Thanks to Anna Zalokostas, PennSound’s vast Ashbery page now includes links to segments of a recording of his appearance on The Book Show in 1992. Hosted by Tom Smith, The Book Show was produced by the New York State Writers Institute at SUNY Albany. On this program, Ashbery discusses Flow Chart (1991) and Hotel Lautréamont (1992).
Susan Howe’s “Thorow” and “Melville's Marginalia” performed by Howe along with music and sounds composed by David Grubb. These recordings are available on PennSound. Click here.
Thiefth was the first collaboration between Howe and musician and composer Grubbs. The two were brought together when the Fondation Cartier proposed a collaborative performance. Grubbs had been an ardent reader of Howe’s for more than a decade, and the opportunity to work with Howe’s poetry and her voice immediately intrigued. In late 2003, the two set about to create performance versions of “Thorow” and “Melville's Marginalia,” two of Howe’s longer poems. Drawing from the journals of Sir William Johnson and Henry David Thoreau, "Thorow" both evokes the winter landscape that surrounds Lake George in upstate New York, and explores collisions and collusions of historical violence and national identity. "Thorow" is an act of second seeing in which Howe and Grubbs engage the lake's glittering, ice surface as well as the insistent voices that haunt an unseen world underneath. “Melville's Marginalia” is an approach to an elusive and allusive mind through Herman Melville’s own reading and the notations he made in some of the books he owned and loved. The collaging and mirror-imaging of words and sounds are concretions of verbal static, visual mediations on what can and cannot be said.
Scott Peterson, an ophthalmologist, was a student in my open online course on modern and contemporary poetry last fall (“ModPo”). We studied William Carlos Williams’s poem “Smell!” in that course, and naturally there was a lively discussion of WCW's nose and its various meanings and functions. Scott then told me that since college he has been passionate about collecting Williams-related items. His undergraduate work on Paterson was published “way back in 1967,” as he puts it. Among his Williams holdings are a bronze bust of the poet (Scott cannot remember the artist’s name) and Emmanuel Romano's well-known portrait in oil. Scott has kindly given me permission to publish images of the sculpture and the painting.
Paul Mariani in his biography writes several informative paragraphs about Romano's painting — and the brief connection between the painter and the poet. Williams sat for the portrait in September of 1959. One of Romano’s reasons for doing the portrait was to get Williams to write a statement about his paintings for a one-man show in New York scheduled for that December. Mariani notes that in this painting the poet's “face was angular, almost fractured in a style recalling Cezanne.”
In Williams's poem “Self-Portrait” written in 1959:
No time for any- thing but his painting.
Romano wrote in his own diary (entry of September 27) that he was “disturb[ed]” by “the reflection of the light in [WCW’s] eyeglasses.” Take the glasses off, the painter thought, and he would lose the look of “boyish enthusiasm” and would also lose, Romano felt, the look of the poet’s mother's “silky independence” and her dark Caribbean features which the painter felt “revealed themselves” in the portrait.
John Ashbery talks for five minutes on being an art critic and on the influence of Jane Freilicher on his poetry: MP3. The recording was segmented from a longer recording of proceedings at the Tibor de Nagy Gallery 60th anniversary program held at The New School in New York on January 31, 2011. The conversation with Jane Freilicher was moderated by Jenni Quilter. Links to recordings of Ashbery’s other comments during this program are here, on PennSound’s Ashbery page.
Jared Nielsen has created a series of videos in which he rewrites modernist poems as Python programming language scripts. His character — intended to engage children in this experimental poetry-programming — is Guido the Python. Click here for a link to the site and access to the video of the Stein piece.