This episode of PoemTalk features a poem by Daphne Marlatt called “Steveston, B.C.” We were joined by Davy Knittle, Jane Robbins Mize, and Karis Shearer. The poem is in a sense — although not quite exactly — the title poem in a much-admired book published in 1974. Steveston sits at the mouth of the South Arm of the Fraser River, near Vancouver, British Columbia. In 2001 Ronsdale Press published a new edition of the book, with a new poem and photographs by Robert Minden. That volume is an easily accessible source for our poem. Another is Intertidal, The Collected Earlier Poems, 1968–2008 (Talonbooks), a volume of 560 pages of Marlatt’s poems, including, of course, all of Steveston. “Steveston, B.C.” raises vital, interconnected concerns: industrial devastation of waterways, migrations of exploited immigrant labor, the human concept of home, the malignant politics of settlement and resettlement, and commercial and technological abuse of the intreprid instinct of aquatic life.
This episode presents a remarkable — freewheeling, energetic, yet comprehensive — discussion of a remarkable artist, Tuli Kupferberg. It is our first in-person recording in quite a while. Charles Bernstein, Rachel Levitsky, Lee Ann Brown, Pierre Joris, and Al Filreis gathered at the Brooklyn home of Susan Bee and Charles. We considered two works by Tuli: “Morning, Morning,” among the most famous songs performed by The Fugs; and one of Tuli’s spoken-word pieces or “pop poems,” titled “No Deposit, No Return.” The latter is the title cut on an album produced and released in 1966. The album was subtitled “An Evening of Pop Poetry with Tuli Kupferberg.” “Morning, Morning” first appeared as a track on the album entitled The Fugs in March 1966. This song and the entire album, along with liner notes, are available on our Tuli Kupferberg page at PennSound, reproduced with the kind permission of Samara Kupferberg.
Al Filreis convened Larissa Lai, Maxe Crandall, and Julia Bloch to discuss Sarah Dowling’s book Entering Sappho (Coach House, 2020), in which an abandoned town named for the classical lesbian leads to vexing questions of history, settlement, translation, violence, “impossible geographies,”* the idea of the “unwitting monument,” and the abusive economics of the s0-called company town. The group focuses on two passages from the book. First there’s “Clip,” the opening poem, a kind of verse preface or prelude to the recurring themes. Then there are the first three paragraphs of a prose statement (or prose poem?) at the end of the book, “White Columns.” The texts of these passages can be found HERE and HERE.
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.