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Vehicule Poets at Rare Books and Special Collections, McGill University
giving a group reading on 26 April 2018 |
Like a collagist, selecting and snipping, Stephen immersed himself in the text, emerged with bits and phrases words, even syllables. Sometimes, his selection was to introduce fragments of what was to come, sometimes a reflection (refraction) of what had just passed. His breaking up the text in this fashion turned the piece in on itself, its meditative aspect. The work was now reaching inward as well as outward. He did not add one original phrase, not one external element, yet his contribution was instructive. In visual terms, he zoomed in on the fabric, the material, offering the work as “object”, built with breaths, words, thoughts.
—Tom Konyves on “Drummer Boy Raga: Red Light, Green Light”
(Poetry in Performance, The Muses’ Company, 1982)
By chance, I just reread Tom’s commentary on my participation in “Drummer Boy Raga: Red Light, Green Light”, a poetry performance we gave at Vehicule Art Gallery, on April 16, 1977. I believe the project was originated and coordinated by Tom Konyves; the performance included John McAuley, Ken Norris, Tom Konyves, Endre Farkas, Opal L. Nations, and Stephen Morrissey.
My participation in writing the text amounted to cutting-up what others were writing. Then the cut-ups were assembled and returned to Tom who distributed the new work to the next person. These were my first published cut-ups. Finally, as a group, we performed the completed “Drummer Boy Raga: Red Light, Green Light”.
Thinking back, this must also have been our first written group project as the Vehicule Poets; the next group collaboration would be A Real Good Goosin', Talking Poetics, Louis Dudek and The Vehicule Poets (Maker Press, Montreal, 1981). This was an interview or dialogue between Louis Dudek and the seven of us young poets. We were known as the Vehicule Poets because we all hung out and organized poetry readings at Vehicule Art Gallery. Our first group anthology, The Vehicule Poets (Maker Press, Montreal, 1979) wasn’t a collaborative work as such; it was an anthology of our work as individual poets, not work written in collaboration with each other.
And now, here is Tom’s text, from above, cut-up:
Like a collagist, selecting and snipping turned the piece in on itself, its meditative emerged with bits and phrases words, inward as well as outward. he did not add was to introduce fragments of what was element, yet his contribution was instructive (refraction) of what had just passed. His fabric, the material, offering the work as Stephen immersed himself in the text thoughts. even syllables. Sometimes, his selection aspect. The work was now reaching to come, sometimes a reflection. In visual terms, he zoomed in on the breaking up the text in this fashion “object”, built with breaths, words,
