Podcast appearances and mentions of Ariana Reines

Today's poem is Divinity School by Ariana Reines. The Slowdown is your daily poetry ritual. In this episode, Major writes… “Some people visit the Caribbean and other warmer climes. I drove to a lamp store. Some people dine by a fireside hearth at their favorite restaurant. I drove to a lamp store. Some people . . . you get my point. Reading the headlines, I thought recently, of those seeking refuge, of those on the social, economic, and political margins. I thought about how maybe America is a lamp shop, a place where people believe in light and transformation, who believe becoming a part of its suburbs, revered institutions, and social rituals will allow them to be better human beings.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

In our last episode of the year, Kate Wolf speaks with the poet, playwright, and performance artist Ariana Reines about her latest book, Wave of Blood. A hybrid text that includes poems, diary entries in verse, and various forms of public address, Wave of Blood spans the six month period between October 2023, after the outbreak of war in Gaza, and April 2024. In it, Reines wrestles with the genocide and what she calls “the mind of war,” as well her own ancestry as the descendant of Holocaust survivors, her late mother, and a contemporary culture steeped in violence, shame, and anxiety. Searching for power within a moment of seeming powerlessness, and for words in a time of unspeakable tragedy, the writing in the book seeks to address the recent past with deep introspection and personal responsibility, while also upholding poetry as a way to “open the space of the miraculous—and keep it open. Forever.” Also, Kathryn Davis, author of Versailles, returns to recommend Thursbitch by Alan Garner.

In our last episode of the year, Kate Wolf speaks with the poet, playwright, and performance artist Ariana Reines about her latest book, Wave of Blood. A hybrid text that includes poems, diary entries in verse, and various forms of public address, Wave of Blood spans the six month period between October 2023, after the outbreak of war in Gaza, and April 2024. In it, Reines wrestles with the genocide and what she calls “the mind of war,” as well her own ancestry as the descendant of Holocaust survivors, her late mother, and a contemporary culture steeped in violence, shame, and anxiety. Searching for power within a moment of seeming powerlessness, and for words in a time of unspeakable tragedy, the writing in the book seeks to address the recent past with deep introspection and personal responsibility, while also upholding poetry as a way to “open the space of the miraculous—and keep it open. Forever.” Also, Kathryn Davis, author of Versailles, returns to recommend Thursbitch by Alan Garner.

Recorded by Ariana Reines for Poem-a-Day, a series produced by the Academy of American Poets. Published on December 21, 2023. www.poets.org

About Ariana ReinesAriana Reines is an award-winning poet, playwright, & artist born in Salem Massachusetts. Her most recent book is A Sand Book, winner of the 2020 Kingsley Tufts Prize & longlisted for the National Book Award.  While she was a Divinity student at Harvard, Ariana founded Invisible College, a study hall for sacred & ancient texts.  Her performance and theatrical work has been presented by the Solomon R. Guggenheim Museum, The Whitney Museum of American Art, Stuart Shave/Modern Art, The Foundry Theatre, the Kaunas Biennale, MONA/FOMA, & many more, & she has spoken and taught around the world since 2009.@arianareinesCheck out ‘CAIN' by Ariana Reines most recently published in New York Times Magazine.‘PARADISE NOW' course starts tomorrow | ENROLL HERE Credits:Poem written and performed by Ariana ReinesCreated and produced by Amy Keller and Jeana DonovanEdited by Jeana Donovan and Amy KellerMusical Contribution by Casey Sullivan and Jeana DonovanSound mixing by Casey SullivanCover design by Jeana Donovan JOIN THE MOTHERSHIP COLLECTIVE ON SUBSTACK.READ THE FULL ARTICLE HERE. 

Vi dricker hennes mjölk, men skyr hennes ihållande blick. Sanna Samuelsson ser en målning av Lotte Laserstein och funderar över att stå inför en ko. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.I Lotte Lasersteins målning ”Kor bakom staketet” från 1935 står två stirrande kor bakom taggtråd. Deras gloende ögon är ömsom ömma, ömsom ifrågasättande.Så minns jag tavlan som ställdes ut på en stor utställning med konstnären på Berlinische Galerie 2019.Men när jag senare letar upp bilden inser jag att korna inte alls tittade på mig så som jag mindes det. De ser ner i marken, man ser knappt ögonen på dem.Hela målningen är i övrigt grå, vardaglig, liksom – kan man hävda– överdrivet symbolisk. Den är målad några år före kriget. När Laserstein i ett försök att komma undan den alltmer repressiva miljön i Berlin tog sig ut på landsbygden med sina måleristudenter så var detta vad hon fann. Taggtråd, kor, detta status quo hos den som är född in i fångenskap. Status ko.Laserstein hade på 1920-talet beskrivits som ett framtidshopp inom den tyska konstscenen, men var sedan 1933 förbjuden att ställa ut eftersom hon enligt nazisterna var ”trefjärdedels judisk”. 1935 förbjöds hon att driva sin målarskola.”Kor bakom staketet” är inte hennes bästa målning. Det är inte den mest spektakulära och kan inte sägas vara kännetecknande för vare sig tidens konstströmningar eller Lasersteins konstnärskap.Men det är, tycks det mig, ett av få av hennes verk som, om än indirekt, kommenterar det politiska läget i Tyskland, innan hon tvingades fly till Sverige. Till skillnad från de kända porträtten – både av sig själv och vänner, som präglas av hennes känsla för ansiktet och dess skiftande uttryck.Hon skulle aldrig komma tillbaka till Tyskland. Hon försökte få både sin syster och mamma till Sverige, men utan resultat. Hennes mamma Meta mördades i Ravensbrück 1943.Det är svårt att måla en ko utan att det blir banalt. Kon är överdrivet bokstavlig i sin fångenskap, komisk. Hon är obekväm att titta på, obehaglig i sin uppgivenhet och tunga lekamen. Hon står där bakom staketet, och tycks mycket väl veta att det bara skulle komma nya om hon försökte rymma.Fast vem kan säga vad en ko tänker på, eller känner till. Det är omöjligt att veta vad som rör sig i en kos inre. Fyra magar, har vi fått lära oss på mjölkpaketet: Löpmagen, våmmen, nätmagen och bladmagen.Kon är djuret med den mest avancerade matsmältningen, naturens high-techsystem. Det krävs för att bryta ner det hårda gräset. Det är så mjölk blir till, från början till för kalven, men nu framavlad för att spruta året runt för människan. Bli till mjölk, smör, ost, yoghurt, mjölkpulver.Den amerikanska poeten Ariana Reines skriver i debutdiktboken ”The Cow” från 2006 om kons magsystem som ett mysterium. Hon beskriver hur man i forskningen kring kons matsmältning kan använda en våmfistel, ett titthål direkt in i kroppen. En permanent öppning sätts in till våmmen, den största av magarna där kon jäser gräset hon betat. Där kan vi se bearbetningen i realtid. ”Ett fönster”, kallar Reines det.Hos Reines tittar inga kor tillbaka på läsaren, de är döda. På omslaget till boken hänger kons kropp upp och ner, med huvudet i en tunna full med blod. Boken handlar om slakt, om destruering av kadaver, om galna kosjukan.Men även den levande kon är äcklig i sin industrialiserade kropp. Hon är den levande fabriken, samtidigt som hon är vår mamma. Vi är hennes kalvar. Vi dricker hennes mjölk och skyr hennes blick, står inte ut med tanken på att hon kan vara olycklig.Håkan Sandell skriver i sin diktsamling ”Dikter för analfabeter” från 1990 om kon:”Dess blick är en ammandesSömndrucket glansiga anklagelse;Vanans och upprepningensGräsrepande bristande helighet Dess särdrag bland djuren;Att inte vända bort blicken”Att kon stirrar oblygt är ett välkänt faktum, de tittar på en som om man vore en utomjording. Vad är det de ser när de tittar på oss: vän, förtryckare, förströelse, mat, vatten?Bonden – figuren de i de flesta fall betraktar – rör på sig ständigt, arbetar på, hastar från en hage till en annan för att kolla så att vattnet räcker till. Skyfflar gödsel för glatta livet. Bonden har inte tid att bara stå där, ägna sig åt det som korna gör: gloendet, det lata idisslandet. Men faktum är att kon är ett av de allra hårdast arbetande djuren, de sover bara fyra timmar per dygn. Resten av tiden ägnar de åt att idissla gräset. Kor och människor har bara olika syn på vad som räknas som arbete. Vi uppfattar kons blick som både besjälad och likgiltig, kanske till och med melankolisk. De ser oss, men de ser oss också inte. Deras ögon liknar våra, pupillen är rund och mörk.Därför dissekeras koögon ofta i undervisningen i skolan, de liknar våra även i sin funktion. Redan René Descartes använde under första hälften av 1600-talet ögat från en oxe för att undersöka hur den mänskliga synen fungerar.Men de ser inte exakt som vi. Deras syn är både sämre och bättre. Vidsynen är större, eftersom ögonen är placerade på sidan av ansiktet, men skärpan är lägre. De ser snarare rörelse och konturer än exakta detaljer. Rakt framåt ser de allra bäst, därav stirrandet, kanske.Att korna tittar på oss på sitt särskilda sätt tolkar vi människor på vårt vis. Att inneha en sådan blick antyder att omdöme, medvetande – kanske till och med en själ – finns. De ser sorgsna ut, förbluffade.Descartes hävdade att djur saknar tankeverksamhet. En reaktion på vad han ansåg vara en allmänt utbredd vidskeplighet, som gick ut på att djur eftersom de liknar oss också borde ha en själ. Men, menade Descartes, eftersom djuren inte kommunicerar med språk eller tecken, är de att räkna som naturens maskiner. De agerar automatiskt utifrån vad de tar in med sina sinnen, med ögonen, öronen, näsan och känseln.Detta påstående, som var nytt i Descartes tid, är – trots att det har diskuteras och ifrågasatts sedan dess – i dag en utbredd uppfattning. Vi ser djuren som enbart styrda av sina instinkter, av naturen, vilket skiljer dem från oss.Kanske är det därför som vi upplever kons stirrande som både störande och rörande. Vi skräms av möjligheten av att det finns något där. Blicken, som liknar vår, vänds inte bort, vilket i mänsklig social interaktion står för ett kontaktsökande, en invit till kommunikation. Men inga ord uttalas från kons läppar.När jag besökte utställningen med Lotte Laserstein som öppnade på Moderna museet i Malmö våren 2023 hittade jag inte komålningen. Däremot finns en liten tavla med titeln ”Kalven”. Djuret är fastbundet vid ett staket, den bruna och vita kroppen är målad från sidan. Verket är från 1935 och inte heller här tittar kalven på mig. Dess ögon är vända mot en framtid som skulle komma att bli än mer fruktansvärd. Sanna Samuelsson, kulturskribent och författare.

Our guest co-host, Lauren Samblanet, is a hybrid writer who cross-pollinates with other forms of making & other makers of forms. Her first book, like a dog, is forthcoming from punctum books. Some of her writing has been published in A Shadow Map: An Anthology by Survivors of Sexual Assault,  FENCE, DREGINALD, entropy, bedfellows, The Tiny, Crab Fat Magazine, and A) GLIMPSE) OF). She is a graduate of Temple University's MFA program. ​Lauren is a teacher and facilitator. She offers creative process workshops and support for individuals and collaborators through reinventing creative process.   In Episode 6**, Lauren joins us for a conversation about Support and Embodiment for the Writing Self. We discuss ways community and support nourish our writing practice, the importance of embodiment and presence, and how support and taking care of the self are all ways of taking care of the writing.     * *  This episode contains explicit content which may not be appropriate for younger listeners.    Questions When the off-season comes, the winter of writing where there's no inspiration and rest is needed, how do you rest as a writer? what seeds do you gather so spring will be plentiful and how do you nourish those seeds? How do you grapple with feeling unproductive? What are some ways you write yourself out of a "funk"? Or when you don't know where to go or what happens next?  How do you foster a sense of play in your creative practice? What does the literature of pain and illness look like? what forms does it use? and related, how do we reform writing to hold our bodies more gently through pain/illness?.   Show Notes Lauren's Readings: intro like a dog soundscore **contains explicit content like a dog **contains explicit content on ghosting 1. Wintering by Katherine May: https://katherine-may.co.uk/wintering 2. @aquarius.mood on IG 3. Hurry Slowly podcast https://hurryslowly.co/ 4. Esther Perel: https://www.estherperel.com/blog/eroticism-self-care-plan 5. Justine Dawson : https://www.justinedawson.com/ 6. nycmidnight microfiction/flash fiction contest: https://www.nycmidnight.com/ 7. Eb Sanders: https://www.instagram.com/ebs______/?hl=en 8. Ariana Reines https://www.arianareines.net/the-cow 9. Thich Nhat Hanh breathing exercise: https://tricycle.org/article/thich-nhat-hanh-suffering/ 10. Aubrie Warner: https://www.instagram.com/acwarnerlit/?hl=en

Remington is joined by mystic, poet and artist, ARIANA REINES.They discuss Ariana's journey as a career poet, facing your cringe, obscure art school cigarettes, honing your craft, academia vs. intuition, Grateful Dead spirals, LA occultism, OG Salem Mass witches, surviving cults and more.A SAND BOOK on audibleBook a session with ArianaJoin INVISIBLE COLLEGE on PatreonFollow Ariana on InstagramAs referenced in the episode:Leonard Nimoy: In Search of Salem Witches

Putin's barbarism is somehow felt by us all even though it can be hard to get to grips with the magnitude of what's at stake. One reason may be what writer and academic Tom Nichols calls normalcy bias, an inherent resistance to accepting that large changes can upend our lives. Another may be what Lithuanian arts curator Raimundas Malasauskas calls unlearned lessons from history about Russia's imperialist and colonialist drives. Political scientist David Rowe is a Fulbright NATO Security Studies scholar and a visiting fellow at the German Marshall Fund, and he has been looking into why so much of Europe wasn't ready for Putin. David, who's on sabbatical from Kenyon College in the US, gives his personal views about how the EU needs to rethink the role of war and peace in building and maintaining liberal democracy. Among points he addresses in this podcast are the consequences for the Western allies of not spilling their own blood in Ukraine, and the resentment Ukrainians will surely feel if the door to the EU club isn't really open after all. David starts with a description of the philosophical roots — laid some two centuries ago — of the EU's approach to international politics. It's an approach that's helped much of Europe keep the peace over recent decades. But it may also have left Europe flat-footed in the face of abhorrent aggression. "The problem," says David, "is that peace seems so evidently good, that it is very easy to overlook the deep structures that give rise to it."Poem 11/22 by Ariana Reines.Video from Mars Returns in Kaunas. Support the show

Recorded by Ariana Reines for Poem-a-Day, a series produced by the Academy of American Poets. Published on June 24, 2022. www.poets.org

In series 4, we go off-book, beginning in the previous episode with the recording of a live reading given by Harmony Holliday and Ariana Reines. Here in 4.2, you have the chance to closely listen to three of the works that Fence has published directly to the website -- Christopher Schmidt's work transcends time and space, delving deeply into queer desire and sociality in turn of the century Brazil. Holly Mitchell engages the work of Matthew Rohrer, And lexi welch's tour-de-force piece combines woman's soccer with eros and complex sociality.   1 ) A Natural History of CruisingCHRISTOPHER SCHMIDT"An attractive figure rounds the corner. Is he? Yes, very. Your gaze locks in his. The moment dilates. Take in the hooded eyes, the aquiline nose. Zero the body..."Find the full essay here: https://fenceportal.org/a-natural-history-of-cruising/More on Christopher Schmidt: slopeeditions.org/current-titles/the-next-in-line-by-christopher-schmidtgoodreads.com/book/show/6408040-the-next-in-linetwitter.com/bychrisschmidtnewyorkschoolpoets.wordpress.com/2014/07/07/christopher-schmidts-new-book-on-the-poetics-of-waste-in-ashbery-schuyler-and-others/2 ) By Accident Here I Am Again: Holly Mitchell's Centos of Matthew Rohrer's The Sky Contains the Plans Holly Mitchell with Matthew Rohrer April 5, 2021 Elecment #9Find the full work with images here: https://fencedigital.com/2021/04/05/elecment-by-accident-here-i-am-again-holly-mitchells-centos-of-matthew-rohrers-the-sky-contains-the-plans/hollyrmitchell.wordpress.com/www.wavepoetry.com/products/matthew-rohrerpoetryproject.org/people/holly-mitchell3) "Snake and Ladder World" by Sasha Pearl from the album Friendship Street usspearl.bandcamp.com/track/snake-and-ladder-world 4 ) ASTROTURF by LEXI WELCHThe full work with images:  https://fenceportal.org/astroturf/twitter.com/lexiwelchmmmmlexiwelch.info/"Astroturf eats sun like a late meal. The heat greets my left cheek, right cheek rushes with soiled roadway breeze, I reconcile two or more feelings..."5) "Deep Hollow" by Tarika from her self-titled debut album. You can find out more at her website, Taraka.orgsoundcloud.com/user-416261753/13-deep-hollowyoutube.com/watch?v=3dRaphl-MQ8Taraka.orgThis episode was produced by Ashley Mayne and Jason Zuzga.Support the show

The time is 6:51 pm, eastern daylight savings time, May 14, 2022, lull in covid, spring. The location is a non-profit library and workspace, Wendy's Subway, located at 379 Bushwick Ave, Brooklyn, NY 11206.The speakers you will hear are Rebecca Wolff, Ariana Reines, Sade, and Harmony Holiday.  Ariana will be reading from her new manuscript-in-progress, The Rose, and Harmony will be reading from her newly published epic, Maafa, from Fence Books. Fence Sounds, a podcast, is produced by Fence Magazine, Inc., a 501c3 nonprofit organization. Learn more at fenceportal.org about all the Fence Publications, which include Fence Books, Fence Magazine, Elecment, Fence Digital, Fence Steaming, and Constant Critic. Subscribe to the magazine, and purchase a book by Ariana Reines, Harmony Holiday, and other fence authors again at fenceportal.org. Thanks for listening. Support the show

What's Love Got To Do With It? is a three-part podcast series about Radical Love. The final episode of this podcast series is a conversation between two friends: Ariana Reines and Sophie Robinson, poets and educators who look to spaces of hospitality for connection and kinship. Sharing their poetry and the experiences that shaped its writing, the pair discuss possibilities for care despite institutional cruelty, getting sober as an act of radical love, and how the Sun and Moon communicate very different and sometimes uncomfortable truths to Reines and Robinson respectively. What’s Love Got To Do With It? is programmed and curated by Beatrice Gibson, produced by Alannah Chance, and features unique compositions by Crystabel Riley and Seymour Wright. It is a commission by Bergen Kunsthall; Camden Art Centre, London; KW Institute for Contemporary Art, Berlin; and Mercer Union, a centre for contemporary art, Toronto.

Med Mette Moestrup, Anna Kleiva, Helene Hovden Hareide, Alexander Fallo med flere. I anledning verdens poesidag 2021 inviterer vi til et poesisymposium! En helaften der vi feirer lyrikken, livet og lengselen og der det vil bli opplesninger, samtaler, ritualer og musikk. Migrasjoner og Merkur Hvordan blir en gjendiktning til? Vi har invitert Anna Kleiva og Helene Hovden Hareide som har gjendiktet henholdsvis Merkur av Ariana Reines og Migrasjoner av Gloria Gervitz til en samtale om bøkene og alt som skjer før en utgivelse. Samtaleleder: Eira Søyseth.

Season 2: Episode 9: excerpts from THE BREATH OF STARS by Caridad Svich, and two poems "Land" and "Arena" by Ariana Reines from A SAND BOOK (Tin House Books, 2019). --- Support this podcast: https://anchor.fm/caridad-svich/support

This week I take a look at the poem Inner Life by Ariana Reines. It is a poem that perfectly encapsulates the deeply personal kinetic style in which she writes her poem. It is a poem that will give you a new reference for anxiety and that will connect with anyone who has struggled to get through the day without thinking of someone. The show notes for today's episode, with full references can be found here: https://wordsthatburnpodcast.com/You can get in touch with me on instagram: https://www.instagram.com/wordsthatburnpodcast/The music in this weeks episode is Filaments by Scott Buckley and is used under creative commons license. Enjoy his music here: https://www.scottbuckley.com.au/ Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

In each episode we talk about a variety of books, writing, and art. Below are a few mentioned in this one:Ellie's fall 2020 plant workshops (link)Kale Mays (link)Ani DiFranco's song "Buildings and Bridges" (link)Conversation between Terry Tempest Williams and Ariana Reines (link)Shapes of Native Nonfiction edited by Elissa Washuta and Theresa Warburton (link)"Beauty & Memory & Abuse & Love" by Bojan Louis (link)Jewish Mourner's Kaddish (link)Tamar Ettun's Lilith project (link)Stranger Faces by Namwali Serpell (link)The Elephant Man (link)The 40-Year-Old Version (link)Questions? Thoughts? Email us: alltalklisteners@gmail.com.About Us:Ellie Lobovits is a visual artist, educator, writer, and teacher of Jewish plant magic. ellielobovits.comLeora Fridman is a writer and educator, author of My Fault, Make an Effort, and other books of prose, poetry and translation. leorafridman.com

To support our work and listen to additional content, see here: https://patreon.com/yourshelf and follow us on social media @_yourshelf_. In our latest, ninth episode of The YourShelf Podcast, Natural Strangeness, our chief curator Juliano Zaffino (Jay) catches up with Rebecca Tamás to discuss her book Strangers: Essays on the Human and Nonhuman, books, ecology and ecocriticism, the work of Ana Mendieta, and more. For full show notes, see here: https://podcast.yourshelf.uk/episodes/9. Thanks for listening.  LinksPatreonInstagramTwitterPodcastYourShelfEpisode NotesJay asks Rebecca about what book world she would live in, what her bookshelves look like, and who she'd invite to a literary dinner party. (from 1:00)Rebecca explains the origins of her book Strangers: Essays on the Human and Nonhuman, staying positive in the face of the climate emergency, the role of ecocriticism, and the intersection of ecology, feminism, mysticism and more. "Environmentalism is for everyone." (from 4:45)Finally, Rebecca discusses the last book she read, and hints at what she's working on next. (from 34:55)Rebecca Tamás gives a special reading of a passage from Jay's favourite essay in Strangers, 'On Panpsychism'. (from 37:10)Jay wraps up with the books and authors that were discussed in the episode: Dodie Smith's I Capture The Castle, the works of Jamaica Kincaid and Jean Rhys, the anonymous Middle English poem Gawain and the Green Knight, the poet Bhanu Kapil, Daisy Lafarge's Life Without Air, AK Blakemore's forthcoming book The Manningtree Witches, Clarice Lispector's The Passion According to GH, Ariana Reines' The Cow, and Joanna Pocock's Surrender. (41:25)Rebecca's book Strangers: Essays on the Human and Nonhuman, is available now in a gorgeous second printing from indie publisher extraordinaire Makina Books. Her debut collection of poetry, WITCH, is available from Penned In The Margins.Thanks for listening and tune in again soon for our special Books of the Year episodes!

Meet American poet Ariana Reines, who has been described as one of the crucial voices of her generation. In this video, she talks openly about how extreme familial circumstances “pushed” her into poetry, and how writing lets you enter the deepest levels of experience. Ariana Reines was interviewed  by Christian Lund in October 2018 in Buenos Aires, Argentina. 

In each episode we talk about a variety of books, writing, and art. Below are a few mentioned in this one:Ariana Reines' workshops reading Inanna and more (link)The Lonely Letters by Ashon T. Crawley (link)the Song of Songs (link)Go Ahead in the Rain by Hanif Abdurraqib (link)Giovanni's Room by James Baldwin (link)Are You There God? It's Me, Margaret by Judy Blume (link)Sophie Calle's exhibition "Take Care of Yourself" (link)Information about recent votes on evictions and defunding the police in Oakland, CA (link)Questions? Thoughts? Email us: alltalklisteners@gmail.com.About Us:Ellie Lobovits is a visual artist, educator, writer, and teacher of Jewish plant magic. ellielobovits.comLeora Fridman is a writer and educator, author of My Fault, Make an Effort, and other books of prose, poetry and translation. leorafridman.com

Ariana Reines discusses her A Sand Book poetry being centered around a theme of hiding: running away and trying to escape.

This week our guest is New York Times bestselling author Kim Krans, who reads from her new graphic memoir, Blossoms and Bones: Drawing a Life Back Together.In this episode, we discuss her writing process, andThe need for tension in creation“The third thing” we need in order to work on a projectSurprising yourselfAnd more!If you’re a new listener to Fierce Womxn Writing, I would love to hear from you. Please visit my Contact Page and tell me about your writing challenges.Follow this WriterVisit her Instagram pages, The Wild Unknown, and Kim KransVIsit Kim Krans’ WebsiteFollow the PodcastVisit the Website for more info on the podcastFollow the HostSlide into Sara Gallagher’s DM’s on InstagramFollow our PartnersLearn more about our partner, The Flower Essences Deck, an oracle deck for reference and self-reflection.Become an AdvertiserUse my Contact Page or hit me up on InstaThis Week’s Writing PromptEach week the featured author offers a writing prompt for you to use at home. I suggest setting a timer for 6 or 8 minutes, putting the writing prompt at the top of your page, and free writing whatever comes to mind. Remember, the important part is keeping your pen moving. You can always edit later. Right now we just want to write something new and see what happens.This week’s writing prompt is: Write a thank you letter to an author or artist, the first one who comes to mind. Write a one page, handwritten letter, and thank them for not giving up. Sign it with the date. Explore Womxn AuthorsIn this episode, the author recommended these womxn writers:Ariana Reines, author of A Sand BookAnne Frank, author of The Diary of a Young GirlEnsure the Podcast ContinuesLove what you’re hearing? Show your appreciation and become a Supporter with a monthly contribution.Check Out More ShowsEpisode 13: Ann Hagerty Davenport - Owner at 31 AnnotationsEpisode 12: Ysabel Y. Gonzalez - Author of Wild InvocationsEpisode 11: T. Susan Chang - Author of Tarot CorrespondencesEpisode 10: Dr. Chloe Schwenke - Author of SELF-ish: A Transgender AwakeningSupport the show (https://fiercewomxnwriting.com/support)

In this episode we talk about the five of cups, walking through the territories of loss and grief, but we have a poet with us, Ariana Reines, author of A Sand Book, which just won the Kingsley Tufts Poetry award and was long-listed for the National Book award… but awards aside, we’re happy to have her here because, as everyone knows, poets take our greatest heartaches and weave them into something beautiful, something useful, some kind of magic or medicine. Stay tuned to find out how you can too.**********************************Find out more about our special guest, poet Ariana Reines...Ariana's website.Ariana's Instagram.Get Ariana's beautiful book, A Sand Book.**********************************The episode begins with a song you can sing while pouring out libations for those dreams/people/phases/etc no longer with us:For all the pieces broken far beyond repairFor all the leaving trains, things that go awayFor all who flew or faded, not to be forgottenI spill the 5 of Cups upon the earth for them**********************************Amanda's References Include:“Keywords for the Crowley Tarot” by Hajo Banzhaf and Brigitte Theler“Tarot as a Way of Life” by Karen Hamaker-Zondag“The Crowley Tarot” by Akron and Hajo Banzhaf"78 Degrees of Wisdom" by Rachel Pollack“Trauma and Recovery” by Judith Herman**********************************EMPEROR WORKSHOP INFORMATIONSign Up for Our "The Emperor in 2020 Workshop: Making Daddy Work For You" here -- or become a Jupiter-realm subscriber and get it as part of your membership (which will soon include an online forum to connect with other witches and witch-curious folx). In the workshop:You’ll learn to calculate your card of the year and your soul card numerology. And you’ll find out how the Emperor year will affect your soul card and your card of the year in particular.We’ve got exercises on how to locate your places of powerExercises to develop your intuitionA step-by-step how to on making your own Emperor altarRituals you can do to harness the power of the emperor year to build stamina, confidence and focus in 2020Invocations, songs, and gestures you can use to call in the Emperor (these are a BTW addition to our workshops and we think you’re going to find they’re REALLY special)A live call with Amanda to answer all your questions and help you get the most out of this year that is really calling us to claim our vision and share it with the worldAnd more!TO SIGN UP FOR THE WORKSHOP OR FIND OUT MORE, CLICK HERE **********************************Original MUSIC by Carolyn Pennypacker Riggs.Outro song: excerpt of "Falling" by Bouquet**********************************Get in touch with sponsorship inquiries for Between the Worlds at betweentheworldspodcast@gmail.com.Or, contact Amanda to book a session, or Carolyn just to find out more, below:*****Amanda Yates Garcia (art witch, healer, writer):www.oracleoflosangeles.comTo sign up for Amanda's newsletter, CLICK HERE.To order Amanda's book, "Initiated: Memoir of a Witch" CLICK HERE.Amanda's InstagramAmanda's Facebook**Carolyn Pennypacker Riggs (musician, artist, producer):www.carolynpennypackerriggs.comCarolyn's Instagram**CONTRIBUTORS:Amanda Yates Garcia (host) & Carolyn Pennypacker Riggs (producer) & Ariana Reines (special guest). With editing help from Jiha Lee. The BTW image was created by Marian Minnis (tinyparsnip.com / instagram.com/tinyparsnip ) with text designed by Leah Hayes. 

Celine Sciamma joins hosts Eric Newman and Medaya Ocher to discuss her film Portrait of a Woman on Fire, which was nominated for Best Foreign Film at the Golden Globes and won this year's Queer Palm at Cannes. Set in the 18th Century, the film is about the growing desire between a woman painter and her subject, a young woman about to marry a nobleman. The central action takes place on an island in which the men all-but-disappear. Claire discusses how she rejects the established ways that women, women's bodies, their desire, and their sexuality are traditionally represented in cinema; and how she seeks to develop a new feminist approach to such representation, one which lends itself to new forms of dramatic tension and groundbreaking cinematography. Celine also addresses the struggles of women directors in France and their even greater marginalization in America; and what can be done to remedy this injustice. Also, Amanda Yates Garcia, author of Initiated: Memior of a Witch, returns to recommend Ariana Reines' transcendent poetry in A Sand Book.

Kate Wolf talks with "It Girl" Natasha Stagg about her new essay collection from Semiotexte: Sleeveless: Fashion, Image, Media 2011-19. Natasha explains overcoming her reluctance to move to NYC, how she landed in the fashion world - simultaneously at its center and on the periphery - and what she discovered there. This most-priveleged sphere in the capital of the world is just part of the scenery: where the old is new again until the moment of re-interpretation passes; the thrill of creativity is tangible, yet nothing to get excited about; and it's most definitely post-Post-Modern yet pastiche, nostalgia, and appropriation remain the order of day. Telling tales of Late Capitalism in its interminable phase. The conversation also inspires Medaya Ocher, LARB's Managing Editor, to reveal details of her previous life as a Parisian fashion photographer. Also, Ariana Reines, author of the A Sand Book, returns to recommend two exceptional works of poetry, one old, one new: James Merrill's National Book Award winning epic from the late 70s, The Changing Light at Sandover; and Edgar Garcia's Skins of Columbus: A Dream Ethnography.

Kate Wolf talks with "It Girl" Natasha Stagg about her new essay collection from Semiotexte: Sleeveless: Fashion, Image, Media 2011-19. Natasha explains overcoming her reluctance to move to NYC, how she landed in the fashion world - simultaneously at its center and on the periphery - and what she discovered there. This most-priveleged sphere in the capital of the world is just part of the scenery: where the old is new again until the moment of re-interpretation passes; the thrill of creativity is tangible, yet nothing to get excited about; and it's most definitely post-Post-Modern yet pastiche, nostalgia, and appropriation remain the order of day. Telling tales of Late Capitalism in its interminable phase. The conversation also inspires Medaya Ocher, LARB's Managing Editor, to reveal details of her previous life as a Parisian fashion photographer. Also, Ariana Reines, author of the A Sand Book, returns to recommend two exceptional works of poetry, one old, one new: James Merrill's National Book Award winning epic from the late 70s, The Changing Light at Sandover; and Edgar Garcia's Skins of Columbus: A Dream Ethnography.

The ladies are joined by poet Ariana Reines to discuss poetry, astrology and her new release, A Sand Book.   See Ariana read on 9/11 with Ali Leibegott at The Poetry Project and on 9/13 at The Strand with CAConrad, Rob Brezsny and Zoe Brezsny.   Buy Ariana's book here.

The poetry in Ariana Reines's A Sand Book is centered around the theme of hiding: running away and trying to escape.

Deadpan, epic, and searingly charismatic, A Sand Book is at once relatable and out-of-this-world. In poems tracking climate change, bystanderism, state murder, sexual trauma, shopping, ghosting, love, and the transcendent shock of prophecy, A Sand Book chronicles new dimensions of consciousness for our strange and desperate times. What does the destruction of our soil have to do with the weather in the human soul? From sand in the gizzards of birds to the iridescence on the surface of spilt oil, from sand storms on Mars to our internet-addicted present, from the desertifying mountains of Haiti to Sandy Hook to Hurricane Sandy to Sandra Bland, A Sand Book is both a travelogue and a book of mourning. In her long-anticipated follow-up to Mercury, Ariana Reines has written her most ambitious, visceral, and satisfying work to date. 

Listening to poets talking amongst themselves is a rare pleasure. On their last day at the LAP, after a rainy winter, poets Julian Talamantez Brolaski and Ariana Reines sit down and consider the question: What can poets do?

Frieze Talks with Liz Larner and Ariana Reines in conversation

In today's flash briefing, I read Ariana Reines first poem, "Milk Debt," in her book, "The Cow." This is the first book on which I published a paper, so it holds a special place in my heart. I thought of it after it came up in my conversation with Gabrielle Bates, which you can catch from this weekend here on the podcast or over on the YouTube channel. More on Ariana Reines: (https://www.poetryfoundation.org/poets/ariana-reines) ● The Poetry Vlog is a YouTube Channel and Podcast dedicated to building social justice coalitions through poetry, pop culture, cultural studies, and related arts dialogues. Subscribe to our YouTube channel to join our fast-growing arts & scholarship community (youtube.com/c/thepoetryvlog?sub_confirmation=1). Connect with us on Instagram (instagram.com/thepoetryvlog), Twitter (twitter.com/thepoetryvlog), Facebook (facebook.com/thepoetryvlog), and our website (thepoetryvlog.com).

Om diktning og gjendiktning. Det finnes bøker som kan få deg til å se kjente steder på en helt ny måte. Plutselig er ikke Paris lenger alvorlig og romantisk, men rølpete og morsom. Veiene i Gudbrandsdalen er ikke lenger kjedelige, men følsomme og dramatiske. Anna Kleiva skriver bøker som får deg til å undre: på steder, men også på mennesker og på språket. Hun debuterte med Ti liknande versjonar i 2011, og ga ut sin foreløpig siste diktsamling, Drikkeviser frå Paris, i 2016. Hun har også gjendiktet Ariana Reines og Asta Olivia Nordenhof. Anna Kleiva kommer til Lyrikksalong for å snakke med Fredrik Hagen om diktning, gjendiktning, verden og språket. Lyrikksalong er støttet av Fritt Ord, Forfattersentrums medlemsfond og Litteraturhuset.

Om diktning og gjendiktning. Det finnes bøker som kan få deg til å se kjente steder på en helt ny måte. Plutselig er ikke Paris lenger alvorlig og romantisk, men rølpete og morsom. Veiene i Gudbrandsdalen er ikke lenger kjedelige, men følsomme og dramatiske. Anna Kleiva skriver bøker som får deg til å undre: på steder, men også på mennesker og på språket. Hun debuterte med Ti liknande versjonar i 2011, og ga ut sin foreløpig siste diktsamling, Drikkeviser frå Paris, i 2016. Hun har også gjendiktet Ariana Reines og Asta Olivia Nordenhof. Anna Kleiva kommer til Lyrikksalong for å snakke med Fredrik Hagen om diktning, gjendiktning, verden og språket.

Letter to Paul Bowles, late May/early June, 1958, read by Ariana Reines Dear Jane Puppet Play & Readings Documentation Wednesday, January 18, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Talks & Readings Thursday, October 1, 7pm Artists Space Books & Talks 55 Walker Street Ariana Reines will open the evening with a reading of “Littoral Madness”, a section from Chris Kraus’ forthcoming critical biography of Kathy Acker, and will complete the evening with readings of her poetry. In between two talks will be delivered by Melissa Gordon and Meredyth Sparks on the value of presence in art in relation to gender, history and genius. Melissa Gordon will discuss her research into female artists who have “dropped out” of the art world, framing their actions within the wider context of feminist art’s expansion / rejection of authorship, and attempting to debunk the assumptions of failure surrounding the gesture of being absent. Touching on the fallible notion of ‘the original’ and the problematic gesture of “aggregating” as recently written about by David Joselit, Gordon will consider recent court cases around authorship in order to question where the boundaries of an artist persona / authorship are mapped in the contemporary playing field. She will discuss Cady Noland’s essay “Towards a Metalanguage of Evil”, published in the Documenta IX catalogue in 1992, as a key to understanding the “game” in which presence and absence operate. Meredyth Sparks will address the structural problems that arise in attempting to integrate “recovered” or “overlooked” artists into an art historical canon, as well as the complexities surrounding authorship as it relates to gender. Sparks will focus on two artists, the Baroness Elsa von Freytag-Loringhoven and Eileen Gray, both of whom made significant contributions to modern art, poetry and architecture, respectively, but who have only recently begun to be recognized within primary historical narratives. The Baroness Elsa von Freytag-Loringhoven (1874 – 1927) was a German-born poet, sculptor and proto-performance artist whose influence on and shaping of Dada have been, until recently, marginalized and misunderstood. New research by the Baroness’s biographer, Irene Gammel, among others, uncovers evidence to suggest that Marcel Duchamp’s Fountain (1917), arguably the most significant artwork of the 20th century, was perhaps a work by the Baroness. Eileen Gray (1878- 1976) was an Irish-born designer and architect whose house, E. 1027 (1926-29), had for many years been attributed to Le Corbusier. This misattribution stems, in large part, to an (in)famous act of “claiming” on Le Corbusier’s part, a physical and conceptual appropriation that has only recently begun to be reconsidered by historians. With this discussion, Sparks hopes to examine how these artists’ contributions have, in the best case scenario, been misattributed or, in the worse case, intentionally claimed. Re-visiting these placards might open a new art historical or studio-based space for production where, instead of merely correcting or righting a dominant narrative, we might conceive of art and history as an accumulation (rather than a singular realization or articulation) of ideas and methods. For more information click here artistsspace.org/programs/presence-and-absence This public event was part of We (Not I), a four-day program of discursive meetings, presentations, and events bringing together a wide range of female artists, writers, curators and thinkers identifying with feminist practices to exchange and produce content addressing questions around the role of "we" in contemporary art practice, held at Artists Space between September 30 and October 3, 2015. For more information click here artistsspace.org/programs/we-not-i By request of the author, Ariana Reines' reading of Chris Kraus' chapter "Littoral Madness" has been removed from this recording.

WARNING:  EXPLICIT CONTENT This program contains strong language and is intended for mature audiences only   ARIANA REINES is the author of Coeur de Lion and The Cow, and is this year's Roberta C. Holloway Visiting Lecturer in the Practice of Poetry.

WARNING:  EXPLICIT CONTENT This program contains strong language and is intended for mature audiences only   ARIANA REINES is the author of Coeur de Lion and The Cow, and is this year's Roberta C. Holloway Visiting Lecturer in the Practice of Poetry.

Coeur de Lion (Mal-o-mar); The Cow (Fence Books) This astonishing young poet—still in her twenties—is surely destined to be one of the crucial voices of her generation.