Podcast appearances and mentions of barbara guest

Episode No. 706 features curators Leslie King-Hammond and Edward Saywell, and curator Jared Ledesma. Along with Patrick Murphy and Jennifer Farrell, Hammond and Saywell are the co-curators of "Witnessing Humanity: The Art of John Wilson" at the Museum of Fine Arts, Boston. The exhibition surveys Wilson's 60-year career, spotlighting the ways in which Wilson addressed anti-Black violence, the civil rights movement, labor, family life, and more. "Wilson" is on view in Boston through June 22 before traveling to the Metropolitan Museum of Art, New York in the fall. The richly illustrated exhibition catalogue was published by the MFA. It is available from Amazon and Bookshop for about $50. Ledesma is the curator of "Grace Hartigan: The Gift of Attention" at the North Carolina Museum of Art, Raleigh. The exhibition is a focused examination of how Hartigan's relationships with New York poets, including Barbara Guest, James Merrill, and Frank O'Hara, influenced her paintings and works on paper. It is on view through August 10, 2025 before traveling to the Portland (Me.) Museum of Art and the Sheldon Museum of Art, University of Nebraska, Lincoln. An excellent catalogue was published by the museum. Amazon and Bookshop offer it for around $35. Instagram: Jared Ledesma, Tyler Green.

The queens discuss gay icon status with Brenda Hillman--and then launch in to a revisit of several of her poems, including her fabulous "Male Nipples."Please Support Breaking Form!Review the show on Apple Podcasts here.Pretty Please.....Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.     James's ROMANTIC COMEDY is available from Four Way Books. You can see readings by Brenda Hillman here (one poem, ~4 min, 2020), here (20min, 2012), and here (2024, poetry and conversation with Jesse Nathan).For a review and discussion of Hillman's new book, Three Talks, check out this episode of The Only Property. (~30 min).(Re)read Wallace Stevens's "Thirteen Ways of Looking at a Blackbird"Learn more about Kathleen Fraser here. Discover more about Barbara Guest and her 9 collections of poetry here.If you'd like to know more about Kelsey Street Press's mission and history, it's a fascinating journey that you can start here.A basic introduction to gnosticism can be had here. Learn more about the Black Mountain Poets here.Read about Objectivist Poetics here.

Raquel Lanseros nos presenta El sol y las otras estrellas (Ed. Visor), su nuevo poemario y el primero que dedica íntegramente al amor. Un libro escrito en clave muy celebratoria y atravesado por los ecos de otros autores.Además, Ignacio Elguero nos propone varias lecturas para las vacaciones: Una sombra blanca (Ed. Alfaguara), la nueva novela de la escritora y académica de la RAE Carme Riera, y En los acantilados (Ed. Dilatando mentes Editorial), un volumen que reúne cuentos de terror y una novela corta de Santiago Eximeno. Javier Lostalé abre su ventanita poética a Cosas que tal vez halles ocultas en mi oído (Ed. de Oriente y del Mediterráneo), el debut en la poesía del joven palestino Mosab Aub Toha, que reúne aquí poemas escritos durante los asedios sufridos por Gaza entre 2001 y 2021. Veinte años de violencia que han quedado plasmados en un libro emocionante y transparente que, por desgracia, se antoja muy vigente.Luego, Sergio C. Fanjul nos invita a zambullirnos en Un inmenso azul (Ed. Libros del Asteroide), una colección de pequeños ensayos poéticos en los que el sueco Fredrik Sjöberg diserta sobre el inicio de los mares, la exploración espacial, la biología, los mapas y otro montón de asuntos entreverándolos con su experiencia personal.El broche lo pone Mariano Peyrou, que nos hace una batería de recomendaciones para el verano: El decorado (Ed. Pre-Textos), de Miguel Rojo, Llámala (Ed. Dilema), de Lola Andrés, Rapto defensivo (Ed. Libros de la resistencia), de Barbara Guest, y Penélope en la Habana (Ed. Páramo), de Nelo Curti.Escuchar audio

Reimagined composition based on tannoy announcement at Boston Logan Airport. Contains excerpts of Susan Howe reading Barbara Guest's Seeking Air, recorded at the Ear Inn, January 25, 1986. [https://writing.upenn.edu/pennsound/x/Howe.php] Reimagined by Thomas Martin Nutt.

Upcoming Event!How Can Mindfulness Help You Reach Financial Independence?Do you want to reduce money anxiety, but don't know who to trust?Would you like to learn how to set up and manage your own retirement plan?Do you want to know how we create a passive income stream you can't outlive?If yes, join us and learn how to answer the 4 critical financial independence questions:Am I on track for financial independence?What do I need to do to get on track?How do I design a mindful investing portfolio?How do I manage that portfolio and my income over time through changing markets?Learn more: https://courses.mindful.money/financial-independence-bootcampBarbara Friedberg is an MBA, MS, and former portfolio manager, who is committed to investment and money education across multiple platforms. She currently owns and manages Barbara Friedberg Personal Finance.com, which is dedicated to improving investment knowledge and wealth. She consults for a select group of fintech companies and writes for many popular online media outlets. Today, Barbara joins the show to talk about financial influencers, the difference between robo advisors and actual advisors, & what she thinks about investors choosing to pick individual stocks.

Caroline Williamson is a poet and editor. She was born in London, and worked there and in Beijing as a teacher, before turning her hand to editing academic books, museum publications, and a campaigning anti-nuclear magazine. She moved to Melbourne with her Australian partner, where she has worked at Lonely Planet, Museum Victoria and Melbourne University Publishing. Her poems have been published in journals, including Overland, Meanjin, Heat, Rabbit and Cordite, in several Newcastle Prize anthologies, and in Contemporary Australian Feminist Poetry (ed. Bonnie Cassidy and Jessica Wilkinson). Her essay, 'Working Methods: Painting, Poetry and the difficulty of Barbara Guest', based on her masters minor thesis, was published in Jacket magazine #36. Her PhD in creative writing (Monash 2016) examined some of the ways that poets have attempted to deal with climate change in their work, and included a verse narrative dealing with the lives of her coal-mining ancestors in Wales, in the context of what we now know about the damage done by burning fossil fuels. She won the 2014 A. D. Hope prize for the best postgraduate essay presented at the conference of the Association for the Study of Australian Literature, for 'Beyond Generation Green: Jill Jones and the Ecopoetic Process'. Her debut collection of poetry, Time Machines, is published by Vagabond Press.   Picture: Di CousensProduction and Interview: Tina Giannoukos

Read by Barbara Guest Production and Sound Design by Kevin Seaman

This episode explores new research, which has shown how the magnetisation of rocks can be used to find the impact sites of meteorites. --- Read this episode's science poem here.     Read the scientific study that inspired it here. Read ‘Santa Fe Trail' by Barbara Guest here.     --- Music by Rufus Beckett. --- Follow Sam on social media and send in any questions or comments for the podcast: Email: sam.illingworth@gmail.com   Twitter: @samillingworth 

This week I take a look at the poem Dido to Aeneas by Barbara Guest. As a poet Guest tends to create pieces and verse of extreme beauty her language is a decadence all it's own. Often, she will choose to forgo obvious meaning in favour of a kind of lyrical tapestry. What I hope to show in this episode is that, despite this, her work resonates deeply with the human condition.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/or by email : wordsthatburnpodcast@gmail.comThe music in this weeks episode is Gray Drops by Kai Engel and is used under creative commons license. Enjoy his music here: : https://www.kai-engel.com/content-id Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

My program today is the ninth in a series of programs that present poems written by poets living in various geographic regions of the country. Today's program is the third program focusing on New York. I read poems by poets who are part of the New York School of poetry, whose home was Manhattan: Frank O'Hara, Barbara Guest, Kenneth Koch, Bill Zavatsky, and Bernadette Mayer.

Juliana Huxtable & LaTasha N. Nevada Diggs Readings Friday, October 9, 7pm Artists Space Books & Talks 55 Walker Street “Performance is a bothersome word for writerly poets” writes poet Nathaniel Mackey in his essay “Sight-Specific, Sound-Specific…” from 2005. Despite twentieth century poetry’s rich tradition of performance, Mackey notes that in poetry there is often an expectation for words do the performing, as opposed to people or things. Yet, language exists beyond just words, and functions in tandem with images, gestures, bodies and technologies. In this series of readings, distinctions between the language of performance and the performance of language are blurred. Foregrounded are writerly poets who embrace images, gestures, bodies and technologies in the presentation of their poetry – as elements that don’t overshadow their poetics, but are embraced as part of its liveliness, and of reading as a social experience. The series is structured via themes of sound, the body, technology, theater and comedy. These themes offer different formal histories for poets to explore the presentation of poetic language. Juliana Huxtable and LaTasha N. Nevada Diggs both experiment with the effects of audio distortion and sampling. Sophia Le Fraga, Ian Hatcher and Alejandro Miguel Justino Crawford all utilize different digital technologies to question the ground of their poetry. Whitney Claflin and Corina Copp present relational and formal theatrical environments out of which their poetics unfold. There is an invisible architecture often supporting the surface of the poem, interrupting the progress of the poem. It reaches into the poem in search for an identity with the poem, its object is to possess the poem for a brief time, even as an apparition appears. writes Barbara Guest in her poetic essay, “Invisible Architecture” (2000). In this she understands the formal and historical context of the poem as a material that contributes to its meaning – as both apart from and a part of poetic language. Reading functions similarly; it is not a neutral action, but contributes to the meaning of the text presented. In a moment when language and presentation of self alike are understood as multiple, and bound within wider, connected systems, performance becomes a means of making the “invisible architecture” of the poem visible, and activating it as a poetic material in itself. Juliana Huxtable is an artist, poet, performer, and DJ who often uses her own body, gender fluidity, and identity as her primary subject. Huxtable’s work was featured in the 2015 Triennial, Surround Audience at the New Museum, New York (2015), as well as at MoMA PS1, New York (2014); White Columns Annual, White Columns, New York (2014); Take Ecstasy with Me, Whitney Museum of American Art, New York (2014); and Frieze Projects, London (2014), among other venues. She lives and works in New York. For more information click here http://artistsspace.org/programs/huxtable-diggs

Alejandro Miguel Justino Crawford, Ian Hatcher & Sophia Le Fraga Readings Friday, October 16, 7pm Artists Space Books & Talks 55 Walker Street “Performance is a bothersome word for writerly poets” writes poet Nathaniel Mackey in his essay “Sight-Specific, Sound-Specific…” from 2005. Despite twentieth century poetry’s rich tradition of performance, Mackey notes that in poetry there is often an expectation for words do the performing, as opposed to people or things. Yet, language exists beyond just words, and functions in tandem with images, gestures, bodies and technologies. In this series of readings, distinctions between the language of performance and the performance of language are blurred. Foregrounded are writerly poets who embrace images, gestures, bodies and technologies in the presentation of their poetry – as elements that don’t overshadow their poetics, but are embraced as part of its liveliness, and of reading as a social experience. The series is structured via themes of sound, the body, technology, theater and comedy. These themes offer different formal histories for poets to explore the presentation of poetic language. Juliana Huxtable and LaTasha N. Nevada Diggs both experiment with the effects of audio distortion and sampling. Sophia Le Fraga, Ian Hatcher and Alejandro Miguel Justino Crawford all utilize different digital technologies to question the ground of their poetry. Whitney Claflin and Corina Copp present relational and formal theatrical environments from which their poetics unfold. There is an invisible architecture often supporting the surface of the poem, interrupting the progress of the poem. It reaches into the poem in search for an identity with the poem, its object is to possess the poem for a brief time, even as an apparition appears. writes Barbara Guest in her poetic essay, “Invisible Architecture” (2000). In this she understands the formal and historical context of the poem as a material that contributes to its meaning – as both apart from and a part of poetic language. Reading functions similarly; it is not a neutral action, but contributes to the meaning of the text presented. In a moment when language and presentation of self alike are understood as multiple, and bound within wider, connected systems, performance becomes a means of making the “invisible architecture” of the poem visible, and activating it as a poetic material in itself. Ian Hatcher is a writer, programmer, and sound artist whose work explores cognition in context of digital systems. He is the author of Prosthesis (Poor Claudia 2015) and The All-New (Anomalous 2015). With Amaranth Borsuk and Kate Durbin, he is co-creator of Abra, a conjoined analog (artist's book) + digital (iOS app) poetry instrument/spellbook. >> ianhatcher.net For more information click here http://artistsspace.org/programs/crawford-hatcher-le-fraga

Juliana Huxtable & LaTasha N. Nevada Diggs Readings Friday, October 9, 7pm Artists Space Books & Talks 55 Walker Street “Performance is a bothersome word for writerly poets” writes poet Nathaniel Mackey in his essay “Sight-Specific, Sound-Specific…” from 2005. Despite twentieth century poetry’s rich tradition of performance, Mackey notes that in poetry there is often an expectation for words do the performing, as opposed to people or things. Yet, language exists beyond just words, and functions in tandem with images, gestures, bodies and technologies. In this series of readings, distinctions between the language of performance and the performance of language are blurred. Foregrounded are writerly poets who embrace images, gestures, bodies and technologies in the presentation of their poetry – as elements that don’t overshadow their poetics, but are embraced as part of its liveliness, and of reading as a social experience. The series is structured via themes of sound, the body, technology, theater and comedy. These themes offer different formal histories for poets to explore the presentation of poetic language. Juliana Huxtable and LaTasha N. Nevada Diggs both experiment with the effects of audio distortion and sampling. Sophia Le Fraga, Ian Hatcher and Alejandro Miguel Justino Crawford all utilize different digital technologies to question the ground of their poetry. Whitney Claflin and Corina Copp present relational and formal theatrical environments out of which their poetics unfold. There is an invisible architecture often supporting the surface of the poem, interrupting the progress of the poem. It reaches into the poem in search for an identity with the poem, its object is to possess the poem for a brief time, even as an apparition appears. writes Barbara Guest in her poetic essay, “Invisible Architecture” (2000). In this she understands the formal and historical context of the poem as a material that contributes to its meaning – as both apart from and a part of poetic language. Reading functions similarly; it is not a neutral action, but contributes to the meaning of the text presented. In a moment when language and presentation of self alike are understood as multiple, and bound within wider, connected systems, performance becomes a means of making the “invisible architecture” of the poem visible, and activating it as a poetic material in itself. LaTasha N. Nevada Diggs is the author of TwERK (Belladonna, 2013). Her interdisciplinary work has been featured at MoMA, the Walker Art Center and the 2015 Venice Biennale. A native of Harlem, LaTasha is the recipient of numerous awards; of them include New York Foundation for the Arts and the National Endowment for the Arts. For more information click here http://artistsspace.org/programs/huxtable-diggs

Archival recordings of poet Barbara Guest, with an introduction to her life and work. Recorded 1969, Library of Congress, Washington, DC.

Barbara Guest Selected Poems; Fair Realism (Sun & Moon) "What; is Truth?" is the central questionof Modern Poetry. Barbara Guest approaches that question delicately, wittily and unpretentiously.