In his April 24, 1985, presentation of "Sound and Sentiment, Sound and Symbol," Nathaniel Mackey spoke about Sonny Rollins for six minutes or so. Hannah Judd of the PennSound staff has now segmented the entire recording of the talk by topic. Here is the segment on Rollins: LINK.
Nathaniel Mackey joined host Leonard Schwartz in October of 2006 for a conversation about — and selected reading from — Mackey’s Splay Anthem. Thanks now to PennSound’s Hannah Judd, we are able to present the segments of this audio, as follows:
Tsitsi Jaji, Herman Beavers, and William J. Harris joined Al Filreis in the new Wexler Studio at the Kelly Writers House to discuss a poem by Nathaniel Mackey, “Day after Day of the Dead” (text). The poem appears about a third of the way through Mackey’s book Nod House (New Directions, 2011). As is typical of Mackey’s work, especially in recent years, the book includes poems that are individually new installments in one of two ongoing long poems, one called “Mu” and another called “Song of the Andoumboulou.”
This interview tracks my genesis and early development as a poet and intellectual. My artistic and cultural education occurs during the late ’50s, the ’60s and the early ’70s and takes place primarily in and around academic institutions: the liberal college, Antioch, which is in my hometown of Yellow Springs, Ohio, and the nearby black state university, Central State, in Wilberforce, and the story, if not exactly concluding, comes to “a momentary stay against confusion” at Stanford University in Northern California where I did my MA in creative writing and a PhD in English.
“Mu,” one of Mackey’s ongoing poems, is based on the idea of giving voice to the elders of the Dogon people of central Mali. In some “Mu” sections the elders channel the souls of disgruntled dead; they bespeak the improperly buried.
[From a Broken Bottle Traces of Perfume Still Emanate is an ongoing series of letters written by composer/multi-instrumentalist N., founding member of a band known as the Molimo m’Atet based in Los Angeles.]
Erica Hunt, Bruce Boone, Peter Inman, Jackson Mac Low, David Antin, Barbara Guest, Lorenzo Thomas, Steve McCaffery, Kathleen Fraser, Rachel Blau DuPlessis, Nathaniel Mackey, Ron Silliman, Bob Perelman, Anne Waldman, Nick Piombino
In 1985, Eileen Myles was the new director of the St. Mark's Poetry Project in New York. She asked me to curate a lecture series, the first such program at the church. I modelled the series at the Poetry Project on my earlier series New York Talk, giving it the amusing title, given the sometimes seeming resistance to poetics at the St. Marks at the time, St. Marks Talks. And talk it did.
I’ll begin with a playlist of PennSound recordings having to do with letters. While listening to this playlist on repeat, I was interested in the ways the tracks expanded, derailed, parodied, critiqued, or otherwise complicated the idea of intimate address. The addressees include imagined ancestors, public figures, an owl, various abstractions and inanimate objects, as well as the workings of language itself. Recently I’ve been listening to this playlist on random and I keep noticing new connections and contrasts between tracks.
This post’s playlist presents recordings from the PennSound archive that explore the continuum between language, music, and other types of sound.
I want to begin with a few related recordings of Nathaniel Mackey and his ongoing serial poem Song of the Andoumboulou. In Mackey’s introduction to a 1997 KWH reading he discusses the poem’s relationship to the Dogon funeral song of the same name, recorded by Francois Di Dio in 1974. Listen to Mackey’s poem Song of the Andoumboulou: 18. I am always struck by this moment when, near the end of the Dogon recording, as the pitch from the horn wavers up and down, I hear an ambiguity between what could be perceived as a human shout and the sound of a musical instrument. It’s this type of threshold point that has been in the back of my mind when I listen to poetry recordings lately.