Podcast appearances and mentions of amelia glaser

"We act like children with our dead," Halyna Kruk writes as she struggles to come to terms with the horror unfolding around her: "confused, / as if none of us knew until now/ how easy it is to die." In poem after devastating poem, Kruk confronts what we would prefer not to see: "a person runs toward a bullet/ with a wooden shield and a warm heart..." Translated with the utmost of care by Amelia Glaser and Yulia Ilchuk, A Crash Course in Molotov Cocktails (Arrowsmith Press, 2023) is a guidebook to the emotional combat in Ukraine. These stunning poems of witness by one of Ukraine's most revered poets are by turns breathless, philosophical, and visionary. In a dark recapitulation of evolution itself, Kruk writes: "nothing predicted the arrival of humankind..../ nothing predicted the arrival of the tank..." Her taught, lean lines can turn epigrammatic: "what will kill you will seduce you first," or they can strike you like Lomachenko's lightening jabs: "flirt, Cheka agent, bitch." Leading readers into the world's darkest spaces, Kruk implies that the light of language can nevertheless afford some measure of protection. Naming serves as a shield, albeit a wooden one. The paradox is that after the bullets have been fired and the missiles landed, the wooden shield, the printed book, reconstitutes itself. Nataliya Shpylova-Saeed has a Ph.D. in Slavic languages and literatures (Indiana University, 2022). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

"We act like children with our dead," Halyna Kruk writes as she struggles to come to terms with the horror unfolding around her: "confused, / as if none of us knew until now/ how easy it is to die." In poem after devastating poem, Kruk confronts what we would prefer not to see: "a person runs toward a bullet/ with a wooden shield and a warm heart..." Translated with the utmost of care by Amelia Glaser and Yulia Ilchuk, A Crash Course in Molotov Cocktails (Arrowsmith Press, 2023) is a guidebook to the emotional combat in Ukraine. These stunning poems of witness by one of Ukraine's most revered poets are by turns breathless, philosophical, and visionary. In a dark recapitulation of evolution itself, Kruk writes: "nothing predicted the arrival of humankind..../ nothing predicted the arrival of the tank..." Her taught, lean lines can turn epigrammatic: "what will kill you will seduce you first," or they can strike you like Lomachenko's lightening jabs: "flirt, Cheka agent, bitch." Leading readers into the world's darkest spaces, Kruk implies that the light of language can nevertheless afford some measure of protection. Naming serves as a shield, albeit a wooden one. The paradox is that after the bullets have been fired and the missiles landed, the wooden shield, the printed book, reconstitutes itself. Nataliya Shpylova-Saeed has a Ph.D. in Slavic languages and literatures (Indiana University, 2022). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

"We act like children with our dead," Halyna Kruk writes as she struggles to come to terms with the horror unfolding around her: "confused, / as if none of us knew until now/ how easy it is to die." In poem after devastating poem, Kruk confronts what we would prefer not to see: "a person runs toward a bullet/ with a wooden shield and a warm heart..." Translated with the utmost of care by Amelia Glaser and Yulia Ilchuk, A Crash Course in Molotov Cocktails (Arrowsmith Press, 2023) is a guidebook to the emotional combat in Ukraine. These stunning poems of witness by one of Ukraine's most revered poets are by turns breathless, philosophical, and visionary. In a dark recapitulation of evolution itself, Kruk writes: "nothing predicted the arrival of humankind..../ nothing predicted the arrival of the tank..." Her taught, lean lines can turn epigrammatic: "what will kill you will seduce you first," or they can strike you like Lomachenko's lightening jabs: "flirt, Cheka agent, bitch." Leading readers into the world's darkest spaces, Kruk implies that the light of language can nevertheless afford some measure of protection. Naming serves as a shield, albeit a wooden one. The paradox is that after the bullets have been fired and the missiles landed, the wooden shield, the printed book, reconstitutes itself. Nataliya Shpylova-Saeed has a Ph.D. in Slavic languages and literatures (Indiana University, 2022). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

"We act like children with our dead," Halyna Kruk writes as she struggles to come to terms with the horror unfolding around her: "confused, / as if none of us knew until now/ how easy it is to die." In poem after devastating poem, Kruk confronts what we would prefer not to see: "a person runs toward a bullet/ with a wooden shield and a warm heart..." Translated with the utmost of care by Amelia Glaser and Yulia Ilchuk, A Crash Course in Molotov Cocktails (Arrowsmith Press, 2023) is a guidebook to the emotional combat in Ukraine. These stunning poems of witness by one of Ukraine's most revered poets are by turns breathless, philosophical, and visionary. In a dark recapitulation of evolution itself, Kruk writes: "nothing predicted the arrival of humankind..../ nothing predicted the arrival of the tank..." Her taught, lean lines can turn epigrammatic: "what will kill you will seduce you first," or they can strike you like Lomachenko's lightening jabs: "flirt, Cheka agent, bitch." Leading readers into the world's darkest spaces, Kruk implies that the light of language can nevertheless afford some measure of protection. Naming serves as a shield, albeit a wooden one. The paradox is that after the bullets have been fired and the missiles landed, the wooden shield, the printed book, reconstitutes itself. Nataliya Shpylova-Saeed has a Ph.D. in Slavic languages and literatures (Indiana University, 2022). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

"We act like children with our dead," Halyna Kruk writes as she struggles to come to terms with the horror unfolding around her: "confused, / as if none of us knew until now/ how easy it is to die." In poem after devastating poem, Kruk confronts what we would prefer not to see: "a person runs toward a bullet/ with a wooden shield and a warm heart..." Translated with the utmost of care by Amelia Glaser and Yulia Ilchuk, A Crash Course in Molotov Cocktails (Arrowsmith Press, 2023) is a guidebook to the emotional combat in Ukraine. These stunning poems of witness by one of Ukraine's most revered poets are by turns breathless, philosophical, and visionary. In a dark recapitulation of evolution itself, Kruk writes: "nothing predicted the arrival of humankind..../ nothing predicted the arrival of the tank..." Her taught, lean lines can turn epigrammatic: "what will kill you will seduce you first," or they can strike you like Lomachenko's lightening jabs: "flirt, Cheka agent, bitch." Leading readers into the world's darkest spaces, Kruk implies that the light of language can nevertheless afford some measure of protection. Naming serves as a shield, albeit a wooden one. The paradox is that after the bullets have been fired and the missiles landed, the wooden shield, the printed book, reconstitutes itself. Nataliya Shpylova-Saeed has a Ph.D. in Slavic languages and literatures (Indiana University, 2022). Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Esther Belin speaks with Julia Kolchinsky Dasbach. Dasbach emigrated to the United States from Ukraine as a Jewish refugee when she was six years old. Her scholarly research focuses on contemporary American poetry related to the Holocaust, and pays particular attention to atrocities in the former Soviet territories. Her most recent book, The Many Names for Mother, hovers around intergenerational motherhood and trauma, while chronicling her travels, while pregnant, to death camp sites in Poland. Her third poetry collection, 40 WEEKS, will be out next year. Dasbach reads, “I do not mention the war in my birthplace to my six-year-old son but somehow his body knows,” from the September 2022 issue of Poetry, and shares how the poem originated from an interaction on the playground. You'll also hear Ukrainian poet Iya Kiva and her translator, Amelia Glaser, reading at the Voices for Ukraine fundraiser and virtual reading series.

This episode, Jeffrey Veidlinger and Amelia Glaser join us to talk about the ongoing war in Ukraine and its historical and cultural context. We recorded on Tuesday, March 8th, 2022, and we are working to get this episode published as quickly as possible because so much can change so quickly. Listen in as we think about the background to the war, how we can understand Jewish history in Ukraine, and particularly Putin's deranged claim to “denazify” Ukraine. Amelia Glaser is Associate Professor of Literature at UC San Diego, where she also holds an endowed chair in Judaic Studies. She is the author of “Jews and Ukrainians in Russia's Literary Borderlands” (Northwestern UP, 2012), and most recently “Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine” (Harvard UP, 2020). Currently, she is the Rita E. Hauser fellow at the Harvard Radcliffe Institute, where she is at work on a book about contemporary Ukrainian poetry and community, and she is also curating a series of translations of recent poetry from Ukraine for LitHub. Jeffrey Veidlinger is Joseph Brodsky Collegiate Professor of History and Judaic Studies at the University of Michigan. He is the author of numerous books including, most recently, In the Midst of Civilized Europe: The Pogroms of 1918-1921 and the Onset of the Holocaust, published in 2021,

Is it just a coincidence that three books by the major Russian writer Maria Stepanova have appeared in English in 2021? Why does Maria Stepanova deploy such a rich variety of voices and forms? What are the challenges of translating her poetry? Who are the pantheon of deceased writers who seem to haunt her every line?  In this conversation, the editor of The Voice Over: Poems and Essays (Columbia UP, 2021), Irina Shevelenko talks about Stepanova's poetry and prose with Duncan McCargo. Irina elaborates on her wonderful introduction to the collection and explains how she assembled an outstanding team of translators to help bring this work to an international audience. Both Duncan and Irina read extracts from Stepanova's work. (Maria Stepanova is the author of over ten poetry collections as well as three books of essays and the documentary novel In Memory of Memory.) (US: New Directions, Canada: Book*hug Press, UK: Fitzcarraldo), which was shortlisted for the 2021 Man Booker International Prize.  Her poetry collection War of the Beasts and the Animals was published by Bloodaxe Books, also in 2021. She is the recipient of several Russian and international literary awards. Irina Shevelenko is professor of Russian at the University of Wisconsin–Madison. Translations are by: Alexandra Berlina, Sasha Dugdale, Sibelan Forrester, Amelia Glaser, Zachary Murphy King, Dmitry Manin, Ainsley Morse, Eugene Ostashevsky, Andrew Reynolds, and Maria Vassileva. For a video of the May 2021 launch event for The Voice Over, featuring Maria Stepanova and several of the translators, see  Book Launch of Maria Stepanova's The Voice Over: Poems and Essays – A Reading and Conversation – CREECA – UW–Madison (wisc.edu) Maria Stepanova is one of the most powerful and distinctive voices of Russia's first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia's political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country's past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. The Voice Over brings together two decades of Stepanova's work, showcasing her range, virtuosity, and creative evolution. Stepanova's poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia's most acclaimed contemporary writers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Is it just a coincidence that three books by the major Russian writer Maria Stepanova have appeared in English in 2021? Why does Maria Stepanova deploy such a rich variety of voices and forms? What are the challenges of translating her poetry? Who are the pantheon of deceased writers who seem to haunt her every line?  In this conversation, the editor of The Voice Over: Poems and Essays (Columbia UP, 2021), Irina Shevelenko talks about Stepanova's poetry and prose with Duncan McCargo. Irina elaborates on her wonderful introduction to the collection and explains how she assembled an outstanding team of translators to help bring this work to an international audience. Both Duncan and Irina read extracts from Stepanova's work. (Maria Stepanova is the author of over ten poetry collections as well as three books of essays and the documentary novel In Memory of Memory.) (US: New Directions, Canada: Book*hug Press, UK: Fitzcarraldo), which was shortlisted for the 2021 Man Booker International Prize.  Her poetry collection War of the Beasts and the Animals was published by Bloodaxe Books, also in 2021. She is the recipient of several Russian and international literary awards. Irina Shevelenko is professor of Russian at the University of Wisconsin–Madison. Translations are by: Alexandra Berlina, Sasha Dugdale, Sibelan Forrester, Amelia Glaser, Zachary Murphy King, Dmitry Manin, Ainsley Morse, Eugene Ostashevsky, Andrew Reynolds, and Maria Vassileva. For a video of the May 2021 launch event for The Voice Over, featuring Maria Stepanova and several of the translators, see  Book Launch of Maria Stepanova's The Voice Over: Poems and Essays – A Reading and Conversation – CREECA – UW–Madison (wisc.edu) Maria Stepanova is one of the most powerful and distinctive voices of Russia's first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia's political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country's past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. The Voice Over brings together two decades of Stepanova's work, showcasing her range, virtuosity, and creative evolution. Stepanova's poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia's most acclaimed contemporary writers.

Is it just a coincidence that three books by the major Russian writer Maria Stepanova have appeared in English in 2021? Why does Maria Stepanova deploy such a rich variety of voices and forms? What are the challenges of translating her poetry? Who are the pantheon of deceased writers who seem to haunt her every line?  In this conversation, the editor of The Voice Over: Poems and Essays (Columbia UP, 2021), Irina Shevelenko talks about Stepanova's poetry and prose with Duncan McCargo. Irina elaborates on her wonderful introduction to the collection and explains how she assembled an outstanding team of translators to help bring this work to an international audience. Both Duncan and Irina read extracts from Stepanova's work. Maria Stepanova is the author of over ten poetry collections as well as three books of essays and the documentary novel In Memory of Memory. (US: New Directions, Canada: Book*hug Press, UK: Fitzcarraldo), which was shortlisted for the 2021 Man Booker International Prize.  Her poetry collection War of the Beasts and the Animals was published by Bloodaxe Books, also in 2021. She is the recipient of several Russian and international literary awards. Irina Shevelenko is professor of Russian at the University of Wisconsin–Madison. Additional translations are by: Alexandra Berlina, Sasha Dugdale, Sibelan Forrester, Amelia Glaser, Zachary Murphy King, Dmitry Manin, Ainsley Morse, Eugene Ostashevsky, Andrew Reynolds, and Maria Vassileva. For a video of the May 2021 launch event for The Voice Over, featuring Maria Stepanova and several of the translators, see  Book Launch of Maria Stepanova's The Voice Over: Poems and Essays – A Reading and Conversation – CREECA – UW–Madison (wisc.edu) Maria Stepanova is one of the most powerful and distinctive voices of Russia's first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia's political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country's past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. The Voice Over brings together two decades of Stepanova's work, showcasing her range, virtuosity, and creative evolution. Stepanova's poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia's most acclaimed contemporary writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Is it just a coincidence that three books by the major Russian writer Maria Stepanova have appeared in English in 2021? Why does Maria Stepanova deploy such a rich variety of voices and forms? What are the challenges of translating her poetry? Who are the pantheon of deceased writers who seem to haunt her every line?  In this conversation, the editor of The Voice Over: Poems and Essays (Columbia UP, 2021), Irina Shevelenko talks about Stepanova's poetry and prose with Duncan McCargo. Irina elaborates on her wonderful introduction to the collection and explains how she assembled an outstanding team of translators to help bring this work to an international audience. Both Duncan and Irina read extracts from Stepanova's work. Maria Stepanova is the author of over ten poetry collections as well as three books of essays and the documentary novel In Memory of Memory. (US: New Directions, Canada: Book*hug Press, UK: Fitzcarraldo), which was shortlisted for the 2021 Man Booker International Prize.  Her poetry collection War of the Beasts and the Animals was published by Bloodaxe Books, also in 2021. She is the recipient of several Russian and international literary awards. Irina Shevelenko is professor of Russian at the University of Wisconsin–Madison. Additional translations are by: Alexandra Berlina, Sasha Dugdale, Sibelan Forrester, Amelia Glaser, Zachary Murphy King, Dmitry Manin, Ainsley Morse, Eugene Ostashevsky, Andrew Reynolds, and Maria Vassileva. For a video of the May 2021 launch event for The Voice Over, featuring Maria Stepanova and several of the translators, see  Book Launch of Maria Stepanova's The Voice Over: Poems and Essays – A Reading and Conversation – CREECA – UW–Madison (wisc.edu) Maria Stepanova is one of the most powerful and distinctive voices of Russia's first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia's political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country's past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. The Voice Over brings together two decades of Stepanova's work, showcasing her range, virtuosity, and creative evolution. Stepanova's poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia's most acclaimed contemporary writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

Is it just a coincidence that three books by the major Russian writer Maria Stepanova have appeared in English in 2021? Why does Maria Stepanova deploy such a rich variety of voices and forms? What are the challenges of translating her poetry? Who are the pantheon of deceased writers who seem to haunt her every line?  In this conversation, the editor of The Voice Over: Poems and Essays (Columbia UP, 2021), Irina Shevelenko talks about Stepanova's poetry and prose with Duncan McCargo. Irina elaborates on her wonderful introduction to the collection and explains how she assembled an outstanding team of translators to help bring this work to an international audience. Both Duncan and Irina read extracts from Stepanova's work. Maria Stepanova is the author of over ten poetry collections as well as three books of essays and the documentary novel In Memory of Memory. (US: New Directions, Canada: Book*hug Press, UK: Fitzcarraldo), which was shortlisted for the 2021 Man Booker International Prize.  Her poetry collection War of the Beasts and the Animals was published by Bloodaxe Books, also in 2021. She is the recipient of several Russian and international literary awards. Irina Shevelenko is professor of Russian at the University of Wisconsin–Madison. Additional translations are by: Alexandra Berlina, Sasha Dugdale, Sibelan Forrester, Amelia Glaser, Zachary Murphy King, Dmitry Manin, Ainsley Morse, Eugene Ostashevsky, Andrew Reynolds, and Maria Vassileva. For a video of the May 2021 launch event for The Voice Over, featuring Maria Stepanova and several of the translators, see  Book Launch of Maria Stepanova's The Voice Over: Poems and Essays – A Reading and Conversation – CREECA – UW–Madison (wisc.edu) Maria Stepanova is one of the most powerful and distinctive voices of Russia's first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia's political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country's past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. The Voice Over brings together two decades of Stepanova's work, showcasing her range, virtuosity, and creative evolution. Stepanova's poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia's most acclaimed contemporary writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Is it just a coincidence that three books by the major Russian writer Maria Stepanova have appeared in English in 2021? Why does Maria Stepanova deploy such a rich variety of voices and forms? What are the challenges of translating her poetry? Who are the pantheon of deceased writers who seem to haunt her every line?  In this conversation, the editor of The Voice Over: Poems and Essays (Columbia UP, 2021), Irina Shevelenko talks about Stepanova's poetry and prose with Duncan McCargo. Irina elaborates on her wonderful introduction to the collection and explains how she assembled an outstanding team of translators to help bring this work to an international audience. Both Duncan and Irina read extracts from Stepanova's work. (Maria Stepanova is the author of over ten poetry collections as well as three books of essays and the documentary novel In Memory of Memory.) (US: New Directions, Canada: Book*hug Press, UK: Fitzcarraldo), which was shortlisted for the 2021 Man Booker International Prize.  Her poetry collection War of the Beasts and the Animals was published by Bloodaxe Books, also in 2021. She is the recipient of several Russian and international literary awards. Irina Shevelenko is professor of Russian at the University of Wisconsin–Madison. Translations are by: Alexandra Berlina, Sasha Dugdale, Sibelan Forrester, Amelia Glaser, Zachary Murphy King, Dmitry Manin, Ainsley Morse, Eugene Ostashevsky, Andrew Reynolds, and Maria Vassileva. For a video of the May 2021 launch event for The Voice Over, featuring Maria Stepanova and several of the translators, see  Book Launch of Maria Stepanova's The Voice Over: Poems and Essays – A Reading and Conversation – CREECA – UW–Madison (wisc.edu) Maria Stepanova is one of the most powerful and distinctive voices of Russia's first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia's political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country's past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. The Voice Over brings together two decades of Stepanova's work, showcasing her range, virtuosity, and creative evolution. Stepanova's poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia's most acclaimed contemporary writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Between the world wars, a generation of Jewish leftist poets reached out to other embattled peoples of the earth--Palestinian Arabs, African Americans, Spanish Republicans--in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed. The long 1930s, Amelia M. Glaser proposes, gave rise to a genre of internationalist modernism in which tropes of national collective memory were rewritten as the shared experiences of many national groups. The utopian Jews of Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine (Harvard UP, 2020) effectively globalized the pogroms in a bold and sometimes fraught literary move that asserted continuity with anti-Arab violence and black lynching. As communists and fellow travelers, the writers also sought to integrate particular experiences of suffering into a borderless narrative of class struggle. Glaser resurrects their poems from the pages of forgotten Yiddish communist periodicals, particularly the New York-based Morgn Frayhayt (Morning Freedom) and the Soviet literary journal Royte Velt (Red World). Alongside compelling analysis, Glaser includes her own translations of ten poems previously unavailable in English, including Malka Lee's "God's Black Lamb," Moyshe Nadir's "Closer," and Esther Shumiatsher's "At the Border of China." These poets dreamed of a moment when "we" could mean "we workers" rather than "we Jews." Songs in Dark Times takes on the beauty and difficulty of that dream, in the minds of Yiddish writers who sought to heal the world by translating pain. Amelia Glaser is Associate Professor of Russian and Comparative Literature at the University of California, San Diego, where she also directs the Russian, East European, and Eurasian Studies, and Jewish Studies, programs.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

Between the world wars, a generation of Jewish leftist poets reached out to other embattled peoples of the earth--Palestinian Arabs, African Americans, Spanish Republicans--in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed. The long 1930s, Amelia M. Glaser proposes, gave rise to a genre of internationalist modernism in which tropes of national collective memory were rewritten as the shared experiences of many national groups. The utopian Jews of Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine (Harvard UP, 2020) effectively globalized the pogroms in a bold and sometimes fraught literary move that asserted continuity with anti-Arab violence and black lynching. As communists and fellow travelers, the writers also sought to integrate particular experiences of suffering into a borderless narrative of class struggle. Glaser resurrects their poems from the pages of forgotten Yiddish communist periodicals, particularly the New York-based Morgn Frayhayt (Morning Freedom) and the Soviet literary journal Royte Velt (Red World). Alongside compelling analysis, Glaser includes her own translations of ten poems previously unavailable in English, including Malka Lee's "God's Black Lamb," Moyshe Nadir's "Closer," and Esther Shumiatsher's "At the Border of China." These poets dreamed of a moment when "we" could mean "we workers" rather than "we Jews." Songs in Dark Times takes on the beauty and difficulty of that dream, in the minds of Yiddish writers who sought to heal the world by translating pain. Amelia Glaser is Associate Professor of Russian and Comparative Literature at the University of California, San Diego, where she also directs the Russian, East European, and Eurasian Studies, and Jewish Studies, programs.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

Between the world wars, a generation of Jewish leftist poets reached out to other embattled peoples of the earth--Palestinian Arabs, African Americans, Spanish Republicans--in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed. The long 1930s, Amelia M. Glaser proposes, gave rise to a genre of internationalist modernism in which tropes of national collective memory were rewritten as the shared experiences of many national groups. The utopian Jews of Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine (Harvard UP, 2020) effectively globalized the pogroms in a bold and sometimes fraught literary move that asserted continuity with anti-Arab violence and black lynching. As communists and fellow travelers, the writers also sought to integrate particular experiences of suffering into a borderless narrative of class struggle. Glaser resurrects their poems from the pages of forgotten Yiddish communist periodicals, particularly the New York-based Morgn Frayhayt (Morning Freedom) and the Soviet literary journal Royte Velt (Red World). Alongside compelling analysis, Glaser includes her own translations of ten poems previously unavailable in English, including Malka Lee's "God's Black Lamb," Moyshe Nadir's "Closer," and Esther Shumiatsher's "At the Border of China." These poets dreamed of a moment when "we" could mean "we workers" rather than "we Jews." Songs in Dark Times takes on the beauty and difficulty of that dream, in the minds of Yiddish writers who sought to heal the world by translating pain. Amelia Glaser is Associate Professor of Russian and Comparative Literature at the University of California, San Diego, where she also directs the Russian, East European, and Eurasian Studies, and Jewish Studies, programs.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Between the world wars, a generation of Jewish leftist poets reached out to other embattled peoples of the earth--Palestinian Arabs, African Americans, Spanish Republicans--in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed. The long 1930s, Amelia M. Glaser proposes, gave rise to a genre of internationalist modernism in which tropes of national collective memory were rewritten as the shared experiences of many national groups. The utopian Jews of Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine (Harvard UP, 2020) effectively globalized the pogroms in a bold and sometimes fraught literary move that asserted continuity with anti-Arab violence and black lynching. As communists and fellow travelers, the writers also sought to integrate particular experiences of suffering into a borderless narrative of class struggle. Glaser resurrects their poems from the pages of forgotten Yiddish communist periodicals, particularly the New York-based Morgn Frayhayt (Morning Freedom) and the Soviet literary journal Royte Velt (Red World). Alongside compelling analysis, Glaser includes her own translations of ten poems previously unavailable in English, including Malka Lee's "God's Black Lamb," Moyshe Nadir's "Closer," and Esther Shumiatsher's "At the Border of China." These poets dreamed of a moment when "we" could mean "we workers" rather than "we Jews." Songs in Dark Times takes on the beauty and difficulty of that dream, in the minds of Yiddish writers who sought to heal the world by translating pain. Amelia Glaser is Associate Professor of Russian and Comparative Literature at the University of California, San Diego, where she also directs the Russian, East European, and Eurasian Studies, and Jewish Studies, programs.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Between the world wars, a generation of Jewish leftist poets reached out to other embattled peoples of the earth--Palestinian Arabs, African Americans, Spanish Republicans--in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed. The long 1930s, Amelia M. Glaser proposes, gave rise to a genre of internationalist modernism in which tropes of national collective memory were rewritten as the shared experiences of many national groups. The utopian Jews of Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine (Harvard UP, 2020) effectively globalized the pogroms in a bold and sometimes fraught literary move that asserted continuity with anti-Arab violence and black lynching. As communists and fellow travelers, the writers also sought to integrate particular experiences of suffering into a borderless narrative of class struggle. Glaser resurrects their poems from the pages of forgotten Yiddish communist periodicals, particularly the New York-based Morgn Frayhayt (Morning Freedom) and the Soviet literary journal Royte Velt (Red World). Alongside compelling analysis, Glaser includes her own translations of ten poems previously unavailable in English, including Malka Lee's "God's Black Lamb," Moyshe Nadir's "Closer," and Esther Shumiatsher's "At the Border of China." These poets dreamed of a moment when "we" could mean "we workers" rather than "we Jews." Songs in Dark Times takes on the beauty and difficulty of that dream, in the minds of Yiddish writers who sought to heal the world by translating pain. Amelia Glaser is Associate Professor of Russian and Comparative Literature at the University of California, San Diego, where she also directs the Russian, East European, and Eurasian Studies, and Jewish Studies, programs.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Between the world wars, a generation of Jewish leftist poets reached out to other embattled peoples of the earth--Palestinian Arabs, African Americans, Spanish Republicans--in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed. The long 1930s, Amelia M. Glaser proposes, gave rise to a genre of internationalist modernism in which tropes of national collective memory were rewritten as the shared experiences of many national groups. The utopian Jews of Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine (Harvard UP, 2020) effectively globalized the pogroms in a bold and sometimes fraught literary move that asserted continuity with anti-Arab violence and black lynching. As communists and fellow travelers, the writers also sought to integrate particular experiences of suffering into a borderless narrative of class struggle. Glaser resurrects their poems from the pages of forgotten Yiddish communist periodicals, particularly the New York-based Morgn Frayhayt (Morning Freedom) and the Soviet literary journal Royte Velt (Red World). Alongside compelling analysis, Glaser includes her own translations of ten poems previously unavailable in English, including Malka Lee's "God's Black Lamb," Moyshe Nadir's "Closer," and Esther Shumiatsher's "At the Border of China." These poets dreamed of a moment when "we" could mean "we workers" rather than "we Jews." Songs in Dark Times takes on the beauty and difficulty of that dream, in the minds of Yiddish writers who sought to heal the world by translating pain. Amelia Glaser is Associate Professor of Russian and Comparative Literature at the University of California, San Diego, where she also directs the Russian, East European, and Eurasian Studies, and Jewish Studies, programs.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Ali and Phil interview Dr. Amelia Glaser, Head of Jewish Studies at the University of California in San Diego.

The cover of Amelia Glaser‘s new edited volume, Stories of Khmelnytsky: Competing Literary Legacies of the 1648 Ukrainian Cossack Uprising (Stanford University Press, 2015), bears a portrait of the formidable Cossack leader by that name. Inside the book, twelve contributing authors including Dr. Glaser, approach this legendary yet enigmatical figure from a number of perspectives—Jewish, Ukrainian, Russian, Polish, Western—across the centuries, with plenty of overlap, assembling together a single, fragmented, but nonetheless collective narrative (3). Khmelnytsky's seventeenth-century Cossack uprising against the Polish-Lithuanian Commonwealth is—depending on your point-of-view—an event of national liberation, treacherous factionalism, murderous pogrom, or personal vendetta, (again) with plenty of overlap. And the image of the Cossack warrior, the free horseman on the open steppe, serves as many narratives, right up to the present day with Mr. Putin's twenty-first century Ukrainian land grab. On today's podcast, Professor Glaser speaks about this remarkable figure and the issues at stake. Amelia M. Glaser is Associate Professor of Literature at the University of California at San Diego, and Director of the Russian, East European, and Eurasian Studies Program, and also Director of the Jewish Studies Program at UCSD. Dr. Glaser is author of Jews and Ukrainians in Russias Literary Borderlands: From the Shtetl Fair to the Petersburg Bookshop (2012), and editor, with David Weintraub, of Protelpen: Americas Rebel Yiddish Poets (2012). She has also written a number of scholarly and popular articles including a recent piece for the New York times about Vladimir Putin and Ukraine. Krzysztof Odyniec is a historian of the Early Modern Spanish Empire specializing on culture, diplomacy, and travel. He completed his PhD in 2017 at UC Berkeley where he is now a Visiting Scholar; he also teaches at Los Medanos College and Berkeley City College. Learn more about your ad choices. Visit megaphone.fm/adchoices

The cover of Amelia Glaser‘s new edited volume, Stories of Khmelnytsky: Competing Literary Legacies of the 1648 Ukrainian Cossack Uprising (Stanford University Press, 2015), bears a portrait of the formidable Cossack leader by that name. Inside the book, twelve contributing authors including Dr. Glaser, approach this legendary yet enigmatical figure from a number of perspectives—Jewish, Ukrainian, Russian, Polish, Western—across the centuries, with plenty of overlap, assembling together a single, fragmented, but nonetheless collective narrative (3). Khmelnytsky's seventeenth-century Cossack uprising against the Polish-Lithuanian Commonwealth is—depending on your point-of-view—an event of national liberation, treacherous factionalism, murderous pogrom, or personal vendetta, (again) with plenty of overlap. And the image of the Cossack warrior, the free horseman on the open steppe, serves as many narratives, right up to the present day with Mr. Putin's twenty-first century Ukrainian land grab. On today's podcast, Professor Glaser speaks about this remarkable figure and the issues at stake. Amelia M. Glaser is Associate Professor of Literature at the University of California at San Diego, and Director of the Russian, East European, and Eurasian Studies Program, and also Director of the Jewish Studies Program at UCSD. Dr. Glaser is author of Jews and Ukrainians in Russias Literary Borderlands: From the Shtetl Fair to the Petersburg Bookshop (2012), and editor, with David Weintraub, of Protelpen: Americas Rebel Yiddish Poets (2012). She has also written a number of scholarly and popular articles including a recent piece for the New York times about Vladimir Putin and Ukraine. Krzysztof Odyniec is a historian of the Early Modern Spanish Empire specializing on culture, diplomacy, and travel. He completed his PhD in 2017 at UC Berkeley where he is now a Visiting Scholar; he also teaches at Los Medanos College and Berkeley City College. Learn more about your ad choices. Visit megaphone.fm/adchoices

The cover of Amelia Glaser‘s new edited volume, Stories of Khmelnytsky: Competing Literary Legacies of the 1648 Ukrainian Cossack Uprising (Stanford University Press, 2015), bears a portrait of the formidable Cossack leader by that name. Inside the book, twelve contributing authors including Dr. Glaser, approach this legendary yet enigmatical figure from a number of perspectives—Jewish, Ukrainian, Russian, Polish, Western—across the centuries, with plenty of overlap, assembling together a single, fragmented, but nonetheless collective narrative (3). Khmelnytsky’s seventeenth-century Cossack uprising against the Polish-Lithuanian Commonwealth is—depending on your point-of-view—an event of national liberation, treacherous factionalism, murderous pogrom, or personal vendetta, (again) with plenty of overlap. And the image of the Cossack warrior, the free horseman on the open steppe, serves as many narratives, right up to the present day with Mr. Putin’s twenty-first century Ukrainian land grab. On today’s podcast, Professor Glaser speaks about this remarkable figure and the issues at stake. Amelia M. Glaser is Associate Professor of Literature at the University of California at San Diego, and Director of the Russian, East European, and Eurasian Studies Program, and also Director of the Jewish Studies Program at UCSD. Dr. Glaser is author of Jews and Ukrainians in Russias Literary Borderlands: From the Shtetl Fair to the Petersburg Bookshop (2012), and editor, with David Weintraub, of Protelpen: Americas Rebel Yiddish Poets (2012). She has also written a number of scholarly and popular articles including a recent piece for the New York times about Vladimir Putin and Ukraine. Krzysztof Odyniec is a historian of the Early Modern Spanish Empire specializing on culture, diplomacy, and travel. He completed his PhD in 2017 at UC Berkeley where he is now a Visiting Scholar; he also teaches at Los Medanos College and Berkeley City College. Learn more about your ad choices. Visit megaphone.fm/adchoices

The cover of Amelia Glaser‘s new edited volume, Stories of Khmelnytsky: Competing Literary Legacies of the 1648 Ukrainian Cossack Uprising (Stanford University Press, 2015), bears a portrait of the formidable Cossack leader by that name. Inside the book, twelve contributing authors including Dr. Glaser, approach this legendary yet enigmatical figure from a number of perspectives—Jewish, Ukrainian, Russian, Polish, Western—across the centuries, with plenty of overlap, assembling together a single, fragmented, but nonetheless collective narrative (3). Khmelnytsky’s seventeenth-century Cossack uprising against the Polish-Lithuanian Commonwealth is—depending on your point-of-view—an event of national liberation, treacherous factionalism, murderous pogrom, or personal vendetta, (again) with plenty of overlap. And the image of the Cossack warrior, the free horseman on the open steppe, serves as many narratives, right up to the present day with Mr. Putin’s twenty-first century Ukrainian land grab. On today’s podcast, Professor Glaser speaks about this remarkable figure and the issues at stake. Amelia M. Glaser is Associate Professor of Literature at the University of California at San Diego, and Director of the Russian, East European, and Eurasian Studies Program, and also Director of the Jewish Studies Program at UCSD. Dr. Glaser is author of Jews and Ukrainians in Russias Literary Borderlands: From the Shtetl Fair to the Petersburg Bookshop (2012), and editor, with David Weintraub, of Protelpen: Americas Rebel Yiddish Poets (2012). She has also written a number of scholarly and popular articles including a recent piece for the New York times about Vladimir Putin and Ukraine. Krzysztof Odyniec is a historian of the Early Modern Spanish Empire specializing on culture, diplomacy, and travel. He completed his PhD in 2017 at UC Berkeley where he is now a Visiting Scholar; he also teaches at Los Medanos College and Berkeley City College. Learn more about your ad choices. Visit megaphone.fm/adchoices

The cover of Amelia Glaser‘s new edited volume, Stories of Khmelnytsky: Competing Literary Legacies of the 1648 Ukrainian Cossack Uprising (Stanford University Press, 2015), bears a portrait of the formidable Cossack leader by that name. Inside the book, twelve contributing authors including Dr. Glaser, approach this legendary yet enigmatical figure from a number of perspectives—Jewish, Ukrainian, Russian, Polish, Western—across the centuries, with plenty of overlap, assembling together a single, fragmented, but nonetheless collective narrative (3). Khmelnytsky’s seventeenth-century Cossack uprising against the Polish-Lithuanian Commonwealth is—depending on your point-of-view—an event of national liberation, treacherous factionalism, murderous pogrom, or personal vendetta, (again) with plenty of overlap. And the image of the Cossack warrior, the free horseman on the open steppe, serves as many narratives, right up to the present day with Mr. Putin’s twenty-first century Ukrainian land grab. On today’s podcast, Professor Glaser speaks about this remarkable figure and the issues at stake. Amelia M. Glaser is Associate Professor of Literature at the University of California at San Diego, and Director of the Russian, East European, and Eurasian Studies Program, and also Director of the Jewish Studies Program at UCSD. Dr. Glaser is author of Jews and Ukrainians in Russias Literary Borderlands: From the Shtetl Fair to the Petersburg Bookshop (2012), and editor, with David Weintraub, of Protelpen: Americas Rebel Yiddish Poets (2012). She has also written a number of scholarly and popular articles including a recent piece for the New York times about Vladimir Putin and Ukraine. Krzysztof Odyniec is a historian of the Early Modern Spanish Empire specializing on culture, diplomacy, and travel. He completed his PhD in 2017 at UC Berkeley where he is now a Visiting Scholar; he also teaches at Los Medanos College and Berkeley City College. Learn more about your ad choices. Visit megaphone.fm/adchoices

The cover of Amelia Glaser‘s new edited volume, Stories of Khmelnytsky: Competing Literary Legacies of the 1648 Ukrainian Cossack Uprising (Stanford University Press, 2015), bears a portrait of the formidable Cossack leader by that name. Inside the book, twelve contributing authors including Dr. Glaser, approach this legendary yet enigmatical figure from a number of perspectives—Jewish, Ukrainian, Russian, Polish, Western—across the centuries, with plenty of overlap, assembling together a single, fragmented, but nonetheless collective narrative (3). Khmelnytsky’s seventeenth-century Cossack uprising against the Polish-Lithuanian Commonwealth is—depending on your point-of-view—an event of national liberation, treacherous factionalism, murderous pogrom, or personal vendetta, (again) with plenty of overlap. And the image of the Cossack warrior, the free horseman on the open steppe, serves as many narratives, right up to the present day with Mr. Putin’s twenty-first century Ukrainian land grab. On today’s podcast, Professor Glaser speaks about this remarkable figure and the issues at stake. Amelia M. Glaser is Associate Professor of Literature at the University of California at San Diego, and Director of the Russian, East European, and Eurasian Studies Program, and also Director of the Jewish Studies Program at UCSD. Dr. Glaser is author of Jews and Ukrainians in Russias Literary Borderlands: From the Shtetl Fair to the Petersburg Bookshop (2012), and editor, with David Weintraub, of Protelpen: Americas Rebel Yiddish Poets (2012). She has also written a number of scholarly and popular articles including a recent piece for the New York times about Vladimir Putin and Ukraine. Krzysztof Odyniec is a historian of the Early Modern Spanish Empire specializing on culture, diplomacy, and travel. He completed his PhD in 2017 at UC Berkeley where he is now a Visiting Scholar; he also teaches at Los Medanos College and Berkeley City College. Learn more about your ad choices. Visit megaphone.fm/adchoices

The cover of Amelia Glaser‘s new edited volume, Stories of Khmelnytsky: Competing Literary Legacies of the 1648 Ukrainian Cossack Uprising (Stanford University Press, 2015), bears a portrait of the formidable Cossack leader by that name. Inside the book, twelve contributing authors including Dr. Glaser, approach this legendary yet enigmatical figure from a number of perspectives—Jewish, Ukrainian, Russian, Polish, Western—across the centuries, with plenty of overlap, assembling together a single, fragmented, but nonetheless collective narrative (3). Khmelnytsky’s seventeenth-century Cossack uprising against the Polish-Lithuanian Commonwealth is—depending on your point-of-view—an event of national liberation, treacherous factionalism, murderous pogrom, or personal vendetta, (again) with plenty of overlap. And the image of the Cossack warrior, the free horseman on the open steppe, serves as many narratives, right up to the present day with Mr. Putin’s twenty-first century Ukrainian land grab. On today’s podcast, Professor Glaser speaks about this remarkable figure and the issues at stake. Amelia M. Glaser is Associate Professor of Literature at the University of California at San Diego, and Director of the Russian, East European, and Eurasian Studies Program, and also Director of the Jewish Studies Program at UCSD. Dr. Glaser is author of Jews and Ukrainians in Russias Literary Borderlands: From the Shtetl Fair to the Petersburg Bookshop (2012), and editor, with David Weintraub, of Protelpen: Americas Rebel Yiddish Poets (2012). She has also written a number of scholarly and popular articles including a recent piece for the New York times about Vladimir Putin and Ukraine. Krzysztof Odyniec is a historian of the Early Modern Spanish Empire specializing on culture, diplomacy, and travel. He completed his PhD in 2017 at UC Berkeley where he is now a Visiting Scholar; he also teaches at Los Medanos College and Berkeley City College. Learn more about your ad choices. Visit megaphone.fm/adchoices

The cover of Amelia Glaser‘s new edited volume, Stories of Khmelnytsky: Competing Literary Legacies of the 1648 Ukrainian Cossack Uprising (Stanford University Press, 2015), bears a portrait of the formidable Cossack leader by that name. Inside the book, twelve contributing authors including Dr. Glaser, approach this legendary yet enigmatical figure... Learn more about your ad choices. Visit megaphone.fm/adchoices

In advance of our upcoming event Entanglements: Rae Armantrout and the Poetry of Physics, we have a bonus episode: a conversation between the inimitable poet Rae Armantrout and Clarke Center cosmologist Brian Keating. Enjoy! And join us April 13, 2016 at UC San Diego for a evening with Rae, Brian, the writer Brandon Som, and the critic Amelia Glaser in conversation on how Rae's poems mix the personal with the scientific and speculative, the process of interdisciplinary creativity, and what her poetic engagement with physics can teach those working in the physical sciences.