Katy Clark on “The Beckwith Connection: An Afternoon of Big Hits from the Reaney and Beckwith Songbook”

November 5, 2023 — Thank you all for coming to Wordsfest at Museum London to hear Dr. Katy Clark and ensemble perform selections from John Beckwith and James Reaney’s musical works, including four operas, poems set to music, and radio collages.

Dr. Clark drew on her research from her thesis on “Regionalism in the Operas of John Beckwith and James Reaney” to eloquently lead us though the six decades of Beckwith and Reaney’s musical collaboration.

Congratulations to the singers — Katy Clark (soprano), Paul Gambo (baritone), Charmaine Iormetti (soprano), and London Pro Musica — and musicians — Charmaine Fopoussi (piano), Gary McCumber (clarinet), and Patrick Theriault (cello) — for their wonderful work on these selections:

The Great Lakes Suite (1949) — Lake Superior, Lake Michigan, Lake Huron (poems by James Reaney)
“Serenade” (1950) (poem by Colleen Thibaudeau)
Night Blooming Cereus (1959) — A Plant Song, Houses in Heaven, Scene 3 Recitative (James Reaney)
The Killdeer (1960/1961) — Waltz, Excerpt from Act 2, Scene 4, Credits music (James Reaney)
Twelve Letters to a Small Town (1961) — To the Avon River above Stratford, Canada, Instructions: How to Make a Model of a Town (James Reaney)
The Shivaree (1979) — Daisy’s Aria (James Reaney)
Crazy to Kill (1989) — Down the Avenue of Trees (James Reaney)
Taptoo! (1994) — Loyalists’ Song (James Reaney)

Our grateful thanks to Wordsfest’s Josh Lambier and Greg de Souza and Museum London’s Lisa McDougall for their expertise and support. Happy 10th anniversary to London’s Words Festival!

A link to the live-stream recording of this lecture may be available later. For more about John Beckwith and James Reaney’s musical partnership, see John Beckwith’s lecture “James Reaney and Music” from November 5, 2016, and his 2012 autobiography Unheard of: Memoirs of a Canadian Composer.

The James Reaney Memorial Lecture series celebrates the life and work of Southwestern Ontario poet and dramatist James Reaney, who was born on a farm near Stratford, Ontario and found a creative home in London, Ontario.

James Reaney’s “Entire Horse”

Entire Horse

Poems Written About The Donnellys To Assist
The Renewal of The Town Hall at Exeter, Highway #4 *

I
Around Borrisokane, in Eire, the roads twist
After cowherds with willow gads, after wise woman’s spells,
After chariots and the widest go-around found in a mare’s skin.
But in Biddulph, Canada, in Mount Carmel’s brooder stove, St Peter’s fields,
The roads cross at right angles, a careful Euclidean net, roods, rods
Spun by surveyors out of Spider stars – Mirzak, Spicula, Thuban, Antares.
Like serpents, twitchgrass roots, dragons – the Irish roads twist,
The old crooked roads twist in the cage of the straight new.

II
We were horsemen, dressed well and from my brother’s entire horse,
From his entire horse came the colt fast fleet hoofhand with which
We seized and held onto the path through Exeter down to London.
We lifted the hills, creeks, rivers, slaughterhouses, taverns,
We lifted their travellers and those who were asleep when we passed
And those who saw us rattle by as they plowed mud or whittled.
We lifted them like a graveldust pennant, we swung them up and out
Till they yelled about wheels falling off, unfair competition, yah!
And we lie here now – headless, still, dead, waggonless, horseless,
Sleighless, hitched, stalled.

III
As the dressmaker hems my muslin handkerchiefs,
The night the Vigilantes burnt down one of their own barns,
As I sit waiting for a cake to bake and my gentle niece with me
I realize I am not doing what you want me to do.
You – bored with your Calvinist shoes chewed to pieces
By streets of insurance, streets of cakemix, packages, soap, sermonettes.
You want me to – you project a more exciting me on me.
She should be burning! Clip! Ax! Giantess! Coarse, I should curse!
Why should I accept these handcuffs from you?

 James Reaney, 2005

* Respectively, the three speakers of these poems are William Porte, the Lucan postmaster, Tom Donnelly and Mrs. Donnelly.

“Entire Horse” is from Souwesto Home, a collection of James Reaney’s poems from 2005 available from Brick Books.

( ( 0 ) ) Listen to Jeff Culbert read “Entire Horse” and other poems from Souwesto Home here.

All three plays from James Reaney’s The Donnelly TrilogySticks and Stones, The St. Nicholas Hotel, and Handcuffs — were performed at the Blyth Festival this summer at Blyth’s Outdoor Harvest Stage.

From The St. Nicholas Hotel: In Act I before the Donnelly stagecoach leaves the City Hotel in London, Mike Donnelly (driver) says:

“Are there any more ladies and gentlemen for Calamity Corners as ’tis sometimes called,
St. John’s, Birr — my old friend Ned here calls it Bobtown, the more elegant name is Birr.
Elginfield known to some as Ryan’s Corners, Lucan that classic spot if it’s not all burnt down, Clandeboye, Mooretown, Exeter and Crediton.
If Ned here hasn’t sawn it to pieces,
the coach is waiting for you at the front door
and it pleases you.”

Summer 2023 — On the way to the Outdoor Harvest Stage
on the old Blyth Fairgrounds. Photo courtesy The Blyth Festival.

James Reaney’s poem Ice Cream

Ice Cream

The local poet is riding his bike uptown
On a fairly hot summer day
Bent on Jumbo’s Ice Cream booth
Before mailing a poem to Chimaera at the Post Office
At Jumbo’s Ice Cream booth there are
Thirty flavours available including—
Licorice, fudge, lemon, orange, apple, grape,
Banana, chocolate, cherry, Maple Walnut (my favourite)
Vanilla, of course, peppermint, strawberry, raspberry—
Weren’t there some vegetable ones? Do I remember—
Onion ice cream?
And this pair of double dip skim milk flavours
Cost only a nickel each!
And the ceiling was of pressed tin!
So, I plunk down a nickel for a Maple Walnut!
And so out the door bent on making the cone
Last till I reach the Post Office door—
The Post Office is French Provincial with 4 clocks.
The poet holds his bicycle up with his left hand.
Walks slowly licking as he proceeds.
Two little girls say scornfully: “He’s acting
Just like a little kid!”
But he thinks— “Isn’t this what life is all about?”

James Reaney, 2005

September 1975: James Reaney at the Nihilist Picnic, Poplar Hill, Ontario.

“Ice Cream” is from Souwesto Home (2005) and available from Brick Books.

James Reaney’s translation of Pierre Falcon’s The Battle of Seven Oaks

James Reaney’s translation of Pierre Falcon’s “The Battle of Seven Oaks” (“La Chanson de la Grenouillère”) can be found in Margaret Arnett MacLeod’s 1960 book Songs of Old Manitoba.  

Pierre Falcon (1793-1876) was a celebrated Métis balladeer and North West Company clerk. “He had a feeling for words, a sense of rhythm, and a love of a rollicking tune. He was strongly dramatic, and his idea of the importance of the Métis Nation may have been more right than his English contemporaries were ready to concede [.…]” (MacLeod, p. 2)

Pierre Falcon’s 1816 ballad commemorating the Métis victory at the Battle of Seven Oaks
(Songs of Old Manitoba, p.5)

James Reaney offers these notes on his approach to translating the song: “This translation can be sung to Pierre Falcon’s original tune with some stretching, but no more than to sing his own words requires. In making this translation I have followed Ezra Pound’s practice. Since there can be no translation so inaccurate as that which sticks closely and literally to the surface of a song, I have attempted to make only an English equivalent of Falcon’s ballad and so translate the really important thing – its high spirits.” (MacLeod, p. 9)

1.  Would you like to hear me sing
Of a true and recent thing?
It was June 19, the band of Bois-Brûlés
Arrived that day,
Oh the brave warriors they!

2.  We took three foreigners prisoners when
We came to the place called Frog, Frog Plain.
There were men who’d come from Orkney,
Who’d come, you see,
To rob our country.

3.  Well we were just about to unhorse
When we heard two of us give, give voice.
Two of our men cried, “Hey! Look back, look back!
The Anglo-Sack
Coming for to attack.”

4.  Right away smartly we veered about
Galloping at them with a shout!
You know we did trap all, all those Grenadiers!
They could not move
Those horseless cavaliers.

5.  Now we like honourable men did act,
Sent an ambassador – yes, in fact!
“Monsieur Governor! Would you like to stay?
A moment spare — 
There’s something we’d like to say.”

6.  Governor, Governor, full of ire.
“Soldiers!” he cries, “Fire! Fire.”
So they fire first and their muskets roar!
They almost kill
Our ambassador!

7.  Governor thought himself a king.
He wished an iron rod to swing.
Like a lofty lord he tries to act.
Bad luck, old chap!
A bit too hard you whacked!

8.  When we went galloping, galloping by
Governor thought that he would try
For to chase and frighten us Bois-Brûlés.
Catastrophe!
Dead on the ground he lay.

9.  Dead on the ground lots of grenadiers too.
Plenty of grenadiers, a whole slew.
We’ve almost stamped out his whole army.
Of so many
Five or four left there be.

10.  You should have seen those Englishmen —
Bois-Brûlés chasing them, chasing them,
From bluff to bluff they stumbled that day
While the Bois-Brûlés
Shouted “Hurray!”

11.  Tell, oh tell me who made up this song?
Why it’s our own poet, Pierre Falcon.
Yes, she was written this song of praise
For the victory
We won this day.
Yes, she was written, this song of praise — 
Come sing the glory
Of the Bois-Brûlés.

( ( (0) ) ) Rufin Turcotte sings the original French version on this 1963 Smithsonian Folkways Recording “Folksongs of Saskatchewan”: https://www.youtube.com/watch?v=yB1knUIOSH0

From Songs of Old Manitoba, Pierre Falcon’s original French lyrics (p. 6-7)

Note: James Reaney’s long poem “A Message to Winnipeg” (1960) includes this translation of Pierre Falcon’s 1816 song. For more about the June 19, 1816 Battle of Seven Oaks, see the entry in The Canadian Encyclopedia.

Poem for August

James Reaney's "August" poem from the calendar. Stained glass design by Ted Goodden (1991).
“August” by James Reaney rendered in stained-glass by artist Ted Goodden (2000).

James Reaney‘s poem celebrating the month of August is illuminated by stained-glass artist Ted Goodden for the 2000 calendar series “Perpetual Illuminations“.

James Reaney’s poem “Janitor” from Souwesto Home

 

Janitor

I love gateways into farms & yards: even more
Do I love door-
ways (latches, their hooks, hinges, keyholes).
From my collegiate days
I remember the janitor,
Mr January,
Who lingered, with his blizzard broom
At the highschool’s entrance, tending
His garden of galoshes, rubbers, boots,
Mudmats, sleet mops, rainwhisks.
Awesomely quiet, brooding, puttering man,
He had, in his pockets, keys for all locks
Of classroom, gymnasium,
Even the mysterious cubby holes under stairs,
And the exits & entrances of the assembly
Auditorium.
You shuffler & sweeper, who opened, who shut,
Kept the rain, wind, mud, snow, out,
And us, inside, warm & dry.
Doorkeeper, in some strange way,
You caretaker, though you were
Neither principal nor teacher,
You secretly governed the school.
We often dreamt of you,
Our most remembered educator.

James Reaney, 2005

 

“Janitor” is from Souwesto Home and available from Brick Books.

James Reaney attended Stratford Central Collegiate, now Stratford Central Secondary School, from 1939-1944. On November 26, 2010, the school held a celebration to rename the school’s old auditorium the James C. Reaney Auditorium in honour of his achievements as a poet and playwright.

 

 

“Near Tobermoray, Ontario” by James Reaney

Near Tobermoray, Ontario

I look upon a blue cove
In August
With egg pebble beach,
Blue sky & cedar birch sides.

And I look upon the sisters four
Blue sky & blue water
Rock, pebble & earth
And the light I see it with.

Watty Blue has a drowned man
For her heart
And rain for food & wind
To crisp her thoughts with.

Pale Blue Airy has clouds
To mind & winds to sing,
Thunder to say, lightning to do
And birds to hold.

Urtha lumpily clogs
Her clotty feet,
Waves Aaron’s Rod & wears
Emeralds in rags.

But Light, you’re quite another thing.
Indeterminate,
You hold them all yet let them slip
Into themselves again.

James Reaney, 1963

“Near Tobermoray, Ontario” is from Poems by James Reaney, New Press, 1972. 

“Georgian Bay near Tobermoray” watercolour by James Reaney, 1961

Berry-picking from James Reaney’s Colours in the Dark

Summer 1937: James Reaney (age 10) picking gooseberries with his cousins in Erin Township in Wellington County, Ontario.

The “Berry-picking” scene from Act I of James Reaney’s 1967 play Colours in the Dark uses a pattern poem in the shape of a family tree pyramid to help the berry-pickers bring back the lost child.

8. BERRY-PICKING

MOTHER: The Story of the Berry-Picking Child and the Bear.

SCREEN: A child’s drawing of a berry-picking woods.

PA: This happened early near the Little Lakes.

KIDS: Darting about with berry pails

Look at the raspberries
Wild Gooseberries
Huckleberries
Over here!
Look at the raspberries
Wild currants.
Don’t eat them. They’re poison.
Bunch berries (ugh!)

One child is left busily picking. Her name is SADIE.

GRAMP:  as a bear. Enters and lifts up a child.
Child my cubs need nurse. I need your blood.
SADIE: Wouldn’t blood-red berries do instead?
GRAMP: No. Flesh must be my bread.

SADIE: Put me down Mr. Bear. I do thee dread.

Bear runs off with child, kids enter shrieking.

KIDS: A bear ran off with Sadie! A bear ran off with Sadie! And it takes a lot of people to produce one child.

They form a family tree pyramid with a reappearing Sadie.

KIDS:

It takes
Two parents
Four Grandparents
Eight Great grandparents
Sixteen Great great grandparents
Thirty-two Great great great grandparents
Sixty-four Great great great great grandparents
One hundred and twenty-eight Great great great great great grandparents
Two hundred and fifty-six Great great great great great great grandparents
Five hundred and twelve Great great great great great great great grandparents
One thousand and twenty-four Great great great great great great great great grandparents

It would take over a thousand people to do this scene: at Listeners’ Workshop we did it with thirty-two people: the children here are suggested by a triangle arrangement, the thousand ancestors behind each human being. Have one group of players in charge of chanting “Great great” & “grandparents”.

SADIE: Are you there 1,024 ancestors?

A feeble rustle

Are you there 512
Are you there 256

Are you there 128

Sound gets louder, less ghost-like and more human.

Are you there 64

Are you there 32

Are you there 16

More recent ancestors step forward and say firmly and clearly what we have only dimly heard: “We’re here.”

Are you there 8

Are you there 4

Are you there Mother and Father?

GRAMP, MA and PA step forward and establish the next scene as the kids fade away

Colours in the Dark is available from Talonbooks: https://talonbooks.com/books/colours-in-the-dark

For more about James Reaney’s use of shape poems or pattern poems as theatrical devices, see Thomas Gerry’s book The Emblems of James Reaney (2013) and Gerry’s article “Marvellous Playhouses The Emblems of James Reaney” in the Summer 2019 issue of Queen’s Quarterly.

“The Poet’s Typewriter” by James Reaney, 1997
James Reaney 1972

“Gifts” by James Reaney

Gifts

Existence gives to me
What does he give to thee?

He gives to me:  a pebble
He gives to me:  a dewdrop
He gives to me:  a piece of string
He gives to me:  a straw

Pebble  dewdrop  piece of string  straw

The pebble is a huge dark hill I must climb
The dewdrop’s a great storm lake you must cross
The string was a road he could not find
The straw will be a sign whose meaning they forget

Hill  lake  road   sign

What was it that changed the scene
So desert fades into meadows green?

The answer is that they met a Tiger
The answer is that he met a Balloon,
A Prostitute of Snow, A Gorgeous Salesman
As well as a company of others such as
Sly Tod, Reverend Jones, Kitty Cradle and so on

Who was the Tiger?  Christ
Who was the Balloon?  Buddha
Emily Bronte and the Emperor Solomon
Who sang of his foot in the doorway.
All these met him. They were hopeful and faithful.

Now the mountain becomes  a pebble in my hand
The lake calms down   to a dewdrop in a flower
The weary road  is a string around your wrist
The mysterious sign  is a straw that whistles “Home”

Pebble  dewdrop  piece of string  straw

James Reaney, 1965

From Poems by James Reaney, New Press, 1972. “Gifts” also appears in James Reaney’s  play Colours in the Dark, which premiered at the Stratford Festival in 1967.

James Reaney (far right) with his cousins, Elsie, Kathleen, and Mary, Summer 1930 near Stratford, Ontario.

James Reaney feeding the chickens (age 5) with his cousins Mary and Elsie (1931)

James Reaney’s childhood home near Stratford, Ontario

James Reaney’s “The Crow”

The Crow

A fool once caught a crow
That flew too near even for his stone’s throw.
Alone beneath a tree
He examined the black flier
And found upon its sides
Two little black doors.
He opened both of them.
He expected to see into
Perhaps a little kitchen
With a stove, a chair,
A table and a dish
Upon that table.
But he only learned that crows
Know a better use for doors than to close
And open, and close and open
Into dreary, dull rooms.

 James Reaney, 1949

 

Crow near Jericho Beach, Vancouver, BC.

“The Crow” is from The Red Heart (1949), James Reaney‘s first book of poems.

o ) ) ) Listen to James Reaney read the poem here: https://www.youtube.com/watch?v=w2nJNfBkskU

“Six Toronto Poets”, Folkways Records, 1958