Were Parry’s recordings of Balkan epic poets (circa 1934-35) and the early Harvard Vocarium recordings of such poets as T.S. Eliot (circa 1933) made with the exact same recording device?
By the time the Modernists were being given their first substantive opportunities to record their work, the revolutionary texts they were reading from were (in many cases) already 20 or 30 years old.
When I first set about to transcribe this brief Wonderland-related interview to celebrate Houghton Library’s current exhibit “Such a Curious Dream! (May 20-September 5, 2015), I assumed the task would be straightforward and the fact-checking minimal.
We are immensely honored to welcome poet and scholar Claudia Rankine (author of Citizen: An American Lyric, the recipient of this year’s National Book Critics Circle Award) to Houghton Library next week. Rankine will read from Citizen and document the process involved in selecting, “doctoring,” and integrating the artworks throughout the collection. The event will be introduced by Jorie Graham.
“Prufrock” has always caused a little bit of trouble, and the Harvard Vocarium’s recording of the poem—one of the earliest in existence—is no exception. When you hear the recording (currently accompanying the centennial exhibit, “Ragged Claws: T.S. Eliot’s Prufrock at 100” at Houghton Library and at this evening’s event with Sir Christopher Ricks), you might be hard pressed to discern the procedural involutions and Transatlantic shuffling necessary to bring it into being. In many ways the trajectory of the recording recapitulated the evolution of the poem itself, which Eliot began to write at Harvard in 1909 and completed in England. In 1947, after delivering his Morris Gray lecture in May of that year (only his second trip to the United States after his long absence during the war), Eliot agreed to record a range of poems for the Harvard Vocarium record label, including “Journey of the Magi,” “Difficulties of a Statesman,” “Fragment of an Agon,” and “Prufrock.” Harvard Vocarium recording of T.S. Eliot reading “The Love Song of J. Alfred Prufrock (1948), produced and distributed …
The Woodberry Poetry Room is pleased to announce that the recipient of the 2015-2016 WPR Creative Fellowship is Eileen Myles for her proposed project, “About Boston.” Myles will receive a stipend of $4,000 (generously funded by the Dr. Michael and Teresa Anagnostopoulos Fund and the Carpenter Center for the Visual Arts) and plans to be present on campus throughout the month of April 2016. Due to the impressive range and number of applications, two additional projects were selected to receive WPR Creative Grants of $1,500, also funded by the Anagnostopoulos family. The 2015-2016 grant recipients are: Dan Beachy-Quick of Fort Collins, Colorado (for his project, “A Quiet Book”) and Chris Mustazza of Philadelphia (for his project, “The Birth of the Poetry Audio Archive: The Vocarium Recordings and The Speech Lab Recordings”). In conjunction with her proposed essay project, “About Boston,” Myles will consider “Boston as a site of poetry (poetry as ‘poetry’ and the poetry of everyday speech).” As a native Bostonian, Myles is particularly interested in exploring the Boston accent, in which Myles herself writes her poetry. During her …
Join us for the first incarnation of the WPR Creative Fellowship, featuring films made by Fanny Howe in collaboration with Sheila Gallagher, John Gianvito, and Maceo Senna, and including voiceovers by Robert Creeley and Patrick Bedford. The event will integrate informal conversation with the screening of the following films: “Brigid of Murroe”; “What Nobody Saw”; and “Be Again.” Introduction by Keith Jones. The event will take place at the Barker Center. For more information, visit the WPR Calendar of Events. The WPR Creative Fellowships are made possible by a generous donation by the Anagnostopoulos Family and a gift made in honor of Teresa and Dr. Michael Anagnostopoulos. The featured photograph shows Fanny Howe and Sheila Gallagher during one of their collaborative sessions, working on one of the films in progress at Houghton Library.
Poet and translator Andrew Zawacki will read passages and screen images from his prose-photo hybrid project “Paris Photo Graff,” which uses Paris graffiti as an occasion to think associatively about alternative or subaltern poetics, black and white photography, the disappeared body, artistic commodification, and the construction and demolition of public space. The event will take place at the Woodberry Poetry Room, Lamont Library, Room 330, Harvard University. Zawacki is the author of four poetry books, most recently Videotape (Counterpath Press, 2013). His translation from the French of Sébastien Smirou, My Lorenzo, appeared from Burning Deck in 2012. His follow-up translation of Smirou, See About: Bestiary, was awarded an NEA Translation fellowship and is due next year from La Presse. The recipient of a fellowship at la Résidence internationale Ville de Paris / Institut Français aux Récollets, he is the Director of the Creative Writing Program at the University of Georgia.