss, some people feel that and some do not, they feel that at least--Lowell has written an introduction to her poems posthumously printed called Ariel [https://www.wikidata.org/wiki/Q224733] and her first book was The Colossus [https://www.wikidata.org/wiki/Q29889462]. But Victoria Lucas was, The Bell Jar, was, you could buy it through William Hiderman and it came down from Canada [https://www.wikidata.org/wiki/Q16] to the United States and it's never been printed in the country. This is \"The Suicide\".\n \nJohn Wieners\n00:15:06\nReads \"The Suicide\" [published later in Selected Poems, 1958-1984].\n \nJohn Wieners\n00:16:57\nLet's read some happy poems, I'm getting depressed.\n\nUnknown\n00:17:03\n[Cut or edit made in tape].\n\nJohn Wieners\n00:17:04\nReads \"Ode on a Common Fountain\" [from Ace of Pentacles; recording jumps to mid-poem].\n \nJohn Wieners\n00:19:51\nThat's the first poem, I ever, I was twenty, so that was twelve years ago, that poem was written. Now I can go back--I'm still writing about Acis [https://www.wikidata.org/wiki/Q419156] and Galatea [https://www.wikidata.org/wiki/Q241070] but these are terribly sentimental and distraught, drunken poems, you can call them. Maybe we'll have one more, or is that anything from that first reading that you'd like to hear again? I'd rather not go into it. [Unknown audience member suggests poem. Title unintelligible]. Okay, that's what Spender [https://www.wikidata.org/wiki/Q448764] did say to me, he said you look like a de-frocked priest, so. Which I thought was awfully cruel, but I think I am one, my sister was a nun, I'll be a priest. Poets are priests, you know.\n \nJohn Wieners\n00:20:54\nReads “There are holy orders in life...” [published later in Selected Poems, 1958-1984].\n \nEND\n00:21:42\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\n From 1965-67, John Wieners was at State University of New York (SUNY) at Buffalo, either working as a graduate student or as the chair of poetics. At that time, Charles Olson left SUNY in 1966, to be replaced by Robert Creeley. Wieners’ The Journal of John Wieners Is To Be Called 707 Scott Street for Billie Holiday, 1959, was published in 1966.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nNo direct connections between John Wieners and Sir George Williams University are known, however Wieners was an important poet, connected with poets from both the Black Mountain school and Beat movements. \\n\",\"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 (mp3)\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-encyclopedia-of-american-literature/oclc/769478515&referer=brief_results\",\"citation\":\"Foster, Edward Halsey. \\\"Gay Literature: Poetry and Prose\\\". The Oxford Encyclopedia of American Literature. Jay Parini (ed). Oxford University Press, 2004. \"},{\"url\":\"https://www.independent.co.uk/news/obituaries/john-wieners-9143191.html\",\"citation\":\"Ward, Geoff. “John Joseph Wieners, poet, Jan. 6th 1934 - March 1st 2002”. The Independent, 15 March 2000.\"},{\"url\":\"https://www.worldcat.org/title/ace-of-pentacles-a-new-book-of-poems-by-john-wieners/oclc/702932793?referer=di&ht=edition\",\"citation\":\"Wieners, John. Ace of Pentacles. New York: Carr & Wilson, 1964\"},{\"url\":\"https://www.worldcat.org/title/selected-poems-1958-1984/oclc/743392421&referer=brief_results\",\"citation\":\"Wieners, John. Selected Poems, 1958-1984. Santa Barbara: Black Sparrow Press, 1985.\"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/john-wieners-at-sgwu-1966/\",\"citation\":\"Thoms, Kathleen. “Poetry Readings Inaugurated”. The Georgian. Montreal: Sir George Williams University, 10 October 1966, p. 6. \"},{\"url\":\"\",\"citation\":\"“Wieners, John, 1934-”. Literature Online Biography. Literature Online: ProQuest, 2009. \"},{\"url\":\"https://drive.google.com/drive/folders/12H55HcY0pAZtzJ9AmxLabbX2hdjvCaX0\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6. \"}]"],"_version_":1853670548643512320,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0119_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Wieners 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_0119_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Wieners Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0119_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Wieners 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_0119_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0119_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"John Wieners Tape Box - Back\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/john_wieners_i006-11-119.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"john_wieners_i006-11-119.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:21:42\",\"precision\":\"\",\"size\":\"52.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"John Wieners\\n00:00:00\\nReads “Invocation to Summer” [recording begins abruptly].\\n \\nJohn Wieners\\n00:01:09\\n\\\"Invitation Au Voyage: II\\\". Do you know that poem of Baudelaire's [https://www.wikidata.org/wiki/Q501]? It's something at the end of the world. He’s speaking to his beloved, very simple. You know, lots of the German Romanticism was very simple.\\n \\nJohn Wieners\\n00:01:30\\nReads \\\"Invitation Au Voyage: II\\\".\\n \\nJohn Wieners\\n00:03:15\\nWell let's go back to the old poems then, that have been published. Stuart Montgomery, well it doesn't matter. But that--I can send it off to England [https://www.wikidata.org/wiki/Q21] to the Fulcrum Press [https://www.wikidata.org/wiki/Q5507820] doing a lot of Basil Bunting [https://www.wikidata.org/wiki/Q2886803] and the English poet of 65, resuscitated in America [https://www.wikidata.org/wiki/Q30] again, it's about time.\\n \\nJohn Wieners\\n00:03:44\\nReads \\\"Long Nook\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:04:38\\nI'll just make random choices. \\\"At Big Sur\\\".\\n \\nJohn Wieners\\n00:04:53\\nReads \\\"At Big Sur” [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:05:12\\n\\\"Louise\\\".\\n \\nJohn Wieners\\n00:05:21\\nReads \\\"Louise\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:05:48\\n\\\"The Pool of Light\\\".\\n \\nJohn Wieners\\n00:05:53\\nReads \\\"The Pool of Light\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:06:14\\nFor Mari--No, this is “For Marion\\\".\\n \\nJohn Wieners\\n00:06:19\\nReads \\\"For Marion\\\" [from Ace of Pentacles].\\n \\nJohn Wieners\\n00:07:05\\n“The Mermaid Song”, forgive me for this, I thought the other poems would carry me through, but I'm reading and keeping with the mood for tonight, it seems to be more lyrical. \\\"The Serpent's Hiss\\\".\\n \\nJohn Wieners\\n00:07:52\\nReads \\\"The Serpent's Hiss\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:08:37\\nAnd this is called \\\"Tuesday, 5 pm\\\".\\n \\nJohn Wieners\\n00:08:43\\nReads \\\"Tuesday, 5 pm\\\" [published later as “Tuesday 7:00 PM” in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:10:45\\nI'm going to read the \\\"The Imperatrice\\\". Ace of Pentacles is a card in the Tarot deck, but the book should be called ‘pente’ which all the words that appeared in a hypnagogic vision, hypnagogic is the state between waking and sleeping, it's what Jung [https://www.wikidata.org/wiki/Q41532] practiced and his Marie Louise Franz would take down the things that came to him in the state between waking and sleeping and the letters ‘pente’ appeared in that state and I didn't know what they meant so I kept hunting around and I made the word 'pinnacles' out of it and somebody said why don't you call it \\\"Ace of Pinnacles\\\" and we made a whole thing about the Tarot deck, but that's not the title of the book. It should be ‘pente’ and that's from the Greek  which is ‘wall’. And I'd like have as a fronts piece for the book William Blake's [https://www.wikidata.org/wiki/Q41513] \\\"The Chimney Sweep\\\"  [https://www.wikidata.org/wiki/Q2587725] the second version of that from the \\\"Songs of Experience\\\" [https://www.wikidata.org/wiki/Q27890603] when he says that my mum and father have gone up to the church to pray and they make a heaven of my misery. That kind of thing. Imperatrice there's another card from the Tarot deck it's the third card of the deck.\\n \\nJohn Wieners\\n00:12:09\\nReads \\\"The Imperatrice\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:13:38\\nThere is something else I thought I'd like to read after that one. I'll read a poem for Sylvia Plath [https://www.wikidata.org/wiki/Q133054] who was an American poet who married an English man, Ted Hughes [https://www.wikidata.org/wiki/Q272194] and had mental troubles and wrote a novel about it called The Bell Jar [https://www.wikidata.org/wiki/Q1213085] under a pseudonym Victoria Lucas, so not to embarrass her mother, and then things became too much for her and I think in 1963, she did away with herself in London [https://www.wikidata.org/wiki/Q84], and it was a great loss, some people feel that and some do not, they feel that at least--Lowell has written an introduction to her poems posthumously printed called Ariel [https://www.wikidata.org/wiki/Q224733] and her first book was The Colossus [https://www.wikidata.org/wiki/Q29889462]. But Victoria Lucas was, The Bell Jar, was, you could buy it through William Hiderman and it came down from Canada [https://www.wikidata.org/wiki/Q16] to the United States and it's never been printed in the country. This is \\\"The Suicide\\\".\\n \\nJohn Wieners\\n00:15:06\\nReads \\\"The Suicide\\\" [published later in Selected Poems, 1958-1984].\\n \\nJohn Wieners\\n00:16:57\\nLet's read some happy poems, I'm getting depressed.\\n\\nUnknown\\n00:17:03\\n[Cut or edit made in tape].\\n\\nJohn Wieners\\n00:17:04\\nReads \\\"Ode on a Common Fountain\\\" [from Ace of Pentacles; recording jumps to mid-poem].\\n \\nJohn Wieners\\n00:19:51\\nThat's the first poem, I ever, I was twenty, so that was twelve years ago, that poem was written. Now I can go back--I'm still writing about Acis [https://www.wikidata.org/wiki/Q419156] and Galatea [https://www.wikidata.org/wiki/Q241070] but these are terribly sentimental and distraught, drunken poems, you can call them. Maybe we'll have one more, or is that anything from that first reading that you'd like to hear again? I'd rather not go into it. [Unknown audience member suggests poem. Title unintelligible]. Okay, that's what Spender [https://www.wikidata.org/wiki/Q448764] did say to me, he said you look like a de-frocked priest, so. Which I thought was awfully cruel, but I think I am one, my sister was a nun, I'll be a priest. Poets are priests, you know.\\n \\nJohn Wieners\\n00:20:54\\nReads “There are holy orders in life...” [published later in Selected Poems, 1958-1984].\\n \\nEND\\n00:21:42\",\"notes\":\"John Wieners reads from Ace of Pentacles (Carr & Wilson, 1964) as well as works published in 1985 in Selected Poems, 1958-1984 (Black Sparrow Press).\\n\\n00:00- Reading “Invitation to Summer” [recording does not start at beginning of poem]\\n01:09- Introduces “Invitation Au Voyage” [INDEX: German Romanticism]\\n01:30- Reads “Invitation Au Voyage”\\n03:15- Introduces “Long Nook” [Howard Fink list “One Look”] [INDEX: Stuart Montgommery, Fulcrum Press, Basil Bunting]\\n03:44- Reads “Long Nook”\\n04:38- Introduces “At Big Sur”\\n04:53- Reads “At Big Sur”\\n05:12- Introduces “Louise”\\n05:21- Reads “Louise”\\n05:48- Introduces “The Pool of Light”\\n05:53- Reads “The Pool of Light”\\n06:14- Introduces “Not For Marion” [Howard Fink List “I have found her snow white in my head”]\\n06:19- Reads “For Marion”\\n07:05- Introduces “The Serpent’s Hiss”\\n07:52- Reads “The Serpent’s Hiss”\\n08:37- Introduces “Tuesday, 5 pm” [published as “Tuesday 7:00 PM”]\\n08:43- Reads “Tuesday, 5 pm”\\n10:45- Introduces “Imperatrice” [INDEX: Ace of Pentacles, Tarot, hypnogogic, Karl Yung, Marie Louise Franz, William Blake’s “The Chimney Sweep”, “Songs of Experience”]\\n12:09- Reads “Imperatrice”\\n13:38- Introduces “The Suicide” [INDEX: Sylvia Plath, Ted Hughes, mental illness, The Bell Jar 1963, Ariel, The Colossus, Victoria Lucas, William Hiderman]\\n15:06- Reads “The Suicide”\\n17:04- Introduces unknown poem, mid-sentence “About your pipes and mouth...” [Howard Fink first line “In patience wait the flooding...”]\\n19:51- Introduces unknown poem “I was born to be a priest...” [Howard Fink first line “There are holy orders in life...] [INDEX: Asis, Galatea, Spender]\\n20:54- Reads unknown poem\\n21:24.91- END OF RECORDING\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/john-wieners-at-sgwu-1966/\"}]"],"score":1.3784283},{"id":"1254","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":["Anthony Hecht at Sir George Williams University, The Poetry Series, 21 October 1966"],"item_title_source":["Transcribed from the Artifact"],"item_title_note":["\"I006/SR41 ANTHONY HECHT\" written on sticker on the spine of the tape's box"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"creator_names":["Hecht, Anthony"],"creator_names_search":["Hecht, Anthony"],"creators":["[{\"url\":\"http://viaf.org/viaf/76363549\",\"name\":\"Hecht, Anthony\",\"dates\":\"1923-2004\",\"notes\":\"American poet Anthony Hecht was born in New York City on January 16th, 1923. Hecht has admitted that it was only in his freshman year at Bard College that he became interested in poetry. Upon graduating from Bard in 1944, he was drafted into the United States Army and served in Western Europe and Japan. Hecht was especially impacted by the release of Jews in the concentration camps, a subject that is echoed throughout his poetry. On his return, Hecht was convinced to study with John Crowe Ransom at Kenyon College, and Ransom became a major influence in Hecht’s poetic and intellectual formation. Hecht’s poetry was first published in magazines like the Hudson Review, the Kenyon Review and the New Yorker, and in 1950 he won the Prix de Rome bestowed by the American Academy of Arts and Letters. Hecht’s first book, A Summoning of Stones (MacMillan, 1954) was published, along with a limited edition pamphlet named The Seven Deadly Sins (Gehenna Press, 1954). Hecht then taught at Smith College in Northampton from 1956 to 1959, and then at Bard College from 1961 until 1967. It was at this point that Hecht began to travel on reading tours of his poetry. His next publication, Jiggery Pokery: A Compendium of Double Dactyls (Atheneum, 1966), with John Hollander and Milton Glaser, compiled a new light verse form called ‘double-dactyl’, which they had invented. A year later, Hecht released his second collection of verse, The Hard Hours (Atheneum, 1967), and took a position at the University of Rochester. In the next few years, Hecht translated Aeschylus’ tragedy of war, Seven Against Thebes (Oxford University Press, 1973) with Helen Bacon. He was also the visiting professor at Washington University (1971), Harvard (1973), and at Yale (1977). Hecht then published collections of poetry, Millions of Strange Shadows (Atheneum, 1977) and The Venetian Vespers (Atheneum, 1979), a collection of criticism, Obbligati (Atheneum, 1986), The Transparent Man (Knopf, 1990) and Flight Among the Tombs (Knopf, 1990). Hecht retired in the early 1990s from his post at Rochester, but remained active and published Hidden Law (1993), a book-length study of Auden’s poetry, and provided the introduction to “The New Cambridge Shakespeare Sonnets” in 1996. Hecht was the first American poet to be invited to lecture at the Mellon Lectures at the National Gallery of Art in 1992. Hecht published his last collection of poetry, The Darkness and the Light (Knopf) in 2001. Anthony Hecht died of Non-Hodgkin's Lymphoma on October 20, 2004.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Unknown"],"contributors_names_search":["Unknown"],"contributors":["[{\"url\":\"\",\"name\":\"Unknown\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\",\"Series organizer\"]}]"],"Series_organizer_name":["Unknown"],"Speaker_name":["Unknown"],"Performance_Date":[1966],"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\":\"\\\"I006/SR41 ANTHONY HECHT\\\" written on sticker on the spine of the tape's box\",\"other_physical_description\":\"\"}]"],"material_designations":["Reel to Reel"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1966 10 21\",\"type\":\"Performance Date\",\"notes\":\"Date is approximate, using other recordings and readings to guess the time period (October-November 1966)\",\"source\":\"Previous researcher\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"SGW University\",\"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":["SGW University"],"City":["Montreal, Quebec"],"content_notes":["Anthony Hecht reads from his book The Hard Hours which was published later in 1967 by Atheneum Press."],"contents":["anthony_hecht_i006-11-041.mp3\n\nIntroducer\n00:00:00\nOn behalf of the Poetry Reading Committee of this university, Mr. Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789], Mrs. Wynne Francis, Mr. Howard Fink, Mr. Irving Layton [https://www.wikidata.org/wiki/Q1673289], and Mr. Stanton Hoffman, I wish to welcome you to the second reading in our fall series. The reader for this evening is Mr. Anthony Hecht [https://www.wikidata.org/wiki/Q3618497] of New York City [https://www.wikidata.org/wiki/Q60]. Mr. Hecht was born in New York City. He is a fellow of the American Academy in Rome [https://www.wikidata.org/wiki/Q463271]. He is the author of two volumes of poetry, A Summoning of Stones, which was published by Macmillan [https://www.wikidata.org/wiki/Q2108217] in New York City in 1954, and a later volume published in Northampton, Massachusetts [https://www.wikidata.org/wiki/Q49186] in 1958, Seven Deadly Sins. Mr. Hecht is a poetry editor of The Hudson Review [https://www.wikidata.org/wiki/Q15708605]. Mr. Hecht has also been a faculty member of such universities as Smith [https://www.wikidata.org/wiki/Q49204], New York University [https://www.wikidata.org/wiki/Q49210] and Bard College [https://www.wikidata.org/wiki/Q49109], and he will be joining the faculty of the University of Rochester [https://www.wikidata.org/wiki/Q149990] very soon. Mr. Hecht is the author of three forthcoming volumes: The Hard Hours, which is to be published soon by Viking [https://www.wikidata.org/wiki/Q921536], a volume called Double Dactyls, which is to appear about Christmas and is to be published by Atheneum [https://www.wikidata.org/wiki/Q4813415], and a volume of verse epigrams to the engravings of Thomas Bewick [https://www.wikidata.org/wiki/Q437594], which is to be published by the Harvard University Press [https://www.wikidata.org/wiki/Q1587900]. Ladies and gentlemen, Mr. Anthony Hecht. \n \nAnthony Hecht\n00:01:36\nThank you very much. It's a pleasure to be here, this is my first trip to Canada [https://www.wikidata.org/wiki/Q16], and I regret that it should be so brief. I must leave tomorrow, but I'm struck by the frigidity of the weather and the warmth of the greeting that I received upon arriving. I'd like to begin with a poem which I'll, is set in Italy [https://www.wikidata.org/wiki/Q38], where I spent quite a while. It's called \"A Hill\", and it's what...about a purported visionary experience. \n \nAnthony Hecht\n00:02:21\nReads \"A Hill\" from The Hard Hours..\n \nAnthony Hecht\n00:04:50\nThe next is called \"A Letter\". Some of these, I think, will require some sort of explanatory comment from me, but I don't think this will. \n \nAnthony Hecht\n00:04:59\nReads \"A Letter\" from The Hard Hours.\n \nAnthony Hecht\n00:06:44\nThe next is called \"The Vow\". I should say that all the poems that I want to read to you this evening are from a book called The Hard Hours. They...the book is, I fear, for better or for worse, somewhat on the grim side, as the title is meant to indicate. It perhaps is a corrective to the abundant cheerfulness of my first book. But I hope that there were a few light moments here and there. This one, on the other--is somewhat grim. It is in fact about a miscarriage. And I had better explain to you that a large part of the second stanza, and all of the third stanza is spoken by the ghost of the child who fails to be born. It is called \"The Vow\".\n \nAnthony Hecht\n00:07:42\nReads \"The Vow\" from The Hard Hours.\n \nAnthony Hecht\n00:10:01\nThe next one is also somewhat on the grim side, but it requires an appeasing little note of explanation. Its title is \"More Light! More Light!\" which purport to be the last words of Goethe [https://www.wikidata.org/wiki/Q5879] on his deathbed. There's been a good deal of discussion and dispute as to quite what he meant at the time, which may simply have been to raise the shade. But inasmuch as he is regarded as the spirit of the German Enlightenment, a great deal more profound significance is normally attached to those words. He plays a very minor, somewhat ghostly role in this poem, which is a deliberate and violent contrast, so violent, indeed, that the poem was rejected by The New Yorker [https://www.wikidata.org/wiki/Q217305] on the grounds that the contrast was much too violent for their taste. Between an execution, which is in fact a conflation I've made myself of several executions that took place in England [https://www.wikidata.org/wiki/Q21] during the Renaissance [https://www.wikidata.org/wiki/Q4692], and an execution that took place in the Buchenwald concentration camp [https://www.wikidata.org/wiki/Q152802] during the Second World War [https://www.wikidata.org/wiki/Q362], and the details of which I got from a book by Eugene Kogan, who was himself a prisoner there for five years and survived, miraculously, and was then flown to England to help draw up the indictments that were used, [coughs], excuse me, at the Nuremberg Trials [https://www.wikidata.org/wiki/Q80130]. Goethe's role, his ghostly role in this, is explained by the fact that most prisoners who were brought to Buchenwald were brought by train, and there was no railroad station there at the camp, so the prisoners were, disembarked at the nearest railroad station, which was Weimar [https://www.wikidata.org/wiki/Q3955], and they walked the rest of the way from there. \n \nAnthony Hecht\n00:12:01\nReads \"More Light! More Light!\" from The Hard Hours.\n \nAnthony Hecht\n00:14:36\nThe next is a little lighter, gratefully. But it has its gruesome aspects too, as a matter of fact. It is called \"The Man Who Married Magdalen: Variation on a Theme by Louis Simpson\". Louis Simpson [https://www.wikidata.org/wiki/Q1871997], a fine poet and very old friend of mine. A road poem in one of his early books, called \"The Man Who Married Magdalen\", a fine and delicate poem, in which he imagines that this man who raged and stormed throughout his married life, upon the death of his wife finds it in his heart to forgive her and to acknowledge his abiding love for her. In fact, if I can remember the last stanza, it goes, \"But when he woke, and woke alone, he wept and would deny the loose behaviour of the bone, and the immodest thigh\". I have chosen to make him far less forgiving in my version. He is a very angry man, and the whole poem takes place in a bar where he has been releasing his anger in a bibulous way for some time. His anger is not only personal, however, it's also theological. He is someone who believes in and accepts the ancient dispensation according to which Mary Magdalene [https://www.wikidata.org/wiki/Q63070] had done something which could not, in fact, be so easily forgiven. And he regards the new dispensation as an antinomian heresy which leaves him bewildered and accounts for the rather promiscuous behaviour he finds all around him in the bar. I ought to tell you also that I went on a reading tour of New England [https://www.wikidata.org/wiki/Q18389] a few years ago, and I planned to include this, but when I got to...it has some frankly dirty language in the second stanza, and I decided that it was unbecoming at certain colleges, [audience laughter], but I was assured by a friend of mine on the faculty at Wellesley [https://www.wikidata.org/wiki/Q49205] that the girls there were tough, and they could take it.  [Audience laughter]. He liked it, and he thought I should read it. And indeed, I did. And nobody batted an eye. So, from then on, without compunction at all, I read it everywhere else, and when I got to Mount Hollyhock, [audience laughter], there I had every intention of reading it, but they were not only taping it, as you are here this evening, but they were taping it for radio broadcast, so I felt obliged to warn the Federal Communications Commission [https://www.wikidata.org/wiki/Q128831] [audience laughter] that this was the sort of thing that they would probably have to excise. And after the tour was over, I got a postcard from a friend of mine in that bastion of propriety, Boston [https://www.wikidata.org/wiki/Q100], saying that he had heard the whole broadcast with nothing cut out, so I take it there's absolutely nothing wrong with it now [audience laughter]. It has, in any case, a lofty epigraph from the Book of Jonah [https://www.wikidata.org/wiki/Q178819] [audience laughter], which says, \"Then said the Lord, 'Dost thou well, to be angry?'”\n \nAnthony Hecht\n00:17:57\nReads \"The Man Who Married Magdalen: Variation on a Theme by Louis Simpson\" from The Hard Hours [audience laughter throughout].\n \nAnthony Hecht\n00:20:26\nA poem of a somewhat different sort, called \"Message from the City\".\n \nAnthony Hecht\n00:20:37\nReads \"Message from the City\" from The Hard Hours.\n \nAnthony Hecht\n00:23:02\nThe poem I want to read next is also, again, on the somewhat grim side. It is, in fact, incomplete, but it stands altogether, by itself. It's going to be longer, but it is a unit, as it appears, or as I shall read it to you, and it's called, in its present state, \"The Rune\".\n \nAnthony Hecht\n00:23:35\nReads \"The Rune\" from The Hard Hours.\n \nAnthony Hecht\n00:27:54\nI guess a really violent change of pace is required, and I can provide it. But you are not to be spared as easily as that. There's another sort of wracking one that comes up in a minute. However, I can interject something in between. There's a little sort of period piece, a Restoration comedy song, sort of, called \"The Song of the Flea\". It was written...there were a group of poems that I wrote in collaboration with an artist. We did a bestiary together, and he did a whole bunch of very handsome lithographs of animals, and I wrote a few animal poems, and this is one of them.\n \nAnthony Hecht\n00:28:45\nReads \"The Song of the Flea\" from The Hard Hours.\n \nAnthony Hecht\n00:29:40\nNow this, this next, is quite frankly a stinker, I've got to warn you. It's a very unnerving poem. It's a colloquy; there are two voices, but I'm sure you'll have no difficulty telling them apart. There is one speaker who is a kind of compulsive talker, and he has a very patient and somewhat helpless auditor. The poem is called \"Behold the Lilies of the Field\".\n \nAnthony Hecht\n00:30:18\nReads \"Behold the Lilies of the Field\" from The Hard Hours.\n \nAnthony Hecht\n00:34:34\nThe next is a blessed relief. It's called \"Jason\", which is the name of my older son, and it's a poem written to celebrate his birth. He was born at the time I was teaching at Smith, and he was born on a Sunday, which has some bearing on the poem, but it conveniently avoided my, disrupting my academic obligations. And it has an epigraph from Doctor Faustus [https://www.wikidata.org/wiki/Q50919], which goes, \"And from America, the Golden Fleece\".\n \nAnthony Hecht\n00:35:16\nReads \"Jason\" from The Hard Hours.\n \nAnthony Hecht\n00:37:12\nThe next one is also, this is also rather cheery too--well, not really. I told you that I had gone on this New England tour a few years ago, and I began it in Maine [https://www.wikidata.org/wiki/Q724]. Well, I may have been misled [distortion], but I was told at the two or three colleges and universities where I read that Maine was a dry state, and I had so arranged my poems, completely unconsciously, that I had a whole bunch of them that all took place in bars, in bars altogether [audience laughter]. So I had the feeling as I was reading--I couldn't stop, you see, there I was-- after the third poem, I felt that I appeared to be an obsessive alcoholic. [Audience laughter]. This also takes place in a bar. I was born and brought up in New York City, and remember it from the time when Third Avenue had an elevator train that ran down its length. Now, that has all been torn down. But in the old days, not only did it have the elevator train, but it was lined on both sides all the way up and down with bars. The bars are still there. But the advantage of the El was that it cast a nice, gloomy shadow over the whole avenue even on the brightest days, so that you weren't obliged to face utter reality as soon as you stepped outside [audience laughter]. There was a sort of modulating gloom that you got out into. Now that's been torn down, and it's tougher than it was. The poem is called \"Third Avenue in Sunlight\".\n \nAnthony Hecht\n00:38:45\nReads \"Third Avenue in Sunlight\" from The Hard Hours.\n \nAnthony Hecht\n00:40:31\nThere are two more poems I should like to read. The first of these is called \"Birdwatchers of America\". It has an epigraph from the journals of Baudelaire [https://www.wikidata.org/wiki/Q501], very near the end of his life. Baudelaire wrote as follows: \"I suffer now continually from vertigo, and today, the 23rd of January, 1862, I received a singular warning. I felt the wind of the wing of madness pass over me\".\n \nAnthony Hecht\n00:41:14\nReads \"Birdwatchers of America\" from The Hard Hours.\n \nAnthony Hecht\n00:42:50\nThis is called \"The End of the Weekend\".\n \nAnthony Hecht\n00:42:56\nReads \"The End of the Weekend\" from The Hard Hours.\n \nAnthony Hecht\n00:44:38\nFinally, there is a poem that I must remind you of which I enormously admire, by Matthew Arnold [https://www.wikidata.org/wiki/Q271032]. \"Dover Beach\" [https://www.wikidata.org/wiki/Q5302469]. I have, in spite of my admiration for it, ventured to write a somewhat impertinent commentary upon it, which is called \"The Dover Bitch\" and subtitled [audience laughter], \"A Criticism of Life\", which is what Arnold said poetry ought to be. \n \nAnthony Hecht\n00:45:13\nReads \"The Dover Bitch: A Criticism of Life\" from The Hard Hours [audience laughter throughout].\n \nEND\n00:46:55\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1966, Hecht was teaching at Bard College, and was participating in traveling tours reading his poetry. Three of his works were in the process of being published: The Hard Hours, Jiggery Pokery: A Compendium of Double Dactyls and AEsopic: twenty four couplets.\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nAnthony Hecht was an important figure in American poetry, as well as an influential professor of literature and writing. He is the inventor of the double dactyl, a form of light verse as well as the recipient of many valued awards, including the Pulitzer Prize for poetry, the Bollingen Prize, the Wallace Stevens Award. His connection to Sir George Williams is unknown at this time.\",\"type\":\"General\"},{\"note\":\"Original transcription by Rachel Kyne\\n\\nOriginal print catalogue, introduction, research and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\\n\",\"type\":\"Cataloguer\"},{\"note\":\"Reel-to-reel tape>CD>digital file\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-english-literature/oclc/1205259088&referer=brief_results\",\"citation\":\"\\\"Hecht, Anthony\\\". The Oxford Companion to English Literature. Dinah Birch (ed). Oxford University Press Inc., 2009. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-american-literature/oclc/54356940&referer=brief_results\",\"citation\":\"\\\"Hecht, Anthony [Evan]\\\". The Oxford Companion to American Literature. James D. Hart (ed.), Phillip W. Leininger (rev). Oxford University Press, 1995.  \"},{\"url\":\"\",\"citation\":\"Freeland, Petra. “Hecht, Anthony, 1923-”. Literature Online Biography. Proquest and H.W. Wilson Company, 2005. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page 6.\"}]"],"_version_":1853670548656095232,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0041_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0041_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Anthony Hecht 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_0041_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0041_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Anthony Hecht 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_0041_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0041_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Anthony Hecht Tape Box - Spine\",\"credit\":\"Drew Bernet\",\"caption\":\"\",\"content_type\":\"Photograph\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0006_11_0041_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0006_11_0041_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"notes\":\"\",\"title\":\"Anthony Hecht 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/anthony_hecht_i006-11-041.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"anthony_hecht_i006-11-041.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:46:55\",\"precision\":\"\",\"size\":\"112.6 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Introducer\\n00:00:00\\nOn behalf of the Poetry Reading Committee of this university, Mr. Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789], Mrs. Wynne Francis, Mr. Howard Fink, Mr. Irving Layton [https://www.wikidata.org/wiki/Q1673289], and Mr. Stanton Hoffman, I wish to welcome you to the second reading in our fall series. The reader for this evening is Mr. Anthony Hecht [https://www.wikidata.org/wiki/Q3618497] of New York City [https://www.wikidata.org/wiki/Q60]. Mr. Hecht was born in New York City. He is a fellow of the American Academy in Rome [https://www.wikidata.org/wiki/Q463271]. He is the author of two volumes of poetry, A Summoning of Stones, which was published by Macmillan [https://www.wikidata.org/wiki/Q2108217] in New York City in 1954, and a later volume published in Northampton, Massachusetts [https://www.wikidata.org/wiki/Q49186] in 1958, Seven Deadly Sins. Mr. Hecht is a poetry editor of The Hudson Review [https://www.wikidata.org/wiki/Q15708605]. Mr. Hecht has also been a faculty member of such universities as Smith [https://www.wikidata.org/wiki/Q49204], New York University [https://www.wikidata.org/wiki/Q49210] and Bard College [https://www.wikidata.org/wiki/Q49109], and he will be joining the faculty of the University of Rochester [https://www.wikidata.org/wiki/Q149990] very soon. Mr. Hecht is the author of three forthcoming volumes: The Hard Hours, which is to be published soon by Viking [https://www.wikidata.org/wiki/Q921536], a volume called Double Dactyls, which is to appear about Christmas and is to be published by Atheneum [https://www.wikidata.org/wiki/Q4813415], and a volume of verse epigrams to the engravings of Thomas Bewick [https://www.wikidata.org/wiki/Q437594], which is to be published by the Harvard University Press [https://www.wikidata.org/wiki/Q1587900]. Ladies and gentlemen, Mr. Anthony Hecht. \\n \\nAnthony Hecht\\n00:01:36\\nThank you very much. It's a pleasure to be here, this is my first trip to Canada [https://www.wikidata.org/wiki/Q16], and I regret that it should be so brief. I must leave tomorrow, but I'm struck by the frigidity of the weather and the warmth of the greeting that I received upon arriving. I'd like to begin with a poem which I'll, is set in Italy [https://www.wikidata.org/wiki/Q38], where I spent quite a while. It's called \\\"A Hill\\\", and it's what...about a purported visionary experience. \\n \\nAnthony Hecht\\n00:02:21\\nReads \\\"A Hill\\\" from The Hard Hours..\\n \\nAnthony Hecht\\n00:04:50\\nThe next is called \\\"A Letter\\\". Some of these, I think, will require some sort of explanatory comment from me, but I don't think this will. \\n \\nAnthony Hecht\\n00:04:59\\nReads \\\"A Letter\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:06:44\\nThe next is called \\\"The Vow\\\". I should say that all the poems that I want to read to you this evening are from a book called The Hard Hours. They...the book is, I fear, for better or for worse, somewhat on the grim side, as the title is meant to indicate. It perhaps is a corrective to the abundant cheerfulness of my first book. But I hope that there were a few light moments here and there. This one, on the other--is somewhat grim. It is in fact about a miscarriage. And I had better explain to you that a large part of the second stanza, and all of the third stanza is spoken by the ghost of the child who fails to be born. It is called \\\"The Vow\\\".\\n \\nAnthony Hecht\\n00:07:42\\nReads \\\"The Vow\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:10:01\\nThe next one is also somewhat on the grim side, but it requires an appeasing little note of explanation. Its title is \\\"More Light! More Light!\\\" which purport to be the last words of Goethe [https://www.wikidata.org/wiki/Q5879] on his deathbed. There's been a good deal of discussion and dispute as to quite what he meant at the time, which may simply have been to raise the shade. But inasmuch as he is regarded as the spirit of the German Enlightenment, a great deal more profound significance is normally attached to those words. He plays a very minor, somewhat ghostly role in this poem, which is a deliberate and violent contrast, so violent, indeed, that the poem was rejected by The New Yorker [https://www.wikidata.org/wiki/Q217305] on the grounds that the contrast was much too violent for their taste. Between an execution, which is in fact a conflation I've made myself of several executions that took place in England [https://www.wikidata.org/wiki/Q21] during the Renaissance [https://www.wikidata.org/wiki/Q4692], and an execution that took place in the Buchenwald concentration camp [https://www.wikidata.org/wiki/Q152802] during the Second World War [https://www.wikidata.org/wiki/Q362], and the details of which I got from a book by Eugene Kogan, who was himself a prisoner there for five years and survived, miraculously, and was then flown to England to help draw up the indictments that were used, [coughs], excuse me, at the Nuremberg Trials [https://www.wikidata.org/wiki/Q80130]. Goethe's role, his ghostly role in this, is explained by the fact that most prisoners who were brought to Buchenwald were brought by train, and there was no railroad station there at the camp, so the prisoners were, disembarked at the nearest railroad station, which was Weimar [https://www.wikidata.org/wiki/Q3955], and they walked the rest of the way from there. \\n \\nAnthony Hecht\\n00:12:01\\nReads \\\"More Light! More Light!\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:14:36\\nThe next is a little lighter, gratefully. But it has its gruesome aspects too, as a matter of fact. It is called \\\"The Man Who Married Magdalen: Variation on a Theme by Louis Simpson\\\". Louis Simpson [https://www.wikidata.org/wiki/Q1871997], a fine poet and very old friend of mine. A road poem in one of his early books, called \\\"The Man Who Married Magdalen\\\", a fine and delicate poem, in which he imagines that this man who raged and stormed throughout his married life, upon the death of his wife finds it in his heart to forgive her and to acknowledge his abiding love for her. In fact, if I can remember the last stanza, it goes, \\\"But when he woke, and woke alone, he wept and would deny the loose behaviour of the bone, and the immodest thigh\\\". I have chosen to make him far less forgiving in my version. He is a very angry man, and the whole poem takes place in a bar where he has been releasing his anger in a bibulous way for some time. His anger is not only personal, however, it's also theological. He is someone who believes in and accepts the ancient dispensation according to which Mary Magdalene [https://www.wikidata.org/wiki/Q63070] had done something which could not, in fact, be so easily forgiven. And he regards the new dispensation as an antinomian heresy which leaves him bewildered and accounts for the rather promiscuous behaviour he finds all around him in the bar. I ought to tell you also that I went on a reading tour of New England [https://www.wikidata.org/wiki/Q18389] a few years ago, and I planned to include this, but when I got to...it has some frankly dirty language in the second stanza, and I decided that it was unbecoming at certain colleges, [audience laughter], but I was assured by a friend of mine on the faculty at Wellesley [https://www.wikidata.org/wiki/Q49205] that the girls there were tough, and they could take it.  [Audience laughter]. He liked it, and he thought I should read it. And indeed, I did. And nobody batted an eye. So, from then on, without compunction at all, I read it everywhere else, and when I got to Mount Hollyhock, [audience laughter], there I had every intention of reading it, but they were not only taping it, as you are here this evening, but they were taping it for radio broadcast, so I felt obliged to warn the Federal Communications Commission [https://www.wikidata.org/wiki/Q128831] [audience laughter] that this was the sort of thing that they would probably have to excise. And after the tour was over, I got a postcard from a friend of mine in that bastion of propriety, Boston [https://www.wikidata.org/wiki/Q100], saying that he had heard the whole broadcast with nothing cut out, so I take it there's absolutely nothing wrong with it now [audience laughter]. It has, in any case, a lofty epigraph from the Book of Jonah [https://www.wikidata.org/wiki/Q178819] [audience laughter], which says, \\\"Then said the Lord, 'Dost thou well, to be angry?'”\\n \\nAnthony Hecht\\n00:17:57\\nReads \\\"The Man Who Married Magdalen: Variation on a Theme by Louis Simpson\\\" from The Hard Hours [audience laughter throughout].\\n \\nAnthony Hecht\\n00:20:26\\nA poem of a somewhat different sort, called \\\"Message from the City\\\".\\n \\nAnthony Hecht\\n00:20:37\\nReads \\\"Message from the City\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:23:02\\nThe poem I want to read next is also, again, on the somewhat grim side. It is, in fact, incomplete, but it stands altogether, by itself. It's going to be longer, but it is a unit, as it appears, or as I shall read it to you, and it's called, in its present state, \\\"The Rune\\\".\\n \\nAnthony Hecht\\n00:23:35\\nReads \\\"The Rune\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:27:54\\nI guess a really violent change of pace is required, and I can provide it. But you are not to be spared as easily as that. There's another sort of wracking one that comes up in a minute. However, I can interject something in between. There's a little sort of period piece, a Restoration comedy song, sort of, called \\\"The Song of the Flea\\\". It was written...there were a group of poems that I wrote in collaboration with an artist. We did a bestiary together, and he did a whole bunch of very handsome lithographs of animals, and I wrote a few animal poems, and this is one of them.\\n \\nAnthony Hecht\\n00:28:45\\nReads \\\"The Song of the Flea\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:29:40\\nNow this, this next, is quite frankly a stinker, I've got to warn you. It's a very unnerving poem. It's a colloquy; there are two voices, but I'm sure you'll have no difficulty telling them apart. There is one speaker who is a kind of compulsive talker, and he has a very patient and somewhat helpless auditor. The poem is called \\\"Behold the Lilies of the Field\\\".\\n \\nAnthony Hecht\\n00:30:18\\nReads \\\"Behold the Lilies of the Field\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:34:34\\nThe next is a blessed relief. It's called \\\"Jason\\\", which is the name of my older son, and it's a poem written to celebrate his birth. He was born at the time I was teaching at Smith, and he was born on a Sunday, which has some bearing on the poem, but it conveniently avoided my, disrupting my academic obligations. And it has an epigraph from Doctor Faustus [https://www.wikidata.org/wiki/Q50919], which goes, \\\"And from America, the Golden Fleece\\\".\\n \\nAnthony Hecht\\n00:35:16\\nReads \\\"Jason\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:37:12\\nThe next one is also, this is also rather cheery too--well, not really. I told you that I had gone on this New England tour a few years ago, and I began it in Maine [https://www.wikidata.org/wiki/Q724]. Well, I may have been misled [distortion], but I was told at the two or three colleges and universities where I read that Maine was a dry state, and I had so arranged my poems, completely unconsciously, that I had a whole bunch of them that all took place in bars, in bars altogether [audience laughter]. So I had the feeling as I was reading--I couldn't stop, you see, there I was-- after the third poem, I felt that I appeared to be an obsessive alcoholic. [Audience laughter]. This also takes place in a bar. I was born and brought up in New York City, and remember it from the time when Third Avenue had an elevator train that ran down its length. Now, that has all been torn down. But in the old days, not only did it have the elevator train, but it was lined on both sides all the way up and down with bars. The bars are still there. But the advantage of the El was that it cast a nice, gloomy shadow over the whole avenue even on the brightest days, so that you weren't obliged to face utter reality as soon as you stepped outside [audience laughter]. There was a sort of modulating gloom that you got out into. Now that's been torn down, and it's tougher than it was. The poem is called \\\"Third Avenue in Sunlight\\\".\\n \\nAnthony Hecht\\n00:38:45\\nReads \\\"Third Avenue in Sunlight\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:40:31\\nThere are two more poems I should like to read. The first of these is called \\\"Birdwatchers of America\\\". It has an epigraph from the journals of Baudelaire [https://www.wikidata.org/wiki/Q501], very near the end of his life. Baudelaire wrote as follows: \\\"I suffer now continually from vertigo, and today, the 23rd of January, 1862, I received a singular warning. I felt the wind of the wing of madness pass over me\\\".\\n \\nAnthony Hecht\\n00:41:14\\nReads \\\"Birdwatchers of America\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:42:50\\nThis is called \\\"The End of the Weekend\\\".\\n \\nAnthony Hecht\\n00:42:56\\nReads \\\"The End of the Weekend\\\" from The Hard Hours.\\n \\nAnthony Hecht\\n00:44:38\\nFinally, there is a poem that I must remind you of which I enormously admire, by Matthew Arnold [https://www.wikidata.org/wiki/Q271032]. \\\"Dover Beach\\\" [https://www.wikidata.org/wiki/Q5302469]. I have, in spite of my admiration for it, ventured to write a somewhat impertinent commentary upon it, which is called \\\"The Dover Bitch\\\" and subtitled [audience laughter], \\\"A Criticism of Life\\\", which is what Arnold said poetry ought to be. \\n \\nAnthony Hecht\\n00:45:13\\nReads \\\"The Dover Bitch: A Criticism of Life\\\" from The Hard Hours [audience laughter throughout].\\n \\nEND\\n00:46:55\\n[Cut off abruptly].\",\"notes\":\"Anthony Hecht reads from his book The Hard Hours which was published later in 1967 by Atheneum Press.\\n\\n00:00- Unknown Introducer introduces Anthony Hecht [INDEX: Poetry Reading Committee: Roy Kiyooka, Wynne Francis, Howard Fink, Irving Layton, Stanton Hoffman; New York City, fellow of the American Academy in Rome, A Summoning of Stones published by Macmillan NYC 1954, Seven Deadly Sins published in Northampton, Massachusetts in 1958; poetry editor of The Hudson Review; faculty member of Smith University, New York University, Bard College, University of Rochester; The Hard Hours published by Viking Press, Double Dactyls published by Atheneum Press, AEsopic: twenty four couplets written with Thomas Bewick, Harvard University Press.]\\n01:36- Anthony Hecht introduces “A Hill”. [INDEX: first trip to Canada, cold weather, Italy; from The Hard Hours (Atheneum Press, 1967).]\\n02:21- Reads “A Hill”.\\n04:50- Introduces “A Letter” [INDEX: from The Hard Hours (Atheneum Press, 1967)]\\n04:59- Reads “A Letter”.\\n06:44- Introduces “The Vow”. [INDEX: all poems read from The Hard Hours, miscarriage, ghost of a child.]\\n07:42- Reads “The Vow”.\\n10:01- Introduces “More Light! More Light!”. [INDEX: last words of Goethe, German Enlightenment, poem rejected by The New Yorker, England during the Renaissance,      Buchenwald concentration camps during WWII, book by Eugene Kogan, Nuremburg   Trials, prisoners brought by train, Weimar; from The Hard Hours (Atheneum Press,   \\t1967).]\\n12:01- Reads “More Light! More Light!”.\\n14:36- Introduces \\\"The Man Who Married Magdalen: Variation on a Theme by Louis        Simpson.\\\" [INDEX: Louis Simpson: poet and friend, poem in Simpson’s early books  \\tcalled “The Man Who Married Magdalen”, husband forgiving wife, line from the last  \\tstanza “But when he woke, and woke alone, he wept and would deny the loose    behaviour of the bone, and the immodest thigh”, takes place in a bar, reading tour of   England, Wellesley, Mount Hollyhock, Federal Communications Commission, Boston,     Book of Jonah “Then said the Lord, ‘Dost thou well, to be angry?’”; from The Hard    \\tHours (Atheneum Press, 1967).]\\n17:57- Reads \\\"The Man Who Married Magdalen: Variation on a Theme by Louis \\tSimpson\\\".\\n20:26- Introduces “Message from the City”. [INDEX: from The Hard Hours (Atheneum Press, 1967).]\\n20:37- Reads “Message from the City”.\\n23:02- Introduces “The Rune”. [INDEX: from unknown source.]\\n23:35- Reads “The Rune”.\\n27:54- Introduces “The Song of the Flea”. [INDEX: Restoration comedy song called “The Song of the Flea”, group of poems written in collaboration with an artist, bestiary, lithographs of animals; from The Hard Hours (Atheneum Press, 1967).]\\n28:45- Reads “The Song of the Flea”.\\n29:40- Introduces “Behold the Lilies of the Field”. [INDEX: colloquy, two voices, one   compulsive talker, and a patient auditor; The Hard Hours (Atheneum Press, 1967).]\\n30:18- Reads “Behold the Lilies of the Field”.\\n34:34- Introduces “Jason”. [INDEX: Hecht’s older son to celebrate his birth, teaching at Smith, epigraph from Dr. Faustus “And from America, the Golden Fleece”; The Hard Hours (Atheneum Press, 1967).]\\n35:16- Reads “Jason”.\\n37:12- Introduces “Third Avenue in Sunlight”. [INDEX: New England Tour, began in Maine, dry state, reading poems about bars; born in NYC on Third Avenue elevator train, bars; The Hard Hours (Atheneum Press, 1967).]\\n38:45- Reads “Third Avenue in Sunlight”.\\n40:31- Introduces “Birdwatchers of America”. [INDEX: Epigraph from the journals of Baudelaire “I suffer now continually from vertigo, and today, the 23rd of January 1862, I       received a singular warning. I felt the wind of the wing of madness pass over me.”; The       Hard Hours (Atheneum Press, 1967).]\\n41:14- Reads “Birdwatchers of America”.\\n42:50- Reads “The End of the Weekend”. [INDEX: from The Hard Hours (Atheneum Press, 1967).]\\n44:38- Introduces “The Dover Bitch: A Criticism of Life”. [INDEX: Poem by Matthew Arnold “Dover Beach”, Arnold said poetry ought to be “A criticism of life”; from The Hard     Hours (Atheneum Press, 1967).]\\n45:13- Reads “The Dover Bitch: A Criticism of Life”.\\n46:55.93- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/anthony-hecht-at-sgwu-1966/\"}]"],"score":1.3784283},{"id":"1255","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":["Robert Kelly at Sir George Williams University, The Poetry Series, 4 November 1966"],"item_title_source":["Cataloguer"],"item_title_note":["\"Robert Kelly at Sir George Williams University, Montreal 4 November, 1966\" handwriitten on the back of the tape's box. Date and name also written on spine of the box and stickers on the reel. Additional Info: I086-11-027 and RT 503"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[]"],"access":["Streaming"],"creator_names":["Kelly, Robert,"],"creator_names_search":["Kelly, Robert,"],"creators":["[{\"url\":\"http://viaf.org/viaf/7411990\",\"name\":\"Kelly, Robert, \",\"dates\":\"1935-\",\"notes\":\"Prolific American poet, Robert Kelly, was born in Brooklyn, New York in 1935. He attended both Columbia University and the City College of New York. He took positions as a translator, later becoming a lecturer and writer-in-residence at several universities, including the California Institute of Technology, Bard College and Tufts University. In 1957, he co-founded and edited the Chelsea Review (now Chelsea) until 1960, after which he co-edited Trobar magazine until 1965. Kelly was involved in the creation of The Blue Yak poetry co-operative in New York City. His first published collection of poems was Armed Descent in 1961 (Hawk’s Well Press), followed by seven other collections including Lunes/Sightings with Jerome Rothenberg in 1964 (Hawk’s Well Press), and Weeks in 1966 (El Corno Emplumado). He began editing Matter magazine in 1963, and has had affiliations with several other magazines like Caterpilar, Los, Alcheringa: Ethnopoetics and Fulcrum. Publishing over forty books of poetry, prose, essays and plays, Kelly’s most notable books include The Scorpions (Doubleday, 1967), Finding the Measure (Black Sparrow Press, 1968), California Journal (Big Venus/Asphodel, 1969), Mill of Particulars (1973), The Loom (1975), The Convections (1978), Kill the Messenger (1979), Spiritual Exercises (1981) and Not This Island Music (1987) all published by Black Sparrow Press. Robert Kelly has been the Asher B. Edelman Professor of Literature at Bard College from 1986 onwards; he was the co-director of The Writing Program and the founding member of the Milton Avery Graduate School of the Arts at Bard College. He has won many awards and honors, including a Doctor of Letters from State University of New York in 1994, the Award for Distinction from the National Academy and Institute of Arts and Letters in 1986 and a National Endowment for the Arts fellowship in 1976.\",\"nation\":[],\"role\":[]}]"],"contributors":["[{\"url\":\"\",\"name\":\"\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[]}]"],"Performance_Date":[1966],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"Kodak\",\"generations\":\"Duplicate\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:30:00\",\"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"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Mono"],"Dates":["[{\"date\":\"1966 11 4\",\"type\":\"Performance Date\",\"notes\":\"Date written on the tape box and on a sticker on the tape reel\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Art Gallery\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Bob Simco (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Art Gallery"],"City":["Montreal, Quebec"],"content_notes":["Robert Kelly reads from Lectiones (Duende Press, 1965) and Weeks (El Corno Emplumado, 1966) as well as poems from unknown sources."],"contents":["robert_kelly_i086-11-027.mp3\n\nRobert Kelly\n00:00:00\n...Read a couple of poems from a book that came out last year that's very hard to find, it's called Lectiones. These are poems that I offered in the book, very humbly, as poems that I think needed the instrumentation of the human voice, my voice, someone's voice to present them. I don't think they hold on paper. To some extent all of the poems that I've written, all of the poems anyone writes are scores for an eventual ideal performance in someone's mind's ear. More particularly in my poetry any kind of deviation from the margin represents a pitch variation, space left out indicates silence, in an obvious way, I don't know how better to do it, you know Yeats [https://www.wikidata.org/wiki/Q40213] played around with the notion of notation for songs, then he realized the words have to do with, I understand, two of the words must do it, but there are ways of setting them down. This is a poem called \"Dates of the Calendar\".\n \nRobert Kelly\n00:01:11\nReads \"Dates of the Calendar\" [from Lectiones].\n \nRobert Kelly\n00:03:03\nI'd like really, since I've read now tiny fragments, scatter of history, I'd like now for my good to read poems that are very recent, so everything that I read from here on after will be from the summer or after, this past summer. i.e. things that are still urgent with me that I have to deal with, as to say them or give. “King of Death”.\n \nRobert Kelly\n00:03:49\nReads \"King of Death\".\n \nRobert Kelly\n00:04:38\nReads unnamed poem. \n \nRobert Kelly\n00:05:47\nThat's a very difficult poem for me. It's meant to sound difficult. I mean it's not meant to flow and it's filled with rhyme and I think rhyme is the torment. The real reason that rhyme was invented must have been pain, the pain of psychosis, the pain of madness, of hoping by that fictive and easy device to cling to a measure of order, because you can get cling, cling, ring, ring, ring the way the tantric hindus make their gestures of introjection, intro- substance via mantrum, rhyme noises, [unintelligible], they say. Fellini [https://www.wikidata.org/wiki/Q7371] makes fun of it in that 8 ½ [https://www.wikidata.org/wiki/Q12018], the girl in the old Hindu...But I think rhyme is madness and rhyme is pain, and maybe poets will no longer have to be madmen now that we have come to abandon rhyme. Don't you think that free-verse poets are less mad then rhyming poets? [Audience laughter]. They need order somewhere else, they can't keep it there. Alright. I mean A.A. Milne [https://www.wikidata.org/wiki/Q207036] was probably the craziest man in the world. [Audience laughter]. This is a hard poem in a number of ways, the music of it interests me very much, it's a variety, it all fits on one page somehow but it's a long poem. It's based on the word ‘Gala’, the old Greek word for 'milk' from which we get obviously galactose and galactose but also galaxy from milky way, gala way.\n \nRobert Kelly\n00:08:01\nReads unnamed poem. \n\nRobert Kelly\n00:08:11\nLet me try that again.\n\nRobert Kelly\n00:08:013\nReads unnamed poem [restarts]. \n\nRobert Kelly\n00:11:43\nThis is, strange that I should say it, but this is the time of the world, you know, it is now upon us, when women can acquire souls. The whole of our culture is based on the soullessness of women, the woman gets soul from man, from children, from mother, but now perhaps woman is a separate entity, can be a separate entity, even if it means separate from me, but that is a large concern of mine. That's obvious from the poem, why do I have to say this. It comes of teaching and schools [audience laughter], that sort of thing, no one can understand a thing, nobody can understand anything, I can say it and say it again. Here's a poem, last spring, \"Memorial Day\". I looked out and saw the students of the college, oh, scattered on the lawn having a wiener roast or something.\n \nRobert Kelly\n00:13:13\nReads \"Memorial Day\".\n \nRobert Kelly\n00:16:19\nReads unnamed poem. \n \nRobert Kelly\n00:17:22\nI'd like to move back in time a little bit and read you a few sections from this very long poem called \"Weeks\", which is perhaps even going to be out even this month, sometime soon, I've just finished the proofs of it a week or so ago. Let me read you the first one, at any rate, this is not a narrative poem, but it is a continuity of poems, there are 150 sections, some of them are quite short and some of them are fairly long. So there is not what we are trying to call a formal similarity between the sections, there is a continuity of sound and of concern and that's enough.\n \nRobert Kelly\n00:18:35\nReads “Weeks: 1” published later in Weeks. \n \nRobert Kelly\n00:19:05\nIt's deliberately a--what poems do at their beginnings is to set measures of music, to set new measures, not to declare more than the sound of themselves, I think that's important and a long poem might take a section or two or three or ten, in this case I think the first ten sections do no more than to set the measure of the poem. But I don't want to read them all. God, I don't want to read all 150 of them. I tried that once, not publicly, but I couldn't do it, even privately, even with coffee and the ability to s-m-o-k-e, can't do that here…[Audience laughter]. There is much said in this world about city, I mean I see all around me here the evidence of a monumental concern with city, and we're taught to think about Socrates [https://www.wikidata.org/wiki/Q913] and polis and all of that--polis, city, the community of men, and we haven't said all that has to be said about it. In the last 100--the last 50 sections of \"Weeks\" I get very involved with that. I get very involved with the fact that we do build cities as we build rooms with no place to sit down, with no air, and so on and so forth, and the simplest way we can find that objectionable is simple: Animals, but in a different sense we have allowed that sense of community to destroy something that's closer to the bone, that possibility of a man's doing, and this is what experimental art is always about isn't it? A man doing his own work, that's the hardest experiment of all to do and to maintain, to continue doing your work and not somebody else's. So this is 107, it's about 'polis', the Greek word for 'city' if I am not pronouncing it clearly.\n \nRobert Kelly\n00:21:15\nReads “Weeks: 107” published later in Weeks.\n \nRobert Kelly\n00:22:47\nAnd that's followed by 108, which is more specific and is about the murder of a great man [https://www.wikidata.org/wiki/Q43303].   \n \nRobert Kelly\n00:22:57\nReads “Weeks: 108” published later in Weeks. \n \nEND\n00:24:57\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nKelly was working as a visiting professor of Modern Poetry at Tufts University in 1966, and was working on several collections of poetry, such as Devotions (Salitter Books), Twenty Poems (Asphodel), Axon Dendron Tree (Asphodel), Crooked Bridge Love Society (Salitter Books), A Joining: A Sequence for H.D. (Black Sparrow Press), and Alpha (J.Fisher) which all came out in 1967, as well as his first work of fiction, The Scorpions (Doubleday, 1967).\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nKelly’s direct connection to Sir George Williams University is unknown, however as an important and prolific American poet and professor, he was no doubt known to Canadian writers and professors.\",\"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/oxford-companion-to-twentieth-century-poetry-in-english/oclc/937869379&referer=brief_results\",\"citation\":\"Gray, Robert. \\\"Kelly, Robert\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \"},{\"url\":\"https://www.worldcat.org/title/lectiones-for-joan/oclc/123285319&referer=brief_results\",\"citation\":\"Kelly, Robert. Lectiones. New Mexico: Duende Press, 1965. \"},{\"url\":\"https://www.worldcat.org/title/weeks/oclc/8726084&referer=brief_results\",\"citation\":\"Kelly, Robert. Weeks. Mexico: El Corno Emplumado, 1966. \"},{\"url\":\"http://inside.bard.edu/~kelly/about.html\",\"citation\":\"Kelly, Robert. “Curriculum Vitae”. Bard College Website. November 11, 2009. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-kelly-at-sgwu-1966/\",\"citation\":\"Simco, Bob. “Georgiantics”. The Georgian. Montreal: Sir George Williams University, 4 November 1966. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-kelly-at-sgwu-1966/\",\"citation\":\"Thoms, Kathleen. “The Electronic Poetry of Robert Kelly”. OP-ED. Montreal: Sir George Williams University, 11 November 1966. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. Montreal: Sir George Williams University, 6 October 1967, page  6.\"},{\"url\":\"\",\"citation\":\"“Kelly, Robert, 1935-”. Literature Online Biography. Cambridge: Chadwyck-Healey, 2000.    \"}]"],"_version_":1853670548658192384,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0027_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0027_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Kelly 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/I0086_11_0027_front.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0027_front.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Kelly 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/I0086_11_0027_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0027_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Kelly 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_0027_tape.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0027_tape.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Robert Kelly 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/robert_kelly_i086-11-027.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"robert_kelly_i086-11-027.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:24:57\",\"precision\":\"\",\"size\":\"59.9 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"Robert Kelly\\n00:00:00\\n...Read a couple of poems from a book that came out last year that's very hard to find, it's called Lectiones. These are poems that I offered in the book, very humbly, as poems that I think needed the instrumentation of the human voice, my voice, someone's voice to present them. I don't think they hold on paper. To some extent all of the poems that I've written, all of the poems anyone writes are scores for an eventual ideal performance in someone's mind's ear. More particularly in my poetry any kind of deviation from the margin represents a pitch variation, space left out indicates silence, in an obvious way, I don't know how better to do it, you know Yeats [https://www.wikidata.org/wiki/Q40213] played around with the notion of notation for songs, then he realized the words have to do with, I understand, two of the words must do it, but there are ways of setting them down. This is a poem called \\\"Dates of the Calendar\\\".\\n \\nRobert Kelly\\n00:01:11\\nReads \\\"Dates of the Calendar\\\" [from Lectiones].\\n \\nRobert Kelly\\n00:03:03\\nI'd like really, since I've read now tiny fragments, scatter of history, I'd like now for my good to read poems that are very recent, so everything that I read from here on after will be from the summer or after, this past summer. i.e. things that are still urgent with me that I have to deal with, as to say them or give. “King of Death”.\\n \\nRobert Kelly\\n00:03:49\\nReads \\\"King of Death\\\".\\n \\nRobert Kelly\\n00:04:38\\nReads unnamed poem. \\n \\nRobert Kelly\\n00:05:47\\nThat's a very difficult poem for me. It's meant to sound difficult. I mean it's not meant to flow and it's filled with rhyme and I think rhyme is the torment. The real reason that rhyme was invented must have been pain, the pain of psychosis, the pain of madness, of hoping by that fictive and easy device to cling to a measure of order, because you can get cling, cling, ring, ring, ring the way the tantric hindus make their gestures of introjection, intro- substance via mantrum, rhyme noises, [unintelligible], they say. Fellini [https://www.wikidata.org/wiki/Q7371] makes fun of it in that 8 ½ [https://www.wikidata.org/wiki/Q12018], the girl in the old Hindu...But I think rhyme is madness and rhyme is pain, and maybe poets will no longer have to be madmen now that we have come to abandon rhyme. Don't you think that free-verse poets are less mad then rhyming poets? [Audience laughter]. They need order somewhere else, they can't keep it there. Alright. I mean A.A. Milne [https://www.wikidata.org/wiki/Q207036] was probably the craziest man in the world. [Audience laughter]. This is a hard poem in a number of ways, the music of it interests me very much, it's a variety, it all fits on one page somehow but it's a long poem. It's based on the word ‘Gala’, the old Greek word for 'milk' from which we get obviously galactose and galactose but also galaxy from milky way, gala way.\\n \\nRobert Kelly\\n00:08:01\\nReads unnamed poem. \\n\\nRobert Kelly\\n00:08:11\\nLet me try that again.\\n\\nRobert Kelly\\n00:08:013\\nReads unnamed poem [restarts]. \\n\\nRobert Kelly\\n00:11:43\\nThis is, strange that I should say it, but this is the time of the world, you know, it is now upon us, when women can acquire souls. The whole of our culture is based on the soullessness of women, the woman gets soul from man, from children, from mother, but now perhaps woman is a separate entity, can be a separate entity, even if it means separate from me, but that is a large concern of mine. That's obvious from the poem, why do I have to say this. It comes of teaching and schools [audience laughter], that sort of thing, no one can understand a thing, nobody can understand anything, I can say it and say it again. Here's a poem, last spring, \\\"Memorial Day\\\". I looked out and saw the students of the college, oh, scattered on the lawn having a wiener roast or something.\\n \\nRobert Kelly\\n00:13:13\\nReads \\\"Memorial Day\\\".\\n \\nRobert Kelly\\n00:16:19\\nReads unnamed poem. \\n \\nRobert Kelly\\n00:17:22\\nI'd like to move back in time a little bit and read you a few sections from this very long poem called \\\"Weeks\\\", which is perhaps even going to be out even this month, sometime soon, I've just finished the proofs of it a week or so ago. Let me read you the first one, at any rate, this is not a narrative poem, but it is a continuity of poems, there are 150 sections, some of them are quite short and some of them are fairly long. So there is not what we are trying to call a formal similarity between the sections, there is a continuity of sound and of concern and that's enough.\\n \\nRobert Kelly\\n00:18:35\\nReads “Weeks: 1” published later in Weeks. \\n \\nRobert Kelly\\n00:19:05\\nIt's deliberately a--what poems do at their beginnings is to set measures of music, to set new measures, not to declare more than the sound of themselves, I think that's important and a long poem might take a section or two or three or ten, in this case I think the first ten sections do no more than to set the measure of the poem. But I don't want to read them all. God, I don't want to read all 150 of them. I tried that once, not publicly, but I couldn't do it, even privately, even with coffee and the ability to s-m-o-k-e, can't do that here…[Audience laughter]. There is much said in this world about city, I mean I see all around me here the evidence of a monumental concern with city, and we're taught to think about Socrates [https://www.wikidata.org/wiki/Q913] and polis and all of that--polis, city, the community of men, and we haven't said all that has to be said about it. In the last 100--the last 50 sections of \\\"Weeks\\\" I get very involved with that. I get very involved with the fact that we do build cities as we build rooms with no place to sit down, with no air, and so on and so forth, and the simplest way we can find that objectionable is simple: Animals, but in a different sense we have allowed that sense of community to destroy something that's closer to the bone, that possibility of a man's doing, and this is what experimental art is always about isn't it? A man doing his own work, that's the hardest experiment of all to do and to maintain, to continue doing your work and not somebody else's. So this is 107, it's about 'polis', the Greek word for 'city' if I am not pronouncing it clearly.\\n \\nRobert Kelly\\n00:21:15\\nReads “Weeks: 107” published later in Weeks.\\n \\nRobert Kelly\\n00:22:47\\nAnd that's followed by 108, which is more specific and is about the murder of a great man [https://www.wikidata.org/wiki/Q43303].   \\n \\nRobert Kelly\\n00:22:57\\nReads “Weeks: 108” published later in Weeks. \\n \\nEND\\n00:24:57\\n\",\"notes\":\"Robert Kelly reads from Lectiones (Duende Press, 1965) and Weeks (El Corno Emplumado, 1966) as well as poems from unknown sources.\\n\\n00:00- Robert Kelly introduces reading [INDEX: Lectiones, Reading poetry: techniques, Yeats: spacing and notations of poems]\\n01:11- Reads “Dates of the Calendar”\\n03:03- Introduces “King of Death”\\n03:49- Reads “King of Death”\\n04:38- Reads first line “The sun didn’t know a thing...”\\n05:47- Introduces first line “Galas, star, all the things I meant...” [INDEX: Rhyme, mantrums, Fellini, Poet A.A. Milne, ‘gala’: Greek for ‘milk’, constellations]\\n08:01- Reads first line “Galas, star, all the things I meant...”\\n11:43- Introduces “Memorial Day” [INDEX: Teaching]\\n13:13- Reads “Memorial Day”\\n16:19- Reads first line “This who I have chosen...”\\n17:22- Introduces “Weeks” (Series of 150 poems) [INDEX: Weeks (1966) Formal similarities vs. continuity of sound as ways of connecting poems]\\n18:35- Reads “Weeks: 1”\\n19:05- Introduces “Weeks: 107” [INDEX: Greek word ‘polis’]\\n21:15- Reads “Weeks: 107”\\n22:47- Introduces “Weeks: 108” [INDEX: Malcolm X]\\n22:57- Reads “Weeks: 108”\\n24:57.12- END OF RECORDING\\n  \\nHoward Fink List of Poems:\\n \\n4/11/66\\none 5” reel @ 3 3/4 mono lasting 1/2 hr\\n \\n1.  From book Lectiones, “Dates of the Calendar”\\n2.  “King of Death”\\n3.  first line “The sun didn’t know...”\\n4.  first line “Galas, star...”\\n5.  “Memorial Day”\\n6.  first line “This, who I have chosen...”\\n7.  “Weeks” (selected sections)\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/robert-kelly-at-sgwu-1966/\"}]"],"score":1.3784283},{"id":"1256","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":["Phyllis Webb and Gwendolyn MacEwen at Sir George Williams University, The Poetry Series, 18 November 1966"],"item_title_source":["Cataloguer"],"item_title_note":["“PHYLLIS WEBB. Recorded November 18, 1966 with Gwedolyn MacEwan. 3.75 its, 1/2 track on 1. mil tape” written on sticker on the back of the tape box. Gwendolyn MacEwen's name is misspelled. “PHYLLIS WEBB I006/SR130” written on sticker on the spine of tape box. “i006-11-130” written on sticker on the reel.\n\n\"GWENDOLYN MacEWAN I066/SR161\" written on sticker on the spine of the tape's box. MacEwen is misspelled. \"I006-11-161\" written on sticker on the reel."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[I006-11-130, I006-11-161]"],"access":["Streaming"],"creator_names":["MacEwen, Gwendolyn","Webb, Phyllis"],"creator_names_search":["MacEwen, Gwendolyn","Webb, Phyllis"],"creators":["[{\"url\":\"http://viaf.org/viaf/115290827\",\"name\":\"MacEwen, Gwendolyn\",\"dates\":\"1941-1987\",\"notes\":\"Poet, novelist and short story writer Gwendolyn MacEwen was born in Toronto in 1941, and spent her childhood there and in Winnipeg. Her first poem was published in The Canadian Forum, and a year later, when she was eighteen, she left school to pursue a career in writing. She self-published her first two collections of poetry, Selah and The drunken clock in 1961 (Aleph Press). In 1962, she briefly married fellow poet Milton Acorn, published her first novel, Julian the magician (Macmillan, 1963), and a collection of poetry, The rising fire (Contact Press, 1963), which established her reputation on the Canadian scene at the age of twenty-two. That same year, her work was published in Jacques Godbout and John Robert Colombo’s anthology Poetry 64/Poesie 64 (Ryerson Press/ Editions du jour, 1963). MacEwen followed this success with poetry collections A Breakfast for Barbarians (Ryerson Press, 1966), The Shadow-Maker (Macmillan, 1969) which won a Governor General’s Award for poetry, The Armies of the Moon (Macmillan, 1972), which won the A.J.M. Smith Poetry Award, Magic Animals: Selected Poems (Macmillan, 1975), The Fire-Eaters (Oberon Press, 1976), The T.E. Lawrence Poems (Mosaic Press/Valley Editions, 1982) and Earthlight: Selected Poems (General Publisher, 1982). She was re-married to Greek singer Nikos Tsingos, who introduced her to worlds Mediterranean. MacEwen published in other genres, including a CBC verse play Terror and Erebus (reprinted as Afterworlds in 1987), novel King of Egypt, King of Dreams (Macmillan, 1971), collections of short stories Norman (Oberon Press, 1972) and Norman’s Land (1985), travel book Mermaids and Ikons: A Greek Summer (Anansi, 1978), a translation of Euripides’ The Trojan Women: A Play (Playwright’s Co-op, 1979), and two children’s books, The chocolate moose (New Canada Publications, 1981) and The honey drum (Mosaic Press, Flatiron Books, 1983).  Her last publication, Afterworlds (McClelland and Stewart, 1987) won a Governor General’s Award, and was published shortly before her death in 1987. Two volumes of selected work appeared posthumously, The poetry of Gwendolyn MacEwen: the early years (Exile Editions, 1993) and The poetry of Gwendolyn MacEwen: the later years (Exile Editions, 1994) edited by Margaret Atwood and Barry Callaghan.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]},{\"url\":\" http://viaf.org/viaf/29847238\",\"name\":\"Webb, Phyllis\",\"dates\":\"1927-2021\",\"notes\":\"Poet Phyllis Webb was born in Victoria, British Columbia in 1927. She completed a B.A. in Philosophy and English at University of British Columbia and at the young age of twenty-two, she ran as a CCF candidate for the B.C. legislature. She finished one year of graduate studies at McGill University in 1950 in Montreal. She traveled and lived in San Francisco, Paris and England before settling back in B.C. where she taught at UBC for four years. Her first poems were published in Trio (Contact Press) in 1954 with Eli Mandel and Gael Turnbull, and in Even your right eye in 1956 (McClelland and Stewart). The Sea is Also a Garden (Ryerson Press) was published in 1952, and Naked poems (Periwinkle Press) was published in 1965. While in Toronto, Phyllis Webb conceived and was executive producer of the CBC radio program “Ideas” from 1966 to 1969. Two years later in 1971, Webb published Selected Poems (Talon Books). Webb’s many publications also include Wilson’s bowl (Coach House Press, 1980), Sunday water: thirteen anti ghazals (Island Writing Series, 1982), The vision tree: selected poems (Talon Books, 1982) which won the Governor General’s Award and Hanging fire (Coach House Press, 1990). Along with poetry, Phyllis Webb also collected her essays, reviews and radio discussions in Taking (1982), Nothing but brush strokes: selected prose (NeWest, 1995). She was the writer-in-residence at the University of Alberta, and taught at University of Victoria and the Banff Centre. Phyllis Webb has also won the Canada Council Senior Arts Award in 1981 and 1987, as well as being awarded an Officer of the Order of Canada in 1992. She lives on Saltspring Island, B.C.\",\"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\":[\"Presenter\",\"Series organizer\"]}]"],"Presenter_name":["Kiyooka, Roy"],"Series_organizer_name":["Kiyooka, Roy"],"Performance_Date":[1966],"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\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"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","Reel to Reel"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1966 11 18\",\"type\":\"Performance Date\",\"notes\":\"Date written on sticker on the tape box. Date is also referenced but not specified in \\\"Georgantics\\\" by Bob Simco\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Bob Simco (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Phyllis Webb reads from The Sea is Also a Garden (Ryerson Press, 1962), Even Your Right Eye (McClelland & Stewart, 1956), and Naked Poems (Periwinkle Press, 1965). Gwendolyn MacEwen reads from Breakfast for Barbarians (Ryerson Press, 1966) and poems published later in The Shadow-Maker (Macmillan, 1969) and a few unknown poems."],"contents":["phyllis_webb_i006-11-130.mp3 [File 1 of 2]\n\nRoy Kiyooka\n00:00:00\nNow perhaps some of you are wondering what these readings are all about and how the choices made, I have here a slight commentary on that which I would like to read to you. Our answer to this is that we have not attempted to make the series an exhaustive coverage of any particular school or faction of poetry. Nor has our concern been an attempt to seek out the so-called \"great poets\". Our choices have been made with the desire to present to you, hopefully, the possibilities of utterance that is more than parochial. In short, this is our attempt to sound just that diversity that so much characterizes the North American Poetry scene. Now tonight it is my very great pleasure to introduce to you two poets whose distinctiveness is more than the fact of their sex. I want to introduce each poet in turn, Phyllis Webb [https://www.wikidata.org/wiki/Q7188637] will begin the readings and after the intermission, I shall introduce to you Gwendolyn MacEwen [https://www.wikidata.org/wiki/Q4276487]. Now Phyllis Webb has published three books of poems, they are Even Your Right Eye in 1956, The Sea is Also a Garden in ‘62 and Naked Poems in ‘65. Her earlier work appeared in Trio along with Eli Mandel [https://www.wikidata.org/wiki/Q3050883] and Gael Turnbull [https://www.wikidata.org/wiki/Q5516589]. She is currently a program organizer for CBC's [https://www.wikidata.org/wiki/Q461761] Ideas Series [https://www.wikidata.org/wiki/Q5988057]. Ladies and Gentleman, Ms. Phyllis Webb.\n \nUnknown\n00:02:20\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nPhyllis Webb\n00:02:21\nI'd like to begin with a found poem, in that it was simply given to me by a child behaving in my presence. It's called \"Alec\".\n \nPhyllis Webb\n00:02:35\nReads \"Alec\".\n \nPhyllis Webb\n00:04:07\nReads \"Rilke\".\n \nPhyllis Webb\n00:05:58\nThis next poem is called \"Continuum\" and it's not a very extraordinary or terribly good poem even, I don't think, but it came out of a rather extraordinary experience, which was television. And it was simply a news clip from Vietnam [https://www.wikidata.org/wiki/Q881], but this one had soundtrack on it, which made it rather more touching and inspired me to wire the Prime Minister. And shortly after that and I didn't know I was getting to the wire in the middle of it until I got there and it has to do with the almost totally impossibility of separating out objective events  that happen out there in history and in time and one's own private history. \"Continuum\".\n\nPhyllis Webb\n00:07:04\nReads \"Continuum\".\n \nPhyllis Webb\n00:08:34\nI'm afraid I am suffering from the Toronto [https://www.wikidata.org/wiki/Q172] plague which may be rampant here too. The next poem has a title longer than the poem. The title is \"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\".\n \nPhyllis Webb\n00:09:04\nReads \"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\".\n \nPhyllis Webb\n00:09:13\nAnd the next poem is dedicated to Paul Goodman [https://www.wikidata.org/wiki/Q943567], and there is a quotation embedded in the poem which you will probably catch when I come to it. It's a short poem.\n \nPhyllis Webb\n00:09:32\nReads unnamed poem.\n \nPhyllis Webb\n00:10:06\nReads \"Poetry\".\n \nPhyllis Webb\n00:11:54\nI will read now from my volume The Sea is Also a Garden. \"Propositions\".\n \nPhyllis Webb\n00:12:16\nReads \"Propositions\" from The Sea is Also a Garden.\n \nPhyllis Webb\n00:13:28\nThe next poem is one that seems to elicit negative vibrations from an audience in the first three quarters, so go ahead and zoom them at me.\n \nPhyllis Webb\n00:13:43\nReads unnamed poem.\n \nPhyllis Webb\n00:16:02\nI don't think I have the voice to read both sides of this poems tonight, there are two poems, one called \"Breaking\" and one called \"Making\". They're about the creative process that involves both those things, but \"Making\" is rather long and a little hard to read, so I'll read \"Breaking\" which is better probably as a poem.\n \nPhyllis Webb\n00:16:47\nReads \"Breaking\".\n \nPhyllis Webb\n00:19:04\nThe next poem is called \"The Time of Man\" and had a rather interesting genesis. I was reading an article in Horizon [https://www.wikidata.org/wiki/Q3786777] by Dr. Loren Eiseley [https://www.wikidata.org/wiki/Q2634723], which he was putting forward some ideas on evolution and it was very beautifully written this Dr. Eiseley's an excellent stylist as well as a good scientist and I discovered that as I was going through I was marking the sentences and a few days later I began writing a poem and picked up the book and listed the sentences, so this poem takes off from the Eiseley article which is called \"The Time of Man\" in which Eiseley says we must live evolution forward amongst many other interesting things and it is started with quotations, which you will get some of the time and some of the time you won't. I sent it to him for confirmation about the scientific aspects of it, he said okay, I used to write poetry too. \"The Time of Man\".\n \nPhyllis Webb\n00:20:24\nReads \"The Time of Man\".\n \nPhyllis Webb\n00:21:38\nReads \"Sitting\".\n \nPhyllis Webb\n00:22:08\nI want to read an old poem now, which I wrote in Dublin [https://www.wikidata.org/wiki/Q1761], long years ago, if I can find it. It's called \"Poems of Dublin\", where I'd gone on a sort of literary pilgrimage in search of the spirit of Yeats [https://www.wikidata.org/wiki/Q40213] and Joyce [https://www.wikidata.org/wiki/Q6882] among others, it's a very down to earth sort of poem, in four parts.\n \nPhyllis Webb\n00:22:45\nReads \"Poems of Dublin\".\n \nPhyllis Webb\n00:25:33\nI want to move on now to my latest book called Naked Poems and which one of your local critics, or at least he wrote for the Montreal Star [https://www.wikidata.org/wiki/Q3521910] at this particular point, exclaimed of the price because there are so few words in the book. It's 2.25$. These poems are very small, and therefore very expensive and came at a bitter price, I may say, to me. They came quite as a surprise, I didn't know what I was doing when I wrote them, the first fourteen or so I thought, my goodness, what are these little things doing here, and I couldn't quite take them seriously and then I began to see the order that really was intrinsic in them, and realized that here was something, almost a new form for me to work on, and it's very bare, naked, undecorated and I wanted to get rid of all my affectations. And so I decided to write a couple hundred of them, and I wrote about a hundred and then got hung up on a technical problem, and finally reduced them to, I don't know, forty or so that are in this book. So this is a distillation, let's say. I'm going to read the first fourteen which comprise a total poem, in a sense the whole book is a poem. And then I'll read a few more as long as my voice and your patience will hold out. \"Suite I\".\n \nPhyllis Webb\n00:27:56\nReads \"Suite I\" from Naked Poems.\n \nPhyllis Webb\n00:28:53\nReads \"Flies\" from Naked Poems.\n \nPhyllis Webb\n00:29:10\nReads \"Your Blouse\" from Naked Poems.\n \nPhyllis Webb\n00:29:41\nReads \"Suite II\" from Naked Poems.\n \nPhyllis Webb\n00:31:27\nOne of the things I was interested in doing in these poems is again this subjective and the objective, here the subject and the object relationship, so that I use objects just to speak for themselves, in a sense, and yet they are all prismed in the way I see them. And again this impossibility of the dichotomy of subjective-objective.\n \nPhyllis Webb\n00:32:09\nReads unnamed poem from Naked Poems.\n \nEND\n00:32:43\n\n\ngwendolyn_macewan_i006-11-161.mp3 [File 2 of 2]\n\nRoy Kiyooka\n00:00:00\nSecond half of our program...on the second half of our program we will have Gwendolyn MacEwen reading for us. I have notes in my hand concerning her, but on the back of this album, here, a CBC [https://www.wikidata.org/wiki/Q461761] publications release of...is it eight Canadian poets? One, two, three, four… [Audience laughter]. Yes, eight Canadian poets, this album is about to be released very shortly. There's a much more comprehensive biography of her, so I shall read this as an introduction to her. Born in Toronto [https://www.wikidata.org/wiki/Q172] in 1941, began publishing poetry in the Canadian Forum [https://www.wikidata.org/wiki/Q5030045] at age fifteen. She left school at eighteen, a high school dropout, as the sociologists would say [audience applause and laughter] to devote herself to writing. She has published three books of poetry, The Drunken Clock, The Rising Fire, and most recently, A Breakfast for Barbarians. She has also published a novel called Julian the Magician. In 1965, she was awarded the prize for poetry in the CBC's new writing contest. With the aid of a Canada Council [https://www.wikidata.org/wiki/Q2993809] grant, she is currently at work on a novel on the, how do you pronounce the guy's name? [whispers off-mic to MacEwen]...Pharaoh Akhenaten [https://www.wikidata.org/wiki/Q81794] [laughter] of the eighteenth dynasty in Egypt [https://www.wikidata.org/wiki/Q79]. Ladies and gentlemen, Gwendolyn MacEwen.\n \nUnknown\n00:01:47\n[Cut or edit in tape. Unknown amount of time elapsed].\n \nGwendolyn MacEwen\n00:01:47\nSo listen, I had a great idea that if our voices gave out we were just going to open up the record and bring a recorder up on a stage and place the needle in the proper groove, and then just let the record speak for itself. However, I guess the voice is intact. I'm reading first from my latest work, poems from the last year. The first is called \"The Zoo\".\n  \nGwendolyn MacEwen\n00:02:22\nReads \"The Zoo\".\n \nGwendolyn MacEwen\n00:03:38\nNot feeling that I'd sufficiently exploited beasts and things, I wrote another called \"The Taming of the Dragon\".\n \nGwendolyn MacEwen\n00:03:49\nReads \"The Taming of the Dragon\".\n \nGwendolyn MacEwen\n00:04:57\nStill not having exploited the animal kingdom, I wrote a poem which, well, is not connected with the animal kingdom at all, really. It's called \"The Horse-head Nebula\".\n  \nGwendolyn MacEwen\n00:05:12\nReads \"The Horse-head Nebula\".\n \nGwendolyn MacEwen\n00:06:19.86\nReads \"Wheels\".\n \nGwendolyn MacEwen\n00:07:18\nThis is a poem which, oddly enough, came out in a Mexican magazine in Spanish not too long ago, looking completely unrecognizable to me. It's called \"I Should Have Predicted\".\n \nGwendolyn MacEwen\n00:07:38\nReads \"I Should Have Predicted\" [published later in The Shadow-Maker].\n \nGwendolyn MacEwen\n00:08:47\nSome people have asked me if that poem was about Toronto, and I'm at a loss to answer, not having seen horses, riders, chariots, or anything remotely similar in Toronto. Plus the fact, I'm sure many people have predicted the death of Toronto, as far as that goes. I recall Phyllis reading a poem on perhaps an evolutionary theme, and I have one here called \"The Heel\".\n \nGwendolyn MacEwen\n00:09:32\nReads \"The Heel\" [published later in The Shadow-Maker].\n \nGwendolyn MacEwen\n00:11:16\nNow, I think I can safely move into Breakfast for Barbarians. It needs a little preparation, a little cushioning, perhaps. This is a poem called \"The Garden of Square Roots: An Autobiography\".\n \nGwendolyn MacEwen\n00:12:01\nReads \"The Garden of Square Roots: An Autobiography\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:13:33\nI think all poets should have some suffering poems, poems of great anguish. So feeling I was somewhat deficient in this area [audience laughter], I made use of a very opportune situation, recovering from an appendectomy in hospital. [Audience laughter]. Deciding that surely this was my moment, if I was ever going to write a painful poem it must be now. [Audience laughter]. So this is \"Appendectomy\".\n \nGwendolyn MacEwen\n00:14:20\nReads \"Appendectomy\".\n \nUnknown\n00:14:22\n[High-pitched sound. Possible damage to recording].\n \nUnknown\n00:14:57\n[High-pitched sound. Possible damage to recording].\n \nGwendolyn MacEwen\n00:15:20\nAlthough I can't say that I'm convinced that that suffering was valid, either. But. The next poem is called \"The Self Assumes\", and I rarely talk about how a poem gets written because it seems mostly irrelevant, but I would remark that the last line of this poem was one of those very strange, surprising things that comes to one almost instantaneously, and one plucks it out of the air. I was very delighted with it. \"The Self Assumes\".\n \nGwendolyn MacEwen\n00:16:08\nReads \"The Self Assumes\".\n \nGwendolyn MacEwen\n00:18:01\nThe next poem is one of a group of poems toward the end of this book where the, I think the tone or the voice takes a somewhat radical departure from the poems in the rest of the book. It's called \"The Caravan\".\n \nGwendolyn MacEwen\n00:18:23\nReads \"The Caravan\" from A Breakfast for Barbarians. \n \nGwendolyn MacEwen\n00:20:29\nI'm trying to locate a poem in this book which I realized doesn't exist. It's somewhere else altogether. I'd like to end this reading with a trilogy of poems. Which are also toward the end of Breakfast for Barbarians. Poems which, for me, represent a stage in my own growth as a poet. They are called the Arcanum poems, I believe they're on the record which Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was showing you. \n \nGwendolyn MacEwen\n00:21:15\nReads \"Arcanum One\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:22:35\nBefore I go into \"Arcanum Two\", in case anyone is mystified with beetles and suns and various creatures like that, let me say that the book is, the poem, rather, is of an Egyptian theme. A royal house. And the events taking place within it. So we move on: \"Arcanum Two\".\n \nGwendolyn MacEwen\n00:23:05\nReads \"Arcanum Two\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:24:33\nAnd finally, \"Arcanum Three\".\n \nGwendolyn MacEwen\n00:24:39\nReads \"Arcanum Three\" from A Breakfast for Barbarians.\n \nGwendolyn MacEwen\n00:25:31\nThank you very much. \n \nUnknown\n00:25:34\n[Cut or edit in tape. Unknown amount of time elapsed]. \n \nRoy Kiyooka\n00:25:34\n...everybody here, I want to thank Gwendolyn MacEwen. Our night three is on December the second. Thank you very much. \n \nEND\n00:25:42\n"],"Note":["[{\"note\":\"Year-Specific Information:\\n\\n In 1966, Phyllis Webb was executive producer of CBC’s “Ideas” radio show in Toronto. She had just published Naked Poems in 1965.\\n\\nIn 1966, Gwendolyn MacEwen published Breakfast for Barbarians (Ryerson Press).\",\"type\":\"General\"},{\"note\":\"\\nLocal Connections:\\n\\nWhile studying at McGill in the early 50’s, she became involved with the literary circle that included F.R. Scott, Louis Dudek and Irving Layton. Her work was published by Toronto’s Coach House Press, McClelland and Stewart, Ryerson University Press and Vancouver’s Talonbooks. She also kept correspondences with George Bowering (Archives Canada).\\n\\nThe direct connection between Sir George Williams University and Gwendolyn MacEwen is unknown. However, MacEwen was an important emerging poet from Toronto, associated with poets Margaret Atwood, and husband Milton Acorn.\",\"type\":\"General\"},{\"note\":\"I006-11-130:\\nOriginal transcript, research, introduction and edits by Celyn Harding-Jones \\n\\nAdditional research and edits by Ali Barillaro\\n\\nI006-11-161:\\nOriginal transcript by Rachel Kyne\\n\\nOriginal print catalogue, research, introduction and edits by Celyn Harding-Jones\\n\\nAdditional research and edits by Ali Barillaro\\n\",\"type\":\"Cataloguer\"},{\"note\":\"2 reel-to-reel tapes>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Atwood, Margaret. “MacEwen, Gwendolyn (1941-87)”. Routledge Encyclopedia of Post- Colonial Literatures in English. Eugene Benson & L.W. Connolly (eds). London: Routledge, 1994\"},{\"url\":\"https://www.worldcat.org/title/poetry-of-gwendolyn-macewen-volume-one-the-early-years/oclc/1127735121&referer=brief_results\",\"citation\":\"Atwood, Margaret and Barry Callaghan (eds). The Poetry of Gwendolyn MacEwen; Volume One: The Early Years. Toronto: Exile Editions, 1993. \"},{\"url\":\"https://www.worldcat.org/title/encyclopedia-of-post-colonial-literatures-in-english-vol-1/oclc/32566813&referer=brief_results\",\"citation\":\"Beddoes, Julie. “Webb, Phyllis (1927-)”. Routledge Encyclopedia of Post-Colonial Literatures in English. Eugene Benson and L.W. Conolly (eds). London: Routledge, 1994. \"},{\"url\":\"https://www.worldcat.org/title/contemporary-canadian-poem-anthology/oclc/988192362&referer=brief_results\",\"citation\":\"Bowering, George, ed. The Contemporary Canadian Poetry Anthology. Toronto: Coach House Press, 1994. \"},{\"url\":\"https://www.worldcat.org/title/margaret-atwood-a-biography/oclc/398000144&referer=brief_results\",\"citation\":\"Cooke, Nathalie. Margaret Atwood: A Biography. Toronto: ECW Press, 1998. \"},{\"url\":\"https://www.worldcat.org/title/from-there-to-here-a-guide-to-english-canadian-literature-since-1960-ii-our-nature-our-voices/oclc/878901819&referer=brief_results\",\"citation\":\"Davey, Frank. “Gwendolyn MacEwen”. From There to Here. Erin, Ontario: Press Porcepic, 1974. \"},{\"url\":\"https://www.worldcat.org/title/15-canadian-poets-x2/oclc/977756354&referer=brief_results\",\"citation\":\"Geddes, Gary. “Gwendolyn MacEwen (1941-1987)”. Fifteen Canadian Poets Times Two. Toronto: Oxford University Press, 1990. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Geddes, Gary. \\\"Webb, Phyllis\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"http://www.ccca.ca/history/ozz/english/authors/macewen_gwendolyn.html\",\"citation\":\"“Gwendolyn MacEwen (1941-1987)”. One Zero Zero: A Virtual Library of English Canadian Small Press 1945-2044. \"},{\"url\":\"https://www.worldcat.org/title/breakfast-for-barbarians/oclc/468766375&referer=brief_results\",\"citation\":\"MacEwen, Gwendolyn. A Breakfast for Barbarians. Toronto: Ryerson Press, 1966. \"},{\"url\":\"https://www.worldcat.org/title/magic-animals-selected-poems-old-and-new/oclc/643604498&referer=brief_results\",\"citation\":\"MacEwen, Gwendolyn. Magic Animals: Selected Poems Old and New. Toronto: Macmillan, 1974. \"},{\"url\":\"https://www.worldcat.org/title/poets-of-contemporary-canada-1960-1970/oclc/659470&referer=brief_results\",\"citation\":\"Mandel, Eli. “Gwendolyn MacEwen”. Poets of Contemporary Canada 1960-1970. Montreal: McClelland and Stewart, 1972. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-twentieth-century-poetry-in-english/oclc/807465072&referer=brief_results\",\"citation\":\"Manhire, Bill.\\\"MacEwen, Gwendolyn\\\". The Oxford Companion to Twentieth-Century Poetry in English. Ian Hamilton (ed). Oxford University Press, 1996. \\n\"},{\"url\":\"https://www.bac-lac.gc.ca/eng/discover/archives-literary/Pages/list-fonds-collections.aspx#p\",\"citation\":\"“Phyllis Webb fonds”. Library and Archives Canada. \"},{\"url\":\"https://www.worldcat.org/title/sea-is-also-a-garden/oclc/422686224&referer=brief_results\",\"citation\":\"Webb, Phyllis. The Sea is Also a Garden. Toronto: Ryerson Press, 1962. \"},{\"url\":\"https://www.worldcat.org/title/even-your-right-eye/oclc/654581694&referer=brief_results\",\"citation\":\"Webb, Phyllis. Even Your Right Eye. Toronto: McClelland & Stewart, 1956. \"},{\"url\":\"https://www.worldcat.org/title/naked-poems/oclc/423359678&referer=brief_results\",\"citation\":\"Webb, Phyllis. Naked Poems. Vancouver: Periwinkle Press, 1965. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Woodcock, George & Rosemary Sullivan. \\\"MacEwen, Gwendolyn\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"\",\"citation\":\"MacEwen, Gwendolyn. The Shadow-Maker. Toronto: Macmillan, 1969.\"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. OP-ED. 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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/phyllis_webb_i006-11-130.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"phyllis_webb_i006-11-130.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:32:43\",\"precision\":\"\",\"size\":\"78.5 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"phyllis_webb_i006-11-130.mp3 [File 1 of 2]\\n\\nRoy Kiyooka\\n00:00:00\\nNow perhaps some of you are wondering what these readings are all about and how the choices made, I have here a slight commentary on that which I would like to read to you. Our answer to this is that we have not attempted to make the series an exhaustive coverage of any particular school or faction of poetry. Nor has our concern been an attempt to seek out the so-called \\\"great poets\\\". Our choices have been made with the desire to present to you, hopefully, the possibilities of utterance that is more than parochial. In short, this is our attempt to sound just that diversity that so much characterizes the North American Poetry scene. Now tonight it is my very great pleasure to introduce to you two poets whose distinctiveness is more than the fact of their sex. I want to introduce each poet in turn, Phyllis Webb [https://www.wikidata.org/wiki/Q7188637] will begin the readings and after the intermission, I shall introduce to you Gwendolyn MacEwen [https://www.wikidata.org/wiki/Q4276487]. Now Phyllis Webb has published three books of poems, they are Even Your Right Eye in 1956, The Sea is Also a Garden in ‘62 and Naked Poems in ‘65. Her earlier work appeared in Trio along with Eli Mandel [https://www.wikidata.org/wiki/Q3050883] and Gael Turnbull [https://www.wikidata.org/wiki/Q5516589]. She is currently a program organizer for CBC's [https://www.wikidata.org/wiki/Q461761] Ideas Series [https://www.wikidata.org/wiki/Q5988057]. Ladies and Gentleman, Ms. Phyllis Webb.\\n \\nUnknown\\n00:02:20\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nPhyllis Webb\\n00:02:21\\nI'd like to begin with a found poem, in that it was simply given to me by a child behaving in my presence. It's called \\\"Alec\\\".\\n \\nPhyllis Webb\\n00:02:35\\nReads \\\"Alec\\\".\\n \\nPhyllis Webb\\n00:04:07\\nReads \\\"Rilke\\\".\\n \\nPhyllis Webb\\n00:05:58\\nThis next poem is called \\\"Continuum\\\" and it's not a very extraordinary or terribly good poem even, I don't think, but it came out of a rather extraordinary experience, which was television. And it was simply a news clip from Vietnam [https://www.wikidata.org/wiki/Q881], but this one had soundtrack on it, which made it rather more touching and inspired me to wire the Prime Minister. And shortly after that and I didn't know I was getting to the wire in the middle of it until I got there and it has to do with the almost totally impossibility of separating out objective events  that happen out there in history and in time and one's own private history. \\\"Continuum\\\".\\n\\nPhyllis Webb\\n00:07:04\\nReads \\\"Continuum\\\".\\n \\nPhyllis Webb\\n00:08:34\\nI'm afraid I am suffering from the Toronto [https://www.wikidata.org/wiki/Q172] plague which may be rampant here too. The next poem has a title longer than the poem. The title is \\\"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\\\".\\n \\nPhyllis Webb\\n00:09:04\\nReads \\\"A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the Supermarket Where the Doors Open Without Pushing\\\".\\n \\nPhyllis Webb\\n00:09:13\\nAnd the next poem is dedicated to Paul Goodman [https://www.wikidata.org/wiki/Q943567], and there is a quotation embedded in the poem which you will probably catch when I come to it. It's a short poem.\\n \\nPhyllis Webb\\n00:09:32\\nReads unnamed poem.\\n \\nPhyllis Webb\\n00:10:06\\nReads \\\"Poetry\\\".\\n \\nPhyllis Webb\\n00:11:54\\nI will read now from my volume The Sea is Also a Garden. \\\"Propositions\\\".\\n \\nPhyllis Webb\\n00:12:16\\nReads \\\"Propositions\\\" from The Sea is Also a Garden.\\n \\nPhyllis Webb\\n00:13:28\\nThe next poem is one that seems to elicit negative vibrations from an audience in the first three quarters, so go ahead and zoom them at me.\\n \\nPhyllis Webb\\n00:13:43\\nReads unnamed poem.\\n \\nPhyllis Webb\\n00:16:02\\nI don't think I have the voice to read both sides of this poems tonight, there are two poems, one called \\\"Breaking\\\" and one called \\\"Making\\\". They're about the creative process that involves both those things, but \\\"Making\\\" is rather long and a little hard to read, so I'll read \\\"Breaking\\\" which is better probably as a poem.\\n \\nPhyllis Webb\\n00:16:47\\nReads \\\"Breaking\\\".\\n \\nPhyllis Webb\\n00:19:04\\nThe next poem is called \\\"The Time of Man\\\" and had a rather interesting genesis. I was reading an article in Horizon [https://www.wikidata.org/wiki/Q3786777] by Dr. Loren Eiseley [https://www.wikidata.org/wiki/Q2634723], which he was putting forward some ideas on evolution and it was very beautifully written this Dr. Eiseley's an excellent stylist as well as a good scientist and I discovered that as I was going through I was marking the sentences and a few days later I began writing a poem and picked up the book and listed the sentences, so this poem takes off from the Eiseley article which is called \\\"The Time of Man\\\" in which Eiseley says we must live evolution forward amongst many other interesting things and it is started with quotations, which you will get some of the time and some of the time you won't. I sent it to him for confirmation about the scientific aspects of it, he said okay, I used to write poetry too. \\\"The Time of Man\\\".\\n \\nPhyllis Webb\\n00:20:24\\nReads \\\"The Time of Man\\\".\\n \\nPhyllis Webb\\n00:21:38\\nReads \\\"Sitting\\\".\\n \\nPhyllis Webb\\n00:22:08\\nI want to read an old poem now, which I wrote in Dublin [https://www.wikidata.org/wiki/Q1761], long years ago, if I can find it. It's called \\\"Poems of Dublin\\\", where I'd gone on a sort of literary pilgrimage in search of the spirit of Yeats [https://www.wikidata.org/wiki/Q40213] and Joyce [https://www.wikidata.org/wiki/Q6882] among others, it's a very down to earth sort of poem, in four parts.\\n \\nPhyllis Webb\\n00:22:45\\nReads \\\"Poems of Dublin\\\".\\n \\nPhyllis Webb\\n00:25:33\\nI want to move on now to my latest book called Naked Poems and which one of your local critics, or at least he wrote for the Montreal Star [https://www.wikidata.org/wiki/Q3521910] at this particular point, exclaimed of the price because there are so few words in the book. It's 2.25$. These poems are very small, and therefore very expensive and came at a bitter price, I may say, to me. They came quite as a surprise, I didn't know what I was doing when I wrote them, the first fourteen or so I thought, my goodness, what are these little things doing here, and I couldn't quite take them seriously and then I began to see the order that really was intrinsic in them, and realized that here was something, almost a new form for me to work on, and it's very bare, naked, undecorated and I wanted to get rid of all my affectations. And so I decided to write a couple hundred of them, and I wrote about a hundred and then got hung up on a technical problem, and finally reduced them to, I don't know, forty or so that are in this book. So this is a distillation, let's say. I'm going to read the first fourteen which comprise a total poem, in a sense the whole book is a poem. And then I'll read a few more as long as my voice and your patience will hold out. \\\"Suite I\\\".\\n \\nPhyllis Webb\\n00:27:56\\nReads \\\"Suite I\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:28:53\\nReads \\\"Flies\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:29:10\\nReads \\\"Your Blouse\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:29:41\\nReads \\\"Suite II\\\" from Naked Poems.\\n \\nPhyllis Webb\\n00:31:27\\nOne of the things I was interested in doing in these poems is again this subjective and the objective, here the subject and the object relationship, so that I use objects just to speak for themselves, in a sense, and yet they are all prismed in the way I see them. And again this impossibility of the dichotomy of subjective-objective.\\n \\nPhyllis Webb\\n00:32:09\\nReads unnamed poem from Naked Poems.\\n \\nEND\\n00:32:43\\n\",\"notes\":\"Phyllis Webb reads from The Sea is Also a Garden (Ryerson Press, 1962), Even Your Right Eye (McClelland & Stewart, 1956), and Naked Poems (Periwinkle Press, 1965). \\n\\n00:00- Roy Kiyooka Introduction [INDEX: Kiyooka explains decisions behind Reading Series Poets, North American Poetry scene, Phyllis Webb, Gwendolyn MacEwan, Even Your Right Eye in 1956, The Sea is Also a Garden in 1962 and Naked Poems in 1965 by Phyllis Webb, Trio with Eli Mandel and Gael Turnbull, CBC’s Ideas Series]\\n02:21- Phyllis Webb introduces “Alec” [INDEX: found poem]\\n02:35- Reads “Alec”\\n04:07- Reads “Rilke”\\n05:58- Introduces “Continuum” [INDEX: Television clip from Vietnam, Prime Minister,        objective events and private history]\\n07:04- Reads “Continuum”\\n08:34- Introduces “A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the         Supermarket Where the Doors Open Without Pushing” [INDEX: Toronto]\\n09:04- Reads “A Loaf of Sliced Bread Wrapped in Cellophane and Bought at the   \\tSupermarket Where the Doors Open Without Pushing”\\n09:13- Introduces first line “What decides the vision...” [INDEX: Paul Goodman]\\n09:32- Reads first line “What decides the vision...”\\n10:06- Reads “Poetry”\\n11:54- Introduces “Propositions” [INDEX: from The Sea is Also a Garden]\\n12:16- Reads “Propositions”\\n13:28- Introduces first line “To friends who have also considered suicide...”\\n13:43- Reads first line “To friends who have also considered suicide...”\\n16:02- Introduces “Breaking” [INDEX: “Making”, creative process]\\n16:47- Reads “Breaking”\\n19:04- Introduces “The Time of Man” [INDEX: article in Horizon by Dr. Loren Eiseley,         evolution]\\n20:24- Reads “The Time of Man”\\n21:38- Reads “Sitting”\\n22:08- Introduces “Poems of Dublin” [INDEX: pilgrimage to Dublin, Yeats, Joyce]\\n22:45- Reads “Poems of Dublin”\\n25:33- Reads “Suite I” [INDEX: from Naked Poems, critic from the Montreal Star, writing     process of Naked Poems]\\n28:53- Reads “Flies” [INDEX: not in Howard Fink List of poems]\\n29.10- Reads “Your Blouse” [INDEX: not in Howard Fink List of poems]\\n29:41- Reads “Suite II” [INDEX: not in Howard Fink List of poems]\\n31:27- Introduces first line “An instant of white roses...” [INDEX: in section “Non Linear” in Naked Poems, subject-object relationship; not in Howard Fink List of Poems]\\n32:43.57- END OF RECORDING\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/phyllis-webb-at-sgwu-1966-roy-kiyooka/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/gwendolyn_macewen_i006-11-161.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"gwendolyn_macewan_i006-11-161.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:25:42\",\"precision\":\"\",\"size\":\"61.7 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"gwendolyn_macewan_i006-11-161.mp3 [File 2 of 2]\\n\\nRoy Kiyooka\\n00:00:00\\nSecond half of our program...on the second half of our program we will have Gwendolyn MacEwen reading for us. I have notes in my hand concerning her, but on the back of this album, here, a CBC [https://www.wikidata.org/wiki/Q461761] publications release of...is it eight Canadian poets? One, two, three, four… [Audience laughter]. Yes, eight Canadian poets, this album is about to be released very shortly. There's a much more comprehensive biography of her, so I shall read this as an introduction to her. Born in Toronto [https://www.wikidata.org/wiki/Q172] in 1941, began publishing poetry in the Canadian Forum [https://www.wikidata.org/wiki/Q5030045] at age fifteen. She left school at eighteen, a high school dropout, as the sociologists would say [audience applause and laughter] to devote herself to writing. She has published three books of poetry, The Drunken Clock, The Rising Fire, and most recently, A Breakfast for Barbarians. She has also published a novel called Julian the Magician. In 1965, she was awarded the prize for poetry in the CBC's new writing contest. With the aid of a Canada Council [https://www.wikidata.org/wiki/Q2993809] grant, she is currently at work on a novel on the, how do you pronounce the guy's name? [whispers off-mic to MacEwen]...Pharaoh Akhenaten [https://www.wikidata.org/wiki/Q81794] [laughter] of the eighteenth dynasty in Egypt [https://www.wikidata.org/wiki/Q79]. Ladies and gentlemen, Gwendolyn MacEwen.\\n \\nUnknown\\n00:01:47\\n[Cut or edit in tape. Unknown amount of time elapsed].\\n \\nGwendolyn MacEwen\\n00:01:47\\nSo listen, I had a great idea that if our voices gave out we were just going to open up the record and bring a recorder up on a stage and place the needle in the proper groove, and then just let the record speak for itself. However, I guess the voice is intact. I'm reading first from my latest work, poems from the last year. The first is called \\\"The Zoo\\\".\\n  \\nGwendolyn MacEwen\\n00:02:22\\nReads \\\"The Zoo\\\".\\n \\nGwendolyn MacEwen\\n00:03:38\\nNot feeling that I'd sufficiently exploited beasts and things, I wrote another called \\\"The Taming of the Dragon\\\".\\n \\nGwendolyn MacEwen\\n00:03:49\\nReads \\\"The Taming of the Dragon\\\".\\n \\nGwendolyn MacEwen\\n00:04:57\\nStill not having exploited the animal kingdom, I wrote a poem which, well, is not connected with the animal kingdom at all, really. It's called \\\"The Horse-head Nebula\\\".\\n  \\nGwendolyn MacEwen\\n00:05:12\\nReads \\\"The Horse-head Nebula\\\".\\n \\nGwendolyn MacEwen\\n00:06:19.86\\nReads \\\"Wheels\\\".\\n \\nGwendolyn MacEwen\\n00:07:18\\nThis is a poem which, oddly enough, came out in a Mexican magazine in Spanish not too long ago, looking completely unrecognizable to me. It's called \\\"I Should Have Predicted\\\".\\n \\nGwendolyn MacEwen\\n00:07:38\\nReads \\\"I Should Have Predicted\\\" [published later in The Shadow-Maker].\\n \\nGwendolyn MacEwen\\n00:08:47\\nSome people have asked me if that poem was about Toronto, and I'm at a loss to answer, not having seen horses, riders, chariots, or anything remotely similar in Toronto. Plus the fact, I'm sure many people have predicted the death of Toronto, as far as that goes. I recall Phyllis reading a poem on perhaps an evolutionary theme, and I have one here called \\\"The Heel\\\".\\n \\nGwendolyn MacEwen\\n00:09:32\\nReads \\\"The Heel\\\" [published later in The Shadow-Maker].\\n \\nGwendolyn MacEwen\\n00:11:16\\nNow, I think I can safely move into Breakfast for Barbarians. It needs a little preparation, a little cushioning, perhaps. This is a poem called \\\"The Garden of Square Roots: An Autobiography\\\".\\n \\nGwendolyn MacEwen\\n00:12:01\\nReads \\\"The Garden of Square Roots: An Autobiography\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:13:33\\nI think all poets should have some suffering poems, poems of great anguish. So feeling I was somewhat deficient in this area [audience laughter], I made use of a very opportune situation, recovering from an appendectomy in hospital. [Audience laughter]. Deciding that surely this was my moment, if I was ever going to write a painful poem it must be now. [Audience laughter]. So this is \\\"Appendectomy\\\".\\n \\nGwendolyn MacEwen\\n00:14:20\\nReads \\\"Appendectomy\\\".\\n \\nUnknown\\n00:14:22\\n[High-pitched sound. Possible damage to recording].\\n \\nUnknown\\n00:14:57\\n[High-pitched sound. Possible damage to recording].\\n \\nGwendolyn MacEwen\\n00:15:20\\nAlthough I can't say that I'm convinced that that suffering was valid, either. But. The next poem is called \\\"The Self Assumes\\\", and I rarely talk about how a poem gets written because it seems mostly irrelevant, but I would remark that the last line of this poem was one of those very strange, surprising things that comes to one almost instantaneously, and one plucks it out of the air. I was very delighted with it. \\\"The Self Assumes\\\".\\n \\nGwendolyn MacEwen\\n00:16:08\\nReads \\\"The Self Assumes\\\".\\n \\nGwendolyn MacEwen\\n00:18:01\\nThe next poem is one of a group of poems toward the end of this book where the, I think the tone or the voice takes a somewhat radical departure from the poems in the rest of the book. It's called \\\"The Caravan\\\".\\n \\nGwendolyn MacEwen\\n00:18:23\\nReads \\\"The Caravan\\\" from A Breakfast for Barbarians. \\n \\nGwendolyn MacEwen\\n00:20:29\\nI'm trying to locate a poem in this book which I realized doesn't exist. It's somewhere else altogether. I'd like to end this reading with a trilogy of poems. Which are also toward the end of Breakfast for Barbarians. Poems which, for me, represent a stage in my own growth as a poet. They are called the Arcanum poems, I believe they're on the record which Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was showing you. \\n \\nGwendolyn MacEwen\\n00:21:15\\nReads \\\"Arcanum One\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:22:35\\nBefore I go into \\\"Arcanum Two\\\", in case anyone is mystified with beetles and suns and various creatures like that, let me say that the book is, the poem, rather, is of an Egyptian theme. A royal house. And the events taking place within it. So we move on: \\\"Arcanum Two\\\".\\n \\nGwendolyn MacEwen\\n00:23:05\\nReads \\\"Arcanum Two\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:24:33\\nAnd finally, \\\"Arcanum Three\\\".\\n \\nGwendolyn MacEwen\\n00:24:39\\nReads \\\"Arcanum Three\\\" from A Breakfast for Barbarians.\\n \\nGwendolyn MacEwen\\n00:25:31\\nThank you very much. \\n \\nUnknown\\n00:25:34\\n[Cut or edit in tape. Unknown amount of time elapsed]. \\n \\nRoy Kiyooka\\n00:25:34\\n...everybody here, I want to thank Gwendolyn MacEwen. Our night three is on December the second. Thank you very much. \\n \\nEND\\n00:25:42\\n\",\"notes\":\"Gwendolyn MacEwen reads from Breakfast for Barbarians (Ryerson Press, 1966) and poems published later in The Shadow-Maker (Macmillan, 1969) and a few unknown poems.\\n\\n00:00- Roy Kiyooka introduces Gwendolyn MacEwen. [INDEX: second half of reading, CBC recording of eight Canadian poets (Phyllis Webb, Earle Birney, John Newlove, Al Purdy, Irving Layton, Leonard Cohen, George Bowering and Gwendolyn MacEwen (CBC, 1966), biography, born in Toronto in 1941, publishing poetry at age 15, high school dropout, sociologists, three poetry books: The Drunken Clock, The Rising Fire and Breakfast for Barbarians, novel Julian and the Magician, 1965 award from CBC’s\\nwriting contest, Canada Council grant, Pharaoh Akhenaton and the eighteenth dynasty in Egypt, (perhaps King of Egypt, King of Dreams (Macmillan, 1971)].\\n01:47- Gwendolyn MacEwen introduces reading and “The Zoo”. [INDEX: loss of voice,\\nrecording, record, latest work].\\n02:22- Reads “The Zoo”.\\n03:38- Introduces “The Taming of the Dragon”. [INDEX: exploited beasts].\\n03:49- Reads “The Taming of the Dragon”.\\n04:57- Introduces “The Horse-head Nebula”. [INDEX: exploited the animal kingdom].\\n05:12- Reads “The Horse-head Nebula”.\\n06:19- Reads “Wheels”.\\n07:18- Introduces “I Should Have Predicted”. [INDEX: published in Mexican magazine in\\nSpanish; later published in The Shadow-Maker (Macmillan, 1969)].\\n07:38- Reads “I Should Have Predicted”.\\n08:47- Explains “I Should Have Predicted” and introduces “The Heel”. [INDEX: about\\nToronto, horses, riders, chariots, death of Toronto, Phyllis [Webb] poem, evolutionary\\ntheme; later published in The Shadow-Maker (Macmillan, 1969)].\\n09:32- Reads “The Heel”.\\n11:16- Introduces Breakfast for Barbarians. [INDEX: preparation, cushioning].\\n11:52- Introduces “The Garden of Square Roots: An Autobiography”. [INDEX: from\\nBreakfast for Barbarians].\\n12:01- Reads “The Garden of Square Roots: An Autobiography”.\\n13:33- Introduces “Appendectomy”. [INDEX: suffering poem, poets, appendectomy in hospital,painful poem; from Breakfast for Barbarians].\\n14:20- Reads “Appendectomy”.\\n14:22- Damage to recording\\n14:57- Damage to recording\\n15:20- Explains “Appendectomy”, introduces “The Self Assumes”. [INDEX: suffering,\\nvalidity, how a poem gets written, irrelevant, last line, strange surprise, instantaneous, out of air; from Breakfast for Barbarians].\\n16:08- Reads “The Self Assumes”.\\n18:01- Introduces “The Caravan”. [INDEX: group of poems, tone, voice, radical departure; from Breakfast for Barbarians].\\n18:23- Reads “The Caravan”.\\n20:29- Introduces “Arcanum One”. [INDEX: poem that doesn’t exist, trilogy of poems, at the end of Breakfast for Barbarians, stage in growth as a poet, Arcanum poems, on record, Roy Kiyooka].\\n21:15- Reads “Arcanum One”.\\n22:35- Introduces “Arcanum Two”. [INDEX: beetles, sun, creatures, Egyptian theme, royal house].\\n23:05- Reads “Arcanum Two”.\\n24:33- Reads “Arcanum Three”.\\n25:31- Gwendolyn MacEwen thanks the audience.\\n25:34- Roy Kiyooka thanks Gwendolyn MacEwen, announces date of next reading. [INDEX: next reading December 2].\\n25:42.80- END OF RECORDING.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gwendolyn-macewen-at-sgwu-1966/\"}]"],"score":1.3784283},{"id":"1257","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":["Roy Kiyooka and Richard (Dick) Sommer at Sir George Williams University, The Poetry Series, 2 December 1966"],"item_title_source":["Cataloguer"],"item_title_note":["\"R. KIYOOKA 2/12/66\" written on the spine of the tape's box. \"Roy Kiyooka (2 tracls 3 3/4) and I086-11-030\" also written on reel and the tape's box.\n\n\"Dick Sommer Sides 1 & 2  3 3/4\"/sec 2/12/66\" handwriitten on the back of the tape's box. \"I086-11-046\" and \"RT 500\" also written."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["The Poetry Series"],"item_subseries_title":["Poetry 1"],"item_identifiers":["[I086-11-030, I086-11-046]"],"access":["Streaming"],"creator_names":["Sommer, Richard","Kiyooka, Roy"],"creator_names_search":["Sommer, Richard","Kiyooka, Roy"],"creators":["[{\"url\":\"https://viaf.org/viaf/46769463/#Sommer,_Richard\",\"name\":\"Sommer, Richard\",\"dates\":\"1934-2012\",\"notes\":\"Richard Sommer was born on August 27, 1934 in St. Paul, Minnesota. He graduated with a B.A. summa cum laude from the University of Minnesota in 1956, then went on to receive an A.M. in 1957 and a Ph.D. in 1962 from Harvard University. In 1961 Sommer married Gillian Taylor, but remarried Victoria Tansey in 1969, with whom he had two children. Sommer won the American-Scandinavian Foundation fellowship for research in Norway in 1958-9, and published The Odyssey and Primitive Religion in 1962 (Norwegian Universities Press). That same year, he was hired at Sir George Williams College (now Concordia University) as an assistant professor from 1962 to 1967, when he became an associate professor of English in 1967. His second publication, Strangers and Pilgrims: An Essay on the Metaphor of Journey, was published in 1964, written with Georg Roppen (Humanities Press). Sommer’s collections of poetry that have been published by Delta Canada include Homage to Mr. MacMullin (Delta Canada, 1969), The Blue Sky Notebook (New Delta, 1972), Milarepa (New Delta, 1976), Left Hand Mind (New Delta, 1976), The Other Side of Games (New Delta, 1977), and Selected and New Poems (1983) published by Vehicule Press. After Sommer retired from Sir George Williams University, he became increasingly active in environmental conservation, leading the conservation effort of Pinnacle Mountain in Quebec, which was documented in an NFB film, The Poet and the Pinnacle (1995). In the early 2000s, Richard Sommer was diagnosed with prostate cancer and, shortly before his death in 2012, he published Cancer Songs (Signature Editions 2011), a mix of verse and journaling exploring his experiences living with the illness.\",\"nation\":[],\"role\":[\"Performer\",\"Author\",\"Series organizer\"]},{\"url\":\"http://viaf.org/viaf/30784426\",\"name\":\"Kiyooka, Roy\",\"dates\":\"1926-1994\",\"notes\":\"Roy Kiyooka was born in Moose Jaw, Saskatchewan in 1926. Sculptor, painter, photographer, poet, film-maker and teacher, he was influential in many important literary and artistic scenes all across Canada. Kiyooka studied fine art at the Provincial Institute of Art and Technology in Alberta, the Institute Allende in Mexico, the University of Saskatchewan, Emma Lake Workshops. He married Monica Dealtry Barker in 1955 and had three children.  He has exhibited his works in numerous cities, including Edmonton, Calgary, San Miguel D’Allende, Saskatoon, Regina, Vancouver, Toronto, New York and Montreal. Kiyooka’s work was shown at the National Gallery of Canada and the Museum of Modern Art in Washington, D.C. He won the silver medal representing Canada at the Sao Paulo Biennial in 1966. Kiyooka taught at various institutions, including Regina College, where he worked from 1956 to 1960, the Vancouver School of Art (Now Emily Carr Institute of Art + Design) from 1960-1965, Sir George Williams University (now Concordia University) from 1966 to 1969 and the University of British Columbia from 1972 to his retirement. During the 60’s, Kiyooka played a crucial role in the artistic renaissance of Vancouver poetry and art, and served to connect the Vancouver scene with the Coach House Press group in Toronto. It was around this time that he began writing poetry, publishing Kyoto airs in 1964 (Periwinkle Press), illustrating Daphne Marlatt’s The unquiet bed in 1967, Nevertheless these eyes also in 1967 (Coach House Press), Stoned gloves in 1970 (Coach House Press), Transcanada letters in 1975 (Talon Books), The Fontainebleau dream machine: 18 frames from a book in 1977 (Coach House Press), and Of seasonal pleasures and small hindrances in 1978 (B.C. Monthly). Pacific windows: collected poems of Roy Kiyooka came out in 1974 (Talon Books), and included a biography, bibliography and notes on his poetry. Pear tree poems came out almost a decade later in 1988 (Coach House Press) and was nominated for a Governor General’s Award. More recently he published Mothertalk: Life Stories of Mary Kiyoshi Kiyooka in 1997(NeWest Press), edited by Daphne Marlatt. Roy Kiyooka died in 1994.\",\"nation\":[],\"role\":[\"Author\",\"Performer\",\"Series organizer\"]}]"],"contributors_names":["Hoffman, Stanton"],"contributors_names_search":["Hoffman, Stanton"],"contributors":["[{\"url\":\"\",\"name\":\"Hoffman, Stanton\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Series organizer\",\"Speaker\"]}]"],"Series_organizer_name":["Hoffman, Stanton"],"Speaker_name":["Hoffman, Stanton"],"Performance_Date":[1966],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"1/4 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"BASF\",\"generations\":\"Duplicate\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"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\":\"Kodak\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"3 3/4 ips\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"00:50:00\",\"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"],"physical_compositions":["Magnetic Tape","Magnetic Tape"],"recording_type":["Analogue","Analogue"],"AV_type":["Audio","Audio"],"playback_mode":["Mono","Mono"],"Dates":["[{\"date\":\"1966 12 2\",\"type\":\"Performance Date\",\"notes\":\"Date written on the tape box and on a sticker on the tape reel\",\"source\":\"Accompanying Material\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080570\",\"venue\":\"Hall Building Basement Theatre\",\"notes\":\"Location specified in printed announcement \\\"Georgantics\\\" by Bob Simco (Supplemental material)\",\"address\":\"1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada\",\"latitude\":\"45.4972758\",\"longitude\":\"-73.57893043\"}]"],"Address":["1455, Boul de Maisonneuve Ouest, Montreal, Quebec, Canada"],"Venue":["Hall Building Basement Theatre"],"City":["Montreal, Quebec"],"content_notes":["Roy Kiyooka reads from Kyoto Airs (Periwinkle Press, 1964) and poems published later in Nevertheless These Eyes (Coach House Press, 1967). Richard (Dick) Sommer reads poems from an unknown selection of books. "],"contents":["roy_kiyooka_i086-11-030.mp3 [File 1 of 2]\n\nStanton Hoffman\n00:00:00\nOn behalf of the Poetry Reading Committee of Sir George Williams University [https://www.wikidata.org/wiki/Q326342] I wish to welcome you to this, the fifth, in a series of poetry readings, given at this University during 1966-67. Tonight there will be readings by two poets living in Montreal [https://www.wikidata.org/wiki/Q340], and members of the faculty of this university. There will be a fifteen minute intermission in between each reading. Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was born in Moose Jaw [https://www.wikidata.org/wiki/Q1019496], Saskatchewan [https://www.wikidata.org/wiki/Q1989], he studied at the Provincial Institute of Technology and Art, the Instituto Allende [https://www.wikidata.org/wiki/Q17989128] in Mexico [https://www.wikidata.org/wiki/Q96], and the University of Saskatchewan [https://www.wikidata.org/wiki/Q1514848] Emma Lake Workshops. He has had one-man exhibitions in Edmonton [https://www.wikidata.org/wiki/Q2096], Calgary [https://www.wikidata.org/wiki/Q36312], San Miguel de Allende [https://www.wikidata.org/wiki/Q4063467], Saskatoon [https://www.wikidata.org/wiki/Q10566], Regina [https://www.wikidata.org/wiki/Q2123], Toronto [https://www.wikidata.org/wiki/Q172], Vancouver [https://www.wikidata.org/wiki/Q24639], Victoria [https://www.wikidata.org/wiki/Q2132], New York City [https://www.wikidata.org/wiki/Q60] and Montreal. He exhibited at the Sao Paulo Biennial [https://www.wikidata.org/wiki/Q653360], where he was one of four painters representing Canada [https://www.wikidata.org/wiki/Q16], and where he received honourable mention and a Silver Medal. His most recent show was held last month at the Laing Galleries [https://www.wikidata.org/wiki/Q28846441] in Toronto. In 1964, his first volume of poems, Kyoto Airs, was published by the Periwinkle Press in Vancouver. His second volume, Nevertheless These Eyes is being published this month, in Montreal by Bev Leech. Ladies and Gentlemen, Mr. Roy Kiyooka.\n \nUnknown\n00:01:24\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRoy Kiyooka\n00:01:25\n--want to start off this evening by reading a few poems from my earlier book, the one that Stan mentioned. These poems were written as a result of a summer in Japan [https://www.wikidata.org/wiki/Q17], and they are very much occasional poems, they address themselves to the particular occasion of having been there, and they were meant in part to account for that experience of having been there, to my numerable friends in Vancouver. I'll begin by reading three very short little poems, they all relate to, what should we call it, the various contexts in which I saw the sculptured image of the Buddha. The first one is called \"Waiting Out the Rain\".\n \nRoy Kiyooka\n00:02:51\nReads \"Waiting Out the Rain\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:03:13\nThis is \"Buddha in the Garden\". Again, very brief.\n \nRoy Kiyooka\n00:03:23\nReads \"Buddha in the Garden\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:03:47\nThis is \"Sunday at the Temple\".\n \nRoy Kiyooka\n00:03:53\nReads \"Sunday at the Temple\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:04:20\nAnd this is the image of a Buddha seen in the Kyoto Museum, a reclining figure.\n \nRoy Kiyooka\n00:04:30\nReads unnamed poem [from Kyoto Airs].\n \nRoy Kiyooka\n00:05:01\nNow the next is a sequence of four little poems, very much like the traditional Japanese poems called the Haiku. This is a sequence, the title of which is \"The Stone Garden of Ryoanji\". The first one goes like this:\n \nRoy Kiyooka\n00:05:27\nReads “The Stone Garden of Ryoanji\", part 1 [from Kyoto Airs].\n \nRoy Kiyooka\n00:05:45\nReads “The Stone Garden of Ryoanji\", part 2 [from Kyoto Airs].\n \nRoy Kiyooka\n00:06:07\nReads “The Stone Garden of Ryoanji\", part 3 [from Kyoto Airs].\n \nRoy Kiyooka\n00:06:24\nReads “The Stone Garden of Ryoanji\", part 4 [from Kyoto Airs].\n \nRoy Kiyooka\n00:06:49\nNow this one is called \"Children's Shrine\". Throughout most of the cities and towns and villages all over Japan you'll find way-side shrines, they're frequently just built into the wall in a very narrow street and people on whatever religious occasion come to worship there. This is a shrine particularly for children. And it goes like this:\n \nRoy Kiyooka\n00:07:24\nReads \"Children's Shrine\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:08:41\nWell this is rather a long sequence, once more very short poems, there are eleven of them, and the title of the sequence is simply \"Higashiyama\", now 'higashiyama' means, in English, 'east mountain'.\n \nRoy Kiyooka\n00:09:22\nReads \"Higashiyama\", part 1 [from Kyoto Airs].\n \nRoy Kiyooka\n00:09:39\nReads \"Higashiyama\", part 2 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:04\nReads \"Higashiyama\", part 3 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:20\nReads \"Higashiyama\", part 4 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:38\nReads \"Higashiyama\", part 5 [from Kyoto Airs].\n \nRoy Kiyooka\n00:10:54\nReads \"Higashiyama\", part 6 [from Kyoto Airs].\n \nRoy Kiyooka\n00:11:13\nReads \"Higashiyama\", part 7 [from Kyoto Airs].\n \nRoy Kiyooka\n00:11:38\nReads \"Higashiyama\", part 8 [from Kyoto Airs].\n \nRoy Kiyooka\n00:11:55\nReads \"Higashiyama\", part 9 [from Kyoto Airs].\n \nRoy Kiyooka\n00:12:17\nReads \"Higashiyama\", part 10 [from Kyoto Airs].\n \nRoy Kiyooka\n00:12:43\nReads \"Higashiyama\", part 11 [from Kyoto Airs].\n \nRoy Kiyooka\n00:13:01\nWell I'll go on to the last poem in the book, this is an attempt, as it were, to sum up the varied experiences that I had there. The poem is called \"Itinerary of a View\".\n \nRoy Kiyooka\n00:13:29\nReads \"Itinerary of a View\" [from Kyoto Airs].\n \nRoy Kiyooka\n00:17:07\nI think I need to say a few words about this next group of poems, they were, they're from the book that I am having done at the moment, I started these poems in June 1965 in Montreal when I first came here. I don't know how to tell you this, except that at the time I came, I stayed with Alfred Pinsky [https://www.wikidata.org/wiki/Q21997094], or rather I stayed at his home, at his invitation, while I was looking for a place to live. Now, this took me about two weeks, it was very hot, and in the evenings I used to go through his library and pick up things and scanned them. One evening I came across this book, which was a biography of the English painter, Stanley Spencer [https://www.wikidata.org/wiki/Q1282413]. Spencer, we could say is perhaps the co-partner in the origin and the form and the content of this book. The book is in three parts, the first part is called the mirror, \"The Song the Mirror Sang at Midnight\", and it is prefaced by a quotation from Spencer, which goes like this: \"I am meeting you all the time, and sending my longing for you into chaos, into the darkness, beyond these walls\". I may add that these poems, likewise, are on the whole, very brief, though some are longer.\n \nRoy Kiyooka\n00:19:31\nReads \"The Song the Mirror Sang at Midnight\", part 1 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:20:34\nReads \"The Song the Mirror Sang at Midnight\", part 2 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:21:55\nReads \"The Song the Mirror Sang at Midnight\", part 3 published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:22:49\nReads \"The Song the Mirror Sang at Midnight\", part 4 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:23:23\nReads \"The Song the Mirror Sang at Midnight\", part 5 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:24:18\nReads \"The Song the Mirror Sang at Midnight\", part 6 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:24:46\nReads \"The Song the Mirror Sang at Midnight\", part 7 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:25:24\nReads \"The Song the Mirror Sang at Midnight\", part 8 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:25:51\nReads \"The Song the Mirror Sang at Midnight\", part 9 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:26:27\nReads \"The Song the Mirror Sang at Midnight\", part 10 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:27:02\nReads \"The Song the Mirror Sang at Midnight\", part 11 [published later in Nevertheless These Eyes].\n\nRoy Kiyooka\n00:27:26\nReads \"The Song the Mirror Sang at Midnight\", part 12 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:28:06\nReads \"The Song the Mirror Sang at Midnight\", part 13 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:28:36\nReads \"The Song the Mirror Sang at Midnight\", part 14 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:29:21\nReads \"The Song the Mirror Sang at Midnight\", part 15 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:30:05\nThe last one in this section.\n \nRoy Kiyooka\n00:30:11\nReads \"The Song the Mirror Sang at Midnight\", part 16 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:30:53\nThere's a terrible draft coming in from the back, I think you're right Dick, we're going to end up with arthritic ankles. Well, this is the second section, and it is called \"The Proposal\". Once more, prefaced with a remark from Stanley Spencer, a very beautiful one. They are set down, as I found them in the book, I have used them in the context of this section of the book and these four poems, taken from his writings are meant to define certain of her attributes. Now I have given a title to each one of these four poems, and I hope they will clarify the context in which they belong here. \"Portrait of the Beloved\".\n \nRoy Kiyooka\n00:32:06\nReads \"Portrait of the Beloved\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:32:56\nThis I called \"The Marriage\".\n \nRoy Kiyooka\n00:33:05\nReads \"The Marriage\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:33:37\nThis is called \"The Separation\".\n \nRoy Kiyooka\n00:33:45\nReads \"The Separation\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:34:07\nAnd this, is \"Her Apotheosis\".\n \nRoy Kiyooka\n00:34:17\nReads \"Her Apotheosis\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:35:23\nThat incidentally, is a description he wrote to a friend about a painting that he in fact had made. From your response, I gathered, it has a comic element, but I don't think that he himself made it that way. [Laughter].\n \nRoy Kiyooka\n00:36:05\nReads unnamed poem.\n \nRoy Kiyooka\n00:38:04\nReads unnamed poem.\n \nRoy Kiyooka\n00:38:36\nThe first stanza of this two-stanza poem is from Spencer, once again.\n \nRoy Kiyooka\n00:38:43\nReads unnamed poem.\n \nRoy Kiyooka\n00:39:34\nThe reference in this poem is to an exemplary sculptor who died many years ago, who obsessionally sculpted the human female form, his name is Gaston Lachaise [https://www.wikidata.org/wiki/Q1495586].\n \nRoy Kiyooka\n00:40:02\nReads unnamed poem.\n\nRoy Kiyooka\n00:40:59.50\nThe title of this poem is the same as the title of the second section, it's \"The Proposal\".\n \nRoy Kiyooka\n00:41:14\nReads \"The Proposal\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:42:27\nThis one is called \"The Dance\".\n \nRoy Kiyooka\n00:42:33\nReads \"The Dance\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:43:59\nThe title of this poem is called \"Her Admonition\".\n \nRoy Kiyooka\n00:44:06\nReads \"Her Admonition\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:45:28\nNow the following five poems are called \"Poems of Resurrection\".\n \nRoy Kiyooka\n00:45:46\nReads \"Poems of Resurrection\", part 1 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:47:27\nSecond \"Resurrection\" poem.\n \nRoy Kiyooka\n00:47:28\nReads \"Poems of Resurrection\", part 2 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:48:33\nReads \"Poems of Resurrection\", part 3 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:49:07\nReads \"Poems of Resurrection\", part 4 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:49:49\nThe last Resurrection poem, which concludes with a very brief, two-line coda.\n \nRoy Kiyooka\n00:50:01\nReads \"Poems of Resurrection\", part 5 [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:50:51\nNow, the second to last poem is called \"The Visitation\".\n \nRoy Kiyooka\n00:51:16\nReads \"The Visitation\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n00:53:14\nAnd finally,\n \nRoy Kiyooka\n00:53:22\nReads unnamed poem.\n \nRoy Kiyooka\n00:53:56\nWell, this is the final section. This is called \"Nevertheless These Eyes\" and briefly, and again from Spencer, a preface that goes like this: \"I am on this side of angels and dirt\".\n \nRoy Kiyooka\n00:55:25\nReads \"Nevertheless These Eyes\" [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n01:00:20\nAnd finally, by way of acknowledging the nature of this book.\n \nRoy Kiyooka\n01:00:31\nReads unnamed poem [published later in Nevertheless These Eyes].\n \nRoy Kiyooka\n01:00:57\nThank you very much--\n\nUnknown\n01:00:59\n[Cut or edit made in tape. Unknown amount of time elapsed].\n\nRoy Kiyooka\n01:01:00\n--and I were reading together, decided we should write one for the occasion, so we have each come up with a haiku. This is my haiku, it's especially for Dick. I have in brackets here, \"A gentle admonition to the audience following my reading, and preceding his\" and it goes like this: \"Let the stone tell how /snow-covered in whiteness, /these words, when his words come.\"\n \nEND\n01:01:42\n\n\nrichard_sommer_i086-11-046.mp3 [File 2 of 2]\n\nStanton Hoffman\n00:00:00\nThe second reader of this evening, Dick Sommer, was born in St. Paul [https://www.wikidata.org/wiki/Q28848], Minnesota [https://www.wikidata.org/wiki/Q1527], and educated at the University of Minnesota [https://www.wikidata.org/wiki/Q238101] where he most recently returned as a visiting Assistant Professor of English, and at Harvard [https://www.wikidata.org/wiki/Q13371]. In 1958 he was a recipient of the Academy of American Poets [https://www.wikidata.org/wiki/Q282096] Prize, and over a period of several years published his poems in the Harvard Advocate. He has given readings in Cambridge [https://www.wikidata.org/wiki/Q49111], Minneapolis [https://www.wikidata.org/wiki/Q36091], and in Oslo [https://www.wikidata.org/wiki/Q585]. Also, he does not want me to mention his scholarly publications: Dash, Which Are, Strangers and Pilgrims, an essay on the Metaphor of the Journey written with Georg Roppen [https://www.wikidata.org/wiki/Q23944662] and published by the Humanities Press [https://www.wikidata.org/wiki/Q97958829] in New York City, as well as by the Norwegian University's Press, in Norway [https://www.wikidata.org/wiki/Q20] and A Monograph, the Odyssey and Primitive Religion, published by the University of Bergen [https://www.wikidata.org/wiki/Q204457] in 1962. Ladies and gentlemen, Mr. Dick Sommer.\n \nRichard (Dick) Sommer\n00:01:02\nI didn't want him to mention those. Oh I've got the deal with Roy, as well. So this is a haiku with, which you'll be glad to know also has seventeen syllables in the title. \"The Haiku to Roy Kiyooka\", in reply to his haiku to me.\n \nRichard (Dick) Sommer\n00:01:31\nReads \"The Haiku to Roy Kiyooka\".\n \nRichard (Dick) Sommer\n00:01:50\nAnd this is the Haiku that began the mess, this was the one that I originally threatened to read to him, and naturally will carry out my threat. Which has a slightly different title, \"Haiku at Roy Kiyooka\"\n \nRichard (Dick) Sommer\n00:02:07\nReads \"Haiku at Roy Kiyooka\".\n \nRichard (Dick) Sommer\n00:02:27\nAnd then there's the one that I think you have on that broadsheet, which as I looked at it, in all of its mimeographed splendor, struck me as sounding a bit, now, like the theme song of the Central Intelligence Agency [https://www.wikidata.org/wiki/Q37230], but I'm sorry about that, I didn't mean it that way when I wrote it.\n \nRichard (Dick) Sommer\n00:02:55\nReads unnamed haiku.\n \nRichard (Dick) Sommer\n00:03:13\nI'm as you've heard, I'm responsible for having written some criticism, sorry about that, but I hope to make it up with the next poem, which is also on your broadsheet. Called the meaning of- \"The Meaning of Poetry\".\n \nRichard (Dick) Sommer\n00:03:36\nReads \"The Meaning of Poetry\".\n \nRichard (Dick) Sommer\n00:04:19\nAnd this next poem, you'll be very happy to know I have my wife's permission to read.\n\nRichard (Dick) Sommer\n00:04:26\nReads unnamed poem.\n \nRichard (Dick) Sommer\n00:05:02\nYou're going to be out of luck if you don't play chess, for this next one. You may be out of luck if you do, but that has more to do with the poem than your ability at chess.\n \nRichard (Dick) Sommer\n00:05:23\nReads unnamed poem. \n \nRichard (Dick) Sommer\n00:06:27\nRoy's given us a series of poems in praise of 'her', I don't know who 'her' is, but I have another name for her myself, she's called the Lady of Situations, and that's the title of this poem. You know, situations in the sense of she's always getting involved, or people are always getting involved. This is that Lady of Situation. And, oh yes, there's some erudition in this one too, there's a marvelous drawing taken from the tomb of Tuthmosis [https://www.wikidata.org/wiki/Q1320491], which appears in the Skera, Egyptian Painting Volume, and you might look it up because she appears there as a tree, a breasted tree, and giving suck to a Pharaoh, it's quite interesting as a painting, anyway, that's in here too.\n \nRichard (Dick) Sommer\n00:07:34\nReads \"Lady of Situation\".\n \nRichard (Dick) Sommer\n00:09:29\nThe, I noticed that the Brotherhood of Railroad Engineers has arranged to have separate drinking glasses, or they're trying to get themselves put into the sanitary code, I think this is Roy's. This must be mine, still water. This next one, I wrote the day following my seeing of a movie that I hope many of you are familiar with, it's the Russian version of Don Quixote [https://www.wikidata.org/wiki/Q49612156], a lovely film, beautiful adaptation of the myth of Don Quixote, and Sancho Panza [https://www.wikidata.org/wiki/Q630823] in the terms of the revolution to come, and I was particularly fascinated to the title that was given to Don Quixote, in this film, so I used it for the title of the poem.\n \nRichard (Dick) Sommer\n00:10:54\nReads \"Don Quixote de la Manchesky\".\n \nRichard (Dick) Sommer\n00:13:25\nThis next one takes its title, this is another area of that reference, takes its title from a little known and very important folk ballad, I had to put something in ethnic here, so this is it. It's, the title is \"The Other Side of the Mountain\", and it comes from that little song that begins \"The bear climbed over the mountain to see what he could see, but the other side of the mountain was all that he could see\".\n \nRichard (Dick) Sommer\n00:14:05\nReads \"The Other Side of the Mountain\".\n \nRichard (Dick) Sommer\n00:17:15\nIncidentally, you must not get the idea that the mountain, you know, came entirely from the, from the, from the song. It, you can find it on the Greater Barrington Quadrangle, for the appropriate section of the Massachusetts [https://www.wikidata.org/wiki/Q771] of the US [https://www.wikidata.org/wiki/Q30] geological survey, it's right on the map. It's really there, it's got position. This poem is in four sections, there are three narrative sections and then there's a short epilogue. And it's called \"My Loveliest Enemies\". I don't think there's any point in keeping you in suspense about this, my loveliest enemies are birds. And that's the punchline, so now you know it and you can listen to the poem.\n \nRichard (Dick) Sommer\n00:18:24\nReads \"My Loveliest Enemies\" [parts 1-3].\n \nRichard (Dick) Sommer\n00:33:12\nAnd here's the epilogue.\n \nRichard (Dick) Sommer\n00:33:19\nReads \"Epilogue\" of \"My Loveliest Enemies\".\n \nRichard (Dick) Sommer\n00:35:52\nIt's a race against not time but against the creeping gelatination, I think is the word of my lower extremities, and I'm sure the creeping sleepiness that is likely to affect you. This next, excuse me, here's to you! This next poem requires an erudite explanation too and I'm sorry for that. I hope, actually, it's not necessary. Alcuin [https://www.wikidata.org/wiki/Q154332], the Charles the King, Alcuin was an 8th century scholar who was brought from his, from the York [https://www.wikidata.org/wiki/Q42462] diocese, to the court of Charlemagne [https://www.wikidata.org/wiki/Q3044], and there became the principal architect of Charlemagne's attempt to bring Latin and Latin culture to the Francs. You might say, I suppose, that he was the first of, first great humanist, but we'll see what his Latin is worth in this poem. This is a letter, written by Alcuin, actually it was written by me, presumably written by Alcuin, to Charles the King.\n \nRichard (Dick) Sommer\n00:37:33\nReads \"Letter written by Alcuin, to Charles the King\".\n \nRichard (Dick) Sommer\n00:41:46\nAnd this poem is, has a title, and a subtitle. The title is \"Concentration\" the subtitle, \"Homage to Eva Jerome\".\n\nEND\n00:42:12\n[Cut off abruptly]."],"Note":["[{\"note\":\"Year-Specific Information:\\n\\nIn 1966, Kiyooka was working on Nevertheless these eyes (1967) and was teaching at Sir George Williams University. He was part of the Reading Series Committee.\\n\\nIn 1966, Richard Sommer was teaching at Sir George Williams University.\\n\\n\",\"type\":\"General\"},{\"note\":\"Local Connections:\\n\\nRoy Kiyooka had many connections all across Canada: he was involved in the poetry renaissance in Vancouver in the 60’s, he was connected to the Coach House poetry group in Toronto, thus he was most likely influential in the communication between Sir George Williams Reading Series and other Canadian poets.\\n\\nRichard Sommer became an important influence and player in Montreal poetry in the 1970’s, associated with Vehicule Press and poets Artie Gold, Ken Norris and Stephen Morrissey.\",\"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>2 CDs>2 digital files\",\"type\":\"Preservation\"}]"],"Related_works":["[{\"url\":\"https://www.thecanadianencyclopedia.ca/en/article/poetry-in-english\",\"citation\":\"Barbour, Douglas. “Poetry in English: The New Generation: After 1960”. The Canadian Encyclopedia. Historica-Dominion, 2009. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/gary-snyder-at-sgwu-1971/#1\",\"citation\":\"Boxer, Avi and Bryan McCarthy and Graham Seal. “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 and Bryan McCarthy and Graham Seal. “Get Your Shit Together...”. The Georgian. Montreal: Sir George Williams University, 19 November 1971, page 4. \"},{\"url\":\"https://www.worldcat.org/title/montreal-english-poetry-of-the-seventies/oclc/1072194565&referer=brief_results\",\"citation\":\"Farkas, Andre & Ken Norris (eds). Montreal English Poetry of the Seventies. Montreal: Vehicule Press, 1977. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Hancock, Geoff. \\\"Kiyooka, Roy\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001. \"},{\"url\":\"https://www.worldcat.org/title/kyoto-airs/oclc/70783779&referer=brief_results\",\"citation\":\"Kiyooka, Roy. Kyoto Airs. Vancouver: Periwinkle Press, 1964. \"},{\"url\":\"https://www.worldcat.org/title/nevertheless-these-eyes/oclc/1138698061&referer=brief_results\",\"citation\":\"Kiyooka, Roy. Nevertheless These Eyes. Toronto: Coach House Press, 1967.\"},{\"url\":\"\",\"citation\":\"“Poetry Reading Info”. OP-ED. Montreal: Sir George Williams University, 25 November 1966, page 7. \"},{\"url\":\"\",\"citation\":\"“Poetry Readings”. Post-Grad. Montreal: Sir George Williams University, Spring 1967, page 13.\"},{\"url\":\"https://www.concordia.ca/content/dam/concordia/offices/archives/docs/the-georgian/The%20Georgian_Vol%2031%20no%2010_1967-10-17.pdf\",\"citation\":\"“Prism Awards For Literature”. The Georgian. Montreal: Sir George Williams University, 17 October 1967, page 11.\"},{\"url\":\"\",\"citation\":\"Marlatt, Daphne. “Roy Kiyooka: from eminence to immanence”. West Coast Line: A Journal of Contemporary Writing & Criticism. No. 38.3 (Winter 2005), page 39.\"},{\"url\":\"\",\"citation\":\"\\\"Roy (Kenzie) Kiyooka.\\\" Contemporary Authors Online. Detroit: Gale, 2003.\"},{\"url\":\"\",\"citation\":\"\\\"Richard J(erome) Sommer.\\\" Contemporary Authors Online. Detroit: Gale, 2001. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/roy-kiyooka-at-sgwu-1966-stanton-hoffman/\",\"citation\":\"Simco, Bob. “Georgantics”. The Georgian. Montreal: Sir George Williams University, 2 December 1966. \"},{\"url\":\"https://www.worldcat.org/title/4-montreal-poets-peter-van-toorn-marc-plourde-arty-gold-richard-sommer/oclc/622296821&referer=brief_results\",\"citation\":\"Solway, David. 4 Montreal poets: Peter van Toorn, Marc Plourde, Arty Gold and Richard       Sommer. Fredericton, N.B., Fiddlehead Poetry Books, 1973. \"},{\"url\":\"https://www.worldcat.org/title/oxford-companion-to-canadian-literature/oclc/605246871&referer=brief_results\",\"citation\":\"Stevens, Peter. \\\"Sommer, Richard\\\". The Oxford Companion to Canadian Literature. Eugene Benson and William Toye (eds). Oxford University Press, 2001.  \"},{\"url\":\"http://www.jrank.org/literature/pages/8722/Richard-Sommer.html#ixzz0Zb3DRqFx\",\"citation\":\"Stevens, Peter. “Richard Sommer Biography- (b.1934), The Poet and the Pinnacle, Blue sky notebook, The other side of games”. Literature Reference: American Literature, English Literature, Classics & Modern Fiction. \"},{\"url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/roy-kiyooka-at-sgwu-1966-stanton-hoffman/\",\"citation\":\"Stock, Sandra. “Kiyooka Examined”. The Georgian. Montreal: Sir George Williams University, 4 November 1966. \"}]"],"_version_":1853670548665532416,"timestamp":"2026-01-07T14:59:53.264Z","digital_description":["[{\"file_url\":\"https://montreal.spokenweb.ca/wp-content/uploads/2014/12/I0086_11_0030_side.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0030_side.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Roy Kiyooka 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_0030_back.jpg\",\"file_path\":\"My Drive>Sir George Williams TIme-Stamped Transcripts>Spokenweb Tape Case Photos taken by Drew Bernet\",\"filename\":\"I0086_11_0030_back.jpg\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"\",\"precision\":\"\",\"size\":\"\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"https://drive.google.com/drive/folders/1-0cAe1GF8xZsc62jpUDXwgvyCd6ZmvSw\",\"title\":\"Roy Kiyooka Tape Box - 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In 1958 he was a recipient of the Academy of American Poets [https://www.wikidata.org/wiki/Q282096] Prize, and over a period of several years published his poems in the Harvard Advocate. He has given readings in Cambridge [https://www.wikidata.org/wiki/Q49111], Minneapolis [https://www.wikidata.org/wiki/Q36091], and in Oslo [https://www.wikidata.org/wiki/Q585]. Also, he does not want me to mention his scholarly publications: Dash, Which Are, Strangers and Pilgrims, an essay on the Metaphor of the Journey written with Georg Roppen [https://www.wikidata.org/wiki/Q23944662] and published by the Humanities Press [https://www.wikidata.org/wiki/Q97958829] in New York City, as well as by the Norwegian University's Press, in Norway [https://www.wikidata.org/wiki/Q20] and A Monograph, the Odyssey and Primitive Religion, published by the University of Bergen [https://www.wikidata.org/wiki/Q204457] in 1962. Ladies and gentlemen, Mr. Dick Sommer.\\n \\nRichard (Dick) Sommer\\n00:01:02\\nI didn't want him to mention those. Oh I've got the deal with Roy, as well. So this is a haiku with, which you'll be glad to know also has seventeen syllables in the title. \\\"The Haiku to Roy Kiyooka\\\", in reply to his haiku to me.\\n \\nRichard (Dick) Sommer\\n00:01:31\\nReads \\\"The Haiku to Roy Kiyooka\\\".\\n \\nRichard (Dick) Sommer\\n00:01:50\\nAnd this is the Haiku that began the mess, this was the one that I originally threatened to read to him, and naturally will carry out my threat. Which has a slightly different title, \\\"Haiku at Roy Kiyooka\\\"\\n \\nRichard (Dick) Sommer\\n00:02:07\\nReads \\\"Haiku at Roy Kiyooka\\\".\\n \\nRichard (Dick) Sommer\\n00:02:27\\nAnd then there's the one that I think you have on that broadsheet, which as I looked at it, in all of its mimeographed splendor, struck me as sounding a bit, now, like the theme song of the Central Intelligence Agency [https://www.wikidata.org/wiki/Q37230], but I'm sorry about that, I didn't mean it that way when I wrote it.\\n \\nRichard (Dick) Sommer\\n00:02:55\\nReads unnamed haiku.\\n \\nRichard (Dick) Sommer\\n00:03:13\\nI'm as you've heard, I'm responsible for having written some criticism, sorry about that, but I hope to make it up with the next poem, which is also on your broadsheet. Called the meaning of- \\\"The Meaning of Poetry\\\".\\n \\nRichard (Dick) Sommer\\n00:03:36\\nReads \\\"The Meaning of Poetry\\\".\\n \\nRichard (Dick) Sommer\\n00:04:19\\nAnd this next poem, you'll be very happy to know I have my wife's permission to read.\\n\\nRichard (Dick) Sommer\\n00:04:26\\nReads unnamed poem.\\n \\nRichard (Dick) Sommer\\n00:05:02\\nYou're going to be out of luck if you don't play chess, for this next one. You may be out of luck if you do, but that has more to do with the poem than your ability at chess.\\n \\nRichard (Dick) Sommer\\n00:05:23\\nReads unnamed poem. \\n \\nRichard (Dick) Sommer\\n00:06:27\\nRoy's given us a series of poems in praise of 'her', I don't know who 'her' is, but I have another name for her myself, she's called the Lady of Situations, and that's the title of this poem. You know, situations in the sense of she's always getting involved, or people are always getting involved. This is that Lady of Situation. And, oh yes, there's some erudition in this one too, there's a marvelous drawing taken from the tomb of Tuthmosis [https://www.wikidata.org/wiki/Q1320491], which appears in the Skera, Egyptian Painting Volume, and you might look it up because she appears there as a tree, a breasted tree, and giving suck to a Pharaoh, it's quite interesting as a painting, anyway, that's in here too.\\n \\nRichard (Dick) Sommer\\n00:07:34\\nReads \\\"Lady of Situation\\\".\\n \\nRichard (Dick) Sommer\\n00:09:29\\nThe, I noticed that the Brotherhood of Railroad Engineers has arranged to have separate drinking glasses, or they're trying to get themselves put into the sanitary code, I think this is Roy's. This must be mine, still water. This next one, I wrote the day following my seeing of a movie that I hope many of you are familiar with, it's the Russian version of Don Quixote [https://www.wikidata.org/wiki/Q49612156], a lovely film, beautiful adaptation of the myth of Don Quixote, and Sancho Panza [https://www.wikidata.org/wiki/Q630823] in the terms of the revolution to come, and I was particularly fascinated to the title that was given to Don Quixote, in this film, so I used it for the title of the poem.\\n \\nRichard (Dick) Sommer\\n00:10:54\\nReads \\\"Don Quixote de la Manchesky\\\".\\n \\nRichard (Dick) Sommer\\n00:13:25\\nThis next one takes its title, this is another area of that reference, takes its title from a little known and very important folk ballad, I had to put something in ethnic here, so this is it. It's, the title is \\\"The Other Side of the Mountain\\\", and it comes from that little song that begins \\\"The bear climbed over the mountain to see what he could see, but the other side of the mountain was all that he could see\\\".\\n \\nRichard (Dick) Sommer\\n00:14:05\\nReads \\\"The Other Side of the Mountain\\\".\\n \\nRichard (Dick) Sommer\\n00:17:15\\nIncidentally, you must not get the idea that the mountain, you know, came entirely from the, from the, from the song. It, you can find it on the Greater Barrington Quadrangle, for the appropriate section of the Massachusetts [https://www.wikidata.org/wiki/Q771] of the US [https://www.wikidata.org/wiki/Q30] geological survey, it's right on the map. It's really there, it's got position. This poem is in four sections, there are three narrative sections and then there's a short epilogue. And it's called \\\"My Loveliest Enemies\\\". I don't think there's any point in keeping you in suspense about this, my loveliest enemies are birds. And that's the punchline, so now you know it and you can listen to the poem.\\n \\nRichard (Dick) Sommer\\n00:18:24\\nReads \\\"My Loveliest Enemies\\\" [parts 1-3].\\n \\nRichard (Dick) Sommer\\n00:33:12\\nAnd here's the epilogue.\\n \\nRichard (Dick) Sommer\\n00:33:19\\nReads \\\"Epilogue\\\" of \\\"My Loveliest Enemies\\\".\\n \\nRichard (Dick) Sommer\\n00:35:52\\nIt's a race against not time but against the creeping gelatination, I think is the word of my lower extremities, and I'm sure the creeping sleepiness that is likely to affect you. This next, excuse me, here's to you! This next poem requires an erudite explanation too and I'm sorry for that. I hope, actually, it's not necessary. Alcuin [https://www.wikidata.org/wiki/Q154332], the Charles the King, Alcuin was an 8th century scholar who was brought from his, from the York [https://www.wikidata.org/wiki/Q42462] diocese, to the court of Charlemagne [https://www.wikidata.org/wiki/Q3044], and there became the principal architect of Charlemagne's attempt to bring Latin and Latin culture to the Francs. You might say, I suppose, that he was the first of, first great humanist, but we'll see what his Latin is worth in this poem. This is a letter, written by Alcuin, actually it was written by me, presumably written by Alcuin, to Charles the King.\\n \\nRichard (Dick) Sommer\\n00:37:33\\nReads \\\"Letter written by Alcuin, to Charles the King\\\".\\n \\nRichard (Dick) Sommer\\n00:41:46\\nAnd this poem is, has a title, and a subtitle. The title is \\\"Concentration\\\" the subtitle, \\\"Homage to Eva Jerome\\\".\\n\\nEND\\n00:42:12\\n[Cut off abruptly].\",\"notes\":\"Richard (Dick) Sommer reads poems from an unknown selection of books. \\n\\n00:00- Stanton Hoffman introduces Richard/Dick Sommer [INDEX: St. Paul, Minnesota,         University of Minnesota, Harvard, published in Harvard Advocate, Academy of    American Poets Prize, Readings in Cambridge, Minneapolis, Oslo, Strangers and    Pilgrims: an essay on the Metaphor of Journey by Richard Sommer and Georg Roppen,  published by Humanities Press in New York City and by the Norwegian University Press, Monograph, the Odyssey and Primitive Religion by Richard Sommer, published by University of Bergen 1962, Criticism: Dash, Which Are]\\n01:02- Introduces “The Haiku to Roy Kiyooka” [INDEX: Haiku Battle with Roy Kiyooka]\\n01:31- Reads “The Haiku to Roy Kiyooka”\\n01:50- Introduces “Haiku at Roy Kiyooka”\\n02:07- Reads “Haiku at Roy Kiyooka”\\n02:27- Introduces first line haiku “The little known eye...” [INDEX: C.I.A.]\\n02:55- Reads first line “The little known eye...”\\n03:13- Introduces “The Meaning of Poetry” [INDEX: Writing criticism]\\n03:36- Reads “The Meaning of Poetry”\\n04:19- Introduces first line “The figure eight....”\\n04:26- Reads first line “The figure eight...”\\n05:02- Introduces first line “How much wildness in that horseman’s eye...” [INDEX: Chess]\\n05:23- Reads “How much wildness in that horseman’s eye...”\\n06:27- Introduces “Lady of Situation” [INDEX: Tomb of Tuthmosis, Skera- Egyptian Painting Volume, Pharaoh]\\n07:34- Reads “Lady of Situation”\\n09:29- Introduces “Don Quixote de la Manchesky” [INDEX: Brotherhood of Railroad   Engineers, Don Quixote: Russian Film “Don Kikhot”, Sancho Panza]\\n10:54- Reads “Don Quixote de la Manchesky”\\n13:25- Introduces “The Other Side of the Mountain” [INDEX: Folk ballads]\\n14:05- Reads “The Other Side of the Mountain”\\n17:15- Introduces “My Loveliest Enemies” [INDEX: Greater Barrington Quadrangle]\\n18:24- Reads “My Loveliest Enemies” parts 1-3\\n33:19- Reads “Epilogue” from “My Loveliest Enemies”\\n35:52- Introduces “Letter Written by Alcuin, to Charles the King” [INDEX: Alcuin \\t, Charlemange, 8th Century Scholars, Latin; Howard Fink List “Great Lord”.]\\n37:33- Reads “Letter Written by Alcowen, to Charles the King” [sp?]\\n41:46- Introduces “Concentration: Homage to Eva Jerome” (poem is never read)\\n42:12.32- END OF RECORDING\\n\\nHoward Fink List: 2/12/66\\n 3 3/4, on one 5” reel, two tracks mono, 50 mins\\n \\n1.  Haiku for Roy Kiyooka first line “the snow melts...”\\n2.  Haiku at Roy Kiyooka first line “I hear Roy speak...”\\n3.  Haiku first line “The little known eye...”\\n4.  “The Meaning of Poetry”\\n5.  first line “The figure eight...:\\n6.  first line “How much wilderness in that horses eye...”\\n7.   “The Lady of Situations”\\n8.  “Don Quixote de la Manchasky”\\n9.  “The Other Side of the Mountain”\\n10.  A poem in four sections: “My Loveliest Enemies” parts of section one missing\\n11. first line “Great Lord...”\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/richard-dick-sommer-at-sgwu-1966-stanton-hoffman/\"},{\"file_url\":\"https://files.spokenweb.ca/concordia/sgw/audio/all_mp3/roy_kiyooka_i086-11-030.mp3\",\"file_path\":\"files.spokenweb.ca>concordia>sgw>audio>all_mp3\",\"filename\":\"roy_kiyooka_i086-11-030.mp3\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"01:01:42\",\"precision\":\"\",\"size\":\"148.1 MB\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"roy_kiyooka_i086-11-030.mp3 [File 1 of 2]\\n\\nStanton Hoffman\\n00:00:00\\nOn behalf of the Poetry Reading Committee of Sir George Williams University [https://www.wikidata.org/wiki/Q326342] I wish to welcome you to this, the fifth, in a series of poetry readings, given at this University during 1966-67. Tonight there will be readings by two poets living in Montreal [https://www.wikidata.org/wiki/Q340], and members of the faculty of this university. There will be a fifteen minute intermission in between each reading. Roy Kiyooka [https://www.wikidata.org/wiki/Q3445789] was born in Moose Jaw [https://www.wikidata.org/wiki/Q1019496], Saskatchewan [https://www.wikidata.org/wiki/Q1989], he studied at the Provincial Institute of Technology and Art, the Instituto Allende [https://www.wikidata.org/wiki/Q17989128] in Mexico [https://www.wikidata.org/wiki/Q96], and the University of Saskatchewan [https://www.wikidata.org/wiki/Q1514848] Emma Lake Workshops. He has had one-man exhibitions in Edmonton [https://www.wikidata.org/wiki/Q2096], Calgary [https://www.wikidata.org/wiki/Q36312], San Miguel de Allende [https://www.wikidata.org/wiki/Q4063467], Saskatoon [https://www.wikidata.org/wiki/Q10566], Regina [https://www.wikidata.org/wiki/Q2123], Toronto [https://www.wikidata.org/wiki/Q172], Vancouver [https://www.wikidata.org/wiki/Q24639], Victoria [https://www.wikidata.org/wiki/Q2132], New York City [https://www.wikidata.org/wiki/Q60] and Montreal. He exhibited at the Sao Paulo Biennial [https://www.wikidata.org/wiki/Q653360], where he was one of four painters representing Canada [https://www.wikidata.org/wiki/Q16], and where he received honourable mention and a Silver Medal. His most recent show was held last month at the Laing Galleries [https://www.wikidata.org/wiki/Q28846441] in Toronto. In 1964, his first volume of poems, Kyoto Airs, was published by the Periwinkle Press in Vancouver. His second volume, Nevertheless These Eyes is being published this month, in Montreal by Bev Leech. Ladies and Gentlemen, Mr. Roy Kiyooka.\\n \\nUnknown\\n00:01:24\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRoy Kiyooka\\n00:01:25\\n--want to start off this evening by reading a few poems from my earlier book, the one that Stan mentioned. These poems were written as a result of a summer in Japan [https://www.wikidata.org/wiki/Q17], and they are very much occasional poems, they address themselves to the particular occasion of having been there, and they were meant in part to account for that experience of having been there, to my numerable friends in Vancouver. I'll begin by reading three very short little poems, they all relate to, what should we call it, the various contexts in which I saw the sculptured image of the Buddha. The first one is called \\\"Waiting Out the Rain\\\".\\n \\nRoy Kiyooka\\n00:02:51\\nReads \\\"Waiting Out the Rain\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:03:13\\nThis is \\\"Buddha in the Garden\\\". Again, very brief.\\n \\nRoy Kiyooka\\n00:03:23\\nReads \\\"Buddha in the Garden\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:03:47\\nThis is \\\"Sunday at the Temple\\\".\\n \\nRoy Kiyooka\\n00:03:53\\nReads \\\"Sunday at the Temple\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:04:20\\nAnd this is the image of a Buddha seen in the Kyoto Museum, a reclining figure.\\n \\nRoy Kiyooka\\n00:04:30\\nReads unnamed poem [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:05:01\\nNow the next is a sequence of four little poems, very much like the traditional Japanese poems called the Haiku. This is a sequence, the title of which is \\\"The Stone Garden of Ryoanji\\\". The first one goes like this:\\n \\nRoy Kiyooka\\n00:05:27\\nReads “The Stone Garden of Ryoanji\\\", part 1 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:05:45\\nReads “The Stone Garden of Ryoanji\\\", part 2 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:06:07\\nReads “The Stone Garden of Ryoanji\\\", part 3 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:06:24\\nReads “The Stone Garden of Ryoanji\\\", part 4 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:06:49\\nNow this one is called \\\"Children's Shrine\\\". Throughout most of the cities and towns and villages all over Japan you'll find way-side shrines, they're frequently just built into the wall in a very narrow street and people on whatever religious occasion come to worship there. This is a shrine particularly for children. And it goes like this:\\n \\nRoy Kiyooka\\n00:07:24\\nReads \\\"Children's Shrine\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:08:41\\nWell this is rather a long sequence, once more very short poems, there are eleven of them, and the title of the sequence is simply \\\"Higashiyama\\\", now 'higashiyama' means, in English, 'east mountain'.\\n \\nRoy Kiyooka\\n00:09:22\\nReads \\\"Higashiyama\\\", part 1 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:09:39\\nReads \\\"Higashiyama\\\", part 2 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:04\\nReads \\\"Higashiyama\\\", part 3 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:20\\nReads \\\"Higashiyama\\\", part 4 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:38\\nReads \\\"Higashiyama\\\", part 5 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:10:54\\nReads \\\"Higashiyama\\\", part 6 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:11:13\\nReads \\\"Higashiyama\\\", part 7 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:11:38\\nReads \\\"Higashiyama\\\", part 8 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:11:55\\nReads \\\"Higashiyama\\\", part 9 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:12:17\\nReads \\\"Higashiyama\\\", part 10 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:12:43\\nReads \\\"Higashiyama\\\", part 11 [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:13:01\\nWell I'll go on to the last poem in the book, this is an attempt, as it were, to sum up the varied experiences that I had there. The poem is called \\\"Itinerary of a View\\\".\\n \\nRoy Kiyooka\\n00:13:29\\nReads \\\"Itinerary of a View\\\" [from Kyoto Airs].\\n \\nRoy Kiyooka\\n00:17:07\\nI think I need to say a few words about this next group of poems, they were, they're from the book that I am having done at the moment, I started these poems in June 1965 in Montreal when I first came here. I don't know how to tell you this, except that at the time I came, I stayed with Alfred Pinsky [https://www.wikidata.org/wiki/Q21997094], or rather I stayed at his home, at his invitation, while I was looking for a place to live. Now, this took me about two weeks, it was very hot, and in the evenings I used to go through his library and pick up things and scanned them. One evening I came across this book, which was a biography of the English painter, Stanley Spencer [https://www.wikidata.org/wiki/Q1282413]. Spencer, we could say is perhaps the co-partner in the origin and the form and the content of this book. The book is in three parts, the first part is called the mirror, \\\"The Song the Mirror Sang at Midnight\\\", and it is prefaced by a quotation from Spencer, which goes like this: \\\"I am meeting you all the time, and sending my longing for you into chaos, into the darkness, beyond these walls\\\". I may add that these poems, likewise, are on the whole, very brief, though some are longer.\\n \\nRoy Kiyooka\\n00:19:31\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 1 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:20:34\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 2 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:21:55\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 3 published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:22:49\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 4 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:23:23\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 5 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:24:18\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 6 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:24:46\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 7 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:25:24\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 8 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:25:51\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 9 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:26:27\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 10 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:27:02\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 11 [published later in Nevertheless These Eyes].\\n\\nRoy Kiyooka\\n00:27:26\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 12 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:28:06\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 13 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:28:36\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 14 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:29:21\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 15 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:30:05\\nThe last one in this section.\\n \\nRoy Kiyooka\\n00:30:11\\nReads \\\"The Song the Mirror Sang at Midnight\\\", part 16 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:30:53\\nThere's a terrible draft coming in from the back, I think you're right Dick, we're going to end up with arthritic ankles. Well, this is the second section, and it is called \\\"The Proposal\\\". Once more, prefaced with a remark from Stanley Spencer, a very beautiful one. They are set down, as I found them in the book, I have used them in the context of this section of the book and these four poems, taken from his writings are meant to define certain of her attributes. Now I have given a title to each one of these four poems, and I hope they will clarify the context in which they belong here. \\\"Portrait of the Beloved\\\".\\n \\nRoy Kiyooka\\n00:32:06\\nReads \\\"Portrait of the Beloved\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:32:56\\nThis I called \\\"The Marriage\\\".\\n \\nRoy Kiyooka\\n00:33:05\\nReads \\\"The Marriage\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:33:37\\nThis is called \\\"The Separation\\\".\\n \\nRoy Kiyooka\\n00:33:45\\nReads \\\"The Separation\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:34:07\\nAnd this, is \\\"Her Apotheosis\\\".\\n \\nRoy Kiyooka\\n00:34:17\\nReads \\\"Her Apotheosis\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:35:23\\nThat incidentally, is a description he wrote to a friend about a painting that he in fact had made. From your response, I gathered, it has a comic element, but I don't think that he himself made it that way. [Laughter].\\n \\nRoy Kiyooka\\n00:36:05\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:38:04\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:38:36\\nThe first stanza of this two-stanza poem is from Spencer, once again.\\n \\nRoy Kiyooka\\n00:38:43\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:39:34\\nThe reference in this poem is to an exemplary sculptor who died many years ago, who obsessionally sculpted the human female form, his name is Gaston Lachaise [https://www.wikidata.org/wiki/Q1495586].\\n \\nRoy Kiyooka\\n00:40:02\\nReads unnamed poem.\\n\\nRoy Kiyooka\\n00:40:59.50\\nThe title of this poem is the same as the title of the second section, it's \\\"The Proposal\\\".\\n \\nRoy Kiyooka\\n00:41:14\\nReads \\\"The Proposal\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:42:27\\nThis one is called \\\"The Dance\\\".\\n \\nRoy Kiyooka\\n00:42:33\\nReads \\\"The Dance\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:43:59\\nThe title of this poem is called \\\"Her Admonition\\\".\\n \\nRoy Kiyooka\\n00:44:06\\nReads \\\"Her Admonition\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:45:28\\nNow the following five poems are called \\\"Poems of Resurrection\\\".\\n \\nRoy Kiyooka\\n00:45:46\\nReads \\\"Poems of Resurrection\\\", part 1 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:47:27\\nSecond \\\"Resurrection\\\" poem.\\n \\nRoy Kiyooka\\n00:47:28\\nReads \\\"Poems of Resurrection\\\", part 2 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:48:33\\nReads \\\"Poems of Resurrection\\\", part 3 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:49:07\\nReads \\\"Poems of Resurrection\\\", part 4 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:49:49\\nThe last Resurrection poem, which concludes with a very brief, two-line coda.\\n \\nRoy Kiyooka\\n00:50:01\\nReads \\\"Poems of Resurrection\\\", part 5 [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:50:51\\nNow, the second to last poem is called \\\"The Visitation\\\".\\n \\nRoy Kiyooka\\n00:51:16\\nReads \\\"The Visitation\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n00:53:14\\nAnd finally,\\n \\nRoy Kiyooka\\n00:53:22\\nReads unnamed poem.\\n \\nRoy Kiyooka\\n00:53:56\\nWell, this is the final section. This is called \\\"Nevertheless These Eyes\\\" and briefly, and again from Spencer, a preface that goes like this: \\\"I am on this side of angels and dirt\\\".\\n \\nRoy Kiyooka\\n00:55:25\\nReads \\\"Nevertheless These Eyes\\\" [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n01:00:20\\nAnd finally, by way of acknowledging the nature of this book.\\n \\nRoy Kiyooka\\n01:00:31\\nReads unnamed poem [published later in Nevertheless These Eyes].\\n \\nRoy Kiyooka\\n01:00:57\\nThank you very much--\\n\\nUnknown\\n01:00:59\\n[Cut or edit made in tape. Unknown amount of time elapsed].\\n\\nRoy Kiyooka\\n01:01:00\\n--and I were reading together, decided we should write one for the occasion, so we have each come up with a haiku. This is my haiku, it's especially for Dick. I have in brackets here, \\\"A gentle admonition to the audience following my reading, and preceding his\\\" and it goes like this: \\\"Let the stone tell how /snow-covered in whiteness, /these words, when his words come.\\\"\\n \\nEND\\n01:01:42\\n\",\"notes\":\"Roy Kiyooka reads from Kyoto Airs (Periwinkle Press, 1964) and poems published later in Nevertheless These Eyes (Coach House Press, 1967).\\n\\n00:00- Introducer (Stanton Hoffman) introduces Roy Kiyooka [INDEX: Fifth reader in the       1966-67 Poetry Reading Series, Moose Jaw, Provincial Institute of Technology and Art, \\tInstituto Allende in Mexico, University of Saskatchewan: Emma Lake Workshop, One         man exhibitions in: Calgary, San Miguel D’Allende, Saskatoon, Toronto, Regina,        \\tMontreal, Vancouver, Victoria, New York City, Sao Paulo Biennial: Silver Medal     \\trepresenting Canada, Lane [or Ling?] Gallery in Toronto, Kyoto Airs by Roy Kiyooka, 1964, Periwinkle Press, Vancouver, [Unknown A1] Nevertheless These Eyes by Roy Kiyooka (1966), published by Bev Leech in Montreal, written in June 1965 in Montreal\\n01:25- Roy Kiyooka introduces Kyoto Airs and “Waiting Out the Rain” [INDEX: Occasional poetry in Japan, sculptured image of the Buddha, Japan]\\n02:51- Reads “Waiting Out the Rain”\\n03:13- Reads “Buddha in the Garden”\\n03:47- Reads “Sunday at the Temple”\\n04:20- Introduces first line “Hovering, he is hovering, his eyes closed...”\\n04:30- Reads first line “Hovering, he is hovering, his eyes closed...”\\n05:01- Introduces “The Stone Garden of Ryoanji” [INDEX: series of four haikus, stone      gardens in Royanji, Japan]\\n05:27- Reads haikus 1-4 of “The Stone Garden of Ryoanji Series”\\n06:49- Introduces “Children’s Shrine” [INDEX: Shrines in Japan]\\n07:24- Reads “Children’s Shrine”\\n08:41- Introduces “Higashiyama” sequence of eleven poems.\\n09:22- Reads “Higashiyama, 1-11”\\n13:01- Introduces “Itinerary of a View”\\n13:29- Reads “Itinerary of a View”\\n17:07- Introduces poems 1-15 of the section “The Song the Mirror Sang at Midnight” from Nevertheless These Eyes. [INDEX: Sequence poems, Higashiyama Mountain Japan, Alfred Pinsky, English Painter Stanley Spencer]\\n19:31- Reads poems 1-16 from “The Song the Mirror Sang at Midnight”\\n30:53- Introduces poems from the second section “The Proposal” from Nevertheless These Eyes. [INDEX: English Painter Stanley Spencer]\\n32:06- Reads “Portrait of the Beloved”\\n32:56- Reads “The Marriage”\\n33:37- Reads “The Separation”\\n34:07- Reads “Her Apotheosis”\\n35:23- Explains “Her Apotheosis”\\n36:05- Reads first line “The grotesque flash...”\\n38:04- Reads first line “The beloved is resilient...”\\n38:36- Introduces first line “The women say what I like...” [INDEX: English Painter Stanley Spencer]\\n38:43- Reads first line “The women say what I like...”\\n39:34- Introduces first line “Gaston Lachaise...”\\n40:02- Reads first line “Gaston Lachaise...”\\n40:59- Reads “The Proposal”\\n42:27- Reads “The Dance”\\n43:59- Reads “Her Admonition”\\n45:28- Introduces five poems called “Five Poems of Resurrection”\\n45:46- Reads 1-5 poems of “Five Poems of Resurrection”\\n50:51- Reads “The Visitation”\\n53:22- Reads first line “What the beloved said...”\\n53:56- Introduces “Nevertheless These Eyes”\\n55:25- Reads “Nevertheless These Eyes”\\n1:00:31- Reads first line “The figure in the poems are his...”\\n1:00:57- Introduces and reads haiku written for this reading [see transcript for entire poem] [INDEX: Haiku to Dick Sommers]\\n1:01:42.65- END OF RECORDING\\n\\nHoward Fink List of Poems:\\n2/12/66\\n one 5” @ 3 3/4 time: 1 hr 10 mins\\n \\nA)From Kyoto Airs about his experience in Japan\\n1. “Waiting Out the Rain”\\n2. “Buddha in the Garden”\\n3. “Sunday at the Temple”\\nFrom series- “The Stone Garden of Ryoanji” (first lines only)\\n4. “hovering, he is hovering...\\n5. “they whisper...”\\n6. “the boards...”\\n7. “white sand...”\\n8.  “when...”\\n9.  title: “Children’s Shrine” sequence of eleven poems\\n10. titled “Higashiyama” (first lines only) “kneeling, she...”\\n11.  “o the white pigeon...”\\n12.  “you raise up...”\\n13.  “she call’d...”\\n14.  “small comfort...”\\n15.  “on Higashiyama...”\\n16.   “tonight...”\\n17.  “beyond...”\\n18.  “put stone...”\\n19.  “tell me, Cid...”\\n20.  “I have left...”\\n21.   Title: “Itinerary of a View” (a poem summing up his experience in Japan)\\nB)  from Nevertheless These Eyes; a collection which was motivated from Kiyooka’s reading the biography of the English writer/sculptor Stanley Spencer. -  poems from section one; The song the mirror sang at midnight (first lines)\\n22.  “Climbing into the mirror...”\\n23.  “ Behind my eyes...”\\n24.  “The image of her...”\\n25.  “At least...”\\n26.  “Since you asked me...”\\n27.  “The distance...”\\n28.  “Moonch...”\\n29.  “My hand covets...”\\n30.  “The other face...”\\n31.  “Turning away...”\\n32.  “The mirror...”\\n33.  “In all this space...”\\n34.  “In a room...”\\n35.  “It is the vision of her...\\n36.  “Now, other faces appear...”\\n37.  “Who, among you...” four poems from the second section, “The Proposal”\\n38.  “Portrait of the Beloved”\\n39.  “The Marriage”\\n40.  “The Separation”\\n41.  “Her Apotheosis”\\n42.  first line- “The grotesque flash...”\\n43.  first line- “The beloved is...”\\n44.  first line- “The women say...”\\n45.  first line- “Gaston Lachaise”\\n46.  “The Proposal”\\n47.  “The Dance”\\n48.  “Her Admonition” series of five, from Poems of Resurrection\\n49.  first line “the way...”\\n50.  first line “the Fallen have risen”\\n51.  first line “the moon...”\\n52.  first line “Stanley Spencer painted...”\\n53.  first line “The resurrected flesh...”\\n54.  “The Visitation”\\n55.  first line “what the beloved said...” from section three Nevertheless These Eyes\\n56.  first line “Nevertheless these eyes”\\n57. a haiku composed for the reading by Kiyooka\\n\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://montreal.spokenweb.ca/sgw-poetry-readings/richard-dick-sommer-at-sgwu-1966-stanton-hoffman/\"}]"],"score":1.3784283}]