Al Filreis convened Larry Price, William Fuller (traveling from Chicago), and Sophia DuRose to talk about three new poems by Larry Price. Bill Fuller selected for us three prose-poem sections or pages from Larry's new book titled 1/0. Larry’s PennSound page at the time of our conversation did not yet include recordings of this new writing, so we asked Larry to perform these poems toward the start of the episode. Earlier on the day of the session Larry spent time in the Wexler Studio at the Kelly Writers House recording more poems from 1/0 and other selections from his previous books.
Al Filreis brought together James Berger and Richard Deming (who traveled together from Yale) and Sophia DuRose to talk about two poems by Ron Padgett. The poems are “The Austrian Maiden” and “Joe Brainard’s Painting Bingo.” Our recording of “The Austrian Maiden” comes from a February 26, 2003, reading Padgett gave at the Kelly Writers House; the poem had just recently been published in Padgett’s book You Never Know (2002). The recording of “Joe Brainard’s Painting Bingo” — a poem published in Great Balls of Fire (1969) — was performed at a November 20, 1979, reading given at a location that is now (sadly) unknown. That reading in its entirety is available at Padgett’s PennSound page; the recording comes to us courtesy of the Maureen Owen Collection of Greenwich Village Poetry, now housed at the Yale Beinecke Rare Book and Manuscript Library.
Knar Gavin, Anna Vitale, and Sophia DuRose joined Al Filreis in the Arts Café of the Kelly Writers House to discuss a three-page section of Leslie Scalapino’s “‘Can’t’ is ‘Night’” — the passage having been chosen by the poet for It’s Go in Horizontal: Selected Poems, 1974–2006. Our recording of the poem comes from a May 17, 2007, episode of Charles Bernstein’s series Close Listening. It requires close listening indeed, and a somewhat distinct encounter of seeing the poem as text. Scalapino does have a remarkable talent for sounding out words she has put in quotation marks (can you hear them here?). Crucially, she sounds out linebreaks too: listen for the break between “character” and “night” in “separation of character and / night.” After all, “night exists at day — but is not the same night so / night is not-existing.”
Al Filreis convened Lisa New, Jane Malcolm, and Sophia DuRose to talk about two well-known sonnets of Edna St. Vincent Millay, “I Shall Forget You Presently” and “Love Is Not All.” “I Shall Forget You Presently” became widely available as one of the four sonnets presented at the end of the book A Few Figs from Thistles (first published in 1920). “Love Is Not All” of 1931 was in Millay’s collection of fifty-two sonnets, Fatal Interview. Both poems were performed by Millay in an undated recording we include on our Millay PennSound page.
