Those of you who attended Micheal Basinski’s performance here in the fall of 2015 will realise how honoured we feel that The Poetry Collection, Capen Hall, University at Buffalo, has mounted a sizable part of our Cid Corman collection, which will remain open until 18 January 2017. For those who have not visited the Poetry Collection, and who have time to spend a day in Buffalo, below are a few extracts from the Collection’s website. If considering a day trip, the Knox-Albright gallery is not far away.
The Poetry Collection is only twenty minutes from the border if you take the Lewiston Bridge. Please contact us if you want guidance for a simple route.
When the Poetry Collection began in 1937, its original mission was to collect first editions of poetry written in English and English translation published since 1900. Today, the collection houses over 140,000 titles of Anglophone poetry including 6,600 broadsides as well as an extensive selection of little magazines, anthologies, criticism, reference books, ephemera and audio recordings, making it the largest poetry library of its kind in North America.
Throughout the 20th century, “little magazines”—magazines usually noncommercial in nature and often committed to certain literary ideals—have been a primary organ for the dissemination of poetry and for the formation of literary communities across the aesthetic and political spectra.
The Poetry Collection maintains a comprehensive selection of over 9,000 titles of past and current little magazines, literary journals, university reviews, newspapers and other poetry periodicals, and is particularly strong in its holdings of independent publications.
Soon after establishing the Poetry Collection, Charles Abbott made a concerted effort to begin collecting the working manuscripts and letters of contemporary poets, soliciting donations from hundreds of writers such as Ezra Pound, Marianne Moore and Wallace Stevens and establishing a tradition of acquiring others. These form the foundation of the Contemporary Manuscripts Collection, which contains tens of thousands of pages of manuscripts and correspondence from hundreds of American, British, Irish, Canadian and Australian authors. Additionally, there are more than 150 named collections, including the world’s largest and most distinguished archive of James Joyce manuscripts as well as major selections of papers from Robert Graves, Theodore Enslin, Robert Duncan, John Logan, Helen Adam, John Montague, Clark Coolidge, Michael Palmer, William Carlos Williams, Basil Bunting, Dylan Thomas, Jonathan Williams and Wyndham Lewis. The collection also holds the archives of several important small presses and magazines.
Also featured in the Poetry Collection are the personal libraries of writers such as Helen Adam, Basil Bunting, Robert Duncan, James Joyce and John Logan; artworks by Constantin Brancusi, Jess (Collins), Wyndham Lewis, E. E. Cummings and many others; and substantial collections of mail art, visual and concrete poetry, photographs and zines.
When Asa Boxer was last here to share his new work Etymologies, he mentioned he would soon be off to Rio for the Arts Olympics. Here is a segment on CBC Radio’s Q discussing the Arts Olympics.
“As 2016 Olympics wind down in Rio, preparations have begun for an entirely different kind of games.
Few present-day fans know that Olympic organizers used to give out medals for artistic achievement. From 1912 to 1948, artists would compete in categories such as music, painting, literature and sculpture.”
The links are below:
“Jerry Prager’s Echoes in the Timbers is a prose poem that relates the death and inquest of Margaret Buckingham, a former slave who settled in Puslinch County in the mid-nineteenth century. The narrative is broken into several parts, each with a different speaker – including Margaret herself; her suitor, Jerry Collins; and a member of her inquest jury, Nicholas Beaver, whose house has since been moved to the grounds of the Elora Poetry Centre. Margaret actually visited Beaver House in her day, so it’s fitting that it was where Jerry first read Echoes in the Timbers in 2014 and where the published version was recently launched.”
To read the rest of the post click the link below:
The Winter Metaphor
See the snow upon the ground
so ubiquitous, yet so fleet . . . so seasonal,
a great pause in the enormous speech of nature.
Feel the adversity of cold,
that challenges us to winter sport,
the mad dash from the car,
or that drives us indoors
upon an unilluminated page
whose aesthetics is preceded by twigs piercing the white winter blanket outside.
Observe the early darkness descend,
cornering souls into stillness
or spirits to wild fireside fantasies
filled with a drama of darkness and light.
Contemplate a long, cold, white death,
A death that
. . . melts away
. . . ………..to another life,
To another greening awaiting another death awaiting another
another . . .
(Peter Skoggard, 2014)