Month: October 2015

ODE TO THE INSTRUMENT: Liner Notes for a John Wieners’ Recording

“Now a poem from Black Mountain, written in 1955,” begins this affecting recital of “Ode to the Instrument,” recorded for the Woodberry Poetry Room at Boston’s Fassett Studio in March 1962. The crystal-clear track is the only known recording of this uncollected early poem, in which Wieners’ later lyricism—his soft-stated allusiveness and lovesick, apostrophic poise—can already be heard lifting into place. The poem, written during Wieners’s first month at Black Mountain College, also marked a sea change in his dawning, elemental friendship with Charles Olson.

IT’S ALL RIGHT: On Sean Cole’s “To Acropolis”

The Woodberry Poetry Room is pleased to announce a new online series called BOSTON ORIGINALS—a celebration of poets who hail from, dwell in, or write about the greater Boston area. Each BOSTON ORIGINALS post will feature a brief reflection on a Boston poet’s work (or interview with the poet) and an audio or video recording. The Poetry Room wishes to thank Audrey Mardavich (and videographer John Mulrooney) for generously agreeing to contribute to this inaugural post. I have been an admirer of Sean Cole’s work as a poet and as a radio producer for many years. He is a superb thinker: he can be irreverent when it matters most, he is inventive with his images and sounds, he is very funny and probably has the best laugh of any poet around. He brings that to every poem and every radio story of his I’ve heard. This poem, in particular, especially reflects that spirit. Sean Cole at the 2015 Boston Poetry Marathon: “To Acropolis” begins at 5:07.  “To Acropolis” touches on the history of the marathon in Greece, the history of the …

NOT TO BE PLAYED: Liner Notes for an Exhibition

“NOT TO BE PLAYED, OR TRANSCRIBED…” Ezra Pound writes emphatically in an October 1955 permissions note to Yale professor Norman Holmes Pearson, in conjunction with that year’s WYBC broadcast “A Tribute to Ezra Pound”. The radio program was a part of a larger effort to secure Pound’s release from St. Elizabeths Hospital, where the poet had been held since 1946 as a result of his “treasonous” (and anti-Semitic) wartime broadcasts, which the U.S. Federal Communications Commission began monitoring in 1941 and recording in 1942.