DOCSLIB.ORG

Journal of a Living Experiment: a Documentary History of the First

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Journal of a Living Experiment: a Documentary History of the First DOCUMENT RESUME ED 328 909 CS 211 742 AUTHOR Lopate, Phillip, Ed. TITLE Journal of a Living Experiment: A Documentary History of the rirst Ten Years of Teachers and Writers Collaborative. INSTITUTION Teachers and Writers Collaborative, New York, N.Y. REPORT NO ISBN-0-915924-09-9 PUB DATE 79 NOTE 347p.; Publication of this book made possible by a grant from the National Endowment for the Ari:s. AVAILABLE FROM Teachers and Writers Collaborative, 5 Union Square West, New York, NY 10003 ($9.95). PUB TYPE Books (010) -- Collected Works General (020) -- Historical Materials (060) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Creative Expression; Educational History; *Elucational Innovation; Elementary Secondary Education; Enrichment Activities; *Experimental Teaching IDENTIFIERS Artists in Schools Program; *Teachers and Writers Collaborative ABSTRACT Intended to celebrate the first 10 years of Teachers and Writers Collaborative (the original organization which sent poets, novelists, and other artists into the schools on a regular basis), this book contains 29 articles, diaries, letters,manifestos, graphics, and memoirs. The book contains the following articles: (1) "Roots and Origins" (P. Lopate); (2) "Iliterview with Herbert Kohl" (H. Kohl and P. Lopate);(3) "Journal of a Living Experiment" (A. Sexton);(4) "Some Impressions Recorded as a Participant-Observerin the Summer Experimental Program in Deaf Education" (D. Henderson); (5) "The Use of Arts in the Education of Children Who Are Deaf" (K. Kennerly);(6) "Interview with Karen Kehnerly" (K. Kennerly and P. Lopate); (7) "A Fable" (M. Rukeyser); (8) "Issues of Language" (P. Lopate); (9) "'The Voice of the Children' Diaries" (J. Jordan); (10) "Dreams" (J. Baumbach); (11) "A Class Novel" (L. Jenkin);(12) "A Grave for My Eyes" (A. Berger); (13) "Attitude toward Teachers and the Schools" (P. Lopate); (14) "Working on the Team" (K. Hubert); (15) "Luis, A True Story" (M. Willis); (16) "So Far Away"(T. Mack); (17) "Teachers and Writers and Me" (H. Brown); (18) "CombiningArt and Dance" (S. Sandoval);(19) "Drawing" (R. Sievert);(20) "Teaching Art: Examining the Creative Process" (B. Siegel); (21) "Admiaistering the Program" (P. Lopate);(22) "Two and a Half Years" (M. Hoffman); (23) "Interview with Kenneth Koch" (K. Koch and P. Lopate); (24) "Nine Years under the Masthead of Teachers and Writers" (R. Padgett); (25) "Latin Nostalgia" (M. Ortiz); (26) "Don't Just Sit There, Create" (W. Brown); (27) "A Love Letter to My Church" (D. Cheifetz); (28) °Pausing, and Looking Back" (A. Ziegler); and (29) "Conclusion" (P. Lopate). (SR) REPRODUCE This IIMERIAL. MOE DULY OWEN BY .BEST Y A '1' Pilb.. l :ilkillilikl VOW CENTO U S. IMPAIRMENT OP fOucATiON OIncof Educations) Research and tmproverrient EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC, o this document NIS been reproduced as Wowed tnom the person or oroandation pronging it P04111'50 vs** of oPintoos stated in hos docu- ment do not nocessarity represent official CI Minor changn have boon niscle to imor ovo OERI position or MILLI. reproduction quality -.1116111i _rill-AIM. a wfa I.I *: g -..inent A Documentary Historj of the First Ten Years of Teachers and Writers Collaborative Edited, With Commentary, by Phillip Lopate Teachers&Writers 84 Fifth AI 'nue, New York, New York 10011 V.. Copyright @ 1979 by Teachers & Writers Collaborative. All rights re- served. Printed in the United States of America. No part of this publica- tion may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, re- cording or otherwise, without the prior written permission of the pub- lisher. This book is made possible by a grant from the National Endowment for the Arts in Washington, D.C., a federal agency. Library of Congress Cataloging in Publication Data Main entry under title: Journal of a living experiment. 1. ArtsStudy and teaching (Elementary) New York (City) 2. Teachers & Writers Collaborative. I. Lopate, Philip, 1943- NX311.N4168 372.5 79-19199 ISBN 0-915924-09-9 Table of Contents Introductionby Phillip Lopate 7 PART ONE: THE FIRST YEAR Roots and Originsby Phillip Lopate 14 Interview With Herbert Kohl by Herbert Kohi and Phillip Lopate 21 Journal of a Living Experimentby Anne Sexton 44 Some Imr ressions Recorded as a Participant-Observer in the :Ammer Experimental Program in Deaf Education by David Henderson 76 The Use of Arts in the Education of Children Who Are Deaf by Karen Kennerly 81 Interview With Karen Kennedy by Karen Kennerly and Phillip Lopate 84 A Fableby Muriel Rukeyser 97 PART TWO: CLASHES Issues of Language by Phillip Lopate 1(X) "The Voice of the Children" Diariesby June Jordan Dreams by Jonathan Baumbach 158 A Class Novelby Leonard Jenkin 164 A Grave For My Eyesby Art Berger 171 PART THREE: TEAMS AND ALLIED ARTS APPROACHES Attitude Toward Teachers and the Schools by Phillip Lopate 190 Working on the Team by Karen Hubert 199 Luis, A True Storyby Meredith Sue Willis 207 So Far Away by Theresa Mack 214 Teachers & Writers & Me by Hannah Brown 224 CombiiIng Art and Danceby Sylvia Sandoval 227 Drawingby Robert Sievert 235 Teaching Art: Examining the Creative Process by Barbara Siegel 244 { 5 TABLE OF CONTENTS(continued) PART FOUR: BEHIND THE SCENES Administering the Program by Philip Lopate 250 Two and a Half Years Marvin Hoffman 263 Interview With Kenneth Koch by Kenneth Koch and Philip Lopate 269 Nine Years Under the Masthead of Teachers ,T4 Writers by Ron Padgett 282 Latin Nostalgiaby Miguel A. Ortiz 289 Don't Just Sit There, Createby Wesley Brown 302 A Love Letter to My Church by Dan Cheifetz 305 Pausing, and Looking Back by Alan Ziegler 309 Conclusionby Phillip Lopate 327 Contributors' Notes 343 a , reaChdt, & WHAM :tea, 1977: Seated flow, left to right Theresa Moth, Barbara Siegel, Halsey lorms, MigoalA. Ortiz, Meredith Sue Willa, Kama Hobart. Staodiog: Robert Sivert, PhilhP Lopata, Mark Solomon, [Pesky Brims, RichardPerry, Gleirda Adams, lairra Gip* Steven rbaler: Sylvia Sandoval, Adalberto Ortiz. Not shows: Bill low*, Alas Ziegler,Ron Padgett Christine Spoieh, Aerins Fogel. 7 Introduction When the director of Teachers &Writers Collaborative, SteveSchrader, asked me to put together aspecial issue of our magazinecelebrating the or- ganization's tenth anniversazy, we hadin mind a light, graceful walkdown it did not Memory Lane of approximatdyfifty-two pages in length. Obviously turn out that way. AsI began collecting the material, Ibecame fascinated with the complexity of the group's history,and the serious larger issues ittouched. What attracted me first of all wasthe sheer amount of literary historythat Tea- which has en- chers & Writers Collaborativehad a hand in. An organization gaged the dedicated energies of so manyimportant writers of the last decade Herbert Kohl, Muriel Rukeyser,Anne Sexton, Kenneth Koch,Grace Paley, David Henderson, Ber-'amin DeMott,June Jordan, Nat Hentoff,Victor Her- nandez Cruz, Jod Oppenheimer, RonPadgett, Florence Howe, Mark Mirsky, John Holt, Jay Wright, RasellenBrown, Sonia Sanchez, LouiseGluck, Felipe Luciano, Pedro Pietri, David Shapiro, A.B. Spellman, Tom Weatherly,Wes- ley Brown, Maria Irene Fomes,Robert Silvers, Jonathan Baumbach,Bill Berk- son, ArmandSchwerner, Sidney Goldfarb, CalvinTrillin, Richard Elrnan, Leonard Jenkin, Dick Gallup, MeredithSue Willis, Lennox Raphael,Karen Hubert, Richard Perry, and BillZavatsky, to name only the mosawidely-pub- lishedmust have a story worth telling.The cast of characters was rich, as was the verbal record they leftbehind of their struggles and satisfactionsin at- tempting a reformation of language artsteaching in the schools. But it could not be allowed to turninto a syrupy Feu/schrift. Thedecision of an organization to write its ownhistory must be based on somethingother than self-aggrandizement for it tobe of general value. There is a tradition at Teachers &Writers, grounded in the act ofdiary,- keeping, of self-reflection, and painfulhonesty about mistakes and tensions. This volume will in no way departfrom that t:adition. The value for some readers. I hope, is that an airing of thehistory of one group's struggles over an extended period will be useful to othersattempting similar enterprises; the value to us as an organization may bethat the excavation of the historical rec- ord will put us in touch with someof the old zcals which were present atbirth (and since routinized or blunted),while also enabling us to go forward on a new footing. Teachers & Writers Collaborative is. firstof all, the original organization regular ba- to have sent poets,novelists, and other artists into the schools on a sis. It came out of a series of meetingsin 1966-67 among writers whose awa- kened social conscience about the plightof the schoolsparticularly ghetto schools-- -compelled them to becomeinvolved and to take action in some way. Because they were writers they addressedthemselves initially to what they saw as disastrousshortcomings in the English curriculum;but their concern for language and the ways that schoolstraditionally choked off students' creative, alive, use of language was only ametaphorical starting-point for larger con- cerns about educationaltracking and racial and social injusticesthat seemed to be taking place in the schools. The writers(and later, the other artists') idea was that by goinginto the schools, they could both lend support tothe stu- dents' "authentic" voices and cultures,while taking students further through 7 professional guidance in art-making activitiesat the same ti ne helping to bring about a more enjoyable, unrepressed school environment. The twistings and turnings of that idea through every conceivable barrier and self-doubt, is one way of looking at the history of Teachers & Writers. This book is also very much a document of the past decade, from the 1960's into the 1970's, and the lives of a select and special group of people, somefa- mous, some not. This isfor mea book about"activists," not Mark Rudd type activists, nor Ralph Nader types, but peoplewho wanted to do some- thing andthough not without discomfitdid it.
Load more

Recommended publications
  • Late Modernist Poetics and George Schneeman's Collaborations with the New York School Poets
    Timothy Keane Studies in Visual Arts and Communication: an international journal Vol 1, No 2 (2014) on-line ISSN 2393 - 1221 No Real Assurances: Late Modernist Poetics and George Schneeman’s Collaborations with the New York School Poets Timothy Keane City University of New York Abstract: Painter George Schneeman’s collaborations with the New York School poets represent an under-examined, vast body of visual-textual hybrids that resolve challenges to mid-and-late century American art through an indirect alliance with late modernist literary practices. Schneeman worked with New York poets intermittently from 1966 into the early 2000s. This article examines these collagist works from a formalist perspective, uncovering how they incorporate gestural techniques of abstract art and the poetic use of juxtaposition, vortices, analogies, and pictorial and lexical imagism to generate non-representational, enigmatic assemblages. I argue that these late modernist works represent an authentically experimental form, violating boundaries between art and writing, disrupting the venerated concept of single authorship, and resisting the demands of the marketplace by affirming for their creators a unity between art-making and daily life—ambitions that have underpinned every twentieth century avant-garde movement. On first seeing George Schneeman’s painting in the 1960s, poet Alice Notley asked herself, “Is this [art] new? Or old fashioned?”1 Notley was probably reacting to Schneeman’s unassuming, intimate representations of Tuscan landscape and what she called their “privacy of relationship.” The potential newness Notley detected in Schneeman’s “old-fashioned” art might be explained by how his small-scale and quiet paintings share none of the self-conscious flamboyance in much American painting of the 1960s and 1970s.
    [Show full text]
  • DANOWSKI, RAYMOND. Raymond Danowski Poetry Library Collection, Circa 1904-2013
    DANOWSKI, RAYMOND. Raymond Danowski Poetry Library collection, circa 1904-2013 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Danowski, Raymond. Title: Raymond Danowski Poetry Library collection, circa 1904-2013 Call Number: Manuscript Collection No. 1045 Extent: 17.5 linear feet (36 boxes), 8 oversized papers boxes and 59 oversized papers folders (OP), 18 extra-oversized papers (XOP), 2 bound volumes (BV), 1 oversized bound volume (OBV), and AV Masters: 2 linear feet (2 boxes and LP1) Abstract: Collection of manuscript material collected as part of the Raymond Danowski Poetry Library including manuscripts, correspondence, printed material, and audiovisual material. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Subseries 6.2: Unprocessed printed material is closed to researchers. Series 7: Special restrictions apply: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Series 8: Unprocessed material is closed to researchers. Terms Governing Use and Reproduction Special restrictions apply: writings by Ted Hughes (letters and literary works) may not be reproduced without the written permission of Carol Hughes. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository.
    [Show full text]
  • The Poetry Project Newsletter
    THE POETRY PROJECT NEWSLETTER $5.00 #212 OCTOBER/NOVEMBER 2007 How to Be Perfect POEMS BY RON PADGETT ISBN: 978-1-56689-203-2 “Ron Padgett’s How to Be Perfect is. New Perfect.” —lyn hejinian Poetry Ripple Effect: from New and Selected Poems BY ELAINE EQUI ISBN: 978-1-56689-197-4 Coffee “[Equi’s] poems encourage readers House to see anew.” —New York Times The Marvelous Press Bones of Time: Excavations and Explanations POEMS BY BRENDA COULTAS ISBN: 978-1-56689-204-9 “This is a revelatory book.” —edward sanders COMING SOON Vertigo Poetry from POEMS BY MARTHA RONK Anne Boyer, ISBN: 978-1-56689-205-6 Linda Hogan, “Short, stunning lyrics.” —Publishers Weekly Eugen Jebeleanu, (starred review) Raymond McDaniel, A.B. Spellman, and Broken World Marjorie Welish. POEMS BY JOSEPH LEASE ISBN: 978-1-56689-198-1 “An exquisite collection!” —marjorie perloff Skirt Full of Black POEMS BY SUN YUNG SHIN ISBN: 978-1-56689-199-8 “A spirited and restless imagination at work.” Good books are brewing at —marilyn chin www.coffeehousepress.org THE POETRY PROJECT ST. MARK’S CHURCH in-the-BowerY 131 EAST 10TH STREET NEW YORK NY 10003 NEWSLETTER www.poetryproject.com #212 OCTOBER/NOVEMBER 2007 NEWSLETTER EDITOR John Coletti WELCOME BACK... DISTRIBUTION Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 4 ANNOUNCEMENTS THE POETRY PROJECT LTD. STAFF ARTISTIC DIRECTOR Stacy Szymaszek PROGRAM COORDINATOR Corrine Fitzpatrick PROGRAM ASSISTANT Arlo Quint 6 WRITING WORKSHOPS MONDAY NIGHT COORDINATOR Akilah Oliver WEDNESDAY NIGHT COORDINATOR Stacy Szymaszek FRIDAY NIGHT COORDINATOR Corrine Fitzpatrick 7 REMEMBERING SEKOU SUNDIATA SOUND TECHNICIAN David Vogen BOOKKEEPER Stephen Rosenthal DEVELOpmENT CONSULTANT Stephanie Gray BOX OFFICE Courtney Frederick, Erika Recordon, Nicole Wallace 8 IN CONVERSATION INTERNS Diana Hamilton, Owen Hutchinson, Austin LaGrone, Nicole Wallace A CHAT BETWEEN BRENDA COULTAS AND AKILAH OLIVER VOLUNTEERS Jim Behrle, David Cameron, Christine Gans, HR Hegnauer, Sarah Kolbasowski, Dgls.
    [Show full text]
  • University of Birmingham Space Occupied
    University of Birmingham Space occupied Cran, Rona DOI: 10.1017/S0021875820001073 License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Cran, R 2020, 'Space occupied: women poet-editors and the mimeograph revolution in mid-century New York City', Journal of American Studies. https://doi.org/10.1017/S0021875820001073 Link to publication on Research at Birmingham portal Publisher Rights Statement: This article has been published in a revised form in Journal of American Studies [https://doi.org/10.1017/S0021875820001073]. This version is free to view and download for private research and study only. Not for re-distribution or re-use. © Cambridge University Press 2020. General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.
    [Show full text]
  • A Network Analysis of Postwar American Poetry in the Age of Digital Audio Archives Ankit Basnet and James Jaehoon Lee
    Journal of April 20, 2021 Cultural Analytics A Network Analysis of Postwar American Poetry in the Age of Digital Audio Archives Ankit Basnet and James Jaehoon Lee Ankit Basnet, University of Cincinnati James Lee, University of Cincinnati Peer-Reviewer: Stephen Voyce Data Repository: 10.7910/DVN/NK7Z2H A B S T R A C T From the New American Poetry to New Formalism, publishing networks such as literary magazines and social scenes such as poetry reading series have served as a capacious model for understanding the varied poetic formations in the postwar period. As audio archives of poetry readings have been digitized in large volumes, Charles Bernstein has suggested that open access to digital archives allows readers of American poetry to create mixtapes in different configurations. Digital archives of poetry readings “offer an intriguing and powerful alternative” to organizing practices such as networks and scenes. Placing Bernstein’s definition of the digital audio archive into contact with more conventional understandings of poetic community gives us a composite vision of organizing principles in postwar American poetry. To accomplish this, we compared poetry reading venues as well as audio archives — alongside more familiar print networks constituted by poetry anthologies and magazines — as important and distinct sites of reception for American poetry. We used network analysis to visualize the relationships of individual poets to venues where they have read, archives where their readings are stored, and text anthologies where their poetry has been printed. Examining several types of poetic archives offers us a new perspective in how we perceive the relationships between poets and their “networks and scenes,” understood both in terms of print and audio culture, as well as trends and changes in the formation of these poetic communities and affiliations.
    [Show full text]
  • Transatlantica, 1 | 2021 “You Are Next in Line”: Moving Down the Line(S) with Ron Padgett 2
    Transatlantica Revue d’études américaines. American Studies Journal 1 | 2021 Line Breaks in America: the Odds and Ends of Poetry “You are next in line”: Moving down the Line(s) with Ron Padgett Olivier Brossard Electronic version URL: https://journals.openedition.org/transatlantica/17248 DOI: 10.4000/transatlantica.17248 ISSN: 1765-2766 Publisher Association française d'Etudes Américaines (AFEA) Electronic reference Olivier Brossard, ““You are next in line”: Moving down the Line(s) with Ron Padgett”, Transatlantica [Online], 1 | 2021, Online since 01 July 2021, connection on 19 July 2021. URL: http:// journals.openedition.org/transatlantica/17248 ; DOI: https://doi.org/10.4000/transatlantica.17248 This text was automatically generated on 19 July 2021. Transatlantica – Revue d'études américaines est mise à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. “You are next in line”: Moving down the Line(s) with Ron Padgett 1 “You are next in line”: Moving down the Line(s) with Ron Padgett Olivier Brossard Introduction 1 In 1992, the Poetry Society of America and the Metropolitan Transportation Authority launched the literary program “Poetry in Motion” which consists of poetic campaigns in the subway and other public spaces. In his film Paterson (2016), Jim Jarmusch takes the idea of poetic motion literally as the hero Paterson, a New Jersey bus driver, writes his lines of verse in his spare moments behind the wheel during his daily driving routine. The poems were not written by Jarmusch—although he studied poetry and writing with Kenneth Koch at Columbia University—but by Ron Padgett, sometimes affiliated to the so-called second generation of New York School poets, and one of the inspirations for the film.
    [Show full text]
  • Selected Publications by Ron Padgett
    Selected Publications by Ron Padgett Left: silver gelatin photograph of RP by Lorenz Gude, bound in first edition of In Advance of the Broken Arm. Lorenz Gude, 1964. Right: collage by Joe Brainard for Quelques Poèmes / Some Translations / Some Bombs. N.p., 1963. Description of the Collection Poet, writer, translator, and editor Ron Padgett (b. 1942) has published extensively in unique printed forms: mimeographed magazines and pamphlets with covers by Joe Brainard, George Schneeman, and Andy Warhol; C Press projects such as William Burroughs’ Time; and small-edition collaborations with artists and publishers such as Bertrand Dorny and Gervais Jassaud. This collection of Ron Padgett publications presents the above assortment as well as other volumes, including his first self- published work in 1960 (Summer Balloons) and an array of books he edited for Full Court Press from 1974–1989. Nearly all of the following items are from Padgett’s personal collection and most bear his signature, including a number of exceedingly rare volumes. Not all items are pictured; all available Ron Padgett items are available at www.granarybooks.com. Books and Websites Cited TB = Ted Berrigan. Some Notes about “C.” Unpublished manuscript, May 1964. Miles = Barry Miles. Call Me Burroughs: A Life. New York: Twelve, 2013. RP = Ron Padgett. Email correspondence, Oct. 2019. Dorny = “Ron Padgett and Bertrand Dorny: What Happened to the Renaissance.” Artcritical: The Online Magazine of Arts and Ideas. Dec. 18, 2014. Simon = “Joan Simon with Anne Sherwood Pundyk.” Brooklyn Rail. Jul–Aug 2012. Wolf = Reva Wolf. Andy Warhol, Poetry, and Gossip in the 1960s. Chicago: University of Chicago Press, 1997.
    [Show full text]
  • Whimsy, the Avant-Garde and Rudy Burckhardt's and Kenneth Koch's
    Whimsy, the Avant-Garde and Rudy Burckhardt’s and Kenneth Koch’s The Apple Daniel Kane Part 1 - Alice throws my shirt onto the cabin roof ‘Little Fawn Like Alice’ or, more simply, ‘Loofah’ is what my friends and I used to call Alice when we were undergraduate students at Marlboro College back in the late 1980s. Because Alice resembled Tin-Tin (sexy) and was tremendously intelligent and funny, I considered myself one of the luckiest guys around when she consented to become my beloved after months of often desperate courtship on my part. We moved in to a cabin in the middle of the Vermont woods, and tried our best to live and love together. One summer’s day we drove down to Brattleboro to go shopping. On the drive back to the cabin I took my shirt off. As we pulled up to the cabin, something happened that has resonated with me ever since…something I think about constantly even though it happened over twenty years ago now…this is how Alice recalls it: You were wearing that horrible mustard-colored misshapened cotton mock turtle neck you wore every fucking day that made you look green and homeless. You had just gotten back from Czechoslovakia. I was driving and you were next to me. It was starting to get hot and you took off the shirt in the car and put it between our seats. We pulled up to the cabin. I grabbed the shirt as we were getting out of the car and tossed it onto the roof of the cabin.
    [Show full text]
  • Avant-Garde Poetry Tape Recordings LSC.0961
    http://oac.cdlib.org/findaid/ark:/13030/kt1t1n98b8 No online items Finding Aid for the Avant-Garde Poetry Tape Recordings LSC.0961 Processed by Manuscripts Division staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Online finding aid last updated on 2020 October 29. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Avant-Garde LSC.0961 1 Poetry Tape Recordings LSC.0961 Contributing Institution: UCLA Library Special Collections Title: Avant-garde poetry tape recordings Creator: Silverton, Michael Creator: WBAI Radio (New York, N.Y.) Creator: WNYC (Radio station : New York, N.Y.) Identifier/Call Number: LSC.0961 Physical Description: 3 Linear Feet(42 open reel audiotapes) Date (inclusive): 1966-1967 Abstract: Collection consists of 42 reel-to-reel tapes recorded by Michael Silverton for an avant-garde poetry series for New York radio station WNYC in 1966, and another for radio station WBAI in 1967. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains both processed and unprocessed audiovisual materials. Audiovisual materials are not currently available for access, unless otherwise noted in a Physical Characteristics and Technical Requirements note at the file level.
    [Show full text]
  • The New York School of Poets 1: James Schuyler and The
    Notes INTRODUCTION: THE NEW YORK SCHOOL OF POETS 1. Harold Rosenberg, The Anxious Object (Chicago and London: Chicago U. P., 1982 rept.), p. 61. 2. For more detailed analysis of the relationship between the Federal Art Project, the Surrealist influence and the development of Abstract Expressionist art, see Dore Ashton, The New York School: A Cultural Reckoning (Harmondsworth and New York: Penguin, 1979) and Serge Guilbaut, How New York Stole the Idea of Modern Art: Abstract Expressiollism, Freedom, alld the Cold War (Chicago and London: Chicago U. P., 1983). 3. Dore Ashton, The New York School, (1983 rept.), p. 233. 4. Charles Baudelaire, 'Les Sept Vieillards', The Complete Verse (London: Anvil Press, 1986), p. 177. 5. David Trotter, The Makillg of the Reader: Language and Subjectivity III Modern Americall, English and Irish Poetry (London and Basingstoke: Macmillan, 1984), p.156. 6. Harold Bloom, ed., Modern Critical Views: John Ashbery (New York: Chelsea House, 1985), p. 6. 7. A number of books by Harold Bloom contain chapters or sections on John Ashbery. Bloom's Introduction 10 the Modern Critical Views anthology is prob­ ably the essay most explicitly antagonistic to the idea of a New York School of poels. The tenor of the essays collected in Agon (1982) is also one of opposition to the concept of collective, avant-garde poetry in America. 8. Jean-Fran,ois Lyotard, The Post modern Condition: A Report on Knowledge (Man­ chester: Manchester U. P., 1989), p. xxiv. 9. Anne Waldman, 'Paraphrase of Edwin Denby Speaking on the "New York School''', in B. Berkson and J.
    [Show full text]
  • Ted Berrigan's Poetics of Appropriation
    Mess and Message: Ted Berrigan’s Poetics of Appropriation Reva Wolf “Because he included, he was a poet.” –David Shapiro, “On a Poet” (226) “Berrigan’s work...can most usefully be read not as a document of a life in writing but, inversely, as an appropriation of a life by writing.” –Charles Bernstein, “Writing Against the Body” (154) “Mess and Message,” the final three words of a poem in Ted Berrigan’s 1969 book, Many Happy Returns, describe perfectly and succinctly what makes his poetry compelling. The message of his poetry is the mess that is life. Appropriation figures in large and fascinating ways in this message. The very words “mess and message” are copied, as is the entire poem in which they appear, “Frank O’Hara’s Question from ‘Writers and Issues’ by John Ashbery” (Many Happy Returns 43; Collected Poems 159-60). Berrigan produced surprisingly numerous kinds of meaning by pilfering all sorts of pre-existing sentences, fragments, and whole passages of writing (literary and prosaic), not to mention visual imagery. Focusing on Berrigan’s “Frank O’Hara’s Question,” I offer here an account of the complexity of his poetics of appropriation, and a case for how the significance of this poetics resides equally, and together, on the page and in the world. 1. This dual significance is evident on multiple levels in “Frank O’Hara’s Ques- tion.” Berrigan took the words of this poem from a short prose piece by John Ashbery that originally appeared in the “Writers & Issues” section of the September 25, 1966 issue of Book Week (Kermani 83).
    [Show full text]
  • Selected Poems of Ted Berrigan
    The Selected Poems of Ted Berrigan The publisher gratefully acknowledges the generous support of the Humanities Endowment Fund of the University of California Press Foundation. The publisher also gratefully acknowledges the generous support of Jamie and David Wolf and the Rosenthal Family Foundation as members of the Publisher’s Circle of the University of California Press Foundation. The Selected Poems of Ted Berrigan Edited by Alice Notley, Anselm Berrigan, and Edmund Berrigan University of California Press Berkeley Los Angeles London University of California Press, one of the most distinguished univer- sity presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institu- tions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2011 by The Regents of the University of California Poems from The Sonnetsby Ted Berrigan, copyright © 2000 by Alice Notley, Literary Executrix of the Estate of Ted Berrigan. Used by per- mission of Viking Penguin, a division of Penguin Group (USA) Inc. Library of Congress Cataloging-in-Publication Data Berrigan, Ted. [Poems. Selections] The selected poems of Ted Berrigan / edited by Alice Notley, Anselm Berrigan, and Edmund Berrigan. â p. cm. Includes bibliographical references and index. isbn: 978-0-520-26683-4 (cloth : alk. paper) isbn: 978-0-520-26684-1 (pbk. : alk. paper) I. Notley, Alice 1945– II. Berrigan, Anselm. III. Berrigan, Edmund, 1974– IV. Title.
    [Show full text]