| 00:02 |
Hannah McGregor: |
[Start Music: Jazzy Techno] Listeners, we want to hear from you. What short clip of literary sound would you propose we listened to in an episode of ShortCuts? If you’re a researcher with the SpokenWeb Project pitch an episode to ShortCuts Season Three. You can start with a blog post on SpokenWeb blog, or go straight for pitching us an episode. If you’re a fan of the show, please suggest an idea by emailing spokenwebpodcast@gmail.com. [End Music: Jazzy Techno]
|
| 00:43 |
Hannah McGregor: |
[Start Music: Theme Music] Welcome to the SpokenWeb ShortCuts. Each month on alternate fortnights at every second week, following the monthly SpokenWeb Podcast episode, join me, Hannah McGregor and our minisode host and curator, Katherine McLeod for SpokenWeb’s ShortCuts miniseries. We’ll share with you specially curated audio clips from deep in the SpokenWeb archives to ask, what does it mean to cut and splice digitally? What kinds of new stories and audio criticism can be produced through these short archival clips? Shortcuts is an extension of the ShortCuts blog posts on SPOKENWEBLOG. So, if you love what you hear, make sure to head over to spoken web.ca for more. Without further ado, here is Katherine McLeod with SpokenWeb ShortCuts, mini stories about how literature sounds. [End Theme Music] [Start Music: SpokenWeb Podcast Theme Music: [Instrumental Overlapped With Feminine Vocals]
|
| 01:39 |
Katherine McLeod: |
[End Music: SpokenWeb Podcast Theme Music] Welcome to ShortCuts. On ShortCuts we listen closely and carefully to a short cut [Audio Effect: Scissor Snip] from the archives. On this ShortCuts, we dive into a new audio collection, [Underlaid Sound: radiofreerainforest clip with various voices overlapping] radiofreerainforest. radiofreerainforest was a program that aired on Vancouver’s Co-op Radio in the 1980s into the 1990s.
|
| 02:16 |
Audio Recording, radiofreerainforest clip: |
[Echo Effect] [Various Voices] radiofreerainforest.
|
| 02:16 |
Katherine McLeod: |
Recordings that were played on that program were kept by its producer and host Gerry Gilbert. And they’re now one of SFU’s many audio collections currently being processed by SpokenWeb researchers. Something I’ve been thinking about while preparing this ShortCuts, is what kind of a framework does audio clip out of context need to feel supported? And I say that while holding out my arms, gesturing as though I’m attempting to hold the sound. I could select a clip and just simply play it. But I feel like that doesn’t give enough context, but I also don’t want to give too much context. My hope is that I can guide you into the listening and then you can take it from there. Where I’m leading you to is a reading by Dionne Brand in 1988. The recording of the reading was broadcast on the radio, on radiofreerainforest on August 7th, 1988. The tapes of this recording and yes, tapes in the plural – more on that in a moment –indicate that it was Dionne Brand reading with Lee Maracle. It took place in Vancouver and as to where, that required a little searching. One tape says R2B2 Books. And I figured out that it was a bookstore on fourth avenue that had once been the location of Octopus Books and later became Black Sheep Books before closing in the early 2000s. I remember going into Black Sheep Books when I lived in Vancouver and I didn’t realize that it had such a history of holding so many readings as R2B2 Books. What else do we know about the recording? Well, it was a long one. It spans two cassettes, not because it was recorded on those two tapes, but because it was transferred onto them. What I’m getting at here is this: imagine pressing play on a tape labeled “radiofreerainforest, 3rd and 28th of July and 7th August, 1988.” The Dionne Brand and Lee Maracle reading starts part way through one side and then on a completely different tape labeled “radiofreerainforest 7th, 25th, August, 1988 and 30th, October, 1988”. |
| 04:31 |
Katherine McLeod: |
There is the rest of the recording. On that second tape, the Brand reading starts right in the middle when you press play. And that’s where I found myself in it’s sound without knowing the context in which she was speaking from or where that reading was taking place. It was after finding the other tape that I could piece together, that it was on August 6th, 1988, and then aired on August 7th, 1988. And that it was at R2B2 Bookstore. It was in the middle of this that I consulted SpokenWeb’s metadata system to see a photograph of the tape itself. And that’s how I found the date of the reading. But before that, I was going by the fact that Brand mentions an event in solidarity with South African women against apartheid, that would have happened the next day, August 7th. From doing a bit of searching in print archives, I found out from the feminist newspaper Kinesis that as part of the March, the next day Maracle had given a speech in solidarity against apartheid speaking as an Indigenous woman of the Stó:lō nation. |
| 05:37 |
Katherine McLeod: |
And that she had also written about this solidarity in a 1988 issue of the Black women’s newspaper Our Lives that Brand had helped to edit. These pieces of context are only the beginning of unpacking the significance of these two women reading together. And unraveling this history all started by wanting to know more about one archival recording. So as we listen to this reading, what would it be like to be there in that room with Dionne Brand and Lee Maracle in 1988? Now in June, 2021, what does it feel like when you hear this recording wherever you might be listening from? How do we understand this recording in relation to the archive that holds it? I am recording this a week after Brand read from The Blue Clerk at an annual meeting of the Association of Canadian Archivists. How does Brand hear time? When she introduces what she reads from Primitive Offensive in the recording we’re about to hear she says that the poetry is made out of the pieces of history, a history that as she says, if you are Black in the Americas, you have to dig for it. How does that resonate with the lines where she chooses to end?
|
| 06:56 |
Audio Recording, Dionne Brand, 1988: |
I won’t take any evidence of me, even that carved in the sky by the fingerprints of clouds every day. Even those that do not hold a wind’s impression. [Aside to audience] Okay, that’s it. [Audience applause].
|
| 07:12 |
Katherine McLeod: |
As we could hear in that recording, there are noises in the background. We’ll be hearing what sound like cars passing outside, we’ll hear some voices and might wonder if those are people talking outside the bookstore window, or perhaps this recording has been recorded over another one and we’re actually hearing the voices of another time bleeding through the tape. Here is Dionne Brand reading from her book, Primitive Offensive in a recording that was broadcast on radiofreerainforest on August 7th, 1988, and now that recording is held by and shapes an archive.
|
| 07:58 |
Audio Recording, Dionne Brand, 1988: |
[Static and various background noises throughout] I’m going to read a poem for my grandmother, a poem for my ancestors, really. I wrote this book Primitive Offensive because, for whatever history has left you, if you were Black in the Americas, you have to dig and dig and dig and memorize and memorize and learn and learn it and redo it and recover it and re– you know, because it isn’t anywhere else. And so this was my history book. Sometimes you arrive and find what seems to be nothing, and you have to dig for it. And this is a call to my ancestors about this history. And I looked for my ancestors and I found what there was. And so – and sometimes you find nothing and you make it anyway. [Laughs] You know, you find a piece of cloth, a bit of this, whatever, but you make it humour. So –[Start of reading] Ancestor dirt/ ancestor snake/ ancestor lice / ancestor whip/ ancestor fish/ ancestor slime/ ancestor sea/ ancestor stick/ ancestor iron/ ancestor bush/ ancestor ship/ ancestor |
| 09:12 |
Audio Recording, Dionne Brand, 1988: |
old woman, old bead/ let me feel your skin, old muscle, old stick/ where are my bells?/ my rattles/ my condiments, my things to fill houses and minutes/ The fat is starting, where are my things?/ My mixtures, my bones, my decorations/ old bread, old tamarind switch./ Will you bathe me in oils?/ Will you tie me in white cloth?/ Call me by my praise name/ Sing me Oshun song./ against this clamour [Background noise of voices inaudible] / Ancestor old woman/ Send my things after me./ One moment, old lady more questions./ What happened to the ship in your leap? The boatswain, did he scan the passage’s terrible wet face/ The navigator, did he blink?/ Or steer that ship through your screaming night?/ The captain did he lash two slaves to the rigging, for example?/ Lady! My things/ Water leaden, my maps, my compass/ After all, what is the political position of stars? |
| 10:29 |
Audio Recording, Dionne Brand, 1988: |
Drop your crusted cough, where you want./ My hands make precious things out of phlegm./ Ancestor wood/ Ancestor dog/ Ancestor [tape recording skips] Old man, dry stick, mustache, skin, and bone./ Why didn’t you remember? /Why didn’t you remember the name of our tribe?/Why didn’t you tell me before you died?/ Old horse, you made the white man ride you/ You shot off your leg for him./ Old man, the name of our tribe is all I wanted./ Instead, you went to the swamps and bush and rice paddies for the trading company and they buried you in water/ Crocodile, tears. /It would have been better to remember the name of our tribe./ Now, mosquitoes dance a ballet over your grave and the old woman buried with you wants to leave./ One thing for sure, dismembered woman, when you decide you are alone/ When you decide you are alone, /when you dance, it’s your own broken face. |
| 11:24 |
Audio Recording, Dionne Brand, 1988: |
When you eat your own plate of stones/ For damn sure you are alone./ Where do you think you are going dismembered woman?/ Limbs chopped off at the ankles./ When you decide, believe me, you are alone./ Sleep, sleep, tangential phase, sleep,/ Sleeping, or waking/ Understand you are alone./ Diamonds pour from your vagina,/ and your breasts drip healing copper/ But listen, women, dismembered continent/ You are alone./See crying fool,/ You want to talk in gold/ You will cry in iron./ You want to dig up stones./ You will bury flesh./ You think you don’t need oils and amulets compelling powder and rely on smoke./ You want to throw people in cesspits./ Understand dismembered one, ululant /You are alone./ When waterfalls work, land surfaces./ I was sent to this cave./ I went out one day like a fool to find this cave, to find clay, to dig up metals to decorate my bare and painful breasts./ Water and clay for a poultice for this gash to find a map an imprint of me anywhere would have kept me calm./ Anywhere with description./ |
| 12:30 |
Audio Recording, Dionne Brand, 1988: |
Instead, I found a piece of this/ A tooth, a bit of food hung on. /A metatarsal, which resembled mine./ Something else like a note. Musical. /ting ting, but of so little pitch so little lasting perhaps it was my voice./ And this too, a suggestion and insinuation so slight, it may be untrue./ Something moving over the brow as with eyes close to black/ a sensate pull/ Phantom! Knocks the forehead back in the middle of a dance. /No, I can’t say dance. It exaggerates./ Phantom. A bit of image./ A motion close to sound, a sound imaged on the retina resembling sound/ A sound seen out of the corner of my eye./ Emotion heard on my inner ear./ I poured over these like a paleontologist./ I dusted them off like an archeologist/ A swatch of cloth./ Skin, atlas, coarse utility, but enough./ Still only a bit of paint, of dye on the stone./ I can not say crude, but a crude thing./ A hair, a marking. That a fingernail to rock an ancient wounded scratch./ I handle these like a papyrologist contours/ A desert sprung here./ Migrations, suggestions, lies./ Phantom. A table and jotting up artful covert mud./ I noted these like a geopolitical scientist./ I will take any evidence of me even that carved in the sky by the fingerprints of clouds every day. Even those that do not hold a wind’s impression. |
| 14:06 |
Audio Recording, Dionne Brand, 1988:
|
Ok. That’s it. [Audience Applause]
|
| 14:08 |
Katherine McLeod: |
That was the Dionne Brand reading from her book, Primitive Offensive. The recording was played on Vancouver’s co-op radio on August 7th, 1988 and the recording is held by the archives of radiofree rainforest. Now part of SFU library’s digital collections.
|
| 14:32 |
Katherine McLeod: |
[Start Music: Theme Music]] ShortCuts is mixed and mastered by Judith Burr, hosted by Hannah McGregor and produced by me, Katherine McLeod. Head to SpokenWeb.ca to find out more about the sounds in this mini-series and to learn more about SpokenWeb and the SpokenWeb Podcast. Thanks for listening. End Music: Theme Music] [Music: SpokenWeb Podcast Theme Music: [Instrumental Overlapped With Feminine Vocals]
|
