Be advised: The Poetry Collection, University Archives, and Rare Books will be closed for renovation beginning May 30th. Tentatively, the collections will reopen September 1st, 2017. Collection access and reference services will be unavailable during this time.
UB Libraries News Archive
Archive for the ‘Poetry’ Category
Opening 9/11: Robert De Niro, Sr. and Irving Feldman: Painter and Poet at UB in the Late 1960s, UB Anderson Gallery
Robert De Niro, Sr., House on Ellicott Creek, Buffalo, NY, 1967-79
Please join us for the following events in conjunction with the exhibition Robert De Niro, Sr. and Irving Feldman: Painter and Poet at UB in the Late 1960s (co-curated by Michael Basinski and Sandra Olsen and featuring items from the University Archives and the Poetry Collection) on view at the UB Anderson Gallery from September 11 – October 25, 2015:
Friday, September 11
7:00 – 9:00 pm
UB Anderson Gallery
Poetry reading: Irving Feldman
Thursday, October 8
UB Anderson Gallery
Processing Archivist Marie Elia’s “Silence in the Library” was published online in Queen Mob’s Teahouse:
“Naming is powerful. A name can be a gift or a burden. Choosing or discarding a name can make you feel free. A nickname can make you feel loved or crushed. What people call you shapes how you see yourself, and teaches you how to navigate the world. But the moment you name something, you limit the possibilities of what it can be. Librarians and archivists who catalog and describe collections have the great responsibility of choosing names for things that provoke interest and further understanding. We call this ‘creating access points’ – little lights to guide you, from whichever direction you might approach. But what if the roads were built ages ago and are no longer passable? Or what if they lead in the wrong direction? The limits of language, particularly the specialized, slow-to-evolve jargon of cataloging librarians and archivists, can create more barriers than pathways. Naming a thing with the wrong words can cut off various paths; it can silence necessary questions. In a choose-your-own-adventure text, this would be the part where you would die, have to start over again and opt for a different route next time…”
You can read the full text here.
The Poetry Collection, and in particular its Paul Mariah / Manroot Collection, currently being cataloged by Project Archivist Elliot McNally, is featured in the new issue of Block Club. See “Paul Mariah’s Boxes,” by Ben Siegel, photos by Max Collins, in issue 38.
On January 26, 1933, T.S. Eliot, poet and critic, was in Buffalo, N.Y. to appear before an audience for a Fenton Foundation lecture held under the auspices of the University of Buffalo in the Twentieth Century Club at 595 Delaware Avenue. (see “Meaningful, Sonic Poetry Termed Best” Buffalo Courier-Express, 27 January 1933)
Apparently Eliot was not happy with the Lear lecture. T.S. Eliot was once asked why it was absent in his “Collected Essays.” He replied, “I am flattered that you should retain any interest in the lecture I gave on Edward Lear, and am therefore sorry to say that I destroyed the script of this and of a number of occasional lectures which I delivered in the United States in 1932-33.”
T. S. Eliot, poet and critic,
contrasts style of various
There are two types of poetry, one in which the words are used simply to give meaning, the other in which the words are used for their sonic effect, but in great poetry the words do both. T. S. Eliot, English poet and critic, told an audience last night in his Fenton Foundation lecture held under auspices of the University of Buffalo at the Twentieth Century Club.
Mr. Eliot’s subject was Edward Lear and Modern Poetry, and one of his themes was that modern “unintelligible” poetry derives from Lear as one of its sources. Lear, a contemporary of Lewis Carroll, the author of Alice in Wonderland, was a writer of light verse, in which there was more nonsense than sense, and in which the words were chosen not to convey ideas, but emotional effects—the emotion being of the whimsical sort.
Compares Carroll, Lear
Mr. Eliot drew this contrast between Lewis Carroll and Edward Lear: Carroll’s whimsy, with its detective story elements, its logical procedure, appeals to the adult element in children, whereas Lear’s poetry, which is more “poetic” and less, logical, appeals to the childish side of adults.
Quoting Walter Pater’s essay which makes the point that all the other arts only approach music which stands above them, Mr. Eliot made a defense for this sonic, musical, somewhat unintelligible poetry, which makes no pretense at sense, but pleases the ear, or creates an emotional effect.
Swinburne, another contemporary of Lear, also was held up for comparison to this effect: that Swinburne was an adolescent who pretended to be writing poetry with much meaning, though it was really meaningless, whereas Lehr didn’t even pretend to be making sense.
Following the lecture, Mr. Eliot, author of The Sacred Wood, and The Waste Land, read from his own poems.
— Buffalo Courier-Express, January 27, 1933