Thanks to the archival and digital work of Chris Mustazza, who is the editor of this new material, we at PennSound are now able to announce a new page of recordings of James Weldon Johnson. Most readers who might otherwise know Johnson's work well have never heard the man's voice. The recordings Chris located, researched and digitized were made on December 24, 1935, at Columbia University, recorded by Barnard professors George W. Hibbitt and W. Cabell Greet, lexicologists and scholars of American dialects. PennSound wishes to thank the staff at Columbia's Rare Book & Manuscript Library, especially Thai Jones, Jennifer Lee, Devon Maeve Nevola, Jane Siegel, and Karla Nielsen, for helping us to make these recordings available.We acknowledge permission from Jill Rosenberg Jones and the James Weldon Johnson estate to present these recordings for free to anyone.
“The recordings here were originally made on aluminum platters,” writes Chris in his editorial note. “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. I made the decision to present the recordings in the order in which Columbia numbered the aluminum platters, which may or may not be the same sequence used by Johnson and Hibbitt, except for where I reordered them to keep parts of the same poem together. Sequence numbers, as well as record numbers, are available in the file names.”
I was honored to be asked by editor Oded Carmeli to choose fourteen poems published during the current decade by U.S poets for an anthology that has now been published in the most recent print issue of Hava LeHaba in Israel, a Hebrew-language magazine of experimental poetry and poetics. Click here to view a PDF copy of the relevant pages from the magazine. I wrote the following very brief prefatory statement:
Contemporary experimental poetry in the U.S. is so diverse in mode, tone, and conception that no introductory generalization will suffice. But having chosen fifteen poems I admire, all published in the current decade, I noticed post facto that they are all meta-poetic. Nada Gordon thieves Marianne Moore’s anti-ars poetica. Susan Howe’s “That This” presents, in part, the this-ness of the writing. Rae Armantrout’s post-God/post-mother linguistic smiting reminds her and us that she owes her writing life to a mother who taught her to wring sweetness from syllables as a kind of maternal sacrifice. Tyrone Williams “scribbles furiously to a mortgaged future.” Brenda Hillman’s own words fall out of sentences when aerial bombs fall on their targets. And the poem I chose to represent Dorothea Lasky is itself titled “Ars Poetica.” Poems about poetry need not indicate an escape from the world. On the contrary, these are mostly political poems—a language of politics and a politics of language. Laynie Browne gives us the real Hillary Clinton, lines Hillary would say, except that key words are left blank so that readers can be competent co-creators.
A book of letters I co-edited with Beverly Coyle in 1986, Secretaries of the Moon (Duke University Press), found its way into the New York Times Book Review twice after publication. First was Heberto Padilla’s positive review; next was its mention in “Noted with Pleasure”:
In the newest issue of The Wallace Stevens Journal, a special issue (volume 38, number 2, dated Fall 2014) devoted to Helen Vendler’s career-long interest in Stevens’s poetry, an essay by me appears. Here is a link to a PDF copy of the piece.
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.