After reading for about eleven minutes, Earle Birney pauses to ask if there is any water to drink. There is a glass and a pitcher (audibly present) but nearly empty, and thus the evening’s host George Bowering heads out into the hallway to find Birney a cold beverage. This interlude of extra-poetic speech reveals that, despite it being mid-February, the room temperature feels more like summer and, more importantly, the humourous nature of the extra-poetic speech attunes the listener to the sociality as well as to the poetry.
Dorothy Livesay’s poem “The Unquiet Bed” has appeared on the pages of many Canadian poetry anthologies, but what cannot be heard fully on the page is the sound of this poem as a ballad. It is an “unquiet” poem. The refrain – “The woman I am / is not what you see” – suggests that both the speaker and the poem are not what you see, though perhaps they are what you hear.
During her introductory remarks (featured in last week’s Audio of the Week), poet Muriel Rukeyser asks the audience not only to raise their hands if they’ve ever written a poem but also to reflect upon what drives people to attend poetry readings in the first place. She speculates that people come and listen to poems because of embodied elements – the breathing, the heartbeat, the rhythms – and because of something else that is created while sharing a poem together. In her reading, there are poems in which one is acutely aware of being together, listening, even while listening to the recording. This poem is one of them: “Anemone” (The Speed of Darkness, 1968) – a poem that enacts Rukeyser’s opening remarks by making the room at once oceanic and intimate, and by saying to the listener: “You are here.”
In her opening remarks, poet Muriel Rukeyser asks her audience to raise their hands if they have ever written a poem. We hear a murmur and bits of laughter and, presumably, hands are raised. She thanks them, explaining that she has begun asking every audience this question and that “there’s always the moment of silence, and looking around first, and generally, quite slowly, almost all the hands go up.” Before reading a single poem, she manages to create a community of listeners and of poets. As Jane Malcolm has argued, if Rukeyser’s goal is “to occupy the room with poetry,” then, even without knowing how many raised their hands, “we are now listening to a collective, to one mere poet in a room of poets.” We start to hear the room as collectively invested in the questions of what a poetry reading is and why poetry readings as live events are worth seeking out – questions that we may also ask ourselves while seeking out and listening to these recordings today.
After reading for about 45 minutes, BC poet Maxine Gadd invites host Richard Sommer to improvise on her flute to the poem “Shore Animals.” Starting with the negotiation between Gadd and Sommer about what to read and how to perform together, a process that constitutes its own audible improvisation, this clip includes the first two minutes of a six-minute improvisation, which ends with a crescendo into a raucous shout. Their improvisation is a singular moment when an audience member formally performs in the SGW Poetry Series. Though, at the same time, this recording reminds listeners that the audience is always present – ready to improvise, interject, and even interrupt – and that the audience is also what we are listening to as archival listeners.
A weekly session for exploring and experimenting with different modes of listening. Each week our practice will be guided by an expert from SpokenWeb. What is listening? What are we listening for when we are listening? What are listening techniques for different disciplines? Join us, once or weekly, for Listening Practice. All are welcome!
Part of the Blue Metropolis International Literary Festival Cost: Free Jason Camlot partners with Katherine McLeod, affiliate assistant professor of English and a researcher with SpokenWeb. Together they will transform archived poetry readings from the SpokenWeb project into a remix of voice, rhythm and movement. Hosted by Deanna Fong, a long-time SpokenWeb collaborator, this event […]
Making Shadows with Recorded Sound: A Response to Gwendolyn MacEwen’s Audio Archives – Katherine McLeod — Apr 25, 2019 (Events)
Part of TEXT / SOUND / PERFORMANCE 2019 Katherine McLeod (Concordia) will present a talk titled, “Making Shadows with Recorded Sound: A Response to Gwendolyn MacEwen’s Audio Archives” as part of Text / Sound / Performance – Making in Canadian Space in Dublin, Ireland. For more info, click here.
SpokenWeb & Writers Read present novelist, poet, and sound performer Kaie Kellough. Kellough will read selections from his new book of poetry Magnetic North (Penguin, 2019), Accordéon (ARP Books, 2016) and forthcoming fiction. The event will be hosted by Dr. Katherine McLeod. Kaie Kellough is a novelist, poet, and sound performer. He is the author […]
The SpokenWeb Show — Dec 16, 2018 (Events)
As an in-person holiday get-together, we would like to invite you to a SpokenWeb event at Casa Del Popolo. The event is part of The Word & Music Show series organized by Ian Ferrier and it features performances by Klara Du Plessis, Katherine McLeod, Jason Camlot. Aurelio Meza will be making Cartonera Books* throughout the performance). […]