alan campbell len cariou douglas carpenter hilip pcasnoff

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Dean Pitchford Alice Playten Paul Provenza Sam Robards John Rubinstein Michael Rupert Chris Sarandon Matthew Schechter Paul Schoeffler Carole Shelley Lynn Sherr Douglas Sills Emily Skinner Bobby Steggert James Patrick Stuart Richard Thomas Maria Tucci Kathleen Turner Tony Walton Brenda Wehle Chandler Williams JoBeth Williams Geraint Wyn Davies Michael York Catherine Zeta-Jones Chip Zien Louis Zorich Jason Alexander Glenn Seven Allen Nancy Anderson Linda Balgord Christine Baranksi James Barbour Brent Barrett John Behlmann Reed Birney Danny Burstein Charles Busch Zoe Caldwell Ann Hampton Callaway Alan Campbell Len Cariou Douglas Carpenter Philip Casnoff Michael Cerveris Donna Lynne Champlin Chuck Cooper Donald Corren Veanne Cox Tyne Daly Daniel Davis Paige Davis Ed Dixon Mike Doyle Christine Ebersole Melissa Errico Francesca Faridany Barbara Feldon Lauren Flanigan Peter Friedman Penny Fuller David Garrison Joanna Gleason Amanda Green Harriet Harris Roxanne Hart Florence Henderson Edward Hibbert Beth Howland Cady Huffman Barry Humphries George S. Irving Dana Ivey Gregory Jbara Byron Jennings Moises Kaufman Judy Kaye Lauren Kennedy Charles Kimbrough Marc Kudisch Claire Lautier Michael Learned Judith Light Rebecca Luker Patti LuPone Ramona Mallory Roberta Maxwell Jeff McCarthy Carolyn McCormick Keith McDermott Tom McGowan Michael Minarik Kate Mulgrew Cynthia Nixon Diedra O’ Connell Ciaran O’Reilly Nancy Opel Daniel Okulitch Patrick Page Peter Paige Guy Paul Michele Pawk

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Page 1: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

Dean Pitchford Alice Playten Paul Provenza Sam Robards John Rubinstein Michael Rupert Chris SarandonMatthew Schechter Paul Schoeffler Carole Shelley Lynn Sherr Douglas Sills Emily Skinner Bobby Steggert James Patrick Stuart Richard Thomas Maria Tucci Kathleen Turner Tony Walton Brenda Wehle Chandler Williams JoBeth Williams Geraint Wyn Davies Michael York Catherine Zeta-Jones Chip Zien Louis Zorich

Jason Alexander Glenn Seven Allen nancy Anderson Linda Balgord Christine Baranksi James Barbour Brent Barrett John Behlmann Reed Birney Danny Burstein Charles Busch Zoe Caldwell Ann Hampton CallawayAlan Campbell Len Cariou Douglas Carpenter Philip Casnoff Michael Cerveris Donna Lynne Champlin Chuck Cooper Donald Corren Veanne Cox Tyne Daly Daniel Davis Paige Davis Ed Dixon Mike Doyle Christine Ebersole Melissa Errico Francesca Faridany Barbara Feldon Lauren Flanigan Peter Friedman

Penny Fuller David Garrison Joanna Gleason Amanda Green Harriet Harris Roxanne Hart Florence Henderson Edward Hibbert Beth Howland Cady Huffman Barry Humphries George S. Irving Dana Ivey Gregory Jbara Byron Jennings Moises Kaufman Judy Kaye Lauren Kennedy Charles Kimbrough Marc Kudisch Claire Lautier Michael Learned Judith Light Rebecca Luker Patti LuPone Ramona Mallory Roberta Maxwell Jeff McCarthy Carolyn McCormick Keith McDermott Tom McGowan Michael Minarik Kate Mulgrew Cynthia nixonDiedra o’Connell Ciaran o’Reilly nancy opel Daniel okulitch Patrick Page Peter Paige Guy Paul Michele Pawk

Page 2: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

p R O lO g u e

l i N d a B a l g O R dMark Strand – Eating Poetry

M u s i c a l i n t e r l u d e

an ever-F iXed MarK – PoeMs about love

p at t i l u p O N eEmily Dickinson – Wild Nights! Wild Nights!

e m i ly s K i N N e R Edna St. Vincent Millay – Love Is Not All

J O a N N a g l e a s O NPablo Neruda – Sonnet XVII (Translation by Mark Eisner)

B R e N t B a R R e t tWilliam Shakespeare – Sonnet XXIX

B a R B a R a f e l d O NMargaret Atwood – Variation on the Word Sleep

m i c h a e l c e R V e R i s Michael Ondaatje – The Cinnamon Peeler

c h R i s t i N e B a R a N K s i William Shakespeare – Love looks not with the eyes

J O h N B e h l m a N N William Shakespeare – Hang there, my verse

J u d y K ay ee. e. cummings – i thank you God for most this amazing day

m i K e d O y l e Samuel L. Johnson – Lovers on a Park Bench

B O B B y s t e g g e R tPablo Neruda – If You Forget Me

J u d i t h l i g h t Jonathan W. Stoller – Soft Knife

c h a R l e s K i m B R O u g hRobert Browning – Meeting at Night

m i c h e l e pa W KMary Karr – Last Love

c h a N d e R W i l l i a m s Frank O’Hara – To the Harbormaster

M u s i c a l i n t e r l u d e

a star danCed – PoeMs oF Joy

c at h e R i N e z e ta - J O N e s William Wordsworth – Daffodils

c a R O l e s h e l l e y William Wordsworth – Composed Upon Westminster Bridge, September 3, 1802

c i a R a N O ’ R e i l ly W.B. Yeats – Aedh wishes for the Cloths of Heaven

c h R i s t i N e e B e R s O l eEdna St. Vincent Millay – Renascence (Abridged)

m i c h a e l R u p e R tAllen Ginsberg – A Supermarket in California

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Page 3: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

Why a Poetry Album? Easy answer: I love poetry. I love reading it. I love memorizing it. I love hearing great actors recite it. As the poet Mark Strand wrote, “Ink runs from the corners of my mouth / There is no happiness like mine / I have been eating poetry.”

In the past, when I was full from the eating, I have had the audacity to set poetry to music. But, on this CD, you will hear the music of the poems. Poetry unadorned. Words. Because in truth, great poetry needs nothing but a great actor, a voice as eloquent and expressive as the poem itself, to lift the poem off the page and into the heart.

I have never done a project which has elicited so much enthusiasm. From the actors arriving at the studio who thanked me for inviting them to participate, ”Are you kidding?“ I’d say, ”Thank you!” to the engineers who would say, “I never got this stuff, but these guys make it so beautiful.” This album has been a joy from beginning to end, a true labor of love. And whenever I heard my stomach rumbling during the production process, I always knew I could find something delicious to eat in the studio. Mmmm. Yeats? That hits the spot. Glen Roven, Producer

N a N c y O p e l Amy Clampitt – The Sun Underfoot Among The Sundews

R e e d B i R N e y Don Blanding – Some Lines Scrawled on the Door of a Vagabond’s House

B R e N d a W e h l e Jane Hirshfield * – Lake and Maple

l a u R e N K e N N e d y Wallace Stevens – The House Was Quiet And the World Was Calm

p h i l i p c a s N O f f Dylan Thomas – Fern Hill

B a R R y h u m p h R i e s Stephen Spender – Poem for My Daughter

M u s i c a l i n t e r l u d e GuildinG MonuMents –

PoeMs about PoeMs

R O x a N N e h a R t Marianne Moore – Poetry

a N N h a m p tO N c a l l a W a y Rainer Maria Rilke – Sonnets to Orpheus (No. 3)

d O u g l a s s i l l s Paul Monette – Contexts

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*An article by this poet is in the liner notes booklet. **The complete Poem is available for download on iTunes.

Page 4: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

Truth vs. FactAlthough poets are under no particular obliga-tion to be factually correct—I always say that poetry’s debt to Truth is greater than its debt to fact—I did, in fact, live next to a three-legged dog

Those Dark Blue Bound BooksI learned to love poetry from my dear mother who was enchanted by poetry and loved to hear it spoken. She arranged to see me after school almost every day from the time I was 10 until I was 16 years old. She would bring The Oxford Book of English Verse and we would take turns reading poems to each other from the book with the dark blue cover. It all seemed so natural to me but I realize now what a gift she gave me.

My graduation present from my parents was The Oxford Book of English Verse and The Complete Works of John Keats inscribed by them: “Our favorite poet for our favorite daughter.” I remember the first poem I learned by heart to say to my mother—Alfred, Lord Tennyson’s “Blow Bugle Blow.” I think I

should have chosen some thing sim-pler. Now I see it on the page exactly where it was before. Number 704, “The Splendour Falls on Castle Walls.”

I still have those dark blue bound books and I treasure them more as each year goes by. MaRian SeldeS, actor

named Bodhisattva when I lived in Oakland (although I never knew him when he had four legs). This was just one of those stories I always knew would become a poem one day: the dog finally getting his leg back when the ashes of the two cremations were mixed. I meant to write more of a ballad and have the refrain come back one or two more times than it does, but that’s not what came out. As it is, the refrain does a good job of anchoring the poem, as well as letting the audience know when it is over. I love performing this poem in high schools because I’ve constructed a situation in which I can say “Bitch” with a perfectly straight face and NOT risk getting reprimanded by the administration.

I live in New York City, a member of the tenth generation of my family to do so, but my wife and I have a house in The Berkshires to which we escape MORE than half the time (at least that’s the plan). I make my living writing, reading, and teaching poetry all over the world; it’s a dream come true. TayloR Mali, Poet

Taylor Mali’s poem, “A Dog called Bodhisattva” appears on CD 2 Track 11.

Page 5: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

“Poetry is the music of the soul, and, above all, of great and feeling souls.” - Voltaire

The Deepest VoiceThis poem’s lake and maple, its quicksand and egret, all still exist, or their descendents do, going through the same motions of eternity and subtraction, of surface breaking and quick disappearance, of one existence moving into another. It’s a bit like the child’s game of “scissors, paper, rock.” Maple drinks lake, lake becomes maple, leaves fall and feed fish, fish are eaten by egret, moonlight adds its weightlessness to them all, rain comes and leaves, then returns. Consuming and consumed, vanishing and returning, are what we are made of, and of all our loves and longings, as well. This poem signs on for longing—for the human grief of human longing, and for the enlarging longing that calls us into the lake a 14th c. Indian mystic once sang of, limitlessly large. Transparence restores beauty. Inclusion restores beauty. And when those consolations cannot be found or felt, there’s still the beak of the egret touching the water, and the water’s answering shiver. There’s still Lal Ded’s human-voiced singing, if not her lake.

Poems live in people, one by one, as powerful secrets do. They pass between us in silence and on the voice—yet even read in silence, they are meant to be heard. A written poem is a score that wants to awaken inside the instrument of a single human life—right now, yours. Poems are, for me, the deepest voice we hear, one whose overtones and under-tones hold the music of full existence. It’s good to think that this poem and its 99 companions are traveling here between larynx, breath, and ear, each becoming an audible secret.

“Lake and Maple” comes from upstate New York, where I still go often, but I’ve lived for 35 years now in the San Francisco Bay Area, writing poems and essays, trav eling to teach and give readings, talking with as many kinds of peo-ple as I can—biologists, animal psychologists, geomorphologists, physicists, carpenters, artists, farmers, practitioners of all the many forms of awareness. Every one of them, it seems to me, is trying as best they can to save this world. Jane HiRSHfield, Poet

Jane Hirshfield’s poem, “Lake and Maple” appears on CD 3 Track 26

Page 6: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

M u s i c a l i n t e r l u d e

beauty’s rose – PoeMs For the younG at heart

J a s O N a l e x a N d e R Lewis Carroll – The Walrus and The Carpenter

c y N t h i a N i x O N A.A. Milne – Vespers

p e t e R f R i e d m a NDenise Levertov – Psalm Concerning the Castle

m at t h e W s c h e c h t e RShel Silverstein – Poison-Tester

a l a N c a m p B e l lThomas Lux – A Little Tooth

a m a N d a g R e e N Lewis Carroll – You Are Old, Father William

R a m O N a m a l l O R y Shel Silverstein – Nap Taker

t O N y W a ltO N Peter Cook – Blue Football

M u s i c a l i n t e r l u d e

thereby hanGs a tale – story PoeMs

c a d y h u f f m a N Taylor Mali* – A Dog Named Bodhisattva

g R e g O R y J B a R aWilliam Shakespeare – Bottom’s Dream

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pa i g e d a V i s

Edward Field – New Yorkers

pat t i l u p O N e

William Shakespeare – Sonnet CXVI

m i c h a e l m i N a R i K

A.R. Ammons – Beautiful Woman

c h a R l e s B u s c h

Robert Browning – My Last Duchess

B a R R y h u m p h R i e s

Cecil Day Lewis – Walking Away

e d W a R d h i B B e R t

John Betjeman – Sun and Fun

m O i s e s K a u f m a N

Tennessee Williams – Life Story

p e t e R pa i g e

Anne Sexton – To a Friend Whose Work Has Come to Triumph

d e a N p i t c h f O R d

Dorothy Parker – Song of a Hopeful Heart

s a m R O B a R d s

Shido Bunan – Die while you are alive

tO m m c g O W a N

D.H. Lawrence –

Afternoon in School—The Last Lesson

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Page 7: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

Poetry Album? M u s i c a l i n t e r l u d e sound and Fury – PoeMs about Great adventures

d O N a l d c O R R e N Edgar Allan Poe – Annabel Lee

J O h N R u B i N s t e i N Samuel Taylor Coleridge – The Rime of the Ancient Mariner (excerpt)**

c h R i s s a R a N d O N Alfred, Lord Tennyson – Ulysses

M u s i c a l i n t e r l u d e a dish For the Gods – PoeMs about WoMen

f R a N c e s c a fa R i d a N y Muriel Rukeyser – Myth

m i c h a e l l e a R N e d Edna St. Vincent Millay – An Ancient Gesture

V e a N N e c O x John Milton – Paradise Lost (Eve)

N a N c y a N d e R s O N William Blake – Mary

g u y p a u l Andrew Marvell – To His Coy Mistress

d O N N a ly N N e c h a m p l i N Meryn Cadell – Job Application

ly N N s h e R R Lucille Clifton – she lived

B e t h h O W l a N d Dorothy Parker – Love Song

m a R i a t u c c i W.B. Yeats – A Prayer for My Daughter

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Words that BindHow does it happen that great poetry cuts through all the noise and noisy disagreements that separate us and set us at each other’s throats? How does it target and hit the note that quiets us, that unifies us, and that, in turn, defines us as human?

The performers on this CD illum- inate the mystery. Beneath the trem-bling, faux enthusiasm of Donna Lynne Champlin’s reading of “Job Appli ca-tion,” or the steely reserve of Charles Busch’s “My Last Duchess,” there lies the truth of the situation, like a beau-tiful rock that’s been polished smooth by all of the people who have heard before and who have understood.

Here we are in 2010: living with-out the benefit of a unifying popular culture, but with a culture frayed into a million semi-con nected strands. How sobering, how comforting it is to be reminded of the notes that bind us. When you hear Emily Skinner say:

Love can not fill the thickened lung with breath,

Nor clean the blood, nor set the fractured bone;Yet many a man is making friends

with deathEven as I speak, for lack of love alone.

Then you know that is true. And that is enough. lauRie WineR, Cri t ic

Page 8: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

Content, Appearance and SounD!For a few years, when I was publishing poetry and working on my novel, I taught freshman English at Baruch College, here in New York City. Part of the course was an introduction to literature, divided rather artificially by genre, and the unit the students feared most direly was poetry. Why was that? Why should young people who bravely take on The Age of Innocence and A Doll’s House be cowed by “The Road Not Taken,” which is short and so pleasingly accessible in its rhymes and meter?

One answer is that they were only accessing about a third of the pleasure. Most Americans view poetry as something to be absorbed privately, perhaps in a meadow or a noiseless plush salon; it’s the art form we make room for by pushing away other stimuli. But as I told my students, poetry occurs on at least three levels: there’s the content, of course, as most people realize.But then there’s the poem’s visual appearance on the page; and finally, the way it sounds.

How on earth did we forget this last? How, in our noisy and public world, did we relegate a medium rich in rhythm—rich in echo and voice and song—to a silent interiority? It must be simply a mis take! For as my students discovered, poems change when you say them aloud; in fact, a poem will change each new time you speak it aloud, just like that on-rush ing river you can’t step into twice. Poems re-cited (even to one self, as I con fess I do, alone in my office) instantly become per for mative, reverberat-ing off the mood and the day and whatever you had for breakfast and who you’re hoping to be with in the even ing. And poems spoken aloud in pub lic, of course, are theater.

So next time you read a poem, please speak up.

dave KinG, novelist

A Poem a Day....When I was an undergraduate, an English professor said, in passing, “a poem a day keeps the doctor away.” He meant, I assume, that being regularly exposed to the best that has been thought and written is a universal medicine. This collection helps bring poetry off the page and back into the ear, where it belongs, and hearing it read with such skill is a constant revelation. I have not found myself ever, for instance, since I was forced to in college, deciding to sit down and read Tennyson or Milton, but hearing them read has made me realize what I’ve been missing. This is the best of the best, read by the best of the best. I plan on listening to this CD every day on my commute and saving a bundle on my mental health bills. ToM luTz, Writer

Page 9: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

“Poetry : the best words in the best order.” -Coleridge

“If I feel physically as if the top of my head were taken off, I know that is poetry.” - Emily Dickinson

Performer notesTo me, poetry is a heightened language, heightened language is song. So poems, by their very nature, have music. And music is something you listen to. You can read it on the page (if you can read music) and say, “Oh, that’s brilliant. That’s going to sound amazing.” But it’s not until you hear it, that the full beauty comes through. I think poems are a verbal art, a written craft for a verbal art. JaSon alexandeR, actor

Mr. Alexander reads Lewis Carroll’s “The Walrus and The Carpenter” on CD 2 Track 2

On our 18th anniversary I woke up and on my side of the pillow was a copy of this poem my husband (Chris Sarandon) had typed up and left for me. So when I was to choose a poem, this came right into my mind. We’re at that stage in life where it’s more than finishing each other’s sentences. It’s that kind of synchronicity, that being in step with one another, that romantic notion of truly not knowing where one person ends and the other begins; it’s profoundly moving. I find this poem, as much as it is about love, is about that total absorption, that new identity that’s created when two people are in love. Joanna GleaSon, actor

Ms. Gleason reads Pablo Neruda’s “Sonnet XVII” on CD 1 Track 5

Classical training is a wonderful base to have. It’s like a muscle. Everything else can spin off of it. While I was still in Juilliard, I was a lady-in-waiting in the Shakespeare in the Park production of Hamlet with Stacey Keach, James Earl Jones, and Colleen Dewhurst, and my first big role professionally was in ‘Tis Pity She’s a Whore. I also did Molière, Chekov, so many wonderful plays in my early years as an actress. Probably my most favorite thing I’ve ever done was Helena in Shakespeare in the Park, in Midsummer’s Night Dream. I remember it as the happiest time in my life. CHRiSTine BaRanSKi, actor

Ms. Baranski reads Shakespeare’s “Love looks not with the eyes” on CD 1 Track 9

Page 10: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

M u s i c a l i n t e r l u d eTO THINE OWN SELF - POEMS OFFERING ADVISE

t y N e d a ly W.H. Auden – If I Could Tell You

z O e c a l d W e l lZoe Caldwell – On Behalf of Trees

d a V i d g a R R i s O NRobert Frost – The Road Not Taken

h a R R i e t h a R R i sJack Spicer – “Any fool can get into an ocean...”

d e i d R a O ’ c O N N e l l Jim Harrison – Barking

g l e N N s e V e N a l l e N William Shakespeare – Sonnet 138

p e N N y f u l l e RD. H. Lawrence – Terra Incognita

d O u g l a s c a R p e N t e R Walt Whitman - To What You Said

J a m e s B a R B O u RRudyard Kipling – If

M u s i c a l i n t e r l u d e

THE DOGS OF WAR: POEMS ABOUT CONFLICTS

d a N i e l d a V i sC.P. Cavafy – Waiting for the Barbarians

K at h l e e N t u R N e R Ariel Dorfman – Correspondence

a l i c e p l ay t e NTony Kuschner – An Undoing World

e d d i x O NRobert Frost – The Bearer of Evil Tidings

m a R c K u d i s c hRobert Frost – Fire and Ice

K e i t h m c d e R m O t tW.B. Yeats – The Second Coming

m i c h a e l y O R KRudyard Kipling – Tommy

pa u l s c h O e f f l e RWilfred Owen – Dulce et Decorum Est

M u s i c a l i n t e r l u d e

IMMORTAL LONGINGS: POEMS ABOUT THE ETERNAL

h a R R i e t W a lt e RThomas Hardy – The Walk

J O B e t h W i l l i a m sJohn Keats – When I have fears that I may cease to be

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Page 11: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

*

d a N N y B u R s t e i N Robert Hayden – Those Winter Sundays

pa u l p R O V e N z a Donald Justice – Men at Forty

J e f f m c c a R t h y Billy Collins – Conversion

c l a i R e l a u t i e R John Donne – A Valediction: Forbidding mourning

J a m e s pat R i c K s t u a R t Robert Pinsky – Doctor Frolic

f l O R e N c e h e N d e R s O N Henry Wadsworth Longfellow – The Day is Done

g e O R g e s . i R V i N g Kenneth Fearing – Elegy in a Theatrical Warehouse

R i c h a R d t h O m a s Gerard Manley Hopkins – Spring and Fall

c a R O ly N m c c O R m i c K Edna St. Vincent Millay – Dirge Without Music

m e l i s s a e R R i c O Jane Kenyon – Otherwise

B y R O N J e N N i N g s W.B. Yeats – When You Are Old and Grey

R e B e c c a l u K e R Christina Rossetti – Remember

K at e m u l g R e W Emily Dickinson – Because I could not stop for Death

c h u c K c O O p e R Kahlil Gibran – On Death

c h i p z i e N Henry Wadsworth Longfellow – Mezzo Cammin

R O B e R ta m a x W e l l Stevie Smith – Not Waving but Drowning

l O u i s z O R i c h Alfred, Lord Tennyson – Crossing the Bar

d a N a i V e y William Ernest Henley – Invictus

l e N c a R i O u William Shakespeare – Ye elves of hills, brooks, standing lakes and groves

g e R a i N t W y N d a V i e s Dylan Thomas – In My Craft or Sullen Art

pat R i c K p a g e William Shakespeare – Our revels now are ended

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“Poetry is when an emotion has found its thought and the thought has found words.” -Robert Frost

Page 12: Alan Campbell Len Cariou Douglas Carpenter hilip PCasnoff

PRODUCED BY Glen Roven Peter Fitzgerald Richard Cohen

EXECUTIVE PRODUCERRobin Addison

ASSOCIATE PRODUCERSDonna Lynne Champlin, Ed Dixon and Scott Mauro

Art Direction by Margot Frankel

Recorded and Mixed by Megan Henninger; Associate Engineers: Bob Hanlon and Carl Casella; Mastered by Peter Fitzgerald and Megan Henninger; Recorded and Mastered at Sound Associates,

New York City; Videography by Richard Cohen; GPR website design by Kevin Robillard; Press Representative for GPR Keith Sherman & Associates/Scott Klein; Brett Levenson/Interactive Media Consultants;

Max Horowitz/Crossover Media; All music composed by Glen Roven

We alSo WanT To THanK Ellis@Studio Referral Service for arranging all the out-of-town recordings: Clear Lake Audio, Burbank; Hyde Street Studios, San Francisco: Stephen Armstrong, engineer;

Studio 5109 Hollywood, CA: Mike Wolf, engineer Richard Rottman, MD, Videographer

GPR Records wants to especially thank the following artists who so very kindly reached out to their friends and brought them into Poetic License: James Barbour, Reed Birney, Ann Hampton Callaway, Donald Corren, Daniel Davis, David Garrison, Harriet Harris, Roxanne Hart, George S. Irving, Dana Ivey, Roberta Maxwell, Daniel Okulitch, Guy Paul,Tony Walton and Chandler Williams. Special thanks to Joan Harrison and Gary

Zuckerbrod for also reaching out. More special thanks to David Garrison for coming up with the title. Gratias.

CoPyRiGHT noTiCeS All permissions and copyright notices for the poems appear on our website: gprrecords.com. Please note: We have done due diligence in meticulously searching out all copyright holders. If, by some unfortunate

reason, we have inadvertently missed contacting a copyright holder, please contact us at [email protected].

GPRRecords.com

G P R 3 0 0 1 3 © 2 0 1 0 G P R R E C O R D S . C O M A L L R I G H T S R E S E R V E D . M A D E I N A U S T R I A .

Poetry, the most ancient literary art, comes alive now through the most modern of technologies. nothing beats the sound of the human voice, and nothing reminds us so beautifully of the music as well as the

words of the poem as the variety of voices assembled on these discs. The performers on this compilation come in all sizes and shapes and sounds, in all vocal timbres. listeners will be delighted to discover poems they have

not heard before. They will be astonished to hear, as if for the fi rst time, old chestnuts that burst into bloom again through unexpected rendtions. Best of all, they will be reminded of poems they once knew but have forgotten.

Give these Cds to everyone you love, especially to those who think they don’t like poetry. you will change their lives. —WillaRd SPieGelMan, author of Seven Pleasures: Essays on Ordinary Happiness