Processed in February of 2013
Items purchased by the Friends of the Merrill-Cazier Library in 2011 include letters written to May from The New York Quarterly (December 30, 1978), The New Yorker (August 11, 1983), and Borestone Mountain Poetry Awards (November 9, 1970). All three correspondences are housed in Series II, Box 1, Fd 8. The Friends also purchased a certificate from the National Institute of Arts and Letters (1970—Series II, Box 1, Fd 10) and a copy of the poem "October" from The New Yorker (October 31, 1977—Series III, Box 2, Fd 7).
Joyce Kinkead donated a master copy of
In 2004 Rozanne Knudsen gave the cassette tapes to Michael Spooner who transferred them to Special Collections and Archives. In 2008 Rozanne Knudsen donated the score for "Truth Becoming," a string quartet written by Pamela J. Marshall and inspired by Swenson's poem, "The Process," to USU Special Collections (Series III, Box 2, Fd 11). Nearly all of the remaining material came from a 2004 Knudsen donation, however, the exact provenance of the reel-to-reel tapes is unknown.
A corrected galley proof of May Swenson's, "New and Selected Things Take Place" (1978) was purchased from Carole Berglie in 2013 and added to Series III, Box 3 of the collection.
Paul Crumbley donated a number of items in 2017, which he recieved from Rozanne Knudsen. These include Series I, Box 1, Folders 14-24; Series I, Box 1, Folders 15-17; and Series III, Box 2, Folders 16-18.
Michael Spooner also donated materials in 2017, including the correspondence in Series I, Box 2 and the educational materials in Series III, Box 2, Folder 19.
USU Special Collections purchased the item in Series II, Box 1, Folder 18 from Ken Sanders Rare Books in 2020.
No restrictions on use, except: not available through interlibrary loan.
It is the responsibility of the researcher to obtain any necessary copyright clearances.
Permission to publish material from the May Swenson addendum must be obtained from the
Materials held in Series I, Box 2 cannot be reproduced.
May Swenson was born on May 28, 1913, in Logan, Utah, the daughter of Swedish immigrants. (Her father, Dan Swenson, was a professor of mechanical engineering at Utah State University.) Following her graduation from USU in 1934 she took a job as a reporter for the
Swenson's trademark was her use of complex wordplay in her poems, which frequently took the form of riddles or unusual arrangements of the words on the page. These "iconographs" often were arranged to resemble the shape of the poem's subject. Frequently classified as a nature poet, Swenson received much praise for her descriptions of natural phenomena and her sensory tone. Her chief themes were animal and human behavior, sexuality, death, and the nature of art and perception. Swenson's poetry has often been compared to the writings of Elizabeth Bishop, e.e. cummings, and Gertrude Stein. Over the course of her career, Swenson published seven volumes of poetry (see list below). In addition to her poetry, Swenson also wrote three books of poems for children, a play, three short stories, and a book of translated poems by the Swedish author, Tomas Tranströmer. Several additional volumes of Swenson poetry have been published posthumously.
May Swenson received a wide variety of recognitions and honors during her career, including serving as poet-in-residence at several universities in the United States and Canada during the late 1960s and early 1970s. She was the recipient of Guggenheim, Ford, Rockefeller, and MacArthur fellowships and a National Endowment for the Arts grant. In 1972 she received a medal from the International Poetry Forum for her translation of Tranströmer. Swenson also received the Shelley Memorial Award from the Poetry Society of America, the Bollingen Prize from Yale University, and an Award in Literature from the National Institute of Arts and Letters. She was also elected a member of the latter organization, as well as the Academy of American Poets of which she later served as chancellor. In 1967 she received a Distinguished Service Gold Medal from Utah State University, and in 1987 an honorary doctor of letters.
Like its sister collection, the May Swenson papers (COLL MSS 282), the May Swenson addendum has little or no original order left due to the piecemeal nature in which it was acquired. It was organized to mirror the order of the earlier collection, with three broad series containing the bulk of the manuscript materials: I. Personal, II. Professional, and III. Writings. A fourth series was added to accommodate a large number of audio recordings.
Series I contains family correspondence, autobiographical writings by Swenson, items pertaining to Swenson's death, and Zan Knudsen's notes for her Swenson biography. Series II contains professional correspondence, awards and honors, publicity, interviews and card files, as well as writing about Swenson and her work. Series III contains examples of Swenson's writings, mainly poems both published and unpublished. This series also contains poetry reviews written by Swenson, as well as music and poetry inspired by Swenson. Series IV consists almost exclusively of audio recordings. The first set of recordings includes reel-to-reel tapes that were numbered 1-58, probably by Swenson (note that 13 is missing). The last reel, Reel 59, was acquired from USU English professor Reed C. Stock, and is not a part of May's original audio collection. The CDs and cassette tapes appear to be copied from these reel-to-reel tapes.
While there is some original material in this collection, much of it consists of photocopies, either of material still held by the Literary Estate or from the May Swenson collection at Washington University in St. Louis. Written on documents throughout the collection are brief notes from Zan Knudson explaining the significance of the item. These notes provide useful context to researchers.
Conservation note: The reel-to-reel tapes were reboxed and foldered with the original boxes. Manuscript material found folded up in the original boxes was placed in a separate folder located just behind the reel from which it came.
This collection is arranged in four series: Personal, Professional, Writings, and Audio Recordings.
May Swenson papers,
Items in this folder cannot be reproduced.
Items in this folder cannot be reproduced.
Items in this folder cannot be reproduced.
Items in this folder cannot be reproduced.
Items in this folder cannot be reproduced.
Items in this folder cannot be reproduced.
Items in this folder cannot be reproduced.
Items in this folder cannot be reproduced.
Items in this folder cannot be reproduced.
(1) "Good Grief," "Fire," "Birds and Fire," "Bird Talk" (2) "Birds," "Cards and Marbles Laughing," "Marbles, Shuffling, Laughing and Bell," "Whale Talk High Speed," "Door Squeek and Moog," "Stove Plate," "Lion Head Snap"
(1) Practice reading for Chumley[?] reading (2) Practice for The Education of a Poet AAP reading at the Guggenheim; Composition for ¾ or 1 7/8 electric recording; Short piece: Tin plate drip in sink, hair dryer, radiator loose, notebook riffled
(1) 4 Collage Modulations; "Lift off Apollo 9;" Guggenheim practice reading, Iconographs; "Woods at Night;" practice for Charleston reading; "The Walloping Window Blind" (2) "Streisand" and others, "Moon Trip" reading, Library of Congress reading practice, "Mahler Resurrection" collage, "Hair" collage
The May Swenson Reading, University of Arizona; Added commentary and readings made at end of lecture
"To Make a Play" set by Patsy Rogers (soprano and piano)
May Swenson reading her poetry in Library of Congress
May Swenson recorded at Washington University
(1) The Vocabulary Building (sound and voice collage), (2)The EU6UF-ITNA by Ruth Anderson, The $1000 conversation with Janet Wringle[?]
Poetry Center, Lois Shelton and May Swenson; practice reading for Caedman Records
(1) "Beetles," "Billie Holiday," "Orpheus," "Cat and Mouse Story" (2) "Computer Room and Kitchen," "Birth of the Machine," "Rainy Day"
May Swenson reading her poetry in Library of Congress, (1) "Fixing the Steps" (2) "Building the Bulkhead II," "Noon Whistle I and II," "Children on the Beach,"
Unlabeled
Caedmon proof
(1) "Calcutta and Southern Swamp Sounds;" "Telephone Ring: a composition," ; "Washing Dishes,"[?] "Decaying Beethoven" (2) Dowell[?] reading
(1) "Police Siren" (2) "The Superb Lyre Bird" and others
(1) "Tone and Circle and Knot (many permutations)," "Stovework" (2) "Summoning Bell," "Time and the Telephone," " Hoya Toya," "Whistles"
May Swenson "Cuddle Up," "Very Short," "Sounds with Loon Call," "Orchestra (with teakettle, frypan, ashtray, sink water, etc.);" Reading for Library of Congress, "Manicuring the Tiger"
(1) A mix of Frogs, Trains, Drums, Bird-yells, etc.; Clock Work then Bach[?] (2) Fork Work and Glass; Rounds and Glass
(1) Touch—Marty Subotnick (2) plays it backwards
(1) "The Relay" Alwyn Nicolai electronic score (2) Bad replay of Reel given to Scribner's: "Question" and "Electronic Sound" settings; "The Whistle People"
(1) Carol de Simone, May Swenson, "Four-word Lines," "Mornings Innocent," "Love Is," (2) Solitaire
(1) Begins with "Little Bell" bought at the Fair—then "1st Class Rehearsal," "Inchoate Bells," "Superimposition on 2nd Class Rehearsal," "The Feast of the Termites" (2) "Birth of the Machine," New York City; "New Job I," Purdue; "Stuff,"; "New Job II,"; "The Modulated String Quartet,"; "Rainy Day in Indiana,; "Calling New York"
Variations for a Door and a Sigh—Pierre Henry, "Slumber," "Hesitation," "Song 1," "Awakening," "Song 2," "Stretching," "Gestures," "Reckoning," "Fever 1," "Yawning," "Song 3," "Wrath," "Hesitation 2," "Breathing," "Fever 2," "Gymnastics," "Song 4," "Wailing," "Waves," "Song 5," "Trance," "Death-rattle," "Snoring," "Song 6," "Death"
(1) Seacliff Spring; "Assawaman" and "Unsubdued Birds,"
(1) "Apollo 16," (2) Liftoff and the Cabinet of Dr. Caligan
"Apollo 14," "Apollo 15," Practice reading for Utah readings
(1) "Cat Cry and Wave," 6 March 1970; "Door Squeek," 9 March 1970; "Bells;" "Beep," 15 March 1970; "Stick on Wire Fence;" "Kingfisher," "Russian Beach," 19 March 1970; "Walk on Beach;" "Washing Dishes," "Tisha-Tisha," April 1970 (2) "Apollo 13," 11 April 1970; "A Good First Stage;" "We Have Zero;" "Liftoffs;" "Trains;" "Splashdown;" "Building the Bulkhead"
Sister Mary Aaron of Celestine Convent, Indiana, interviews May Swenson. Sea Cliff. At end of each side: "The Smith Corona III" and "A Morning at Sea Cliff"
(1) "Round," "Round and Universe," "Pregnant Dream," "Out the Window at 49 Grove Overlooking Christopher," "Once Upon a Time," piano piece; Letter; scratchy records from high school: "Sanctus," "Savior Blessed Savior," "Penguin at the Waldorf," "Hills of Home," "I'm Out to be Happy," "Cuddle Up a Little Closer," "Smoke Gets in Your Eyes," La Cucuracha," 1940s (2) Kansas City practice reading
(1) Penque Interview; "Clocks and Whistles,"; "Drums at Wolftrap,"; "Electronic Birds;" "Cat Call" (2) Minnesota reading; "Jangled Piano;" "Long Goofy Collage;" "Interrupted Signal," "Ambulance Claxon"
(1) Reading at Purdue University (2) Two practice readings for Books and Coffee—Purdue reading, South Ballroom
Caedmon proof
Interview 2 Comp with Western Birds—etc.[?]
(1) "And So On," "TV Modulations," "Song Spurs" (2) "Apollo 12 Struck by Lightning,"
(1) "Of Rounds," "The Universe," "The Pregnant Dream," and other stuff made with Ruthie (2) "Something Backwards," "Fixing the Ruas[?] with Brubeck,"
(1) Rude Sonata for many percussions, 2 strings, 2 winds, in the key of G-whiz by an Idiot Prodigy with instrument invented by the Idiot, (2) Setting of "Question" by the author
(1) "Wind Water Stone Metal Wood," "Washing Clothes and the Alphabet," "Harry and Evelyn and interpolated noises," Spinning a Quarter," "Humming and Cheering," "Washing, etc.," "Assorted noises—phone/tunes/radio," "Melting Music," July 1966 (2) "Swedish Translations," "dialing long distance—no answer—street noise—tea kettle," "Poems to Solve" talk at Scribner's sales conference, "street noise—Line Busy and egg timer," "radio," "street noise and horse[?] noise," "conversation: Martha, Pearl," "Martha's laugh," "Phono and phone and timer," "Drums on phone," "street and house noise," "sparrows," "The whole world is Jewish by Mark," "My one left shoe," "A Bramble bush," "My Aunt Adele," "good on high speed," "genuine"
"The Smith-Corona"
(1) "Organ and Mouth" (2) "Tea kettle, clock, phone"
Three Songs on Poems by May Swenson, C. Spies, Los Angeles; "Awaiting the Oriole,"; "Mill Neck Pond,"
Practice reading for Minneapolis, uncollected poems
(1) Rude Sonata for many percussions, 2 strings, 2 winds, in the key of Gee-whiz by an Idiot Prodigy with instruments invented by the Idiot (2) "Question" setting
(1) Beaver College (2) WNCN reading of NYC poems, followed by "Apartment Noise"
(1) "The Shape of the Sound of A," "Conference with Dolphins," Music and house sounds (2) Dinner, Easter Eve, M and J in Kitchen
(1) Wabash Instructor's readings of Stevens (2) Wabash College Reading "Word Repetition Poems,"; then 2 sound collages—"strings, Bells and a Nickel," Indiana
Engagement, Bialosky-Swenson
(1) "Rounds and Ovals," Dinner on Terrace, Ruthie's message (2) Ruthie and M on Terrace; Bowl noise (concrete); Notes on "The Floor"
Karla Interview of May Swenson
(1) Kansas City recordings: Assorted sounds, "Sea Cliff Beach," "Firecrackers," "Bells on Bells" (2) "Flycatcher," "Squeeky Outhouse Door," "Making Camp," "Osprey Nest," "Houseboat (Janet Snorring)," "Grackles," "Bobolinks,"
Williamsburg reading; "Dinner with Margaret and Ruthie,"; New Year's Eve party
(1) Lynda, J. Grace and MSS—later "The Fight," (2) Reading Cordova Museum, Lincoln, Mass.
(1) Brooklyn College practice reading; "Unsubdued" Birds (2) 5 Translations of "Unsubdued" Birds; practice for Merrill/Swenson reading
(1) Poems from "To Mix with Time" (2) Diverse material, meat cut up for the cats, cats eating, J. singing, Ruthie being calf-tied, Dinner being made, etc.; "Whistle Sequeues[?] on Dicheum[?]" poem—"Snowfall," Vietnam speech, Dean Rush and Telephone call to Irene
(1) Saturday night and Sunday morning; Monday night—Lynda, Pearle, and May; discards from Rude Sonata (2) Sunday morning; conversation about Becky's party—voices
(1) Letter Fall 1966, M to R; 2 movements for strings—R; Ballade—Frank Martin—R and Dika Newlin; 2 pieces for strings—R (2) Practice reading Marianne Moore's poems at Bryn Mawr
(1) Breadloaf lecture, 1976 (2) The 1968 Democratic convention in Chicago; Add codicil—"Varese[?];" "Christmas Piece;" 4 modulated mixes; "Modulating Babitt;" "Gargoyles and High Mass" modulation; "The Electronic Lunch;" "Preparing the Lunch;" "Eating the Lunch;" "Remembering the Lunch"
May Swenson poetry reading, NRB Auditorium, USU campus