Thanks to the scholarly sleuthing, the archival negotiating, the digitizing, the uploading and filenaming, and the context-setting of Chris Mustazza, PennSound is now adding eight audio recordings of Harriet Monroe — the founding editor of Poetry and one of the crucial figures in the editorial acceptance and promotion of modernism in the U.S. — made in 1932.
Here is what Chris has to say about this acquisition:
Harriet Monroe was recorded reading her poetry at Columbia University on January 29, 1932. The recording, made by Barnard professor W. Cabell Greet, was one of the first recordings in a series that came to be known as The Contemporary Poets Series, which began with the recording of Vachel Lindsay in 1931 (available here in PennSound). Several of Greet’s recordings were later released on distribution LPs, produced by the National Council of Teachers of English (NCTE), for pedagogical purposes and distributed to schools on a subscription basis. These recordings of Monroe were never released (the reason why is unclear at this time).
PennSound is now making available a new page of Vachel Lindsay recordings — many dozens of them. They are some of the oldeset materials in this archive. The editor of the Lindsay page is Chris Mustazza. He has described the project under whose auspices these recordings were first made onto aluminum disks. They were subsequently dubbed to reel-to-reel tapes by the Library of Congress in the 1970s. These digitizations are made from the reels, which are stored at Columbia University. We at PennSound are grateful to our colleagues at Columbia for making these unique recordings available. This is far and away the largest collection of Lindsay recordings.
In 2009 and again in 2010, I invited six poets — each year, so twelve total — to teach one poem each to high-school juniors and seniors. Each session lasted twenty minutes. And we preserved all twelve sessions as video and audio recordings. Go here to watch or listen to them. The poems were:
1. John Ashbery, "This Room" 2. Erin Moure, "The Frame of the Book" 3. Harryette Mullen, "Trimmings" 4. John Keats, "[This living hand]" 5. Yvor Winters, "At the San Francisco Airport" 6. William Carlos Williams, "The Last Words of My English Grandmother" 7. Lorine Niedecker, "[I married...]" 8. Robert Creeley, "The Sentence" 9. Helen Chasin, "The Word Plum" 10. Frank Sherlock, "Wounds in an Imaginary Nature Show" 11. Harryette Mullen, "Zombie Hat" 12. Basho, selected haiku; John Ashbery, "37 Haiku"
My wife and I first met Amiri Baraka in November 1997, standing in line to get our tickets to a Betty Carter, Joshua Redman, and Maria João/Mario Laginha concert at New Jersey Performing Art Center in Newark. Baraka was directly in front of us! Both Amy and I had been readers of his work since college, were aware of his intensity, and struck up conversation with him. I explained I had been a student and friend of Ginsberg’s, and that I was living and working in Newark. He told us about monthly salons he and his wife Amina hosted at their home, Kimako’s Blues People, gave us his card, and invited us to come over — which we did many times during the next few years.
Recently we found a recording of Ted Berrigan’s reading at Bard College in Annandale-on-Hudson, December 15, 1982: it had not been segmented yet, and naturally we were curious to know which poems he performed on that occasion. Thanks to Anna Zalokostas, Berrigan's PennSound page now includes links to the individual poems, as well as, of course, the whole recording. Here are the segments:
I bought my first purposeful audio recorder, a simple handheld Sony cassette device, a week after completing Naropa’s Summer Writing Program in 1986—planning to use it as a composition tool, to “compose on the tongue” in Ginsbergian terms. Ginsberg described, in one of our classes, his successes and failures in using a recorder to “write” [see his Composed on the Tongue, Grey Fox (1980) for some discussion of his practice in this area]. His notion, writing-by-dictation, seemed compelling: I was about to embark on my first cross-country road trip so I imagined imparting my own observation dictations à la Fall of America. Little of substance came from that experiment, though I later ended up using that recorder to document some readings and band rehearsals; quality of these tapes, which I still have, is not good—this was rudimentary recording tech and cheap cassettes barely sustaining documentation.
John Richetti recently returned to PennSound’s studios and recorded a selection of poems by Keats, Shelley, Blake, Wordsworth, Byron, and Coleridge. Here is a link to the new page in the “PennSound classics” section of the archive.
We at PennSound are beginning to analyze quantities and types of downloads from our archive. From time to time we will have something to say about what we discern in such analysis. For now, this fascinating and not-quite-explainable factoid: since January 1, 2014, one of the five most-oft downloaded MP3 recording from PennSound has been a poem by Michael Palmer, performed at Buffalo in 1990: “Recursus to Porta” (3:34): MP3. And the poet whose PennSound recordings were most frequently downloaded during this time has been Norman Fischer.
In a Segue Series event at the Bowery Poetry Club hosted and curated by Tim Trace Peterson, Robert Kocik, Benjamin Aranda, and Vito Acconci each speak for about 26 minutes about relations between poetry and architecture. The event took place on April 25, 2009. Both audio and video recordings of each talk are available on PennSound.