Podcasts about canlit

Since the U.S. president has been talking about annexing Canada, there's been a surge of pride in Canadian identity. Yet over many years, Canadians have struggled to define their culture as separate from the U.S. since the two are intertwined, especially as it relates to most genres of the arts. What set Canada apart? And do Canadian art and artists need a renaissance? We ask, David Leonard, executive director of the Writers Trust Fund of Canada; Andrew Cash, president and CEO of CIMA; Marsha LEderman, arts journalist; and Tonya Williams, founder of the Reelworld film festival.See omnystudio.com/listener for privacy information.

Records sound better than t-shirts. Today we're talking literature and CanLit, sports, and music around the theme of accessibility as we continue to promote women in the arts for the remainder of Women's History Month. Well this week on Outlook we're discussing wearing our message on our clothing as The Festival of Literary Diversity's (FOLD) schedule of events and festival sign-up has gone live on their website which we'll share at the end of this episode's description. It's an eight day long event (first, half virtual and the second four days in person) as we discuss the importance of both options for events and gatherings, workshops, and festivals of all kinds, for people with disabilities which make in-person attendance more difficult, something we've sadly moved away from since coming out of the worst of the pandemic. A friend told sister/co-host Kerry about a recent online author talk, put on by the FOLD, from their FOLD Academy, with Amanda Leduc called “Building a Life as a Disabled Writer” which included topics such as managing energy for writing when living with disability or chronic illness and information on applying for arts grants which are geared to creators with disabilities. (The next FOLD Academy takes place on April 19th at noon Eastern.) Spring has sprung )or is trying to) and that means baseball so brother/co-host Brian is ready, with his fantasy league and with the real thing, as we highlight the usefulness of listening to games on the radio for those of us who can't see the visuals of the live thing. It's like audiobooks or podcasts, an audio method of listening. He's traveling to New York City shortly, but only time will tell if he ends up attending a New York team's live game, as Kerry remembers the experience of attending a Bluejays game in the Sky Dome, as we forever refer to it. We talk the creative projects we've worked on together and the factors which make them more or less possible, about the need for diversity in literature and art, and even about the ignorance of certain authors who don't understand the value of authenticity reading or even what it is. Proud to be woke on Outlook, it's part II of a March Mixed Bag pile of topics, including the FOLD, and sister/co-host Kerry will be attending the online portion next month and sharing more come May. So many books, so little time, but check out more info on The Festival of Literary Diversity, from April 27th to May 4th, by going to their website here: https://thefoldcanada.org

NBN host and CanLit fangirl extraordinaire Hollay Ghadery speaks with rob mclennan about his collection of stories, On Beauty (University of Alberta Press, 2024). This contains a provocative collection of moments, confessions, overheard conversations, and memories, both fleeting and crystalized, revolving around the small chasms and large craters of everyday life. Situated at the crossroads of prose and poetry, these 33 vignettes explore the rhythm, textures, and micro-moments of lives in motion. Composed with a poet's eye for detail and ear for rhythm, rob mclennan's brief stories play with form and language, capturing the act of record-keeping while in the process of living those records, creating a Polaroid-like effect. Throughout the collection, the worlds of literature and art infuse into intimate fragments of the everyday. A welcome chronicle of human connection and belonging, On Beauty will leave readers grappling with questions of how stories are produced and passed through generations. About rob mclennan: Born in Ottawa, Canada's glorious capital city, rob mclennan currently lives in Ottawa, where he is home full-time with the two wee girls he shares with Christine McNair. The author of more than thirty trade books of poetry, fiction and non-fiction, his most recent titles include the poetry collection Snow day (Spuyten Duyvil, 2025), A river runs through it: a writing diary , collaborating with Julie Carr (Spuyten Duyvil, 2025),On Beauty: stories (University of Alberta Press, 2024) and the anthology groundworks: the best of the third decade of above/ground press 2013-2023 (Invisible Publishing, 2023). This fall, University of Calgary Press will be publishing his poetry collection the book of sentences, a follow-up to the book of smaller(2022). The current Artistic Director of VERSeFest: Ottawa's International Poetry Festival, he spent the 2007-8 academic year in Edmonton as writer-in-residence at the University of Alberta. About Hollay Ghadery: Hollay Ghadery is an Iranian-Canadian multi-genre writer living in Ontario on Anishinaabe land. She has her MFA in Creative Writing from the University of Guelph. Fuse, her memoir of mixed-race identity and mental health, was released by Guernica Editions in 2021 and won the 2023 Canadian Bookclub Award for Nonfiction/Memoir. Her collection of poetry, Rebellion Box was released by Radiant Press in 2023, and her collection of short fiction, Widow Fantasies, was released with Gordon Hill Press in fall 2024. Her debut novel, The Unraveling of Ou, is due out with Palimpsest Press in 2026, and her children's book, Being with the Birds, with Guernica Editions in 2027. Hollay is the host of the 105.5 FM Bookclub, as well as a co-host on HOWL on CIUT 89.5 FM. She is also a book publicist, the Regional Chair of the League of Canadian Poets and a co-chair of the League's BIPOC committee, as well as the Poet Laureate of Scugog Township. Learn more about Hollay at www.hollayghadery.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

NBN host and CanLit fangirl extraordinaire Hollay Ghadery speaks with rob mclennan about his collection of stories, On Beauty (University of Alberta Press, 2024). This contains a provocative collection of moments, confessions, overheard conversations, and memories, both fleeting and crystalized, revolving around the small chasms and large craters of everyday life. Situated at the crossroads of prose and poetry, these 33 vignettes explore the rhythm, textures, and micro-moments of lives in motion. Composed with a poet's eye for detail and ear for rhythm, rob mclennan's brief stories play with form and language, capturing the act of record-keeping while in the process of living those records, creating a Polaroid-like effect. Throughout the collection, the worlds of literature and art infuse into intimate fragments of the everyday. A welcome chronicle of human connection and belonging, On Beauty will leave readers grappling with questions of how stories are produced and passed through generations. About rob mclennan: Born in Ottawa, Canada's glorious capital city, rob mclennan currently lives in Ottawa, where he is home full-time with the two wee girls he shares with Christine McNair. The author of more than thirty trade books of poetry, fiction and non-fiction, his most recent titles include the poetry collection Snow day (Spuyten Duyvil, 2025), A river runs through it: a writing diary , collaborating with Julie Carr (Spuyten Duyvil, 2025),On Beauty: stories (University of Alberta Press, 2024) and the anthology groundworks: the best of the third decade of above/ground press 2013-2023 (Invisible Publishing, 2023). This fall, University of Calgary Press will be publishing his poetry collection the book of sentences, a follow-up to the book of smaller(2022). The current Artistic Director of VERSeFest: Ottawa's International Poetry Festival, he spent the 2007-8 academic year in Edmonton as writer-in-residence at the University of Alberta. About Hollay Ghadery: Hollay Ghadery is an Iranian-Canadian multi-genre writer living in Ontario on Anishinaabe land. She has her MFA in Creative Writing from the University of Guelph. Fuse, her memoir of mixed-race identity and mental health, was released by Guernica Editions in 2021 and won the 2023 Canadian Bookclub Award for Nonfiction/Memoir. Her collection of poetry, Rebellion Box was released by Radiant Press in 2023, and her collection of short fiction, Widow Fantasies, was released with Gordon Hill Press in fall 2024. Her debut novel, The Unraveling of Ou, is due out with Palimpsest Press in 2026, and her children's book, Being with the Birds, with Guernica Editions in 2027. Hollay is the host of the 105.5 FM Bookclub, as well as a co-host on HOWL on CIUT 89.5 FM. She is also a book publicist, the Regional Chair of the League of Canadian Poets and a co-chair of the League's BIPOC committee, as well as the Poet Laureate of Scugog Township. Learn more about Hollay at www.hollayghadery.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Nobel laureate Alice Munro is widely known as a master of the short story, and one of Canada's most celebrated and beloved writers. In fact, Huron County in Ontario is often called Alice Munro Country. The outpouring of affection for her following her death, last week at age 92 only highlights the relatability of her characters and the precision of her fiction. And so we've gathered some writers who in one way or another have been affected by Ms. Munro's life and work. We welcome: Heather O'Neill, author of "Lullabies for Little Criminals" and the forthcoming, "The Capital of Dreams;" Chanel Sutherland, winner of the 2022 CBC Short Story Prize;Katherine Govier, author of "The Three Sisters Bar & Hotel;" Magdalene Redekop, author of "Mothers and Other Clowns: The Stories of Alice Munro;"and Menaka Raman-Wilms, author of "The Rooftop Garden," and host of the Globe and Mail's Decibel podcast.See omnystudio.com/listener for privacy information.

Rebecca and Tara wrap up their 2023 reading year!  They also encourage you to follow @river_street_writes on Instagram if you're interested in CanLit, Canadian authors, and small Canadian presses. Rebecca (@canadareadsamericanstyle): Denison Avenue by Christina Wong; illustrated by Daniel Innes Dearborn by Ghassan Zeineddine Skid Dogs by Emelia Symington-Fedy Cravings by Garnett Kilberg Cohen Where the Falcon Flies by Adam Shoalts Richard Wagamese Greenwood by Michael Christie Ted Kennedy: A Life by John A. Farrell Tara (@onabranchreads): Study for Obedience by Sarah Bernstein Peril in Pink by Sydney Leigh The Woman They Could Not Silence: One Woman, Her Incredible Fight for Freedom, and the Men Who Tried to Make Her Disappear by Kate Moore Brown Girls by Daphne Palasi Andreades The Trees by Percival Everett The Echo Man; The Twenty by Sam Holland Message in a Bottle: Ocean Dispatches from a Seabird Biologist by Holly Hogan Fayne by Ann-Marie MacDonald Care Of: Letters, Connection and Cures by Ivan Coyote A History of Burning by Janika Oza The Boulevard by Jerrod Edson The Cure for Drowning by Loghan Paylor  

We bring you our CanLit book suggestions today if you'd like to join in the "I Read Canadian Day" celebration this year. Also, Sadie has a diabolical "Would You Rather" question for her book friends and all of you listeners out there. Books mentioned on this episode: Do You Remember Being Born? by Sean Michaels, Tell Me Pleasant Things about Immortality by Lindsay Wong, Poison Town by Elyssa Campbell, and The Stone Carvers by Jane Urquhart. --- Send in a voice message: https://podcasters.spotify.com/pod/show/keepitfictional/message

Should there be one literary canon? And, if so, whose works should be included. On the final episode of our focus on the art and craft of writing, George Elliott Clarke ("Where Beauty Survived"), Elizabeth Hay ("Snow Road Station"), Vincent Lam ("On the Ravine"), and Thea Lim ("An Ocean of Minutes") talk to Nam Kiwanuka about whether the classics are still relevant and whether some works have been excluded from certain canons.See omnystudio.com/listener for privacy information.

Do writers prefer to write fiction or non-fiction? Is one more difficult to write? How does one choose their genre? In another instalment of our writers on writing panel, George Elliott Clarke ("Where Beauty Survived"), Elizabeth Hay ("Snow Road Station"), Vincent Lam ("On the Ravine"), and Thea Lim ("An Ocean of Minutes") talk to Nam Kiwanuka about the art of writing real and fictional stories, and explore the question of whose stories can they tell?See omnystudio.com/listener for privacy information.

What happens when a writer fails? Or when a publisher drops an author? What if a book is banned? Canadian writers George Elliott Clarke ("Where Beauty Survived"), Elizabeth Hay ("Snow Road Station"), Vincent Lam ("On the Ravine"), and Thea Lim ("An Ocean of Minutes") talk to Nam Kiwanuka about challenges that most writers face.See omnystudio.com/listener for privacy information.

Have you ever wondered if there is a right way to read? Do writers read differently than those who don't have to think about craft while reading? George Elliott Clarke ("Where Beauty Survived"), Elizabeth Hay ("Snow Road Station"), Vincent Lam ("On the Ravine"), and Thea Lim ("An Ocean of Minutes") discuss whether there is an art to reading. And is there a difference between reading and listening?See omnystudio.com/listener for privacy information.

Why do writers write? What inspires new stories? George Elliott Clarke ("Where Beauty Survived"), Elizabeth Hay ("Snow Road Station"), Vincent Lam ("On the Ravine"), and Thea Lim ("An Ocean of Minutes") offer insights on what it means to write a story, whether it can be a political act, and if success can be a form of selling out.See omnystudio.com/listener for privacy information.

Do writers prefer to write fiction or non-fiction? Is one more difficult to write? How does one choose their genre? In another instalment of our writers on writing panel, George Elliott Clarke ("Where Beauty Survived"), Elizabeth Hay ("Snow Road Station"), Vincent Lam ("On the Ravine"), and Thea Lim ("An Ocean of Minutes") talk to Nam Kiwanuka about the art of writing real and fictional stories, and explore the question of whose stories can they tell?See omnystudio.com/listener for privacy information.

In this episode, we discuss why the film Women Talking didn't work on every level. This includes the didactic screenplay, the bland and placeless production design, the typecasting, and the poor direction of group scenes. We are joined by special guest Dr. Angelo Muredda, who has a PhD in CanLit. To read the show notes and get the AI-generated transcript of the episode, click here. At Seventh Row, we've been long-time fans of Sarah Polley. We have even published episodes on her films Take This Waltz and Stories We Tell. Women Talking is her first bad, if well-intentioned, film. But it's been getting enormous Oscar buzz since its Telluride premiere. Angelo and Alex read the book by Miriam Toews, on which the film is based. We discuss the problems in the source text that get translated into the film — and how the film works (or doesn't) as a page-to-screen adaptation. This episode features Editor-in-Chief Alex Heeney, Executive Editor Orla Smith, as well as special guest Dr. Angelo Muredda. About the film Women Talking Based on a true story that happened in Bolivia, Women Talking is a fictional reimagining with an alternate ending. Almost every woman and girl in a small Mennonite community has been raped in their sleep by men or boys in the community. Traumatized and beaten down, a group of women volunteers from three families convene for a couple of days to discuss what the women should do. They must decide whether to stay and fight or to leave. The film then follows them through their discussions. The film Women Talking was adapted from the Miriam Toewes novel of the same name by Sarah Polley. Timings 00:00 Introduction 04:40 Why are talking about Women Talking? 07:20 An overview of our problems with Women Talking 25:05 Adapting Miriam Toews's novel 34:00 The lack of specificity in Women Talking's depiction of a Mennonite community 36:50 The casting and performances in Women Talking 52:10 The film's treatment of its trans and disabled characters 1:06:05 Sarah Polley's direction and the film's cinematography 1:19:55 How Women Talking fits into CanLit 1:24:00 Why is this film resonating? Show Notes Read the 2019 New York Times article that Alex cites on the episode: in the piece, mennonites are interviewed about their thoughts on Miriam Toews's novel, Women Talking. Read Alex's interview with the writer-director of Felix & Meira, a film about a Hasidic Jewish woman who decides to leave her community. On the episode, Alex compares Women Talking to films about Hasidic Jews. Read Alex's interview with the writer-director of Menashe, a film about Hasidic Jews made with actors who are part of the Hasidic Jewish community. On the episode, Alex compares the depiction of mennonites in Women Talking to the depiction of Hasidic Jewish characters in Menace Read Angelo's recent review of Armageddon Time for Film Freak Central. Related episodes Ep. 43: Take This Waltz and Paper Year: Canadian marriage stories (Members Only) - We go deep on Sarah Polley's second feature, Take This Waltz, a film about a marriage breaking up, and compare it to another female-directed Canadian film about a troubled marriage, Paper Year. Ep. 40: Stories We Tell, Louder Than Bombs, & Mouthpiece: Dead mothers (Members Only): We discuss Sarah Polley's third feature, the creative nonfiction film Stories We Tell alongside two of our favourite films that are also about dead mothers. All three films were on Seventh Row's 50 favourite films of the decade list. Ep. 73: Promising Young Woman and The Assistant: Explorations of rape culture (Members only): We discuss two films that explore rape culture, one that does it thoughtfully (The Assistant) and one that does it poorly (Promising Young Woman). In the current episode, we regularly compare Women Talking to Promising Young Woman and refer back to this discussion in Ep. 73 Bonus 27: Empathy on film with Dr. Brett Pardy (FREE to everyone) - Dr. Pardy did his PhD research on how films can create empathy, and we discuss on Ep. 132 how Women Talking fails to create empathy. Where to find us Special Guest Angelo Muredda holds a PhD in disability studies on Canadian Literature and is a lecturer in the English department at Humber College. Angelo has also contributed to our ebook Portraits of resistance: The cinema of Céline Sciamma with an essay on the female gaze, and to our ebook Roads to nowhere: Kelly Reichardt's broken American dreams with an essay on Wendy and Lucy. You can find Angelo on Twitter and Instagram @amuredda. Host Alex Heeney is the Editor-in-Chief of Seventh Row. Find her on Twitter @bwestcineaste. Host Orla Smith is the Executive Editor of Seventh Row. Find her on Twitter @orlamango and on Instagram @orla_p_smith. Become a Member All of our episodes that are over 6 months old are available to members only. We also regularly record members only episodes. To get full access to the podcast, become a member at http://seventh-row.com/join

In this episode, we are joined by Samantha M. Bailey, USA Today and #1 nationally bestselling author of Woman on the Edge. We discussed Samantha's next thriller, Watch Out for Her, her experiences finding a traditional publishing platform, following up a successful debut during a global pandemic, how curiosity can drive the creative process of writing a thriller, the importance of editing, of community, of her readers, and much more! Find more information about our podcast, including links to our guests' books here. If you're ready to start your publishing journey, visit kobo.com/writinglife. 

SUMMARYIn this episode, ShortCuts returns to a recording of Phyllis Webb in order to re-listen through this season's question of how the archive remembers. What is held in the ‘room' of the recording, and how does that differ from the room where reading took place? Or from the room of personal memory? What exceeds those rooms? And what does it feel like to hear their contours? Join producer Katherine McLeod as she reflects upon these questions while listening to a 1966 recording of Phyllis Webb reading from Naked Poems.EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Series Producer: Katherine McLeodHost: Hannah McGregorSupervising Producers: Judith Burr and Kate MoffattARCHIVAL AUDIOPhyllis Webb reading (with Gwendolyn MacEwen) in Montreal on November 18, 1966, https://montreal.spokenweb.ca/sgw-poetry-readings/phyllis-webb-at-sgwu-1966-roy-kiyooka.ShortCuts 2.7: Moving, 19 April 2021, https://spokenweb.ca/podcast/episodes/moving.RESOURCESCollis, Stephen. Almost Islands: Phyllis Webb and the Pursuit of the Unwritten. Talonbooks, 2018.McLeod, Katherine. “Listening to the Archives of Phyllis Webb.” In Moving Archives. Ed. Linda Morra. Wilfrid Laurier University Press, 2020. 113-131.Webb, Phyllis. Naked Poems. Periwinkle Press, 1965.Webb, Phyllis. Peacock Blue: The Collected Poems. Ed. John Hulcoop. Talonbooks, 2014.

Simon Fraser University's Special Collections and Rare Books holds the rich Women and Words Collection, which contains more than one hundred recordings from the Women and Words Conference in 1983, a decade of WestWord writing retreats and workshops, and a number of other readings, meetings, workshops, and events. Although the audio in this collection has a significant paper archive to accompany it, the absence of pre-existing metadata made it difficult to identify the recordings. This episode is framed by how two research assistants, Kandice Sharren and Kate Moffatt, encountered the collection—one physically, in the archive, and the other solely with digitized audio recordings and scanned print materials—and takes us behind the scenes of their work to make sense of both its depths and the Women and Words Society's history.Special thanks to Tony Power, librarian and curator of the Contemporary Literature Collection at Simon Fraser University, and to SFU's Special Collections and Rare Books.  SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Episode Producers:Kate Moffatt is an incoming PhD student in English at Simon Fraser University. Her research interests lie primarily with women's book history and women's writing of the Romantic period. She brings a keen interest in the digital humanities, book and literary history, and archives and archival practices to her work as a Research Assistant for SpokenWeb.Kandice Sharren is a postdoctoral research fellow at the National University of Ireland, Galway. Her research focuses on print culture of the Romantic period, and she brings her experience with digital humanities, archival research, and book history to the SpokenWeb project. Citations:Beverly, Andrea. “Traces of a Feminist Literary Event.” CanLit Across Media, MQUP, 2019, p. 221, https://doi.org/10.2307/j.ctvscxtkg.15."Castor Wheel Pivot." Blue Dot Sessions. Accessed 2 April 2022. https://app.sessions.blue/browse/track/100713"Dust Digger." Blue Dot Sessions. Accessed 27 March 2022. https://app.sessions.blue/browse/track/99584."Flipping through a book." Free Sound. Accessed 2 April 2022. https://freesound.org/people/Zeinel/sounds/483364/Heavenly choir singing sound, "Ahhh." Free Sound. Accessed 2 April 2022. https://freesound.org/people/random_intruder/sounds/392172/  "Palms Down." Blue Dot Sessions. Accessed 15 March 2022. https://app.sessions.blue/browse/track/96905"Record Scratch." Free Sound. Accessed 2 April 2022.  https://freesound.org/people/simkiott/sounds/43404/ Rooney, Frances. "activist; Gloria Greenfield." Section15, 22 May 1998. Accessed 31 March 2022. http://section15.ca/features/people/1998/05/22/gloria_greenfield/.

In 2015, award-winning author and (former) UBC professor Steven Galloway became the target of a social media storm after an allegation was leveled that he had sexually assaulted a student. An allegation, Galloway has denied ever since. But at the time, a number of both staff and students at UBC came out publicly in support of the accuser. In turn, Galloway sued them for defamation. Defendants include 20 people who tweeted, commented, or spoke about the allegations. In one case, the individual being sued simply reviewed an art show, and never even printed Galloway's name. Many of these defendants said this defamation suit is meant to silence sexual assault survivors, so they filed a SLAPP suit in response. Some were dismissed by a judge, others weren't. And which were and which weren't leads to all kinds of questions about how the legal process deals with sexual assault allegations. Meanwhile, Galloway says the SLAPP suit has delayed his ability to clear his name by years. Is this case a path to justice for a CanLit star who was ruined by an online mob? Or does this represent the silencing of survivors and the #metoo movement?  Featured in this episode: David Wotherspoon, partner at Dentons; Hilary Young, law professor, University of New Brunswick; Glynnis Kirchmeier, defendant. Further reading: She accused a university prof of sexual assault. Now he's suing for defamation. Some fear the ‘landmark' case could have a chilling effect, Douglas Quan, Toronto Star Under a cloud: How UBC's Steven Galloway affair has haunted a campus and changed lives, Marsha Lederman, Globe and Mail Details of UBC actions revealed through defamation suit brought by Steven Galloway, Marsha Lederman, Globe and Mail L'Affaire Galloway, Kerry Gold, The Warlus   Support Canadaland at canadaland.com/join Sponsors: PolicyMe, Oxio,HelloFresh. Additional Music is by Audio Network Support CANADALAND: http://canadalandshow.com/join See omnystudio.com/listener for privacy information.

Our guest-producer this month, Michael O'Driscoll, invites us to listen to the introductions of the late Douglas Barbour (March 21, 1940 - Sept 25, 2021) from readings held at the University of Alberta. What are we listening to when we hear introductory remarks from past readings spliced together? By asking us to listen to remember, this episode remembers Barbour in his element —in sonic performance — and what we hear in the selected recordings is a combination both of poetic sound and sounds of deep care as he welcomes each writer to the microphone. EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Guest Producer: Michael O'DriscollSeries Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith BurrGUEST PRODUCERMichael O'Driscoll is a Professor in the Department of English and Film Studies in the Faculty of Arts at the University of Alberta. He teaches and publishes in the fields of critical and cultural theories with a particular emphasis on deconstruction and psychoanalysis, and his expertise in Twentieth-Century American Literature focuses on poetry and poetics as a form of material culture studies. His interests in material culture range from sound studies, archive theory, radical poetics, and technologies of writing to the energy humanities and intermedia studies. He is a Governing Board Member and a member of the U of Alberta research team for the SpokenWeb SSHRC Partnership Grant.AUDIOAudio played in this ShortCuts is excerpted from the SpokenWeb's audio collections held by the University of Alberta. The audio is currently being catalogued by SpokenWeb researchers. Audio of Douglas Barbour reading “The Gone Tune” is from the cassette tape recording of The Bards of March (15 March 1986). Audio of Douglas Barbour's introductions are selected from readings recorded in 1977-1981. The poets introduced are, in order of audio appearance: Tom Wayman, Phyllis Webb, Fred Wah, Maxine Gadd, George Bowering, Roy Kiyooka, Penn Kemp, Leona Gom, John Newlove, Sheila Watson, Robert Kroetsch, and bpNichol. RESOURCESNeWest Press: IN MEMORIAM: DOUGLAS BARBOUR (1940-2021), https://newestpress.com/news/in-memoriam-douglas-barbour-1940-2021 Douglas Barbour (March 21, 1940 - September 25, 2021), https://robmclennan.blogspot.com/2021/09/douglas-barbour-march-21-1940-september.html“Sounds of Trance Formation: An Interview with Penn Kemp.” Produced by Nick Beauchesne & Penn Kemp forThe SpokenWeb Podcast and starts with a clip from the Trance Form reading hosted by Douglas Barbour at the University of Alberta (1977).

This is a mixed format episode presenting SpokenWeb members Mathieu Aubin and Stéphanie Ricci's critical commentary after taking part in the organization of and attending the Listening, Sound, Agency Symposium. Bridging techniques from journalism and oral history, this episode includes sounds from the conference, interviews, and critically reflective discussions between Mathieu and Stéphanie. This episode was produced by Mathieu Aubin and Stéphanie Ricci, with audio engineering by Scott Girouard.This episode explores the Symposium from the perspective of a first-time conference attendee coupled with a veteran attendee; these join the voices of multiple conference participants. Mathieu and Stéphanie focus on the process of organizing, holding, and listening to the 2021 SpokenWeb Symposium, and they discuss its themes of listening, sound, and agency as they emerge through the presentations and discussions. The episode begins with the theme of listening ethically and intentionally, before diving into a discussion of issues surrounding sound politics. It concludes with the topic of agency in relation to the amplification of sound as a potential means of empowerment. A special thanks to the 2021 Listening, Sound, Agency organizing committee, especially Jason Camlot, Klara DuPLessis, Deanna Fong, Katherine McLeod, Angus Tarnawsky, and Salena Wiener, whose voices are featured at the beginning of the episode.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Episode Producers:Mathieu Aubin is a Research Affiliate at Concordia University and Principal Investigator of the SSHRC IDG project “Listening Queerly Across Generational Divides.” He is also a Research Associate at Higher Education Strategy Associates where he provides advice to postsecondary institutions on how to improve equity in higher education across Canada.Stéphanie Ricci is an undergraduate student completing a journalism major with a sociology minor at Concordia University. Passionate about storytelling in all forms, Stéphanie is a contributing writer for the Forbes Leadership section, and scriptwriter for The CEO Series radio show with Karl Moore. Stephanie has previously worked on SpokenWeb's online presence and outreach tactics as social media coordinator. Her past experiences also include working as an investigative reporter for the Institute for Investigative Journalism, volunteer copy editor for Her Campus Media, and production intern with CityNews Montreal.Audio Engineering:Scott Girouard is a Front-End Developer based in Toronto, Canada with a lifelong background in music and creative practice. Audio Credits:Kvelden Trapp from Blue Dot Sessions: https://app.sessions.blue/browse/track/94421Citations:Bergé, Carole. 1964. The Vancouver Report. FU Press.Brittingham Furlonge, Nicole. May 19, 2021. “‘New Ways to Make Us Listen': Exploring the Possibilities for Sonic Pedagogy.” Du Plessis, Klara. May 21, 2021. “From Poetry Reading to Performance Art: Agency of Deep Curation Practice.” McLeod, Dayna. May 18, 2021. “Queerly Circulating Sound and Affect in Intimate Karaoke, Live at Uterine Concert Hall. Robinson, Dylan. May 19, 2021. “Giving/Taking Notice.” Sun Eidsheim, Nina. May 20, 2021. “Re-writing Algorithms for Just Recognition: From Digital Aural Redlining to Accent Activism.”

On ShortCuts this month, producer Katherine McLeod talks with poet, novelist, and sound performer Kaie Kellough about a memorable recording from The Words & Music Show.  What are we listening to? Kellough upacks what we are listening to — which turns out to be a highly technical, performative, and polyphonic sonic object, along with it being an early version of a passage from his Griffin Prize-winning book of poetry, Magnetic Equator. Listen to this ShortCuts for the story behind one archival recording, and what this story reveals about how we remember the feelings infused within live performance.  EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith Burr ARCHIVAL AUDIOArchival audio in this episode is excerpted from a recording of The Words and Music Show on November 20, 2016 (Casa del Popolo, Montreal). The performers that night were Eve Nixen, Kaie Kellough, Tawhida Tanya Evanson's Zenship [Tawhaida Tanya Evanson (voice); Mark Haynes (bass); Ziya Tabassian (percussion); Caulder Nash (keyboards), with guest performance by Nina Segalowitz (Inuit throat singing)], Paul Dutton* and pianist Stefan Christoff. SHOW NOTESKellough, Kaie. Magnetic Equator. McClelland and Stewart, 2020. —“Rough Craft: Notes on the creation of the audio / visual / textual work Small Stones.” SPOKENWEBLOG, 22 May, 2021, https://spokenweb.ca/rough-craft-notes-on-the-creation-of-the-audio-visual-textual-work-small-stones/.“The Show Goes On.” Producer Jason Camlot. The SpokenWeb Podcast, 7 Feb 2022. https://spokenweb.ca/podcast/episodes/the-show-goes-on-words-and-music-in-a-pandemic/.

How has the reading series been transformed by the Covid pandemic and its accompanying technologies of virtual gatherings? In this episode, Jason Camlot - SpokenWeb Director and Professor of English at Concordia University - takes us on a reflective listening tour through recordings of the Words and Music Show as it has evolved through the pandemic since early 2020. The Words and Music Show has been organized by Ian Ferrier for two decades to bring performances of literature, art, and music to live audiences at the Casa del Popolo in Montreal. Jason assisted Ian with organizing after Covid sent the series online, and this episode takes us into the in-person and virtual sounds of the Show. In this episode, we listen to the journey of one reading series and its co-curator over the past two years. Join us in reflecting on how the pandemic has changed the ways we share and connect to each other through literature, art, and performance.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Episode Producer:Jason Camlot is the principal investigator and director of The SpokenWeb, a SSHRC-funded partnership that focuses on the history of literary sound recordings and the digital preservation and presentation of collections of literary audio. His recent critical works include Phonopoetics: The Making of Early Literary Recordings (Stanford 2019), and the co-edited collections Unpacking the Personal Library: The Public and Private Life of Books (with Jeffrey Weingarten | Wilfrid Laurier, 2022), and CanLit Across Media: Unarchiving the Literary Event (with Katherine McLeod | McGill Queen's, 2019).  He is also the author of five collections of poetry, most recently, Vlarf (McGill Queen's, 2021).  Jason is Professor of English and Tier I Concordia University Research Chair in Literature and Sound Studies at Concordia University in Montreal. Words and Music Shows of the Pandemic Period:This episode contains sounds from most of the Words and Music Shows held between 29 March 2020, when it was forced to move online, through to the return to a “live” in person show at Café Resonance held on 24 October 2021. We are grateful to everyone whose words, music, movement, art, ideas, and voices contributed to this episode. This episode features the voices of many wonderful performers who have performed in pandemic period online Words and Music Shows, including Alexei Perry Cox, Ali Barillaro, Angela Szczepaniak, Cole Mash, Fabrice Koffy, Faith Paré, Ian Ferrier, Jason Selman, Jay Alexander Brown, John Sweet, Judee Burr, Katherine McLeod, Kenny Smilovich, Klara Du Plessis, Mike O'Driscoll, Nicholas Beauchesne, Nisha Coleman, Rachel McCrum, Roen Higgins, and Tawhida Tanya Evanson. Many other voices and sounds from the online shows are integrated into short audio-collage portraits of the events that can be heard in the episode.  A full list of the shows and performers that inspired the episode is as follows:22 March 2020, Ian Ferrier posted this announcement about the upcoming Words and Music Show:Tonight's show is not canceled, only postponed. We are collecting tracks from all the performers who were scheduled to present, and preparing the way to present them live in this group sometime this upcoming weekStay tuned and stay safe!Ian Ferrier29 March 2020Brian Bartlett, Lune très belle (Frédérique Roy. Eugénie Jobin), Alexei Perry-Cox. Nisha Coleman, Sava (Dina Cindrić, Sarah Albu, Antonia Branković, Sara Rousseau).19 April 2020Liz Howard, Liana Cusmano, Ian Ferrier, Lauren DeRoller, Mary St-Amand Williamson.17 May 2020Maureen Hynes, Cassidy McFadzean, John Arthur Sweet
, Eryn Dace Trudell, Louise Campbell.21 June 2020Moe Clark, Taqralik Partridge, Cara Lessard Cole, David Bateman, Jay Alexander Brown, Angela Hibbs.23 August 2020Silvervest, Faith Paré, Cole Mash, Ali Barillaro, S.B. Goncarova.20 September 2020Rachel McCrum and Jonathan Lamy, Robin Durnford, Greg Santos, PC Vandall.18 October 2020John Arthur Sweet, Carolyn Marie Souaid, Erin Scott, Fortner Anderson and the Growler Chorus, and the winners of the Lawnchair Soirée videopoem contest.15 November 2020 (“Live” from Sala Rossa)Fabrice Koffy, Faith Paré, Jason (Blackbird) Selman.13 December 2020Roen Higgins, Naomi Steinberg, Klara du Plessis, Angela Szczepaniak,Tatiana Koroleva.21 February 2021Roen Higgins, Fabrice Koffy, Faith Paré, Jason Selman.21 March 2021Tawhida Tanya Evanson, Emilie Zoey Baker, Raymond Jackson, Marie-France Jacques, Francis Caprani, Kelsey Nichole Brooks, Ramela Arax Koumrouya18 April 2021Sarah Wolfson, Geronimo Inutiq, Louise Belcourt, David Bateman, Marie-Josée Tremblay, Ian Ferrier.23 May 2021 (The SpokenWeb Show)Oana Avasilichioaei, Klara du Plessis, Ian Ferrier, Shannon Maguire, Cole Mash, Jason Camlot, Kenny Smilovitch, Kevin McNeilly, Erin Scott, Katherine McLeod, Michael O'Driscoll, Ali Barillaro, and other special guests.1 August 2021RC Weslowski, April Ford, Natasha Perry-Fagant, Poet Riley Palanca, Nathanael Larochette (of Musk Ox).22 Aug 2021Jerome Ramcharitar, Marc-Alexandre Chan, Samara Garfinkle, Shawn Thicke, Tracy Yeung, Hosted by Guest Curator Avleen K Mokha, with backup from Ian Ferrier and Jason Camlot.19 September 2021Rachel McCrum, Jay Alexander Brown, John "Triangles" Stuart, John Arthur Sweet, For Body and Light.24 October 2021 (Back in Person at Resonance Café)Silvervest (Nicolas Caloia, Kim Zombik), Jason Camlot, Dark Sky Preserve (Ian Ferrier and Louise Campbell), John Stuart.

This ShortCuts episode responds to poet Daphne Marlatt's conversation with Karis Shearer and Megan Butchart in the recent SpokenWeb Podcast episode “SoundBox Signals presents Performing the Archive.” By listening to audio from Marlatt's previous archival performances, ShortCuts producer Katherine McLeod considers how we remember feelings attached to reading a poem out loud. What does it feel like to hear a recording of your own voice? Are you reminded of how you were feeling while speaking, and can the archive ever hold the memory of those feelings?*“Sometimes, unknowingly, one writes a few lines that continue to reverberate as some kind of pointer for future years of writing.” — Daphne Marlatt, “Afterword: Immediacies of Writing” (Rivering) EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith Burr AUDIOAudio in this episode is from a 1970 recording of Daphne Marlatt reading in Montreal at the Sir George Williams Poetry Series, and from a 2019 interview with Marlatt conducted by Karis Shearer and Megan Butchart and that aired on The SpokenWeb Podcast's sister podcast, Soundbox Signals, and re-aired on The SpokenWeb Podcast. Listen to the full recording of Daphne Marlatt reading in Montreal (1970): https://montreal.spokenweb.ca/sgw-poetry-readings/daphne-marlatt-at-sgwu-1970/.Listen to the previous episode of The SpokenWeb Podcast, “SoundBox Signals presents Performing the Archive”: https://spokenweb.ca/podcast/episodes/soundbox-signals-presents-performing-the-archive/.Listen to the previous ShortCuts on Marlatt, “Then and Now” mentioned in this episode: https://spokenweb.ca/podcast/episodes/audio-of-the-month-then-and-now/. RESOURCES“Daphne Marlatt & Diane Wakoski: Performing the SpokenWeb Archive.” SpokenWeb. Concordia University, 21 November 2014,  https://montreal.spokenweb.ca/oral-literary-history/daphne-marlatt-diane-wakoski-performing-the-spokenweb-archive/.Marlatt, Daphne. “Afterword: Immediacies of Writing.” Rivering: The Poetry of Daphne Marlatt. Ed. Susan Knutson. Wilfrid Laurier University Press, 2014. — “Bird of Passage.” Origin, vol. 3, no. 16, Cid Corman, Jan. 1970, pp. 1–68, https://jstor.org/stable/community.28042112.McLeod, Katherine. “Daphne Marlatt reading ‘Lagoon'.” SPOKENWEBLOG, 28 November, 2019, https://spokenweb.ca/daphne-marlatt-reading-lagoon/.Shearer, Karis. “Performing the Archive: Daphne Marlatt, leaf leaf/s, then and now.” The AMP Lab. UBC-Okanagan, 17 November 2019, https://amplab.ok.ubc.ca/index.php/2019/11/17/performing-the-archive-daphne-marlatt-leaf-leaf-s-then-and-now/.

This month on the SpokenWeb Podcast, we are excited to share with you a special episode from our sister podcast Soundbox Signals. Host Karis Shearer, guest curator Megan Butchart, and poet Daphne Marlatt have a conversation about Daphne Marlatt's 1969 archival recording of leaf leaf/s and her experience of performing poetry with the archive in 2019. This episode was co-produced by Karis Shearer and Nour Sallam.Produced by the SpokenWeb team at UBC Okanagan's AMP Lab, SoundBox Signals brings literary archival recordings to life through a combination of ‘curated close listening' and conversation. Hosted and co-produced by Karis Shearer, each episode is a conversation featuring a curator and special guests. Together they listen, talk, and consider how a selected recording signifies in the contemporary moment and ask what listening allows us to know about cultural history. https://soundbox.ok.ubc.ca/SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about SpokenWeb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Episode Producers:Karis Shearer is an Associate Professor in English & Cultural Studies at UBCO where her research and teaching focus on literary audio, the literary event, the digital archive, book history, and women's labour within poetry communities. She is the editor of All These Roads: The Poetry of Louis Dudek (WLUP 2008), and has published essays on Sina Queyras's feminist blog Lemonhound, George Bowering's little magazine Imago, and Michael Ondaatje's The Long Poem Anthology. She is the author of a chapter on gendered labour and the Vancouver Poetry Conference in the book Canlit Across Media: Unarchiving the Literary Event (McGill-Queens UP, 2020) and is co-editor with Deanna Fong of Wanting Everything: The Collected Works of Gladys Hindmarch (Talonbooks, 2020). She also directs the AMP Lab, is a Governing Board member and lead UBCO Researcher for the SpokenWeb SSHRC Partnership Grant. She held the 2010-11 Canada-U.S. Fulbright Visiting Research Chair at Vanderbilt University.Megan Butchart is currently an MA student in English and Film Studies at the University of Alberta. She received her Bachelor of Arts at UBCO in 2020, majoring in English and History. She is interested in Archival Studies and is passionate about the preservation and conservation of artifacts, and the making available of such resources for public research and study. She is pleased to participate in The SoundBox Project, which merges literary, historical, and archival elements.Nour Sallam co-produced the original episode for SoundBox Signals. She is a former UBC-Okanagan undergraduate student, who graduated  with Honours in English and Political Science.Featured Guest:Daphne Marlatt (1942-) grew up in Penang, Malaysia before immigrating to Canada in the 1950s. While studying at UBC in the 1960s, Marlatt was one of the editors during the second-phase of TISH. Marlatt has written over twenty collections of poetry and prose including Steveston (1974), The Given (2008), and Reading Sveva (2016). In 2006 she received the Order of Canada. Marlatt lives in Vancouver. For the shout-outs mentioned in this episode, please visit the links below:John Lent's “A Matins Flywheel”: https://thistledownpress.com/product/a-matins-flywheel/David R. Loy's “Nonduality in Buddhism and Beyond”: https://www.simonandschuster.com/books/Nonduality/David-R-Loy/9781614295242Daphne Marlatt's Ana Historic: https://houseofanansi.com/products/ana-historicInspired Word Cafe: http://www.inspiredwordcafe.com/Read more about the AMP Lab's events with Daphne Marlatt:Shearer, Karis. “Performing the Archive: Daphne Marlatt, leaf leaf/s, then and now.” The AMP Lab Blog. 17 November 2019. http://amplab.ok.ubc.ca/index.php/2019/11/17/performing-the-archive-daphne-marlatt-leaf-leaf-s-then-and-now/Buchart, Megan. "Poetry, Campus, Community: Tuum Est.” The AMP Lab Blog. 18 November 2019. http://amplab.ok.ubc.ca/index.php/2019/11/18/poetry-campus-community-tuum-est/Oddleifson, Shauna. “Performing the Archive: Daphne Marlatt.” In Featured Stories and Our Students, UBCO Faculty of Critical and Creative Studies. 11 September 2019. https://fccs.ok.ubc.ca/2019/09/11/performing-the-archive-daphne-marlatt/ 

As part two of ShortCuts 2.9 Situating Sound—and as one of the many remembrances of Stó:lō writer and activist Lee Maracle—this ShortCuts explores how the archive remembers and who these memories serve. The audio recording for this episode is a 1988 recording of Lee Maracle and Dionne Brand, recorded for broadcast on Gerry Gilbert's radio program “radiofreerainforest” (Vancouver Coop Radio; SFU Digitized Collections). Building towards Maracle's reading of the poem “Perseverance,” producer Katherine McLeod selects audio clips from this recording in which we can hear feminist placemaking in action.  EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith Burr AUDIO CLIPSAll audio in this episode is from the Gerry Gilbert radiofreerainforest Collection, held at Simon Fraser University and part of SFU's Digitized Collections. RESOURCESMaracle, Lee. I Am Woman: A Native Perspective on Sociology and Feminism. Vancouver: Press Gang, 1996. Maracle, Lee. Memory Serves: Oratories. Ed. Smaro Kamboureli. NeWest Press, 2015. “radiofreerainforest 3 & 28 July and 7 August, 1988.” Gerry Gilbert radiofreerainforest Collection. SFU Digitized Collections. https://digital.lib.sfu.ca/radiofreerainforest-357/radiofreerainforest-3-28-july-and-7-august-1988 “ShortCuts 2.9: Situating Sound.” The SpokenWeb Podcast, 21 June 2020. https://spokenweb.ca/podcast/episodes/situating-sound/ Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, N.C: Duke UP, 2003. Wilson, Michelle. “Forced Migration.” The SpokenWeb Podcast, 6 December 2021. https://spokenweb.ca/podcast/episodes/forced-migration/

In this episode, ShortCuts explores one of the methods of listening from the previous episode of The SpokenWeb Podcast. That episode, produced by Julia Polyck O'Neill, listens to the emotional weight of archives. Julia's conversations with poet Lisa Robertson uncover the ways in which archives record the relationships between memory, affect, and mortality. In this ShortCuts, producer Katherine McLeod listens to the emotional weight of archives through a recording of bpNichol, reading with Lionel Kearns in Montreal on November 22, 1968. How does the archive record loss? What can the archive never record? And what do we remember as listeners?EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith BurrSHOW NOTESBowering, George. “bpNichol: 1944-1988.” The Long Poem / Remembering bp Nichol. Spec. issue of Canadian Literature 122-123 (Autumn/Winter 1989): 294-297.McGregor, Hannah. “The Voice Is Intact: Finding Gwendolyn MacEwen in the Archive.” The SpokenWeb Podcast, 6 April 2020.Polyck-O'Neill, Julia. “Lisa Robertson and the Feminist Archive.” The SpokenWeb Podcast. 1 November 2021.Pound, Scott. “Sounding out the Difference: Orality and Repetition in bpNichol.” Open Letter: bp + 10 (Fall 1998) 50-58.Singh, Julietta. No Archive Will Restore You. Punctum Books, 2018.AUDIO CLIPSAudio for this ShortCuts is clipped from a recording of Ear Rational: Sound Poems 1966-1980 available on PennSound, a partner affiliate of the SpokenWeb research network, and from a recording of bpNichol and Lional Kearns from the Sir George Williams Poetry Series audio collection.Nichol, bp. “Pome Poem.” PennSound – and a link to the same recording is also available on the official bpNichol archive.“I wanted to forget you.” bpNichol reading with Lional Kearns. Sir George Williams Poetry Series. Montreal, 22 November 1968. https://montreal.spokenweb.ca/sgw-poetry-readings/bpnichol-and-lionel-kearns-at-sgwu-1968/#1

In this episode, SpokenWeb contributor Julia Polyck-O'Neill shares an archived recording of Canadian poet Lisa Robertson with us and talks us through two interviews she recorded with Robertson. Polyck-O'Neill invites us to consider the significance of Robertson's intimate archival collections in light of the relationships between archives, memory, affect, and mortality. In examining these conceptual, material and immaterial dimensions of the archive within Robertson's personal narrative history of the Kootenay School of Writing, Polyck-O'Neill points to how creative and feminist approaches to the archive and to archival practice are exist within Robertson's practice. Polyck-O'Neill shares with us how Robertson's archives are influencing her research and the ways she approaches the topic of archives and intimacy in her work and her life more broadly.Addendum: Listening NotesNancy Shaw (1962-2007), a celebrated curator, poet, writer, and organizer, at times collaborated with Lisa Robertson and also wrote work in dialogue with Robertson's poetry. Robertson wishes to mention how greatly the absence of her good friends Shaw, Stacy Doris (d. 2012), and Peter Culley (d. 2015) has affected her. Additionally,  XEclogue was, in fact, Robertson's first book, although she published chapbooks prior; additionally, she does not think of her books as collections, as they are written as single, cohesive works. The new edition of R's Boat is titled Boat and is being published by Coach House in Spring 2022.  SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about SpokenWeb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Episode Producer:Julia Polyck-O'Neill is an artist, curator, critic, poet, and writer. A former lecturer at the Obama Institute at Johannes Gutenberg Universität Mainz (2017-18) and international fellow of the Electronic Literature Organization, she is currently a Social Sciences and Humanities Research Council (SSHRC) Postdoctoral Fellow in the department of Visual Art and Art History and the Sensorium Centre for Digital Arts and Technology at York University (Toronto) where she studies digital, feminist approaches to interdisciplinary artists' archives. Her writing has been published in Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft (The Journal for Aesthetics and General Art History), English Studies in Canada, DeGruyter Open Cultural Studies, BC Studies, Canadian Literature, and other places. CitationsCvetkovich, Ann. An Archive of Feelings. Duke University Press, 2003. Fong, Deanna and Karis Shearer. “Gender, Affective Labour, and Community-Building Through Literary Audio Artifacts.” No More Potlucks, 2018, http://nomorepotlucks.org/site/gender-affective-labour-and-community-building-through-literary-audio-artifacts-deanna-fong-and-karis-shearer/. Accessed 1 Dec. 2019.  Morra, Linda. Unarrested Archives: Case Studies in Twentieth-Century Women's Authorship. University of Toronto Press, 2014. Robertson, Lisa. “At the Kootenay School of Writing, Vancouver, 1994: Launch of XEclogue on January 8, 1994.” PennSound, n.d., https://media.sas.upenn.edu/pennsound/authors/Robertson/Robertson-Lisa_Reading_Kootenay-School_Vancouver_01-%2008-1994.mp3. Accessed 1 Sept. 2021. Singh, Julietta. No Archive Will Restore You. Punctum, 2018. Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003. Music Credits:Clouds at Castor Ridge by Zander on Blue Dot Sessions: https://app.sessions.blue/browse/track/69017 Kothbiro by Real Vocal String Quartet on Free Music Archive: https://freemusicarchive.org/music/Real_Vocal_String_Quartet#contact-artist Sunsets and Rockers by Rebecca Foon on Free Music Archive: https://freemusicarchive.org/music/Rebecca_Foon/Live_At_CKUT_on_Montreal_Sessions/03_Sunsets_And_Rockers

ShortCuts is back! Season Three of ShortCuts begins with a listening exercise. We attune our ears to what it sounds like and feels like to hear archival clips ‘cut' out of context. Join ShortCuts producer Katherine McLeod in this exploration of the sonic and affective place-making of ShortCuts as podcast. What kind of creative and critical work can these archival sounds do? On their own, or together as an archival remix? A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith BurrAudio ExcerptedVoices heard in this episode: Katherine McLeod, Tanya Davis, Ali Barillaro, Muriel Rukeyser, Margaret Avison, Stephanie Bolster, Barbara Nickel, Mathieu Aubin, Dionne Brand, Alexei Perry Cox and Isla, and Phyllis Webb.  All audio has been played on previous ShortCuts on The SpokenWeb Podcast. Try listening to this episode first without knowing whose voices you are hearing. Afterwards, explore the audio that caught your attention. Use the transcript to find the ShortCuts episode that the audio is clipped from, and there you will find the original audio sources listed in the show notes. For a full transcript of this episode, check out the link above.

We would love to hear your reactions and ideas to our stories. If you appreciate the podcast, leave us a rating and a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Trailer Producers:Judith Burr & Hannah McGregorClips Featured:KPFA recording of Robert Hogg reading at Berkeley Poetry Conference, 1965, from S2E10 “Robert Hogg and the Widening Circle of Return”Mavis Gallant, SFU, 1984, from S2E9 “Mavis Gallant Part 2: The Paratexts of ‘Grippes and Poche' at SFU”Mathieu Aubin, in S2E2 “Lesbian Liberation Across Media: A Sonic Screening”“Listen to Black Womxn”, by jamilah malika, and Katherine McLeod in S2E8 “Talking about Talking”Penn Kemp, from S2E3 “Sounds of Trance Formation: An Interview with Penn Kemp”Wisdom Agorde, from S2E4 “Drum Codes Pt 1: The Language of Talking Drums”Klara du Plessis, from S2E1 “Deep Curation: Experimenting with the Poetry Reading as Practice”Stacey Copeland, from S2E5 “Cylinder Talks - Pedagogy in Literary Sound Studies”Treena Chambers, from S2E7 “Listening Ethically to the SpokenWeb”Music: “Slapstick” by Moon Juice from Blue Dot Sessions

This week we discuss the rise of graphic novels in North America, Risque YA and we pair books and wines. Our panel discussion features writer, filmmaker and graphic novel creator, Ho Che Anderson and  Senior News Editor of Publishers Weekly, Editor of PW Comics World, Cohost of the More to Come Podcast and editor of The Fanatic, Calvin Reid. Diane Terrana weighs in on how far is too far with YA, and Sam Hiyate and Natalie MacLean, the author of two bestselling books and the host of the podcast Unreserved Wine Talk pair CanLit classics with wines.

A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producers: Judith Burr and Stacey CopelandAUDIO SOURCESArchival audio clips for this ShortCuts minisode are cut from this recording of Phyllis Webb's reading in Montreal on November 18, 1966. The entire recording can be accessed here. RESOURCESCollis, Stephen. Almost Islands: Phyllis Webb and the Pursuit of the Unwritten. Talonbooks, 2018. McGregor, Hannah. “The Voice is Intact: Finding Gwendolyn MacEwen in the Archive.” The SpokenWeb Podcast, 6 April 2020, https://spokenweb.ca/podcast/episodes/the-voice-is-intact-finding-gwendolyn-macewen-in-the-archive/. McLeod, Katherine. “Listening to the Archives of Phyllis Webb.” In Moving Archives. Ed. Linda Morra. Wilfrid Laurier University Press, 2020. 113-131.---. “Poetry on TV: Unarchiving Phyllis Webb's CBC-TV Program Extension (1967).” CanLit Across Media: Unarchiving the Literary Event. Eds. Jason Camlot and Katherine McLeod. McGill-Queen's University Press, 2019. 72-91.Webb, Phyllis. Naked Poems, Periwinkle Press, 1965. Webb, Phyllis. Peacock Blue: The Collected Poems. Ed. John Hulcoop. Talonbooks, 2014.

A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith BurrAUDIO SOURCESAli Barillaro's recording of reading of her blog post, “Tanya Davis performing ‘How to Be Alone'” on SPOKENWEBLOG, 6 August, 2020. Tanya Davis performing “How to Be Alone,” recorded at The Words & Music Show at Casa del Popolo, Montreal on 12 December 2012. Listen to the entire audio here: https://spokenweb.ca/tanya-davis-performing-how-to-be-alone/.Excerpt of Cover of “Digging my own grave” by Thrice performed by Ali Barillaro and Vincent Pigeon here:https://www.youtube.com/watch?v=7y6H9QuL6q8RESOURCESWatch Tanya Davis and Andrea Dorfman's 2010 film of the poem “How to Be Alone”: https://www.youtube.com/watch?v=k7X7sZzSXYsWatch the 2020 film made by Tanya Davis and Andrea Dorfman in which they revisit the poem as “How to Be at Home”: https://www.nfb.ca/film/how-to-be-at-homeFind out more about all of SpokenWeb's audio collections here.

In the late 1950s and early 1960s, a group of poets at UBC Vancouver began a little magazine: the TISH poetry newsletter. The TISH poets would later be called one of the most cohesive writing movements in Canadian literary history. In the summer of 2019, Craig Carpenter visited one of the former editors of TISH magazine —who is also his former professor of modern Canadian poetry. Based on interviews conducted during this visit and a subsequent visit in the winter of 2019, Craig has created an episode that explores his evolving relationship with his former professor and scenes from more than 50 years of literary history. Craig takes us through the relationships and the stories that formed a part of the TISH movement and the poet that Robert Hogg has become.Craig gives a heartfelt thank you to all those who took the time to offer feedback on early script drafts: Deanna Fong, Judith Burr, Mathieu Aubin, Marjorie Mitchell. Special thanks to Dr. Karis Shearer, all of his  colleagues at the UBC Okanagan AMP Lab, and, of course, to Robert Hogg.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about SpokenWeb visit: spokenweb.ca. If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Episode Producer:Craig Carpenter is an MA student in the IGS Digital Arts & Humanities theme at the University of British Columbia (Okanagan). A poet, journalist, sound designer, and former literary editor, Craig brings a diverse set of skills to the SpokenWeb project. His thesis will explore the podcast as public scholarship and engages archival recordings of second wave TISHITES Daphne Marlatt and Robert Hogg. With particular attention to Charles Olson's 1950 essay PROJECTIVE VERSE, he is investigating the intersection of proprioceptive poetics, the embodiment of voice in performance and sound studies. Musical score by Chelsea Edwardson: Chelsea Edwardson uses music as a tool to transform stories and concepts into the sonic realm, creating experiences through sound that heal and inspire. Her background in ethnomusicology brings the depth of tone and expression that transcends culture, taking the listener to worlds beyond a physical place and into a landscape of feelings. To learn more, visit https://www.chelseaedwardson.com.Featured Guest:Robert Hogg was born in Edmonton, AB, and grew up in Cariboo and Fraser Valley, BC. Hogg graduated from UBC with a BA in English and Creative Writing. During his time at UBC, Hogg became affiliated as a poet and co-editor a part of TISH. In 1964, Hogg hitchhiked to Toronto and visited Buffalo NY, where Charles Olson had been teaching at the time. At SUNY at Buffalo, he completed a Ph.D. on the works of Charles Olson. Shortly after, Hogg taught American and Canadian poetry at Carleton University for the following thirty-eight years. Hogg currently lives at his farm located in Ottawa.Sound Recordings Featured:Archival Audio from PennSound.comShort intro clips of: Warren Tallman, Fred Wah, Daphne Marlatt, George Bowering: all from PennSound digital archives.Recording of “The Red Wheelbarrow” by William Carlos Williams: http://writing.upenn.edu/pennsound/x/Williams-WC/the_red_wheelbarrow_multiple.phpRecording of “Often I am Permitted to Return to a Meadow” by Robert Duncan: https://media.sas.upenn.edu/pennsound/authors/Duncan/Berk-Conf-1965/Duncan-Robert_01_Often-I-am-Permitted_Berkeley-CA_1965.mp3Recording of “I Know a Man” by Robert Creely: http://www.writing.upenn.edu/pennsound/x/Creeley/i_know_a_man.phpRecording of “Maximus From Dogtown I” by Charles Olson: https://media.sas.upenn.edu/pennsound/authors/Olson/Boston-62/Olson-Charles_14_Maximus-Dogtown-2_Boston_06-62.mp3Archival Audio from AMP Lab's Soundbox CollectionRobert Hogg reads at Black Sheep Books, Vancouver, 1995: https://soundbox.ok.ubc.ca/Archival Audio from KPFARobert Hogg reads at Berkeley Poetry Conference, 1965: http://www.kpfahistory.info/bpc/readings/Young%20poets.mp3

This episode features Kate, Kandice, and Michelle's efforts to understand how these paratexts may have informed not only the experience of attending the event in 1984, but also their own experiences listening to the recording of the reading now, in 2021, and their interactions with the surviving archival materials. This led them to interview Ann Cowan-Buitenhuis and Carolyn Tate, who attended and contributed to the organization of the two events. Their contributions provided both memories and facts not captured by the archival remains of the reading.With additional archival materials available in a supplementary slideshow, this episode takes us beyond the bounds of an ‘audio edition' to instead consider how the ‘paratexts' of this reading deepen our understanding of the recording and bring to life the reading of the story by acclaimed Canadian short-story writer Mavis Gallant.This episode was created by SpokenWeb contributors Kate Moffatt, Kandice Sharren, and Michelle Levy, with additional audio courtesy of the Simon Fraser University Archives and Records Management Department.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Episode Producers:Kate Moffatt is a recent graduate of the MA program in SFU's Department of English. Her research interests lie primarily with women's pedestrianism in the Romantic period and women's book history, and she brings a keen interest in the digital humanities, book and literary history, and archives and archival practices to her work as a Research Assistant for SpokenWeb.Michelle Levy is Co-Director of the Digital Humanities Innovation Lab at Simon Fraser University. She brings a strong theoretical background in literary and sound studies to the SpokenWeb Project, and extensive expertise in data architecture and management that contributes to our creation of metadata standards necessary for the aggregation of diverse corpora of recorded literary readings.Kandice Sharren is a recent graduate of the PhD program in SFU's Department of English. Her research focuses on print culture of the Romantic period, and she brings her experience with digital humanities, archival research, and book history to the SpokenWeb project.Featured Guests:Ann Cowan-Buitenhuis is retired from Simon Fraser University in Vancouver where she was the Executive Director of the Vancouver campus. During her thirty-four years there she served in many capacities, notably founding the Writing and Publishing Program and co-founding the Canadian Centre for Studies in Publishing. The constant theme in her career has been her interest in literature and communication, her belief in lifelong learning, and the responsibility for educators in the support of civil society. In her retirement to private life she enjoys singing in the Performing Arts Lodge (PAL) Chorus, sharing the lives of family and friends, and pursuing the occasional  speaking engagement or program development project.Carolyn Tate worked as the Director of Information for Continuing Studies at SFU from 1980 to 1982, and as Director of the Liberal Studies program in Continuing Studies at SFU from 1982 to 1987. She has a BA from UBC, an MA from McGill University, an unfinished PhD from University College, University of London, and an LL.B (J.D.) from Queen's University. She is now retired from law and resides in Toronto, Ontario, but takes trips to various continents and has fun with her grandchildren.Citations:Coe, Jonathan. “The Life of Henri Grippes.” London Review of Books. Vol. 19, no. 18, 18 September 1997.Gallant, Mavis. “Grippes and Poche.” The New Yorker, 29 November 1982, p. 42.vladnegrila. “Flipping through pages 2.” Freesound, 22 April 2017, https://freesound.org/people/vladnegrila/sounds/388870/.“Delamine.” Blue Dot Sessions. Accessed 18 May 2021.  https://app.sessions.blue/browse/track/39295. “Silver Lanyard.” Blue Dot Sessions. Accessed 18 May 2021.  https://app.sessions.blue/browse/track/39298.Errata:We refer to the “Liberal Studies Department” in the episode; Liberal Studies was actually a program that was part of Continuing Studies.

In 2015, acclaimed Canadian novelist and head of the University of British Columbia's the creative writing program, Steven Galloway, was accused of sexual assault. Despite there being no evidence to support the allegations, Galloway was suspended and subsequently fired from UBC. The situation caused a dramatic rift in the CanLit community, likely irreparable. Galloway is now suing about two dozen people connected to the allegations against him. In this episode, Meghan Murphy speaks with Jonathan Kay — journalist, former editor-in-chief of The Walrus, former editor and columnist at The National Post, and current Canadian editor at Quillette — about the case, the consequences, and the likely outcome. Watch this episode on YouTube. To gain early access to select content and Patreon-only content please sign up as a patron. The Same Drugs is on Twitter @the_samedrugs. --- Support this podcast: https://anchor.fm/the-same-drugs/support

A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith BurrAUDIO SOURCESAudio clipped from “The Words and Music Show” (29 March 2020), https://www.facebook.com/1541307492796466/videos/891396077972589.Audio clipped from “ShortCuts 1.3 Where does the reading begin?” (Kaie Kellough reading at “The Words and Music Show,” 16 Nov 2016),  https://spokenweb.ca/podcast/episodes/audio-of-the-month-where-does-the-reading-begin/.RESOURCESGibson, Kenneth. “Jessica Moss ponders the mysteries of the universe.” The Concordian. 22 January 2019,  http://theconcordian.com/2019/01/jessica-moss-ponders-the-mysteries-of-the-universe/.Moss, Jessica. Entanglement. https://jessicamoss.bandcamp.com/album/entanglement.Perry Cox, Alexei. Finding Places to Make Places. Vallum, 2019. ----- Revolution / Re: Evolution. Gap Riot, 2021.

A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producers: Judith Burr and Stacey CopelandAUDIO SOURCESArchival audio clips for this ShortCuts minisode are cut from this recording of Phyllis Webb's reading in Montreal on November 18, 1966. The entire recording can be accessed here. RESOURCESCollis, Stephen. Almost Islands: Phyllis Webb and the Pursuit of the Unwritten. Talonbooks, 2018. McGregor, Hannah. “The Voice is Intact: Finding Gwendolyn MacEwen in the Archive.” The SpokenWeb Podcast, 6 April 2020, https://spokenweb.ca/podcast/episodes/the-voice-is-intact-finding-gwendolyn-macewen-in-the-archive/. McLeod, Katherine. “Listening to the Archives of Phyllis Webb.” In Moving Archives. Ed. Linda Morra. Wilfrid Laurier University Press, 2020. 113-131.---. “Poetry on TV: Unarchiving Phyllis Webb's CBC-TV Program Extension (1967).” CanLit Across Media: Unarchiving the Literary Event. Eds. Jason Camlot and Katherine McLeod. McGill-Queen's University Press, 2019. 72-91.Webb, Phyllis. Naked Poems, Periwinkle Press, 1965. Webb, Phyllis. Peacock Blue: The Collected Poems. Ed. John Hulcoop. Talonbooks, 2014.

Part one of a two-part series, this episode engages with Gallant's voice and the materiality of the recording: how do we perceive Gallant's explanatory interruptions, unincluded in the printed work? How do we hear the physicality of the audio recording itself? While this episode takes up these questions in regards to the recording of the event, part two will take them up in combination with further consideration of the live event itself.Episoder Producers:This episode was created by SpokenWeb contributors Kate Moffatt, Kandice Sharren, and Michelle Levy, with additional audio courtesy of the Simon Fraser University Archives and Records Management Department.Citations:Coe, Jonathan. “The Life of Henri Grippes.” London Review of Books. Vol. 19, no. 18, 18 September 1997.Gallant, Mavis. “Grippes and Poche.” The New Yorker, 29 November 1982, p. 42.Gallant, Mavis. “A Painful Affair.” The New Yorker, 16 March 1981, p. Gallant, Mavis. “A Flying Start.” The New Yorker, 13 September 1982, p. 39.Gallant, Mavis. “In Plain Sight.” The New Yorker, 25 October 1993, p. 96.kyles. “cassette tape deck open, close +tape handling.” Freesound, 5 December 2018, https://freesound.org/people/kyles/sounds/450525/.Mavis Gallant. The Selected Stories of Mavis Gallant. Toronto: McClelland & Stewart, 1997.Mavis Gallant. “Preface.” The Selected Stories of Mavis Gallant. Toronto: McClelland & Stewart, 1997.Mackie, John. “A hidden treasure of 1960s Vancouver recordings resurfaces.” Vancouver Sun, 31 December 2019, https://vancouversun.com/news/local-news/a-hidden-treasure-of-1960s-vancouver-recordings-resurfacesvladnegrila. “Flipping through pages 2.” Freesound, 22 April 2017, https://freesound.org/people/vladnegrila/sounds/388870/.Simon Fraser University wishes to hear from any copyright owner, or their representative, who believes that this project has not properly attributed their work, has used it without authorization in violation of Canada's Copyright Act, or has released confidential information in violation of the BC Freedom of Information and Protection of Privacy Act.

In this season of ShortCuts we've spent some time in a 1969 recording of poet Muriel Rukeyser, and we're going to stay in that recording for this minisode, partly due to the depth of material within this single recording and partly as an opportunity to reflect upon what a minisode can do – through archival listening – to make connections. A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Stacey CopelandAUDIO SOURCEAudio clips for this ShortCuts minisode are cut from this recording of Muriel Rukeyser's reading in Montreal on January 24, 1969.RESOURCESKeenaghan, Eric. “Interchange – How to Be Anti-Fascist: Muriel Rukeyser and The Life of Poetry.” Interchange, https://beta.prx.org/stories/355960.Malcolm, Jane. “The Poem Among Us, Between Us, There: Muriel Rukeyser's Meta-Poetics and the Communal Soundscape.” Amodern 4: The Poetry Series (March 2015), http://amodern.net/article/poem-among-us/Muriel Rukeyser: A Living Archive, http://murielrukeyser.emuenglish.org/. Rukeyser, Muriel. “Elegy in Joy.” Waterlily Fire: Poems, 1935-1962. Macmillan, 1963.---. “Käthe Kollwitz.” The Collected Poems of Muriel Rukeyser. U of Pittsburgh P, 2006. ---. The Life of Poetry. Current Books, 1949.---. “Muriel Rukeyser at SGWU, 1969” [audio recording from the Sir George Williams Poetry Series]. SpokenWeb, 24 January 1969, https://montreal.spokenweb.ca/sgw-poetry-readings/muriel-rukeyser-at-sgwu-1969Music and Sound Effectsbay_area_bob. "Sound FX for a notification." Freesound.org, Nov 2020.original music by Jason Camlot, 2019.scissors audio (original by K. McLeod), 2020. 

A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Stacey CopelandResourcesMalcolm, Jane. “The Poem Among Us, Between Us, There: Muriel Rukeyser's Meta-Poetics and the Communal Soundscape.” Amodern 4: The Poetry Series (March 2015), http://amodern.net/article/poem-among-us/Robinsong, Erin. “Anemone.” Watch Your Head: Writers and Artists Respond to the Climate Crisis. Coach House Books, 2020. Find out more about Watch Your Head as a book and online project here.Rukeyser, Muriel. “Muriel Rukeyser at SGWU, 1969” [audio recording from the Sir George Williams Poetry Series]. SpokenWeb, 24 January 1969, https://montreal.spokenweb.ca/sgw-poetry-readings/muriel-rukeyser-at-sgwu-1969Find out more about poet Muriel Rukeyser by visiting Muriel Rukeyser: A Living Archive.

The audio for this ShortCuts minisode is cut from recordings of the Sir George Williams Poetry Series, all available to listen to here: https://montreal.spokenweb.ca/sgw-poetry-readings/ and listed individually below. ShortCuts minisodes are developed from ShortCuts blog posts on SPOKENWEBLOG and the post that inspired this one is here.A fresh take on our past minisode series – “ShortCuts” is an extension of the ‘ShortCuts' blog posts on SPOKENWEBLOG, this series brings Katherine's favourite audio clips each month to the SpokenWeb Podcast feed. Stay tuned for monthly episodes of ‘ShortCuts' on alternate fortnights (that's every second week) following the monthly spokenweb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Stacey CopelandAUDIO IN THIS MINISODEBerrigan, Ted. [Recording] Sir George Williams Poetry Series, Montreal, 4 Dec 1970, https://montreal.spokenweb.ca/sgw-poetry-readings/ted-berrigan-at-sgwu-1970/Hine, Daryl. [Recording] Sir George Williams Poetry Series, Montreal, 1 Dec 1967, https://montreal.spokenweb.ca/sgw-poetry-readings/daryl-hine-at-sgwu-1967/Hindmarch, Gladys. [Recording] Sir George Williams Poetry Series, Montreal, 21 Nov 1969, https://montreal.spokenweb.ca/sgw-poetry-readings/gladys-hindmarch-at-sgwu-1969/Simic, Charles. [Recording] Sir George Williams Poetry Series, Montreal, 19 Nov 1971, https://montreal.spokenweb.ca/sgw-poetry-readings/charles-simic-at-sgwu-1971/#2Wright, James. [Recording] Sir George Williams Poetry Series, Montreal, 13 December 1969, https://montreal.spokenweb.ca/sgw-poetry-readings/james-wright-at-sgwu-1968/

While her subjects are varied, and her interests and approaches have evolved over the years, poet Penn Kemp has always understood the power of spoken word to evoke emotion, shift consciousness, and shape the world. Drawing on a syncretic blend of spiritual philosophy informed by Buddhist, Hindu, and Celtic wisdom traditions, Kemp's work is imminent and transcendent, embodied and cerebral. The words on the page produce certain effects, while the voices in the air produce others altogether.In conversation with SpokenWeb Researcher Nick Beauchesne, a clip from Kemp's performance of Trance Form at the University of Alberta (1977) is brought into conversation with more recent material from When the Heart Parts (2007) and Barbaric Cultural Practice (2017). The episode concludes with a live reading from Kemp's brand-new Pandemic Poems (2020). SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Episode Producers:Nick Beauchesne completed his PhD in English at the University of Alberta in 2020; he studies the magical practices of modernist “little magazine” culture and works as a research assistant on the SpokenWeb Edmonton team. Nick has been a performance artist and vocalist for over 20 years, going by his magical name of Nix Nihil. His music is available at soundcloud.com/nixnihil.Penn Kemp has been giving creativity workshops, teaching and performing her poetry since 1966. A Canadian poet, performer and playwright Penn has been celebrated as a trailblazer since her first publication of poetry by Coach House (1972), a “poetic El Niño”, and a “one-woman literary industry”. Her latest poetry is River Revery (Insomniac, 2019) and forthcoming in 2020 is P.S., a collaboration of poems with Sharon Thesen (Kalamalka Press).Voices Heard:Penn Kemp, Nick Beauchesne, Nix Nihil, Ann Anglin, Bill Gilliam, John MagyarSpecial Thanks to Adam Whitaker-Wilson for technical assistance and recording resources. Douglas Barbour for hosting the Trance Form reading at U of A in 1977.Print References:Penn Kemp's Pandemic Poems originally published in:Belanger, Joe. “It's time to embrace London's poet laureate, Penn Kemp, and all artists.” London Free Press. 11 Apr. 2020. https://lfpress.com/opinion/columnists/belanger-its-time-to-embrace-londons-poet-laureate-penn-kemp-and-all-artists. Accessed 17 Nov. 2020.Kemp, Penn. “PENN KEMP - Home.” Weebly. http://pennkemp.weebly.com/. Accessed 17 Nov. 2020.Kemp, Penn. “Penn Kemp: Penn, poet/playwright/performer.” Wordpress. https://pennkemp.wordpress.com/. Accessed 17 Nov. 2020. Kemp, Penn, and Bill Gilliam. From the Lunar Plexus. Pendas Productions, 2001.Kemp, Penn, and Bill Gilliam. "Night Orchestra." Barbaric Cultural Practice, Quatrro Books, 2017. Kemp, Penn. Trance Form. Soft Press and Pendas Productions (reprint), 2006. Recordings:Kemp, Penn. “[Night Orchestra] Barbaric Cultural Practice.”  Soundcloud, https://soundcloud.com/penn-kemp/sets/barbaric-cultural-practice. Accessed 17 Nov. 2020.Kemp, Penn. "Penn Kemp - Trance Form, Live at U of A, February 18, 1977 (1).” Soundcloud, https://soundcloud.com/penn-kemp/penn-kemp-trance-form-live-at-u-of-a-february-18-1977-1. Accessed 17 Nov. 2020. Kemp, Penn. Trance Dance Form, Pendas Productions, 2006.Kemp, Penn. “When the Heart Parts - Sound Opera.”  Soundcloud, https://soundcloud.com/penn-kemp/when-the-heart-parts. Accessed 17 Nov. 2020.Ambient vocal loops and drones courtesy of Nix Nihil.

A fresh take on our past minisode series – “ShortCuts” is an extension of the 'ShortCuts' blog posts on SpokenWebBlog, this series brings Katherine's favorite audio clips each month to the SpokenWeb Podcast feed - so if you love what you hear, make sure to head over to spokenweb.ca for more.  Stay tuned for monthly episodes of 'ShortCuts' on alternate fortnights (that's every second week) following the monthly spokenweb podcast episode.Producer: Katherine McleodHost: Hannah McGregorSupervising Producer: Stacey Copeland Archival sounds played (in order of sonic appearance):Maxine Gadd with Richard Sommer, reading at the SGW Poetry Series, 18 Feb 1972, featured in ShortCuts 1.2Daryl Hine, reading at the SGW Poetry Series, 1 Dec 1967,  featured in ShortCuts 1.1bill bissett, reading on CKVU-TV Vancouver, September 1978, featured in ShortCuts 1.6Kaie Kellough, reading at The Words and Music Show, 20 Nov 2016, featured in ShortCuts 1.3Daphne Marlatt, reading at the SGW Poetry Series, featured in ShortCuts 1.5Gwendolyn MacEwen, reading at the SGW Poetry Series, 18 Nov 1966, featured in ShortCuts 1.7 

SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Trailer Producers:Hannah McGregor & Stacey CopelandClips Featured:S1E2 - Sound Recordings are Weird.S1E3 - Invisible LabourS1E4 - The Agony and Ecstasy of Elizabeth SmartS1E8 - How Are We Listening Now?Music - Palms Down - Blue Dot Sessions

SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Stay tuned for Season 2 this Fall!Episode Producers:Sadie Barker is a PhD student at Concordia, working at the intersections of aesthetic and affect theory, sound and decolonial studies. She holds an MA in Cultural Studies. She is increasingly interested in the affordances of podcasting to mediate interdisciplinary spaces.  Emma Telaro is an MA student at Concordia in the department of English, and a RA for SpokenWeb. She is interested in the disruptive potential of sound and of silence in the literary. This is her first official podcast. Ali Barillaro is an MA student in English at Concordia University and a SpokenWeb RA interested in both the study of comics in the social media age and the sounds of audience response in the context of poetry readings. Jason Camlot's most recent critical works are Phonopoetics: The Making of Early Literary Recordings (Stanford 2019),  and the co-edited collection, CanLit Across Media: Unarchiving the Literary Event (with Katherine McLeod, McGill Queen's UP, 2019). He is the principal investigator and director of The SpokenWeb and Professor of English and Research Chair in Literature and Sound Studies at Concordia University in Montreal.Bibliography:Bender, John and David E. Wellbery, "Rhetoricality: On the Modernist Return of Rhetoric." The Ends of Rhetoric: History, Theory, Practice. Ed. Bender and Wellbery. Stanford, CA: Stanford University Press, 1990.Copeland, Stacey.  "A Feminist Materialisation of Amplified Voice: Queering Identity and Affect in The Heart." Podcasting: New Oral Cultures and Digital Media.  Ed. Dario Llinares, Neil Fox, Richard Berry.  Palgrave MacMillan, 2018.  209-225. Llinares, Dario. "Podcasting as Liminal Praxis: Aural Mediation, Sound Writing and Identity." Podcasting: New Oral Cultures and Digital Media.  Ed. Dario Llinares, Neil Fox, Richard Berry.  Palgrave MacMillan, 2018.  123-145.Rapp, Christof, "Aristotle's Rhetoric", The Stanford Encyclopedia of Philosophy (Spring 2010 Edition), Edward N. Zalta (ed.), URL = .Sterne, Jonathan.  "The Theology of Sound: A Critique of Orality," CanadianJournal of Communication 36.2 (2011): 207-225.Ong, Walter J.: Orality and Literacy--The Technologizing of the Word (1982). Routledge, New York, 1988.Find a list of Ambient Sounds, Music and Additional Recordings used in this episode  Linked Here. 

Episode 28 – Brenna Clarke Gray a.    A little background info… -       Nine years as a community college instructor of English Literature.-       Seven months as an educational technologist pre-COVID.-       Research areas visual culture in CanLit, Canadian comics, and representations of Canadian in American superhero comics.-       Now focusing on podcasting as a scholarly medium, open tenure processes, and edtech as care work. b.    As we are entering our third month with this new landscape, how are you doing now?  -       Just screaming noises. c.     What are you working on or towards nows -       It is so hard to do anything other than support the transition to remote teaching right now. We are working hard on mowing through support tickets and frantically developing programming – we run three webinars a week for campus faculty – while also trying to plan a suite of programming for August. As faculty lead on the pivot, the programming is my baby and there isn't time for a lot else.-       Can I tell you about some of the work I wish I had more time for?o   Academic integrity and data privacy.o   Open tenure processes.o   Community of Praxis podcast / SSHRC PDG d.    From your perspective, what might be a few positives that we can learn from this change? -       On a personal level, I hope our institution – which has traditionally had a culture that really struggled with the idea of hybrid or blended learning – really embraces the tools and sees the potential.-       I hope we learn to extend more grace and compassion to our students, even if it comes because we unfortunately need it extended to ourselves. I hope when we are trying to prepare lectures or mark papers with a screaming kiddo in the room or a sick parent worrying our minds, we recognize that this is lived reality for our students even outside of the time of the pandemic. And I hope we carry that into the after. e.    What were you (or are you) most surprised about with regard to how Higher Ed has adapted? (or, have we really adapted or are we just holding our breath?) -       In a lot of ways, we haven't adapted. A three-hour synchronous video lecture isn't adapting; a pile of voice-over-PowerPoints and gigantic PDF files isn't adapting; trying to replicate F2F isn't adapting.-       But that's not every story, and I am genuinely amazed by the amount of high-level professional development happening everywhere right now. My colleagues are really trying and really committing – we have 100 people at every session we run right now – and I'm looking forward to seeing what that yields. f.      What have you changed your mind on recently with this new landscape? -       I am very troubled by my newfound commitment to the LMS, which is both uncool and off-brand for me but here we are. g.    Where can facilitators/educators lean in? -       Lean into care and community. Honestly, nothing else matters. h.    What are you most hopeful about with regard to the next 12 months? -       It's been such a hard few weeks but it's a moment where I can really believe in systemic change. Does the fact that we all now know that 90% of university jobs can be done from home mean better accessibility for disabled staff down the line? Does the fact that every university president has now made a statement decrying anti-Black and anti-Indigenous violence mean that our equity actions will have institutional weight behind them? Does the fact that privileged parents now see what life without childcare looks like mean we recognize affordable care as a social justice issue? I want to believe in all of it right now. i.      In your opinion, what can we as educators begin doing to make this easier on our students? On ourselves? -       This is not a moment to be beholden to content and coverage. Really examining the purpose of your course, what students need to learn from it to progress or for future classes or for job-readiness, and leave the rest behind.-       At the centre of this moment is care: for our students, and for ourselves. How will you demonstrate care in your syllabus, assignment design, etc? How can you give yourself a break this fall, too? Academics have a tendency to not extend care to themselves, but this can make it hard to see when students need grace and compassion, too.★ Support this podcast on Patreon ★★ Support this podcast on Patreon ★

SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Produced by the SpokenWeb team at UBC Okanagan AMP Lab, SoundBox Signals brings literary archival recordings to life through a combination of ‘curated close listening' and conversation.  You can find more episodes from SoundBox Signals at soundbox.ok.ubc.ca. Resources:The SoundBox Collection: https://soundbox.ok.ubc.ca/Amy Thiessen's Honours Project / Digital Exhibition on Sharon Thesen's "The Fire": sharonthesenthefire.omeka.netThe Real Vancouver Writers' Series: https://realvancouver.org/Episode 7 of the SpokenWeb Podcast produced by Hannah McGregor: https://spokenweb.ca/podcast/episodes/the-voice-is-intact-finding-gwendolyn-macewen-in-the-archive/Secret Feminist Agenda podcast: https://secretfeministagenda.com/category/podcast/   Christine Mitchell's "Can You Hear Me?":  https://amodern.net/article/can-you-hear-me/Due to COVID-19, both the Tech Talk Series and the Inaugural Sharon Thesen Lecture by John Lent mentioned at the end of this episode were unfortunately cancelled or postponed. Producers and Guests:Nour Sallam is an Honours English and Political Science major with a passion for literature and art. She is interested in journalism, digital reporting, and the impacts that language and discourse have on perceptions of the world. Nour is also the Copy Editor of The Phoenix News. She is excited to practice attentive listening and explore literary sound through her work as the SpokenWeb UBCO Podcast Producer.Karis Shearer, Director of the AMP Lab and the SoundBox Collection, is an associate professor at UBC's Okanagan campus in the Department of English and Cultural Studies. She sits on the SpokenWeb Governing Board and is the lead UBCO Researcher for the SpokenWeb SSHRC Partnership Grant, contributing expertise in the areas of Canadian poetry, performance, pedagogy, and media culture.Amy Thiessen is an Honours English student at UBCO where she is working on a digital edition of Sharon Thesen's poem "The Fire." She is a writer, an RA and project manager for the UBCO SpokenWeb project and an aspiring teacher.Emily Murphy is Assistant Professor of Digital Humanities at UBCO's Faculty of Creative and Critical Studies. She is also Assistant Director of UBCO's AMP Lab. She researches technology and cultural memory. Hannah McGregor is an Assistant Professor in Publishing at SFU where her research focuses on podcasting as scholarly communication, systemic barriers to access in the Canadian publishing industry, and the history of middlebrow periodicals. She  also hosts a number of podcasts including Secret Feminist Agenda and the SpokenWeb Podcast.  

Each month on alternate fortnights (that's every second week following the monthly spokenweb podcast episode) - join Hannah McGregor, and minisode host and curator Katherine McLeod for SpokenWeb's Audio of Month mini series.An extension of Katherine's audio-of-the-week series at spokenweb.ca, Katherine brings her favorite audio each month to the spokenweb podcast - so if you love what you hear, make sure to head over to spokenweb.ca for more.Listen to Mathieu Aubin's Audio of the Week featuring an audio clip of bill bissett on CKVU-TV September 1978 here along with links to recordings and works mentioned in this minisode: https://spokenweb.ca/bill-bissett-on-ckvu-tv-september-1978/Produced by: Katherine McLeod, Mathieu Aubin, Hannah McGregor, Stacey Copeland.

This episode was a special cross-over between the SpokenWeb Podcast and Secret Feminist Agenda. SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.References:Constellations Audio. https://www.constellationsaudio.com/Glass, Ira. “Freedom Fries.” This American Life 23 January 2015. https://www.thisamericanlife.org/545/if-you-dont-have-anything-nice-to-say-say-it-in-all-caps/act-two“The Lesbian Show.” Archives of Lesbian Oral Testimony. https://alotarchives.org/collection/lesbian-showMermaid Palace. https://mermaidpalace.org/Noor, Poppy. “What is 'sexy baby voice'? We spoke to a sociologist to find out more.” The Guardian 26 Feb 2020. https://www.theguardian.com/lifeandstyle/2020/feb/26/what-is-sexy-baby-voice-sociologistThe Queer Public Podcast. https://www.queerpublic.org/Episode Producer:Hannah McGregor is an Assistant Professor of Publishing at Simon Fraser University, where her research focuses on podcasting as scholarly communication, systemic barriers to access in the Canadian publishing industry, and the history of middlebrow periodicals. Her work can be found in various journals including Participations, Modernism/modernity Print+, the Journal of Modern Periodical Studies, and Studies in Canadian Literature; she is also the co-editor of the book Refuse: CanLit in Ruins (Book*hug 2018). Hannah is the co-creator of Witch, Please, a feminist podcast on the Harry Potter world, and the creator of the podcast Secret Feminist Agenda, which is currently undergoing an experimental peer review process with Wilfrid Laurier University Press. She is also the host of the monthly SpokenWeb Podcast, an experimental collaborative research podcast created through the SSHRC-funded SpokenWeb partnership.Guest:Stacey Copeland is a media producer and Joseph-Armand Bombardier (SSHRC) Ph.D. candidate at Simon Fraser University's School of Communication in Vancouver, Canada. She received her Master of Arts from the Ryerson York joint Communication and Culture graduate program where she studied radio production, sound studies, media culture and gender studies. It was during her Master's work that Copeland co-founded FemRadio, a Toronto, Canada based feminist community radio collective. She is currently the podcast project manager for the SSHRC-funded partnership SpokenWeb.

SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Guest Bios: Hannah McGregor is an Assistant Professor of Publishing at Simon Fraser University, where her research focuses on podcasting as scholarly communication, systemic barriers to access in the Canadian publishing industry, and the history of middlebrow periodicals. Her work can be found in various journals including Participations, Modernism/modernity Print+, the Journal of Modern Periodical Studies, and Studies in Canadian Literature; she is also the co-editor of the book Refuse: CanLit in Ruins (Book*hug 2018). Hannah is the co-creator of Witch, Please, a feminist podcast on the Harry Potter world, and the creator of the weekly podcast Secret Feminist Agenda, which is currently undergoing an experimental peer review process with Wilfrid Laurier University Press. She is also the host of the monthly SpokenWeb Podcast, an experimental collaborative research podcast created through the SSHRC-funded SpokenWeb partnership.andrea bennett is a National Magazine Award–winning writer and editor. Their writing has been published by The Atlantic, the Globe and Mail, The Walrus, Maisonneuve, Hazlitt, Vice, Reader's Digest, Vogue Italia, Quill & Quire, and many other outlets. andrea's first book of poetry, Canoodlers, came out with Nightwood Editions in 2014. Their Moon Travel travel guide to Montréal is now available, as is their guide to Québec City. Their first book of essays, Like a Boy but Not a Boy, is forthcoming with Arsenal Pulp Press in Fall 2020. Katherine McLeod researches and teaches Canadian literature through sound, performance, and archives. Her recent publications include a chapters in the books Public Poetics: Critical Issues in Canadian Poetry and Poetics, Moving Archives (Wilfrid Laurier UP), and CanLit Across Media: Unarchiving the Literary Event (MQUP), which she also co-edited with Jason Camlot. Currently, she is an Affiliate Assistant Professor in the Department of English at Concordia University, where she researches CBC Radio recordings and where she is organizing SpokenWeb's Ghost Reading Series. Follow the site she curates for Montreal readings at WherePoetsRead.ca and @poetsread.Jen Sookfong Lee's books include The Conjoined, nominated for the International Dublin Literary Award and a finalist for the Ethel Wilson Fiction Prize; The Better Mother, a finalist for the City of Vancouver Book Award; The End of East, and Gentlemen of the Shade. Jen teaches writing at The Writers' Studio with Simon Fraser University and co-hosts the podcast, Can't Lit.Episode Resources: bennett, andrea. Excerpt from “The People's Poetry.” The essay appears in the book Like a Boy But Not A Boy: Navigating Life, Mental Health, and Parenthood outside the Gender Binary to be published by Arsenal Pulp Press, fall 2019.Camlot, Jason and Katherine McLeod. "SGW Poetry Remix" MP3 file, 12 Dec 2018.MacEwen, Gwendolyn. “Dark Pines Under Water.” https://www.youtube.com/watch?v=DaHTMxvxNGcMacEwen (a performance)." Resurfacing: Women Writing across Canada in the 1970s. Mount Allison University & Université de Moncton, 26-28 April 2018.--- "Performing the Archive: A Remix." Performed with Jason Camlot. Blue Metropolis International Literary Festival, Montreal, 5 May 2019.MacEwen, Gwendolyn. “Dark Pines Under Water.” https://www.youtube.com/watch?v=DaHTMxvxNGc---  Reading with Phyllis Webb at Sir George Williams University, Nov 18 1966. https://montreal.spokenweb.ca/sgw-poetry-readings/gwendolyn-macewen-at-sgwu-1966/--- "Past and Future Ghosts." Afterworlds. Toronto: McClelland and Stewart, 1987.McLeod, Katherine. "(Un)Covering the Mirror: Performative Reflections in Linda Griffiths's Alien Creature: A Visitation from Gwendolyn MacEwen and Wendy Lill's The Occupation of Heather Rose." Theatre and Autobiography: Writing and Performing Lives in Theory and Practice. Eds. Sherrill Grace and Jerry Wasserman (Talon, 2006). 89-104.--- "An Archival Remix" Performance by Katherine McLeod and Emily Murphy. Toronto: Modernist Studies Association, 18 Oct 2019.Music:“Flamenco Rhythm” by Sunsearcher: https://freemusicarchive.org/music/Sunsearcher"Soothe", “At Our Best Alone,” “A Certain Lightness,” “The Bus At Dawn,” “Slow Slow Sky” all from https://www.sessions.blue/