Podcasts about ahsahta press

"It is 2020 and the City of Flint Says, / 'Don't boil the water' / And I refuse to drink a single drop / from any tap or bottle now. I've stopped / bathing completely, waiting for rain to slick / my skin back on. So begins Jonah Mixon-Webster's poem "Incubation," featured in his debut poetry collection, Stereo(TYPE). Initially published by Ahsahta Press in 2018 and re-published by Knopf Doubleday this month, "Stereo(TYPE)" describes Mixon-Webster's experiences and traumas endured as a Black queer man and criticizes the governmental neglect and treatment of his hometown, Flint, Michigan. In poems that vary in form and use words that overlap and span pages, balancing harshness with tenderness, Mixon-Webster's poetry collection explores what it means to tell one's story - and the story of one's community - through experiments in language.

In this episode, I spoke with Cody-Rose Clevidence about their latest publication, Aux Arc / Trypt Ich, out with Nightboat Books. We dug into language, exploring motif, grief, love—all that good stuff.  Cody-Rose Clevidence is the author of BEAST FEAST (2014) and Flung/Throne (2018), both from Ahsahta Press, Listen My Friend This is the Dream I Dreamed Last Night from The Song Cave and Aux Arc / Trypt Ich as well as several handsome chapbooks (flowers and cream, NION, garden door press, Auric).  They live in the Arkansas Ozarks with their medium sized but lion-hearted dog, Birdie and an absolute lunatic cat.   Cody-Rose's Instagram Buy Aux Arc / Trypt Ich! Poets, books, etc. mentioned in this episode: Cody-Rose Clevidence's BEAST FEAST  Turquoise waters of the Ozarks "Apophatic" was the word I was trying to remember! I can't read this work because of the paywall, but it seems like it might be useful in exploring Manley Hopkins's contemplations of God.  H.D. Homer Algernon Charles Swinburne William Wordsworth English literature's Romanticism  Gerard Manley Hopkins Stephen Taylor's Building Thoreau's Cabin Jerome Rothenberg (editor), Technicians of the Sacred  Jerome Rothenberg (editor), Shaking the Pumpkin: Traditional Poetry of the Indian North Americas Guy Deutscher's The Unfolding of Language Guy Deutscher's Through the Language Glass: Why the World Looks Different in Other Languages George Lakoff and Mark Johnson's Metaphors We Live By   Editor and Social Media Manager: Mitchel Davidovitz Host and Producer: Avren Keating Sound of Waves Breaking: "Arkansas" by John Linnell. At last, one half of TMBG makes it onto the pod.

Jonah Mixon-Webster's poetry collection, Stereo(TYPE), is about to be reborn. It came out in 2018, published by Ahsahta Press. Later this month, it's coming back, published by a much larger imprint, Knopf. If you've never read him before, you're in for a totally immersive experience. GUEST: Jonah Mixon-Webster, poet and author Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Stateside's theme music is by 14KT. Additional music by Blue Dot Sessions. See omnystudio.com/listener for privacy information.

"It is 2020 and the City of Flint Says, / 'Don't boil the water' / And I refuse to drink a single drop / from any tap or bottle now. I've stopped / bathing completely, waiting for rain to slick / my skin back on. So begins Jonah Mixon-Webster's poem "Incubation," featured in his debut poetry collection, Stereo(TYPE). Initially published by Ahsahta Press in 2018 and re-published by Knopf Doubleday this month, "Stereo(TYPE)" describes Mixon-Webster's experiences and traumas endured as a Black queer man and criticizes the governmental neglect and treatment of his hometown, Flint, Michigan. In poems that vary in form and use words that overlap and span pages, balancing harshness with tenderness, Mixon-Webster's poetry collection explores what it means to tell one's story - and the story of one's community - through experiments in language.

In 2013, poet Lauren Russell acquired a copy of the diary of her great-great-grandfather, Robert Wallace Hubert, a Captain in the Confederate Army. After his return from the Civil War, he fathered twenty children by three of his former slaves. One of those children was the poet’s great-grandmother. Through several years of research, Russell would seek the words to fill the diary’s omissions and to imagine the voice of her great-great-grandmother, Peggy Hubert, a black woman silenced by history. The result is a hybrid work of verse, prose, images and documents that traversed centuries as the past bleeds into the present. Lauren Russell is the author of Descent (Tarpaulin Sky Press, 2020) and What’s Hanging on the Hush (Ahsahta Press, 2017). She has received fellowships from the National Endowment for the Arts, Cave Canem, and the Wisconsin Institute for Creative Writing, and work has appeared in various publications, including the The New York Times Magazine and the Academy of American Poets’ Poem-a-Day. She was assistant director of the Center for African American Poetry and Poetics at the University of Pittsburgh from 2016 to 2020. In August 2020, she joined the faculty of Michigan State University as an assistant professor in the Residential College in the Arts and Humanities and director of the RCAH Center for Poetry. Philip Lance, Ph.D. is a psychoanalyst in private practice in Los Angeles. He can be reached at PhilipJLance@gmail.com and his website address is https://www.drphiliplance.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2013, poet Lauren Russell acquired a copy of the diary of her great-great-grandfather, Robert Wallace Hubert, a Captain in the Confederate Army. After his return from the Civil War, he fathered twenty children by three of his former slaves. One of those children was the poet’s great-grandmother. Through several years of research, Russell would seek the words to fill the diary’s omissions and to imagine the voice of her great-great-grandmother, Peggy Hubert, a black woman silenced by history. The result is a hybrid work of verse, prose, images and documents that traversed centuries as the past bleeds into the present. Lauren Russell is the author of Descent (Tarpaulin Sky Press, 2020) and What’s Hanging on the Hush (Ahsahta Press, 2017). She has received fellowships from the National Endowment for the Arts, Cave Canem, and the Wisconsin Institute for Creative Writing, and work has appeared in various publications, including the The New York Times Magazine and the Academy of American Poets’ Poem-a-Day. She was assistant director of the Center for African American Poetry and Poetics at the University of Pittsburgh from 2016 to 2020. In August 2020, she joined the faculty of Michigan State University as an assistant professor in the Residential College in the Arts and Humanities and director of the RCAH Center for Poetry. Philip Lance, Ph.D. is a psychoanalyst in private practice in Los Angeles. He can be reached at PhilipJLance@gmail.com and his website address is https://www.drphiliplance.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2013, poet Lauren Russell acquired a copy of the diary of her great-great-grandfather, Robert Wallace Hubert, a Captain in the Confederate Army. After his return from the Civil War, he fathered twenty children by three of his former slaves. One of those children was the poet’s great-grandmother. Through several years of research, Russell would seek the words to fill the diary’s omissions and to imagine the voice of her great-great-grandmother, Peggy Hubert, a black woman silenced by history. The result is a hybrid work of verse, prose, images and documents that traversed centuries as the past bleeds into the present. Lauren Russell is the author of Descent (Tarpaulin Sky Press, 2020) and What’s Hanging on the Hush (Ahsahta Press, 2017). She has received fellowships from the National Endowment for the Arts, Cave Canem, and the Wisconsin Institute for Creative Writing, and work has appeared in various publications, including the The New York Times Magazine and the Academy of American Poets’ Poem-a-Day. She was assistant director of the Center for African American Poetry and Poetics at the University of Pittsburgh from 2016 to 2020. In August 2020, she joined the faculty of Michigan State University as an assistant professor in the Residential College in the Arts and Humanities and director of the RCAH Center for Poetry. Philip Lance, Ph.D. is a psychoanalyst in private practice in Los Angeles. He can be reached at PhilipJLance@gmail.com and his website address is https://www.drphiliplance.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Visit queenofpeaches.com for show notes! Today, I’m incredibly pleased to be speaking with my friend, neighbor, and former bandmate, the poet Tony Trigilio. Tony is the author and editor of 13 books, including, most recently, Ghosts of the Upper Floor (published by BlazeVOX [books] in 2019), which is the third installment in his multivolume poem, The Complete Dark Shadows (of My Childhood). His selected poems, Fuera del Taller del Cosmos, was published in Guatemala by Editorial Poe (translated by Bony Hernández). He is editor of Elise Cowen: Poems and Fragments (published by Ahsahta Press in 2014), and the author of Allen Ginsberg’s Buddhist Poetics (published by Southern Illinois University Press in 2012). Tony coedits the poetry journal Court Green and is an associate editor for Tupelo Quarterly. He is a Professor of English and Creative Writing at Columbia College Chicago. Today we discuss his origin story as a poet, the possibilities that get unlocked by asking a student “tell me more of what you mean by that,” building bridges between the hemispheres of the brain, how playing drums professionally helped Tony unite his practice as a writer with his work as a scholar, and why the best art feels like a friend saying to you, “I’m going to tell you something but it’s hard to say.” For more information about Tony, you can find him online at starve.org.

'Not Writing' by Anne Boyer read by Rhona Warwick Paterson. 'Not Writing' first appears in 'Garments Against Women' published by Ahsahta Press, March 15th 2015. A transcript can be found at https://www.poetryfoundation.org/poems/58316/not-writing More from Rhona Warwick Paterson can be found at https://twitter.com/rhonawarwick?lang=en

Reflecting on a Nuclear Legacy When your family is from Hiroshima, you have strong feelings about the nuclear age, war, and its legacy.Who better to talk about the fallout of our nuclear past than artists? And better, artists who come from cities that were affected and involved. Visual artist Yukiyo Kawano takes her grandmother’s kimono and sews replicas of the bombs that were dropped on her city. She has made Little Boy and Fat Man sewn with her own hair. In a new creation, she has partnered with performance artist Meshi Chavez and poet Allison Cobb to create “A Moment in Time.” How is art an act of activism? Host Amy Pearl, Hatch Innovation Guests Yukiyo Kawano, Visual Artist Yukiyo Kawano, a third generation hibakusha (nuclear bomb survivor) grew up decades after the bombing of Hiroshima. Her work is personal, reflecting lasting attitudes towards the bombings of Hiroshima and Nagasaki. Kawano’s main focus is her/our forgetfulness, her/our dialectics of memory, issues around cultural politics, and historical politics. For the latest project, she used pieces of translucent kimono fabric and sewed together with strands of her hair (the artist’s DNA as a third generation hibaku-sha), for the possibility of looking inward, suggesting another/personal view to our official receptacle of memory. During the school show in Vermont, Kawano performed in front of the object in desperation about the urgency of expressing fears about the devastation of our human bodies. The historical conjuncture, with the Tohoku earthquake and tsunami in Japan and the legacy of the nuclear era opened up a space for the performativity of her/our questioning of history, memory, witnessing, and disaster in the present moment. Kawano is currently living in Portland, Oregon. email address: yuki@yukiyokawano.com Allison Cobb, Poet Allison Cobb is the author of Born2 (Chax Press); Green-Wood (Factory School); Plastic: an autobiography (Essay Press); and After we all died forthcoming in September 2016 from Ahsahta Press, which was a finalist for the National Poetry Series. Cobb’s work combines historical and scientific research, essay, and poetry to address issues of landscape, politics, and ecology. She was a 2015 finalist for the National Poetry Series; a 2015 Djerassi Resident Artist; a 2014 Playa Resident Artist; received a 2011 Individual Artist Fellowship award from the Oregon Arts Commission; and was a 2009 New York Foundation for the Arts Fellow. She works for the Environmental Defense Fund. She lives in Portland, Oregon, where she co-curates The Switch reading, art, and performance series. Meshi Chavez, Performance Artist Meshi Chavez lives and creates work in Portland Oregon. Meshi’s most recent productions include Being Moved,“...or be dragged.” and  We Two Boys. His work has premiered in both New Mexico and Oregon. In this episode you’ll hear How artists and art represent the impacts of science, war, and powerlessness What is Bhuto dance, and how it is a perfect medium for expression and collaboration How a speech by President Obama inspired a poem of sound and words to be shared How art activates a space for contemplation, catharsis, and healing, which is more important (sometimes) than acting Why art is key to helping make invisible things felt and experienced, and why this is so important   Links to Resources Mentioned Hatch Innovation Hatch Oregon  

Friday Reading Series Gina Abelkop is the author of I Eat Cannibals (forthcoming 2014, coimpress) and Darling Beastlettes (Apostrophe Books, 2012). She lives in Athens, GA, where she runs the DIY feminist press Birds of Lace. Jasmine Dreame Wagner is an American poet, singer-songwriter, and multi-instrumentalist. She is the author of Rings (Kelsey Street Press, 2014), Rewilding (Ahsahta Press, 2013), Listening for Earthquakes (Caketrain Journal and Press, 2012), and an e-chapbook, True Crime (NAP, 2014). Her writing has appeared in American Letters & Commentary, Blackbird, Colorado Review, Indiana Review, New American Writing,Verse, and in two anthologies: The Arcadia Project: North American Postmodern Pastoral (Ahsahta Press, 2012) and Lost and Found: Stories from New York (Mr. Beller's Neighborhood Books, 2009). A collection of hybrid lyric essays on noise, silence, and aesthetics is due out from Ahsahta Press in 2016. As a singer-songwriter and multi-instrumentalist, Wagner has performed at the CMJ Music Marathon, free103point9 Wave Farm, and the Olympia Experimental Music Festival. She has opened shows for bands such as Zola Jesus, Dirty Projectors, Magnolia Electric Co., and Mount Eerie. Wagner's multidisciplinary work in sound, text, and performance has earned her grants and residencies from the Foundation for Contemporary Arts, Hall Farm Center for Arts & Education, Kultuuritehas Polymer, and The Wassaic Project. In 2013, she was awarded an Artist Fellowship from the Connecticut Office of the Arts.

At the age of five, poet Stephanie Strickland and her sister received a book from their grandmother that included a poem by John Farrar called “Serious Omission.” I know that there are dragons St. George’s, Jason’s, too, And many modern dragons With scales of green and blue;   But though I’ve been there many times And carefully looked through, I cannot find a dragon In the cages at the zoo! The poem stayed with Strickland.  “What is the serious omission?” she asks.  “To not be able to find that dragon?  To fail to discriminate the hugely many implicate orders of life?” These questions, not to mention dragons themselves, drive Strickland’s new book of poems, Dragon Logic (Ahsahta Press, 2013).  Her fiercely intelligent and morally acute work captures e-dragons and sea dragons, as well as a beast she calls the “Hidden Dragon of Unstable Ruin.”  The poems even offer “Dragon Maps,” that take “catastrophic forms and safepaths,” finding and figuring their way through the physical, mechanical, virtual, mythical, chimerical, and hypothetical environments we now inhabit. And if you find yourself wondering just what a dragon is, that’s the right question.  “Dragons are mythical and abstract,” explains Strickland, “mythic embodiments of abstract power, from the snake in Eden, to devouring sea monsters, to the latest special FX apocalyptic creation from Hollywood. The dragon hunt that matters for me is tracking the beast as it slips, dizzyingly, from real to configurational (electronically generated) space, always aware that where we live, in either case, is the belly of this beast.” *Photograph courtesy of Star Black (copyright). Learn more about your ad choices. Visit megaphone.fm/adchoices

At the age of five, poet Stephanie Strickland and her sister received a book from their grandmother that included a poem by John Farrar called “Serious Omission.” I know that there are dragons St. George’s, Jason’s, too, And many modern dragons With scales of green and blue;   But though I’ve been there many times And carefully looked through, I cannot find a dragon In the cages at the zoo! The poem stayed with Strickland.  “What is the serious omission?” she asks.  “To not be able to find that dragon?  To fail to discriminate the hugely many implicate orders of life?” These questions, not to mention dragons themselves, drive Strickland’s new book of poems, Dragon Logic (Ahsahta Press, 2013).  Her fiercely intelligent and morally acute work captures e-dragons and sea dragons, as well as a beast she calls the “Hidden Dragon of Unstable Ruin.”  The poems even offer “Dragon Maps,” that take “catastrophic forms and safepaths,” finding and figuring their way through the physical, mechanical, virtual, mythical, chimerical, and hypothetical environments we now inhabit. And if you find yourself wondering just what a dragon is, that’s the right question.  “Dragons are mythical and abstract,” explains Strickland, “mythic embodiments of abstract power, from the snake in Eden, to devouring sea monsters, to the latest special FX apocalyptic creation from Hollywood. The dragon hunt that matters for me is tracking the beast as it slips, dizzyingly, from real to configurational (electronically generated) space, always aware that where we live, in either case, is the belly of this beast.” *Photograph courtesy of Star Black (copyright). Learn more about your ad choices. Visit megaphone.fm/adchoices

Kate Greenstreet is currently on the road with her new book Young Tambling.  Her previous books are case sensitive and The Last 4 Things, all with Ahsahta Press. Her poetry can be found in Denver Quarterly, Chicago Review, Boston Review, and other journals.