372 100 60584 https://digital.lib.buffalo.edu/files/original/a51ca26dca8621d334ba5a0d790da1b2.jpg 346021b145cbdc82143901a4f6d5f896 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Geometric illustrated journal cover titled BUCKLE No. 14, showing a large figure with a shin guard and a smaller figure reaching upward holding a slingshot. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Spring/Summer 2005 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is #14 A stylized geometric journal cover features the title BUCKLE in large white serif letters at the upper left, with NO.14 printed below in smaller yellow text. The composition uses bold blocks of red, blue, white, and gray outlined with thin yellow lines. On the right, a large simplified human figure stands in profile with one hand in a pocket. The figure wears a shin guard on one leg. A small red circular shape appears near the figure's midsection. On the left, a much smaller outlined figure reaches upward toward the red shape, holding a slingshot in one hand. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2005 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_2005_14 PCMS-030_Buckle_2005_14.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/5f38f75b1fab1262185b98a9e60cd7ff.jpg bc2402551fd630f1d3065fd56c804a68 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated journal cover titled BUCKLE & Number 13, showing a muscular figure with a bearded face braced against collapsing columns above a crowd. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Fall/Winter 2004 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is #13 A painted journal cover has a red background with the title BUCKLE & in large white letters across the top and NUMBER 13 in smaller white text at the upper right. The central illustration, framed by a black border, depicts a muscular figure standing on a platform while supporting several large white columns that are breaking apart. The figure wears a short white garment with red trim, and the head is rendered as a black-and-white portrait of a bearded man. Fragments of the shattered columns fall through the scene. A crowd of people fills the lower portion of the illustration, viewed from behind, while a blue sky with clouds appears in the background. Broken pieces of white stone are scattered around the black frame and across the red border of the cover. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2004 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_2004_13 PCMS-030_Buckle_2004_13.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/ee5c74899dd72c0a0fcb9d3c58788a3d.jpg c5b1a95c29e2b85d0bab8b6d2d35aa2c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated journal cover titled BUCKLE & Number 12, showing a bearded figure holding two stone tablets inscribed with text before a rocky mountain landscape. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Spring/Summer 2004 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is #12 A painted journal cover has a gold border with the title BUCKLE & in large cream-colored serif letters across the top and NUMBER 12 in the lower right corner. The central illustration depicts a bearded figure wearing layered robes and a white head covering, standing before a rocky mountain landscape at sunrise or sunset. The figure holds two gray stone tablets, each covered with lines of stylized inscription resembling ancient writing. The figure looks upward, and sparse grasses grow among the rocks in the foreground. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2004 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_2004_12 PCMS-030_Buckle_2004_12.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/a44131bce650751fb0fea86bd8d67af6.jpg 7d3969bdd4d07adddc4ab13b6e7d3b00 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated journal cover titled BUCKLE & No. 11, showing three stylized horned figures carrying tridents beneath a bright beam of light. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Fall/Winter 2003 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is #11 A stylized journal cover features the title BUCKLE & at the bottom, followed by NO.11 in blue text. The illustration uses bold geometric shapes in black, yellow, blue, orange, and red. A wide triangular beam of yellow light extends diagonally from the upper right across the cover. Three simplified black figures with horns on their heads stand within the light, each holding a red trident. One figure walks up a dark diagonal path toward the light source, another stands on the path lower down, and a third stands on the ground below looking upward. Stylized trees and clouds appear on either side of the beam, with angular plant shapes in the foreground. A dark silhouette of a reclining figure lies along the bottom edge near the title. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2003 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_2003_11 PCMS-030_Buckle_2003_11.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/cf750ab7755fd596339ec65f165f73fe.jpg a23189cc1b20ac5461ab38360869c748 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated journal cover titled Buckle & No. 10, showing a figure apparently dripping water standing on a riverbank facing a city engulfed in flames. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Spring/Summer 2003 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is #10 A painted journal cover depicts a figure standing with their back to the viewer on the edge of a wide river or shoreline. The figure's long hair hangs over the shoulders, and it appears that water is dripping off their gown. Across the water, an industrial city skyline is filled with burning buildings, smokestacks, bridges, and heavy black smoke rising into the sky. Flames appear throughout the cityscape. The title Buckle & is printed in large red letters at the lower left, and No.10 appears in red at the upper right. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2003 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_2003_10 PCMS-030_Buckle_2003_10.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/ad9bcf4e84f75144f49c92b296d75958.jpg 3d8b84669799cd7a9c3a463bdf1ee8f6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated journal cover titled BUCKLE & No. 9, depicting Noah's Ark filled with animals sailing beneath a stormy sky. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Fall/Winter 2002 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is #9 A painted journal cover features the title BUCKLE & in large white serif letters across the top and No.9 in the lower right corner. The central illustration depicts Noah's Ark sailing on a turbulent purple-blue sea beneath dark storm clouds. Rays of sunlight break through the clouds while lightning flashes over distant mountains. The ark is crowded with pairs of animals, including giraffes, camels, ostriches, sheep, goats, cattle, a walrus, birds, a rhinoceros, lions, and other mammals. A robed figure stands near the bow among the animals. In the distance, small rocky islands rise from the water; one supports a stand of trees, while another is occupied by a white unicorn rearing near the edge. Waves crash around the islands and the ark. The artist's signature, Janine Moore, appears near the bottom center of the illustration. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2002 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_2002_9 PCMS-030_Buckle_2002_9.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/235143a99eca610c194815b7ff30a910.jpg 910683848758f27f49713cde85a21b2a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated journal cover titled BUCKLE & number eight, featuring stylized pale blue vines and leaves with two small human figures in the background. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Spring/Summer 2002 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is #8 A stylized book cover displays the title BUCKLE & in large dark red serif letters across the top, followed by number eight in smaller cursive script. The illustration consists of pale blue-green vines, tendrils, and large leaves outlined in brown against a light cream background. The overlapping foliage fills nearly the entire cover, creating a dense, decorative pattern. Near the center-right, a small pair of human figures walk side by side in an opening between the vines. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2002 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_2002_8 PCMS-030_Buckle_2002_8.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/015210bec95fbe2b798668b09b1a9d16.jpg 17d76ada841f38ff0f9f2cb114d739c9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated journal cover titled BUCKLE & Number 7, depicting stylized figures, a serpent, and plants in a garden landscape. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Fall/Winter 2001 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is #7 A stylized illustrated journal cover features the title BUCKLE & in large red serif letters across the top and Number 7 in yellow serif text near the bottom. The composition uses flat areas of yellow, green, red, white, and brown with bold black outlines. At left, a tree with broad leaves and a cluster of hanging fruit stands beside a human figure with a green serpent's head and a red-and-blue body. In the foreground, another human figure with curled red hair sits on the ground facing away. Stylized plants frame the lower corners. In the background, a white mountain rises above a green plain beneath a large curling white cloud, with a golden sun near the horizon. A tall plant stands on the right side of the landscape. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_2001_7 PCMS-030_Buckle_2001_7.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/2113586fe3aaea1e57417217236727a5.jpg 393a1a0faf7caad5abbca5782e321bb3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated journal cover titled BUCKLE & No. 6, depicting a reclining nude figure reaching toward an outstretched hand above. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Spring/Summer 2001 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is #6 A painted journal cover features the title BUCKLE & in large green serif letters across the top and No.6 in green text at the lower right. The central illustration depicts a nude figure reclining on the ground in a landscape of rolling hills, reaching upward with one arm toward an outstretched hand entering from the upper right. The extended hand wears rings and emerges from a patterned sleeve. A long red ribbon winds through the composition, looping around the reclining figure's body and extending into the background. The backdrop includes softly painted hills and a light sky with visible crack-like lines in the painted surface. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_2001_6 PCMS-030_Buckle_2001_6.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/0e15120ec01d9feb56d52499e3fa537f.jpg ac7d7209ef9e5ffb0d92b1f3abbe547c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated journal cover titled BUCKLE & No. 5, depicting a knight on horseback riding past a large windmill beneath a dramatic sky. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Fall/Winter 2000 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is #5 An illustrated journal cover features the title BUCKLE & in large stylized serif letters across the top and No. 5 in the lower right corner. At the center stands a tall brick windmill with four large rotating blades extending across the composition. Sunlight streams through dramatic clouds behind the windmill. In the foreground, an armored knight rides a horse while carrying a lance and shield, passing in front of the windmill. Faint, semi-transparent words are overlaid across the background, including Cirino, Machan, gould, nelson, and chapis. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2000 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_2000_5 PCMS-030_Buckle_2000_5.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/e95fcfccc4c8e17bf3d92d9388c64421.jpg 1317c7e412c24363990f191ba3d48925 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated journal cover titled BUCKLE & No. 4, featuring a medieval-style battle scene with a modern skydiver descending above it. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Spring/Summer 2000 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is #4 A collage-style journal cover features the title BUCKLE & in large decorative black letters across the bottom, with No. 4 printed at the lower right. The central image reproduces a medieval-style illustrated manuscript showing a battle with mounted soldiers, foot soldiers, horses, weapons, and Persian script across the top. The manuscript is bordered by a gray frame and set against a black-and-white patterned background. Superimposed over the upper portion of the manuscript is a color photograph of a skydiver in a blue jumpsuit and harness. The skydiver's head has been replaced with the head of a red-haired woman looking downward, creating a surreal collage effect. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2000 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_2000_4 PCMS-030_Buckle_2000_4.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/8cfc19d9a2f20f5bbdeded26c3d30ba1.jpg f74dc506c52027c32fa668d93ff3e340 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated Buckle & magazine cover for Fall/Winter 1999, featuring a stylized person in green clothing holding a scroll. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Fall/Winter 1999 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is [#3] An illustrated magazine cover displays the title Buckle & in large purple Gothic-style lettering across the top. At the center is a stylized figure wearing a green cap and green clothing with a high white collar, holding a rolled scroll while looking sideways with a skeptical expression. White handwritten words float beside the figure, reading vertically Matthew, Mark, Luke, and John. The background is a dark reddish-brown interior with blurred architectural details. At the bottom, purple Gothic-style text reads Fall/Winter 1999. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1999 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1999_3 PCMS-030_Buckle_1999_3.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/e27de678a82f6344e43bd02a96606a80.jpg 4d51756f83070998db9163fb38b52f0c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated Buckle & magazine cover for Spring/Summer 1999, showing a woman in a grassy field surrounded by colorful letters. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Spring/ Summer 1999 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is [#2] An illustrated magazine cover displays the title Buckle & in large Gothic-style lettering across the top. The central illustration shows a woman in a flowing blue dress walking through tall green grass. She wears a leafy wreath in her long brown hair and carries a woven basket filled with colorful letters. Additional brightly colored alphabet letters are scattered throughout the grass around her. A line of trees stretches across the background beneath a blue sky with white clouds. At the bottom, Gothic-style text reads Spring/Summer 1999. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1999 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1999_2 PCMS-030_Buckle_1999_2.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/d123874f1d2146b2975e6adb5d9afe3b.jpg db22282ab1d9ee5d20e933d7b9895247 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated Buckle & magazine cover for Fall/Winter 1998–99, showing a large dark bird rising from an open book against a fiery background. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle &, Fall/Winter 1998-1999 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle & poetry journal is [#1] An illustrated magazine cover displays the title Buckle & in large Gothic-style lettering across the top. At the center, a large dark bird with outstretched wings rises from the pages of an open book. The bird's beak is open as if calling, and its wings fill much of the composition. Behind it, a red and orange background contains faint, blurred lines of printed text, including partial words such as election, that, and you. The bottom of the cover features Gothic-style text reading Fall/Winter 1998–99. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1998-1999 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1999_1 PCMS-030_Buckle_1999_1.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/8962e95849646c902eba1fe9d2785dad.jpg 59c6b4483ec5b09077559d676112a0ba Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Minimalist BUCKLE cover with a large orange flower on a white background. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle", Spring/Summer 1982 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle" poetry journal is Volume 5, Number 2. A minimalist cover features the title B U C K L E in widely spaced black capital letters across the top, followed by two closing quotation marks. Centered below is a large stylized orange flower with many layered petals and a detailed circular center. The flower is set against a plain white background with no additional decoration or imagery. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1982 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1982_5-2 PCMS-030_Buckle_1982_5-2.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/d1aeb76cd6709fd908516a2b8902c943.jpg 6d1f33a607eb808b32e2766eee7a57ce Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Minimalist BUCKLE cover featuring two vertical botanical illustrations on a gold background. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle", Fall/Winter 1981-1982 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle" poetry journal is Volume 5, Number 1. A minimalist cover has a metallic gold background with the title BUCKLE in black capital letters near the upper right, followed by two closing quotation marks. Two tall rectangular panels occupy the center of the cover. Each contains a monochrome black illustration of slender leafy branches with elongated leaves and seed pods against a textured background. The left panel is wider than the right, and the botanical images extend beyond the tops and bottoms of the panels. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1981-1982 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1981_5-1 PCMS-030_Buckle_1981_5-1.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/837851ee8c6f3128b9174a4274674adf.jpg 76e4b7112e9307051b52dee22ec02926 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Minimalist BUCKLE cover featuring a black-and-white illustration of a carved totem pole on a white background. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle", Spring/Summer 1981 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle" poetry journal is Volume 4, Number 2. A minimalist cover displays the title BUCKLE in black capital letters arranged vertically along the upper right side, followed by two closing quotation marks. Centered on the page is a black-and-white illustration of a carved wooden totem pole set against a rough-edged black rectangular background. The totem pole is decorated with stacked carved human and animal faces, fish, geometric designs, and a large crescent shape near the lower section. The rest of the cover is plain white with no additional decoration or printed text. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1981 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1981_4-2 PCMS-030_Buckle_1981_4-2.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/3b6db4fb2fb6f26b17ab5265f3b51b49.jpg 310787448842d1c18efb85e80be6ef4c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Minimalist BUCKLE cover featuring a white bird perched on a branch within a circle on a dark brown background. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle", Fall/Winter 1980-1981 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle" poetry journal is Volume 4, Number 1. A minimalist cover has a dark brown, leather-textured background. Near the center, a white line drawing depicts a bird perched on a tree branch inside a thin white circle. The bird faces right with its beak slightly open. The title B U C K L E appears in widely spaced white capital letters arcing across the top of the circle, followed by two closing quotation marks. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1980-1981 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1980_4-1 PCMS-030_Buckle_1980_4-1.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/d9f0bffbe1436281b92b6e464784394d.jpg ea79c1ceb0a4c7dfd4f2f800a3579a24 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Minimalist BUCKLE cover with a magenta line drawing of a human figure dissolving into small flowers beneath clouds, labeled Spring/Summer 1980. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle", Spring/Summer 1980 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle" poetry journal is Volume 3, Number 2. A white, textured cover features a minimalist illustration printed in magenta. A continuous line outlines the profile and body of a human figure facing right. The figure appears to dissolve into clusters of small four-petaled flowers that drift from the torso, hand, and lower body. Horizontal lines, clouds, a sun, and swirling shapes extend across the upper left, with the flowers appearing to blow across the scene. The title BUCKLE is printed vertically along the lower left side, followed by two closing quotation marks. At the bottom, the text reads Spring / Summer 1980. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1980 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1980_3-2 PCMS-030_Buckle_1980_3-2.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/81549a0618d6bbd87bf8ec30f663a493.jpg 7328b6659394f17392bc1e1f5933ec39 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Black-and-white drawing of an open hand reaching toward a red butterfly on a white background, with the title BUCKLE at the bottom. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle", Fall/Winter 1979-1980 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle" poetry journal is Volume 3, Number 1. A minimalist cover features a detailed black-and-white illustration of an upturned human hand with the palm open and fingers gently curved upward. Above the fingertips, a red butterfly with a pale green body hovers against a plain white background. The title BUCKLE followed by two closing quotation marks is printed in black near the lower right. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1979-1980 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1979_3-1 PCMS-030_Buckle_1979_3-1.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/ba9711e7c383cb7813da5decfbacfd16.jpg 65503053bf9d6c2b615216874f0f5c49 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Black-and-white illustration of two stylized figures standing on a checkerboard platform, with BUCKLE printed vertically and Spring/Summer 1979 at the bottom. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle", Spring/Summer 1979 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle" poetry journal is Volume 2, Number 2. A black-and-white cover features two simplified, stylized figures standing on a raised checkerboard platform. One figure wears a rounded helmet or mask with a bottle-shaped object on top, while the other has curly hair and a large bell-shaped skirt or cloak that spreads across the platform. A small rose grows from a thorny stem along the bottom edge of the page. The title BUCKLE followed by two closing quotation marks is printed vertically along the right side. At the bottom, the text reads Spring / Summer 1979. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1979 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1979_2-2 PCMS-030_Buckle_1979_2-2.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/7393ac5fccc16710a4232f2f8391977c.jpg 0fa89bed9fc63ddcc87e24ec133d3482 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Black ink drawing of a turtle on a white background. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle", Fall/Winter 1978-1979 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle" poetry journal is Volume 2, Number 1. The cover is white with an ink drawing of a turtle taking up the bottom third of the page. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1978-1979 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1978_2-1 PCMS-030_Buckle_1978_2-1.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/e4a50e2b2d74366e7667da9a63ca84a4.jpg dd8fcb6565a0d4388129f1a46dd2645f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Line drawing of three birds flying over the horizon in yellow, green, and blue, with BUCKLE printed vertically and Spring/Summer 1978 at the bottom. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle", Spring/Summer 1978 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle" poetry journal is Volume 1, Number 2. A minimalist cover shows three identical line drawings of birds in flight arranged vertically. The top bird is outlined in yellow, the middle in green, and the bottom in blue, each flying over a simple horizon with a setting or rising sun and parallel lines suggesting water or sky. The title BUCKLE followed by two closing quotation marks is printed vertically in blue along the right side. At the bottom left, the text reads Spring / Summer 1978. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1978 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1978_1-2 PCMS-030_Buckle_1978_1-2.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/67b2b9f009645215c95bdf3c032f4710.jpg fb0ff8695ac9d170737515e051d83864 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Line drawing of three birds flying over the horizon in yellow, green, and blue, with BUCKLE printed vertically and Fall 1977 at the bottom. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle", Fall 1977 Subject The topic of the resource Frank, Bernhard, 1931- American poetry--20th century--Periodicals Description An account of the resource This issue of the Buckle" poetry journal is Volume 1, Number 1. A minimalist cover shows three identical line drawings of birds in flight arranged vertically. The top bird is outlined in yellow, the middle in orange, and the bottom in red, each flying over a simple horizon with a setting or rising sun and parallel lines suggesting water or sky. The title BUCKLE followed by two closing quotation marks is printed vertically in blue along the right side. At the bottom left, the text reads Fall 1977. The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1977 Format The file format, physical medium, or dimensions of the resource journals (periodicals) Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Buckle_1977_1-1 PCMS-030_Buckle_1977_1-1.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/4f4d020696cf20d5cc64eb882df73fdc.pdf ad8b0a6566928e355392159874f41f53 PDF Text Text rers: Bern~ard fr~nk �Table of Contents Overture ................................................. 5 Themes: The Odyssey as Morality Tale ................................7 Odysseus's Homecoming ................................. 11 Intermezzo: What Homer didn't know................................. 14 Themes: Role Reversal in Oedipus the King. . . . . . . . . . . . . . . . . . . . . . . . . The Curse of Incest ...................................... Tiresias as Oedipus's Role Model ......................... Macbeth as Mirror Image of Oedipus the King .............. 19 22 25 28 Variation: Crossing Over .......................................... 36 �7 They tied him to the mast And did not mind that beeswax in their ear That he might hear the siren yowl of the world. They saw the bonestrewn shore against the bleaching sun & asked no more. & he-hands tied behind him- heard, & saw That there was nothing to be done. But when they'd passed in safety to the Latian shore, And took their count, & missing oneA blot of beeswax in the molten sun. The Odyssey as Morality Tale A major puzzle in reading Homer's Odyssey has always been why the hero himself does not appear until book 5, at the end of seven years spent on the island of Calypso. Karl Reinhardt wonders whether, if Homer had begun with Odysseus's adventures in a chronological sequence, without first acquainting us with Penelope, something might have been missing in Calypso's cave (Schein 96). Certainly the contrast between the two females, one mortal, one a goddess, would have been lost. The entire episode, albeit a long one in terms of years, could have become just one more adventure. Reinhardt sees the Calypso motif as permeating the first half of the Odyssey. She is the last of Odysseus's adventures before he reaches the island of the Phaeacians, and the one with which, having come full circle, his tale at King Alcinous's court ends (Schein 126). �9 Odysseus alone is spared. He is, at long last, ready to advance to Purgatory. "[So] long as he remains secluded and hidden with Kalypso, Odysseus' state is neither that of the living nor that of the dead;' writes Jean-Pierre Vernant (Schein 187). To say that each of the years Odysseus spends on Ogygia corresponds to penance for one of the deadly sins may be pushing it. Agathe Thornton sees the interval as corresponding to "the Shaman's experience of ascending through the seven heavenly planes" (30). Be that as it may, seven years of increasing disenchantment with the goddess and intensifying homesickness may be deemed sufficient atonement. To move out of Purgatory, Odysseus is once more presented with a test: Will he trade his homeland, wife and son for Immortality? In his famous, moving speech Odysseus declines. He is now ready for Paradise. The land ofthe Phaeacians is an ideal setting. Pierre Vidal-N aquet calls it Utopian (Schein 48n74) and points to the fact that "there are no seasons in Alcinous's magic garden" (48). The courtesy and generosity of King Alcinous and ~een Arete offer a vast change from the monsters Odysseus had previously encountered. He feels calm and relaxed enough to look back at the hell he, and he alone, has survived. Yet, just as the biblical Eden has a serpent in it, so does this Utopia. The insults of Euryalus, son of Naubolus, tempt Odysseus briefly and revive his pride; it takes the king's tact to smooth matters over. To exit Paradise, Odysseus must confront another temptation: The offer of the very young and lovely Nausicaa's hand in marriage, with which would come the riches of the royal family and the future kingship. Odysseus passes that final test, too, and with flying colors. He is now morally ready for the return to his family and home. Ironically, unlike the biblical Adam, it is not Odysseus but his gentle hosts who are punished by Poseidon for escorting Odysseus in safety to Ithaca. Here the morality tale ends. Once back in Ithaca, Odysseus, tackling the real world and badly outnumbered by his enemies, �9 Odysseus alone is spared. He is, at long last, ready to advance to Purgatory. "[So] long as he remains secluded and hidden with Kalypso, Odysseus' state is neither that of the living nor that of the dead;' writes Jean-Pierre Vernant (Schein 187). To say that each of the years Odysseus spends on Ogygia corresponds to penance for one of the deadly sins may be pushing it. Agathe Thornton sees the interval as corresponding to "the Shaman's experience of ascending through the seven heavenly planes" (30). Be that as it may, seven years of increasing disenchantment with the goddess and intensifying homesickness may be deemed sufficient atonement. To move out of Purgatory, Odysseus is once more presented with a test: Will he trade his homeland, wife and son for Immortality? In his famous, moving speech Odysseus declines. He is now ready for Paradise. The land ofthe P haeacians is an ideal setting. Pierre Vidal-N aquet calls it Utopian (Schein 48n 7 4) and points to the fact that "there are no seasons in Alcinous's magic garden" (48). The courtesy and generosity of King Alcinous and ~een Arete offer a vast change from the monsters Odysseus had previously encountered. He feels calm and relaxed enough to look back at the hell he, and he alone, has survived. Yet, just as the biblical Eden has a serpent in it, so does this Utopia. The insults of Euryalus, son of Naubolus, tempt Odysseus briefly and revive his pride; it takes the king's tact to smooth matters over. To exit Paradise, Odysseus must confront another temptation: The offer of the very young and lovely Nausicaa's hand in marriage, with which would come the riches of the royal family and the future kingship. Odysseus passes that final test, too, and with flying colors. He is now morally ready for the return to his family and home. Ironically, unlike the biblical Adam, it is not Odysseus but his gentle hosts who are punished by Poseidon for escorting Odysseus in safety to Ithaca. Here the morality tale ends. Once back in Ithaca, Odysseus, tackling the real world and badly outnumbered by his enemies, �10 resorts to whatever tactics of survival he can muster. Everything is now reduced to the basics of"who is with me, who is against me." Morality does not enter into it. Works Cited Schein, Seth L., ed. Reading The Odyssey: Selected Interpretive Essays. Princeton: Princeton UP, 1996. Thornton, Agathe. People and Themes in Homer's Odyssey. London: Methuen, 1970. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/3ad8929d1630fa1af12d7925b418d311.pdf 031c43d50050fc4c2500411c5cc24961 PDF Text Text A Tale of Two Wanders: Odysseus/Oedipus Bernhard Frank �Table of Contents Overture.................................................................................................. 5 Themes: The Odyssey as Morality Tale............................................................... 7 Odysseus’s Homecoming.....................................................................11 Intermezzo: What Homer didn’t know................................................................... 14 Themes: Role Reversal in Oedipus the King.................................................... 19 The Curse of Incest.............................................................................. 22 Tiresias as Oedipus’s Role Model................................................... 25 Macbeth as Mirror Image of Oedipus the King.............................28 Variation: Crossing Over 36 �7 They tied him to the mast And did not mind that beeswax in their ear That he might hear the siren yowl of the world. They saw the bonestrewn shore against the bleaching sun & asked no more. & he—hands tied behind him—heard, & saw That there was nothing to be done. But when they’d passed in safety to the Latian shore. And took their count, & missing one— A blot of beeswax in the molten sun. The Odyssey as Morality Tale A major puzzle in reading Homer's Odyssey has always been why the hero himself does not appear until book 5, at the end of seven years spent on the island of Calypso. Karl Reinhardt won ders whether, if Homer had begun with Odysseus’s adventures in a chronological sequence, without first acquainting us with Penelope, something might have been missing in Calypso’s cave (Schein 96). Certainly the contrast between the two females, one mortal, one a goddess, would have been lost. The entire episode, albeit a long one in terms of years, could have become just one more adventure. Reinhardt sees the Calypso motif as permeating the first half of the Odyssey. She is the last of Odysseus’s adventures before he reaches the island of the Phaeacians, and the one with which, having come full circle, his tale at King Alcinous’s court ends (Schein 126). �9 Odysseus alone is spared. He is, at long last, ready to advance to Purgatory. “[So] long as he remains secluded and hidden with Kalypso, Odysseus’ state is neither that of the living nor that of the dead,” writes Jean-Pierre Vernant (Schein 187). To say that each of the years Odysseus spends on Ogygia corresponds to penance for one of the deadly sins may be pushing it. Agathe Thornton sees the interval as corresponding to “the Shaman’s experience of ascending through the seven heavenly planes” (30). Be that as it may, seven years of increasing disenchantment with the goddess and intensifying homesickness may be deemed sufficient atonement. To move out of Purgatory, Odysseus is once more presented with a test: Will he trade his homeland, wife and son for Immortality? In his famous, moving speech Odysseus declines. He is now ready for Paradise. The land ofthe Phaeacians is an ideal setting. Pierre Vidal-Naquet calls it Utopian (Schein 48n74) and points to the fact that “there are no seasons in Alcinous’s magic garden” (48). The courtesy and generosity of King Alcinous and Queen Arete offer a vast change from the monsters Odysseus had previously encountered. He feels calm and relaxed enough to look back at the hell he, and he alone, has survived. Yet, just as the biblical Eden has a serpent in it, so does this Utopia. The insults of Euryalus, son of Naubolus, tempt Odys seus briefly and revive his pride; it takes the king’s tact to smooth matters over. To exit Paradise, Odysseus must confront another temptation: The offer of the very young and lovely Nausicaa’s hand in marriage, with which would come the riches of the royal family and the future kingship. Odysseus passes that final test, too, and with flying colors. He is now morally ready for the return to his family and home. Ironically, unlike the biblical Adam, it is not Odysseus but his gentle hosts who are punished by Poseidon for escorting Odysseus in safety to Ithaca. Here the morality tale ends. Once back in Ithaca, Odysseus, tackling the real world and badly outnumbered by his enemies, �9 Odysseus alone is spared. He is, at long last, ready to advance to Purgatory. “[So] long as he remains secluded and hidden with Kalypso, Odysseus’ state is neither that of the living nor that of the dead,” writes Jean-Pierre Vernant (Schein 187). To say that each of the years Odysseus spends on Ogygia corresponds to penance for one of the deadly sins may be pushing it. Agathe Thornton sees the interval as corresponding to “the Shaman’s experience of ascending through the seven heavenly planes” (30). Be that as it may, seven years of increasing disenchantment with the goddess and intensifying homesickness may be deemed sufficient atonement. To move out of Purgatory, Odysseus is once more presented with a test: Will he trade his homeland, wife and son for Immortality? In his famous, moving speech Odysseus declines. He is now ready for Paradise. The land ofthe Phaeacians is an ideal setting. Pierre Vidal-Naquet calls it Utopian (Schein 48n74) and points to the fact that “there are no seasons in Alcinous’s magic garden” (48). The courtesy and generosity of King Alcinous and Queen Arete offer a vast change from the monsters Odysseus had previously encountered. He feels calm and relaxed enough to look back at the hell he, and he alone, has survived. Yet, just as the biblical Eden has a serpent in it, so does this Utopia. The insults of Euryalus, son of Naubolus, tempt Odys seus briefly and revive his pride; it takes the king’s tact to smooth matters over. To exit Paradise, Odysseus must confront another temptation: The offer of the very young and lovely Nausicaa’s hand in marriage, with which would come the riches of the royal family and the future kingship. Odysseus passes that final test, too, and with flying colors. He is now morally ready for the return to his family and home. Ironically, unlike the biblical Adam, it is not Odysseus but his gentle hosts who are punished by Poseidon for escorting Odysseus in safety to Ithaca. Here the morality tale ends. Once back in Ithaca, Odysseus, tackling the real world and badly outnumbered by his enemies, �10 resorts to whatever tactics of survival he can muster. Everything is now reduced to the basics of “who is with me, who is against me.” Morality does not enter into it. Works Cited Schein, Seth L., ed. Reading The Odyssey: Selected Interpretive Essays. Princeton: Princeton UP, 1996. Thornton, Agathe. People and Themes in Homer’s Odyssey. London: Methuen, 1970. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Tale of Two Wanderers: Odysseus/Oedipus by Bernhard Frank, 2010 Subject The topic of the resource Frank, Bernhard, 1931- Homer--Criticism, interpretation, etc. Sophocles--Criticism, interpretation, etc. Description An account of the resource This item contains the cover, table of contents, and a critique entitled "The Odyssey as Morality Tale" from pages 7-10. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2010 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_TwoWanderers PCMS-030_TwoWanderers.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/a2f9f5d6c7960368e71f5f40fd87318d.pdf eb69aad4147de4a3175ebfe42280b686 PDF Text Text �Chapter XI: BLOOD ON THE SNOW Sandor, Kato and Pali stood in front of the Meszaroses' house. The house was in darkness. The street was deserted. Sandor stepped up and knocked on the door. There was, at first, no answer, but then they heard the scuffling of feet and some talk. Finally the question came from inside: "Who's there? " "Sandor, Sandor Schintzer," he answered. "Who?" The voice asked again. "Sandor Schnitzer," Sandor offered more loudly. The key was heard turning in its lock and then Roza Meszaros stood in front of them. She had on a colorful housecoat and slippers. Roza looked with astonishment at the three figures in front of her. "We've come to ask for a favor," Sandor said. Roza looked back at her husband who was sitting at the table reading a newspaper. The leftovers of their meal were in front of him. It was pleasantly warm in the room. Janos Meszaros saw the uninvited guests and shrugged. He stayed at the table. Roza, without a word, moved aside and let the visitors enter. "Hello, Janos," Sandor said. "Hello, Mr. Schnitzer," answered Meszaros. "We're sorry to come at this late hour, but we do need your help." "What?" asked Roza. "We need a place to stay for a couple of days before we can return to the apartment we've left," explained Kato. �2 hnitzer k pt tanding by the door and were not invitme in and it down. Pali looked around for their two n , Kar i and yuri, whom he knew well. Although they w r lder h ometime played football with them. Quite [c n h I nt th m hi bicycle. Yet the two boys were not th r . h warmth of th room wa pleasant and deceptive. R za h itated and finally said: ''I'm sorry, really sorry, Mr. and Mr . hnitzer, but it's impossible. We have no room and I'm ared." Kat t ok out of h r bag the bottle of wine she had brought aJ ng. ''Anyway, we've brought you something to drink." he put th bottl on the table. B th Jano and Roza liked their "booze", and never said n t a gla of wine wh nit was offered to them. Roza looked at the tde. "Thanks," he aid, "but I'm sorry ... " At that m men t the curtain dividing the room was thru t a id and ixt en year old Karcsi appeared. Hi face wa till h avy with leep. " v ning," h aid. "I've listened to your conver arion. I'll tak f Mr. and Mr . chnitzer and Pali. I have a pla h y don t have to walk away." �63 Both his parents and the Schnitzers looked at him in astonishment. "First of all, please do sit down. Take off your coats. We'll put them by the stove to dry." He went up to the table, moved the chairs around and cleared three places. "Thanks, Karcsi, but ... " Sandor didn't know what to say. "How can you throw three people out into the street on a night like this?" asked Karcsi. ''I'll take you to a safe place. It won't be comfortable, but you'll manage. You could stay there for a couple of days, as long as it takes," he added. "What are you talking about, Karcsi?" His father finally opened his mouth. "There's an empty apartment belonging to the guard at the plant. Since the plant is closed, no one has lived there for the last two months. I can easily unlock the door. There's no one around." Roza Meszaros put a loaf of bread on the table, a bowl of boiled potatoes, plates and forks. "Please," she said, "this is all we have." "Thanks," said Kato. "We don't want to take the little you have. We've already eaten once today." "Please do eat," Roza softened. "In a moment I'll get you some hot tea. You've got to warm up." From behind the curtain came the voice of the younger boy, Gyuri: "Mama, what's to eat?" He showed up rubbing his sleep-heavy eyes. "Pali!" He cried in amazement. ''And Mr. and Mrs. Schnitzer!" "Hi, Gyuri," Pali said. ''I'm sorry I can't kick a ball into your goal right now." Gyuri was an excellent goalie and played with the youth group at the Ganz factory. The Schnitzers partook of the food laid out on the table. Pali, even though he was hungry, only ate a potato and a slice of bread. "We've been staying with a friend of ours at the center of the city," explained Kato. "No one there knew that we were Jews. We were forced to leave but will be able to go back." �64 Kato herself didn't believe what she was saying. After all, there was no certainty whatever that they might return to Mrs. Nemes's house; but the most important thing right now was to find a hiding place. There was no knowing what the future held. "We'll take with us a few warm blankets, some pots, glasses, plates and a kettle," Karcsi said. "Gyuri, come along and give me a hand," he turned to his brother. Sandor, Kato and Pali got up and put on their dried overcoats. The pleasant warmth spread throughout their bodies. Sandor laid a sum of money on the table. Janos and Roza looked at the money but neither touched it nor refused it. "Thank you," Sandor said. "We know that it's not easy these days to help the Jews. We won't forget what you have done for us." The Schnitzers and the two boys went out into the night. Karcsi led them past the plant where, in the past, pigs had been raised. The huge pens stood empty. The plant was several kilometers from the house. They went past the tall silos which held the pigs' fodder and past the office buildings. The place was deserted and desolate. Snow flakes flitted through the air and covered the earth and houses. The white sheet gleamed in the dark night. They arrived at a small cottage. Karcsi took out a bunch of keys and unlocked the door. The place contained a bedroom and a kitchen. The facilities were in a wooden outhouse behind the cottage. In the bedroom stood two beds and a cupboard. In the kitchen there was a table and a stove. Obviously it had been a long time since anyone lived there. The windows were covered with heavy shutters. ''I'm sorry," Karcsi said. "That's all there is. You'll be cold here, very cold. It's not wise to light the stove since somebody might see the smoke. I've brought along some candles, but you better keep the shutters closed so no one will suspect that you're living here. I'm sorry." "We are very grateful to you, Karcsi. This is a great place. Given the state of affairs, we couldn't have imagined a better place." �65 "It's certain that you won't have to stay here for a long time," Gyuri said. "The Russians are already closing in." ''I'll come by in the morning," Karcsi said, "and bring you some things to eat. I know where to get them." "Thank you," said Sandor. "Please take some money for your expenses." "Mr. Schnitzer," Karcsi replied, looking straight into Sandor's eyes, "I have my own savings. I've worked. It's a great honor for me to help p~ople in need. I won't take money from you under any circumstances. You may still need it." Tears came to the eyes of Sandor, Kato and Pali. The two boys returned home and the Schnitzers remained in their new hiding place. They spread the blankets over the beds, took off their shoes and clothes and tried to sleep. It was bitter cold. Pali lay in one bed with his mother and Sandor lay in the second bed. Even though they were exhausted they had trouble falling asleep. In the morning Pali woke up to the chirping of birds. He went up to the shutter, opened it, and outside the window saw swarms of swallows flying from tree to tree. Everything was covered by white, marvelous snow. Before him extended the huge pig pens separated by wooden fences. The many acacia trees were bare except for the swallows which alighted on them from time to time. The small apartment served as an ideal hiding place. Sandor, Kato and Pali kept all their clothes on at all times, even the gloves on their hands seldom came off Still, Pali's legs were freezing. His feet became real smooth and turned purple. Sometimes he had to scratch them to the point of bleeding, other times he had no feeling in them at all. Hunger took its toll too. Even in the house of Mrs. Nemes there had not been that much food; at times they lacked such important food stuffs as bread, oil, eggs and, of course, meat, but they never starved. Now there was just nothing at all to eat. Pali tried to keep busy playing with his buttons, but the bitter cold forced him to stop from time to time to rub his hands and feet. Sandor was very nervous, his legs trembled all the �66 time and he said little. Kato tried to arrange their few possessions in a more livable way. They sat down and got up, lay down and got up, and moved about the apartment aimlessly. Pali found a newspaper in one of the corners, some six months old, and he and his parents read it over and over. The morning had passed and Karcsi hadn't come. Noontime passed and still no Karcsi. '"'If he promised to come, he'll come," Kato reassured her husband. Even so, it occurred to them that something unexpected might have happened. Perhaps someone had discovered their hiding place? Perhaps Karcsi and Gyuri had to be somewhere? Perhaps they were drafted against their will? After all, the Fascists were even drafting boys to defend the city against the Russians. At noon you could hear muffled shots in the vicinity. The shooting was sporadic and repeated every few minutes. All three of them were terrified and froze in their spot. The door had been locked from inside and no one could have guessed that the apartment was inhabited. The shots came closer and closer to the house. Cautiously Pali went over to the shutter, and peeked out through one of the chinks. In front of the house stood a young lad, Istvan, son of the district's fire chief, holding a 22. Pali knew him from school. Istvan was one of the first to don the Levente uniform. Istvan held the rifle in one hand and a bunch of dead swallows in the other. Through the chink Pali saw Istvan lay the birds down in the snow, aim his rifle at one of the trees and fire. He lifted the dead birds and went to pick up the one he had just shot. Where the dead birds had lain there remained a spot of blood, bright red against the white snow. Istvan, meanwhile, continued on his hunting expedition; the sound of shots, eventually, died out. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/e93ad9caabf02615d785c407b9888f0f.pdf bae544d14b80bcc70d94130ecc49786c PDF Text Text Eli Netzer And a Time to Lie Translated from Hebrew by Bernhard Frank GG #210 �Chapter XI: Blood on the Snow Sandor, Kato and Pali stood in front of the Meszaroses’ house. The house was in darkness. The street was deserted. Sandor stepped up and knocked on the door. There was, at first, no answer, but then they heard the scuffling of feet and some talk. Finally the question came from inside: “Who’s there?” “Sandor, Sandor Schintzer,” he answered. “Who?” The voice asked again. “Sandor Schnitzer,” Sandor offered more loudly. The key was heard turning in its lock and then Roza Meszaros stood in front of them. She had on a colorful house coat and slippers. Roza looked with astonishment at the three figures in front of her. “We’ve come to ask for a favor,” Sandor said. Roza looked back at her husband who was sitting at the table reading a newspaper. The leftovers of their meal were in front of him. It was pleasantly warm in the room. Janos Meszaros saw the uninvited guests and shrugged. He stayed at the table. Roza, without a word, moved aside and let the visitors enter. “Hello, Janos,” Sandor said. “Hello, MR. Schnitzer,” answered Meszaros. “We’re sorry to come at this late hour, but we do need your help.” “What?” asked Roza. “We need a place to stay for a couple of days before we can return to the apartment we’ve left,” explained Kato. �62 “We don’t have the room, MR. and MRS. Schnitzer. I’m very sorry.” She pointed towards the rest of the apartment. “See for yourselves.” And indeed, the Meszaroses’ apartment was very small. It had only a single room which was divided by a large curtain. At the front of the room stood a table with chairs, a cooking stove, cupboards and two sofas. In the back part, behind the curtain, was the bedroom of Janos and Roza. “We are ready to sleep anywhere, even on the floor,” said Kato. “We’re talking of just a couple of days.” Janos kept sitting at the table and said nothing. “We’ll pay you of course,” Sandor added. “We don’t have the food either. We hardly have anything to eat,” said Roza. “That’s not a problem,” said Kato. “If there’s food we'll eat, and if not we'll survive,” added Sandor. The Schnitzers kept standing by the door and were not invit ed to come in and sit down. Pali looked around for their two sons, Karcsi and Gyuri, whom he knew well. Although they were older he sometimes played football with them. Quite often he lent them his bicycle. Yet the two boys were not there. The warmth of the room was pleasant and deceptive. Roza hesitated and finally said: “I’m sorry, really sorry, MR. and MRS. Schnitzer, but it’s impossible. We have no room and I’m scared.” Kato took out of her bag the bottle of wine she had brought along. “Anyway, we’ve brought you something to drink. She put the bottle on the table. Both Janos and Roza liked their “booze”, and never said no to a glass of wine when it was offered to them. Roza looked at the bottle. “Thanks,” she said, “but I’m sorry...” At that moment the curtain dividing the room was thrust aside and sixteen year old Karcsi appeared. His face was still heavy with sleep. ‘Good evening,” he said. “I’ve listened to your conversation. I'll take care of MR. and MRS. Schnitzer and Pali. I have a place for them. I hey don’t have to walk away.” �63 Both his parents and the Schnitzers looked at him in aston ishment. “First of all, please do sit down. Take off your coats. We’ll put them by the stove to dry.” He went up to the table, moved the chairs around and cleared three places. "Thanks, Karcsi, but..." Sandor didn’t know what to say. "How can you throw three people out into the street on a night like this?” asked Karcsi. “I’ll take you to a safe place. It won’t be comfortable, but you’ll manage. You could stay there for a couple of days, as long as it takes,” he added. “What are you talking about, Karcsi?” His father finally opened his mouth. “There’s an empty apartment belonging to the guard at the plant. Since the plant is closed, no one has lived there for the last two months. I can easily unlock the door. There’s no one around.” Roza Meszaros put a loaf of bread on the table, a bowl of boiled potatoes, plates and forks. “Please,” she said, “this is all we have.” “Thanks,” said Kato. “We don’t want to take the little you have. We’ve already eaten once today.” “Please do eat,” Roza softened. “In a moment I’ll get you some hot tea. You’ve got to warm up.” From behind the curtain came the voice of the younger boy, Gyuri: “Mama, what’s to eat?” He showed up rubbing his sleep-heavy eyes. “Pali!” He cried in amazement. “And MR. and MRS. Schnitzer!” “Hi, Gyuri,” Pali said. “I’m sorry I can’t kick a ball into your goal right now.” Gyuri was an excellent goalie and played with the youth group at the Ganz factory. The Schnitzers partook of the food laid out on the table. Pali, even though he was hungry, only ate a potato and a slice of bread. “We’ve been staying with a friend of ours at the center of the city,” explained Kato. “No one there knew that we were Jews. We were forced to leave but will be able to go back. �64 Kato herself didn’t believe what she was saying. After all, there was no certainty whatever that they might return to MRS. Nemes’s house; but the most important thing right now was to find a hiding place. There was no knowing what the future held. “We’ll take with us a few warm blankets, some pots, glasses, plates and a kettle,” Karcsi said. “Gyuri, come along and give me a hand,” he turned to his brother. Sandor, Kato and Pali got up and put on their dried over coats. The pleasant warmth spread throughout their bodies. Sandor laid a sum of money on the table. Janos and Roza looked at the money but neither touched it nor refused it. “Thank you,” Sandor said. “We know that it’s not easy these days to help the Jews. We won’t forget what you have done for us.” The Schnitzers and the two boys went out into the night. Karcsi led them past the plant where, in the past, pigs had been raised. The huge pens stood empty. The plant was sever al kilometers from the house. They went past the tall silos which held the pigs’ fodder and past the office buildings. The place was deserted and desolate. Snow flakes flitted through the air and covered the earth and houses. The white sheet gleamed in the dark night. They arrived at a small cottage. Karcsi took out a bunch of keys and unlocked the door. The place contained a bedroom and a kitchen. The facilities were in a wooden outhouse behind the cottage. In the bedroom stood two beds and a cup board. In the kitchen there was a table and a stove. Obviously it had been a long time since anyone lived there. The windows were covered with heavy shutters. “I’m sorry,” Karcsi said. “That’s all there is. You’ll be cold here, very cold. It’s not wise to light the stove since somebody might see the smoke. I’ve brought along some candles, but you better keep the shutters closed so no one will suspect that you’re living here. I’m sorry.” We are very grateful to you, Karcsi. This is a great place. Given the state of affairs, we couldn’t have imagined a better place.” �65 "It's certain that you won’t have to stay here for a long time,” Gyuri said. "The Russians are already closing in.” “I’ll come by in the morning,” Karcsi said, “and bring you some things to eat. I know where to get them.” Thank you, said Sandor. Please take some money for your expenses.” MR. Schnitzer, Karcsi replied, looking straight into Sandor’s eyes, “I have my own savings. I’ve worked. It’s a great honor for me to help people in need. I won’t take money from you under any circumstances. You may still need it.” Tears came to the eyes of Sandor, Kato and Pali. The two boys returned home and the Schnitzers remained in their new hiding place. They spread the blankets over the beds, took off their shoes and clothes and tried to sleep. It was bitter cold. Pali lay in one bed with his mother and Sandor lay in the second bed. Even though they were exhausted they had trouble falling asleep. In the morning Pali woke up to the chirping of birds. He went up to the shutter, opened it, and outside the window saw swarms of swallows flying from tree to tree. Everything was covered by white, marvelous snow. Before him extended the huge pig pens separated by wooden fences. The many acacia trees were bare except for the swallows which alighted on them from time to time. The small apartment served as an ideal hiding place. Sandor, Kato and Pali kept all their clothes on at all times, even the gloves on their hands seldom came off. Still, Pali’s legs were freezing. His feet became real smooth and turned purple. Sometimes he had to scratch them to the point of bleeding, other times he had no feeling in them at all. Hunger took its toll too. Even in the house of MRS. Nemes there had not been that much food; at times they lacked such important food stuffs as bread, oil, eggs and, of course, meat, but they never starved. Now there was just nothing at all to eat. Pali tried to keep busy playing with his buttons, but the bit ter cold forced him to stop from time to time to rub his hands and feet. Sandor was very nervous, his legs trembled all the �66 time and he said little. Kato tried to arrange their few posses sions in a more livable way. They sat down and got up, lay down and got up, and moved about the apartment aimlessly. Pali found a newspaper in one of the corners, some six months old, and he and his parents read it over and over. The morning had passed and Karcsi hadn’t come. Noontime passed and still no Karcsi. “”If he promised to come, he’ll come,” Kato reassured her husband. Even so, it occurred to them that something unexpected might have happened. Perhaps someone had discovered their hiding place? Perhaps Karcsi and Gyuri had to be somewhere? Perhaps they were drafted against their will? After all, the Fascists were even drafting boys to defend the city against the Russians. At noon you could hear muffled shots in the vicinity. The shooting was sporadic and repeated every few minutes. All three of them were terrified and froze in their spot. The door had been locked from inside and no one could have guessed that the apartment was inhabited. The shots came closer and closer to the house. Cautiously Pali went over to the shutter, and peeked out through one of the chinks. In front of the house stood a young lad, Istvan, son of the district’s fire chief, holding a 22. Pali knew him from school. Istvan was one of the first to don the Levente uniform. Istvan held the rifle in one hand and a bunch of dead swallows in the other. Through the chink Pali saw Istvan lay the birds down in the snow, aim his rifle at one of the trees and fire. He lifted the dead birds and went to pick up the one he had just shot. Where the dead birds had lain there remained a spot of blood, bright red against the white snow. Istvan, meanwhile, continued on his hunting expedi tion; the sound of shots, eventually, died out. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource And a Time to Lie by Eli Netzer, Translated by Bernhard Frank, 2005 Subject The topic of the resource Frank, Bernhard, 1931- Fiction Netser, Eli--Translations Description An account of the resource This item contains the cover and Chapter XI entitled "Blood on the Snow" from pages 61-66. Creator An entity primarily responsible for making the resource Netser, Eli Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2005 Contributor An entity responsible for making contributions to the resource Frank, Bernhard, 1931- Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_TimeToLie PCMS-030_TimeToLie.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/4bde85fb31a0a5e1f00ba3b9a6f9f5a8.pdf e1e03a27f68bfcd16996a23d178c55f3 PDF Text Text THREE POEMS BERNHARD FRANK �THREE POEMS BERNHARD FRANK �The Poetry Collection is proud to celebrate National Poetry Month with this publication of Bernhard Frank's Three Poems, the first of a planned yearly series featuring the work of poets living in Buffalo. Bernhard Frank has had a long and successful career as a teacher, poet, translator, and editor, and the Collection thanks him for the donation of the Buckle Collection, which began in 1984, and for his support through the Buckle Endowment. His gifts ensure that the Poetry Collection will continue to serve as contemporary poetry's library of record. Cover image of Bernhard Frank by Ann Colley from Buckle & 3 (Fall/Winter 1999). "For Persephone" previously appeared in News from the Republic of Letters. © 2009 Bernhard Frank �FOR PERSEPHONE Half the year you spend on the Vineyard breathing-in the salt spray the glo-worm glitter of morning's ocean. At noon sunscreen clad you lie amid Dionysus' clones along the strip of beach basted roasting. At night amid the glitterati serving grape leaves & ouzo you listen to the owls. The other half you return to us in this our dank and blustery city regather like rags about you the friends you had abandoned for warmer climes surprised that some have scattered cooled or died. Your mother failed to tell that time in the nether region goes on without you that each year will find you a little more estranged that a little more forgotten one day you will return an alien to a foreign land. �WELCOME TO CASINO NIAGARA, or How to Spend a Rainy Day The water, under a Jack-the-Ripper fog, crashes in free-fall; a finesifted rain slicks the deserted pavements. But follow me in from the cold, past the palatial gates of Casino Niagara, where free coffee and spine-tingling entertainment await: Guards are here, but no barbed wire; the sheep voluntarily come to the trough. The lightsnorthern-blink in nervous staccato, smoke swirls from flayed victimsa sea of grey heads ashen faces: Despair etched on boredom. They do their aerobics on phallic handles-pull & pray-puff-puffpull & hope: Here purgatory paradise and hell intermingle. A bell lets loose, lights go amok, indifferent tokens clatter down, down the cataracts of envy into the maelstrom of greed. �HYPO TEARS I )I The doctors say that I've run out of tears which (at my age) hardly surprises having seen worlds collide & generations perish Ducts like wells do have their limits & years of drought ~ell,you understand. They say I can purchase them though for $13.69 at any Rite-Aid drug store & hardly know the d f f e r e n c e �About Bernhard Frank and the Buckle Collection After receiving a PhD from the University of Pittsburgh, Bernhard Frank taught comparative literature and creative writing at Buffalo State College from 1965 to 2000. His books of poetry include American Gothic, The Homer Ladies' Journal, The Pn.nt if Memory, and Louder Than the Dark. Frank has also published the novels John in the Wilderness and Mandolin with Rain as well as translations of Hebrew poets, Rilke, Baudelaire, and others. Recently, he began the Tippling Scholar Editions, the first three of which bring together his writings on Dickinson, Rilke, and Thomas Mann. Frank edited the semi-annual magazines Buckle": A Poetry Journal and Buckle &in Buffalo, New York, from 1977 to 1982 and from 1998 to 2006, respectively. The titles for these magazines come from the poem "The Windhover" by Gerard Manley Hopkins. All ten issues of Buckle" and seventeen issues of Buckle & included poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue,Joan Colby, and John M. Bennett. The Buckle Collection contains editorial correspondence, manuscripts, business records, and other items from both of these literary magazines as well as books and magazines inscribed to Frank. �Published in an edition of 300 copies, of which the first 50 have been numbered and signed by the poet. #.J--o The Poetry Collection Buffalo, NY I 2009 library. buffalo.edu/ pl/ 'ti!J University at Buffalo The State University of New York .. �i I � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/6a3badb5d0f3c330df9fdaf6ace10e2e.pdf 8b9c2ea1970590da88b70894ea795159 PDF Text Text Three Poems Bernhard Frank �Three Poems Bernhard Frank �The Poetry Collection is proud to celebrate National Poetry Month with this publication of Bernhard Frank’s Three Poems, the first of a planned yearly series featuring the work of poets living in Buffalo. Bernhard Frank has had a long and successful career as a teacher, poet, translator, and editor, and the Collection thanks him for the donation of the Buckle Collection, which began in 1984, and for his support through the Buckle Endowment. His gifts ensure that the Poetry Collection will continue to serve as contemporary poetry’s library of record. Cover image of Bernhard Frank by Ann Colley from Buckle &3 (Fall/Winter 1999). “For Persephone” previously appeared in Newsfrom the Republic of Tetters. © 2009 Bernhard Frank �For Persephone Half the year you spend on the Vineyard breathing-in the salt spray the glo-worm glitter of morning’s ocean. At noon sunscreen clad you lie amid Dionysus’ clones along the strip of beach basted roasting. At night amid the glitterati serving grape leaves & ouzo you listen to the owls. The other half you return to us in this our dank and blustery city regather like rags about you the friends you had abandoned for warmer climes surprised that some have scattered cooled or died. Your mother failed to tell that time in the nether region goes on without you that each year will find you a little more estranged a little more forgotten that one day you will return an alien to a foreign land. �Welcome to Casino Niagara, or How to Spend a Rainy Day The water, under a Jack-the-Ripper fog, crashes in free-fall; a finesifted rain slicks the deserted pavements. But follow me in from the cold, past the palatial gates of Casino Niagara, where free coffee and spine-tingling entertainment await: Guards are here, but no barbed wire; the sheep voluntarily come to the trough. The lights— northern—blink in nervous staccato, smoke swirls from flayed victims— a sea of grey heads ashen faces: Despair etched on boredom. They do their aerobics on phallic handles—pull & pray—puff—puff— pull & hope: Here purgatory paradise and hell intermingle. A bell lets loose, lights go amok, indifferent tokens clatter down, down the cataracts of envy into the maelstrom of greed. �Hypotears The doctors say that I’ve run out of tears which (at my age) hardly surprises having seen worlds collide & gene rations perish Ducts like wells do have their limits & years of drought Well, you understand. They say I can purchase them though for $13.69 at any Rite-Aid drug store & hardly know the d I F F E R E N C E �About Bernhard Frank and the Buckle Collection After receiving a PhD from the University of Pittsburgh, Bernhard Frank taught comparative literature and creative writing at Buffalo State College from 1965 to 2000. His books of poetry include American Gothic, The Homer Ladies’ Journal, The Print of Memory, and Loader Than the Dark. Frank has also published the novels John in the Wilderness and Mandolin with Rain as well as translations of Hebrew poets, Rilke, Baudelaire, and others. Recently, he began the Tippling Scholar Editions, the first three of which bring together his writings on Dickinson, Rilke, and Thomas Mann. Frank edited the semi-annual magazines Buckle”: A Poetry Journal and Buckle & in Buffalo, New York, from 1977 to 1982 and from 1998 to 2006, respectively. The titles for these magazines come from the poem “The Windhover” by Gerard Manley Hopkins. All ten issues of Buckle” and seventeen issues of Buckle & included poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, Joan Colby, and John M. Bennett. The Buckle Collection contains editorial correspondence, manuscripts, business records, and other items from both of these literary magazines as well as books and magazines inscribed to Frank. �Published in an edition of 300 copies, of which the first 50 have been numbered and signed by the poet. [#50] The Poetry Collection Buffalo, NY | 2009 library.buffalo.edu/pl/ University at Buffalo The State University of New York �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Three Poems by Bernhard Frank, 2009 Subject The topic of the resource Frank, Bernhard, 1931- Poetry Description An account of the resource This item contains the chapbook in full: cover, title page, and three poems entitled "For Persephone," "Welcome to Casino Niagara, or How to Spend a Rainy Day," and "Hypotears." Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2009 Format The file format, physical medium, or dimensions of the resource chapbook Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_ThreePoems PCMS-030_ThreePoems.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/bd4711d9943fcf9041add495cf7bb990.pdf 24fa46bd5eab280b8edb1422daf185c1 PDF Text Text THE PYGMIES OF THE HEART BERNHARD FRANK �Table of Contents To Make a Long Story Short ......................... . .......... 7 Family Affairs Something Extraordinary .. .. . ........ . . . ...... . ........ . 9 A Room of His Own ..... . ..... . ..... . .. . ...... .. .. . ... 19 Cigarettes and Black Coffee .. . .. . .. . ... . . . .......... . .. . 36 Heartbreak Alley Time and Tennis . .. . ... . .... . ...... . ............... . .. 43 Tinklebells ...... . . . ... . .......... . . . . . ... . .... . .... . . 49 In the Beginning ... . ... . .. . .. . ...... . .... ... .. .. ...... 58 That Single Life The Paper Dragon . . ... . ...... .. .... . ... .. ............ . 67 The Blister ... . . . ....... . . . . . . . .. . ..... . . . ...... . .. . .. 71 The Confession .. . ..... .. ... . ....... . .. . . . . . .... . ..... 76 Alternating Currents . . . ................. .. .... . .. . .. .. . 82 The Price of Lobster ............ . ....... . ... .. ... . ..... 88 A Walk in the Rain ........... . .. . .... . . . ........ . .. . . 101 The Moral Fiber The Assessment . . .................. . . . .. . .. . ......... 109 A Hopeless Case .. . ................. . . . ... . ... .. . . .. . 115 A Minor Affair .. . . . .......... . . . .......... .. ........ 123 ( The Legend of Lunangula . ................. . ........ . . . 134 �49 :-r. Tinklebells :-r. He was really very nice, Rachel thought as she closed the shop door behind her. The bells above the exit tinkled their silvery last and she stepped out into the grey, cluttered street. How all those little people rp_anaged to eke out a living, she thought wonderingly, looking in an antique shop display-window. Her hair, she noticed, examining her reflection, had become frazzled. The damp did that, but it irked her that Mr. Hogarth should have seen her so. And then she wondered how he managed to eke out a living. He always seemed to have time on his hands. And her heart was suddenly overcome with a rush of pity. Business was bad, he had said. ''I'd have thought weddings ... " Rachel had stood, looking into his dark grey eyes; the deeply etched craw's feet about them bespoke of sensitivity and suffering. She wished she could get to know him better. Mr. Hogarth had shaken his head. "Not nowadays," he said, in his mellow, soothing voice. "The young people don't stand much on ceremony anymore. And even when they do, by the time they return from Niagara Falls the first flush of romance has waned; so have the dollars in their bank account." Rachel had to laugh. She always paid cash of course, but so �50 Heartbreak Alley many of her friends had made a religion of the installment plan. "I know what you mean," she said. And she wondered why she had patronized Mr. Hogarth's photo studio so seldom. He was such a nice man. Now, brushing her hand impatiently across her hair, she considered how she could help; if she told her friends, she thought. Martha, possibly Genevieve; word of mouth. But then a small bird of jealousy pecked at her heart; she wanted to keep Mr. Hogar~h to herself. In a tarnished gold mirror she caught a clear glimpse of her face; her eyes were shining. ''I'm happy," she said out loud. When she and David were first married she had gone about the house singing; the s~nshine had seemed to fall on her, and even the plants proliferated under her loving touch. Now, though, she seldom sang; the sunlight had been dimmed by made-to-order drapes from May & Co., and of her plants only the philodendron still flourished. Rachel shrugged and moved away; the mirror troubled her. When the babies start coming, she thought, we change; she had seen it with her girlfriends. Clearly she was no exception. She sighed. The days were plugged up with sundry little duties now, and the neglected soul just kept shriveling. But not altogether, she thought; no, not altogether; and she began humming as she walked. Her music teacher in high school had told her that she had a lovely voice, 'limpid' he called it, and urged her to take up lieder. "Rachel!" and then, "Rachel Balin!" "Rosemary!" "B oy, were ·you ever daydreaming," Rosemary said, craning her neck out of her spiffy Cadillac. "I honked and yelled ... " Rachel smiled. Despite Rosemary's sharp tongue, she liked her. Yet now she wished her elsewhere; her voice had ripped �Tinklebells 51 into the fabric of her dreams. Rosemary's eyes, as usual, were too heavily mascaraed; one could always tell an unhappy woman by her excessive makeup. "How's David?" "All right, all right." She couldn't find a thing to say. "And Johnny and Ella Mae?" "I just picked up their photos; you know Ella Mae's about to start nursery school," she said, maternal pride overcoming her daydreams. "Here." She reached into her petit-point handbag and brought them out in their translucent wrapper. "They're lovely, lovely. Where'd you have them taken?" Rachel hesitated. She wanted to throw all the business she could Mr. Hogarth's way, but the thought of Rosemary leaning over the narrow glass counter, looking into those dark eyes, smelling the faint Wildroot scent of his immaculate hair troubled her. "I really must dash," Rosemary said, not waiting for a reply. Rachel watched her incredulously as she flipped through the pictures, wondering why, if Rosemary was in such a hurry, she had troubled to call to her. Mr. Hogarth had time to talk to her; and he listened too, unlike most people who were already contemplating their own rejoinder while pretending to listen to yours. "Give my regards to Dav.id," Rosemary said, handing the pictures back. Her masculine arms twisted the wheel of her Cadillac. Rachel resented her tone of familiarity when she spoke of David. Just because she had dated him briefly before she, Rachel, had come along, didn't give her a lien on him. She waved abstractedly, then turned away. Rachel insisted on telling David all about Mr. Hogarth. He smiled, but his eyes shifted toward the evening papers and -b---- - - - - - �52 H eart b re ak All ey she stopped. ''I'll just do the dishes," she said, rising. "Can I help?" She looked at him in surprise; he rarely offered to help with the chores anymore. When they were first married they observed a joint cleaning day. "Gee," she said, then realized the offer was perfunctory. "Read your paper." The "I Love Lucy'' show was about to come on and Rachel dried her hands. Still rubbing the cold cream into the skin of her knuckles, she stopped off in the nursery. Johnny was asleep in his crib and Ella Mae had dropped off on the floor amid a maze of gummed paper and crayons. Rachel lifted Ella Mae into her cot and tucked her in. She gathered the papers off the floor, put the crayons back in their box, then, as an afterthought, she picked the jam jar full of tepid water off the dresser and poured some into the planter above Johnny's crib; long strands of philodendron hung from it. That was a good idea, she decided, turning out the tiny lamp with the pink elephants on its gauzy shade. Next time she went, that was what she would do. The philodendron was slow to root and the temptation to stop at the Five-and-Ten was great. Yet Rachel resisted; she would have felt too guilty. It was one thing, she thought, giv~ ing Mr. Hogarth something of her own, quite another investing in a gift. Besides, she wanted him to have something of hers. "David," she said, the day after she had planted the shoots in an inexpensive plastic pot. "David, I want to have a few pic~ tures taken of Ella Mae alone; before she enters nursery schooL you know? They're never quite the same after that," and she capped it off with a silvery little laugh. �Tinklebells 53 David reached for his billfold. "Sure, Hon." But she wouldn't dream of it. cookie jar," she said. "I have some saved in the David shrugged amicably and returned to his paper. The bells tinkled on her en trance. "Just remain seated," Mr. Hogarth was saying to someone in the back room. Somehow she had forgotten that he did have other customers; but, Rachel told herself, she was special; he made her feel special. And as he slipped out from between the swinging pinewood doors she smiled and held out her hand. Mr. Hogarth gave it a strong squeeze, surprisingly strong for the gentleness in his eyes, the softness of his voice. He looked right at Rachel. ''And how are we today?" I "Fine, fine. Say hello, Ella Mae." sought refuge in the child. In her confusion she I I I "Hello, Ella Mae," Mr. Hogarth said, patting the girl's head. Suddenly Rachel felt mortified at Ella Mae's plainness; as though it were a reflection on herself. She would grow out it, the duckling into swan syndrome, Dr. Mann had said, tactfully omitting the adjective. "What can we do for you today?" Rachel found herself stammering. It occurred to her that as perceptive a man as Mr. Hogarth was bound to see through her ruse. I I I I I I I I I I I I I "I'll be with you in a sec," he said, seeming not to notice Rachel's sudden blush. He disappeared behind the swinging doors. "Sit down, Ella Mae," Rachel said irately. The child, restive, was climbing up the showcase window, her small behind in the air, her bumbling legs askew. �54 Heartbreak Alley Rachel set her pocketbook and paper bag on the side-~able with its green felt cover and picked up a copy of the Nauonal Geographic. "Wasn't Ella Mae good," Mr. Hogarth said, tweaking the girl's cheek. Rachel smiled stiffly. Nothing had gone quite as she had imagined. Her guilt at being there on false pretenses had put a wedge into their afternoon; she was convinced that Mr. Hogarth could read the deceit lurking in her heart. And yet Mr. Hogarth had been as free and warm as ever; had listened to her lament over her last abortive attempt at one of Julia Child's recipes. Something, she had said, always went wrong. If the souffl~ didn't collapse, the milk curdled, and if the milk didn't curdle, the batter stuck. "They're just too darn gosh complicated," she mourned, a_nd Mr. Hogarth laughed. "Maybe I'm not going about it the right way," Rachel had said earnestly. "Julia seems so casual about it all." "I know what you mean," Mr. Hogarth had commiserated. "Like when she drops the whole concoction on the floor. 'Dear me,"' he went in imitation. "'Guess we'll have to do it over."' They had burst out laughing and little Ella Mae looked up at them and babbled along. But Rachel had wanted more. She wasn't sure what she wanted, but certainly more than recipes and television shows and Lemon Pledge . .'Til have the pies for you Monday afternoon," Mr. Hogarth said as Rachel slipped into her emblemed jacket. She picked up her purse off the side-table; then she picked up the paper bag. 'Til be by Monday then," she said tentatively, two small :eights of disappointment tugging at the corners of her mouth. Come on, Ella Mae." �Tinkl ebells 55 She really couldn't blame herself. The time had simply not been propitious. Monday, when she went back alone .... She debated placing a card with the philodendron: "To our favorite photographer" (definitely "our"), and she realized that she didn't know his first name. A terrible yearning seized her. In the days when she had a crush on Miss Goldstein, her elementary school teacher, she had gone through all the Goldsteins in the phone book (no . mean feat) to uncover her first name. Susan. She remembered it yet. Feeling utterly foolish, she turned the pages:' Hogarth. Hogarth, B. M.-undoubtedly a woman wary of obscene phone calls; George; Peter; Timothy; William. She picked Timothy on a hunch. It sounded out of the ordinary, sensitive; it went with Mr. Hogarth. Timothy Hogarth. But she never wrote out the card. Again the bells tinkled on her entra~ce, and again she heard Mr. Hogarth speaking in the back room. "Just be seated; I'll be right back." When he swung through the pinewood doors, Rachel found herself inexplicably sullen. "Good afternoon," Mr. Hogarth said, patting his immaculately combed hair. "How are you this fine day, Mrs. Balin?" Somehow the formality of her married name on his lips irked her. Rachel, she wanted to say; Rachel. Then she noticed a small monogram embroidered on his shirt pocket and b~ight ened. T. H. Timothy, she thought. Timothy. Tears pncked the backs of her eyes. · "They're lovely," she said, fingering the silken pictures but barely seeing them. The pastels were so delicate, she thought, �56 Heartbr eak Alley one could almost overlook Ella Mae's plainness. "How much are they?" she asked casually, but found herself (quite irrationally, she knew) hoping he would say, "For you, no charge." She wouldn't have heard of it of course., would have insisted on paying; but she wanted so to be special. She lowered her eyes quickly, for fear he would read her thoughts. "Seven eighty-five," Mr. Hogarth said, matter-of-factly. For a moment she loathed him. "I have to get change," he said, taking her twenty dollar bill. She had, she thought ruefully, thrust it at him too curtly. Mr. Hogarth stepped out from behind the counter and through the swinging doors. The time, she thought, was not propitious; but then it never was, perhaps never would be. And it occurred to her that in the presence of an innocent bystander any suspicions of an ulterior motive would be laid to rest. Clutching the paper bag, she swung resolutely through the pinewood doors. Nothing happened. Nothing she could have put her finger on. She had seen nothing, had heard nothing. Nothing had been said. And yet, at that moment, she knew everything. She read it in Mr. Hogarth's startled eyes; two wrens frightened from their nests. She read it in the impatient stance of the tall blond stranger with the green eyes and pointed beard. She read it in the electric currents that flowed between the two men. He was not a customer, of that she was certain. She was, but he was not. He was special. Her heart swelled dark inside her breast; like the soil in her pot of philodendron. "Oh, I'm so sorry," she said, "I didn't know ... " and was astounded at the evenness of her voice. · "That's quite all right," said Mr. Hogarth, recovering his own voice; but his calm had been badly rattled. Rachel had to laugh when she returned to the front of the shop. "What a fool she �Tinklebells 57 had been, believing in appearances; hadn't she lived long enough to know better? And she thought of David, David sitting in his leather armchair, legs crossed, reading his evening paper. Her heart went out to him. Dear David. It's really none of my business, she thought efficaciously, as she took the change from Mr. Hogarth's slightly tremulous hand; the hand that had shaken hers so firmly, she thought with mild contempt. She looked straight into his face and saw a very ordinary little man; a bit under the weather with age, a bit effeminate. She even discovered the signs of corruption about the lines of his mouth; like Rosemary's. If he were a woman, she thought, he would be wearing his makeup too heavily; and then it occurred to her that in the privacy of his boudoir he just might. She peered into his eyes with an impertinent curiosity. It contented her to see Mr. Hogarth blush. Never mind. She would still recommend him to her friends as a fine photographer. She picked up her pocketbook. "What are you looking for?" "Wastepaper basket?" She couldn't bear to carry the evidence of her crime a moment longer. Mr. Hogarth took it off her hands and slipped it into the basket underneath the counter. "Thanks." Even if he looked inside, he'd never guess. "Well, good-bye," she said, holding out her hand. "Call again." His voice was slightly edgy, his palm moist. "I will," Rachel said firmly, proud of her self-control. "I certainly will." And indeed she would. At least once, very soon, with Johnny and Ella Mae; just to prove.·· The bells tinkled behind her as she closed the door. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/273200c7dcf703bf893fb2a962de0757.pdf 56228d5c7e9ecf6aabb7cbc115d057cb PDF Text Text The Pygmies of the Heart Bernhard Frank �Table of Contents To Make a Long Story Short........................................................................... 7 Family Affairs Something Extraordinary.................................................................. 9 A Room of His Own......................................................................... 19 Cigarettes and Black Coffee............................................................ 36 Heartbreak Alley Time and Tennis............................................................................... 43 Tinklebells.......................................................................................... 49 In the Beginning............................................................................... 58 That Single Life The Paper Dragon............................................................................. 67 The Blister.......................................................................................... 71 The Confession................................................................................. 76 Alternating Currents......................................................................... 82 The Price of Lobster......................................................................... 88 A Walk in the Rain......................................................................... 101 The Moral Fiber The Assessment................................................................................109 A Hopeless Case.............................................................................. 115 A Minor Affair................................................................................123 The Legend of Lunangula...............................................................134 �49 Tinklebells He was really very nice, Rachel thought as she closed the shop door behind her. The bells above the exit tinkled their silvery last and she stepped out into the grey, cluttered street. How all those little people managed to eke out a living, she thought wonderingly, looking in an antique shop display-win dow. Her hair, she noticed, examining her reflection, had become frazzled. The damp did that, but it irked her that MR. Hogarth should have seen her so. And then she wondered how he man aged to eke out a living. He always seemed to have time on his hands. And her heart was suddenly overcome with a rush of pity. Business was bad, he had said. "I'd have thought weddings...” Rachel had stood, looking into his dark grey eyes; the deeply etched crow's feet about them bespoke of sensitivity and suffering. She wished she could get to know him better. MR. Hogarth had shaken his head. “Not nowadays," he said, in his mellow, soothing voice. “The young people don't stand much on ceremony anymore. And even when they do, by the time they return from Niagara Falls the first flush of romance has waned; so have the dollars in their bank account." Rachel had to laugh. She always paid cash of course, but so �50 Heartbreak Alley many of her friends had made a religion of the installment plan. I know what you mean, she said. And she wondered why she had patronized MR. Hogarth’s photo studio so seldom. He was such a nice man. Now, brushing her hand impatiently across her hair, she con sidered how she could help; if she told her friends, she thought. Martha, possibly Genevieve; word of mouth. But then a small bird of jealousy pecked at her heart; she wanted to keep MR. Hogarth to herself. In a tarnished gold mirror she caught a clear glimpse of her face; her eyes were shining. “I’m happy,” she said out loud. When she and David were first married she had gone about the house singing; the sunshine had seemed to fall on her, and even the plants proliferated under her loving touch. Now, though, she seldom sang; the sunlight had been dimmed by made-to-order drapes from May & Co., and of her plants only the philodendron still flourished. Rachel shrugged and moved away; the mirror troubled her. When the babies start coming, she thought, we change; she had seen it with her girlfriends. Clearly she was no exception. She sighed. The days were plugged up with sundry little duties now, and the neglected soul just kept shriveling. But not altogether, she thought; no, not altogether; and she began humming as she walked. Her music teacher in high school had told her that she had a lovely voice, ‘limpid’ he called it, and urged her to take up lieder. “Rachel!” and then, “Rachel Balin!” “Rosemary!” Boy, were you ever daydreaming,” Rosemary said, craning her neck out of her spiffy Cadillac. “I honked and yelled...” Rachel smiled. Despite Rosemary’s sharp tongue, she liked her. Yet now she wished her elsewhere; her voice had ripped �Tinklebells 51 into the fabric of her dreams. Rosemary’s eyes, as usual, were too heavily mascaraed; one could always tell an unhappy woman by her excessive makeup. “How’s David?” All right, all right.” She couldn’t find a thing to say. “And Johnny and Ella Mae?” I just picked up their photos; you know Ella Mae’s about to start nursery school,” she said, maternal pride overcoming her daydreams. “Here.” She reached into her petit-point handbag and brought them out in their translucent wrapper. They’re lovely, lovely. Where’d you have them taken?” Rachel hesitated. She wanted to throw all the business she could MR. Hogarth’s way, but the thought of Rosemary leaning over the narrow glass counter, looking into those dark eyes, smelling the faint Wildroot scent of his immaculate hair trou bled her. “I really must dash,” Rosemary said, not waiting for a reply. Rachel watched her incredulously as she flipped through the pictures, wondering why, if Rosemary was in such a hurry, she had troubled to call to her. MR. Hogarth had time to talk to her; and he listened too, unlike most people who were already contemplating their own rejoinder while pretending to listen to yours. “Give my regards to David,” Rosemary said, handing the pic tures back. Her masculine arms twisted the wheel of her Cadillac. Rachel resented her tone of familiarity when she spoke of David. Just because she had dated him briefly before she, Rachel, had come along, didn’t give her a lien on him. She waved abstractedly, then turned away. Rachel insisted on telling David all about MR. Hogarth. He smiled, but his eyes shifted toward the evening papers and �52 Heartbreak Alley she stopped. “I’ll just do the dishes,” she said, rising. “Can I help?” She looked at him in surprise; he rarely offered to help with the chores anymore. When they were first married they observed a joint cleaning day. “Gee, she said, then realized the offer was perfunctory. “Read your paper.” The “I Love Lucy” show was about to come on and Rachel dried her hands. Still rubbing the cold cream into the skin of her knuckles, she stopped off in the nursery. Johnny was asleep in his crib and Ella Mae had dropped off on the floor amid a maze of gummed paper and crayons. Rachel lifted Ella Mae into her cot and tucked her in. She gathered the papers off the floor, put the crayons back in their box, then, as an afterthought, she picked the jam jar full of tepid water off the dresser and poured some into the planter above Johnny’s crib; long strands of philodendron hung from it. That was a good idea, she decided, turning out the tiny lamp with the pink elephants on its gauzy shade. Next time she went, that was what she would do. The philodendron was slow to root and the temptation to stop at the Five-and-Ten was great. Yet Rachel resisted; she would have felt too guilty. It was one thing, she thought, giv ing MR. Hogarth something of her own, quite another investing in a gift. Besides, she wanted him to have something of hers. David, she said, the day after she had planted the shoots in an inexpensive plastic pot. “David, I want to have a few pic tures taken of Ella Mae alone; before she enters nursery school, you know? They re never quite the same after that,” and she capped it off with a silvery little laugh. �Tinklebells 53 David reached for his billfold. “Sure, Hon.” But she wouldn't dream of it. cookie jar,” she said. “I have some saved in the David shrugged amicably and returned to his paper. The bells tinkled on her entrance. Just remain seated,” MR. Hogarth was saying to someone in the back room. Somehow she had forgotten that he did have other customers; but, Rachel told herself, she was special; he made her feel special. And as he slipped out from between the swinging pinewood doors she smiled and held out her hand. MR. Hogarth gave it a strong squeeze, surprisingly strong for the gentleness in his eyes, the softness of his voice. He looked right at Rachel. “And how are we today?” “Fine, fine. Say hello, Ella Mae.” In her confusion she sought refuge in the child. “Hello, Ella Mae,” MR. Hogarth said, patting the girl’s head. Suddenly Rachel felt mortified at Ella Mae’s plainness; as though it were a reflection on herself. She would grow out it, the duckling into swan syndrome, DR. Mann had said, tactfully omitting the adjective. “What can we do for you today?” Rachel found herself stammering. It occurred to her that as perceptive a man as MR. Hogarth was bound to see through her ruse. “I’ll be with you in a sec,” he said, seeming not to notice Rachel’s sudden blush. He disappeared behind the swinging doors. “Sit down, Ella Mae,” Rachel said irately. The child, restive, was climbing up the showcase window, her small behind in the air, her bumbling legs askew. �54 Heartbreak Alley Rachel set her pocketbook and paper bag on the side-table with its green felt cover and picked up a copy of the National Geographic. “Wasn’t Ella Mae good,” MR. Hogarth said, tweaking the girl’s cheek. Rachel smiled stiffly. Nothing had gone quite as she had imagined. Her guilt at being there on false pretenses had put a wedge into their afternoon; she was convinced that MR. Hogarth could read the deceit lurking in her heart. And yet MR. Hogarth had been as free and warm as ever; had listened to her lament over her last abortive attempt at one of Julia Child’s recipes. Something, she had said, always went wrong. If the souffle didn’t collapse, the milk curdled, and if the milk didn’t curdle, the batter stuck. “They’re just too darn gosh complicated,” she mourned, and MR. Hogarth laughed. “Maybe I’m not going about it the right way,” Rachel had said earnestly. “Julia seems so casual about it all.” “I know what you mean,” MR. Hogarth had commiserated. Like when she drops the whole concoction on the floor. ‘Dear me, he went in imitation. “‘Guess we’ll have to do it over. ” They had burst out laughing and little Ella Mae looked up at them and babbled along. But Rachel had wanted more. She wasn’t sure what she wanted, but certainly more than recipes and television shows and Lemon Pledge. I'll have the pics for you Monday afternoon,” MR. Hogarth said as Rachel slipped into her emblemed jacket. She picked up her purse off the side-table; then she picked up the paper bag. I'll be by Monday then, she said tentatively, two small weights of disappointment tugging at the corners of her mouth. “Come on, Ella Mae.” �Tinklebells 55 She really couldn’t blame herself. The time had simply not been propitious. Monday, when she went back alone.... She debated placing a card with the philodendron: “To our favorite photographer” (definitely “our”), and she realized that she didn’t know his first name. A terrible yearning seized her. In the days when she had a crush on Miss Goldstein, her elementary school teacher, she had gone through all the Goldsteins in the phone book (no mean feat) to uncover her first name. Susan. She remembered it yet. Feeling utterly foolish, she turned the pages: Hogarth. Hogarth, B. M.—undoubtedly a woman wary of obscene phone calls; George; Peter; Timothy; William. She picked Timothy on a hunch. It sounded out of the ordinary, sensitive; it went with MR. Hogarth. Timothy Hogarth. But she never wrote out the card. Again the bells tinkled on her entrance, and again she heard MR. Hogarth speaking in the back room. “Just be seated; I'll be right back.” When he swung through the pinewood doors, Rachel found herself inexplicably sullen. “Good afternoon,” MR. Hogarth said, patting his immacu lately combed hair. “How are you this fine day, MRS. Balin? Somehow the formality of her married name on his lips irked her. Rachel, she wanted to say; Rachel. Then she noticed a small monogram embroidered on his shirt pocket and bright ened. T. H. Timothy, she thought. Timothy. Tears pricked the backs of her eyes. “They’re lovely,” she said, fingering the silken pictures but barely seeing them. The pastels were so delicate, she thought, �56 Heartbreak Alley one could almost overlook Ella Maes plainness. “How much are they?” she asked casually, but found herself (quite irrationally, she knew) hoping he would say, For you, no charge.” She wouldn’t have heard of it of course, would have insisted on paying; but she wanted so to be special. She lowered her eyes quickly, for fear he would read her thoughts. “Seven eighty-five,” MR. Hogarth said, matter-of-factly. For a moment she loathed him. “I have to get change,” he said, taking her twenty dollar bill. She had, she thought ruefully, thrust it at him too curtly. MR. Hogarth stepped out from behind the counter and through the swinging doors. The time, she thought, was not propitious; but then it never was, perhaps never would be. And it occurred to her that in the presence of an innocent bystander any suspicions of an ulterior motive would be laid to rest. Clutching the paper bag, she swung resolutely through the pinewood doors. Nothing happened. Nothing she could have put her finger on. She had seen nothing, had heard nothing. Nothing had been said. And yet, at that moment, she knew everything. She read it in MR. Hogarth’s startled eyes; two wrens frightened from their nests. She read it in the impatient stance of the tall blond stranger with the green eyes and pointed beard. She read it in the electric currents that flowed between the two men. He was not a customer, of that she was certain. She was, but he was not. He was special. Her heart swelled dark inside her breast; like the soil in her pot of philodendron. Oh, I’m so sorry,” she said, “I didn’t know... and was astounded at the evenness of her voice. "That's quite all right," said MR. Hogarth, recovering his own voice; but his calm had been badly rattled. Rachel had to laugh when she returned to the front of the shop. What a fool she �Tinklebells 57 had been, believing in appearances; hadn’t she lived long enough to know better? And she thought of David, David sit ting in his leather armchair, legs crossed, reading his evening paper. Her heart went out to him. Dear David. It’s really none of my business, she thought efficaciously, as she took the change from MR. Hogarth’s slightly tremulous hand; the hand that had shaken hers so firmly, she thought with mild contempt. She looked straight into his face and saw a very ordinary little man; a bit under the weather with age, a bit effeminate. She even discovered the signs of corruption about the lines of his mouth; like Rosemary’s. If he were a woman, she thought, he would be wearing his makeup too heavily; and then it occurred to her that in the privacy of his boudoir he just might. She peered into his eyes with an impertinent curiosity. It contented her to see MR. Hogarth blush. Never mind. She would still recommend him to her friends as a fine photographer. She picked up her pocketbook. "What are you looking for?” Wastepaper basket?” She couldn’t bear to carry the evidence of her crime a moment longer. MR. Hogarth took it off her hands and slipped it into the bas ket underneath the counter. “Thanks.” Even ifhe looked inside, he’d never guess. “Well, good-bye,” she said, holding out her hand. “Call again.” His voice was slightly edgy, his palm moist. “I will,” Rachel said firmly, proud of her self-control. I cer tainly will.” And indeed she would. At least once, very soon, with Johnny and Ella Mae; just to prove... The bells tinkled behind her as she closed the door. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Pygmies of the Heart by Bernhard Frank, 2009 Subject The topic of the resource Frank, Bernhard, 1931- Short stories Description An account of the resource This item contains the cover, table of contents, and chapter entitled "Tinklebells" from pages 49-57. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2009 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_PygmiesOfTheHeart PCMS-030_PygmiesOfTheHeart.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/5d62c5fc67a1ba1fe2b9f6cb57ab4e49.pdf 4785ef1c437b79748e00b78256d1a88d PDF Text Text l The Print Of Melllory: A Judaic Perspective Poems by Bernhard Frank �38 chain dangling blood of his wounds pours livid from my mouth. 1985 Elegy for My Father's Gen I The route acros Washington Bridg a maze of cliff-lin d highway tortur The cou in 1 anin ward in the lim like harpie d t r to take my min where r lOfeetah a (h w 5 foot 4) in i hi i hi last j ur y. II h n at th th �39 III All th grav ar n at B th 1 th w here till xu th u nt 1 hrub tt . N Haml t In th 11. v A tr �jiiW 40 secreted our nectar The roots of the yew and hemlock applaud your presence now. 1992 Rightfully Now Time stopped for you long before your time Only the moment stayed on to keep you warm. Counted the years in telephone calls-calls that ran through you like south-of-the-border cooking. "Visit me soon," you said, the day I came back from a visit. Timelessness is yours rightfully now-under the yew under the hemlock (awaiting the granite seal) Where the sun does not rise nor the moon set Where only the red-wing blackbird calls to you still. 1994 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/b9df624b98844141636c865304d789d8.pdf e86a0df28295fe4a5c0318f32d1df803 PDF Text Text The Print Of Memory: A Judaic Perspective Poems by Bernhard Frank �38 chain dangling blood of his wounds pours livid from my mouth. 1985 Elegy for My Father’s Generation 1 The route across George Washington Bridge down a maze of cliff-lined highway is tortured and long. The cousins leaning for ward in the limo chatter like harpies determined to take my mind else where but the hearse 10 feet ahead (he was 5 foot 4) insists this is his last journey. 2 Now I always afraid of heights am poised at the edge an oversized grain at the hourglass center the past pushing the future sucking me down— It’s a long way from the Bronx to Westwood. �39 3 All the graves are new here at Beth El the stones raw still exude the carver’s breath the shrubs mere dwarfs in a giant landscape where rain & time have paid infrequent visits. 4 Hamlet would have been surprised to find the gravediggers jabber in Spanish & nearly drop the coffin on its side. How heavy these shovels are & how impatient. Yitgadal veyitkadesh Alas, poor Eliezer (Ben Baruch) I knew you well. 5 A transplanted generation rests under foot: Gruenberg Rosenfeld Mandelbaum You who grew new roots midway thru life Who sprouted once more in a strange land You who twined two languages oddly into one Whose blossoms in old age �40 secreted our nectar The roots of the yew and hemlock applaud your presence now. 1992 Rightfully Now Time stopped for you long before your time Only the moment stayed on to keep you warm. Counted the years in telephone calls—calls that ran through you like south-of-the-border cooking. “Visit me soon,” you said, the day I came back from a visit. Timelessness is yours rightfully now—under the yew under the hemlock (awaiting the granite seal) Where the sun does not rise nor the moon set Where only the red-wing blackbird calls to you still. 1994 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Print of Memory: A Judaic Perspective by Bernhard Frank, 2002 Subject The topic of the resource Frank, Bernhard, 1931- Poetry Description An account of the resource This item contains the cover and a poem entitled "Elegy for My Father's Generation" from pages 38-40. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2002 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_PrintOfMemory PCMS-030_PrintOfMemory.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/c27469789ac76a3b4d1d982243daa7ad.pdf 2aa76c0b91ece67c03f9e277f839e36c PDF Text Text �143 Fantasia on Immortality The Modern State of the Hearts The view the light virginal still, mellow. Two empty bathtubs on a hill, where the corn yellows: you in the one, in the other, No utility will bring us together. II Two naked bodies slumped in empty bathtubs side by side, a world in bloom above. Think of stiff models (rumps cold from bare enamel) climbing out under lewd camera-man's ogle and conclude, "So this is love." III A flatbed brought them, a crane lowered: like 2 beached whales into a field of gold. Found, eons from now, let scholars propound the mystery of their cult. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/6641c755becd2f4de8f526aa184782c0.pdf 3dde96b34f18f189d9ec6d8711ce947a PDF Text Text Phosphorescent After Dark: Selected Poems 1960-2010 Bernhard Frank �143 Fantasia on Immortality The Modern State of the Hearts 1 The view the light virginal still, mellow. Two empty bathtubs on a hill, where the corn yellows: I in the one, you in the other, No utility will bring us together. 2 Two naked bodies slumped in empty bathtubs side by side, a world in bloom above. Think of stiff models (rumps cold from bare enamel) climbing out under lewd camera-man’s ogle and conclude, “So this is love.” 3 A flatbed brought them, a crane lowered: like 2 beached whales into a field of gold. Found, eons from now, let scholars propound the mystery of their cult. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Phosphorescent After Dark: Selected Poems 1960-2010 by Bernhard Frank Subject The topic of the resource Frank, Bernhard, 1931- Poetry Description An account of the resource This item contains the cover and a poem entitled "Fantasia on Immortality: The Modern State of Hearts" from page 143. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2011 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Phosphorescent PCMS-030_Phosphorescent.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/762534ddda05344156a27c818ccb8124.pdf c3b38bcd47a2750dd6c7c60d05551ce7 PDF Text Text OFFERING II: Selected Poems of Else Lasker-Schtiler & More of Rainer Maria Rilke Translated by Bernhard Frank �Lasker-Schiiler 23 Realization Heaviness rises everywhere out of Earth And we stifle in vapors of lead; Nevertheless nostalgia stretches And spews forth like fire fed: Out of all the untamed rivers resounds The primal cry, Eve's song. We tear the sheaths off our bodies, Transported by the clang of past accounts, I naked! You naked! Untamed, roving, Eve admit Your nostalgia was the snake, Its voice passed across your lips, And bit on the seam of your cheek. Untamed, nomadic, Eve admit The day that you your God defamed, When prematurely you saw the light And drowned in the sightless calyx of shame. Immense Will your lap dispense First timidly like fulfillment, Then impetuously stating, Itself by itself creating A God-soul.. ..... And it waxes All over·the world, Losing its beginnings, All of time traversing And back to your thousandfold heart, Surmounting the end ... Sing your tremulous song in solitude, Eve, Solitary, droplet-heavy, like your heart's beat, Dissolve the dusky necklace of tears �24 Which settles round the world's throat. Transformed like the moonlight your visage .... Lovely you .... Warble, warble, listen to the night where It plays ecstatic notes on your golden hair: "I have drunk live sweetness From multicolored branches Out of virginal blossoms. Now I am frightened By my waking sightHide me away, youFor my savage pain Turns into shame; Hide me away, you, Deep in the eye of the night, And let my day in dark of night be clad. That deaf tumult confounding me! My terror tumbles up the stairs of Earth, Darkly-here, back to me, night-there, Barely a space remains between us. Break that glowing Eden off my shoulder! With his cool arms we used to play, Through his bright cloud-hoops leapt our joy. Now my toes race like errant arrows across Earth, And my yearning precedes me slowly in that bow. " Eve, turn back before that final hedge! You must not cast a shadow; Flower your last, Temptress. Eve, you avid listener-in, 0, you foam-white grape, Beware the tip of even your finest eyelash! �40 Early Apollo The way sometimes through branches that are naked a morning peeks, which is already moored in spring: Just so his head is truly vacant of anything to stop the songs' allure from striking us with almost deadly might; too cool for laurel are his temples still, nor has a single blot yet blurred his sight, and later only, out of the eyebrows will, long-stemmed, the rose-garden be unloosed, whose very petals, singly and undone, will toward the trembling mouth soon migrate down, which silent still, is shiny and unused, and merely sipping with a shy small grin, as though his poesy's piped into him. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/a9b2f13fb4208882c13f33edd3ce30e0.pdf 8a5b786b67373e77ecb8f1a752f8df31 PDF Text Text Offering 2: Selected Poems of Else Lasker-Schuler & More of Rainer Maria Rilke Translated by Bernhard Frank �Lasker-Schuler 23 Realization Heaviness rises everywhere out of Earth And we stifle in vapors of lead; Nevertheless nostalgia stretches And spews forth like fire fed: Out of all the untamed rivers resounds The primal cry, Eve’s song. We tear the sheaths off our bodies, Transported by the clang of past accounts, I naked! You naked! Untamed, roving, Eve admit Your nostalgia was the snake, Its voice passed across your lips, And bit on the seam of your cheek. Untamed, nomadic, Eve admit The day that you your God defamed, When prematurely you saw the light And drowned in the sightless calyx of shame. Immense Will your lap dispense First timidly like fulfillment, Then impetuously stating, Itself by itself creating A God-soul...... And it waxes All over the world, Losing its beginnings, All of time traversing And back to your thousandfold heart, Surmounting the end... Sing your tremulous song in solitude, Eve, Solitary, droplet-heavy, like your heart's beat, Dissolve the dusky necklace of tears �24 Which settles round the world’s throat. Transformed like the moonlight your visage.... Lovely you.... Warble, warble, listen to the night where It plays ecstatic notes on your golden hair: “I have drunk live sweetness From multicolored branches Out of virginal blossoms. Now I am frightened By my waking sight— Hide me away, you— For my savage pain Turns into shame; Hide me away, you, Deep in the eye of the night, And let my day in dark of night be clad. That deaf tumult confounding me! My terror tumbles up the stairs of Earth, Darkly-here, back to me, night-there, Barely a space remains between us. Break that glowing Eden off my shoulder! With his cool arms we used to play, Through his bright cloud-hoops leapt our joy. Now my toes race like errant arrows across Earth, And my yearning precedes me slowly in that bow.” Eve, turn back before that final hedge! You must not cast a shadow; Flower your last, Temptress. Eve, you avid listener-in, O, you foam-white grape, Beware the tip of even your finest eyelash! �40 Early Apollo The way sometimes through branches that are naked a morning peeks, which is already moored in spring: Just so his head is truly vacant of anything to stop the songs’ allure from striking us with almost deadly might; too cool for laurel are his temples still, nor has a single blot yet blurred his sight, and later only, out of the eyebrows will, long-stemmed, the rose-garden be unloosed, whose very petals, singly and undone, will toward the trembling mouth soon migrate down, which silent still, is shiny and unused, and merely sipping with a shy small grin, as though his poesy’s piped into him. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Offering II: Selected Poems of Else Lasker-Schüler, & More of Rainer Maria Rilke, Translated by Bernhard Frank, 1986 Subject The topic of the resource Frank, Bernhard, 1931- Lasker-Schüler, Else, 1869-1945--Translations Rilke, Rainer Maria, 1875-1926--Translations Description An account of the resource This item contains the cover and two poems, entitled "Realization" from pages 23-24 and "Early Apollo" from page 40. Creator An entity primarily responsible for making the resource Lasker-Schüler, Else, 1869-1945 Rilke, Rainer Maria, 1875-1926 Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2002 Contributor An entity responsible for making contributions to the resource Frank, Bernhard, 1931- Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_OfferingII PCMS-030_OfferingII.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/c43aedcda58e2390ddccc9b0df9dd54d.pdf ee7875dcce823f6ee469c1d4f74c2033 PDF Text Text �19 YOU BELIEVE IN TEA-LEA YES You believe in tea-leaves, in omens, games of chance: I believe only in your eyes. You believe in fairy-tales, unlucky days and dreams: I believe only in your lies. You believe in a God, remote, and in some special saint, in an ave as sin's antidote. I believe only in those blue and rose hours you decant for me in the white nights of our revelry. And so completely do I rely on all the things that I believe, that it's for you alone I live. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/7fe77e157e7357c08b24fde858cfa571.pdf bd5859b93450beaca27b77641027e7a6 PDF Text Text Offering: Selected Poems of Rainer Maria Rilke & Paul Verlaine Translated by Bernhard Frank Goldengrove Press #112 �19 You Believe In Tea-Leaves You believe in tea-leaves, in omens, games of chance: I believe only in your eyes. You believe in fairy-tales, unlucky days and dreams: I believe only in your lies. You believe in a God, remote, and in some special saint, in an ave as sin’s antidote. I believe only in those blue and rose hours you decant for me in the white nights of our revelry. And so completely do I rely on all the things that I believe, that it’s for you alone I live. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Offering: Selected Poems of Rainer Maria Rilke & Paul Verlaine, Translated by Bernhard Frank, 1986 Subject The topic of the resource Frank, Bernhard, 1931- Rilke, Rainer Maria, 1875-1926--Translations Verlaine, Paul, 1844-1896--Translations Description An account of the resource This item contains the cover and a poem entitled "You Believe in Tea-Leaves" from page 19. Creator An entity primarily responsible for making the resource Rilke, Rainer Maria, 1875-1926 Verlaine, Paul, 1844-1896 Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1986 Contributor An entity responsible for making contributions to the resource Frank, Bernhard, 1931- Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Offering PCMS-030_Offering.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/2d5b3bd61aed3748ff7dcefb01053692.pdf d770ff93102bef0338e1a3cb20bdd82d PDF Text Text �APPENDIX: NOTES ON THE POETS Had John Ciardi's assertion that one can be a poet only in the language in which one first said, "Mama!" been true, there would have been no modern Hebrew poetry. As the following notes show, the majority of the poets were not born in Israel and acquired Hebrew as a second language. Yekhi'el Mar began writing poetry in German. He came to Palestine when he was sixteen-and-a-half. Of the transition he said: "When I came to the country, after three months, even less, I began to sense the language. Not so much know it, but to sense it and to open up to its beauty . . .. Two years passed, and I began to write." Where problems exist in spelling the poets' names I have offered the variants in parentheses. The differences stem partly from choices in notation. Amichai, for example, seemed to me misleading; Amihai not good enough-the kh sound (as in the German word nach) does not exist in English, but the exact pronunciation requires it: Amikhai. Even within the Hebrew, variants occur because the vowel-points are not always given, and different books use different forms. Thus one will find Tan'ee and Tanai, Ratosh and Ratush. Israel Efrat was formerly called, according to the Ashkenazy pronunciation, Israel Efros. Finally, when the poets had European names which were transcribed into Hebrew and had now to be retranscribed into the English, I found myself with an embarrassment of riches: Tuvia Riibner in the Hebrew is transcribed as Rivner or Ribner; Esther Raab as Rab or Rav, or even Raav. In the case of first names I generally chose the Hebrew rather than the English version: Mosheh for Moses, Gavri'el rather than Gabriel, and Shlomoh instead of Solomon. I drew the line, however, at Benjamin, Ben-Zion and Esther-Benyamin, Ben-Tsi'on and Ester looked too odd and were close enough to the English pronunciation not to require substitution. ALTERMAN, NATAN. 1910-70. Born in Warsaw, Alterman immigrated to Palestine in 1925; he studied in the Gymnasium Hertzliyah in Tel Aviv. He served on the newspaper staff of Ha-Arets (1934-43) and of the Davar (from 1943 on). His s~tirical "S~venth Column" in the Davar became popular. His poetiC works mclude 167 �Paupers' joy (1944) and City of the Dove (1957). He translated both Racine and Shakespeare. AMIKHAI (Amichai, Amihai), YEHUDAH. 1924- . Born in Wiirzburg, Germany, Amikhai came to Palestine in 1936. He served in the British army during World War II, and later in the Israeli army. He studied at Hebrew University in Jerusalem and teaches literature now in high school. His poetic' works include Now and in Days of Yore (1955), and Time (1977). He has also written short stories and a novel. AMIR, AHARON. 1923- . Born in Kovno, Lithuania, Amir came to Palestine in 1935. He studied at theGymnasiumHertzliyah in Tel Aviv and Hebrew University in Jerusalem. His works include the poetry volume Peg (1970), the novel And Death Shall Have No Dominion (1955 ), and Love, a collection of short stories. AVIDAN, DAVID. 1934- . Avidan was born in Tel Aviv and studied at Hebrew University in Jerusalem. He worked as journalist on the paper Yedi'ot Akhronot, and it was in newspapers that he began publishing in 1950. His poetic works include Something for Someone (1964) and External Poems (1970). His volume Impossible Poems caused a furor because of its unorthodoxy. He has also written a play, The End of the Season Is the End of the World. BAT-MIRIAM, YOKHEVED. 1901- . Born in Russia, Bat-Miriam studied at the Universities of Odessa and Moscow. She came to Palestine in 1928 and has published since 1922. Her best known volume is the Ghetto Poems ( 1943). BEN-AMITTAI, LEVI. 1901- . Born in Russia, Ben-Amittai joined the Pioneer group in 1917 and came to Palestine in 1920. He worked on construction, then joined the kvutsah or commune of Deganya, where he taught until 1939. His first poems were published in newspapers in 1925. His poetic works include Nights under Siege (1937) and The Fields That in the Valley (1940). BERNSTEIN, ORI. 1936- . Born in Tel Aviv Bernstein studied law at Hebrew University in Jerusalem. He served in the Israeli army as 168 Appendix: Notes on the Poets �military defense counsel and later practiced law in Tel Aviv. He has published since 195 3, and his works include In the Same Room In the Same Light (poetry, 1962) and The Waters Flowing Counterwis~ (short stories, 1959). BESER, YA'AKOV. 193 7- . Beser came to Israel as an adolescent. His poetic works include Winter Nineteen Forty . . . (1965), In the Tangle of Roots (1967), and Field for Stoning (1973). BET-ARYEH, MAL'AKHI. 1937- . Israeli born, educated in Ramat Gan and Hebrew University inJerusalem, Bet-Aryeh now works at the Division of Hebrew Writings in Jerusalem. His first poems appeared in periodicals. He has also written prose and children's literature (Why Did the Sun Disappear? 1960). BIALIK, KHAYIM NAKHMAN. 1873-1934. Bialik was born in Volhnia, Russia. In 1891 he came to Odessa, where he published his first poem. He came to Palestine in 1924 and founded Dvir, the publishing company of which he became editor. In addition to his voluminous poetic oeuvre he wrote short stories and translated Cervantes's Don Quixote and Schiller's Wilhelm Tell into Hebrew. He died on a trip to Austria, and his body was brought back to Palestine for burial. CHERNIKHOVSKY (Tchernichovsky), SHA'UL. 1875-1943. Born in the Crimea, Russia, Chernikhovsky received a secular education and went to Germany to study medicine. He settled in Palestine in 1931, where he continued to write and practice medicine. In addition to his poetry he translated many of the classics, including Homer, Molihe and Shakespeare. DOR, MOSHEH. 1932- . Born in Tel Aviv, Dor was educated both there and at Hebrew University inJerusalem. As a journalist he served on the staff of the Ma'ariv. He is now Israel's counselor for cultural affairs in London. First published in periodicals in 1948, Dor's works include the poetry volume Gold and Dust ( 1963) and translations of G. K. Chesterton, E. Bentley, and Doyle. EFRAT (Efros), ISRAEL. 1891- . Born in Volhnia, Russia, Efrat Appendix: Notes on the Poets 169 �immigrated to the United States in 1905. He studied at Columbia University and taught at the University of Buffalo 1929-41 and Hunter College 1941-55. Moving to Israel in 1955, he served as rector at the University of Tel Aviv. He began publishing in 1912 and has translated some of Bialik's work into English. His most recent volume of poetry is Elul Is a Month All Song (1971). ELDAN, ANADAD. 1924- . Born in Poland, Eldan came to Palestine in 1930. He grew up in the commune of Kheftsi-Bah and remained a member there until1960. He has since joined a kibuts in the Negev. His poems first appeared in 1953, and his poetic work includes Darkness Flows in the Fruit (1960), With Joys Not Lightly (1964), and Internal Light (1973 ). GALA!, BENJAMIN. 1921- . Born in Russia, Galai came to Palestine at the age of five and was educated in Tel Aviv. He served in the British air force during World War II. Since 1962 he has been active in journalism. His poetic works include On Compassion's Shore ( 1958) and journey to the North (1968). GAR, TSFRIRAH. 1924- . Gar has published The Sunflower Circle (1966) and Spot on the Sun (1970). GILBO'A, AMIR. 1917- . Born in Volhnia, Gilbo' a came to Palestine in 193 7 and served in the British army during World War II. He began publishing his work in 1941. His poetry volumes include Poems in the Morning, in the Morning (1953), Blues and Reds (1964), To Write the Lips of the Sleeping I Desired (1968), and Gazelle, I Send You (1972). GOLDBERG, LE'AH. 1911-70. Born in Kovno, Lithuania, Goldberg learned Hebrew there. In 1930 she went to study at the University of Berlin and later Bonn. She came to Palestine in 1935 where she joined the newspaper staff first of the Davarand later Ha-Mishmar. She joined the faculty of Hebrew University in Jerusalem in 1954 as lecturer on comparative literature. Her poetic works include Morning Glory (1955) and Early and Late (1959). GREENBERG (Grunberg), URI TSVI. 1894170 Appendix: Notes on the Poets . Born in Galicia, �Greenberg served in the Austrian army during World War I. He came to Palestine in 1924, where he joined a work camp. He joined the newspaper Davar when it was founded. His poetic works include House Dog (1929) and River Roads (1951). GURI (Gouri), KHAYIM. 1922- . Born in Tel Aviv, Guri studied agriculture. He was active in the Israeli Liberation War and later studied at Hebrew University in Jerusalem and at the Sorbonne. He first published his work in 1943. His poetic works include Till Dawn Come (1959) and Rose of the Winds (1960). HA-ME'IRI (formerly Feuerstein), AVIGDOR. 1890-1970. Born in Russia, Ha-Me'iri received a religious upbringing. He studied in Budapest and was active in the Zionist Youth Movement. He participated in the Zionist Congress of 1913 in Vienna. During World War I he served as officer in the Hungarian army and, when captured, was sent to Siberia. With the Russian Revolution he was freed and came to Kiev and then Odessa. He arrived in Palestine in 1921, where he lived first in Tel Aviv and later in Ramat Gan. A posthumous selection of his poems, A Collection of Poems, came out in 1976. HURVITS (Hurvitz, Hourvitz), YA'IR. 1941- . Born in Tel Aviv, Hurvits is the author of Poems for Louise (1964), Season of the Witch (1970), Narcissi for the Mud Kingdom (1973), and Sitting by Myself (1976). He is a member of the editorial board of the Siman Kri'a literary quarterly. KHALFI (Chalfi, Halfi), AVRAHAM. 1904- . Born in Lodz, Poland, Khalfi was educated in the Ukraine and became an actor there. In Palestine (1924) he worked first in agriculture and then joined the "Ohel" theatre upon its founding in 1925. In 1953 he went over to the "Te'atron Cameri." His work was first published in 1933. His volumes of poetry include Across from Stars and Dust (1962) and In the Shade of Every Place (1970). KHAZAK (Chazak, Hazak), YEKHI'EL. 1936- . Born in Israel, Khazak was raised in a kibuts and became active in agriculture. He first Appendix: Notes on the Poets 171 �published his work in 1959 in Ha-Keshet. Some of his poems are collected in Basalt Rocks (1961). KHOMSKY (Chomsky, Homsky), DOV. 1913-76. Khomsky was born in Minsk, Russia, but went to live in Poland after World War I. He later studied at the Hebrew Seminar in Vilna. Coming to Palestine in 1936, he studied at Hebrew University in Jerusalem and then taught. After serving in World War II, he became a school principal in Tel Aviv. His publications include the poetry volumes Desert Songs (1947), On the Road (1951), and Till the Moon Set (1975). KOVNER, ABBA. 1918- . Born in Sevastopol, Russia, Kovner grew up in Vilna, where he was active in the youth movement "Ha-Shomer Ha-Tsa'ir. " He was a partisan leader when the Germans took over Vilna. He came to Palestine in 1945, and his first poems were published in the newspaper Ha-Arets in 1943, smuggled over from Vilna by partisan mail. His poetic works include Land of Sand (1961), Of All Those Loves (1965), and Observations (1977). MAR, YEKHI'EL. 1921-69. Born in Poland, Mar came to Palestine in 193 7 with theYouth Ali yah. He was raised in a kibuts. In 1948 he served in the Israeli army and lived thereafter in Tel Aviv. His poetic works include Lines to the Circle (1957), Handful of Wind (1962), and New Poems (1965). NETSER (Netzer), ELI. 1933- . Born in Budapest, Netser came to Israel in 1949 and served in the Israeli army. He joined kibuts Dalyah. His poetic works include Almond in the Rain (1961) and The Hungry Keep Awake All Night (1963). OFFEN, YEHUDAH. 1922- . Born in Germany, Offen was educated in Kiel and Hamburg. In 1938 he was deported to Poland and in 1939 succeeded in immigrating to Palestine, where he served in the British army. He worked in agriculture, diamond cutting, and journalism. His poems began appearing in periodicals in 1950, and his poetic works include Without Destination (1961) and Mountain and Militance (1963 ). 172 Appendix: Notes on the Poets �P~GIS (Paggis), DAN. 1930- . Born in Bukovina, Pagis was raised in Vtenn~ a~d spent World War II in a concentration camp. He came to Palestl~e m 1947 and joined kibuts Merkhavyah. Later he taught high school m Jerusalem while studying at Hebrew University. He is now professor of medieval literature at the university. His poetic works include Sun Dial (1959), Belated Spare Time (1964), and Brain (1977). PRElL, GA VRI'EL. 1911- . Born in Estonia, Preil studied at the university in Latvia. He came to the United States in 1922 and has studied at Yeshiva University in New York City. His first publication was in the Palestinian newspaper Ha- Do 'ar. His poetic works include Landscapes of Sun and Frost and Candle Next to the Stars (1954). He also writes in Yiddish and English and has translated some of the Hebrew poets into English. RAAB (Rab, Raav, Rav), ESTHER. 1899- . Born in Petakh Tikvah, Palestine, Raab lived in Deganyah and, after her marriage, in Egypt (1920-25). Later she returned to Tel Aviv and Petakh Tikvah. Her poetic works include The Poems of Esther Raab ( 1963) and Last Prayer (1972). RABIKOVICH (Ravikovich), DALIAH. 1936- . Born inRamatGan, Palestine, Rabikovich studied at Hebrew University in Jerusalem. She now lives in Tel Aviv. Her poetic works include The Love of an Orange (1963), Difficult Winter (1964), and The Third Book (1970). RATOSH (Ratush, formerly Halpern), YONATAN. 1909- . Born in Warsaw Ratosh came to Palestine as a child and went to the Gymnasium Hertzliyah for his schooling. He later studied law and went to Paris to study philology. His first poems appeared in 1925 in the newspaper Ha-Arets. His poetic works include Black Canopy (1941), Rib (1959), Mathematical Poems (1963), and Concrete Poems (1965). ROKE'AKH (Roke'ah), DAVID, 1916- . Born in L~qv, Ro~e'~kh came to Palestine in 1934 and worked there as an architect. Hts first poems were published the following year. His poetic works include From Summer to Summer (1964) and Eyes to the Rock (1967). Appendix: Notes on the Poets 173 �RVBNER (Rivner, Ribner), TUVIA. 1924- . Born in Czechoslovakia, Rlibner came to Palestine in 1941 and joined kibuts Merkhavyah. He fought in the Israeli army and now teaches at the kibuts. He wrote at first in German but published his first Hebrew poems in 195 3. His poetic works include The Fire in the Stone (1957) and Songs for Finding Time (1961). SADEH, PINKHAS. 1929- . Born in Lvov, Sadeh came to Palestine in 1934 and grew up in kibuts Sarid. He studied in London. His first poems came out in 1945. In addition to poetry, he also writes children's books. SHALOM, SHIN (pseud. for Shalom Shapiro; sometimes written Sh. Shalom). 1904- . Born in Poland, Shalom came to Palestine in 1922 and settled in Jerusalem. He studied at Erlangen University in Germany (1930-31) and taught Hebrew literature in Jerusalem until 1939. He now lives in Haifa. His oeuvre: The Collected Works of Shin Shalom (1966). SHATAL, SHMU'EL. 1913- . Born in Pinsk, Poland, Shatal came to Palestine in 1929; he is an architect. His work was first published in 1938, and his volume Chords to the Stone appeared in 1964. SHLONSKY, AVRAHAM. 1900-73. Born in the Ukraine, Shlonsky came to Palestine in 1912, studied at Gymnasium Hertzliyah, and then returned to the Ukraine. In 1921 he immigrated and settled in Tel Aviv. His Poems, in two volumes, appeared in 1954. He has translated Moliere, Shakespeare, and Pushkin into Hebrew. SHNE'UR (Schneour), ZALMAN. 1886-1959. Born in Russia, Shne'ur came to Odessa when he was fifteen; there Bialik encouraged his literary ambitions. His work first appeared in an adult publication in 1902. In 1924 he went to live in Paris, where he remained until World War II. In 1941 he moved to the United States, and in 1951 he settled in Israel. His poetic works include At Sunset (1907) and Songs and Poems (1914); the collected Poems appeared in two volumes in 1958. 174 Appendix: Notes on the Poets �TAN'EE (Tanai), SHLOMOH. 1919- . Tan'ee c~me to Palestine when he was nine years old and was educated in Rekhovot and Tel Aviv. He traveled to France in 1947 and to the United States in 1952. He is a member of the staff of the paper Ha-Arets, and his first publication appeared in 1938. His poetic works include Land of the Living (1955), Stars of the Road (1956), and Selected Poems (1961). TOMER, BEN -ZION. 1928- . Born in Poland, Tomer fled to Russia with the outbreak of World War II. In 1943 he came to Palestine with a youth group. During the Liberation War he was taken pris::.>ner in Jordan; on his return he studied at Hebrew University in Jerusalem and also in Europe. Some of his poems were collected in The River Returns (1959) and his play, Phantoms (1963), was staged by the Ha-Bimah. TRAININ (Treinin), A VNER. 1928- . Born in Tel Aviv, Trainin studied chemistry at Hebrew University in Jerusalem and in Cambridge, England. At present he is professor of chemistry at Hebrew University. His poetry appeared in The Moss of the Wall (1957). WIESELTIER, ME'IR. 1941- . Born in Moscow, Wieseltier now lives in Tel Aviv. His poetic work includes Chapter One, Chapter Two (1967) and Take! ( 1973). WINKLER, M (ANFRED). 1922- . Born in Rumania, Winkler came to Israel in 1959 and has worked as archivist and editor. His poetic volumes include Poems ( 1965) and Between the Fingers of Poetry (1970). YALAN -SHTEKLIS MIRIAM. 1900- . Born in Russia and educated first in Berlin and then at the University of Kharkov, Yalan-Shteklis came to Palestine in 1920. She initially wrote poetry in Russian and later in German and Yiddish, as well as in Hebrew. She has also written many children's poems. YA'OZ-KEST ITAMAR. 1934- . Born in Hungary, Ya'oz-Kest was deported to B~rgen Belsen in 1944. He came to Isr~el in 1951. a~d studied at the Hebrew University in Jerusalem. He contmued to wnte m Appendix: Notes on the Poets 175 �Hungarian for some time before commencing to write his poems in Hebrew. His poetic works include Angel without Wings (1959), Landscape under Smoke (1961), and Poems (1966). ZELDA (full name: ZELDA MISHKOVSKY). 1914- . Her poetic works include Time: Poems (1967) and Don't Be Distant (1975). 176 Appendix: Notes on the Poets � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/38418a119d1864e55828755f0dc52b92.pdf 8f7ce175638053068b9124619837980f PDF Text Text Modern Hebrew Poetry Translated with introduction by Bernhard Frank Iowa Translations �Appendix: Notes On The Poets Had John Ciardi's assertion that one can be a poet only in the language in which one first said, Mama! been true, there would have been no modern Hebrew poetry. As the following notes show, the majority of the poets were not born in Israel and acquired Hebrew as a second language. Yekhi’el Mar began writing poetry in German. He came to Palestine when he was sixteen-and-a-half. Of the transition he said: "When I came to the country, after three months, even less, I began to sense the language. Not so much know it, but to sense it and to open up to its beauty. . . . Two years passed, and I began to write.” Where problems exist in spelling the poets’ names I have offered the variants in parentheses. The differences stem partly from choices in notation. Amichai, for example, seemed to me misleading; Amihai not good enough—the kh sound (as in the German word nach) does not exist in English, but the exact pronunciation requires it: Amikhai. Even within the Hebrew, variants occur because the vowel-points are not always given, and different books use different forms. Thus one will find Tan’ee and Tanai, Ratosh and Ratush. Israel Efrat was formerly called, according to the Ashkenazy pronunciation, Israel Efros. Finally, when the poets had European names which were transcribed into Hebrew and had now to be retranscribed into the English, I found myself with an embarrassment of riches: Tuvia Rubner in the Hebrew is transcribed as Rivner or Ribner; Esther Raab as Rab or Rav, or even Raav. In the case of first names I generally chose the Hebrew rather than the English version: Mosheh for Moses, Gavri'el rather than Gabriel, and Shlomoh instead of Solomon. I drew the line, however, at Benjamin, Ben-Zion and Esther—Benyamin, Ben-Tsi'on and Ester looked too odd and were close enough to the English pronunciation not to require substitution. Alterman, Natan. 1910-70. Born in Warsaw, Alterman immigrated to Palestine in 1925; he studied in the Gymnasium Hertzliyah in Tel Aviv. He served on the newspaper staff of Ha-Arets (1934-43) and of the Davar (from 1943 on). His satirical "Seventh Column” in the Davar became popular. His poetic works include 167 �Paupers’ Joy (1944) and City of the Dove (1957). He translated both Racine and Shakespeare. Amikhai (Amichai, Amihai), Yehudah. 1924- . Born in Wurzburg, Germany, Amikhai came to Palestine in 1936. He served in the British army during World War 2, and later in the Israeli army. He studied at Hebrew University in Jerusalem and teaches literature now in high school. His poetic works include Now and in Days of Yore (1955), and Time (1977). He has also written short stories and a novel. Amir, Aharon. 1923- .Born in Kovno, Lithuania, Amir came to Palestine in 1935. He studied at the Gymnasium Hertzliyah in Tel Aviv and Hebrew University in Jerusalem. His works include the poetry volume Peg (1970), the novel And Death Shall Have No Dominion (1955), and Love, a collection of short stories. Avidan, David. 1934- . Avidan was born in Tel Aviv and studied at Hebrew University in Jerusalem. He worked as journalist on the paper Yedi’ot Akhronot, and it was in newspapers that he began publishing in 1950. His poetic works include Something for Someone (1964) and External Poems (1970). His volume Impossible Poems caused a furor because of its unorthodoxy. He has also written a play, The End of the Season Is the End of the World. Bat-Miriam, Yokheved. 1901- . Born in Russia, Bat-Miriam studied at the Universities of Odessa and Moscow. She came to Palestine in 1928 and has published since 1922. Her best known volume is the Ghetto Poems (1943). Ben-Amittai, Levi. 1901- . Born in Russia, Ben-Amittai joined the Pioneer group in 1917 and came to Palestine in 1920. He worked on construction, then joined the kvutsah or commune of Deganya, where he taught until 1939. His first poems were published in newspapers in 1925. His poetic works include Nights under Siege (1937) and The Fields That in the Valley (1940). Bernstein, Ori. 1936- . Born in Tel Aviv, Bernstein studied law at Hebrew University in Jerusalem. He served in the Israeli army as 168 Appendix: Notes on the Poets �military defense counsel and later practiced law in Tel Aviv. He has published since 1953, and his works include In the Same Room, In the Same Light (poetry, 1962) and The Waters Flowing Counterwise (short stories, 1959). Beser, Ya’akov. 1937- . Beser came to Israel as an adolescent. His poetic works include Winter Nineteen Forty . . .(1965), In the Tangle of Roots (1967), and Field for Stoning (1973). Bet-Aryeh, Mal’Akhi. 1937- . Israeli born, educated in Ramat Gan and Hebrew University in Jerusalem, Bet-Aryeh now works at the Division of Hebrew Writings in Jerusalem. His first poems appeared in periodicals. He has also written prose and children’s literature (Why Did the Sun Disappear? I960). Bialik, Khayim Nakhman. 1873-1934. Bialik was born in Volhnia, Russia. In 1891 he came to Odessa, where he published his first poem. He came to Palestine in 1924 and founded Dvir, the publishing company of which he became editor. In addition to his voluminous poetic oeuvre he wrote short stories and translated Cervantes’s Don Quixote and Schiller’s Wilhelm Tell into Hebrew. He died on a trip to Austria, and his body was brought back to Palestine for burial. Chernikhovsky (Tchernichovsky), Sha’ul. 1875-1943. Born in the Crimea, Russia, Chernikhovsky received a secular education and went to Germany to study medicine. He settled in Palestine in 1931, where he continued to write and practice medicine. In addition to his poetry he translated many of the classics, including Homer, Moliere and Shakespeare. Dor, Mosheh. 1932- . Born in Tel Aviv, Dor was educated both there and at Hebrew University in Jerusalem. As a journalist he served on the staff of the Ma’ariv. He is now Israel’s counselor for cultural affairs in London. First published in periodicals in 1948, Dor’s works include the poetry volume Gold and Dust (1963) and translations o K. Chesterton, E. Bentley, and Doyle. Efrat (Efros), Israel. 1891- . Born in Volhnia, Russia, Efrat Appendix: Notes on the Poets 169 �immigrated to the United States in 1905. He studied at Columbia University and taught at the University of Buffalo 1929-41 and Hunter College 1941-55. Moving to Israel in 1955, he served as rector at the University of Tel Aviv. He began publishing in 1912 and has translated some of Bialik’s work into English. His most recent volume of poetry is Elul Is a Month All Song (1971). Eldan, Anadad. 1924- . Born in Poland, Eldan came to Palestine in 1930. He grew up in the commune of Kheftsi-Bah and remained a member there until 1960. He has since joined a kibuts in the Negev. His poems first appeared in 1953, and his poetic work includes Darkness Flows in the Fruit (1960), With Joys Not Lightly (1964), and Internal Light (1973). Galai, Benjamin. 1921- . Born in Russia, Galai came to Palestine at the age of five and was educated in Tel Aviv. He served in the British air force during World War II. Since 1962 he has been active in journalism. His poetic works include On Compassion’s Shore (1958) and Journey to the North (1968). Gar, Tsfrirah. 1924- . Gar has published The Sunflower Circle (1966) and Spot on the Sun (1970). Gilbo'a, Amir. 1917- . Born in Volhnia, Gilbo’a came to Palestine in 1937 and served in the British army during World War 2. He began publishing his work in 1941. His poetry volumes include Poems in the Morning, in the Morning (1953), Blues and Reds (1964), To Write the Lips of the Sleeping I Desired (1968), and Gazelle, I Send You (1972). Goldberg, Le’Ah. 1911-70. Born in Kovno, Lithuania, Goldberg learned Hebrew there. In 1930 she went to study at the University of Berlin and later Bonn. She came to Palestine in 1935 where she joined the newspaper staff first of the Davar and later Ha-Mishmar. She joined the faculty of Hebrew University in Jerusalem in 1954 as lecturer on comparative literature. Her poetic works include Morning Glory (1955) and Early and Late (1959). Greenburg (Grunberg), Uri Tsvi. 1894170 Appendix: Notes on the Poets . Born in Galicia, �Greenberg served in the Austrian army during World War 1. He came to Palestine in 1924, where he joined a work camp. He joined the newspaper Davar when it was founded. His poetic works include House Dog (1929) and River Roads (1951). Guri (Gouri), Khayim. 1922- . Born in Tel Aviv, Guri studied agriculture. He was active in the Israeli Liberation War and later studied at Hebrew University in Jerusalem and at the Sorbonne. He first published his work in 1943. His poetic works include Till Dawn Come (1959) and Rose of the Winds (I960). Ha-Me’Iri (formerly Feuerstein), Avigdor. 1890-1970. Born in Russia, Ha-Me’iri received a religious upbringing. He studied in Budapest and was active in the Zionist Youth Movement. He participated in the Zionist Congress of 1913 in Vienna. During World War I he served as officer in the Hungarian army and, when captured, was sent to Siberia. With the Russian Revolution he was freed and came to Kiev and then Odessa. He arrived in Palestine in 1921, where he lived first in Tel Aviv and later in Ramat Gan. A posthumous selection of his poems, A Collection of Poems, came out in 1976. Hurvits (Hurvitz, Hourvitz), Ya’Ir. 1941- . Born in Tel Aviv, Hurvits is the author of Poems for Louise (1964), Season of the Witch (1970), Narcissi for the Mud Kingdom (1973), and Sitting by Myself (1976). He is a member of the editorial board of the Siman Kri’a literary quarterly. Khalfi (Chalfi, Halfi), Avraham. 1904- . Born in Lodz, Poland, Khalfi was educated in the Ukraine and became an actor there. In Palestine (1924) he worked first in agriculture and then joined the "Ohel” theatre upon its founding in 1925. In 1953 he went over to the Te’atron Cameri.” His work was first published in 1933. His volumes of poetry include Across from Stars and Dust (1962) and In the Shade of Every Place (1970). Khazak (Chazak, Hazak), Yekhi'el. 1936- . Born in Israel, Khazak was raised in a kibuts and became active in agriculture. He first Appendix: Notes on the Poets 171 �published his work in 1959 in Ha-Keshet. Some of his poems are collected in Basalt Rocks (1961). Khomsky (Chomsky, Homsky), Dov. 1913-76. Khomsky was born in Minsk, Russia, but went to live in Poland after World War 1. He later studied at the Hebrew Seminar in Vilna. Coming to Palestine in 1936, he studied at Hebrew University in Jerusalem and then taught. After serving in World War 2, he became a school principal in Tel Aviv. His publications include the poetry volumes Desert Songs (1947), On the Road (1951), and Till the Moon Set (1975). Kovner, Abba. 1918- . Born in Sevastopol, Russia, Kovner grew up in Vilna, where he was active in the youth movement "Ha-Shomer Ha-Tsa’ir.” He was a partisan leader when the Germans took over Vilna. He came to Palestine in 1945, and his first poems were published in the newspaper Ha-Arets in 1943, smuggled over from Vilna by partisan mail. His poetic works include Land of Sand (1961), Of All Those Loves (1965), and Observations (1977). Mar, Yekhi’El. 1921-69. Born in Poland, Mar came to Palestine in 1937 with the Youth Aliyah. He was raised in a kibuts. In 1948 he served in the Israeli army and lived thereafter in Tel Aviv. His poetic works include Lines to the Circle (1957), Handful of Wind (1962), and New Poems (1965). Netser (Netzer), Eli. 1933- . Born in Budapest, Netser came to Israel in 1949 and served in the Israeli army. He joined kibuts Dalyah. His poetic works include Almond in the Rain (1961) and The Hungry Keep Awake All Night (1963). Offen, Yehudah. 1922- . Born in Germany, Offen was educated in Kiel and Hamburg. In 1938 he was deported to Poland and in 1939 succeeded in immigrating to Palestine, where he served in the British army. He worked in agriculture, diamond cutting, and journalism. His poems began appearing in periodicals in 1950, and his poetic works include Without Destination (1961) and Mountain and Militance (1963). 172 Appendix: Notes on the Poets �Pagis (Paggis), Dan. 1930— . Born in Bukovina, Pagis was raised in Vienna and spent World War 2 in a concentration camp. He came to Palestine in 1947 and joined kibuts Merkhavyah. Later he taught high school in Jerusalem while studying at Hebrew University. He is now professor of medieval literature at the university. His poetic works include Sun Dial (1959), Belated Spare Time (1964), and Brain (1977). Preil, Gavri’El. 1911- . Born in Estonia, Preil studied at the university in Latvia. He came to the United States in 1922 and has studied at Yeshiva University in New York City. His first publication was in the Palestinian newspaper Ha-Do’ar. His poetic works include Landscapes of Sun and Frost and Candle Next to the Stars (1954). He also writes in Yiddish and English and has translated some of the Hebrew poets into English. Raab (Rab, Raav, Rav), Esther. 1899- . Born in Petakh Tikvah, Palestine, Raab lived in Deganyah and, after her marriage, in Egypt (1920-25). Later she returned to Tel Aviv and Petakh Tikvah. Her poetic works include The Poems of Esther Raab (1963) andLast Prayer (1972). Rabikovich (Ravikovich), Daliah. 1936- . Born in Ramat Gan, Palestine, Rabikovich studied at Hebrew University in Jerusalem. She now lives in Tel Aviv. Her poetic works include The Love of an Orange (1963), Difficult Winter (1964), and The Third Book (1970). Ratosh (Ratush, formerly Halpern), Yonatan. 1909- . Born in Warsaw, Ratosh came to Palestine as a child and went to the Gymnasium Hertzliyah for his schooling. He later studied law and went to Paris to study philology. His first poems appeared in 1925 in the newspaper Ha-Arets. His poetic works include Black Canopy (1941), Rib (1959), Mathematical Poems (1963), and Concrete Poems (1965). Roke’Akh (Roke'ah), David, 1916- . Born in Lvov, Roke’akh came to Palestine in 1934 and worked there as an architect. His first poems were published the following year. His poetic works include From Summer to Summer (1964) and Eyes to the Rock (1967). Appendix: Notes on the Poets 173 �Rubner (Rivner, Ribner), Tuvia. 1924- . Born in Czechoslovakia, Rubner came to Palestine in 1941 and joined kibuts Merkhavyah. He fought in the Israeli army and now teaches at the kibuts. He wrote at first in German but published his first Hebrew poems in 1953. His poetic works include The Fire in the Stone (1957) and Songs for Finding Time (1961). Sadeh, Pinkhas. 1929- . Born in Lvov, Sadeh came to Palestine in 1934 and grew up in kibuts Sarid. He studied in London. His first poems came out in 1945. In addition to poetry, he also writes children’s books. Shalom, Shin (pseud, for Shalom Shapiro; sometimes written Sh. Shalom). 1904- . Born in Poland, Shalom came to Palestine in 1922 and settled in Jerusalem. He studied at Erlangen University in Germany (1930-31) and taught Hebrew literature in Jerusalem until 1939. He now lives in Haifa. His oeuvre: The Collected Works of Shin Shalom (1966). Shatal, Shmu’El. 1913- . Born in Pinsk, Poland, Shatalcame to Palestine in 1929; he is an architect. His work was first published in 1938, and his volume Chords to the Stone appeared in 1964. Shlonsky, Avraham. 1900-73. Born in the Ukraine, Shlonsky came to Palestine in 1912, studied at Gymnasium Hertzliyah, and then returned to the Ukraine. In 1921 he immigrated and settled in Tel Aviv. His Poems, in two volumes, appeared in 1954. He has translated Moliere, Shakespeare, and Pushkin into Hebrew. Shne’ur (Schneour), Zalman. 1886-1959. Born in Russia, Shne’ur came to Odessa when he was fifteen; there Bialik encouraged his literary ambitions. His work first appeared in an adult publication in 1902. In 1924 he went to live in Paris, where he remained until World War 2. In 1941 he moved to the United States, and in 1951 he settled in Israel. His poetic works include At Sunset (1907) and Songs and Poems (1914); the collected Poems appeared in two volumes in 1958. 174 Appendix: Notes on the Poets �Tan'ee (Tanai), Shlomoh. 1919- . Tan’ee came to Palestine when he was nine years old and was educated in Rekhovot and Tel Aviv. He traveled to France in 1947 and to the United States in 1952. He is a member of the staff of the paper Ha-Arets, and his first publication appeared in 1938. His poetic works include Land of the Living (1955), Stars of the Road (1956), and Selected Poems (1961). Tomer, Ben-Zion. 1928- . Born in Poland, Tomer fled to Russia with the outbreak of World War 2. In 1943 he came to Palestine with a youth group. During the Liberation War he was taken prisoner in Jordan; on his return he studied at Hebrew University in Jerusalem and also in Europe. Some of his poems were collected in The River Returns (1959) and his play, Phantoms (1963), was staged by the Ha-Bimah. Trainin (Treinin), Avner. 1928- . Born in Tel Aviv, Trainin studied chemistry at Hebrew University in Jerusalem and in Cambridge, England. At present he is professor of chemistry at Hebrew University. His poetry appeared in The Moss of the Wall (1957). Wieseltier, Me'ir. 1941- . Born in Moscow, Wieseltier now lives in Tel Aviv. His poetic work includes Chapter One, Chapter Two (1967) and Take! (1973). Winkler, M(anfred). 1922- . Born in Rumania, Winkler came to Israel in 1959 and has worked as archivist and editor. His poetic volumes include Poems (1965) and Between the Fingers of Poetry (1970). Yalan-Shteklis, Miriam. 1900- . Born in Russia and educated first in Berlin and then at the University of Kharkov, Yalan-Shteklis came to Palestine in 1920. She initially wrote poetry in Russian and later in German and Yiddish, as well as in Hebrew. She has also written many children’s poems. Ya’Oz-Kest, Itamar. 1934- . Born in Hungary, Ya’oz-Kest was deported to Bergen Belsen in 1944. He came to Israel in 1951 and studied at the Hebrew University in Jerusalem. He continued to write in Appendix: Notes on the Poets 175 �Hungarian for some time before commencing to write his poems in Hebrew. His poetic works include Angel without Wings (1959), Landscape under Smoke (1961), and Poems (1966). Zelda (full name: Zelda Mishkovsky). 1914- . Her poetic works include Time: Poems (1967) and Don’t Be Distant (1975). 176 Appendix: Notes on the Poets � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Modern Hebrew Poetry Translated with introduction by Bernhard Frank, 1980 Subject The topic of the resource Frank, Bernhard, 1931- Hebrew poetry--Translations Description An account of the resource This item contains the cover and Appendix entitled "Notes on the Poets" from pages 167-176. 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Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/b6f81e0939ac996a08840595898b6af9.pdf 89195aace1339d77ab5f1eab17812497 PDF Text Text MANN ON MAN: THEMES AND VARIATIONS �Table of Contents Overture .................................................... 7 Themes: Death in Venice The "Little Phaeax" Motif .............................. 9 The Camera on the Beach ............................. 12 Variations: The Sweet Life in Venice (a Paraquel ) .................... 15 No Man Is an Idol (a Sequel) ........................... 20 First Love in Munich (a Prequel) ............... . . . ...... 25 Themes: "Tristan" The Reluctant Narrator .................. . ............ 30 The Death ofTristan ................................. 34 Variation: Isolde (a Paraquel) ................................... 37 Themes: The Magic Mountain A Plot Skeleton from the Past ........... .. ........... ... 44 Coda: Crib Notes for Homer's Iliad ........................... 51 �Table of Contents Overture .................................................... 7 Themes: Death in Venice The "Little Phaeax" Motif .............................. 9 The Camera on the Beach ...... ....................... 12 Variations: The Sweet Life in Venice (a Paraquel ) .................... 15 No Man Is an Idol (a Sequel) ........................... 20 First Love in Munich (a Prequel) . .............. ....... .. 25 Themes: "Tristan" The Reluctant Narrator ................ .... ..... . ..... 30 The Death ofTristan . .. ........ .. ....... ..... ........ 34 Variation: Isolde (a Paraquel) .. .... .. ... ....... ................. 37 Themes: The Magic Mountain A Plot Skeleton from the Past ........................... 44 Coda: Crib Notes for Homer's Iliad ........................... 51 �L 44 A Plot Skeleton from the Past Thomas Mann's novel The Magic Mountain is so crammed with characters, symbols, philosophical discussions and now dated medical and scientific minutiae that its plot skeleton is obscured. The multi-layering of his characters, something already lavishly used years earlier in his classic novella Death in Venice, distracts us further: Hans Castorp and Settembrini doubling both as Faust and Mephistopheles and as Dante and Virgil; Settembrini and Naphta sounding like refugees from Dostoyevsky's The Possessed;* and with the departure of Castorp's love, his sometime Beatrice, Clavdia Chauchat, many an opera of love and loss is offered as a double for the pair. All these transfigurations, however, are more riffs under which the plot skeleton is tucked away. Judith Ryan defends this surfeit: "Mythological leitmotifs and allusions are particularly useful to The Magic Mountain because of their ambivalent status: conjuring up classical tradition and the foundations of humanistic education, on the one hand, and appropriated by current fashion, on the other." She goes on to contrast the methodical classical paralleling in Joyce's Ulysses with Mann's sporadic use of mythology in Budden brooks (131-32). It is then both surprising and gratifying to discover that in The Magic Mountain Mann paralleled Homer's Iliad as methodically as Joyce did the Odyssey. A close reading of his foreword finds Mann tickling our curiosity with oblique references to the distant past: "[T]his story, we say, belongs to the long ago; is already, so to speak, covered with historic mould" and "is far older than its years." Although he won't tell us which legend he is alluding to, he does insist that there is one: "[O]ur story has, of its own nature, something of the legend about it now and again" (ix-x). In his afterword, addressed to American readers, Mann commends a young Howard Nemerov's reading of the book as a quest for the holy grail. Poe's essay on the composition of "The Raven" comes to mind, another instance of a red herring �45 thrown, with a twinkle in his eye, by author to reader. Within the novel proper the author soon tosses us a more valid clue. By naming his main character Castorp he evokes . Castor, H~len's brother (Iliad, III:281-91), thereby directing us to Homenc Greece. Yet why the pesky p ? Then, revelation: Castorp is an anagram for Patroc[lu]s, a clear lead into Iliad. But, wait! Something's amiss, since Hans Castorp will turn out to be Achilles to his step-cousin Joachim Ziemssen's Patroclus (see schema, p. 47). The anagram alerts us to several facts: a. some events will be relegated to the wrong side of the Achilles/ Patroclus partnership; b. the time sequence of events in Iliad may be jumbled like the letters in the anagram; and c. material may be either added [lu], subtracted [Patroc] or fused [Patroc+lu+s]. Consider the mountain setting of the Berghof sanatorium as Achilles' camp, a stillpoint in the midst of chaos and carnage, and the flatlands which Hans Castorp abandoned as the battle fields ofTroy. Now let us unravel the plot parallels. As you will note from the book and line number references in the schema, the Iliad chronology of events is shuffled; yet it points to distinct parallels between Homer's epic and Mann's novel. The wrath of Achilles is transformed into running a temperature that will not subside, keeping Hans confined alongside Joachim. The latter leaves for the flatlands to join the army, just as Patroclus did, leaving Hans/Achilles behind. Thereafter, Hans sets out on a skiing expedition and is caught in a snow storm (think frozen water). During it, while in fear for his life, he has a vision which begins as a kind of peaceable kingdom and ends in a nightmarish slaughter. Hans comments, "I have made a dream poem of humanity'' (496), which is what Homer had done in his description of Achilles' shield. However, since he could not have Hans credibly fight a river, and since a shield would be anachronistic, Mann jumbled time and fused two Homeric events: Achilles pursued by and battling the raging �46 Scamander river and the scenes depicted on the shield Hephaestus made for him after the death of Patroclus. Time shuffling also delays the appearance of Pieter Peeperkorn, Agamemnon's double, until after Joachim/Patroclus's death. The plot alteration of his committing suicide, rather than being murdered later in his bath tub, allows Clavdia/Briseis to be returned to Hans/Achilles. Having assigned Hans an anagram of Patroclus's name rather than that of Achilles, we are also prepared for some character shuffling. Thus, when Joachim, whose death is precipitated by the army, returns to die at Berghof, it is quite logically his mother who mourns for him. We have a juxtaposition here, for in Iliad it is Achilles' mother, Thetis, who joins her son in mourning his friend's death. Yet many of the Iliad I Magic Mountain counterparts are carefully limned: Clavdia Chauchat is depicted as Slavic, while her double, Briseis, was a native of the Troad in Asia Minor; Uncle Tienapple's attempt, during his brief visit, to lure Hans back to the flatlands parallels Phoenix's visit to Achilles' tent, and his urging him back into the battlefield; the vingt-et-un card games run by Pieter Peeperkorn imitate the Homeric funeral games headed by Agamemnon; during the reconciliation of Peeperkorn and Hans in their rivalry for Clavdia's love Hans's newly matured conduct parallels that of Achilles in his relationship with Agamemnon; the ghost sighting of Joachim serves no other purpose than to evoke the appearance of Patroclus's ghost; and, finally, with the opening of the last paragraph of the novel-,-"Farewell-and if thou livest or diest"Mann, like Homer, eschews the depiction of his hero's imminent death. "If you are not meant to get home," Hans thinks during the snowstorm, shortcuts to death "are a benefaction, they are merciful; but if you mean to get home, they become sinister" (485). Achilles too, was ever torn between these alternatives: die young and gloriously in battle, or live to an obscure �47 Magic Mountain Parallel event in Iliad [Hans Castorp visits Joachim] Hans develops a temperature, 161 + ......................... The wrath of Achilles, 1:412-22 Hans stays on at Berghof, ibid ................................... Achilles sulks in tent w/ Patroclu , 1:423+ Hans loses Clavdia, 343 ................................................... Achilles loses Briseis, 1:409-11 Joachim rejoins Army, 420-25 ..................................... Patroclus rejoins battle, XVI: 1-917 Tienapple begs Hans to leave, 428-39 .................... Phoenix begs Achilles to fight, IX:524- 45 Hans is caught in snow storm, 478-98 ................... Achilles fights the river, XX1:263-434 Hans's vision: peace and violence, 490-97 ............ The shield of Achilles, XVIII:572-709 Joachim dies, 498-540 ...................................................... Patroclus is killed, XVI:917-1012 Joachim's mother mourns, 538 .................................... Thetis comforts Achilles, XVIII:39-42, 81 + Clavdia returns to Berghof, 549 .................................. Briseis returned to Achilles, XIX:289+, 333+ Card games with Peeperkorn, 556-74 ..................... Funeral games, XXIII:297-995 Peeperkorn and Hans reconcile, 606-1 2 ................ Achilles/Agamemnon reconcile, XIX:61-17 Hans sees Joachim's ghost, 680-81 ............................ Achilles sees Patroclus's ghost, XX1II:6 + Hans joins army "below", 712-15 ............................. Achilles returns to battle, XIX:429-30 Hans's fate not given, 716 .............................................. Achilles' death not given, XXIV:793-94 �48 but ripe old age at home. Surely these congruencies can't all be coincidental. Not indicated in our schema is the role of Drs. Krakowski and Behrens as generic doubles for the Greek gods.** Their prognoses, prescriptions and mysterious x-rays evoke their counterparts' divine edicts, potions and omniscient powers. As for those interminable philosophical discussions which make time and action stand still in The Magic Mountain, aren't they the logical counterparts for Homer's famous digressions? Yet the question remains why Mann ran those two tales, one of the recent past and one of the long ago concurrently. We can only speculate that, since the novel's controlling theme is time's relativity, the author chose to collapse some 3400 years, from the end of the Trojan War, made great by Homer's epic, to "the Great War" (ix) of 1914, into a single narrative strand. In the process, he highlights humankind's evolution from the heroic to the mundane. NOTES * Mann wrote an introduction to Dostoyevsky's novels, as well as an essay on that experience, "Dostoyevsky within Limits." ** Although they are referred to as Minos and Rhadamanthus (57, 61, passim) respectively, these appellations of the judges of the Underworld are more suited to the Dantesque level of the tale. WORKS CITED Homer. Iliad, Robert Fagles, trans. New York: Penguin Classics, 1990. Mann, Thomas. The Magic Mountain, H. T. Lowe-Porter, trans. New York: Vintage Books, 1969. Ryan, Judith. "Buddenbrooks: between Realism and Aestheticism" The Cambridge Companion to Thomas Mann. Cambridge, UK: Cambridge UP. 119-136. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/d7c466077585e7eb54b70b2310420dfa.pdf d90fe978de699450bdf3d3cd1296a1cf PDF Text Text Mann On Man: Themes and Variations Bernhard Frank �Table of Contents Overture..................................................................................................................... 7 Themes: Death in Venice The “Little Phaeax” Motif.................................................. 9 The Camera on the Beach................................................................. 12 Variations: The Sweet Life in Venice (a Paraquel)........................... 15 No Man Is an Idol (a Sequel)............................................................ 20 First Love in Munich (a Prequel)..................................................... 25 Themes: “Tristan” The Reluctant Narrator.................................................... 30 The Death of Tristan.......................................................................... 34 Variation: Isolde (a Paraquel)............................................................. 37 Themes: The Magic Mountain A Plot Skeleton from the Past........................................... 44 Coda: Crib Notes for Homer’s Iliad............................................................ 51 �Table of Contents Overture.................................................................................................................... 7 Themes: Death in Venice The “Little Phaeax” Motif................................................. 9 The Camera on the Beach................................................................ 12 Variations: The Sweet Life in Venice (a Paraquel)...........................15 No Man Is an Idol (a Sequel)............................................................20 First Love in Munich (a Prequel)..................................................... 25 Themes: "Tristan" The Reluctant Narrator.................................................... 30 The Death of Tristan......................................................................... 34 Variation: Isolde (a Paraquel)........................................................... 37 Themes: The Magic Mountain A Plot Skeleton from the Past......................................... 44 Coda: Crib Notes for Homers Iliad............................................................51 �44 A Plot Skeleton from the Past Thomas Mann’s novel The Magic Mountain is so crammed with characters, symbols, philosophical discussions and now dated medical and scientific minutiae that its plot skeleton is obscured. The multi-layering of his characters, something already lavishly used years earlier in his classic novella Death in Venice, distracts us further: Hans Castorp and Settembrini doubling both as Faust and Mephistopheles and as Dante and Virgil; Settembrini and Naphta sounding like refugees from Dostoyevsky’s The Possessed;* and with the departure of Castorp’s love, his sometime Beatrice, Clavdia Chauchat, many an opera of love and loss is offered as a double for the pair. All these transfigurations, however, are more riffs under which the plot skeleton is tucked away. Judith Ryan defends this surfeit: “Mythological leitmotifs and allusions are particularly useful to The Magic Mountain because of their ambivalent status: conjuring up classical tradition and the foundations of human istic education, on the one hand, and appropriated by current fashion, on the other.” She goes on to contrast the methodical classical paralleling in Joyce’s Ulysses with Mann’s sporadic use of mythology in Buddenbrooks (131-32). It is then both surprising and gratifying to discover that in The Magic Mountain Mann paralleled Homer’s Iliad as methodically as Joyce did the Odyssey. A close reading of his foreword finds Mann tickling our curi osity with oblique references to the distant past: “[T]his story, we say, belongs to the long ago; is already, so to speak, covered with historic mould” and “is far older than its years.” Although he won’t tell us which legend he is alluding to, he does insist that there is one: “[O]ur story has, of its own nature, some thing of the legend about it now and again” (9-10). In his afterword, addressed to American readers, Mann com mends a young Howard Nemerov’s reading of the book as a quest for the holy grail. Poe’s essay on the composition of “The Raven comes to mind, another instance of a red herring �45 thrown, with a twinkle in his eye, by author to reader. Within the novel proper the author soon tosses us a more valid clue. By naming his main character Castorp he evokes Castor, Helen’s brother (Iliad, 3 :281-91), thereby directing us to Homeric Greece. Yet why the pesky P ? Then, revelation: Castorp is an anagram for Patroc[lu]s, a clear lead into Iliad. But, wait! Something's amiss, since Hans Castorp will turn out to be Achilles to his step-cousin Joachim Ziemssen’s Patroclus (see schema, page . 47). The anagram alerts us to several facts: a. some events will be relegated to the wrong side of the Achilles/ Patroclus partnership; b. the time sequence of events in Iliad may be jumbled like the letters in the anagram; and c. material may be either added [lu], subtracted [Patroc] or fused [Patroc+lu+s]. Consider the mountain setting of the Berghof sanatorium as Achilles’ camp, a stillpoint in the midst of chaos and carnage, and the flatlands which Hans Castorp abandoned as the battle fields of Troy. Now let us unravel the plot parallels. As you will note from the book and line number references in the schema, the Iliad chronology of events is shuffled; yet it points to distinct parallels between Homer’s epic and Mann’s novel. The wrath of Achilles is transformed into running a tem perature that will not subside, keeping Hans confined alongside Joachim. The latter leaves for the flatlands to join the army, just as Patroclus did, leaving Hans/Achilles behind. Thereafter, Hans sets out on a skiing expedition and is caught in a snow storm (think frozen water). During it, while in fear for his life, he has a vision which begins as a kind of peaceable kingdom and ends in a nightmarish slaughter. Hans comments, I have made a dream poem of humanity (496), which is what Homer had done in his description of Achilles’ shield. However, since he could not have Hans credibly fight a river, and since a shield would be anachronistic, Mann jumbled time and fused two Homeric events: Achilles pursued by and battling the raging �46 Scamander river and the scenes depicted on the shield Hephaestus made for him after the death of Patroclus. Time shuffling also delays the appearance of Pieter Peeperkorn, Agamemnon’s double, until after Joachim/Patroclus’s death. The plot alteration of his committing suicide, rather than being murdered later in his bath tub, allows Clavdia/Briseis to be returned to Hans/Achilles. Having assigned Hans an anagram of Patroclus’s name rather than that of Achilles, we are also prepared for some character shuffling. Thus, when Joachim, whose death is precipitated by the army, returns to die at Berghof, it is quite logically his mother who mourns for him. We have a juxtaposition here, for in Iliad it is Achilles’ mother, Thetis, who joins her son in mourning his friend’s death. Yet many of the Iliad/Magic Mountain counterparts are care fully limned: Clavdia Chauchat is depicted as Slavic, while her double, Briseis, was a native of the Troad in Asia Minor; Uncle Tienapple’s attempt, during his brief visit, to lure Hans back to the flatlands parallels Phoenix’s visit to Achilles’ tent, and his urging him back into the battlefield; the vingt-et-un card games run by Pieter Peeperkorn imitate the Homeric funeral games headed by Agamemnon; during the reconciliation of Peeperkorn and Hans in their rivalry for Clavdia’s love Hans’s newly matured conduct parallels that of Achilles in his rela tionship with Agamemnon; the ghost sighting of Joachim serves no other purpose than to evoke the appearance of Patroclus's ghost; and, finally, with the opening of the last para graph of the novels -" Farewell—and if thou livest or diest”— Mann, like Homer, eschews the depiction of his hero’s immi nent death. If you are not meant to get home,” Hans thinks during the snowstorm, shortcuts to death “are a benefaction, they are merciful; but if you mean to get home, they become sinister (485). Achilles too, was ever torn between these alter natives. die young and gloriously in battle, or live to an obscure �47 Magic Mountain Parallel event in Iliad [Hans Castorp visits Joachim] — Hans develops a temperature, 161+ The wrath of Achilles, I:412-22 Hans stays on at Berghof, ibid. Achilles sulks in tent w/ Patroclus, I:423+ Hans loses Clavdia, 343 Achilles loses Briseis, I:409-11 Joachim rejoins Army, 420-25 Patroclus rejoins battle, XVI: 1-917 Tienapple begs Hans to leave, 428-39 Phoenix begs Achilles to fight, IX:524-845 Hans is caught in snow storm, 478-98 Achilles fights the river, XXI:263-434 Hans’s vision: peace and violence, 490-97 The shield of Achilles, XVIII:572-709 Joachim dies, 498-540 Patroclus is killed, XVI:917-1012 Joachim’s mother mourns, 538 Thetis comforts Achilles, XVIII:39-42, 81 + Clavdia returns to Berghof, 549 Briseis returned to Achilles, XIX:289+, 333+ Card games with Peeperkorn, 556-74 Funeral games, XXIII:297-995 Peeperkorn and Hans reconcile, 606-12 Achilles/Agamemnon reconcile, XIX:61-178 Hans sees Joachim’s ghost, 680-81 Achilles sees Patroclus’s ghost, XXIII:68+ Hans joins army “below”, 712-15 Achilles returns to battle, XIX:429-30 Hans’s fate not given, 716 Achilles’ death not given, XXIV:793-94 �48 but ripe old age at home. Surely these congruencies can’t all be coincidental. Not indicated in our schema is the role of DRS. Krokowski and Behrens as generic doubles for the Greek gods.** Their prognoses, prescriptions and mysterious X-rays evoke their counterparts’ divine edicts, potions and omniscient powers. As for those interminable philosophical discussions which make time and action stand still in The Magic Mountain, aren’t they the logical counterparts for Homer’s famous digressions? Yet the question remains why Mann ran those two tales, one of the recent past and one of the long ago concurrently. We can only speculate that, since the novel’s controlling theme is time’s relativity, the author chose to collapse some 3400 years, from the end of the Trojan War, made great by Homer’s epic, to “the Great War" (9) of 1914, into a single narrative strand. In the process, he highlights humankind’s evolution from the heroic to the mundane. Notes *Mann wrote an introduction to Dostoyevsky’s novels, as well as an essay on that experience, “Dostoyevsky within Limits.” **Although they are referred to as Minos and Rhadamanthus (57, 61, pas sim) respectively, these appellations of the judges of the Underworld are more suited to the Dantesque level of the tale. Works Cited Homer. Iliad, Robert Fagles, trans. New York: Penguin Classics, 1990. Mann, Thomas. The Magic Mountain, H. T. Lowe-Porter, trans. New York: Vintage Books, 1969. Ryan, Judith. "Buddenbrocks: between Realism and Aestheticism,” The Cambridge Companion to Thomas Mann. Cambridge, UK: Cambridge UP. 119-136. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mann on Man: Themes and Variations by Bernhard Frank, 2009 Subject The topic of the resource Frank, Bernhard, 1931- Fiction Description An account of the resource This item contains the cover, table of contents, and a critique entitled "A Plot Skeleton from the Past" from pages 44-48. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2009 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_MannOnMan PCMS-030_MannOnMan.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/8848b8bc933d3bf34592e4272375e3e9.pdf 66543c55c6df08183ff2a0c860210fa2 PDF Text Text �37 ~ CHAPTERS ~ The following night a light snow sifted to the ground. "You can't possibly sleep in the cottage," Dotty said. "Eh," Chester shrugged, "we'll survive." But Dotty wouldn't hear of it. "You'll catch your death," she said. "Now, let's see ... " She was happiest when planning. "So long as Kip Sanford isn't here yet," a note of reproach crept into her voice, "there's a double bed ... Isaac, Chester, Russ ... " It always struck Russ Dubinski as an omen that he should have been assigned Kip's bed that snowy night. "Since I'm all by myself," Bella Malt said, anticipating the falling axe and determined at least to have her choice, "why don't I share with Robyn?" Robyn's face lit up and Bella almost regretted her words; no point in having the girl become too attached. "In that case, " Dotty said, resentful of Bella's meddling, "Coral and Mitzi, you can have the couch-bed in George's office. You don't mind, dear?" George Gresham had lived with Dotty long enough to know when he was not being consulted. Orin guessed what was coming but was damned if he would offer. As director he was entitled to his own room; mixing with the riffraff was hardly conducive to respect. �38 "Orin, I'm sure, won't mind sharing with Mike and Len," Dotty said. Make up for the poodles, _she thought wryly; probably, he wouldn't even know the difference. There of course she was wrong. "All settled," Dotty said. Then, seeing Maury, his face stark, on the verge of tears, she exclaimed, "Heavens! I forgot our orphan in the storm!" Maury brightened. He was praying, quite irrationally he knew, to be put up with Hank. "Would you mind sleeping on the parlor sofa?" So long as he wasn't paying room and board that should certainly be ample. "Well," she rose and stretched. "Tomorrow is a work day. George!" The others too stood up. "Good night." "Good night." "Good night." "Good night." Orin's room smelled of sandalwood. Mike picked one of the scripts off the marble-top nightstand and his eyes brightened. He read a line out loud. Len caught on and, leaning over Mike's shoulder, answered him. Then Mike launched into a long speech. Orin stood by unbuttoning his shirt and trying hard to look serious. If they could only see themselves, he thought. "Time to go beddy-bye-bye," he said kindly. "Aw!" As soon as they had put the script down they felt awkward, self-conscious. They hated undressing before the older man. "I don't know that it's much warmer here than in the cottage," Orin said sulkily. So long as they were going to be bores he would be better off without them. �39 "You haven't tried the cottage," Mike said, piqued. He surveyed the open suitcases, the soiled under-clothes scattered about the room. Pig, he thought. "Let's hop to it, boys." Orin stripped down to his shorts with the speed of foxes and vanished into the adjoining bathroom. When he returned the two were already in bed. "Well," he said sourly, "you boys can move when you want to." He slipped out of his shorts. Mike and Len averted their eyes in horror and huddled at one end of the bed. "I won't eatcha," Orin said, their self-consciousness infecting him. Not that I wouldn't like to, he thought, slipping under the covers. "Jesus!" "That's what I said," Mike offered. ''At least you could have warmed the sheets up," Orin said, knowing better than to tease them; they reminded him of trapped mice. He couldn't resist taking a gander under the plaid blanket before turning out the light. "Hmmm," he said, chuckling, "they died with their briefs on!" He was rewarded with a stony silence. They undressed in the outer office amid the clutter of clipboards and ledgers; Mitzi spread her dress across George Gresham's typewriter. "I dislike being touched," Coral said, getting into bed. "I have no intention of touching you," Mitzi said, outraged. "What do you take me for?" "I only meant," Coral, who was hardly the soul of patience, said, "that the bed is so narrow. I usually sleep alone." "By choice?" "Yes, by choice." Coral crushed a half-smoked cigarette and lit another. "I could have any man I want." Mitzi, brushing her red locks, raised an eyebrow. Even she �40 couldn't have just any man and had scars to prove it. "Is this going to take all night?" Coral asked. M itzi went right on brushing. But Coral did not like being ignored. She sat up and flicked off the light. "Hey! Turn that back on!" Coral chuckled. "Next time I talk to you," she said, turning the light back on, "you answer me." But they had nothing more to say. "You're the quiet one," Dotty said, tucking the edges of the Indian blanket about Maury's thin body. "Sleep tight." Then, as an afterthought, "I hope the safety light won't bother you?" "Oh, no," Maury said, grateful for every crumb of attention, the attention H ank had withheld from him ever since he had arrived. Down South they had been so happy. Impulsively, he sat up and kissed Dotty on her parchmentdry cheek. "Now, now," sh e said and mischievously ruffled his hair. "To sleep!" In Kip Sanford's room Russ Dubinski undressed, his face to the wall. Chester and Isaac were already in bed. Isaac was reading. "Wish to hell we h ad a chick in here," Chester said, sensing some sexual reverberations. The silence which followed hit his own pomposity home to him, but he couldn't stop. "Youse guys wouldn't have any objections, would ye now? " Still Russ and Isaac said nothing. Chester's cheeks began to tingle. "Shall I turn out the light?" Russ asked. �41 Isaac shrugged and closed his book. It was all the same to him. It was, he thought, going to be a lonely summer. Robyn, meanwhile, lay stock still. Silent night, holy night, she thought, perfectly happy to remain as she was. "You smoke too much," she said, watching the bluish haze swirling to the beamed ceiling ''I'll shorten my life by three years," Bella said, laughing, "and die at eighty-three instead of eighty-six. The world shall be inconsolable; so shall I." Robyn had to laugh. "Good night, my dear." Bella had almost said 'my love', but Robyn would have taken it at face value. Robyn lay awake for a long time. "Psst!" Unwittingly, Dotty had played right into their hands. "Psst!" Maury opened his eyes. He hadn't really been sleeping. The slim figure beside the sofa, stark against the safety light of the hall, bent down. "Hank!" "Shhhhhh!" And he took the boy in his arms. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/d5ebfc8184b3afd19eaa353825839e75.pdf c6b956effac964ecc9c0437d5a5108f5 PDF Text Text Mandolin with Rain A Novel By Bernhard Frank �37 Chapter 8 The following night a light snow sifted to the ground. “You can’t possibly sleep in the cottage,” Dotty said. “Eh,” Chester shrugged, “we’ll survive.” But Dotty wouldn’t hear of it. “You’ll catch your death,” she said. “Now, let’s see...” She was happiest when planning. “So long as Kip Sanford isn’t here yet,” a note of reproach crept into her voice, “there’s a double bed... Isaac, Chester, Russ...” It always struck Russ Dubinski as an omen that he should have been assigned Kip’s bed that snowy night. “Since I’m all by myself,” Bella Malt said, anticipating the falling axe and determined at least to have her choice, “why don’t I share with Robyn?” Robyn’s face lit up and Bella almost regretted her words; no point in having the girl become too attached. “In that case,” Dotty said, resentful of Bella’s meddling, “Coral and Mitzi, you can have the couch-bed in George’s office. You don’t mind, dear?” George Gresham had lived with Dotty long enough to know when he was not being consulted. Orin guessed what was coming but was damned if he would offer. As director he was entitled to his own room; mixing with the riffraff was hardly conducive to respect. �38 “Orin, I’m sure, won’t mind sharing with Mike and Len," Dotty said. Make up for the poodles, she thought wryly; probably, he wouldn’t even know the difference. There of course she was wrong. “All settled,” Dotty said. Then, seeing Maury, his face stark, on the verge of tears, she exclaimed, “Heavens! I forgot our orphan in the storm!” Maury brightened. He was praying, quite irrationally he knew, to be put up with Hank. “Would you mind sleeping on the parlor sofa?” So long as he wasn’t paying room and board that should certainly be ample. “Well,” she rose and stretched. “Tomorrow is a work day. George!” The others too stood up. “Good night.” “Good night.” “Good night.” “Good night.” Orin's room smelled of sandalwood. Mike picked one of the scripts off the marble-top nightstand and his eyes brightened. He read a line out loud. Len caught on and, leaning over Mike’s shoulder, answered him. Then Mike launched into a long speech. Orin stood by unbuttoning his shirt and trying hard to look serious. If they could only see themselves, he thought. “Time to go beddy-bye-bye,” he said kindly. “Aw!” As soon as they had put the script down they felt awkward, self-conscious. They hated undressing before the older man. “I don’t know that it’s much warmer here than in the cot tage,” Orin said sulkily. So long as they were going to be bores he would be better off without them. �39 “You haven’t tried the cottage,” Mike said, piqued. He sur veyed the open suitcases, the soiled under-clothes scattered about the room. Pig, he thought. “Let’s hop to it, boys.” Orin stripped down to his shorts with the speed of foxes and vanished into the adjoining bath room. When he returned the two were already in bed. "Well," he said sourly, “you boys can move when you want to.” He slipped out of his shorts. Mike and Len averted their eyes in horror and huddled at one end of the bed. “I won’t eatcha,” Orin said, their self-consciousness infecting him. Not that I wouldn’t like to, he thought, slipping under the covers. “Jesus!” “That’s what I said,” Mike offered. “At least you could have warmed the sheets up,” Orin said, knowing better than to tease them; they reminded him of trapped mice. He couldn’t resist taking a gander under the plaid blanket before turning out the light. “Hmmm,” he said, chuckling, “they died with their briefs on!” He was rewarded with a stony silence. They undressed in the outer office amid the clutter of clip boards and ledgers; Mitzi spread her dress across George Gresham’s typewriter. “I dislike being touched,” Coral said, getting into bed. “I have no intention of touching you,” Mitzi said, outraged. “What do you take me for?” “I only meant,” Coral, who was hardly the soul of patience, said, “that the bed is so narrow. I usually sleep alone. “By choice?” “Yes, by choice.” Coral crushed a half-smoked cigarette and lit another. “I could have any man I want. Mitzi, brushing her red locks, raised an eyebrow. Even she �40 couldn’t have just any man and had scars to prove it. “Is this going to take all night?” Coral asked. Mitzi went right on brushing. But Coral did not like being ignored. She sat up and flicked off the light. “Hey! Turn that back on!” Coral chuckled. “Next time I talk to you,” she said, turning the light back on, “you answer me.” But they had nothing more to say. “You’re the quiet one,” Dotty said, tucking the edges of the Indian blanket about Maury’s thin body. “Sleep tight.” Then, as an afterthought, “I hope the safety light won’t bother you?” “Oh, no,” Maury said, grateful for every crumb of attention, the attention Hank had withheld from him ever since he had arrived. Down South they had been so happy. Impulsively, he sat up and kissed Dotty on her parchment dry cheek. “Now, now,” she said and mischievously ruffled his hair. “To sleep!” In Kip Sanford’s room Russ Dubinski undressed, his face to the wall. Chester and Isaac were already in bed. Isaac was reading. “Wish to hell we had a chick in here,” Chester said, sensing some sexual reverberations. The silence which followed hit his own pomposity home to him, but he couldn’t stop. “Youse guys wouldn’t have any objections, would ye now?” Still Russ and Isaac said nothing. Chester’s cheeks began to tingle. “Shall I turn out the light?” Russ asked. �41 Isaac shrugged and closed his book. It was all the same to him. It was, he thought, going to be a lonely summer. Robyn, meanwhile, lay stock still. Silent night, holy night, she thought, perfectly happy to remain as she was. “You smoke too much,” she said, watching the bluish haze swirling to the beamed ceiling “I’ll shorten my life by three years,” Bella said, laughing, “and die at eighty-three instead of eighty-six. The world shall be inconsolable; so shall I.” Robyn had to laugh. “Good night, my dear.” Bella had almost said ‘my love’, but Robyn would have taken it at face value. Robyn lay awake for a long time. “Psst!” Unwittingly, Dotty had played right into their hands. “Psst!” Maury opened his eyes. He hadn’t really been sleeping. The slim figure beside the sofa, stark against the safety light of the hall, bent down. “Hank!” “Shhhhhh!” And he took the boy in his arms. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mandolin With Rain by Bernhard Frank, 2008 Subject The topic of the resource Frank, Bernhard, 1931- Fiction Description An account of the resource This item contains the cover, as well as "Chapter 8" from pages 37-41. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2008 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Mandolin PCMS-030_Mandolin.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/524b7ed512e509bdc99864066086f7c8.pdf 2ccc0c810e8474245071e7c30158f203 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/e636a061d952840f9ac9a4e80e87503d.pdf 7802ffbe60ec1f1b539b2d080b437534 PDF Text Text Louder Than the Dark: A Human Prospective Poems by Bernhard Frank �Yellow Leaves... 15 Ashiver in December’s age (without either song or plumage) the only flame burning is rage, oh, reduced-ad-absurdum human! Napoleon on Elba: Revisiting Old Bones Tonight he chooses this once to turn & sleep on his right— pain be damned. Like meeting old allies again, his organs settle into their familiar positions, liver aligns w/ pancreas, heart w/ lungs & like yellowed pearls on an antiquated necklace the vertebrae nestle back into their aching grooves. The hard lumpy mattress pressing against that ancient scar— dull, user-friendly pain— like the slow chewing of an old biography opens the vistas of past—no glorious colors—no en hanced sound—just a mellow sepia-edged comfort: So, this then is how it was, this is who I am. Weighed on the scales of retrospect �16 Bare, Ruined Choirs it was a good time. I belonged, I achieved. Wouldn’t re-order a single thing. Now home among my friends I must rest. I shall return. I promise. Napoleon on St. Helena Joan of Arc Mary Stuart me they keep in this jar, in a gallery they burnt beheaded pickled on display w/out audience. Like a swimmer power drips off me a pitiless sun like lye. fresh from the sea into the sand; scalds my sockets By day I plant dead horizon, hear in the surf my cavalry clip-clop sails on the by night my legions chant, in full regalia. Crucify me! Crucify me high above Jerusalem for all to see! My legacy— my legacy— Written in Passing “I am not Prince Hamlet... am an attendant lord.” T.S. Eliot Not even. A footnote in the annals of education. Not even. In the Directory � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Louder Than the Dark: A Human Prospective by Bernhard Frank, 2003 Subject The topic of the resource Frank, Bernhard, 1931- Poetry Description An account of the resource This item contains the cover and a poem entitled "Napoleon on Elba: Revisiting Old Bones" from pages 15-16. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2003 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_LouderThanDark PCMS-030_LouderThanDark.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/e54f485d1759d5df395c5eda87469962.pdf 707943ad696c20535334dde101ac527f PDF Text Text �Table of Contents Part I Elsinore: Life Is Elsewhere .............. ............... 7 The Rest Is Silence: A Closet Case ........ .............. 9 In Defense of Polonius ................................ 13 The Mobled ~een ................................... 17 The Hall ofMirrors ................................... 21 Parts II & III The Danish Saga The Fortinbras Chronicles ....................... 24 The Hamlet Letters .... ... ....... ................ 31 Part IV 3 on Meet the Pros and Cons .......................... 3 5 Meet the Pros and Cons: The Earl of Stratford ......... .41 �13 In Defense ofPolonius In scholarship as well as on stage Polonius, in Shakespeare's Hamlet, is usually portrayed as "a comically sententious, nosy old man, and as the dispenser of long-winded and cliched advice" (Bloom's Notes, 26). He is the doddering fool who offers comedic relief until he is dispatched by the play's hero. The primary reason for this attitude towards a chamberlain of the Danish court may well be that we perceive him largely through the eyes of Hamlet; consequently we chuckle whenever the hero mocks the man. Yet let us take an objective look. Age: A bit of simple arithmetic suggests that Polonius is not nearly as old as he is usually portrayed. Consider: his son is in his early twenties at most, since he is going off for his studies; Ophelia is not yet out of her teens. Even if Polonius did not have children till he turned thirty (and that's a stretch), he would be no more than 55, younger than Hamlet Pere, and of an age perhaps with Claudius. Marital status: Given the bourgeois character of Polonius and the moral tenor of Hamlet Pere's court, we can assume that Laertes and Ophelia are legitimate. Given the corrupt, malicious tenor of Claudius's court, we would surely have heard had it been otherwise. And, although we cannot trust him to be objective, Laertes seems to confirm that view in the only mention made of his mother: Th~t drop ofblood that's calm proclaims me bastard, Cries cuckold to my father, brands harlot Even here, between the chaste unsmirched brow Of my mother. IV.v.117-120 No illegitimate child would utter such a proclamation. Where then is Mrs. Polonius? We may reason that she died long before the play opens. Surely Laertes must have been very young �14 to recall no more than an abstraction of his mother's virtue. Just possibly she died giving birth to Ophelia. Since Polonius had not remarried and there is no talk of a mistress, he must have raised the children as a single parent. This may explain his effusive protectiveness of his only son who is flying the nest. He is often mocked for the cliched advice he offers in his "This above all" speech; yet, as we know, all wisdom is a series of cliches. Polonius, in the course of a long life at court, has reached that stage of wisdom. And who can blame him for warning his daughter against involvement with a man well above her station whose irrational conduct is the concern of the court? Position: To have served as chamberlain under Hamlet Pere, Polonius must at one time have been meritorious or, as Samuel Johnson put it in his Notes on Hamlet, "exercised in business ... [and] confident in his knowledge." In terms of genetics, he may well have possessed the forthright, no-nonsense character of Laertes. Yet there was no tenure, no social security. To survive, an aging Polonius would have been increasingly obliged to become the toady. You do not bite the hand that feeds you, especially when you are responsible for the sustenance and education of two children. Laertes, had he lived, might by and bye have become the image of his father. Led to believe that Hamlet is mad, how else could he react to the Prince's vagaries but by encouraging him? You do not argue with a madman over the shape of a cloud. We must also remember that Polonius is not aware of the murder of Hamlet Pere at the hands of Claudius. He is simply trying to accommodate the new monarch in controlling the unruly prince, and help worming out the source of the problem. Mental Health: Much is made of Polonius's reference to his stint as an actor playing]ulius Caesar in college. Of course it foreshadows his way of dying. And Lawrence Danson, among others, sees the older Polonius as "the great master of acting" (Wm. �15 Shakespeare's Hamlet, 83). Harold Goddard calls him a "petty domestic despot [who] has been playing a part ever since, until his mask has become a part of his face. The roles that men cast themselves for ofi:en reveal what they are and may prophesy what they will become" (ibid. 18). Yet a simpier reading also shows us a man whose success has slipped away, who must relive and magnify the small triumphs of his youth. Homer's Nestor comes to mind, talking the ears off the young warriors, forever recalling his glory days in battle. The smugness Polonius is accused of, in that "he prides himself on his capacity for seeing through [appearances]" (Levin, 51), may also be the result of the diminishing respect that is accorded him. To escape the painful truth of our insignificance we tend to compensate by imagining ourselves as more important than we are. Mannerisms: one cannot deny Polonius's loquacity. "Polonius repeats himself too ofi:en and too quickly... , and the artful rhetorical devices in his speech are too insistent .... [T]he stylistic principle of artful variation collapses into tautology;' writes Cantor (78). Tautology it is, and as such it comes across as humorous, at Polonius's expense: [T]o expostulate Why day is day, night night, and time is time, Were nothing but to waste night, day, and time. I will be brief. Your noble son is mad. Mad I call it, or, to define true madness, What is't but to be nothing else but mad? II.ii.86-93 No wonder the etiquette conscious ~een loses it and snaps, "More matter, with less art" (1. 95). Perhaps early senility has indeed set in to make the middle aged man sound like an ancient. �16 Perhaps, having been around so long, been taken for granted and slighted, Polonius has adopted the mannerisms of the aged to make these attitudes defensible to himself. And yet look at Polonius's asides, when he is not acting the buffoon, when Shakespeare allows us to glimpse the real man: "Though it be madness, yet there is I method in't" (II.ii.205-206), and again, [... ] How pregnant sometimes his replies are! A happiness that often madness hits on, which reason and sanity could not so prosperously be delivered of. I will leave him and suddenly contrive the means of meeting between him and my daughter. ll.ii.208-13 Where is the loquacity here? Every word is to the purpose, every thought concise. It appears that Polonius, like any seasoned politician, uses repetition to further his own ends, working to create the image he wishes others to have of him. When all is said and done it is Hamlet who is the bad news. In killing Polonius he sets in motion a tragedy that should never have happened. For him to have drawn his sword in self-defense we can certainly understand, but the act of piercing the arras blindly evokes the image of a hero who is blind indeed. Ophelia, Laertes, Gertrude, and even Rosencrantz and Guildenstern, all die gratuitously through Hamlet's badly fumbled quest to avenge himself on Claudius. There is the real "wretched, rash, intruding fool". Let us then give the aging, well-meaning courtier, whose life was hardly a bed of rosemary and thyme, his due. Works Cited Cantor, Paul A. Shakespeare: Hamlet. Cambridge : Cambridge UP, 1989. Levin, Harry. The Question ofHamlet. New York: Oxford UP, 1959. William Shakespeare's Hamlet: Bloom's Notes, Harold Bloom, ed. Broomall, PA: Chelsea House, 1996. William Shakespeare's Hamlet: Modern Critical Interpretations, Harold Bloom, ed. New York: Chelsea House, 1986. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/2589aa1ff25c898cc60c7752bae18013.pdf d9215bbcc6edbb0b8ccbce1a72daefc5 PDF Text Text The 4 Lives of Hamlet Bernhard Frank �Table of Contents Part 1 Elsinore: Life Is Elsewhere........................................................... 7 The Rest Is Silence: A Closet Case............................................. 9 In Defense of Polonius..................................................................13 The Mobled Queen........................................................................17 The Hall of Mirrors....................................................................... 21 Parts 2 & 3 The Danish Saga The Fortinbras Chronicles...............................................24 The Hamlet Letters............................................................. 31 Part 4 3 on Meet the Pros and Cons..................................................... 35 Meet the Pros and Cons: The Earl of Stratford................... 41 �13 In Defense of Polonius In scholarship as well as on stage Polonius, in Shakespeares Hamlet, is usually portrayed as “a comically sententious, nosy old man, and as the dispenser of long-winded and cliched advice” (Blooms Notes, 26). He is the doddering fool who offers comedic relief until he is dispatched by the play’s hero. The primary reason for this attitude towards a chamberlain of the Danish court may well be that we perceive him largely through the eyes of Hamlet; consequently we chuckle whenever the hero mocks the man. Yet let us take an objective look. Age: A bit of simple arithmetic suggests that Polonius is not nearly as old as he is usually portrayed. Consider: his son is in his early twenties at most, since he is going off for his studies; Ophelia is not yet out of her teens. Even if Polonius did not have children till he turned thirty (and that’s a stretch), he would be no more than 55, younger than Hamlet Pere, and of an age perhaps with Claudius. Marital status: Given the bourgeois character of Polonius and the moral tenor of Hamlet Pere’s court, we can assume that Laertes and Ophelia are legitimate. Given the corrupt, malicious tenor of Claudius’s court, we would surely have heard had it been otherwise. And, although we cannot trust him to be objective, Laertes seems to confirm that view in the only mention made of his mother: That drop of blood that’s calm proclaims me bastard, Cries cuckold to my father, brands harlot Even here, between the chaste unsmirched brow Of my mother. IV. V. 117-120 No illegitimate child would utter such a proclamation. Where then is MRS. Polonius? We may reason that she died long before the play opens. Surely Laertes must have been very young �14 to recall no more than an abstraction of his mothers virtue. Just possibly she died giving birth to Ophelia. Since Polonius had not remarried and there is no talk of a mis tress, he must have raised the children as a single parent. This may explain his effusive protectiveness of his only son who is flying the nest. He is often mocked for the cliched advice he offers in his “This above all” speech; yet, as we know, all wisdom is a series of cliches. Polonius, in the course of a long life at court, has reached that stage of wisdom. And who can blame him for warning his daughter against involvement with a man well above her station whose irrational conduct is the concern of the court? Position: To have served as chamberlain under Hamlet Pere, Polonius must at one time have been meritorious or, as Samuel Johnson put it in his Notes on Hamlet, “exercised in business... [and] confident in his knowledge.” In terms of genetics, he may well have possessed the forthright, no-nonsense character of Laertes. Yet there was no tenure, no social security. To survive, an aging Polonius would have been increasingly obliged to become the toady. You do not bite the hand that feeds you, especially when you are responsible for the sustenance and education of two children. Laertes, had he lived, might by and bye have become the image of his father. Led to believe that Hamlet is mad, how else could he react to the Prince's vagaries but by encouraging him? You do not argue with a madman over the shape of a cloud. We must also remem ber that Polonius is not aware of the murder of Hamlet Pere at the hands of Claudius. He is simply trying to accommodate the new monarch in controlling the unruly prince, and help worming out the source of the problem. Mental Health: Much is made of Polonius’s reference to his stint as an actor playing Julius Caesar in college. Of course it fore shadows his way of dying. And Lawrence Danson, among oth ers, sees the older Polonius as "the great master of acting” (Wm. �15 Shakespeares Hamlet, 83). Harold Goddard calls him a “petty domestic despot [who] has been playing a part ever since, until his mask has become a part of his face. The roles that men cast themselves for often reveal what they are and may prophesy what they will become” (ibid. 18). Yet a simpler reading also shows us a man whose success has slipped away, who must relive and magnify the small triumphs of his youth. Homer's Nestor comes to mind, talking the ears off the young warriors, forever recalling his glory days in battle. The smugness Polonius is accused of, in that “he prides himself on his capacity for seeing through [appearances]” (Levin, 51), may also be the result of the diminishing respect that is ac corded him. To escape the painful truth of our insignificance we tend to compensate by imagining ourselves as more important than we are. Mannerisms: one cannot deny Polonius’s loquacity. “Polonius repeats himself too often and too quickly..., and the artful rhetori cal devices in his speech are too insistent.... [T]he stylistic prin ciple of artful variation collapses into tautology,” writes Cantor (78). Tautology it is, and as such it comes across as humorous, at Polonius’s expense: [T]o expostulate Why day is day, night night, and time is time, Were nothing but to waste night, day, and time. I will be brief. Your noble son is mad. Mad I call it, or, to define true madness, What is’t but to be nothing else but mad? II. II.86-93 No wonder the etiquette conscious Queen loses it and snaps, “More matter, with less art” (1. 95). Perhaps early senility has in deed set in to make the middle aged man sound like an ancient. �16 Perhaps, having been around so long, been taken for granted and slighted, Polonius has adopted the mannerisms of the aged to make these attitudes defensible to himself. And yet look at Polo nius’s asides, when he is not acting the buffoon, when Shakespeare allows us to glimpse the real man: “Though it be madness, yet there is / method in’t” (II. II.205-206), and again, [...] How pregnant sometimes his replies are! A happiness that often madness hits on, which reason and sanity could not so prosperously be delivered of. I will leave him and suddenly contrive the means of meeting between him and my daughter. II. II.208-13 Where is the loquacity here ? Every word is to the purpose, every thought concise. It appears that Polonius, like any seasoned poli tician, uses repetition to further his own ends, working to create the image he wishes others to have of him. When all is said and done it is Hamlet who is the bad news. In killing Polonius he sets in motion a tragedy that should never have happened. For him to have drawn his sword in self-defense we can certainly understand, but the act of piercing the arras blindly evokes the image of a hero who is blind indeed. Ophelia, Laertes, Gertrude, and even Rosencrantz and Guildenstern, all die gratu itously through Hamlet’s badly fumbled quest to avenge himself on Claudius. There is the real “wretched, rash, intruding fool”. Let us then give the aging, well-meaning courtier, whose life was hardly a bed of rosemary and thyme, his due. Works Cited Cantor, Paul A. Shakespeare: Hamlet. Cambridge: Cambridge U P, 1989. Levin, Harry. The Question ofHamlet. New York: Oxford U P, 1959. William Shakespeares Hamlet: Blooms Notes, Harold Bloom, ed. Broomall, PA: Chelsea House, 1996. William Shakespeare's Hamlet: Modern Critical Interpretations, Harold Bloom, ed. New York: Chelsea House, 1986. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The 4 Lives of Hamlet by Bernhard Frank, 2010 Subject The topic of the resource Frank, Bernhard, 1931- Shakespeare, William, 1564-1616--Criticism, interpretation, etc. Description An account of the resource This item contains the cover, table of contents, and a critique entitled "In Defense of Polonius" from pages 13-16. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2010 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_LivesOfHamlet PCMS-030_LivesOfHamlet.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/1a6d6d94f4d7f04e267838500810e3dc.pdf 8fd623089af0c63e0ae2da0663727611 PDF Text Text The Homer Ladies' Journal Bernhard Frank Goldengrove Press �28 The Homer Ladies' Journal Stranded, at long last, after having lost all his men, Odysseus stayed, and made love to the goddess Calypso on her islandfor seven years. At that point she was going on his nerves, and the gods took pity on him. They dispatched Hermes, the messenger ofMt. Olympus, and also, incidentally, the god ofthieves, to Calypso with strict orders to let Odysseus go. She makes a last ditch effort to make him stay: And Calypso said: "So you've decided, Odysseus, to leave here? I wish you well, but if you had any idea of the trials and tribulations ahead, you might reconsider. Stay with me, and become immortal. I know you are anxious to see your wife again. But then I don't think I'm all that bad myself-being a goddess, and all that." But Odysseus answered, "Dear Calypso, please don't take my answer amiss. I know my wife Penelope's looks can't compare with yours, for she has neither immortality nor eternal youth. And yet my return home is my one fervent wish. And if hardships lie ahead, let them. It will be merely more of the same. I stand prepared." Odyssey, Book V Calypso After I. Calypso Casts Her Net She knew she did all she possibly could to keep him there and watching her lover sail away she shed a tear. But what was that lightness in the air-around her heart? & why did Hermes' shapely ankles come to mind? Should she send a note? Would he respond? Was worth ·a try. After all she had the rime. �Bernhard Frank 29 II. Hermes Accepts Calypso's Invitation & Comes to Call Everything was immaculate for his sake the table set w/ gold & silver the candles ashimmer frankincense & myrrh wafting thru the cave. The repast too was divine. Between courses they held hands across the table: everything recalled for her those first days w/ Odysseus. "You are well rid of the chap," he said over afterdinner nectar imported from the East. She smiled, said nothing. She found him too unflappable missed the chinks in the armor of Odysseus. Could not stop companng. & still compared in bed: tho' well equipped (that took her by surprise delighted) she could not forget the mortal breath of the other's kisses. Her sumptuous gown trimmed with peacock feathers lay across the floor her sardonyx & carnelian rings & necklaces of rubies ascatter on the bedside table. She felt desirable once more in Hermes' arms a bride again or nearly �30 The Homer Ladies' Journal so she closed her eyes succumbed. Of course he was pressed for time the moment he was done there was no holding him back like the other: w/ those winged sandals. She waved good-bye knew he would not come again a second loss in but a few days' time (a twinge around her heart) then turned to put away her jewels. She found that they were gone. III. Calypso Petitions Zeus for the Return of Her Jewels She was not at all like that other nymph of the sea silvery frail Thetis. No. There must be oriental blood in her that dark skin those olive eyes something escaped from an Emir's harem. He wondered who her real father might have been. She djdn't cry or flirt & he was grateful to her for that. He'd had his fill of late. So Hermes was up to his old tricks. Well he would speak w/ him see what could be done. Did he have word of Odysseus' whereabouts? Ah yes Good news He was back home w/ �Bernhard Frank 31 his wife the true Penelope. He could see who usually saw nothing a tightness round her eyes. She did ask. He told her. What do women want anyway? He will send Iris to her wl the jewels certainly. Punish Hermes? How? Have him bring the jewels back & offer an apology? That could be done. Only make sure you leave no other valuables around or the scoundrel might... "You are so right. How can I thank you." Then, quickly, "Good night." And she was gone. IY. Hermes Makes Restitution No meal this time no incense no candles She stands in the cruel light of the doorway Experience etched sharply in her face Only her gown's cleavage betrays their recent history. He grins unrepentant hands her the parcel shrugs. "Don't be mad. I did it so �..... 32 The Homer Ladies' Journal I could come back," he said. But she would have no more. No more! Takes the jewels Goes inside to softly softly close her door. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/3ffa275be946ad4b0a63e8ed757961aa.pdf 04e165d28e587edbb892c4625bde3a00 PDF Text Text The Homer Ladies’ Journal Bernhard Frank Goldengrove Press �28 The Homer Ladies’ Journal Stranded, at long last, after having lost all his men, Odysseus stayed, and made love to the goddess Calypso on her islandfor seven years. At that point she was going on his nerves, and the gods took pity on him. They dispatched Hermes, the messenger ofMoun t. Olympus, and also, incidentally, the god ofthieves, to Calypso with strict orders to let Odysseus go. She makes a last ditch effort to make him stay: And Calypso said: “So you’ve decided, Odysseus, to leave here? I wish you well, but if you had any idea of the trials and tribulations ahead, you might reconsider. Stay with me, and become immortal. I know you are anxious to see your wife again. But then I don’t think I’m all that bad myself—being a goddess, and all that.” But Odysseus answered, “Dear Calypso, please don’t take my answer amiss. I know my wife Penelope’s looks can’t compare with yours, for she has neither immortality nor eternal youth. And yet my return home is my one fervent wish. And if hardships lie ahead, let them. It will be merely more of the same. I stand prepared.” Odyssey, Book 5 Calypso After 1. Calypso Casts Her Net She knew she did all she possibly could to keep him there and watching her lover sail away she shed a tear. But what was that lightness in the air—around her heart? & why did Hermes’ shapely ankles come to mind? Should she send a note? Would he respond? Was worth a try. After all she had the time. �Bernhard Frank 29 2. Hermes Accepts Calypso’s Invitation & Comes to Call Everything was immaculate for his sake the table set W/ gold & silver rhe candles ashimmer frank incense & myrrh wafting thru the cave. The repast too was divine. Between courses they held hands across the table: every thing recalled for her those first days W/ Odysseus. “You are well rid of the chap,” he said over afterdinner nectar imported from the East. She smiled, said nothing. She found him too unflappable missed the chinks in the armor of Odysseus. Could not stop comparing. & still compared in bed: tho’ well equipped (that took her by surprise de lighted) she could not forget the mortal breath of the other’s kisses. Her sumptuous gown trimmed with peacock feathers lay across the floor her sardonyx & carnelian rings & necklaces of rubies a scatter on the bedside table. She felt desirable once more in Hermes’ arms a bride again or nearly �30 The Homer Ladies’ Journal so she closed her eyes succumbed. Of course he was pressed for time the moment he was done there was no holding him back like the other: W/ those winged sandals. She waved good-bye knew he would not come again a second loss in but a few days’ time (a twinge around her heart) then turned to put away her jewels. She found that they were gone. 3. Calypso Petitions Zeus for the Return of Her Jewels She was not at all like that other nymph of the sea silvery frail Thetis. No. There must be oriental blood in her that dark skin those olive eyes something escaped from an Emir’s harem. He wondered who her real father might have been. She didn’t cry or flirt & he was grateful to her for that. He’d had his fill of late. So Hermes was up to his old tricks. Well he would speak W/ him see what could be done. Did he have word of Odysseus’ whereabouts? Ah yes Good news He was back home W/ �Bernhard Frank 31 his wife rhe true Penelope. He could see who usually saw nothing a tightness round her eyes. She did ask. He told her. What do women want anyway? He will send Iris to her w/ the jewels certainly. Punish Hermes? How? Have him bring the jewels back & offer an apology? That could be done. Only make sure you leave no other valuables around or the scoundrel might... “You are so right. How can I thank you.” Then, quickly, “Good night.” And she was gone. 4. Hermes Makes Restitution No meal this time no incense no candles She stands in the cruel light of the doorway Experience etched sharply in her face Only her gown’s cleavage betrays their recent history. He grins unrepentant hands her the parcel shrugs. Don’t be mad. I did it so �32 The Homer Ladies’ Journal I could come back,” he said. But she would have no more. No more! Takes the jewels Goes inside to softly softly close her door. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Homer Ladies' Journal by Bernhard Frank, 1995 Subject The topic of the resource Frank, Bernhard, 1931- Poetry Homer Description An account of the resource This item contains the cover and a series of poems entitled "Calypso After" from pages 28-32. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1995 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_LadiesJournal PCMS-030_LadiesJournal.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/40fa99ce6fc16b5248893557fd93078b.pdf 878132992d19c80ffba624bec385a151 PDF Text Text �105 CHAPTER XIII: ORDEAL BY FIRE They arrived at ten, eleven, noon, those higher-ups on the totem pole. Spiffed up 'and made up they swept into the faculty lounge, pounced on the silver coffee urn, then settled down to anecdotes as stale as morning mouth. But him they gave the eight o' clocks. "Good luck to you, Sir," said the janitor when John, attache case in hand, passed him at the Greengage portals. He was a tall, emaciated man with a genteel air strange to his profession. Telltale signs of heavy drinking, not so strange, ran in lines across his taut features and in swirls across his breath. "Thank you very much," replied John with the utmost reserve. Upon his first moving in the janitor had come to mop his floor and polish his taps with clockwork regularity. With equal regularity he had helped himself to John's liquor and only the surreptitious substitution of rubbing alcohol availed at long last in weaning him. Thereafter, John's room was allowed to gather dust as undisturbedly as the surface of the moon. The morning was diamond-bright and brittle, the starlings chattered in the leafy elms, and John climbed the campus hill humming. He was nervous of course, but constructively so; his task lay clear cut before him. He would wipe away, he thought, the sham and hypocrisy of middle class mores, he would unveil the light of the real meanings, he would affect at �106 last the random choreography of the dance of life ... Something tepid touched his forehead and trickled down; a random starling's choreographic contribution; an omen perhaps. The marble bust outside monastic Burns Hall had mysteriously acquired a red bandanna over its eyes. An allusion to blind justice, speculated John, sensing revolutionary rumblings before the semester had e'er begun. Happily, Room 216 was not the lecture hall Fats Morley had promised. The tolerably small classroom was in semi-darkness, shades drawn, and nonmonastic fluorescent lights switched off. For one dreadful moment John fancied the room empty. Suppose no one showed, he thought, panicking. But he was not alone. Five gloomy figures, like monks at vespers, sat staring mutely into space. "Good morning," John shot out. Silence. He switched on the lights and saw the students recoil. They all seemed to have eye trouble. Crossing to the windows nevertheless, he pulled up the shades. One of the girls shielded her eyes; she seemed in pain. · "It's close in here," said John and, wrenching ·at the rusty metal hooks, inched the lower windows open one by one. He heard a communal groan. "What's the matter?" he asked, tugging at a warped frame. "Not at this hour of the morning!" said a voice behind him. ~e turned. The girl who had shielded her eyes was now wrappmg herself in her arms. You'd think she'd hit the North Pole, thought John. "God's given air," he said lightly. The youth of America. Would you believe. " The bell rang; a nervous vibrato at the far end of the hall. So:n~, st~dents seem to have trouble getting themselves uphill Said J 0 h "'\VT b ' n. we etter wait a few minutes." The girl who was freezing an d going · bl'In d exchanged a snickenng . �107 glance with one of the boys. "We would like to welcome you to Armhouse," said the latter, his sweet tone at odds with the .malice in his eyes. ''I'm Larry," he added, as though to make sure he got proper credit. The others glared at Larry with disgust. "Why, thank you," said John, ignoring the undercurrents. He unsnapped his attache case and brought out a batch of dittoes. "Well," he said, checking his watch, "we better get started. What the others will miss they'll miss." Larry smiled obligingly, but behind the adamant mask of the others John sensed running a cold vein of contempt. "We have lots of work ahead of us," he said with the pomp of the thoroughly inexperienced. Skeptical eyes were watching him as he passed out the dittoes and he saw the girl who was freezing scrutinize the sheaf of left-overs in his hand. "As for absences and tardiness," persisted John, "I find them inexcusable. Today being the first day, I won't penalize the latecomers, but in the future ... " That last loosed the tongue of the girl who was freezing. "This is all there is," she said dryly, and for a wild moment John thought she was reciting the lyric of a song. He looked at her. She had the strangest eyes; phosphorescent like a eat's, one green, the other blue-grey. As schizoid as her personality, he was to discover. Her name was Shirley. "I beg your pardon?" said John, sounding for all the world like President Nichols. "This is all there is," repeated Shirley, sinking her fangs into John's neck. A small titter went through the class. Jo_hn flushed. "Writing classes are always small," Larry put in drippingly. He was, as he soon let John know, a straight A student. "I see," said John. "You fellows are the scouts sent out to ·mvesngate . . , H e f:anoe · d h e saw the blue-grey eyethe terntory. �108 ball regard him for a moment like a human being. The others tittered reluctantly, a bit guiltily. They were indeed the avantgarde. "Well," he said, looking down at his sheaf of left over dittoes, "these'll just have to go towards furthering the air pollution." Larry laughed, just a moment too long to be believed; like the fac ulty at a joke from President Nichols. With such an august example set for him, who could blame little Larry? He still had to carve a space for himself in the marble world. Yet when the rest of the class laughed honestly, in spite of themselves, John felt he was beginning to win them over. "The course requirem ents on these sheets ... " he began, and as quickly as he had won them, lost them. "Any questions?" h e asked presently, in a defensive tone guaranteed to discourage all questions. Absolute silence. Five stone faces carved out of a mountainside. A starling perched on the window sill. "We have a visitor, " said John desperately. "Not anymore," said a jewel name of Ralph. The starling, sensing perhaps th at the action was elsewhere, had flown away. John flushed . H e wondered how much time had elapsed. Thirty minutes? Thirty-five? Furtively, he glanced at his watch. It was 8:10 . Ten minutes. All that torture, and he had barely nipped off ten minutes. "Have enough material prepared. Fifty minutes is a long time," Mary Kathleen's first commandment. He should h ave etched it on tablets of steel. "If you have any questions at all, please feel free to ask them. Now's the time." He was virtually begging. Discomfited at the sight of adult failure, the class rallied to his aid. Larry first. That nice Italian mama's boy who, much like the younger John himself, must have charmed his mother's lasagna circle. Others followed suit with profundities like, �109 ".Can we use staples. instead of a paper clip?" Equal profundines from the other s1de of the desk, "Well, so long as you don't use chewing gun." It was now 8:14. John began expounding the nature of the short story. The drone of his voice, deliberate and involuntarily sullen irritated even him. "No, no," he was saying, "when you take the plot of a story ... " and his mind went blank. He had suddenly no recollection of what he had been about to say, no notion of what to say instead. Words had ebbed from his mind like the liquor from his bottle of Red Roses. The class was looking up at him expectantly. To them it was a pregnant pause, the gestation period of a mediocre thought or academic witticism which, when finally delivered, would require them to gasp or chuckle. Time had neither dimension nor mass nor motion. John's face felt wooden; his eyes, losing the gleam of life, became opaque. An actor's nightmare, without a prompter and without a script. Everything in the room became magnified, intensified. The light grew brighter, accentuating the stark whiteness of the walls; the plaster peelings loomed voracious, like venus flytraps; the dust on the window panes sprouted like encroaching mold. The students' faces too grew larger, sharper of definition, and Shirley's blue-grey eyeball dominated the scene like the eye of God. At last a small passage, a trickle of life through the anesthetized sinuses of John's brain. This can't go on, said the trickle. You can't just sit there. Say something. Anything. But what? Did they think he had lost his mind? Was Mary Kathleen's suspicion that he wouldn't make it through his first lesson about to come true? And would he, on the morrow, go packing? Plot. He had been talking about plot. If he could say ~ny thing about plot, or sub-plot, or non-plot; if he could JUSt �110 make sounds with his throat, any sounds, so that the world might resume its spin. He'd had teachers who reminisced about their travels, teachers who discussed their love life, teachers who declaimed Homer in Greek. Perhaps they too, thought John with sudden empathy, perhaps they too were merely making sounds. His index finger circled round and round the edges of the dittoed requirements and when he finally spoke his words were total strangers. "The plot is really the margin," he heard himself say, having not the least notion what he meant. What had he meant? But then he saw Larry's pencil wagging, recording his pronouncement, placing it in formaldehyde for the final examination. The plot is the margin, wrote Larry; he finished it off with a giant exclamation mark. Suddenly John knew that he could say anything, anything at all, that it would be recorded as gospel truth even if no one believed it or understood a word of it; and that at semester's end it would be given back to him verbatim. "The plot is the margin," he repeated loudly, emphatically, utilizing Larry's exclamation mark. He knew he was going to be all right. Why, he thought, if the medium can be the massage, surely the plot can be the margin. He began to find the notion brilliant, began to explicate, elaborate, weave thoughts into words and gestures. Perhaps the students' assumption was correct, perhaps that moment of blank had indeed been a gestation period. "You can have the widest, the prettiest, the neatest margins," he was saying, barely able to keep up with the rush of ideas, "but if there is no content on your page, the grade is F." The class caught its breath at the sound of that fatal letter. "So too in writing fiction. You can have the neatest plot, the twistiest developments," the blue-grey eyeball smiled on him when he said 'twistiest', "yet if there is no life, no full blown gusts of experience, of reality ... " �111 Pens were wagging across spiral notebooks, struggling to keep pace. ''I'd much rather you listened and digested wh at I say than record it for posterity and the final exam ination," said John. "Don't just take what I say on faith. I m ean," he added bravely, "how do you know /know?" How indeed, thought John. He was playing with fire . His escape from disaster had been too recent and too narrow, doubts of his own capabilities too fresh in h is mind. He regarded the opposition. They sat waiting-for a thrust, a catch, a reversal. Larry covered a sm all smirk with a sudden pretense at extreme concentration, and Shirley's blue-grey eyeball pierced through to the depths of John's uneasy soul. "What's the problem?" he asked, not h aving learned yet that Pandora's boxes were best left shut. "We're just not used to that approach," said a girl hitherto silent. "We're used to hoarding notes fo r th e final. . . " Even as she spoke she doubted him. "We won't have a final, " John decided arbitrarily, though shaken by his own daring. "How can you have a test about writing. Either you can or you can't. " They smiled uncertainly, their credulities still swaying in the winds of distrust. It was now 8:23 and John had had all the strokes of genius he could hope for. "That's all for today," he said, shattering Mary Kathleen's second commandment. "Tomorrow we have lots of work ahead of us," he added defensively and realized that he was fooling no one. "We don't have class tomorrow," said Ralph wh o, being a mathematics major, was a stickler for precision. "I mean Saturday," said John quickly; but in the gait of the students filing past him he thought he read their total disenchantment. "I liked the idea about plot being the margin," said Larry, �112 stopping by John's desk. "I'd never thought of it that way before." ''I'm so glad!" exclaimed John, bursting like a sun flower into a lavish smile. "I find it very interesting," said Larry and bowed himself out of the room. John picked up his attache case ready to leave when a bluegrey eyeball nailed him to the wall. "Will I be able to write about my father?" Shirley asked in a tone that admitted only one answer. "Sure," complied John. "It's always best to write about things or people you know." Shirley looked at him, making certain he was done. "I hate my father," she said, then stood back to observe the effect. "I see," said John. "We were never close. He has destroyed my life." "Come, come," said John, "you're still young ... " The blue-grey eyeball transfixed him. Shut up, it said. "He has destroyed my life." Have it your way, thought John. Looking at Shirley he felt a tinge of sympathy for the father. "Sure," he said with his first touch of professional expertise, "sure, you write about your dad." "I've never called him that, never," said Shirley. "What?" '"Dad'· I've never called him that. Not that I shouldn't have liked to. But he's a progressive. If you pardon the word. It was Gus this, Gus that ... " "There'~ a detail for you to use," said John slickly. "That's the sort o~ thtng that makes a story breathe." He was edging away, and hts tone implied that the interview was over. "See you tomorrow." "Saturday," Shirley corrected him sullenly. He left her �11 3 leaning against the doorway, gnawing her fingernails. Relieved to get away, John wooden heels; yet he was not him for help, he thought, and satiny smile. Something green clicked down the hall in his happy. The girl had come to he had brushed her off with a and flouncy intruded upon his VlSlOn. "Hi!" he beamed, abandoning self-recriminations. Mary Kathleen beamed back a replica of the smile he himself had just practiced on Shirley and tried to slip by him. John stopped incredulous. Wasn't she going to ask how it went? "I just taught my first lesson," he spilled out quickly against Mary Kathleen's already retreating back. Sh e halted and half-turned. "Oh, yes," she said lukewarmly, "I hope it went all righ t." And she made a second attempt at bolting. "It went very wel~ " volunteered John, forgetting the agony of it all. He sketched out for Mary Kathleen a glowing picture of his success. Suddenly, a small scowl appeared in the lady's fo reh ead, and she looked down at an emerald-studded watch pinned upon her bosom. "Haven't you ... " she began. "I let them out early," said John quickly, "it being the first day. But it really went very well." ''I'm so glad," said Mary Kathleen. "For a moment yesterday ... " she left the sentence mercifully unfinish ed . "Well, I have to run," she said. "I teach too, you know." And with that, she vanished. Fats Morley had been joking. The freshm an class did not meet in the lecture hall either, but in a room proportionate to its thirty-five beany-headed youngsters. No daggers were in store for John here, no resistance, no skepti cism , and no humiliation. Themselves so shy in their new habitat, so awed by COLLEGE in the abstract, these students accepted John, temporarily at least, as the great god he had always known himself to be. They twittered and jittered as though, thought �114 John with a melting heart, they all had the worms. A sense of power bubbled up through John's diminutive frame; he stood back at the blackboard, chalk in hand, listening to the sound of his voice. "You will be amazed," he was saying, "how much we pick up unconsciously, and then as unconsciously reproduce; say you read a Hemingway novel before you went to sleep. Next morning you sit down to write your essay and what comes out is ... Yes?" "Hemingway?" "Hemingway." The buds of learning, beneath a reciprocal sunshine, were beginning to sprout. And he did not run out of material, and his mind did not go blank. Following a brief lecture he sat back easy, watching his students wrestle, round after round, with the English language. At ten to the hour, when they had wrung out a single page on the subject of "My Experience," he let them go; promptly, in accordance with Mary Kathleen's stricture. Mrs. Macintosh was passing along the Spanish balustrades, briefcase in one hand, thermos bottle in the other. Her husband being chair of the Foreign Language Department, Mrs. Macintosh had for the past thirteen years been annually discharged on grounds of nepotism, then ritually rehired as an emergency stopgap. Rumor had it she was now up for tenure. "Why, hello," she said. "So nice to see you!" "I just taught my first two lessons," exclaimed John, promptly pouring his successes out at Mrs. Macintosh's feet. She listened graciously, though her eyes had a way of fogging over. ''I'm so glad," she said. She always spoke in italics. "So glad your classes have gone well." Each word was chocolate dipped. "!gave them their first taste of the distinction between the comma and the semicolon." She was determined to get her side of the story in. "You can't imagine how ignorant these students are. Some of them have never even heard of a semicolon." �115 One way of measuring their I.Q., thought John. "Heavens," he said, "fancy that!" He suddenly saw Mrs. Macintosh as a dependent clause followed by a semicolon; a very deluded thing with pretensions to grandeur. "I have some examples here," said the dependent clause. "You might distribute them to your classes. It will save you so much time." And she began digging into her lumpy briefcase like a farmer after potatoes. "Here," she said, coming up with a sheaf of dittoes. She too, remarked John, must have overestimated her enrollment. EXERCISE #1 Place a check in the circle next to the correct sentences : 0 The butler brought the tea; however, Lady Sus an had left. 0 Although the butler brought the tea; Lady Susan had left. Very relevant, thought John; she must have a fascinating class. Sensing Mrs. Macintosh's eyes scrutinizing him, he kept nodding reassuringly. 0 David sat on the couch; Mrs. Barrett 0 While David sat on the couch; Mrs. patted his cheek. Barrett patted his cheek. · . . Thmgs are getnng spicy, t h ough t J o h n. "Gee , thanks, . " he · , • sa1.d, « 1t s gomg to b e a b.1g help · , With that ' he tore himself away and repaired to the faculty lounge. The room was deserte d . I n t h e corner the electric percolator . lf cup of half-brewed burbled away and John he1pe d h 1mse to a . d . l 1 d vinyl armchair an coffee. He settled Into a sa mon-co ore . . k h · first set of freshman wnh much anticipatiOn too out IS 1 themes. . fi · rder to investigate I tried to motivate my mgers m 0 �116 this object. But I discovered to my consternation that my digits were attached by some clammy adhesive. My God! thought John. And Mrs. Macintosh worried about the semicolon. Elevating my body from the surface on which I reclined, I was sure this would pry me to freedom. I think she's trying to get up, thought John; he wasn't sure. As I unhinged the frontal partition, there came an uncontrolled pour of precipitation. He had clearly picked the worst of the lot, if she couldn't open a door without circumlocution. Hope still burning bright, he tried a second paper: My sister's adventures, I must confess, never cease to fascinate me. They don't talk like that, thought John; the Mrs. Madntoshes of the lower levels must have wrung their brains. He tried a third paper: Her hair trailed behind her, like a summer cloud. Her arms protruded from her dress like frail toothpicks. Charming, thought John. Her boyfriend entered, stomping like an elephant in his earthquaking shuffle. Monsters, monsters all; we have produced a generation of monsters. And he chucked Mrs. Macintosh's dittoes into the wastepaper basket. The door had opened noiselessly and Milly Goons, her hair like an explosion of brillo, stood beside him. "Hi," she said, in her incongruously thin voice. John flushed guiltily. "Hi," he answered. Then, once more carried away by enthusiasm, "I just taught my first lessons." Milly nodded. Good, she seemed to say. And she really seemed to want to know. "How'd it go?" �11 7 "O.k.," he said. He waited for her to say how glad she was, but she didn't. "You want to talk about it?" He did. He told her, more or less; showed her some of the essays. "That's par for the course," said Milly, chuckling at the bombast. In a burst of confidence, John extracted one of Mrs. Macintosh's dittoes from the wastepaper basket. "Sacrilege," said Milly wagging her finger. They had a good laugh. Slowly, professionally, she nibbled her way into John's heart. Having few physical charms, she had cultivated the art of listening, of drawing out. She approved , encouraged , advised and, on occasion, disagreed vehemently. A very credible combination. "Why don't we have dinner sometime," said John when Milly got up to leave. The invitation so long Mary Kathleen's due had rolled trippingly off his tongue. "I should like that very much," said Milly briskly and, m ade wise perhaps by her earlier experience with him, did not push the point. "We'll arrange something," she said and with a wave of the hand strutted out the door. That afternoon, John found a note in his faculty mail box: Hi. La Boheme playing in C - - next weekend. Care to come? Milly Civilization! For the first time in over a month, to return civilization! He answered at once. to Dearest Milly, Would simply love to. Regards, John He was in excellent spirits at dinner that evening. The worst was over. �118 "You've been initiated," said Little Machiavelli. "Baptized," chortled Fats Morley. "JOHN THE BAPTIST," roared Brett McVey in a for him rare literary allusion. "John in the wilderness," offered John, but no one heard him. "Christ," said Little Machiavelli, "fink pork again." And everybody laughed. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/1688ff7d0afced8fcef2a359f59452d0.pdf 8598ce7bf3ee0e153e72a073a993d5a6 PDF Text Text John in the Wilderness A novel by Bernhard/Frank Goldengrove Press #211 �105 Chapter XIII: Ordeal By Fire They arrived at ten, eleven, noon, those higher-ups on the totem pole. Spiffed up and made up they swept into the facul ty lounge, pounced on the silver coffee urn, then settled down to anecdotes as stale as morning mouth. But him they gave the eight o’clocks. “Good luck to you, Sir,” said the janitor when John, attache case in hand, passed him at the Greengage portals. He was a tall, emaciated man with a genteel air strange to his profession. Telltale signs of heavy drinking, not so strange, ran in lines across his taut features and in swirls across his breath. “Thank you very much,” replied John with the utmost reserve. Upon his first moving in the janitor had come to mop his floor and polish his taps with clockwork regularity. With equal regularity he had helped himself to Johns liquor and only the surreptitious substitution of rubbing alcohol availed at long last in weaning him. Thereafter, Johns room was allowed to gather dust as undisturbedly as the surface of the moon. The morning was diamond-bright and brittle, the starlings chattered in the leafy elms, and John climbed the campus hill humming. He was nervous of course, but constructively so; his task lay clear cut before him. He would wipe away, he thought, the sham and hypocrisy of middle class mores, he would unveil the light of the real meanings, he would affect at �106 last the random choreography of the dance of life... Something tepid touched his forehead and trickled down; a random starlings choreographic contribution, an omen perhaps. The marble bust outside monastic Burns Hall had mysteri ously acquired a red bandanna over its eyes. An allusion to blind justice, speculated John, sensing revolutionary rumblings before the semester had e’er begun. Happily, Room 216 was not the lecture hall Fats Morley had promised. The tolerably small classroom was in semi-darkness, shades drawn, and non monastic fluorescent lights switched off. For one dreadful moment John fancied the room empty. Suppose no one showed, he thought, panicking. But he was not alone. Five gloomy figures, like monks at vespers, sat staring mutely into space. “Good morning,” John shot out. Silence. He switched on the lights and saw the students recoil. They all seemed to have eye trouble. Crossing to the windows nev ertheless, he pulled up the shades. One of the girls shielded her eyes; she seemed in pain. "It's close in here,” said John and, wrenching at the rusty metal hooks, inched the lower windows open one by one. He heard a communal groan. "What's the matter?" he asked, tugging at a warped frame. Not at this hour of the morning!” said a voice behind him. He turned. The girl who had shielded her eyes was now wrap ping herself in her arms. You’d think she’d hit the North Pole, thought John. "God's given air," he said lightly. The youth of America. Would you believe. The bell rang; a nervous vibrato at the far end of the hall. "Some students seem to have trouble getting themselves uphill," said John. We better wait a few minutes.” The girl was freezing and going blind exchanged a snickering �107 glance with one of the boys. “We would like to welcome you to Armhouse,” said the lat ter, his sweet tone at odds with the malice in his eyes. “I’m Larry,” he added, as though to make sure he got proper credit. The others glared at Larry with disgust. “Why, thank you,” said John, ignoring the undercurrents. He unsnapped his attache case and brought out a batch of dit toes. “Well,” he said, checking his watch, “we better get start ed. What the others will miss they’ll miss.” Larry smiled obligingly, but behind the adamant mask of the others John sensed running a cold vein of contempt. “We have lots of work ahead of us,” he said with the pomp of the thoroughly inexperienced. Skeptical eyes were watching him as he passed out the dittoes and he saw the girl who was freezing scrutinize the sheaf of left-overs in his hand. “As for absences and tardiness,” persisted John, “I find them inexcusable. Today being the first day, I won’t penalize the latecomers, but in the future...” That last loosed the tongue of the girl who was freezing. “This is all there is,” she said dryly, and for a wild moment John thought she was reciting the lyric of a song. He looked at her. She had the strangest eyes; phosphores cent like a cat’s, one green, the other blue-grey. As schizoid as her personality, he was to discover. Her name was Shirley. "I beg your pardon?” said John, sounding for all the world like President Nichols. "This is all there is,” repeated Shirley, sinking her fangs into John’s neck. A small titter went through the class. John flushed. “Writing classes are always small," Larry put in drippingly. He was, as he soon let John know, a straight A student. “I see,” said John. “You fellows are the scouts sent out to investigate the territory.” He fancied he saw the blue grey �108 eye regard him for a moment like a human being. The others ball tittered reluctantly, a bit guiltily. They were indeed the avantgarde. “Well,” he said, looking down at his sheaf of left over dittoes, “these’ll just have to go towards furthering the air pollution.” Larry laughed, just a moment too long to be believed; like the faculty at a joke from President Nichols. With such an august example set for him, who could blame little Larry? He still had to carve a space for himself in the marble world. Yet when the rest of the class laughed honestly, in spite of them selves, John felt he was beginning to win them over. “The course requirements on these sheets...” he began, and as quickly as he had won them, lost them. “Any questions?” he asked presently, in a defensive tone guaranteed to discourage all questions. Absolute silence. Five stone faces carved out of a mountain side. A starling perched on the window sill. “We have a visitor,” said John desperately. “Not anymore,” said a jewel name of Ralph. The starling, sensing perhaps that the action was elsewhere, had flown away. John flushed. He wondered how much time had elapsed. Thirty minutes? Thirty-five? Furtively, he glanced at his watch. It was 8:10. Ten minutes. All that torture, and he had bare ly nipped off ten minutes. “Have enough material prepared. Fifty minutes is a long time,” Mary Kathleen’s first command ment. He should have etched it on tablets of steel. “If you have any questions at all, please feel free to ask them. Now’s the time.” He was virtually begging. Discomfited at the sight of adult failure, the class rallied to his aid. Larry first. That nice Italian mama’s boy who, much like the younger John himself, must have charmed his mother’s lasagna circle. Others followed suit with profundities like, �109 “Can we use staples instead of a paper clip?” Equal profundi ties from the other side of the desk, “Well, so long as you don’t use chewing gun.” It was now 8:14. John began expounding the nature of the short story. The drone of his voice, deliberate and involuntarily sullen irritated even him. “No, no,” he was saying, “when you take the plot of a story...” and his mind went blank. He had suddenly no recollection of what he had been about to say, no notion of what to say instead. Words had ebbed from his mind like the liquor from his bottle of Red Roses. The class was looking up at him expectantly. To them it was a pregnant pause, the gestation period of a mediocre thought or academic witticism which, when finally delivered, would require them to gasp or chuckle. Time had neither dimension nor mass nor motion. John’s face felt wooden; his eyes, losing the gleam of life, became opaque. An actor’s nightmare, without a prompter and with out a script. Everything in the room became magnified, intensified. The light grew brighter, accentuating the stark whiteness of the walls; the plaster peelings loomed voracious, like venus fly traps; the dust on the window panes sprouted like encroaching mold. The students’ faces too grew larger, sharper of defini tion, and Shirleys blue-grey eyeball dominated the scene like the eye of God. At last a small passage, a trickle of life through the anes thetized sinuses of John’s brain. This cant go on, said the trickle. You can’t just sit there. Say something. Anything. But what? Did they think he had lost his mind? Was Mary Kathleen's suspicion that he wouldn’t make it through his first lesson about to come true? And would he, on the morrow, go pack ing? Plot. He had been talking about plot. If he could say any thing about plot, or sub-plot, or non-plot; if he could just �110 make sounds with his throat, any sounds, so that the world might resume its spin. He’d had teachers who reminisced about their travels, teachers who discussed their love life, teach ers who declaimed Homer in Greek. Perhaps they too, thought John with sudden empathy, perhaps they too were merely making sounds. His index finger circled round and round the edges of the dittoed requirements and when he finally spoke his words were total strangers. “The plot is really the margin,” he heard himself say, having not the least notion what he meant. What had he meant? But then he saw Larry’s pencil wagging, recording his pronounce ment, placing it in formaldehyde for the final examination. The plot is the margin, wrote Larry; he finished it off with a giant exclamation mark. Suddenly John knew that he could say anything, anything at all, that it would be recorded as gospel truth even if no one believed it or understood a word of it; and that at semester’s end it would be given back to him verbatim. 1 he plot is the margin,” he repeated loudly, emphatically, utilizing Larry’s exclamation mark. He knew he was going to be all right. Why, he thought, if the medium can be the mas sage, surely the plot can be the margin. He began to find the notion brilliant, began to explicate, elaborate, weave thoughts into words and gestures. Perhaps the students’ assumption was correct, perhaps that moment of blank had indeed been a ges tation period. “You can have the widest, the prettiest, the neatest margins," he was saying, barely able to keep up with the rush of ideas, “but if there is no content on your page, the grade is F.” The class caught its breath at the sound of that fatal letter. “So too in writing fiction. You can have the neatest plot, the twistiest developments,” the blue-grey eyeball smiled on him when he said ‘twistiest’, “yet if there is no life, no full blown gusts of experience, of reality...” �1ll Pens were wagging across spiral notebooks, struggling to keep pace. “I’d much rather you listened and digested what I say than record it for posterity and the final examination,” said John. “Don’t just take what I say on faith. I mean,” he added brave ly “how do you know I know?” How indeed, thought John. He was playing with fire. His escape from disaster had been too recent and too narrow, doubts of his own capabilities too fresh in his mind. He regarded the opposition. They sat waiting—for a thrust, a catch, a reversal. Larry covered a small smirk with a sudden pretense at extreme concentration, and Shirley’s blue-grey eye ball pierced through to the depths of John’s uneasy soul. “What’s the problem?” he asked, not having learned yet that Pandora’s boxes were best left shut. “We’re just not used to that approach,” said a girl hitherto silent. “We’re used to hoarding notes for the final...” Even as she spoke she doubted him. “We won’t have a final,” John decided arbitrarily, though shaken by his own daring. “How can you have a test about writing. Either you can or you can’t.” They smiled uncertainly, their credulities still swaying in the winds of distrust. It was now 8:23 and John had had all the strokes of genius he could hope for. “That’s all for today,” he said, shattering Mary Kathleen’s second commandment. “Tomorrow we have lots of work ahead of us,” he added defensively and realized that he was fooling no one. “We don’t have class tomorrow,” said Ralph who, being a mathematics major, was a stickler for precision. “I mean Saturday,” said John quickly; but in the gait of the students filing past him he thought he read their total disen chantment. “I liked the idea about plot being the margin,” said Larry, �112 stopping by John’s desk. “I’d never thought of it that way before.” “I’m so glad!” exclaimed John, bursting like a sun flower into a lavish smile. “I find it very interesting,” said Larry and bowed himself out of the room. John picked up his attache case ready to leave when a blue grey eyeball nailed him to the wall. “Will I be able to write about my father?” Shirley asked in a tone that admitted only one answer. “Sure,” complied John. “It’s always best to write about things or people you know.” Shirley looked at him, making certain he was done. “I hate my father,” she said, then stood back to observe the effect. “I see,” said John. “We were never close. He has destroyed my life.” “Come, come,” said John, “you’re still young...” The blue-grey eyeball transfixed him. Shut up, it said. “He has destroyed my life.” Have it your way, thought John. Looking at Shirley he felt a tinge of sympathy for the father. “Sure,” he said with his first touch of professional expertise, “sure, you write about your dad.” “I’ve never called him that, never,” said Shirley. “What?” "Dad' . I've never called him that. Not that I shouldn’t have liked to. But he's a progressive. If you pardon the word. It was Gus this, Gus that...” "There's a detail for you to use,” said John slickly. “That’s the sort of thing that makes a story breathe.” He was edging away, and his tone implied that the interview was over. “See you tomorrow.” Saturday,” Shirley corrected him sullenly. He left her �113 leaning against the doorway, gnawing her fingernails. Relieved to get away, John wooden heels; yet he was not him for help, he thought, and satiny smile. Something green vision. clicked down the hall in his happy. The girl had come to he had brushed her off with a and flouncy intruded upon his “Hi!” he beamed, abandoning self-recriminations. Mary Kathleen beamed back a replica of the smile he himself had just practiced on Shirley and tried to slip by him. John stopped incredulous. Wasn’t she going to ask how it went? “I just taught my first lesson,” he spilled out quickly against Mary Kathleen’s already retreating back. She halted and half-turned. “Oh, yes,” she said lukewarmly, “I hope it went all right.” And she made a second attempt at bolting. “It went very well,” volunteered John, forgetting the agony of it all. He sketched out for Mary Kathleen a glowing picture of his success. Suddenly, a small scowl appeared in the lady’s forehead, and she looked down at an emerald-studded watch pinned upon her bosom. “Haven’t you ...” she began. “I let them out early,” said John quickly, “it being the first day. But it really went very well.” “I’m so glad,” said Mary Kathleen. “For a moment yester day...” she left the sentence mercifully unfinished. “Well, I have to run,” she said. “I teach too, you know.” And with that, she vanished. Fats Morley had been joking. The freshman class did not meet in the lecture hall either, but in a room proportionate to its thirty-five beany-headed youngsters. No daggers were in store for John here, no resistance, no skepticism, and no humiliation. Themselves so shy in their new habitat, so awed by College in the abstract, these students accepted John, temporarily at least, as the great god he had always known himself to be. They twittered and jittered as though, thought �114 John with a melting heart, they all had the worms. A sense of power bubbled up through John’s diminutive frame; he stood back at the blackboard, chalk in hand, listen ing to the sound of his voice. You will be amazed, he was saying, “how much we pick up unconsciously, and then as unconsciously reproduce; say you read a Hemingway novel before you went to sleep. Next morning you sit down to write your essay and what comes out is... Yes? “Hemingway?” “Hemingway.” The buds of learning, beneath a reciprocal sunshine, were beginning to sprout. And he did not run out of material, and his mind did not go blank. Following a brief lecture he sat back easy, watching his students wrestle, round after round, with the English language. At ten to the hour, when they had wrung out a single page on the subject of “My Experience,” he let them go; promptly, in accordance with Mary Kathleen’s stricture. MRS. Macintosh was passing along the Spanish balustrades, briefcase in one hand, thermos bottle in the other. Her hus band being chair of the Foreign Language Department, MRS. Macintosh had for the past thirteen years been annually dis charged on grounds of nepotism, then ritually rehired as an emergency stopgap. Rumor had it she was now up for tenure. "Why, hello" she said. “So nice to see you!” “I just taught my first two lessons,” exclaimed John, prompt ly pouring his successes out at MRS. Macintosh’s feet. She lis tened graciously, though her eyes had a way of fogging over. “I’m so glad,” she said. She always spoke in Italics. “So glad your classes have gone well.” Each word was choco late dipped. “I gave them their first taste of the distinction between the comma and the semicolon.” She was determined to get her side of the story in. “You can’t imagine how ignorant these students are. Some of them have never even heard of a semicolon.” �115 One way of measuring their I.Q., thought John. “Heavens,” he said, “fancy that!” He suddenly saw MRS. Macintosh as a dependent clause followed by a semicolon; a very deluded thing with pretensions to grandeur. “I have some examples here,” said the dependent clause. “You might distribute them to your classes. It will save you so much time” And she began digging into her lumpy briefcase like a farmer after potatoes. “Here,” she said, coming up with a sheaf of dittoes. She too, remarked John, must have overestimated her enrollment. Exercise #1 Place a check in the circle next to the correct sentences : O The butler brought the tea; however, Lady Susan had left. O Although the butler brought the tea; Lady Susan had left. Very relevant, thought John; she must have a fascinating class. Sensing MRS. Macintosh’s eyes scrutinizing him, he kept nodding reassuringly. O David sat on the couch; MRS. Barrett patted his cheek. O While David sat on the couch; MRS. Barrett patted his cheek. Things are getting spicy, thought John. Gee, thanks, he said, “it’s going to be a big help.” With that, he tore himself away and repaired to the faculty lounge. The room was deserted. In the corner the electric percolator burbled away and John helped himself to a cup of half-brewed coffee. He settled into a salmon-colored vinyl armchair with much anticipation took out his first set of fie. themes. I tried to motivate my fingers in order to investigate �116 this object. But I discovered to my consternation that my digits were attached by some clammy adhesive. My God! thought John. And MRS. Macintosh worried about the semicolon. Elevating my body from the surface on which I reclined, I was sure this would pry me to freedom. I think she’s trying to get up, thought John; he wasn't sure. As I unhinged the frontal partition, there came an uncontrolled pour of precipitation. He had clearly picked the worst of the lot, if she couldn’t open a door without circumlocution. Hope still burning bright, he tried a second paper: My sister’s adventures, I must confess, never cease to fascinate me. They don’t talk like that, thought John; the MRS. Macintoshes of the lower levels must have wrung their brains. He tried a third paper: Her hair trailed behind her, like a summer cloud. Her arms protruded from her dress like frail toothpicks. Charming, thought John. Her boyfriend entered, stomping like an elephant in his earthquaking shuffle. Monsters, monsters all; we have produced a generation of monsters. And he chucked MRS. Macintosh’s dittoes into the wastepaper basket. I he door had opened noiselessly and Milly Goons, her hair like an explosion of brillo, stood beside him. “Hi,” she said, in her incongruously thin voice. John flushed guiltily. Hi,” he answered. Then, once more carried away by enthusiasm, “I just taught my first lessons.” Milly nodded. Good, she seemed to say. “How’d it go?’ And she really seemed to want to know. �117 “O.k.,” he said. He waited for her to say how glad she was, but she didn’t. “You want to talk about it?” He did. He told her, more or less; showed her some of the essays. “That’s par for the course,” said Milly, chuckling at the bombast. In a burst of confidence, John extracted one of MRS. Macintosh’s dittoes from the wastepaper basket. “Sacrilege,” said Milly wagging her finger. They had a good laugh. Slowly, professionally, she nibbled her way into John’s heart. Having few physical charms, she had cultivated the art of listening, of drawing out. She approved, encouraged, advised and, on occasion, disagreed vehemently. A very credi ble combination. “Why don’t we have dinner sometime,” said John when Milly got up to leave. The invitation so long Mary Kathleen’s due had rolled trippingly off his tongue. “I should like that very much,” said Milly briskly and, made wise perhaps by her earlier experience with him, did not push the point. “We’ll arrange something,” she said and with a wave of the hand strutted out the door. That afternoon, John found a note in his faculty mail box: Hi. La Boheme playing in C---------next weekend. Care to come? Milly Civilization! For the first time in over a month, to return to civilization! He answered at once. Dearest Milly, Would simply love to. Regards, John He was in excellent spirits at dinner that evening. The worst was over. �118 “You’ve been initiated,” said Little Machiavelli. “Baptized,” chortled Fats Morley. “John The Baptist,” roared Brett McVey in a for him rare literary allusion. “John in the wilderness,” offered John, but no one heard him. “Christ,” said Little Machiavelli, “fink pork again.” And everybody laughed. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource John in the Wilderness by Bernhard Frank, 2006 Subject The topic of the resource Frank, Bernhard, 1931- College teaching--Fiction Description An account of the resource This item contains the book cover and a chapter entitled "Chapter XIII: Ordeal by Fire" from pages 105-118. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2006 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_John PCMS-030_John.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/b78da6d0c972fb32413c6de465a3a37e.pdf 67ca56d56716b3f24c60453392198d92 PDF Text Text � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/0543f1875b6a58add41d6216cc01e13d.pdf 670f3bc2ade44e1bfcf34ad9d0f5e190 PDF Text Text In Memoriam Postcard Blues for Robert Graves (1895-1985) We have breakfast together (you don’t know it) over cornflakes & milk (you have ambrosia) On the sunny patio in Delos by a post card blue Mediterranean (laurels in yr hair in yr lyre the wind) Can’t go to the bank today the computers are down. 3 millennia shuttle (CF. Penelope’s loom) back & forth in yr room Niobe weeps for you Calliope sings Can’t go to the bank today the computers are down. You show me your first edition of Iliad & the in scription (Greek of course): To beautiful Robert Graves W/ blind devotion, Homeros Can’t go to the bank today the computers are down. Another time your mother tells how when you were a lad of 9 in that Victorian salon the 3 goddesses stood. & you took a pomegranate fruit from the Chinese bowl and gave it to Athene Can’t go to the bank today — the computers are down. Titan of the Mythologies, vaster was yr lore than all our national deficit. A trillion bits of info gloat on the current of yr chips nebulae & galaxies of knowledge (my freshmen’s feet still lost in them) Can’t go to the bank today — the computers are down. They did not love you, Robert Graves, deplored the competition But the computers are down today they mourn your passing. Gold Rolled in A Vineleaf Ephemeral singer eternal Song. - Bernhard Frank Printed in November 2011 by Mohawk Press, Buffalo, New York in collaboration with the Poetry Collection of the University Libraries, University at Buffalo, in an edition of 150. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource In Memoriam: Postcard Blues for Robert Graves by Bernhard Frank Subject The topic of the resource Frank, Bernhard, 1931- Poetry Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2011 Format The file format, physical medium, or dimensions of the resource broadsheet Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_InMemoriam PCMS-030_InMemoriam.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/49485c4804e785a659c59ebe277a7720.pdf 68f4d38c163773df7bd2c939e362b3f5 PDF Text Text �Table of Contents Preface ........................................................ 7 Moving Achilles ................................................ 9 Homing Odysseus ............................................. 66 Helen Lives .................................................. 114 Agamemnon's Bath ........................................... 164 Paris Judges ................................. ................... 197 �60 ACT III Scene ii The tent of Achilles. Night. A bell tolls eleven. Achilles is sleepiniJ restlessly on the ground, his arm slung over the dead body ofPatroclus. A small red gash is visible in Patroclus's side; from the waist down he is covered in the second of the "Briseis blankets". Priam, dressed as a beggar, stumbles over a tin, outside the tent. Achilles : (jumps up) Who? What? (exits; off-stage) Wake up! You guard that body or I'll cut your head off and have you courtmartialed! Priam: (slips into the tent, looks at Patroclus, lifts his toupee) Poor boy! Where does vanity take you now? Achilles: (reentering) Who are you? How did you get in here? What do you want? Answer me! (grief overcomes Priam and he goes up to Achilles and embraces him, crying. Achilles tries to draw away). Drunk, old man? (He too begins to weep, uncontrollably, but ashamedly; he tears himself away and seeks the privacy of a corner) If anyone saw us, they'd lock us up. Two strangers, weeping together, not knowing why. Priam: Knowing why. Knowing why. Maybe what the world needs is a long cry together. Women know it, only we men, trying to be stone always. Prince Achilles, I'm Hector's father. Achilles: Knowing why. Grief speaks in the language of the deaf-anddumb. I feel unspeakably, irrationally ashamed. I had to; he killed-look, King Priam. Priam: His beauty is preserved. Achilles : I know. I'm ashamed. I maimed your Hector's body in �61 rage. Incapable of hurting a gnat was Patroclus. Great Hector should not have stooped to kill him. No, King Priam, great Hector should not ... What? Priam: You could kill me. Achilles: You want me to? to stoop to Hector's level. I don't need your helpless blood, old man. Priam: The bonds of shared grief are fading fast from us, Prince Achilles. The lamplight has grown dim, and the air has turned sour. Let me speak my piece, and then... I've come for the body. You have your friend's body to mourn over. His mother, wife, his infant son and I plead with you to let us too mourn over the remains of Hector. Achilles: Anything but that! By all rights, by the cool logic oflaw, yes. But by the wrath of Zeus, no. No. Priam: What would you have done with him? Achilles: Zeus will ... Priam: The vultures will. Have pity! Achilles: Like he did, on him? Priam: He did, noble Prince. Achilles: He killed him! Again that look-What? Do you pity me? Priam: I see you struggling. Achilles: I am struggling. I want to grant you what you ask for, but what about him? And him? I can't. A man is, a man has ... Priam: A man is what? A man has what? Fifteen sons I had. Now there are four. Like that nasty little children's song, who knows but �62 soon there will be none. Can you conceive of raising fifteen sons, of dividing your love, like chocolate, fifteen ways, all these years; and now the little mouths are stopped by clay and golden-headed dandelions. All I beg of you is that we may stop Hector's mouth the same, in the damp earth that gives all and takes all that man is. Achilles: Seeing the other man's side- fatal. But for that, Patroclus would still be alive. Let no man see the other's side, or be shorn on the instant of his magic powers. I see your side, old man, perhaps you can see mine. I had a dream of myself as victor, one foot on the lion's carcass-Agamemnon's carcass, that fox of kings, for a falling out we had, a petty, oh, incredibly petty... no matter. But they killed my Patroclus instead; they brought me his ... Priam: They killed him? Achilles: You know damn well who killed him. He stood here, when that platoon of boys, but barely weaned from their mothers' breasts, was blown to Hades by your goddamned mines, and his heart was breaking. He begged me to rejoin the troops; my pride said no. "I can't" I said, "a man is, a man has ..." and I sent him to the slaughter. Had I been beside him, I would have killed that Hector! I would have ripped his liver out and sponged his miserable face with it. Priam: Which you have, which you have, you murderer, assassin of the innocent! My son never laid a hand on your precious lover, you dumb, dull, dunderhead Greek! Forgive me. Rage makes a man ... unmakes a man. Achilles: ~ho killed Patroclus? I've seen your eyes telling me all this while. Who killed Patroclus? Priam: I was on the wall when he was killed. Let me go. I saw it. I saw him killed by the East Gate. I saw Hector's uniform, silver and gules, glinting in the sun at the North Gate. He never laid a hand on Patroclus. �63 Achilles: You'd say anything to get Hector's body. He fought like a guilty man, resigned to a deserved punishment. Priam: Guilty? Resigned? What are you saying? Achilles: He didn't fight as he could have fought. He fought without conviction. Priam: It's hard to fight with conviction when you don't believe in bloodshed. You find guilt in Hector because you want to find it there, but if there was anything on my boy's conscience, the killing ofPatroclus it was not. Achilles: I don't know why I should believe you. Except that you didn't want to tell. If not Hector, and just supposing, then who? Priam: Great Achilles, you have avenged your friend's death on my innocent boy's head. Ask no more. Give me and the body safe conduct back to Troy. Achilles: Doubts are sprouting wildly in my heart. Who killed Patroclus? Priam: After your soldiers were killed, murdered, by stepping on one of your own mines ... Achilles: You're mad! Priam: We haven't had a mine in our arsenals in two years. Achilles: Go on. Priam: After that, when we heard that Patroclus had rejoined the fighting, Hector came to me in despair. We wanted to keep you immobilized at any cost. And we knew that if we'd hurt one hair ofPatroclus's head, (he looks at the discarded toupee and smiles) that you'd be on us in the blink of an eye. We gave strict orders to every leader of our Trojan troops to avoid him like the �64 plague. He had no one to fight with. No one. Our soldiers, when they saw his blinding-bright uniform on the field fled him as though he were you. The Greeks, I think realized that. Achilles: Stop! Please, no more. Take Hector's body. I'll give you safe conduct back to Troy. It wasn't Thetis's coat that failed you, Patroclus. (He writes a note) Nestor knew. They had to get me back into the field, somehow. And they did. I might as well have drawn the knife myself and plunged it (he puts rubber stamp on note) He was the only one I loved, old man, in this bitter-aloes world. (He blows on note to dry it, then takes out the last of the "Briseis" blankets; the string that had tied them drops to the floor) Here. To cover the body. You'll need it. This is your passport. Priam: (picking up the dropped string and giving it to Achilles) I didn't want you to know. Achilles : I'm grateful Priam: What are you going to do now? Achilles : To whom? To them? To me? To them, nothing. (the theme music from Anastasia, or some such, rises. He throws the string into the wastepaper basket) Good-bye, old man. Priam : Good bye, Achilles. (exits. Achilles freezes and the music soars to a pitch, then dies down) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/20166248dd5e0b5f3a9b684081bf5c3f.pdf f7eb5dba634fe8363bcce5b150a27502 PDF Text Text Homeresqu e A Trojan War Cycle Bernhard Frank �Table of Contents Preface ............................................................................................................ 7 Moving Achilles ............................................................................................. 9 Homing Odysseus .......................................................................................66 Helen Lives ................................................................................................ 114 Agamemnon’s Bath ...................................................................................164 Paris Judges.................................................................................................. 197 �60 Act 3 Scene 2 The tent of Achilles. Night. A bell tolls eleven. Achilles is sleeping restlessly on the ground, his arm slung over the dead body of Patroclus. A small red gash is visible in Patroclus’s side; from the waist down he is covered in the second of the “Briseis blankets”. Priam, dressed as a beggar, stumbles over a tin, outside the tent. Achilles: (jumps up) Who? What? (exits; off-stage) Wakeup! You guard that body or I’ll cut your head off and have you courtmartialed! Priam: (slips into the tent, looks at Patroclus, lifts his toupee) Poor boy! Where does vanity take you now ? Achilles: (reentering) Who are you? How did you get in here? What do you want ? Answer me! (grief overcomes Priam and he goes up to Achilles and embraces him, crying. Achilles tries to draw away). Drunk, old man? (He too begins to weep, uncontrolla bly, but ashamedly; he tears himself away and seeks the privacy of a corner) If anyone saw us, they’d lock us up. Two strangers, weeping together, not knowing why. Priam: Knowing why. Knowing why. Maybe what the world needs is a long cry together. Women know it, only we men, trying to be stone always. Prince Achilles, I’m Hector’s father. Achilles: Knowing why. Grief speaks in the language of the deaf-anddumb. I feel unspeakably, irrationally ashamed. I had to; he killed—look, King Priam. Priam: His beauty is preserved. Achilles: I know. I’m ashamed. I maimed your Hector’s body in �61 rage. Incapable of hurting a gnat was Patroclus. Great Hector should not have stooped to kill him. No, King Priam, great Hector should not... What? Priam: You could kill me. Achilles: You want me to? to stoop to Hector’s level. I don’t need your helpless blood, old man. Priam: The bonds of shared grief are fading fast from us, Prince Achil les. The lamplight has grown dim, and the air has turned sour. Let me speak my piece, and then... I’ve come for the body. You have your friend’s body to mourn over. His mother, wife, his infant son and I plead with you to let us too mourn over the remains of Hector. Achilles: Anything but that! By all rights, by the cool logic of law, yes. But by the wrath of Zeus, no. No. Priam: What would you have done with him? Achilles: Zeus will... Priam: The vultures will. Have pity! Achilles: Like he did, on him? Priam: He did, noble Prince. Achilles: He killed him! Again that look—What? Do you pity me? Priam: I see you struggling. Achilles: I am struggling. I want to grant you what you ask for, but what about him? And him? I can’t. A man is, a man has... Priam: A man is what? A man has what? Fifteen sons I had. Now there are four. Like that nasty little children’s song, who knows but �62 soon there will be none. Can you conceive of raising fifteen sons, of dividing your love, like chocolate, fifteen ways, all these years; and now the little mouths are stopped by clay and golden-headed dandelions. All I beg of you is that we may stop Hector’s mouth the same, in the damp earth that gives all and takes all that man is. Achilles: Seeing the other mans side—fatal. But for that, Patroclus would still be alive. Let no man see the other’s side, or be shorn on the instant of his magic powers. I see your side, old man, perhaps you can see mine. I had a dream of myself as victor, one foot on the lion’s carcass—Agamemnon’s carcass, that fox of kings, for a falling out we had, a petty, oh, incredibly petty... no matter. But they killed my Patroclus instead; they brought me his... Priam: They killed him? Achilles: You know damn well who killed him. He stood here, when that platoon of boys, but barely weaned from their mothers’ breasts, was blown to Hades by your goddamned mines, and his heart was breaking. He begged me to rejoin the troops; my pride said no. “I can’t” I said, “a man is, a man has...” and I sent him to the slaughter. Had I been beside him, I would have killed that Hector! I would have ripped his liver out and sponged his miserable face with it. Priam: Which you have, which you have, you murderer, assassin of the innocent! My son never laid a hand on your precious lover, you dumb, dull, dunderhead Greek! Forgive me. Rage makes a man... unmakes a man. Achilles. Who killed Patroclus? I’ve seen your eyes telling me all this while. Who killed Patroclus? Priam: I was on the wall when he was killed. Let me go. I saw it. I saw him killed by the East Gate. I saw Hector’s uniform, silver and gules, glinting in the sun at the North Gate. He never laid a hand on Patroclus. �63 Achilles: You’d say anything to get Hector’s body. He fought like a guilty man, resigned to a deserved punishment. Priam: Guilty? Resigned? What are you saying? Achilles: He didn’t fight as he could have fought. He fought without conviction. Priam: It’s hard to fight with conviction when you don’t believe in bloodshed. You find guilt in Hector because you want to find it there, but if there was anything on my boy’s conscience, the killing of Patroclus it was not. Achilles: I don’t know why I should believe you. Except that you didn’t want to tell. If not Hector, and just supposing, then who? Priam: Great Achilles, you have avenged your friend’s death on my innocent boy’s head. Ask no more. Give me and the body safe conduct back to Troy. Achilles: Doubts are sprouting wildly in my heart. Who killed Patro clus? Priam: After your soldiers were killed, murdered, by stepping on one of your own mines... Achilles: You’re mad! Priam: We haven’t had a mine in our arsenals in two years. Achilles: Go on. Priam: After that, when we heard that Patroclus had rejoined the fight ing, Hector came to me in despair. We wanted to keep you immobilized at any cost. And we knew that if we d hurt one hair of Patroclus’s head, (he looks at the discarded toupee and smiles) that you’d be on us in the blink of an eye. We gave strict orders to every leader of our Trojan troops to avoid him like the �64 plague. He had no one to fight with. Noone. Our soldiers, when they saw his blinding-bright uniform on the field fled him as though he were you. The Greeks, I think realized that. Achilles: Stop! Please, no more. Take Hector’s body. I’ll give you safe conduct back to Troy. It wasn’t Thetis’s coat that failed you, Patroclus. (He writes a note) Nestor knew. They had to get me back into the field, somehow. And they did. I might as well have drawn the knife myself and plunged it (he puts rub ber stamp on note) He was the only one I loved, old man, in this bitter-aloes world. (He blows on note to dry it, then takes out the last of the “Briseis” blankets; the string that had tied them drops to the floor) Here. To cover the body. You’ll need it. This is your passport. Priam: (picking up the dropped string and giving it to Achilles) I didn’t want you to know. Achilles: I’m grateful Priam: What are you going to do now? Achilles: To whom? To them? Tome? To them, nothing. (the theme music from Anastasia, or some such, rises. He throws the string into the wastepaper basket) Good-bye, old man. Priam. Good bye, Achilles. (exits. Achilles freezes and the music soars to a pitch, then dies down) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Homeresque: A Trojan War Cycle by Bernhard Frank, 2009 Subject The topic of the resource Frank, Bernhard, 1931- Trojan War--Drama Description An account of the resource This item contains the cover, table of contents and "Act III Scene ii" from pages 60-64. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2009 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Homeresque PCMS-030_Homeresque.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/2f86bb2c8b3c88d78e37b2efb045ffa5.pdf 51ca4b41524667c40243828eb6c279b4 PDF Text Text RAINER MARIA RILKE THEDUINO ELEGIES · TRANSLATEDBY BERNHARD FRANK GOLDEN GROVE #1 23 S~1 .5 0 �5 THE SECOND ELEGY Every angel is dreadful. And even so, sad to say, I celebrate you, near-fatal birds of the soul, wise as I am to you. Where are the days of Tobias, when the Brightest One paused by that rnodest entrance, disguised a bit for the journey and no longer fearsOtne (stripling peering out at stripling, curious). Yet let that ominous archangel now take but one step down and one forward frorn behind the stars: Our own racing heart would erase us. Who are you? You early successes, creation's minions, pinnacles, dawn-rosy hillocks of genesis--the flowering Godhead's pollen; hinges of light, passages, stairways, thrones, halls of being, placards of bliss, tumults �6 of turbulently charn1ed passion and suddenly, apart, mirrors : those which decant the emanating beauty back into its own visage. For we no sooner feel than we evanesce; oh, we exhale ourselves to death; ember by ember dirninishes our scent. So son1eone tells us: You got under my skin; this room, this spring is filled with you ... It's useless, he cannot contain us; we vanish in and about him. And those blessed with beauty, oh, who shall restrain them? Dissembling rises and falls endlessly in their face. Like dew frorn morning grass separates what is ours from us; like heat from a stearning dish. Oh, whereto, sn1ile? Oh, glance: novel, cordial, fleeting wave of the heart; oh, yes: these are us still. Isn't the universe, in which we dissolve, at least tinged with us? Do the angels capture only their own emantations, or is smnetimes, accidentally ahnost, a little of our own essence thrown in? Are we only so rnuch blended with their features as the indefinition on pregnant women's faces? They don't detect it in the whirlpool of their return unto themselves. (How could they detect it.) Lovers could, if they but understood that, converse rnarvelously in the evening air. For it seems that everything disavows us. Look, the trees are there; the houses we inhabit still stand. Only we rnove past everything like an interchange of air. And everything conspires to suppress us, half �7 as a dist,rrace perhaps and half as ineffable hope. You, lovers, mutually self-sufficient ones, I ask about us. You embrace. Is there a point? Look, my hands too at times interlock, or else rny weathered face will bury itself in them. That offers sensation. But is that enough reason for being? You, however, you who thrive on charming each other until, overwhelmed, he pleads: no more; you who become more bountiful in each other's hands, like vintage years; you who are sometirnes obscured merely because the other takes over completely: You I ask about us. I know, you touch so rapturously because love-rnaking is elusive, because the spot which you, tender ones, cover does not fade; because underneath it you sense a true dependability. That's how you pron1ise each other near-eternity in your embrace. And yet after you withstand the dread of that first glance and the heart -ache at the window, and that first stroll together, once through the park: Tell me, Lovers, are you that still? When you raise your glasses to your mouths and toast each other--potion to potion: oh, how strangely then does the drinker elude the plot. Did not, on Attic steles, that restraint of hurnan gesture astonish you? Weren't Love and Farewell laid ever so lightly across the shoulders, as though rnade of alien stuff? Think back to the hands, how weightlessly they rest, though strength irnbues the torsos. �8 These stoics knew thereby: we go so far, this much is ours, touching like this; any harder only the Gods will lean on us. But that is the Gods' affair. Could we but find our own clean, elusive narrow strip of orchard between stream and rock. For our own heart still sunnounts us just like those others'; and we can no longer examine it in artworks which mellow it, nor in heavenly bodies, in which it is far more constrained. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/85b034e586ce5a528993dbcecf346478.pdf 79eca08b2c43f1c04d54c926c4ed478a PDF Text Text Rainer Maria Rilke The Duino Elegies Translated By Bernhard Frank Goldengrove #123 $3.50 �= 5 = The Second Elegy Every angel is dreadful. And even so, sad to say, I celebrate you, near-fatal birds of the soul, wise as I am to you. Where are the days of Tobias, when the Brightest One paused by that modest entrance, disguised a bit for the journey and no longer fearsome (stripling peering out at stripling, curious). Yet let that ominous archangel now take but one step down and one forward from behind the stars: Our own racing heart would erase us. Who are you? You early successes, creation's minions, pinnacles, dawn-rosy hillocks of genesis—the flowering Godhead's pollen; hinges of light, passages, stairways, thrones, halls of being, placards of bliss, tumults �6 of turbulently charmed passion and suddenly, apart, mirrors : those which decant the emanating beauty back into its own visage. For we no sooner feel than we evanesce; oh, we exhale ourselves to death; ember by ember diminishes our scent. So someone tells us: You got under my skin; this room, this spring is filled with you... It's useless, he cannot contain us; we vanish in and about him. And those blessed with beauty, oh, who shall restrain them? Dissembling rises and falls endlessly in their face. Like dew from morning grass separates what is ours from us; like heat from a steaming dish. Oh, whereto, smile? Oh, glance: novel, cordial, fleeting wave of the heart; oh, yes: these are us still. Isn't the universe, in which we dissolve, at least tinged with us? Do the angels capture only their own emantations, or is sometimes, accidentally almost, a little of our own essence thrown in? Are we only so much blended with their features as the indefinition on pregnant women's faces? They don't detect it in the whirlpool of their return unto themselves. (Flow could they detect it.) Lovers could, if they but understood that, converse marvelously in the evening air. For it seems that everything disavows us. Look, the trees are there; the houses we inhabit still stand. Only we move past everything like an interchange of air. And everything conspires to suppress us, half �7 as a disgrace perhaps and half as ineffable hope. You, lovers, mutually self-sufficient ones, I ask about us. You embrace. Is there a point? Look, my hands too at times interlock, or else my weathered face will bury itself in them. That offers sensation. But is that enough reason for being? You, however, you who thrive on charming each other until, overwhelmed, he pleads: no more; you who become more bountiful in each other's hands, like vintage years; you who are sometimes obscured merely because the other takes over completely: You I ask about us. I know, you touch so rapturously because love-making is elusive, because the spot which you, tender ones, cover does not fade; because underneath it you sense a true dependability. That's how you promise each other near-eternity in your embrace. And yet after you withstand the dread of that first glance and the heart-ache at the window, and that first stroll together, once through the park: Tell me, Lovers, are you that still? When you raise your glasses to your mouths and toast each other-potion to potion: oh, how strangely then does the drinker elude the plot. Did not, on Attic steles, that restraint of human gesture astonish you? Weren't Love and Farewell laid ever so lightly across the shoulders, as though made of alien stuff? Think back to the hands, how weightlessly they rest, though strength imbues the torsos. �8 These stoics knew thereby: we go so far, this much is ours, touching like this; any harder only the Gods will lean on us. But that is the Gods' affair. Could we but find our own clean, elusive narrow strip of orchard between stream and rock. For our own heart still surmounts us just like those others'; and we can no longer examine it in artworks which mellow it, nor in heavenly bodies, in which it is far more constrained. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rainer Maria Rilke's The Duino Elegies Translated by Bernhard Frank, 1989 Subject The topic of the resource Frank, Bernhard, 1931- Poetry Rilke, Rainer Maria, 1875-1926--Translations Description An account of the resource This item contains the cover and a poem entitled "The Second Elegy" from pages 5-8. Creator An entity primarily responsible for making the resource Rilke, Rainer Maria, 1875-1926 Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1989 Contributor An entity responsible for making contributions to the resource Frank, Bernhard, 1931- Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_DuinoElegies PCMS-030_DuinoElegies.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/ec9a0d01611a5bb15bdf5526dec0f869.pdf 8072475757589f3def636513cec66eff PDF Text Text SPLITTING THE LARK: Dicl<insoniana Through the Magnifying Glass Bernhard Frank GOLDENGROVE PRESS #3 13 ~. ;r ~~T·1ppmg rhe l. ~ Schoar 1 EDITIONS #I �Table of Contents On the Origin ofThese Pieces ......... . .... . ........ . ..... . .... 5 "Portraits are to daily faces"(#170) : Art vs. Reality ......... . .... .. .... 6 The Protean Speaker in "I taste a liquor never brewed" (#214) .. . . ... ... 8 The Seven Levels of Imagery in "Safe in their Alabaster Chambers" (#216) . . ........ . ........... . 10 ''I'm Nobody- Who are you?" (#288) as Concrete Poetry . ... . ....... . 14 Where Three Roads Part in "The Soul selects her own Society" (#303) ... 16 "After great pain, a formal feeling comes" (#341): A Pentimento ........ 18 Two States of Being in "I saw no WayThe Heavens were stitched" (#378) ..... ... . . ..... .. ........... 20 The Stencil for '"Twas Love-not me" (#394) .. . ....... . . . .... . ... . 22 "This is my letter to the World" (#441) as Epitaph .......... .. ...... 24 "I started Early-Took my Dog" (#520): An Anatomy; or, Whatever Happened to Emily's Dog ...... . ..... . . .. ..... . . .... 25 "Because I could not stop for Death" (#7 12): A Period of Adjustment .... 30 Intimations of Immortality: The Symbiosis of "Because I could not stop for Death"(#7 12) and Frost's "Stopping by Woods on a Snowy Evening" ... .... .... .. 32 "Ideals are the Fairy Oil" (#983): The Leg of the Elephant . .. ... . . . ... 35 The Selfless Conquistador in "The most triumphant Bird I ever knew or met" (#1265) ............. .. . .. ..... . ...... ... . 37 Midcourse Corrections in "Long Years apart can make no" (#1383) .. . ...... .. ....... . .............. . ... . 39 "No Passenger was known to flee" (#1406) as American Gothic ... .. .. . 4 1 "Apparently with no surprise" (# 1624): An Onomatopoeic Syllogism . .. ....... . . . .. . ....... .. ... . .... 42 Hades Bound in '"Twas here my summer paused" (# 1756) .... .... . ... 44 Works Cited .. . .... . ..... .. .. . .............. . .. . . . .... . ... · 46 The poem numbers are adopted from The Poems ofEmily Dickinson, Thomas H . Johnson, editor. Cambridge: Harvard University Press, vols. I-III, 1963. �37 The Selfless Conquistador In assessing Emily Dickinson's nature poetry, Joan Kirkby maintains that "Dickinson affirms the mutability of nature .... In various solstices of the year, the thresholds of the day, she celebrates the cyclical force that animates the whole. Like 'the most triumphant Bird' ... she sings and embraces 'the power of passing' that characterizes this transitive state" (132). The key word here, as it applies to "The most triumphant Bird I ever knew or met" (#1265) is "power", which forms the governing image of the poem. Let us sift through the lines: The conqueror imagery: Triumphant, embarked (on a military campaign). Dominion, eminent, Retired (as in 'retreated'), transitive Estate (as in temporary bivouac, or temporarily conquered territory) and, of course, Glory. Interestingly enough, sight of 1.4 was might in the worksheet draft. Here we have all the earmarks of a military campaign. Keats's "On First Looking into Chapman's Homer" uses similar imperialist/colonial imagery (see Explicator, Fall 1983), but then Homer's epic is one of conquest and plunder. In Dickinson's poem the terms function as irony: 1. It was all a "delicious Accident", not a planned campaign 2. The bird "sang for nothing scrutable" 3. Nevertheless the "finest Glory" fits it like a crown or royal robes In short, the conquest is bloodless, free of territoriality and of strategy-it is a sheer hosanna to being alive. Cynthia Griffin Wolff seeks to deconstruct the poem. Reading it as an expression of existential angst, she maintains that "although the 'Bird' may be triumphant... this victory is curiously flat.. .. There is no felt victory." She detects a "sense of loss", and relates the bird to the poet: ''An artist who has concocted all of being from enacting the role of hero-poet may require combat to sustain elation. Once the days of battle have �38 ceased, existence itself may seem hollow and drained of meaning" (526-27). In trying to make this an ubi sunt poem, Wolff goes against the jubilant, celebrating tone which is far more in the vein of carpe diem. Nor can we assume that the speaker sees herself in the bird. Mter all, even poets don't sing just for the sheer joy of it; at best, they seek to communicate and to achieve immortality; at worst, they crave fame and fortune. Still, one word offers a hinge that joins the ubi sunt and carpe diem readings-the only one referring not to the conqueror, but to the conquered: "I famish to behold". Here is the plight of those who are not free, who do not sing for the sheer joy of it; the ones whose territory has been taken over and who, consequently, lack sustenance. The poet is not synonymous with the bird, but wishes she could be like it. And since the second half of the first line "I ever knew or met" (1. 2 in the earlier draft) anthropomorphizes the bird, we can assume the speaker must have encountered such folks; sadly, she does not feel herself to be one of them. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/f51b743cf8e1e7a1939c2718a933458b.pdf cb5e16248ce7bafceb05ae7f07fca889 PDF Text Text Splitting The Lark: Dickinsoniana Through the Magnifying Glass Bernhard Frank Goldengrove Press #313 The Tippling Scholar Editions #1 �Table of Contents On the Origin of These Pieces ............................................................................ 5 “Portraits are to daily faces”(#170): Art vs. Reality............................................ 6 The Protean Speaker in “I taste a liquor never brewed” (#214)...................... 8 The Seven Levels of Imagery in “Safe in their Alabaster Chambers” (#216).................................................... 10 “I’m Nobody—Who are you?” (#288) as Concrete Poetry............................. 14 Where Three Roads Part in “The Soul selects her own Society” (#303) ... 16 “After great pain, a formal feeling comes” (#341): A Pentimento............... 18 Two States of Being in “I saw no Way— The Heavens were stitched” (#378)............................................................. 20 The Stencil for “’Twas Love—not me” (#394)............................................... 22 “This is my letter to the World” (#441) as Epitaph........................................ 24 “I started Early—Took my Dog” (#520): An Anatomy; or, Whatever Happened to Emily’s Dog............................................................. 25 “Because I could not stop for Death” (#712): A Period of Adjustment. ... 30 Intimations of Immortality: The Symbiosis of “Because I could not stop for Death”(#712) and Frost’s “Stopping by Woods on a Snowy Evening”............................. 32 “Ideals are the Fairy Oil” (#983): The Leg of the Elephant.......................... 35 The Selfless Conquistador in “The most triumphant Bird I ever knew or met” (#1265)........................................................................... 37 Midcourse Corrections in “Long Years apart — can make no” (#1383)................................................................................. 39 “No Passenger was known to flee” (#1406) as American Gothic................41 “Apparently with no surprise” (#1624): An Onomatopoeic Syllogism.........................................................................42 Hades Bound in “’Twas here my summer paused” (#1756).......................... 44 Works Cited........................................................................................................ 46 The poem numbers are adopted from The Poems ofEmily Dickinson, Thomas H. Johnson, editor. Cambridge: Harvard University Press, volumes. 1-3, 1963. �37 The Selfless Conquistador In assessing Emily Dickinson’s nature poetry, Joan Kirkby maintains that “Dickinson affirms the mutability of nature.... In various solstices of the year, the thresholds of the day, she celebrates the cyclical force that animates the whole. Like ‘the most triumphant Bird’... she sings and embraces ‘the power of passing’ that characterizes this transitive state” (132). The key word here, as it applies to “The most triumphant Bird I ever knew or met” (#1265) is “power”, which forms the governing image of the poem. Let us sift through the lines: The conqueror imagery: Triumphant, embarked (on a military campaign). Dominion, eminent, Retired (as in ‘retreated’), transitive Estate (as in temporary bivouac, or temporarily conquered territory) and, of course, Glory. Interestingly enough, sight of 1.4 was might in the worksheet draft. Here we have all the earmarks of a military campaign. Keats’s “On First Looking into Chapman’s Homer” uses similar imperialist/colonial imagery (see Explicator, Fall 1983), but then Homer’s epic is one of conquest and plunder. In Dickinson’s poem the terms function as irony: 1. It was all a “delicious Accident”, not a planned campaign 2. The bird “sang for nothing scrutable” 3. Nevertheless the “finest Glory” fits it like a crown or royal robes In short, the conquest is bloodless, free of territoriality and of strategy—it is a sheer hosanna to being alive. Cynthia Griffin Wolff seeks to deconstruct the poem. Reading it as an expression of existential angst, she maintains that “although the ‘Bird’ may be triumphant... this victory is curiously flat.... There is no felt victory.” She detects a “sense of loss”, and relates the bird to the poet: “An artist who has concocted all of being from enacting the role of hero-poet may require combat to sustain elation. Once the days of battle have �38 ceased, existence itself may seem hollow and drained of mean ing” (526-27). In trying to make this an ubi sunt poem, Wolff goes against the jubilant, celebrating tone which is far more in the vein of carpe diem. Nor can we assume that the speaker sees herself in the bird. After all, even poets don’t sing just for the sheer joy of it; at best, they seek to communicate and to achieve immortali ty; at worst, they crave fame and fortune. Still, one word offers a hinge that joins the ubi sunt and carpe diem readings—the only one referring not to the con queror, but to the conquered: “I famish to behold”. Here is the plight of those who are not free, who do not sing for the sheer joy of it; the ones whose territory has been taken over and who, consequently, lack sustenance. The poet is not synony mous with the bird, but wishes she could be like it. And since the second half of the first line “I ever knew or met” (1. 2 in the earlier draft) anthropomorphizes the bird, we can assume the speaker must have encountered such folks; sadly, she does not feel herself to be one of them. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Splitting the Lark: Dickinsoniana Through the Magnifying Glass by Bernhard Frank, 2007 Subject The topic of the resource Frank, Bernhard, 1931- Poetry--Criticism, interpretation, etc. Description An account of the resource This item contains the cover, table of contents, and a critique entitled "The Selfless Conquistador" from pages 37-38. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2007 Contributor An entity responsible for making contributions to the resource Dickinson, Emily, 1830-1886 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_Dickinsoniana PCMS-030_Dickinsoniana.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/1fcef197e65ce34777695f0a9e4801e6.pdf 3b024cf0dbbc1756feb62f6ef91959c4 PDF Text Text �Table of Contents Issue #6 The Case of the Missing Notes ....................................... 7 BRITISH Deor/Anonymous "Deor": Six Degrees of Persuasion ... .. .................. 8 William Shakespeare Sonnet 29: The Pursuit of Unhappiness .................. Sonnet 73: The Logic of Pathos ... . ...... : ............. Consonantal Sound as Sense ........... ....... Othello: An Imperfect Gem . . . . . . . . . . . . . . . . . . . . . . . . . . . The Three Facets of Iago ..................... Macbeth: A Eulogy in Spite of Itself ............ ..... .... Addendum: Passion on The You .................... .... 12 15 18 20 23 26 30 John Keats "When I have Fears ...": The Sonnet as Equation . ........... 38 "On First Looking into Chapman's Homer": A Well Tempered Mistake .................... 40 Addendum: On First Looking into Milton's Paradise Lost . .... 43 Alfred Lord Tennyson "Ulysses": A Seesaw Effect . ............... . . . ......... 44 Gerard Manley Hopkins "The Windhover": Buckle Power . . ........... .. ...... .. 47 Oscar Wilde The Picture ofDorian Gray: Of Heaven and Hell. ........... 50 Daphne Du Maurier Rebecca: The Last Days ofManderley .... ....... . .. .. . .. . 52 A Moral Blind Spot ..... .... ......... .. .. .. .. 56 Terence Rattigan The Deep Blue Sea: Thoroughly Modern Hester ............ 57 Issue #7 CONTINENTAL Charles Baudelaire "Le Cygne": Andromache and the Swan .. .. . .. . ........ .. 59 Paul Verlaine "Chevaux de bois": Sound as Motion ........ . ...... . .. . .. "Un grand someil noir...": A Lullaby ........... ..... .. ... "Le ciel est, par-dessus le toit...": A Generic Puzzle ........... "Dans !'interminable ennui...": An Apocalyptic Vision .... .. .. Addendum: The Lumps in the Fabric . . .... ... ..... ...... 63 66 68 71 74 �Guillaume Apollinaire ''j'ai eu le courage": The Road to Epiphany . . .... · . · · · · · · · · 77 Else Lasker-Schueler Eve's Song . . . ..... . ... . .... · . . · · · · · · · · · · · · · · · · · · · · 80 Nelly Sachs "Chassidim Tanzen": Composition in Black and Gold . .. .... 91 Paul Celan "Psalm": Two Clues and a Twist ... . .... . .. . .. . . .. .. ·· ·· 93 Addendum: A Delicate Imbalance ...... . ....... .. . .. . · · 95 Leo Tolstoy Anna Karenina: The Ones She Left Behind .. . ... . . .. ... .. 100 Milan Kundera The Unbearable Lightness ofBeing: A Symbolic Geometry . . . . 102 Issue #8 AMERICAN Robert Frost "Stopping by Woods on a Snowy Evening": Not Stopping by Woods ... . .. . ............ . . . . .. . 108 John Berryman "The Possessed": The Rise and Fall ofTroy . . ... . ... . . .... 112 William Dickey Of Literary Bondage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 "When I Am Laid in Earth": Catharsis and Fusion. . . . . . . . . 116 "Passengers": The Stuff that Dreams Are Made of. . . . . . . . . . 119 "Stopping at the Oasis": The Unbearable Randomness of Being . .. .. . .. .. . .... 123 Addenda: Poet's letter .. .. .. . . .. .. .. ... . .... ........ 127 "Die Alte Frau, die Alte Marschallin" (first draft) .. 129 "Die Alte Frau, die Alte Marschallin" (transcribed). 130 "Die Alte Frau, die A lte Marschallin" (final) ... ... 132 Poet's letter #2. . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Two Elegies April . ..... ... . .... . . .. . . . . . .. .... ... 136 In Denial of Consolation .. . ........ ... .. . 137 �108 Stopping! Promises I have to keep have been broken (once or twice) before. My life insurance is paid up (fed up, fed up), and more snow falls inside my heart than all this landscape can impart. "To die, to sleep, no more"-Will Shakespeare certainly knew the score. My horse will find his path back home, with or without me; let the stone upon my grave attest my worst & gloze the rest. Not Stopping by Woods Like the snake, a poem may slough off some of its more overt meanings and survive brilliantly in a new skin. The first level interpretation of Robert Frost's "Stopping by Woods on a Snowy Evening," that of an exaltation of nature's beauty, has long since lost its allure; and the death-wish interpretation, too, has been overworked. It has recently been modified into a "little death" as opposed to the "big death" of the suicide wish. " ... If there is any death in the poem," writes Nat Henry, " .. .it is the little death of abnegation to which we sentence ourselves daily because of what we owe to those who depend on us ... " (Explicator, 37,1 [1978], 37-38). It is the naive tone of the speaker that leads us first to read the poem as an ode to the beauty of nature; surely nothing more sophisticated can be attributed to the simple farmer on his homeward journey. Only the line, "The woods are lovely, dark, and deep" (italics mine), alerts us in its yearning and its mystification of the woods to a death-wish the speaker does perhaps neither understand nor even discern. �109 To plumb the significance of the poem we must abandon our reliance on the speaker's own insights; so long as we accept his analysis we are merely conspirators in evasion. No sooner, however, do we discredit the speaker than the poem's complexities and true pathos shine forth. For "Stopping by Woods on a Snowy Evening" embodies at least three facets of the American tragedy: the compulsive adherence to the work-ethic; the preoccupation with the dictates of society; and the terror of facing introspection. Because he cannot surmount any of these hurdles the speaker never stops to watch the woods fill up with snow. There is a before-stopping and an after-stopping; but the actual stopping to commune with nature and self never occurs. The poem's title, thus, becomes wryly ironic. We meet the speaker worrying over who the owner of the woods is and then quickly assuring himself that "his house is in the village," in the social world from which the speaker has temporarily strayed, and would not see him. The mere act of stopping here gains a criminal patina-what is it he should not be doing? Watching the woods fill up with snow! Shame and guilt seem to stem from the break in the work-ethic to indulge in socially frowned on, "unmanly," emotions. Although during the break between stanzas one and two the speaker, reassured that he would go undetected, has stopped physically, he is still unable "to watch the woods fill up with snow" because he has now endowed his horse with the condemnation which he expects from society. The horse, not cursed with human guilt, is not likely to "think it queer I To stop without a farmhouse near"; had the horse not been there, the speaker would have endowed the owl or the groundhog in its hiding with disapproval of him. The unconscious use, by t he speaker, o f "queer, " meaning odd, is interesting too-evoking as it does a connota(( 1" tion of that other, pejorative sense ofthe word, unman Y · �110 The speaker enumerates now the reasons why he should not be stopping: the place is cold, dark, and deserted. The very reasons why the speaker did want to stop- the loneliness of the night, and the absence of social critics, now are offered as incentives to move on. Clearly the speaker is in conflict: the moment away from the world both calls, siren-like, and terrifies. It may seem to him that (just like the followers of the sirens) he would be drawn into death if he truly stopped; but we know that this is not so-through introspection and a fusion with the universe he would find life; and this is, in fact, what he fears. An objective truth begins the third stanza with the horse's shaking of its harness bells; yet the interpretation of the fact is immediately subjective and, as such, misguided: "To ask if there was some mistake." Again the speaker's misgivings are projected onto the horse. The second half of the third stanza suggests at first glance that the speaker has at last resolved his conflict and achieved his communion with nature. And yet not so: "The only other sound's the sweep I Of easy wind and downy flake" (italics mine) . The dominant sound is that of the harness bells; the sounds of nature are peripheral. The speaker clings to the social sound of the bells against the dizzying swirl of nature and the unconscious like someone atop a tower who, because of vertigo, cannot bear to look down and instead focuses his gaze on the railing. So, before he has stopped, truly stopped, before he has allowed himself to abandon the focal-point of the horse as an outpost of society, before he has communed with nature, he is already, in the last stanza, abandoning it: "The woods are lovely, dark and deep" is not spoken in contemplation of the woods; it is a dismissal: "Oh, well, I know all about those lovely woods, BUT"-and the "but" explodes with great relief- "! have promises to keep." This is the rationalization which permits the speaker to move on, to escape "honorably" from meeting up with himself �111 Had he stopped, the speaker might have come to understand his impulses and fears and, thus, shared our insights. As it is, we leave him as blind as we had found him, only feeling wiser ourselves. Call it dramatic irony. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/26807ee740c6c12145c5db3f848be1fb.pdf ecca7d424e016e902ce99c86cf8ebb65 PDF Text Text Deor to Dickey A Reader Bernhard Frank �Table of Contents Issue #6 The Case of the Missing Notes.......................................................................... 7 British Deor/Anonymous “Deor”: Six Degrees of Persuasion................................. 8 William Shakespeare Sonnet 29: The Pursuit of Unhappiness........................................ 12 Sonnet 73: The Logic of Pathos...................... 15 Consonantal Sound as Sense........................................ 18 Othello: An Imperfect Gem............................................................ 20 The Three Facets of Iago.............................................. 23 Macbeth: A Eulogy in Spite of Itself.............................................. 26 Addendum: Passion on The You..................................................... 30 John Keats “When I have Fears...”: The Sonnet as Equation......... 38 “On First Looking into Chapman’s Homer”: A Well Tempered Mistake............................................ 40 Addendum: On First Looking into Milton’s Paradise Lost......... 43 Alfred Lord Tennyson “Ulysses”: A Seesaw Effect........................................... 44 Gerard Manley Hopkins “The Windhover”: Buckle Power..................................47 Oscar Wilde The Picture ofDorian Gray: Of Heaven and Hell.......................... 50 Daphne Du Maurier Rebecca: The Last Days of Manderley........................... 52 A Moral Blind Spot......................................................... 56 Terence Rattigan The Deep Blue Sea: Thoroughly Modern Hester.........57 Issue #7 Continental Charles Baudelaire “Le Cygne”: Andromache and the Swan.......................59 Paul Verlaine “Chevaux de bois”: Sound as Motion.............................. 63 “Un grandsomeil noir...”: A Lullaby.............................................. 66 “Le ciel est, par-dessus le toit...”: A Generic Puzzle........................ 68 “Dans l’interminable ennui...”: An Apocalyptic Vision................. 71 Addendum: The Lumps in the Fabric............................................ 74 �Guillaume Apollinaire “J'ai eu le courage”: The Road to Epiphany..................................... 77 Else Lasker-Schueler Eve's Song............................................................ 80 Nelly Sachs “Chassidim Tanzen”: Composition in Black and Gold................ 91 Paul Celan “Psalm”: Two Clues and a Twist....................................................... 93 Addendum: A Delicate Imbalance................................................... 95 Leo Tolstoy Anna Karenina: The Ones She Left Behind................................... 100 Milan Kundera The Unbearable Lightness ofBeing. A Symbolic Geometry.... 102 Issue #8 AMERICAN Robert Frost “Stopping by Woods on a Snowy Evening”: Not Stopping by Woods.............................................................108 John Berryman “The Possessed”: The Rise and Fall of Troy................................... 112 William Dickey Of Literary Bondage.......................................................................... 115 “When I Am Laid in Earth”: Catharsis and Fusion..................... 116 “Passengers”: The Stuff that Dreams Are Made of....................... 119 “Stopping at the Oasis”: The Unbearable Randomness of Being................................... 123 Addenda: Poet’s letter...................................................................... 127 “Die Alte Frau, die Alte Marschallin” (first draft) .129 “Die Alte Frau, die Alte Marschallin" (transcribed). 130 “Die Alte Frau, die Alte Marschallin” (final)............132 Poet’s letter #2................................................................. 134 Two Elegies April.......................................................................... 136 In Denial of Consolation........................................ 137 �108 Stopping! Promises I have to keep have been broken (once or twice) before. My life insurance is paid up (fed up, fed up), and more snow falls inside my heart than all this land scape can impart. “To die, to sleep, no more”—Will Shakespeare certainly knew the score. My horse will find his path back home, with or without me; let the stone upon my grave attest my worst & gloze the rest. Not Stopping by Woods Like the snake, a poem may slough off some of its more overt meanings and survive brilliantly in a new skin. The first level interpretation of Robert Frost’s “Stopping by Woods on a Snowy Evening,” that of an exaltation of nature’s beauty, has long since lost its allure; and the death-wish interpretation, too, has been overworked. It has recently been modified into a “little death” as opposed to the “big death” of the suicide wish. “... If there is any death in the poem,” writes Nat Henry, “...it is the little death of abnegation to which we sentence ourselves daily because of what we owe to those who depend on us...” (Explicator, 37,1 [1978], 37-38). It is the naive tone of the speaker that leads us first to read the poem as an ode to the beauty of nature; surely nothing more sophisticated can be attributed to the simple farmer on his homeward journey. Only the line, “The woods are lovely, dark, and deep (italics mine), alerts us in its yearning and its mystification of the woods to a death-wish the speaker does perhaps neither understand nor even discern. �109 To plumb the significance of the poem we must abandon our reliance on the speaker's own insights; so long as we accept his analysis we are merely conspirators in evasion. No sooner, how ever, do we discredit the speaker than the poem’s complexities and true pathos shine forth. For “Stopping by Woods on a Snowy Evening” embodies at least three facets of the American tragedy: the compulsive adherence to the work-ethic; the pre occupation with the dictates of society; and the terror of facing introspection. Because he cannot surmount any of these hurdles the speaker never stops to watch the woods fill up with snow. There is a before-stopping and an after-stopping; but the actual stopping to commune with nature and self never occurs. The poem’s title, thus, becomes wryly ironic. We meet the speaker worrying over who the owner of the woods is and then quickly assuring himself that “his house is in the village,” in the social world from which the speaker has temporarily strayed, and would not see him. The mere act of stopping here gains a criminal patina—what is it he should not be doing? Watching the woods fill up with snow! Shame and guilt seem to stem from the break in the work-ethic to indulge in socially frowned on, “unmanly,” emotions. Although during the break between stanzas one and two the speaker, reassured that he would go undetected, has stopped physically, he is still unable “to watch the woods fill up with snow” because he has now endowed his horse with the condem nation which he expects from society. The horse, not cursed with human guilt, is not likely to “think it queer / To stop without a farmhouse near”; had the horse not been there, the speaker would have endowed the owl or the groundhog in its hiding with disap proval of him. The unconscious use, by the speaker, of queer, meaning odd, is interesting too—evoking as it does a connota tion of that other, pejorative sense of the word, "unmanly". �110 The speaker enumerates now the reasons why he should not be stopping: the place is cold, dark, and deserted. The very rea sons why the speaker did want to stop the loneliness of the night, and the absence of social critics, now are offered as incen tives to move on. Clearly the speaker is in conflict: the moment away from the world both calls, siren-like, and terrifies. It may seem to him that (just like the followers of the sirens) he would be drawn into death if he truly stopped; but we know that this is not so—through introspection and a fusion with the universe he would find life, and this is, in fact, what he fears. An objective truth begins the third stanza with the horse’s shaking of its harness bells; yet the interpretation of the fact is immediately subjective and, as such, misguided: “To ask if there was some mistake.” Again the speaker’s misgivings are projected onto the horse. The second half of the third stanza suggests at first glance that the speaker has at last resolved his conflict and achieved his com munion with nature. And yet not so: “The only other sound’s the sweep / Of easy wind and downy flake” (italics mine). The dom inant sound is that of the harness bells; the sounds of nature are peripheral. The speaker clings to the social sound of the bells against the dizzying swirl of nature and the unconscious like someone atop a tower who, because of vertigo, cannot bear to look down and instead focuses his gaze on the railing. So, before he has stopped, truly stopped, before he has allowed himself to abandon the focal-point of the horse as an outpost of society, before he has communed with nature, he is already, in the last stanza, abandoning it: “The woods are lovely, dark and deep is not spoken in contemplation of the woods; it is a dismissal: "Oh, well, I know all about those lovely woods, But" and the "but" explodes with great relief—“I have promises to keep. This is the rationalization which permits the speaker to move on, to escape “honorably” from meeting up with himself. �111 Had he stopped, the speaker might have come to understand his impulses and fears and, thus, shared our insights. As it is, we leave him as blind as we had found him, only feeling wiser our selves. Call it dramatic irony. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Deor to Dickey, A Reader by Bernhard Frank, 2011 Subject The topic of the resource Frank, Bernhard, 1931- Poetry--Criticism, interpretation, etc. Description An account of the resource This item contains the cover, table of contents and a critique entitled "Not Stopping by Woods" from pages 4-7. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2011 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_DeorToDickey PCMS-030_DeorToDickey.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/7c3a71cb5d7b4b340c2450d1669380d1.pdf dc285f084842f6cdb633b3d6dfe1f731 PDF Text Text �Table of Contents Preface ..................... . ... .. ........... . ...... .. ...... 7 Compare: An Apple, Banana, Pear ....... . . . .. . ....... .... . . .. . .. . 8 Rilke and Verlaine Rilke and Lasker-Schueler In Defense of "Blue Hortensia" ........ .. ... . .. . ... . ... .. ....... 13 The Architecture of "The Panther" ...... ... ......... . .... . . . . . ... 16 Compare: ..... . ....... . ... . ......................... . . . .... 20 Ted Hughes' "The Jaguar" Four Poems of Homosexual Love ....... . . . . . ............... .. ... 23 Compare: .. . ............................................ . .. 30 Else Lasker-Schueler's "David and Jonathan" The Power of Silence in "The Sirens' Island" . . . ..... .. ...... . .. . ... 31 "Leda": From Menage-a-Trois to Pas-de-Deux ..... . . . ....... .. ..... 34 Compare: . . . .......................... ... .... . ............. 36 Ruben Dado's "Leda" More than Meets the Eye in "Piera" ................. . ...... . .. . .. 40 A Reader's Digest Duino Elegies .................... . .. .. .. .. .... 43 Translating Rilke: An Invitation to a Voyage ...... . .......... . . .. ... 49 Boarding Pass Crossing the English Channel Stormy Weather Shipwrecked Saved! Appendix .................. .. ............ . ....... .. ... . .... 61 �31 Die Insel der Sirenen Wenn er denen, die ihm gastlich waren, spaet, nach ihrem Tage noch, da sie fragten nach den Fahrten und Gefahren, still berichtete: er wusste nie, wie sie schrecken und mit welchem jaehen Wort sie wenden, class sie so wie er in dem blau gestillten Inselmeer die Vergoldung jener Inseln saehen, deren Anblick macht, class die Gefar umschlaegt; denn nun ist sie nicht im Tosen und im Wueten, wo sie immer war. Lautlos kommt sie ueber die Matrosen, welche wissen, classes don auf jenen goldnen Inseln manchmal singtund sich blindlings in die Ruder lehnen, wie umringt von der Stille, die die gantze Weite in sich hat und an die Ohren weht, so als waere ihre andre Seite der Gesang, dem keiner widersteht. The Sirens' Island Nightly, after all their day's travail, since his gracious hosts had asked about his journeys and sojourns, he will regale them softly with his yarns: and yet without suspecting how they started, and at which bold word they turned to see, like him, in those calm, blue island-studded seas how rich the golden shimmer of that island glows, just the sight of which evokes the scent of danger, well removed from far more common �32 rage and wrath, where it was often spent. Soundlessly it overtakes the seamen, who understand that sometimes song will soar from that golden island's boundary and who apply themselves now to the oars as though surrounded by the silence which within it holds that whole expanse, and at their ears insists, as though across its obverse side unfolds the song that no one's able to resist. The Power of Silence in "The Sirens' Island" The ode to poetry which is Rainer Maria Rilke's Sonnets to Orpheus begins, Da stieg ein Baum. 0 reine Uebersteigung! 0 Orpheus singt! 0 hoher Baum im Ohr! Und alles schwieg. Doch selbst in der Verschweigung ging neuer Anfong, Wink und Wandlung vor. (There arose a tree. 0 the pure transcendence! 0 Orpheus sings! 0 lofty tree in ear! And everything kept still. Yet in that stillness a new beginning, lure and transformation reared.) It has a modest, little known forerunner in "The Sirens' Island". Rilke demonstrates that the Sirens' voices do not operate through the medium of sound alone, but that they extend far beyond their audible range. Whereas the seamen rowing Odysseus, with wax plugging their ears, are supposedly immune to the Sirens' allure, they are, at the mere sight of the island, responding to the scent of danger-the knowledge that both mystery and death are within range. The sailors are, in fact, listening closely, listening to the very �33 opposite of the Sirens' song-the silence: "as though across its obverse side unfolds I the song that no one's able to resist." Physics has taught us that every action has a reaction, and the seamen are driven away by their fear of the Sirens' allure just as those hearing them are drawn towards it. That the Sirens' song extends much farther than earshot is demonstrated early on in the poem by the startling effect Odysseus's tale has on his Phaeacian hosts. It is as though the song were a virus and Odysseus its innocent carrier; for the listeners themselves become infected with the Sirens' allure through the mere retelling of the adventure: " ... at which/ bold word they turned to see, like him, . . . how rich the golden shimmer of that island glows .... " So vividly are the Sirens recreated in the seafaring Phaeacians' imagination that they blend in with Odysseus 's men: "Soundlessly it overtakes the seamen," refers both back to Odysseus's sailors and to his listening hosts. Chances are that the latter will not sleep well that night, and may dream of great and impossible exploits; the most impressionable, with the virus in their system, may even set sail one day, drawn on by the myth, and willing to risk death to experience it. It is rather odd that Odysseus is unaware of the effect his tale has on his listeners, and that he goes on "without/ suspecting how they started." Perhaps heroes, and even the egomaniacal Odysseus among them, do not see themselves as such and mistake their daredevil adventures for commonplaces. By juxtaposing high sea adventure and poetry, heroes and muses, Rilke succeeds in elevating both: the physical is refined through its association with the aesthetic, and the poetic is tinged with real-life danger. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/65048ed49d1e0314a6926ac145998ed8.pdf 47913141eb44fe6ded6a2b66b4fbfb93 PDF Text Text Rainer Maria Rilke's Chai n o f Being Bernard Frank Goldengrove Press #514 • The Tippling Scholar Editions #2 �Table of Contents Preface................................................................................................................ 7 Compare: An Apple, Banana, Pear................................................................... 8 Rilke and Verlaine Rilke and Lasker-Schueler In Defense of “Blue Hortensia”......................................................................13 The Architecture of “The Panther”..................................................................16 Compare:......................................................................................................... 20 Ted Hughes’ “The Jaguar” Four Poems of Homosexual Love................................................................... 23 Compare:.......................................................................................................... 30 Else Lasker-Schueler’s “David and Jonathan” The Power of Silence in “The Sirens’ Island”................................................ 31 “Leda”: From Menage-a-Trois to Pas-de-Deux.............................................. 34 Compare:.......................................................................................................... 36 Ruben Dario’s “Leda” More than Meets the Eye in “Pieta”............................................................... 40 A Reader’s Digest Duino Elegies..................................................................... 43 Translating Rilke: An Invitation to a Voyage.................................................. 49 Boarding Pass Crossing the English Channel Stormy Weather Shipwrecked Saved! Appendix.......................................................................................................... 61 �31 Die Insel der Sirenen Wenn er denen, die ihm gastlich waren, spaet, nach ihrem Tage noch, da sie fragten nach den Fahrten und Gefahren, still berichtete: er wusste nie, wie sie schrecken und mit welchem jaehen Wort sie wenden, dass sie so wie er in dem blau gestillten Inselmeer die Vergoldung jener Inseln saehen, deren Anblick macht, dass die Gefar umschlaegt; denn nun ist sie nicht im Tosen und im Wueten, wo sie immer war. Lautlos kommt sie ueber die Matrosen, welche wissen, dass es dort auf jenen goldnen Inseln manchmal singt— und sich blindlings in die Ruder lehnen, wie umringt von der Stille, die die gantze Weite in sich hat und an die Ohren weht, so als waere ihre andre Seite der Gesang, dem keiner widersteht. The Sirens’ Island Nightly, after all their day’s travail, since his gracious hosts had asked about his journeys and sojourns, he will regale them softly with his yarns: and yet without suspecting how they started, and at which bold word they turned to see, like him, in those calm, blue island-studded seas how rich the golden shimmer of that island glows, just the sight of which evokes the scent of danger, well removed from far more common �32 rage and wrath, where it was often spent. Soundlessly it overtakes the seamen, who understand that sometimes song will soar from that golden island’s boundary and who apply themselves now to the oars as though surrounded by the silence which within it holds that whole expanse, and at their ears insists, as though across its obverse side unfolds the song that no one’s able to resist. The Power of Silence in “The Sirens’ Island” The ode to poetry which is Rainer Maria Rilke’s Sonnets to Orpheus begins, Da stieg ein Baum. O reine Uebersteigung! O Orpheus singt! O hoher Baum im Ohr! Und alles schwieg. Doch selbst in der Verschweigung ging neuer Anfang, Wink und Wandlung vor. (There arose a tree. O the pure transcendence! O Orpheus sings! O lofty tree in ear! And everything kept still. Yet in that stillness a new beginning, lure and transformation reared.) It has a modest, little known forerunner in “The Sirens’ Island”. Rilke demonstrates that the Sirens’ voices do not operate through the medium of sound alone, but that they extend far beyond their audible range. Whereas the seamen rowing Odysseus, with wax plugging their ears, are supposedly immune to the Sirens’ allure, they are, at the mere sight of the island, responding to the scent of danger—the knowledge that both mystery and death are within range. I he sailors are, in fact, listening closely, listening to the very �33 opposite of the Sirens’ song—the silence: “as though across its obverse side unfolds / the song that no one’s able to resist.” Physics has taught us that every action has a reaction, and the seamen are driven away by their fear of the Sirens’ allure just as those hearing them are drawn towards it. That the Sirens’ song extends much farther than earshot is demonstrated early on in the poem by the startling effect Odysseus’s tale has on his Phaeacian hosts. It is as though the song were a virus and Odysseus its innocent carrier; for the lis teners themselves become infected with the Sirens’ allure through the mere retelling of the adventure: “... at which/ bold word they turned to see, like him, ... how rich the golden shimmer of that island glows....” So vividly are the Sirens recreated in the seafaring Phaeacians’ imagination that they blend in with Odysseus’s men: “Soundlessly it overtakes the seamen,” refers both back to Odysseus’s sailors and to his listening hosts. Chances are that the latter will not sleep well that night, and may dream of great and impossible exploits; the most impressionable, with the virus in their system, may even set sail one day, drawn on by the myth, and willing to risk death to experience it. It is rather odd that Odysseus is unaware of the effect his tale has on his listeners, and that he goes on without/ suspecting how they started.” Perhaps heroes, and even the egomaniacal Odysseus among them, do not see themselves as such and mis take their daredevil adventures for commonplaces. By juxtaposing high sea adventure and poetry, heroes and muses, Rilke succeeds in elevating both: the physical is refined through its association with the aesthetic, and the poetic is tinged with real-life danger. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rainer Maria Rilke's Chain of Being by Bernhard Frank, 2008 Subject The topic of the resource Frank, Bernhard, 1931- Poetry Rilke, Rainer Maria, 1875-1926--Criticism, interpretation, etc. Description An account of the resource This item contains the cover, table of contents, two poems entitled "Die Insel der Sirenen" and "The Siren's Island" from pages 31-32, as well as a critique entitled "The Power of Silence in 'The Siren's Island'" from pages 32-33 Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2008 Contributor An entity responsible for making contributions to the resource Rilke, Rainer Maria, 1875-1926 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_ChainOfBeing PCMS-030_ChainOfBeing.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/c5430b689f73eabbf643917795e693b7.pdf e23429cff225042412ffdfebdb3f2ea0 PDF Text Text A BOUQUET OF EVILS: Selected Poems of Ch~rles Baudelaire • · Translated by Bernhard Frank �16 The Paupers' Death Sadly, it's Death which consoles and resuscitates; It's the end of existence and the only spark Which like a potion cheers us and intoxicates, And heartens us to keep on going until dark; When facing the tempest and the frost and the snow, Across our black horizon it's the pulsing light; As written in the book, it's the inn we all know Where one may come to feast, and sleep, and spend [the night. It's an Angel who, in magnetic fingers, keeps The gifts of ecstatic dreams and the peace of sleep, And makes up the bed where the poor and naked lie. It's the mystic granary, glory of the Gods, It's the purse of the pauper and his ancient sod, It's the gate which opens onto the unknown sky. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/962bc410e055961155f0e18a79f95e8a.pdf 91d4d64f852934a5cb55d1dea1c1d356 PDF Text Text A Bouquet Of Evils: Selected Poems of Charles Baudelaire Translated by Bernhard Frank �16 The Paupers’ Death Sadly, it's Death which consoles and resuscitates; It’s the end of existence and the only spark Which like a potion cheers us and intoxicates, And heartens us to keep on going until dark; When facing the tempest and the frost and the snow, Across our black horizon it’s the pulsing light; As written in the book, it’s the inn we all know Where one may come to feast, and sleep, and spend [the night. It’s an Angel who, in magnetic fingers, keeps The gifts of ecstatic dreams and the peace of sleep, And makes up the bed where the poor and naked lie. It’s the mystic granary, glory of the Gods, It’s the purse of the pauper and his ancient sod, It’s the gate which opens onto the unknown sky. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Bouquet of Evils: Selected Poems of Charles Baudelaire, Translated by Bernhard Frank, 2002 Subject The topic of the resource Frank, Bernhard, 1931- Poetry Baudelaire, Charles, 1821-1867--Translations Description An account of the resource This item contains the cover and one poem entitled "The Pauper's Death" from page 16. Creator An entity primarily responsible for making the resource Baudelaire, Charles, 1821-1867 Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2002 Contributor An entity responsible for making contributions to the resource Frank, Bernhard, 1931- Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_BouquetOfEvils PCMS-030_BouquetOfEvils.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/eb9cf91ad32f35883444df4c2cc7f13d.pdf be8bfcada90fe7b67c874b043992d15c PDF Text Text �Table of Contents The Ends of the Affair . . ..................... 7 Second Chances ........................... 16 Requiem First Love in Munich ................. 20 The Sweet Life in Venice .............. 25 No Man Is an Idol. .................. 30 Isolde ................................. 35 Da Capo ................................ 42 Apropos that Fifth Vodka .................... 45 The Tiger in the Woods ..................... 47 Out-Takes ............................... 51 The Danish Saga The Fortin bras Chronicles ............. 56 The Hamlet Letters .................. 63 Crossing Over ............................ 67 All's not Well that Ends Well (Essay) ........... 75 �7 (ADVERTISEMENT) TOGETHER AGAIN~ THE 3 SCREEN LEGEND§ IN THE MUCH AWAITED §EQUEJLTO THE GREATEST AMERICAN MOVIE EVER MADE~ 66 99 66 66 POKGN NTooo Peoria Reader o§TUNNKNG r Buffalo ArtChoice §TUPENDOU§r Boise Daily Sun 0 66 99 9 0 9 The Ends of the Affair Scene: Hume Frey and his therapist sit facing each other in the leather armchairs of the latter's office. Frey: You're wrong, Doc. I did love her. Therapist: Why, you hardly knew her. Frey: But we were happy in Shanghai! Therapist: You were both lonely; the excitement of the big city; you were in love with adventure ... Frey: No, no, no. You're wrong, Doc. Therapist: What color were Inga's eyes? Frey: Uh ... Therapist: See! Frey: What does her eye color matter? Therapist: Where was Inga born? Frey: Uh ... �8 Therapist: See! rey: What difference. . . Never mind. Therapist: What did you talk about, you and Inga? Frey: Why, about how much we loved each other. herapist: How long do you think you could have kept that up? rey: Hmm. You mean we had little in common? herapist: Now you're catching on. And when you sent Inga ff with her husband, you weren't being noble ... r y: Yes, I was! I sacrificed ... herapi t: You knew, unconsciously at least, that there was n thing there, and you desperately wanted to hold on to the image of yourself in love-the great romance. Six years and thr e kids later you'd have been screaming in your sleep. I take that back. ix months later, and maybe a pregnancy test, and y u'd have taken that second exit visa yourself. Woosh! rey: I can't breathe! I can't breathe! h rapi t: Put your head between your knees. Feeling better? er , drink this. Now, lean back and close your eyes. I want y u t recall your last meeting and imagine how else you could hav handled it. r y: Anything you say, Doc. (Fade out) �9 I Scene: 10 P.M. at a small, fog shrouded airport in a North Korean town. Three security guards lie shot dead alongside the barbed wire fence of the tarmac. In the background is a helicopter, its rotor blades whirring. Hume Frey, Henry Reid and his wife Inga huddle in the foreground. Their theme music is playing softly. Frey: (handing his gun to Reid) Here! Where you're going, Reid, you may need it. Reid: Thanks. Inga, put it in your purse. Inga: I don't think. .. Reid: Please? (she acquiesces). Thanks. (soulfully) I'm going on ahead; you two may have some unfinished business. (he goes off and boards the helicopter) Inga: He thinks I'm going with him. Frey: And you are. Inga: (puzzled) I am? I love you, Hume. I want to spend the rest of my life with you. Frey: (aside) Oh, my God. I bit on it this time. But, Inga, Reid's a good man. He needs you, and the Russian orphans need you both. Inga: Screw the Russian orphans. I'm entitled to my happiness. I'm not the June Allyson type- you know- the self-sacrificing wife. Frey: But the difference in our ages. What are you? 25? 26? Don't you see I'm way too old for you. Inga: But we love each other! Frey: And we come from such different places ... Inga: But we love each other! �10 Frey: Of course we do. It's just that I'm not set up fo~ fa~ily life. I mean, I run a gin joint, for Chrissake! Can you 1magme raising a kid in that place? Inga: We can get a little house in the suburbs with a white picket fence and rose bushes. I'll cook Swedish meatballs for you ... Frey: (aside) I can't breathe, I can't breathe ... Inga: We'll have lots of kids ... Say something! Frey: Uh ... Inga: I can't go with Henry. I didn't bring any luggage ... Frey: I have Reid's forwarding address. I'll have your belongings sent. Inga: This whole thing is ridiculous. I know you, you're just trying to be noble. Frey: But, Inga, you'll be better off with Reid. He's more your kind ... Inga: What the f--- does that mean, more my kind? Frey: Take it easy, kid, I'm only thinking of your own good. Inga: Like hell you are! You know what, go f--- yourselfl (she storms off towards the helicopter; the turbulence of the blades knocks her wide-brimmed hat off, and she chases it) Frey: (calls after her) But we'll always have Shanghai! (Inga stops and gives Frey the finger, disentangles her hat from the barbed wire fence, and boards the helicopter) Chief of Police Liu: (joining Frey on the tarmac just as the helicopter takes off) So you got lid of her. More power to you. Come on up to my place; we'll have a cozy little nightcap. (they exit arm in arm; theme music) Fade out �11 II Scene: 10 P.M. at a small, fog shrouded airport in a North Korean town. Three security guards lie shot dead alongside the barbed wire fence of the tarmac. In the background is a helicopter, its rotor blades whirring. Hume Frey, Henry Reid and his wife Inga huddle in the foreground. Their theme music is playing softly. Frey: (handing his gun to Reid) Here! Where you're going, Reid, you may need it. Reid: Thanks. Inga, put it in your purse. Inga: I don't think ... Reid: Please? (she acquiesces). Thanks. (soulfully) I'm going on ahead; you two may have some unfinished business. (he goes off and boards the helicopter) Inga: He thinks I'm going with him. Frey: You are. Inga: (puzzled) I am? I love you, Hume. I want to spend the rest of my life with you. Frey: He's a good man. orphans need him. He needs you and the Russian Inga: Well, then you come too. Frey: Don't you think Reid may have something to say about this? Why are you laughing? Inga: Henry's the one who suggested it. Frey: He did?! Inga: He did. He knows about us. He doesn't want to lose me. He has learned to compromise. So, he suggested a threesome. Frey: What a novel idea! �12 Inga: Not really. The Garden of Eden. Frey: What? Inga: You know. Adam, Eve and the serpent. Frey: I suppose that makes me ... Inga: (laughing) Sssss ... Frey: (joining her laughter) I do love you, Inga, and it's tempting, but how can I? The bistro ... Inga: Have your manager sell it. Frey: I haven't any luggage ... Inga: Neither do we. But Henry's loaded. We'll buy what you need in Moscow. Frey: There are only two exit visas ... Inga: Oh, don't be silly. The guards are dead. Who's going to check those friggin' exit visas! Frey: So, just to be clear, a threesome? Inga: Well, why not? Henry loves me, you love me, and I'm no longer sure who the hell I'm supposed to be in love with; so yes, let's make it a threesome! Frey: Oh, why not. Let's go, kid! (as they run towards the helicopter the turbulence blows Inga's wide-brimmed hat off; they get on board; the hat rolls down the tarmac) Chief of Police Liu: (arriving just as the helicopter departs, he gives Inga's hat a good kick and it lands in the gutter; he raises his cap and waves) I take my hat off to you too, Fley! (theme music) Fade out �13 III Scene: 10 P.M. at a small, fog shrouded airport in a North Korean town. Three security guards lie shot dead alongside the barbed wire fence of the tarmac. In the background is a helicopter, its rotor blades whirring. Hume Frey, Henry Reid and his wife Inga huddle in the foreground. Their theme music is playing softly. Reid: Give me the gun, Hume. purse. Inga, here, put it in your Frey: (uneasily) Not a good idea. Reid: For her protection. (winks at Frey) Inga, please? Inga: (acquiesces, shrugging) Whatever. Reid: (aside to Frey) Did you tell her? Frey: I think you should; I mean, you're her husband. Reid: Inga, I know how you feel about Hume. I've known for some time. You see, I went to confront him, but ... (he's unable to continue) Frey: We had a long talk. Hank told me what he was doing for those poor Russian orphans. It's just so selfless, so touching ... Inga: O.k., I get it. I'm not dense. You want me to leave with my husband. I'll go, but ... Frey: Well, not exactly. You see, I don't know quite how to put it to you ... (he looks at Reid) Reid: We've fallen in love. Frey: There you have it in a nutshell. Reid: I'm sorry, Inga. Say something, Inga. �14 Inga: No. I don't believe it. Reid: Believe it, darling. Hume and I are taking this flight. Inga: (turning on Frey) But your bistro? Frey: Sold. Inga: But your luggage? Frey: Darling, there's nothing money can't buy. And speaking of money ... (he hands her a wad of bills) This should keep you going for some time. Come on, Hank, or we'll miss our flight. (calling over his shoulder as they hurry towards the helicopter) I'm sorry, Inga. Inga: (putting the money in her purse, realizes she has a gun and takes it out) Bastards! (she shoots Frey in the back, and he falls down) Reid: (turning around, incredulous) Inga! (she shoots him in the chest and he falls alongside Frey) Inga: (going up to the bodies, to Frey) Here's looking at you, kid! Chief of Police Liu: (arrives just as the helicopter takes off) Uh-oh! Chief of Police Liu. Lady, put down that gun! (he steps up to her) Mrs. Leid! Give me the gun-now! (Inga hands Liu the gun; as she falls sobbing against him, her wide-brimmed hat falls off) There, there! (he moves her aside gently, picks up her hat and is about to hand it back when he sees that it's blood splattered. He hangs it on a fence post, then examines the bodies) Alas, poor Fley! I knew him, Mrs. Leid. And Mr. Leid! Tut, tut! You lealize I should be taking you in; you're dangelous. But I like that in a woman. (he places the gun in Reid's hand) He killed the guards and Fley, then turned the gun on himself. The lest is silence, or as they say in the movies, case dosed. Come, my dear. Inga: (as they start out) Oh, my God! The exit visas! �15 Liu: Don't wolly your pletty head about it. After my men finish mopping up, they'll leturn his effects to you. (seeing Inga's hat on the fence post) But don't folget ... (he thinks better of it) Inga: Forget what? Liu: (chuckling) I folget. Come, my dear. I think their ugly end could be our beautiful beginning. (they exit, hand in hand; theme music, and a close-up of Inga's blood-splattered hat) Fade out � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/16fc1a5b18b18018df3a7698d2e49bdd.pdf f491c8de4911a65d1b0c3bed826a5626 PDF Text Text Book The Quels of Bernhard Frank �Table of Contents The Ends of the Affair.................................................. 7 Second Chances............................................................16 Requiem First Love in Munich...................... 20 The Sweet Life in Venice.............................. 25 No Man Is an Idol......................................... 30 Isolde ........................................................................ 35 Da Capo...................................................................... 42 Apropos that Fifth Vodka........................................... 45 The Tiger in the Woods............................................. 47 Out-Takes.................................................................... 51 The Danish Saga The Fortinbras Chronicles............. 56 The Hamlet Letters....................................... 63 Crossing Over............................................................. 67 All’s not Well that Ends Well (Essay)....................... 75 �7 (Advertisement) Together Again! The 3 Screen Legends In The Much Awaited Sequel To “The Greatest American Movie Ever Made!” “Poignant...” Peoria Reader “...Stunning” Buffalo Artchoice “Stupendous!” Boise Daily Sun The Ends of the Affair Scene: Hume Frey and his therapist sit facing each other in the leather armchairs of the latter’s office. Frey: You’re wrong, Doc. I did love her. Therapist: Why, you hardly knew her. Frey: But we were happy in Shanghai! Therapist: You were both lonely; the excitement of the big city; you were in love with adventure... Frey: No, no, no. You’re wrong, Doc. Therapist: What color were Inga’s eyes? Frey: Uh... Therapist: See! Frey: What does her eye color matter? Therapist: Where was Inga born? Frey: Uh... �8 Therapist: See! Frey: What difference... Never mind. Therapist: What did you talk about, you and Inga? Frey: Why, about how much we loved each other. Therapist: How long do you think you could have kept that up? Frey: Hmm. You mean we had little in common? Therapist: Now you’re catching on. And when you sent Inga off with her husband, you weren’t being noble... Frey: Yes, I was! I sacrificed... Therapist: You knew, unconsciously at least, that there was nothing there, and you desperately wanted to hold on to the image of yourself in love—the great romance. Six years and three kids later you’d have been screaming in your sleep. I take that back. Six months later, and maybe a pregnancy test, and you’d have taken that second exit visa yourself. Woosh! Frey: I can’t breathe! I can’t breathe! Therapist: Put your head between your knees. Feeling better? Here, drink this. Now, lean back and close your eyes. I want you to recall your last meeting and imagine how else you could have handled it. Frey: Anything you say, Doc. (Fade out) �9 1 Scene: 10 P.M. at a small, fog shrouded airport in a North Korean town. Three security guards lie shot dead alongside the barbed wire fence of the tarmac. In the background is a heli copter, its rotor blades whirring. Hume Frey, Henry Reid and his wife Inga huddle in the foreground. Their theme music is playing softly. Frey: (handing his gun to Reid) Here! Where you’re going, Reid, you may need it. Reid: Thanks. Inga, put it in your purse. Inga: I don’t think... Reid: Please? (she acquiesces). Thanks, (soulfully) I’m going on ahead; you two may have some unfinished business, (he goes off and boards the helicopter) Inga: He thinks I’m going with him. Frey: And you are. Inga: (puzzled) I am? I love you, Hume. I want to spend the rest of my life with you. Frey: (aside) Oh, my God. I bit on it this time. But, Inga, Reid’s a good man. He needs you, and the Russian orphans need you both. Inga: Screw the Russian orphans. I’m entitled to my happi ness. I’m not the June Allyson type— you know— the self-sac rificing wife. Frey: But the difference in our ages. What are you? 25? 26? Don’t you see I’m way too old for you. Inga: But we love each other! Frey: And we come from such different places... Inga: But we love each other! �10 Frey: Of course we do. It's just that I m not set up for family life. I mean, I run a gin joint, for Chrissake! Can you imagine raising a kid in that place? Inga: We can get a little house in the suburbs with a white picket fence and rose bushes. I’ll cook Swedish meatballs for you... Frey: (aside) I can’t breathe, I can’t breathe... Inga: We’ll have lots of kids... Say something! Frey: Uh... Inga: I can’t go with Henry. I didn’t bring any luggage... Frey: I have Reid’s forwarding address. I’ll have your belong ings sent. Inga: This whole thing is ridiculous. I know you, you’re just trying to be noble. Frey: But, Inga, you’ll be better off with Reid. He’s more your kind... Inga: What the F— does that mean, more my kind? Frey: Take it easy, kid, I’m only thinking of your own good. Inga: Like hell you are! You know what, go F— yourself! (she storms off towards the helicopter; the turbulence of the blades knocks her wide-brimmed hat off, and she chases it) Frey: (calls after her) But we’ll always have Shanghai! (Inga stops and gives Frey the finger, disentangles her hat from the barbed wire fence, and boards the helicopter) Chief of Police Liu: (joining Frey on the tarmac just as the heli copter takes off) So you got lid of her. More power to you. Come on up to my place; we’ll have a cozy little nightcap. (they exit arm in arm; theme music) Fade out �11 2 Scene: 10 P.M. at a small, fog shrouded airport in a North Korean town. Three security guards lie shot dead alongside the barbed wire fence of the tarmac. In the background is a heli copter, its rotor blades whirring. Hume Frey, Henry Reid and his wife Inga huddle in the foreground. Their theme music is playing softly. Frey: (handing his gun to Reid) Here! Where you’re going, Reid, you may need it. Reid: Thanks. Inga, put it in your purse. Inga: I don’t think... Reid: Please? (she acquiesces). Thanks, (soulfully) I’m going on ahead; you two may have some unfinished business. (he goes off and boards the helicopter) Inga: He thinks I’m going with him. Frey: You are. Inga: (puzzled) I am? I love you, Hume. I want to spend the rest of my life with you. Frey: He’s a good man. orphans need him. He needs you and the Russian Inga: Well, then you come too. Frey: Don’t you think Reid may have something to say about this? Why are you laughing? Inga: Henry’s the one who suggested it. Frey: He did?! Inga: He did. He knows about us. He doesn’t want to lose me. He has learned to compromise. So, he suggested a threesome. Frey: What a novel idea! �12 Inga: Not really. The Garden of Eden. Frey: What? Inga: You know. Adam, Eve and the serpent. Frey: I suppose that makes me... Inga: (laughing) Sssss... Frey: (joining her laughter) I do love you, Inga, and it's tempt ing, but how can I? The bistro... Inga: Have your manager sell it. Frey: I haven’t any luggage... Inga: Neither do we. But Henry’s loaded. We’ll buy what you need in Moscow. Frey: There are only two exit visas... Inga: Oh, don’t be silly. The guards are dead. Who’s going to check those friggin’ exit visas! Frey: So, just to be clear, a threesome? Inga: Well, why not? Henry loves me, you love me, and I’m no longer sure who the hell I’m supposed to be in love with; so yes, let’s make it a threesome! Frey: Oh, why not. Let’s go, kid! (as they run towards the heli copter the turbulence blows Inga’s wide-brimmed hat off; they get on board; the hat rolls down the tarmac) Chief of Police Liu: (arriving just as the helicopter departs, he gives Ingas hat a good kick and it lands in the gutter; he raises his cap and waves) I take my hat off to you too, Fley! (theme music) Fade out �13 3 Scene: 10 P.M. at a small, fog shrouded airport in a North Korean town. Three security guards lie shot dead alongside the barbed wire fence of the tarmac. In the background is a heli copter, its rotor blades whirring. Hume Frey, Henry Reid and his wife Inga huddle in the foreground. Their theme music is playing softly. Reid: Give me the gun, Hume. Inga, here, put it in your purse. Frey: (uneasily) Not a good idea. Reid: For her protection. (winks at Frey) Inga, please? Inga: (acquiesces, shrugging) Whatever. Reid: (aside to Frey) Did you tell her? Frey: I think you should; I mean, you’re her husband. Reid: Inga, I know how you feel about Hume. I’ve known for some time. You see, I went to confront him, but... (he’s unable to continue) Frey: We had a long talk. Hank told me what he was doing for those poor Russian orphans. It’s just so selfless, so touch ing... Inga: O.k., I get it. I’m not dense. You want me to leave with my husband. I’ll go, but... Frey: Well, not exactly. You see, I don’t know quite how to put it to you... (he looks at Reid) Reid: We’ve fallen in love. Frey: There you have it in a nutshell. Reid: I’m sorry, Inga. Say something, Inga. �14 Inga: No. I don’t believe it. Reid: Believe it, darling. Hume and I are taking this flight. Inga: (turning on Frey) But your bistro? Frey: Sold. Inga: But your luggage? Frey: Darling, there’s nothing money can’t buy. And speaking of money... (he hands her a wad of bills) This should keep you going for some time. Come on, Hank, or we’ll miss our flight. (calling over his shoulder as they hurry towards the helicopter) I’m sorry, Inga. Inga: (putting the money in her purse, realizes she has a gun and takes it out) Bastards! (she shoots Frey in the back, and he falls down) Reid: (turning around, incredulous) Inga! (she shoots him in the chest and he falls alongside Frey) Inga: (going up to the bodies, to Frey) Here’s looking at you, kid! Chief of Police Liu: (arrives just as the helicopter takes off) Uh-oh! Chief of Police Liu. Lady, put down that gun! (he steps up to her) MRS. Leid! Give me the gun—now! (Inga hands Liu the gun; as she falls sobbing against him, her wide-brimmed hat falls off) There, there! (he moves her aside gently, picks up her hat and is about to hand it back when he sees that it’s blood splattered. He hangs it on a fence post, then examines the bod ies) Alas, poor Fley! I knew him, MRS. Leid. And MR. Leid! Tut, tut! You lealize I should be taking you in; you’re dangelous. But I like that in a woman. (he places the gun in Reid’s hand) He killed the guards and Fley, then turned the gun on himself. The lest is silence, or as they say in the movies, case closed. Come, my dear. Inga: (as they start out) Oh, my God! The exit visas! �15 Liu: Don’t wolly your pletty head about it. After my men fin ish mopping up, they’ll leturn his effects to you. (seeing Inga’s hat on the fence post) But don’t folget... (he thinks better of it) Inga: Forget what? Liu: (chuckling) I folget. Come, my dear. I think their ugly end could be our beautiful beginning. (they exit, hand in hand; theme music, and a close-up of Inga’s blood-splattered hat) Fade out � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Book of Quels by Bernhard Frank, 2011 Subject The topic of the resource Frank, Bernhard, 1931- Fiction Description An account of the resource This item contains the cover, table of contents, and a scene entitled "The Ends of the Affair" from pages 7-15. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2011 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_BookOfQuels PCMS-030_BookOfQuels.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/62149ae5c0b2643a7cadc7e2a8355184.pdf d43fb8e0e7f6d2bfec3cd7fd6d6d1454 PDF Text Text J\mcriran ~otlyir ~cru4nrb, Jtfrnult •I GOLDENGROVE#lOl $2.75 �10 AFTER ILLNESS Resuming after illness at the same spot so changed one cannot quite make the connection Overwhelmed by miracle of resurrection in a yellow bathing light that leaves the skin rosy-scrubbed the iris contracts with it Workaday maps laid out anew terra incognita packed with mystery and my index passes down the only possible road like a pioneer wagon drunk with liberty � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/75032dbd76b94fe07e3025b5c1293e1e.pdf a2dbdb71bf9bfab7db4cf5de77c1cd31 PDF Text Text American Gothic Bernhard Frank Goldengrove #101 $2.75 �10 After Illness Resuming after illness at the same spot so changed one cannot quite make the connection Overwhelmed by miracle of resurrection in a yellow bathing light that leaves the skin rosy-scrubbed the iris contracts with it Workaday maps laid out anew terra incognita packed with mystery and my index passes down the only possible road like a pioneer wagon drunk with liberty � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource American Gothic by Bernhard Frank, 1982 Subject The topic of the resource Frank, Bernhard, 1931- Poetry Description An account of the resource This item contains the cover and one poem entitled "After Illness" from page 10. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 1982 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_AmericanGothic PCMS-030_AmericanGothic.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/a629ee7c73ea6675f85f06456666a295.pdf bd8706383c46e142f3b9f2f28145f559 PDF Text Text The Almost Forgotten Light: A Classical Retrospective Poems by Bernhard Frank �13 Myths ... The Immortals Sisyphus I If only he had stopped prodding it uphill when they were near the top, had turned, foot jamming it, looked down upon a world of gold and russet, miniature earthlings bearing crumb-burdens to their colony, enjoyed his triumph. A few small stones would anchor it, and then the rain. They settle & keep house. II Or, consider: He, leaning his whole weight against it& it, entangled in the underbush at the foot of the hill, not budging ... He can see nothing for the branches of sumac & alder, the green shimmer blinding him, and no one to observe his ordeal. The only gossip is that of the leaves, the mime of their shadows. Oh, Sisyphus, you are right to cry. This punishment is real. 1992 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Un-remediated original document. https://digital.lib.buffalo.edu/files/original/10c24c7cf3a2192fa7bf53bf558ba342.pdf b6b61ffe6ad080b8db8e0ca1553c000d PDF Text Text The Almost Forgotten Light: A Classical Retrospective Poems by Bernhard Frank �15 Myths... The Immortals Sisyphus 1 If only he had stopped prodding it uphill when they were near the top, had turned, foot jamming it, looked down upon a world of gold and russet, miniature earthlings bearing crumb-burdens to their colony, enjoyed his triumph. A few small stones would anchor it, and then the rain. They settle & keep house. 2 Or, consider: He, leaning his whole weight against it— & it, entangled in the underbush at the foot of the hill, not budging... He can see nothing for the branches of sumac & alder, the green shimmer blinding him, and no one to observe his ordeal. The only gossip is that of the leaves, the mime of their shadows. Oh, Sisyphus, you are right to cry. This punishment is real. 1992 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buckle / Bernhard Frank collection Description An account of the resource Bernhard Frank is an accomplished poet, translator, and retired English professor at Buffalo State College. He created the semi-annual magazines Buckle”: A Poetry Journal and Buckle & that ran from Fall 1977 to Spring/Summer 1982 and from Fall/Winter 1998 to Fall/Winter 2006, respectively. All ten issues of Buckle” include poetry, poetry translations into English, and illustrations, and published such authors as Dennis Maloney, Marge Piercy, Jon Daunt, William Dickey, Alice Fulton, John Tagliabue, and Joan Colby. As Frank explains in the first issue of Buckle &, Buckle” came to an end because of “dwindling sales and burnout.” Several issues of Buckle & accepted submissions as part of a poetry contest, and over the span of its seventeen issues its contributors include Deborah Bogen, Joseph Lisowski, Constance Vogel, Dennis Saleh, Leonard Cirino, Shmu’ el Shatal, and John M. Bennett. In addition to his editorial work with Buckle, Frank has written numerous works of original poetry, drama, and fiction, along with translations and scholarly criticism on such writers as Robert Graves, Rainer Maria Rilke, Else Lasker-Schüler, and Paul Verlaine. His books include American Gothic (1982), The Homer Ladies’ Journal (1995), The Print of Memory (2002), John in the Wilderness (2006), Splitting the Lark (2007), The 4 Lives of Hamlet (2007), and Deor to Dickey: A Reader (2011). In 1980 the University of Iowa Press published his translated volume of Modern Hebrew Poetry. This digital collection aims to give a broad overview of his work: from the Buckle magazines to his poetry, fiction, drama, translations, and criticism to recordings of his readings of poetry. Many of the items include the cover of the work, the table of contents, and a short excerpt. Identifier An unambiguous reference to the resource within a given context LIB-PC009 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Almost Forgotten Light: A Classical Retrospective by Bernhard Frank, 2002 Subject The topic of the resource Frank, Bernhard, 1931- Poetry Description An account of the resource This item contains the cover and one poem entitled "Sisyphus" from page 13. Creator An entity primarily responsible for making the resource Frank, Bernhard, 1931- Source A related resource from which the described resource is derived Buckle Collection (PCMS-030) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection Date A point or period of time associated with an event in the lifecycle of the resource 2002 Format The file format, physical medium, or dimensions of the resource paperbacks Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context PCMS-030_AlmostForgotten PCMS-030_AlmostForgotten.pdf Is Part Of A related resource in which the described resource is physically or logically included. Buckle / Bernhard Frank Collection (LIB-PC009) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank https://digital.lib.buffalo.edu/files/original/2475c8657d885c4bad8ce392d18d5e78.jpeg ad3446bf98570dc2c1aa607905401108 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2042 Title A name given to the resource Children marching, Jogjakarta, Indonesia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Jogjakarta, Indonesia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/2015b493f2c711817125393373088773.jpeg 5d1941959cec94c269a50937b7f07a2e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2041 Title A name given to the resource Parade marcher, Jogjakarta, Indonesia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Jogjakarta, Indonesia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/ff530f782c5331e2d81acee7f3c9b954.jpeg b34e347f446f27283f423371efb143a9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2040 Title A name given to the resource Masked marchers, Jogjakarta, Indonesia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Jogjakarta, Indonesia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/b7c97d6283a65a8452ed63aa4631448b.jpeg 64027fd0b691db530d617b193e6b1543 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2039 Title A name given to the resource Marcher, parade in Jogjakarta, Indonesia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Jogjakarta, Indonesia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/0369c7e69bff51e527fcb58c0bb3d6e1.jpeg 5410c8147bae698299df1e11882096f9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2038 Title A name given to the resource Rice field, Indonesia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Indonesia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/55b10d3399e6344924ac95cdd1059e4f.jpeg 5479f2e0f8a24a226970c633925ea206 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2037 Title A name given to the resource Detailed bas-relief, Borobudur Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Magelang, Central Java, Indonesia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/ee59bf38c523009dd537c6b15b75e473.jpeg 694bb92d985f8eddfccb35634ad5d6cc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2036 Title A name given to the resource Batik preparer, Indonesia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Indonesia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/9973fe625dc0e029a496b83852af2792.jpeg 86c2d02959c7c96a81c8dce0aa60883f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2035 Title A name given to the resource Batik preparer, Indonesia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Indonesia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/1132968aa4934d9b811e215078ddfa2a.jpeg 7b0b1af4592a16b22bda4adaeb6204ac Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2034 Title A name given to the resource Buddhist pilgrims at religious festival, Sri Lanka Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Sri Lanka Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/8549ae5a59ff48eb4bdffb122e957ded.jpeg 2bfdb99bee8083b3574ab28bb7dc429f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2033 Title A name given to the resource Public transit, rural Sri Lanka Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Sri Lanka Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/ea63cf924234e769b81d3a0b013ba07b.jpeg f27f633200a3bd4d7ced0beb28ed9c63 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2032 Title A name given to the resource Buddhist flags honoring the Buddha’s birthday, Sri Lanka Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Sri Lanka Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/63ca0c6a0c1bd898dfeb1d426f35b5b7.jpeg 0a19f75bf43262fb9b79b7f7f22ac140 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2031 Title A name given to the resource Performers rest, Angkor Wat, Cambodia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Angkor Wat, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/48fa6b81210cf9026af745b29ec7ca23.jpeg 90b43befdf875d9eeeb5f81ec0a0d627 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2030 Title A name given to the resource Entering Angkor Wat Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Angkor Wat, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/da8f8a1416b421ebee42edaea6a1fd92.jpeg 54ffb5d7da0209c56fd66b68152ef3ab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2029 Title A name given to the resource Cambodian seller on bike, Angkor Wat Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Angkor Wat, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/0d1e4cd9bc90e8c34a247af171460031.jpeg 9ebed8d6eddd15c5e315a1265479805e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2028 Title A name given to the resource Small Buddhist shrine, Roulos, Cambodia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cambodian Roulos, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/bee165751fdcc355041c95f79edc7f8d.jpeg 163fc7ae98054f449ae5d39bd86308be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2027 Title A name given to the resource Waterwheel, Siem Riep, Cambodia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cambodian Siem Riep, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/094d4a832261ded8e3338edf476026b2.jpeg 25a45c2b59fb1c6bcacff405ee2465b6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2026 Title A name given to the resource Cambodian woman selling chili peppers Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cambodian Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/d8baf41309d89477fbad118ee54bb56d.jpeg f94eb306e168eb5a3ce6413a26b228b7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2025 Title A name given to the resource Pigs on way to market, rural Cambodia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cambodian Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/2e4c956b0924824fba0d843a060e663a.jpeg 0b926868ee8c7c078cc72e43ca4f4d74 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2024 Title A name given to the resource Funeral procession, rural Cambodia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cambodian Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/c897abf7c6b57553b7d44b3fdffcd0fe.jpeg 93676666b84f5fb389e7e43306071920 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2022 Title A name given to the resource Cambodian woman with her shopping Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cambodian Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/dac60ce8358e3101c44364ef2c1e0664.jpeg bf27652938957480bb125ae1ee90c14b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2021 Title A name given to the resource Rural Cambodia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/abb049dc0d50ed15aad9f0477cbd5bf1.jpeg d097f7f2b18670125919271bdf059f50 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2020 Title A name given to the resource Cambodian home built to avoid flooding Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/2c7abed6a686eea9d2f8f55aa82eeb3c.jpeg b7755aeabc9081ffa8c63a33910a3609 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2019 Title A name given to the resource Monks admire ancient Cambodian temple Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/aaf666cf44bfa05b792d2d7ccae2fbaf.jpeg f9e913e0f53fbfe37b6063fb92cbaf43 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2018 Title A name given to the resource Water Buffalo after a long day’s work Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/15e536ab78cd67655fd085d7bce39f22.jpeg d2bdb2e76bb30b00c7ed74e4df9b551d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2017 Title A name given to the resource Funeral procession, rural Cambodia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cambodian Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/ab73abebef0190d096d3085f67533f63.jpeg fb266df622fb9b8f56b45084e8edbfa5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2016 Title A name given to the resource Monks at Angkor Wat sunrise Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Angkor Wat, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/d35bafb36ac7b69080833144667e2c17.jpeg 2855e2a3569c58c8d1d785b9eb5a70cc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2015 Title A name given to the resource Monks at Angkor Wat sunrise Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Angkor Wat, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/5a2554ab2bdc9feb36b011f10719ad1e.jpeg 6fdbf9993be173ef5088ebbc8bd48c3d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2014 Title A name given to the resource Sunrise over Angkor Wat Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Angkor Wat, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/f0bf96f1db5e46cd68391fb5cf152d43.jpeg 4ce5bd046317a2fd0261e43f22090d57 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2013 Title A name given to the resource Tree roots engulf Cambodian temple Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Angkor Wat, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/429caae2ba0c3c4e2108684c4f389b9a.jpeg 314954ec7d9c5eb6a1ab6698861b0584 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2012 Title A name given to the resource Tourists wait patiently near Angkor Wat Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Angkor Wat, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/7307e3829964cef55b4f49926d9c4b84.jpeg a7aabaef63d1c0ccf4af2e99533b09dc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2011 Title A name given to the resource Hindu deities, Angkor Wat, Cambodia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hindu Angkor Wat, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/043bf5780dcedaebf34890790e10cfc7.jpeg 98d2603e7a4c7a593aec39ef6717c427 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2010 Title A name given to the resource Monks and tourists mingle, Angkor Wat, Cambodia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Angkor Wat, Cambodia Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/f565e9b7170922e50ec07165a03023b8.jpeg 9a114e40e313fc369e7d594e24a9d6e2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2009 Title A name given to the resource Buddhist pilgrims, Sri Lanka Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Sri Lanka Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/f4c2c32212d294e7c91ae887d06e2677.jpeg ba7a04de90ba7f4366d08e9af8ee70e9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2008 Title A name given to the resource Elephant processing, Sri Lanka temple Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Sri Lanka Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/52a8a1b612028d71d72b0f4aa0d9e0d7.jpeg 59d9c84621e8b476001bdb68ee1f1fc8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2007 Title A name given to the resource Woman praying, Sri Lanka Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Sri Lanka Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/989a5f51b87b42c5f30af3be8573554e.jpeg ea263a87885daf988c81bf3e15867993 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2006 Title A name given to the resource Honoring the Founding Father of Singapore, Lee Kuan Yew Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/65d4e0ea9ad3208ab7d0a13c2ab51fb4.jpeg fe77689dcc74910e6f00283cd59c8a12 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2005 Title A name given to the resource Old-style housing development, Singapore Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/dabd8546c1fe9d2e5aea4914a41322c9.jpeg f64f2e70bbcb63fc2d883ee24bfb2b0b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2003 Title A name given to the resource Fast food workers, Singapore Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/0bf2c4fa5d00ceb0fa93ba660b72fefd.jpeg 676cc03e64af34b727edcd4091e6b008 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2002 Title A name given to the resource Worshippers at Buddhist temple, Singapore Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/4f8f7d00911cc7bd3aa8cf7eb2f73e32.jpeg 2126ec7e53fc8a8afc7c019ab9872d7a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2001 Title A name given to the resource Offering bowls, Buddhist temple, Singapore Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/078a3b8dd5b41bf2db1b68675b737937.jpeg b4af1fc972d15b9de34cd430382deeb4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc2000 Title A name given to the resource Monks at prayer, Buddhist temple, Singapore Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/aad9916ae9f234020dc715aa080139da.jpeg 52384f012c4cb0c353edf41406be0093 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc1999 Title A name given to the resource Four-language street sign, Singapore Date A point or period of time associated with an event in the lifecycle of the resource 2015 Description An account of the resource Sign reads: "Chinatown Food Street" in English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/e8b309cc29d89dfe4e97b80b3dfb4e95.jpeg d1a25c8e9f6387ed9c5d503e86ae3692 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc1998 Title A name given to the resource Food vendor, Singapore Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/a9b6f06015f9808780d30c27eedb60a3.jpeg 474f5cc3161cbc3fc6098a7e55e288f4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc1997 Title A name given to the resource Afternoon thunderstorm looms over Singapore Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/b16b997519d12f06ce2838523d96a532.jpeg 402156342972f4440885dbbf677ba400 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc1996 Title A name given to the resource Tree roots, Estancia, Singapore Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Estancia, Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/5581f3eb46c74c6bf4e326ebb4ec1528.jpeg 1e73b8cf595a294122040a707b05bfe4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc1995 Title A name given to the resource Entrance to Wat Chedi Luang, Chiang Mai, Thailand Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Chiang Mai, Thailand Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/0b8766a6c2fc67bface72012a029394e.jpeg 71992da57853b5003127f8d1b6035b29 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc1994 Title A name given to the resource Monks by Wat Chedi Luang, Chiang Mai, Thailand Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Chiang Mai, Thailand Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/d1ba72943c4443e8b2c390a3f85b1b6b.jpeg e19a697487528e9904496471f74b574d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc1993 Title A name given to the resource Temple entrance, Chiang Mai, Thailand Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buddhist Chiang Mai, Thailand Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/3dd234621eb5de02929cd749aec450fd.jpeg 4dc6daaa3e7e05bb69650e13060934dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc1992 Title A name given to the resource Woman applying face paint, Singapore Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/3ebc53e4892933bff30b99e9026a521b.jpeg ab1b2d9388ee9bdeb12de766a4765107 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc1991 Title A name given to the resource Sign in a Singaporean shop Date A point or period of time associated with an event in the lifecycle of the resource 2015 Description An account of the resource Sign reads: "Please do not sit in the shop idealing" Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). https://digital.lib.buffalo.edu/files/original/2a2e2f778472404d03e36f44dbeae742.jpeg 01206205ce7e9e104e0fa250f93c2b45 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Welch-Ludwig Collection Description An account of the resource The images in this collection come from 35 mm. Kodachrome slides or .jpg pictures taken by Claude Welch, SUNY Distinguished Professor in the Department of Political Science. He started his teaching career in 1964, directly after completing his doctoral work at Oxford. The images reflect a wide span of his interests and continents, with particular strength in sub-Saharan Africa, Western Europe, India and China. The addition of metadata to this collection is an ongoing project. Identifier An unambiguous reference to the resource within a given context PC001 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context psc001_psc1990 Title A name given to the resource Old shops and homes, Singapore Date A point or period of time associated with an event in the lifecycle of the resource 2015 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Singapore Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource image/jpeg Creator An entity primarily responsible for making the resource Welch, Claude Emerson Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Welch-Ludwig Collection PSC001 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">IN COPYRIGHT - EDUCATIONAL USE PERMITTED</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s).