Commentaries - May 2012

NOTE. The following posting inaugurates the appearance of Poems and Poetics as a section of “commentaries” for Jacket2. The blog/journal as such has been active on the internet for almost four years now & will still be viewable at the old blogger site. In its new presentation I expect, among other things, to continue it as a platform for the presentation of an outsider anthology-in-progress & to launch a discussion of that omnipoetics that I see as the most ambitious & still unrealized thrust of many of our lives & works as poets & readers. That I have no ready definition of either outsider poetry or omnipoetics (among various ongoing concerns) is surely one of the lacks that keeps me going. (J.R.)

Editorial Associate & Confidant: Amish Trivedi

[The following is an excerpt from a recent interview by Karl Jirgens in Rampike magazine (University of Windsor, Ontario, Canada): “Omnipoetics & Ethnopoetics: Talking with Jerome Rothenberg,”. In the course of being questioned about the international/intercultural implications of works like Technicians of the Sacred & Poems for the Millennium, I hit on “omnipoetics” as yet another attempt at pinning down what many of us had been pursuing with more or less success over the last several decades, & more. The ideas embodied in the word are matters I would care to pursue still further over the years to come. (J.R.)]

KJ: In Technicians of the Sacred you covered a range of poetic expression from Africa, America, Asia, Europe and Oceania. You have investigated international poetic expression including, Futurists, Dadaists, Surrealists, Objectivists, Beats, Language poets, as well as the Vienna Group, Cobra poets and artists, Arabic Tammuzi poets, new Concrete Poets, postwar Japanese poets, Italian Novissimi and Avant-Guardia, Chinese Misty Poets, as well as the oral poetic traditions of many Indigenous peoples. Which discoveries in approaches to language systems and modes of expression did you find the most exciting as you moved through your research?

JR: I’m enough of an ongoing avantgardist to prize the unanticipated above all else, and early along I found that coming at me from all directions. The oral and sometimes the written or visual traditions of indigenous peoples offered analogies to what was experimental in our own time – also to what was long accepted, I might add – and sometimes surprised us with forms of languaging for which there was no quick or easy comparison. An immediate example – really a wide range of examples – would be the use of non-semantic vocalizations: from untranslatable vocables and glossolalia in religious practice to forms of scat singing – whether called that or not – on a secular level. I was drawn to these – like Khlebnikov (zaum) and Schwitters (ur sonata) before me – as full blown instances of traditional sound poetries, but also as targets for what I came to call and to put into practice as “total translation.” Gestural poetry (both aboriginal and as a part of contemporary deaf [signing] culture) led into largely unexplored areas, as did the transfer of language into other than vocal modes (whistles, yodels, drums, etc.). Aleatory (chance) practices and oulipo-like procedures showed up in Yoruba and Chinese oracle bone castings or in forms of Hebrew numerology (gematria) – resembling but different and markedly more developed than our own still tentative experiments. And there were notable instances of what could be read as visual or concrete poetry, to say nothing of the countless dream works and visions that linked to the most surreal-obsessed workings of the last century or two. The excitement of first coming on these works and then assembling or collaging them into books like Technicians was more than enough for a lifetime.

KJ: The first two volumes of Poems for the Millennium cover a range of innovative and often radical literary expressions featuring international poetry presented in a way that de-centres and re-historicizes more conventional views of Twentieth Century poetics. The third volume of Poems for the Millenium covers poetry, manifestos, prose-poetry, verbal and visual innovations, as well as writing from beyond Europe offering ethnopoetic perspectives that extend outside of traditional western canonical perspectives. I think that by now, readers will have understood that in Volume Three, you were interested in showing how the Romantics inspired innovative modernist and avant-garde writing that followed. Could you say a little bit about your editorial philosophy and methodology in seeking out codes of writing from the Romantic period that you felt led to radical innovation?

JR: What we had to overcome was our own prejudice against fixed forms in order to see anew the challenges to form and content that were set in motion by the romantics and a number of others who had preceded them. As a matter of nomenclature Jeffrey Robinson and I began to talk between us about “experimental romanticism,” although I’m not sure that that phrase came into the actual writing. With that as our target, experiment and transformation appeared both in aspects of romantic writing that were largely subterranean and, even more surprisingly, at the heart and core of the romantic project. An aspect of this, from my side at least, was that the romantics and those we called the postromantics began to feel like contemporaries, less magisterial figures and more like fellow poets with whom we could enter into a free and easy discourse. In large part, if this doesn’t sound too arcane or academic, we rode on Jeffrey Robinson’s recovery of the “fancy,” salvaging it from Coleridge’s otherwise brilliant and long-lived dichotomy of fancy and imagination. The two terms – fancy and imagination – have otherwise been historically synonymous, whereas Coleridge made imagination not just the shaping spirit but a binding spirit that reconciled and thereby froze deep conflicts of image and idea, in relation to which “the fancy” might now be viewed as a liberatory force – for play and invention – the field par excellence of the experimental and visionary. I would then think of imagination qua fancy less in Coleridge’s sense as reconciliation and closure than in Keats’s and Rimbaud’s as uncertainty and openness. This seems clear in Keats’s definition of “negative capability” followed immediately by his criticism of Coleridge: “Several things dovetailed in my mind, & at once it struck me, what quality went to form a Man of Achievement especially in Literature & which Shakespeare possessed so enormously--I mean Negative Capability, that is when man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason – Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the Penetralium of mystery, from being incapable of remaining content with half knowledge.” Or Whitman in an equally famous passage: “Do I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes).” That being said, I would as well speak of imagination as of fancy, the good-of-it being, always, in the meanings, not the nomenclature, and in any case, an inheritance from the romantics with whom it all started.

KJ: Your latest book Retrievals covers a lengthy range of your writing from 1955 to 2010. The book features baroque sonnets, Gnostic hymns, parables, plays, elegies, plays of language, songs,Ikons and Alter Pieces,and even an unfinishedSteinian opera.In your afterword to the book you confirm that this collection is an assemblage of unpublished writings tracing back roughly half a century and with the help of Mark Weiss, drawn largely from the archives at the University of California, San Diego. When I listened to you read from this book at the Copper Coloured Mountain Dharma Centre (Ann Arbor), I was struck by your trans-culturalism, which manifests itself in your poetic translations of, responses to, and re-visionings of Jewish, Indian, and Dada cultural perspectives. Could you say a little bit about how this book charts your life as a poet, perhaps in reference to the idea ofdeep imageor the notions ofwitnessoroutsider,as well as other developments in your progress?

JR: Two points then: first, my pursuit of a kind of transcultural or global poetics: a poetry rooted in its place but capable of crossing borders and languages to become a virtual omnipoetics. And secondly my progress from deep image to ethnopoetics to a kind of poetry of witness or testimony – not as others would have it or define it but as I would. I could say a lot about both of these points – and will or have elsewhere – but suffice it that a book like this gives me a retrospective view, maybe more than a comparable selection of poems previously picked for publication. My next project – or one of them – will be a large reader or sampler of my own work, dating from the 1950s to the present and including poetics and performance as well as poems as such. The editor or co-editor for this is the Mexican poet Heriberto Yépez, who recently edited and translated a large book of my prose writings, Ojo del Testimonio, for Editorial Aldus in Mexico. That said, I suppose that I’ve now reached an age of retrospection, which is interesting enough as far as it goes – as long as I can move the work around or recompose it as a whole – but also a little unnerving.

Birkbeck Poster
Friday 25 May 2012 - Sunday 27 May 2012

full schedule now on-line

The current crisis makes it possible to think what couldn’t be thought before, which has always been the task of poetry.
With its echoes of previous crises of modern society, it places on the agenda a reappraisal of revolutionary art from the point of view of the necessities of the present.

Keynote Speakers

Joan Retallack
, poet, essayist, activist, John D. & Catherine T. MacArthur Professor of Humanities at Bard College, New York.
Jack Hirschman
, poet, translator, essayist, activist, Poet Laureate of S. Francisco 2006, member of the Revolutionary Poets Brigade.
Mark Nowak
, poet, activist, Director of Graduate Writing Programme at Manhattanville College, NY.

Poetry Readings

Friday Night (25 May 2012), 7.30pm
Tom Leonard, Jack Hirschman, Ziba Karbassi, Marianne Morris, Sean Bonney, Harry Gilonis.
At X-ing the Line, The Apple Tree, 45 Mount pleasant WC1
This reading is sponsored by Birkbeck College Contemporary Poetics Research Centre in association with the XING the Line reading series, as part of the Poetry and Revolution International Conference
Door charge: £5 waged and £3 unwaged. All proceeds to the poets. 
Numbers are limited: first come first served.

Saturday Night (26 May 2012), 7:00-10:30pm
7:00-8:00pm: VLAK: Launch of Special Issue of VLAK on Occupations
8:00-10:30pm: Joan Retallack, Maggie O’Sullivan, Abdullah al-Udhari, Keston Sutherland, Ulli Freer, Mark Nowak.
At The Centre for Creative Collaboration, 16 Acton Street, London WC1X 9NG
This reading is sponsored by Birkbeck College Contemporary Poetics Research Centre in association with Royal Holloway Poetics Research Centre, as part of the Poetry and Revolution International Conference
Door charge: £6 waged and £4 unwaged. All proceeds to the poets.Numbers are limited: first come first served.

 Approximately 45 papers on a wide range of issues over the Saturday and Sunday. Speakers from Portugal, Greece, the USA, Ireland, & the UKLiaisons and co-operation with Occupied and Free Spaces
 Birkbeck Main Building, Torrington Sq., WC1.
No registration required. All welcome.

Contact: Stephen Mooney,

Supported by the Birkbeck Institute of the Humanities, and co-sponsored by the Centre for Modern and Contemporary Writing, University of Southampton

See for further updates


Full Conference Schedule below:

Poetry and RevolutionConference Schedule

Friday 25 May 2012

19.30-23:00 Conference Reading
Tom Leonard, Jack Hirschman, Ziba Karbassi, Marianne Morris, Sean Bonney, Harry Gilonis
At Xing the Line, The Apple Tree, 45 Mount Pleasant WC1

This reading is sponsored by Birkbeck College Contemporary Poetics Research Centre in association with the XING the Line reading series, as part of the Poetry and Revolution International Conference.
Door charge: £5 waged and £3 unwaged. All proceeds to the poets. 
Numbers are limited: first come first served.

Saturday 26 May 2012

10.00-11.30   9 papers in 3 parallel sessions
11.30-12.00   Coffee break
12.00-13.00   Jack Hirschman Keynote talk 
13.00-14.00   Lunch break
14.00-15:30   9 papers in 3 parallel sessions
15:30-16.00   Tea break
16.00-17.00   Joan Retallack keynote talk
17:00-17:30   General discussion

19:00-22:30 Conference Reading

(19:00-20:00)   VLAK: Launch of Special Issue of VLAK on Occupations

(20:00-22:30)   Joan Retallack, Maggie O’Sullivan, Abdullah al-Udhari, Keston Sutherland, Ulli Freer, Mark Nowak 
At The Centre for Creative Collaboration, 16 Acton Street, London WC1X 9NG
This reading is sponsored by Birkbeck College Contemporary Poetics Research Centre in association with Royal Holloway Poetics Research Centre, as part of the Poetry and Revolution International Conference
Door charge: £6 waged and £4 unwaged. All proceeds to the poets.  
Numbers are limited: first come first served.


Sunday 27 May 2012

10.00-11.30   8 papers in 3 parallel sessions
11.30-12.00   Coffee break
12:00-13:30   9 papers in 3 parallel sessions
13.30-14.30   Lunch break
14:30-16.00   11 papers in 4 parallel sessions
16:00-16.30   Tea break 
16:30-17:30   Mark Nowak keynote with immigrant workers from UNITE
17:30-18:00   General discussion
18:00-19:00   Wine & chat

All conference rooms are in the Malet Street main building, Birkbeck College, University of London, Bloomsbury
, London WC1E 7HX (entrance on Torrington Sqr)


Saturday 26 May 2012 - Papers


Panel A   (Room 353)    
Chair: Alex Latter

Peter Jaeger 
John Cage, Anarchy, and Anarchy

Abigail De Kosnik 
“We are the 99 Percent” and “GS [Goldman Sachs] Elevator Gossip”: Tumblr and Twitter as Archives of Testimonial Poetry

Fabian Macpherson
William Morris’s Chants for Socialists and the Problem of Utopia

Panel B   (Room 354)
    Chair: Steve Willey

John Mateer 
The Poem “Invictus” and the Negotiated Revolution

Mandy Bloomfield 
Revolution in spatial poetics

George Paizis
‘Marcel Martinet  is the Poet of the Revolution’

Panel C   (Room 355) 
   Chair: Robert Hampson

Mary Coghill
Russian Formalism and Revolution: Elena Guro (1877-1913) Russian Formalist writer and contemporary of Roman Jakobson (pseudonym: Aljagrov)

William Allegrezza
Charles Bernstein’s Disruptive Praxis

Sean Bonney 
The Magic Words Are . . . . . Riot as Prosody

14:00- 15:30

Panel A   (Room 355)    Chair: Harry Gilonis

Amy De’Ath 
‘Not not this. What, this then?’ : Kevin Davies and the Merely Interesting

Michael Zand
Reclaiming the House of Leo. Lion as a poetic response to the impact of the Islamic Revolution on the treatment of the Iranian “lion and sun” motif.

Becky Cremin
to initiate a poetics of occupation. occupy as poetics : poetics as occupy

Panel B   (Room 354)  
  Chair: Aodan McCardle

Demosthenes Agrafiotis
Cries, crises. Greek Passions

Piotr Gwiazda
Ether: Conformity and Resistance in Contemporary US Poetry

Allen Fisher
Fascism and the State

Panel C   (Room 353)   
Chair: Sean Bonney

Danny Hayward
Revolutionary Poetry and Reactionary Thinking

Karen Veitch
“A means o’ world locomotion”: Hugh MacDiarmid and the Poetics of Revolution

Amy Evans
“Revolution or Death”: Denise Levertov, Robert Duncan and the problem of the English gentlewoman as revolutionary


Sunday 27 May 2012 - Papers


Panel A   (Room 353)     Chair: Peter Jaeger

Julie Carr
The Eros of Utopia: William Morris, Lisa Robertson

cris cheek
murmuration of poeisis : praxis between control and emergence

Harry Gilonis 
Ch'iu Chin (1875-1907) and Chinese, revolutionary, poetics

Panel B   (Room 354)    Chair: Steve Willey

Jeffrey C. Robinson
A Radical Romantic Poetry: Poems for the Millennium, Three

Jennifer Cooke
“Public Disorder” and Poetry, 2010-2011

Panel C   (Room 355)    Chair: Sean Bonney

Sophie Robinson
‘the grave of love’: queer desire and anti-sociality in the poetry of Frank O’Hara

Richenda Power
Post-'68 Poetry and Self: voices from a commune

David Vichnar 


Panel A   (Room 353)    Chair: Will Montgomery

David Buuck 

Stephen Mooney
Insuperable Underlanguage: Epochal Change and Will Rowe’s Nation

Rachel Galvin
“Incantation and Recantation in the English and French Revolutionary Ode”

Panel B   (Room 354)    Chair: Luis Trindade

Richard Owens

Steven Fowler 
Dada: the ethical exception.

David Kessel

Panel C   (Room 355)   Chair: Jeff Hilson

Keston Sutherland 
Revolution and Really Being Alive

Jacob Edmond
Revolution’s Echo: Poetry after 1989

Josh Robinson
Adorno, Lyric, and the Poetics of the Wrong State of Things


Panel A   (Room 353)    Chair: Harry Gilonis

Paul Sutton
Poetry and Revolution

Wayne Clements
The return of what has been forgotten
Ian Hamilton Finlay: Revolution and Poetry (a reply to Drew Milne)

Panel B   (Room 354)  
  Chair: Luis Trindade

Maria Damon
Micropoetries as Po(e)tential Kindling for Greater Revolution

Robin Purves 
Deconstruction Fucked My Beatrice

Albert Pellicer on Cecilia Vicuna 
SABORAMI by Cecilia Vicuña, then & now

Panel C   (Room 355)    Chair: Aodan McCardle

Kaia Sand 
Landscapes of Dissent: seven notes on the Occupy Movements.

William Rowe
Bill Griffiths: the Negative and the Multiple

Zoë Skoulding
Translation and irruptive citizenship in the poetry of Erín Moure

Panel D   (Room G15)

Andy Croft (Smokestack Books)
Je suis tous les autres : common music and radical poetry

Association of Musical Marxists
“Why Destroy”

orignally posted CFP and poster 2012-03-19; this updated replaces that post.

Towards a surrealism of old age: Kim Hyesoon's 'An Old Woman' & 'Princess Abandoned'

Kim Hyesoon & Don Mee Choi, February, 2009, Chicago AWP bookfair

Among recent notices on my Facebook feed was one for the new issue of Big Bridge, in particular a feature on “Neo-surrealism,” edited by Adam Cornford.  Cornford’s expansive introduction to the feature, which looks back to the history of surrealism and forward to his selection of living poets, includes this definition of his subject: “What defines a Surrealist poetry today, then, is what has defined it from the outset . . . Surrealist poetry can only be ‘a cry of the mind determined to break apart its fetters.’ It must contribute, intentionally or otherwise, to the liberation of the mind ‘and all that resembles it.’” I’m not here to argue against the mind’s liberation, rather to suggest that newer forms of surrealism can be used effectively to record what occurs before the imagined line break in Cornford’s phrase, “the mind determined to break apart / its fetters.” The breaking apart of a mind, most familiar to me as a product (or anti-product) of dementia and Alzheimer’s, can be tracked through what I’ve elsewhere called “documentary surrealism.” In the blog post to which I just offered a link, I wrote:  “To say that dementia is a surreal condition is probably not to say anything anyone doubts who has confronted a relative or friend with Alzheimer’s disease. More interesting, on a literary level, is the way in which writing about dementia creates a hybrid form, documentary surrealism. If documentary poetry combines the strengths of historical writing, journalism, collage, and the lyric, then documentary surrealism opens up the field to the ways in which the imagination is actualized by mental illness or other extreme states (such as the post-traumatic syndrome Andre Breton dealt with during WWI when he treated soldiers off the battlefield).”

The surrealism that western readers know comes from Europe by way of African influences; it spread to the Caribbean and the United States.  The line-up of Cornford’s feature in Big Bridge is all American.  But there’s a surrealism less well known to western readers, which comes to us from Asia.  Some of its purveyors, like Linh Dinh, write in English.  We’re made aware of others through translation.  One of the best contemporary surrealists is Kim Hyesoon, a Korean poet whose work is translated by another poet, Don Mee Choi.  Their newest book is All the Garbage of the World Unite! (Action Books, 2011).  There are so many potential ways to read this book, as critique of empire (a method more than suggested by Choi in her brief preface), as feminist poetry, as an investigation of insides and outsides (and inside outsides), as surrealism.  But I want to turn to a single poem, “An Old Woman,” to illustrate the way in which this poet’s surrealism works to describe the realities of old age.  The old woman of the poem is a tree, the tree a “meme.” No accident that, I presume.  This tree, like any tree, can’t move far: “She’s a tree that can’t even turn over or rub with her fingers / when the first butterfly she has waited for tickles with its thin toes / the spaces between the grooves of her lips” (65).  Because she can’t move (physically, psychically), she must be cared for:

meme’s waist is so wide that she can’t bend
over or lie down by herself
Someone must come and change
her underwear and diapers

and then a few lines later:

No one can walk beside her with head held up in the air
because of the stench she gives out when she cries before the first leaves
of the season sprout and the dogs lift their legs and piss on her lower
trunk and take off

Like so many of Kim Hyesoon’s symbols, that of the tree is at once abstract (this old person, like a tree, can’t move) and literal (both tree and old woman stink).  Both trees are planted in beds, though the “planting” and the “bed” are different images and acts, indeed.  Her images tend to hover, waver between fact and sur-fact, between our ideas of the thing and the thing itself.  Yes, old age is an idea, she seems to be telling us, but it is also smelly.  Even that smelliness is unstable, as Kim makes clear in the final stanza of this poem:

memememe is a lone big tree
Her stench of sadness when she cries before the first flower of the
season bloom
is so unbearable that my family members carry a bowl of medicine
and hold their noses outside the door     (66)

Now it is her sadness that smells, the actions of her family that make a louder stench.  The meme can be read as “me me me me,” or an acknowedgement that we are all — if we’re lucky — headed for this condition of stinky paralysis.  Noses will be held outside our doors, not those of an old woman who stands in for all old women as meme.

Kim is such an effective poet of old age because she knows that life is always already entangled with death and dying.  In her recent Tinfish Press chapbook of three short essays, Princess Abandoned, also translated by Choi, Kim writes of her poetic practice, a “poetry of hearing”: “The performer cannot develop her body and soul, her life as the performer of the Abandoned, without making contact with ghosts . . . making contact with her own spirit allows her to communicate with other spirits through the bodies of the others and enables her to guide the spirits of the dead to a safe place (?) in the netherworld at the request of her regulars” (np).   The poet is a midwife, in other words, who pulls bodies out of life and into death, or who performs the opposite task.  This activity also pulls the reader into the text, “incorporates” that reader.  No mistake that this poet is also obsessed with bodies eating other bodies, whether they are cats consuming rats or persons swallowing tornados.  In the poem entitled “To Swallow a Tornado,” Kim writes an elegy for the Abandoned, using the metaphor of consumption again.  Perhaps this amounts to an over-reading, but Kim herself suffered from tuberculous pleurisy, or “consumption” as a child, hence knows what it means for one’s body and one’s spirit to find themselves at odds.  And so, “When my body becomes tight as a bow I can see everything”:

My beloved, the last skeleton beneath your hair is already dead
The rake-like smile of the wind spreads
on the backs of the pedestrians walking hurriedly
God has clawed and gathered up the empty blankets
of those who have departed this world
and lit a blue fire far up above
The world is like transparent silk underwear
you can see right through it      (61)

For Kim, the act of hovering between life and death is explicitly feminine, and writing about this state is feminist.  Meditating on the “woman-poet,” she notes: “at some point she realizes that she must embrace the inside’s death; unless she accepts it, she will not be able to accept her own reality.  Then she reaches a point where she can name her death.  She accepts the conception of death with its intensity akin to painful childbirth.” Identity is transformed in this “connection with death.” Whether or not this is true for all of us “women-poets” and “men-poets,” Kim has arrived at a beautiful approach to writing about old age and death.  For, despite her poems’ astringency, their brave confrontation with the “holes” that surround us, they come out of a deep “merriment.” “Without merriment,” she writes, “poetry remains on a singular plane. In order to achieve polyphonic planes, my poetry needs to be merry — inside things, between things, inside the multiple ’I’s’ and between the multiple “I’s’” (Garbage x).  It’s this “merriment” that brings together the twin connotations of freedom and loss in Surrealism’s notion of “mental liberation."

Notes for further reading:

Kim Hyesoon’s books, translated by Don Mee Choi, can be found at Action Books.  Tinfish Press has published two chapbooks by Kim Hyesoon, here and here.  Don Mee Choi’s book, The Morning News is Exciting, was also published by Action Books.

Jessica Lawson’s review of Mommy Must Be a Mountain of Feathers, by Kim Hyesoon, Don Mee Choi, trans. is at Jacket2, here.

Kim Hyesoon was interviewed by Ruth Williams.

Some new work by Kim Hyesoon.

New posts coming soon!

This site is now in the process of construction and will go into full operation shortly. In the meantime, postings continue to be available at


Barbara Guest (left) with Hadley Guest (right)

Kathleen Fraser interviewed Hadley Guest about Barbara Guest in Berkeley on July 17, 2007. The complete recording lasts two hours and 31 minutes and is available on PennSound’s Barbara Guest author page.

  1. introduction (0:23): MP3
  2. Hadley Guest reading "The Next Floor" by Barbara Guest (0:51): MP3
  3. Kathleen Fraser on being introduced to Barbara Guest and her work (13:46): MP3
  4. Barbara Guest’s friendship with painters (9:33): MP3
  5. Hadley Guest on growing up around poets and painters (5:15): MP3
  6. the division between uptown and downtown in the New York art world in the 60s (12:31): MP3
  7. Barbara Guest's refusal to be pigeon-holed (2:23): MP3
  8. the cruelty of the downtown scene and Barbara Guest’s erasure (18:31): MP3
  9. Hadley Guest on living with Barbara during the last few years of her life and hearing about her first marriage to John Dudley (7:18): MP3
  10. Trumbull Higgins and social position in relation to money (11:33): MP3
  11. Barbara’s uptown studio and her strong family feelings (16:55): MP3
  12. Barbara’s shared apartment with Perdita Schaffner and her experience working walking around Union Square (5:00): MP3

  13. Productivity, freedom, and moving west (4:15): MP3
  14. Stephen Guest and introducing Barbara Guest to H.D. (15:35): MP3
  15. Barbara’s work on H.D. (12:27): MP3
  16. Barbara’s awareness of women writers, her relation to feminism, and her commitment to being a wife and mother as well as a poet (15:29): MP3