A previous Audio of the Week featured one of Livesay’s most song-like poems “The Unquiet Bed” and this Audio of the Week features another musical poem by Livesay from that same reading in Montreal on January 14, 1971. The poem is “Bartok and the Geranium,” a poem that is often anthologized and, in fact, you may have studied it in a course on Canadian poetry. But do you know how Livesay wrote it? In this Audio of the Week, along with hearing the poem, you will hear Livesay telling her own story of how the poem began.
When listening to one recording from the SGW Poetry Series (1966-1974), it can be hard to hear its place amid the reading series as a whole. One can visualize its place on a list or on a calendar but it can be harder to sonically hear the seriality itself, except when someone on the recording, most often the host, refers to the previous or following reading. For this Audio of the Week, as we near the end of 2019, I have selected two clips from December readings in which there are announcements for the next readings in January.
By Karis Shearer (UBCO AMP Lab Director) On Monday, SpokenWeb Podcast released its 3rd episode: Invisible Labour. Our UBCO SpokenWeb team has been following the podcast series since the inaugural episode, the occasion for which we hosted a big listening party in the AMP Lab. However, our team was particularly stoked about episode #3. Why? Because we made it. […]
As I listened to December readings from various years in the SGW Poetry Series – to mark the end of this year, 2019 – I started exploring the reading by Daryl Hine. At first, I considered selecting his reading of the final poem, “The Trout,” but then I noticed something else: a note for one timestamp (00:42:19) indicating that Hine introduced and read “an unknown poem.” As I listened to his introduction, I realized that he was preparing the audience for the now-famous poem “Point Grey,” which, at the time of this reading, was not published. In fact, the introducer of Hine at the start of the reading mentioned that Minutes, the collection that contained “Point Grey,” would be published in 1968.
Daphne Marlatt starts her reading with poems from Vancouver Poems (1972), a deeply local collection that she had not yet published when this reading took place at Sir George Williams University (now Concordia) in Montreal. She tells the audience that she will explain the local references as she goes along, starting with the first poem that refers to Lost Lagoon in Vancouver’s Stanley Park. What Marlatt could not have anticipated is that the poems would become pathways to revisit the city when republishing many of them years later in Liquidities: Vancouver Poems Then and Now (2013).