After receiving hundreds of thousands of calls, the poet’s project almost broke the New York telephone exchange – leading to an FBI investigation. Will it cause similar chaos in the Instapoet era?
In 1968, the poet and visual artist John Giorno was on the telephone when he was hit with an idea. It came to him that “the voice was the poet, the words were the poem, and the telephone was the venue”. He imagined utilising the telephone as a medium of mass communication, in order to generate a new relationship between poet and audience. This would become Dial-a-Poem: one telephone number that anyone could call, 24/7, and listen to a random recorded poem – liberating spoken poetry from what Giorno termed “the sense-deadening lecture hall situation”. As part of New York’s avant garde scene, he quickly enlisted talent, tape-recording the likes of John Ashbery, Bernadette Mayer, Anne Waldman and David Henderson reading poems at 222 Bowery, his loft. He found a project sponsor, 10 answering machines fitted with these recordings were patched together and connected to phone lines and Dial-a-Poem went live.
In 1970, the project moved to MoMA, expanding to host a total of 700 poems by 55 poets – including Black Panther poets and queer erotic poetry. As the project gained press coverage, calls to Dial-a-Poem skyrocketed into the hundreds of thousands, putting immense strain on the Upper East Side telephone exchange. It’s a powerful image – thousands of people who, through some collective desire or curiosity, stretched the project and its public infrastructure to breaking point. Giorno was interested in the pattern of the calls. He imagined bored office workers phoning from their desks, or people tripping on acid, unable to sleep, dialling at 2am. The project’s popularity, for him, was “a poignant expression of the need and loneliness of people”.