Creeley

Levertov here and there

We don't have any recordings of Denise Levertov yet in PennSound, but Levertov appears, one way or another, here and there throughout our archive. Robert Creeley talks about her (with me at the Writers House). Ken Irby reads one of her poems. John Weiners in 1965 at Berkeley reads a poem dedicated to her. Albert Gelpi talks with Leonard Schwartz about the letters of Duncan and Levertov. And a letter Duncan wrote Levertov as he was finishing the poem "Often I Am Permitted to Return to a Meadow" is discussed in passing in our Duncan PoemTalk episode.

Asking Creeley about Williams

Robert Creeley as a Kelly Writers House Fellow, 2000

Interview and discussion in April 2000:

FILREIS:
Now back to Williams, your initial response to Williams—-according to something you said at Camden in December [1999]-—was that what mattered to you in reading Williams, particularly The Wedge, was that the work was driven by anger. This is what, at least, Ron Silliman posted to the Buffalo poetics listserv afterwards. And then he went on to comment at how Williams had a huge impact on him as well, but it was a very different Williams. So, if anger is not quite operating as much, what’s your Williams now? How does Williams animate you now?

CREELEY:
Back to Ron’s point, that that wasn’t the Williams he read, he reads the later Williams.

FILREIS:
The Desert Music.

CREELEY:
Yeah. Which is not an unangry poem, so to speak. But it certainly isn’t nearly as angry as the poems he was writing in the thirties or twenties. Spring and All, for example. Or the "Descent of Winter," or "March First." Many of the early poems are really angry, and their emotional base is their revulsion and anger at the world he finds around him.

FILREIS:
So, now when you look back at Williams, how does it feel?

CREELEY:
Well, it feels very much like my own life. I, when young, felt a dismay, let’s put it, that such things as the Holocaust or the Second World War or the depression or many other factors in one’s real life, that these could be so unremarkable to the body politic, that it seemed not to matter.

four new Creeley recordings

Thanks to the work of Henry Steinberg, we've just added four new recordings of Robert Creeley reading his poems: "The Dishonest Mailman," "Please," "After Lorca," and "The Ballad of the Despairing Husband." We've also included links to four YouTube video clips of the same reading.

Creeley on prosody and pacing

Back in 2000 I interviewed Robert Creeley in front of a live audience of 80 people or so at the Writers House. The recording (video and audio both) of the interview have long been available, but recently Michael Nardone has begun to draft a transcription. Note that it's not by any means finalized yet. Toward the beginning of the discussion Creeley brought out a small laptop which had loaded in it a software program called "Libretto." It was a primitive version of the much better voice transcription programs or voice recognition programs now available. In this early version a rudimentary avatar would speak a piece of text fed into it. Creeley was experimenting with prosody and wanted to dehumanize (for instance) the ballad stanza, to hear the words performed without subjectivity--as a machine would sound them. In this part of the transcript we find Creeley struggling a bit with the machine. Once it works, we hear the ballad (but it is by now unrecognizable so we've left out the verse itself in the transcript) and then Creeley discusses. (Here is a link to the audio segment transcribed.)

CREELEY:
It will come. I still have to get the appropriate file. I just took two verses from actually a very — it doesn’t use the syncopation quite at all very much, but I am also interested in pacing, what the intervals apparent are. Again, as I say this voice is in no way expressive or interpretive. I was visiting in a pleasant school, masters school, in just Dobb’s Ferry in New York and one pleasant teacher there, a Chinese-American, said “Sounds just like my uncle.” So here we go.

Wait a minute.

Speak.

COMPUTER MONOLOGUE READS:
[INAUDIBLE]

CREELEY:
Wait a minute I’m sorry. Let’s start again.

FILREIS:
In the room, if Aaron does some—-

CREELEY:
Let me just stop this. Abort.

I haven’t got the speaker turned on.

I’m an old man. I’m totally confused.

FILREIS:
He’s an old man with a libretto playing a voice synthesizer.

CREELEY:
Be that as it may.

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