That volume is an easily accessible source for our poem. 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. The poem is utterly political and supremely theoretical at once. PoemTalk this time — an in-person recording session at the Kelly Writers House, technically no easy matter at the pandemic-constrained moment of its making — was engineered and directed by Zach Carduner with assistance from Leah Baxter.
And it was edited by Zach Carduner. This recording is notable not only because "Memorial Day" is a landmark collaboration between two of the New York School's finest poets, but also due to its seeming rarity. Berrigan and Waldman were rumored to have only read the poem together and in its entirety once — in fact, "Memorial Day" was composed specifically for their joint reading in the spring of — and while the event was recorded, it would seem that the tape had been missing for several decades, presumably lost forever.
My brief Jacket2 essay from , "Recovering 'Memorial Day,'" is both a rumination on the poem itself and a retelling of its being lost and found again in the reel-to-reel tape collection of Robert Creeley.
To listen to the recording directly, you can click here. Subsequently, video footage of a reading of the poem by Berrigan and Waldman has been located, and you can watch that here. Numerous previous sessions with Richetti are available on PennSound Classics , spanning more than a decade. Richetti has additionally recorded selections from Matthew Arnold, W. These lovingly-made recordings, rendered in Richetti's distinctive tenor, are a tremendous resource for the classroom or for any lover of poetry.
With the exception of the aforementioned anthologies, PennSound Classics is divided by author, so you can see Richetti's ample contributions alongside those of many other poets and scholars. To start browsing, click here. You can go directly to Richetti's Frost recordings by clicking here. Today we're highlighting a very exciting new addition to the site from legendary Beat poet Gregory Corso : tracks from a recording session at Fantasy Records' San Francisco studios on Natoma Street.
There, you'll find five full readings plus one individual poem recorded between the s and s. The earliest recording is an April reading at Duke University, which is followed by an August appearance at the San Francisco Art Institute as part of their "Art of Poetry" series. Jumping forward to the 90s, there's a March Brooklyn College reading notable for the appearance of Corso's iconic late poem "The Whole Mess Almost" and for the half-hour candid conversation recorded in the car on the way home.
We're kicking off this week by highlighting the work of Persian poet, translator, and scholar Fatemeh Shams , who is also an Assistant Professor of Near Eastern Languages and Civilizations at the University of Pennsylvania. On March 2, Shams and translator Dick Davis took part in a lunchtime event at our own Kelly Writers House on Persian Literature in Translation, which is available on her author page in video and audio form. Later that day, the two stepped into the Wexler Studio for a bilingual reading, with Shams reading in Farsi and Davis sharing his translations in English.
You can listen to all of the aforementioned recordings by clicking here. Those fifteen months not unwittingly bracket either side of the several collateral-effect crises caused by the —21 pandemic and several new rounds of global awareness about impending climate change and its causes. In addition to the twenty-minute film, we've assembled remembrances from Gross and Yvonne Andersen who served as photographer, artist and editor, as well as constructing sets and props. Here's Gross describing the film's origins and inspirations:.
As I worked with Red at various intervals of time and projects, from , our collaborations became increasingly intense, and often lost the boundaries of ideas, aesthetics, and in the real time of making, craft and painting.
In , together with Rudy Burckhardt, we made a 16mm film called Shoot the Moon. It is a direct homage to Georges Melies.
There are some brief scenes with stop-action animation. Red and I made little cut outs, and Rudy showed us how he filmed the scene. A few years later, we experimented with animating life-sized props with live actors long before "green screens". When Yvonne Andersen and Dominic Falcone visited us in New York, we planned to make a film together the following summer where they lived near Boston.
Red and I had just moved into lively "Little Italy" , a neighborhood where daily fires, violence, and long term elderly residents lived near the Bowery, filled with bums, and pre-immigration quota Chinatown. I was busy drawing in the streets, and making objects based on street life, and Red was obsessively chasing fires, fire engines, street life, he was incorporating into his work. And here's Andersen describing the spirit of collaboration among friends that guided the project:.
Each morning the four of us along with Dominic and our two children Paul, 7 and Jean, 5 went to the studio to build the sets and props. Red built a dog which could be animated to walk in front of a live person. Red was creating a cartoonish atmosphere depicting the types of city people who might be seen walking the street of a big city.
For this reason the people wore giant shoes to connect them to the sidewalks. Those shoes were heavy! A normal shoe was screwed into a giant shoe manufactured by Red. In the beginning this was supposed to be a four person project, but people heard about it. Each night people came to be in the winter crowd scenes. Then we have another old favorite from the archives: Clark Coolidge and Michael Gizzi reading Kerouac's iconic spontaneous prose piece, " Old Angel Midnight," taken from a recording session at the West Stockbridge, MA home studio of Steve Schwartz.
Coolidge is, of course, well-known for, as Al Filreis Al Filreis phrases it, "his advocacy for Kerouac as properly belonging to the field of experimental poetry and poetics. Here's how Kerouac himself described the project which famously appeared in the premier issue of Big Table , along with excerpts from William S. You can listen to Coolidge and Gizzi's rendition of this classic here , and might also want to check out PoemTalk , wherein Coolidge and Filreis, along with J.
Cloutier and Michelle Taransky , discuss their recording of the poem.
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