Podcast appearances and mentions of David Ferry

On this Weeks Episode Will, Ian and Nora Suffer through a movie so you don't have to. That's right, they revisit a 25 yr old "cult classic", a film that some could argue helped define a generation of young men. A movie that has a "philosophy" that bleeds directly into MAGA. A movie so many will defend as Campy fun, when it reality is a massive turd that deceived many a youth, and wasn't good enough to revisit, just maintain a pedestaled place in the minds of many (mostly men). We throw some takes folks may consider "Hot", but are in fact, and should be, Cold at this point. Because they are true. Just look at the critic/audience score disparity on Rotten Tomatoes, it's a bad movie, it's- THE BOONDOCK SAINTS (1999) R. 108 minutes Directed & Written by: Troy Duffy. Starring: Sean Patrick Flannery, Norman Reedus, Willem Dafoe, Billy Connelly, David Della Rocca, Bob Marley, David Ferry, Brian Mahoney, Ron Jeremy, and other people.... 00:01:00- First Thoughts 00:14:30- Whatcha Been Watchin'? (Will- Dune: Prophecy, Day of the Jackal, Red One, Venom 3: The Last Dance. Ian- The Wild Robot, An Almost Christmas Story, Toast of London, St. Denis Medical- Nora- Star Wars Burlesque (The Empire Strips Back. Live Show), Vertigo, Interview with a Vampire (TV Series), The Penguin.) 00:23:00- THE BOONDOCK SAINTS (1999) 00:27:30- Tasty Morsels 00:33:00- Rating/Review 01:12:30- Totals 01:13:30- Next Week/Bye Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/THELastActionCritics⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: @TheLastActionCritics email: Thelastactioncritics@gmail.com Next Week: WICKED

In Memoriam: David Ferry (1924-2023) In this Recall This Book conversation from 2021, poets David Ferry and Roger Reeves talk about lyric, epic, and the underworld. The underworld, that repository of the Shades of the Dead, gets a lot of traffic from heroes (Gilgamesh, Theseus, Odysseus, Aeneas) and poets (Orpheus, Virgil, Dante). Some come down for information or in hopes of rescuing or just seeing their loved ones, or perhaps for a sense of comfort in their grief. They often find those they have loved, but they rarely can bring them back. Comfort they never find, at least not in any easy way. The poets talk about David's poem Resemblance, in which he sees his father, whose grave he just visited, eating in the corner of a small New Jersey restaurant and “listening to a conversation/With two or three others—Shades of the Dead come back/From where they went to when they went away?” "I feel the feathers softly gather upon My shoulders and my arms, becoming wings. Melodious bird I'll fly above the moaning Bosphorus, more glorious than Icarus, I'll coast along above the coast of Sidra And over the fabled far north Hyperborean steppes." -- from "To Maecenas", The Odes of Horace, II: 20. Their tongues are ashes when they'd speak to us. David Ferry, “Resemblance” Roger reads “Grendel's Mother,” in which the worlds of Grendel and Orpheus and George Floyd coexist but do not resemble each other, and where Grendel's mother hears her dying son and refuses the heaven he might be called to, since entering it means he'd have to die. Henry Justice Ford, ‘Grendel's Mother Drags Beowulf to the Bottom Of The Lake', 1899 So furious. So furious, I was, When my son called to me, called me out Of heaven to come to the crag and corner store Where it was that he was dying, “Mama, I can't breathe;” even now I hear it— Roger Reeves, “Grendel's Mother” Mentioned in this episode David Ferry, Bewilderment: New Poems and Translations, University of Chicago Press Virgil, The Aeneid, translated by David Ferry, University of Chicago Press Horace, The Odes of Horace, translated by David Ferry, Farrar, Strauss, and Giroux Roger Reeves, King Me, Copper Canyon Press Roger Reeves, Best Barbarian, W.W. Norton Press Jonathan Culler, Theory of the Lyric, Harvard University Press Read transcript of the episode here. Listen to the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Memoriam: David Ferry (1924-2023) In this Recall This Book conversation from 2021, poets David Ferry and Roger Reeves talk about lyric, epic, and the underworld. The underworld, that repository of the Shades of the Dead, gets a lot of traffic from heroes (Gilgamesh, Theseus, Odysseus, Aeneas) and poets (Orpheus, Virgil, Dante). Some come down for information or in hopes of rescuing or just seeing their loved ones, or perhaps for a sense of comfort in their grief. They often find those they have loved, but they rarely can bring them back. Comfort they never find, at least not in any easy way. The poets talk about David's poem Resemblance, in which he sees his father, whose grave he just visited, eating in the corner of a small New Jersey restaurant and “listening to a conversation/With two or three others—Shades of the Dead come back/From where they went to when they went away?” "I feel the feathers softly gather upon My shoulders and my arms, becoming wings. Melodious bird I'll fly above the moaning Bosphorus, more glorious than Icarus, I'll coast along above the coast of Sidra And over the fabled far north Hyperborean steppes." -- from "To Maecenas", The Odes of Horace, II: 20. Their tongues are ashes when they'd speak to us. David Ferry, “Resemblance” Roger reads “Grendel's Mother,” in which the worlds of Grendel and Orpheus and George Floyd coexist but do not resemble each other, and where Grendel's mother hears her dying son and refuses the heaven he might be called to, since entering it means he'd have to die. Henry Justice Ford, ‘Grendel's Mother Drags Beowulf to the Bottom Of The Lake', 1899 So furious. So furious, I was, When my son called to me, called me out Of heaven to come to the crag and corner store Where it was that he was dying, “Mama, I can't breathe;” even now I hear it— Roger Reeves, “Grendel's Mother” Mentioned in this episode David Ferry, Bewilderment: New Poems and Translations, University of Chicago Press Virgil, The Aeneid, translated by David Ferry, University of Chicago Press Horace, The Odes of Horace, translated by David Ferry, Farrar, Strauss, and Giroux Roger Reeves, King Me, Copper Canyon Press Roger Reeves, Best Barbarian, W.W. Norton Press Jonathan Culler, Theory of the Lyric, Harvard University Press Read transcript of the episode here. Listen to the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In Memoriam: David Ferry (1924-2023) In this Recall This Book conversation from 2021, poets David Ferry and Roger Reeves talk about lyric, epic, and the underworld. The underworld, that repository of the Shades of the Dead, gets a lot of traffic from heroes (Gilgamesh, Theseus, Odysseus, Aeneas) and poets (Orpheus, Virgil, Dante). Some come down for information or in hopes of rescuing or just seeing their loved ones, or perhaps for a sense of comfort in their grief. They often find those they have loved, but they rarely can bring them back. Comfort they never find, at least not in any easy way. The poets talk about David's poem Resemblance, in which he sees his father, whose grave he just visited, eating in the corner of a small New Jersey restaurant and “listening to a conversation/With two or three others—Shades of the Dead come back/From where they went to when they went away?” "I feel the feathers softly gather upon My shoulders and my arms, becoming wings. Melodious bird I'll fly above the moaning Bosphorus, more glorious than Icarus, I'll coast along above the coast of Sidra And over the fabled far north Hyperborean steppes." -- from "To Maecenas", The Odes of Horace, II: 20. Their tongues are ashes when they'd speak to us. David Ferry, “Resemblance” Roger reads “Grendel's Mother,” in which the worlds of Grendel and Orpheus and George Floyd coexist but do not resemble each other, and where Grendel's mother hears her dying son and refuses the heaven he might be called to, since entering it means he'd have to die. Henry Justice Ford, ‘Grendel's Mother Drags Beowulf to the Bottom Of The Lake', 1899 So furious. So furious, I was, When my son called to me, called me out Of heaven to come to the crag and corner store Where it was that he was dying, “Mama, I can't breathe;” even now I hear it— Roger Reeves, “Grendel's Mother” Mentioned in this episode David Ferry, Bewilderment: New Poems and Translations, University of Chicago Press Virgil, The Aeneid, translated by David Ferry, University of Chicago Press Horace, The Odes of Horace, translated by David Ferry, Farrar, Strauss, and Giroux Roger Reeves, King Me, Copper Canyon Press Roger Reeves, Best Barbarian, W.W. Norton Press Jonathan Culler, Theory of the Lyric, Harvard University Press Read transcript of the episode here. Listen to the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Memoriam: David Ferry (1924-2023) In this Recall This Book conversation from 2021, poets David Ferry and Roger Reeves talk about lyric, epic, and the underworld. The underworld, that repository of the Shades of the Dead, gets a lot of traffic from heroes (Gilgamesh, Theseus, Odysseus, Aeneas) and poets (Orpheus, Virgil, Dante). Some come down for information or in hopes of rescuing or just seeing their loved ones, or perhaps for a sense of comfort in their grief. They often find those they have loved, but they rarely can bring them back. Comfort they never find, at least not in any easy way. The poets talk about David's poem Resemblance, in which he sees his father, whose grave he just visited, eating in the corner of a small New Jersey restaurant and “listening to a conversation/With two or three others—Shades of the Dead come back/From where they went to when they went away?” "I feel the feathers softly gather upon My shoulders and my arms, becoming wings. Melodious bird I'll fly above the moaning Bosphorus, more glorious than Icarus, I'll coast along above the coast of Sidra And over the fabled far north Hyperborean steppes." -- from "To Maecenas", The Odes of Horace, II: 20. Their tongues are ashes when they'd speak to us. David Ferry, “Resemblance” Roger reads “Grendel's Mother,” in which the worlds of Grendel and Orpheus and George Floyd coexist but do not resemble each other, and where Grendel's mother hears her dying son and refuses the heaven he might be called to, since entering it means he'd have to die. Henry Justice Ford, ‘Grendel's Mother Drags Beowulf to the Bottom Of The Lake', 1899 So furious. So furious, I was, When my son called to me, called me out Of heaven to come to the crag and corner store Where it was that he was dying, “Mama, I can't breathe;” even now I hear it— Roger Reeves, “Grendel's Mother” Mentioned in this episode David Ferry, Bewilderment: New Poems and Translations, University of Chicago Press Virgil, The Aeneid, translated by David Ferry, University of Chicago Press Horace, The Odes of Horace, translated by David Ferry, Farrar, Strauss, and Giroux Roger Reeves, King Me, Copper Canyon Press Roger Reeves, Best Barbarian, W.W. Norton Press Jonathan Culler, Theory of the Lyric, Harvard University Press Read transcript of the episode here. Listen to the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

In this week's episode of the end of innocence, we continue to look at the Jim Garrison investigation into the murder of President John F. Kennedy. Just as Garrison's star witness, David Ferry is murdered, a new name arises in the investigation, Perry Raymond Russo. What Russo says he saw and heard in the month's leading up to the investigation is shocking. But can he be trusted?

RMR 0229: Join your hosts Bryan Frye, Lizzy Haynes and Dustin Melbardis for the Retro Movie Roundtable as they revisit The Boondock Saints (1999) [R] Genre: Action, Thriller, Crime Starring: Willem Dafoe, Sean Patrick Flanery, Norman Reedus, David Della Rocco, Billy Connolly, David Ferry, Brian Mahoney, Bob Marley, Richard Fitzpatrick, William Young, Robert Pemberton, Bill Craig, Dot-Marie Jones, Scott Griffith, Layton Morrison, James Binkley, Matthew Chaffee, Robert Eaton, Kym Kristalie, Gerard Parkes   Director: Troy Duffy Recorded on 2023-08-16

Welcome back to purgatory!!! This week the boys talk about a truly bizzar little film called Resurrection from 1999 directed by the underrated Russell Mulcahy and starring Christopher Lambert, Leland Orser, Robert Joy, Rick Fox, David Ferry, David Cronenberg and Barbara Tyson. Thanks for checkin us out, you can find our back catalogue on podbean.com Intro track "Hustle" by Peyruis" https://youtu.be/D1B3p7PtdZA Outro track "Skeleton Christ" by Salyer  https://youtu.be/uOV56JKiL_A

"For me, there is something so solid and comforting in stone" says Sassan Tabatabai in our conversation, and in his poem "Firestones" the words roll, weigh and satisfyingly click together. Firestones I was collecting rocks on the Cardiff coast, a testimony to centuries of silt left on the shore, of sediment pressed into stone: sandstone, shale, tufa, travertine, jasper, flint. There was the stone that knew the sadness of the sea, that saved its secrets. It was pock-marked with holes and lay half-buried in sand eager to save the ocean's spray, like tears, in its miniature pools. There was the stone that always rolled in place. It had rolled round and round with each wave, desperately trying to control the tide. The was the stone that shoe rings upon rings placed by the seas over the years, that kept time for the Pacific. There were stones that breathed sulfur, that sparked when they touched. Unremarkable in luster or shine, they were the lovers of the ocean, firestones whose sparks were not dampened by salty waves (but they only made sense in pairs). And there was this one, more white, more brilliant, more polished than any stone. But it was once upon a shell; it needed centuries to become stone. It was a counterfeit firestone: it did not breathe sulfur, it could not make sparks. I traced my steps back along the Cardiff coast and the stones I returned to the sands. The ocean's secrets would be well-kept by the stones: its tears would be stored in pools, its tides kept in check, its years measured in rungs. But love itself I could not leave on the beach. I kept the firestones. Discussing this poem with Sassan, we touched on Scholar's stones came up and also Gerard Manley Hopkins's journals full of words/names. From here we moved to other poems and poems and Sassan's work in different languages (Persian, English), poetic traditions (haiku, Sufi poetry, ghazal) and activities (writing, translation, teaching). His dissertation on Persian poet Rudaki is mentioned. His "messy" practice across these many boundaries expresses a kind of playful profusion, ultimately rooted in sound, word, and the music of the lines. *Qazal* As a boy, I waited for the smile to appear in you. Listened for echoes of the sigh I could hear in you. You are the mirror where I have sought the beloved: Her hyacinth curls, a nod, a wink. a tear, in you. In the marketplace you can learn your future for a price. They are merchants of fate; I see the seer in you. What had been buried under the scriupture's weight, Its truth, without words or incense, becomes clear in you. They who bind you on the altar of sacrifice Hide behind masks; don't let them smell the fear in you. As I approach the house lit by dawn's blue light, Step by step, I lose myself, I disappear in you. We closed out our talk with a reading of Sassan's translation of David Ferry's "Resemblance" (also featured in episode 55), with the Persian and English stanzas alternating. Sassan's book Ferry to Malta will be out in April, and you can hear him read and discuss his work April 27th at Brookline Booksmith. Read the transcript here 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

"For me, there is something so solid and comforting in stone" says Sassan Tabatabai in our conversation, and in his poem "Firestones" the words roll, weigh and satisfyingly click together. Firestones I was collecting rocks on the Cardiff coast, a testimony to centuries of silt left on the shore, of sediment pressed into stone: sandstone, shale, tufa, travertine, jasper, flint. There was the stone that knew the sadness of the sea, that saved its secrets. It was pock-marked with holes and lay half-buried in sand eager to save the ocean's spray, like tears, in its miniature pools. There was the stone that always rolled in place. It had rolled round and round with each wave, desperately trying to control the tide. The was the stone that shoe rings upon rings placed by the seas over the years, that kept time for the Pacific. There were stones that breathed sulfur, that sparked when they touched. Unremarkable in luster or shine, they were the lovers of the ocean, firestones whose sparks were not dampened by salty waves (but they only made sense in pairs). And there was this one, more white, more brilliant, more polished than any stone. But it was once upon a shell; it needed centuries to become stone. It was a counterfeit firestone: it did not breathe sulfur, it could not make sparks. I traced my steps back along the Cardiff coast and the stones I returned to the sands. The ocean's secrets would be well-kept by the stones: its tears would be stored in pools, its tides kept in check, its years measured in rungs. But love itself I could not leave on the beach. I kept the firestones. Discussing this poem with Sassan, we touched on Scholar's stones came up and also Gerard Manley Hopkins's journals full of words/names. From here we moved to other poems and poems and Sassan's work in different languages (Persian, English), poetic traditions (haiku, Sufi poetry, ghazal) and activities (writing, translation, teaching). His dissertation on Persian poet Rudaki is mentioned. His "messy" practice across these many boundaries expresses a kind of playful profusion, ultimately rooted in sound, word, and the music of the lines. *Qazal* As a boy, I waited for the smile to appear in you. Listened for echoes of the sigh I could hear in you. You are the mirror where I have sought the beloved: Her hyacinth curls, a nod, a wink. a tear, in you. In the marketplace you can learn your future for a price. They are merchants of fate; I see the seer in you. What had been buried under the scriupture's weight, Its truth, without words or incense, becomes clear in you. They who bind you on the altar of sacrifice Hide behind masks; don't let them smell the fear in you. As I approach the house lit by dawn's blue light, Step by step, I lose myself, I disappear in you. We closed out our talk with a reading of Sassan's translation of David Ferry's "Resemblance" (also featured in episode 55), with the Persian and English stanzas alternating. Sassan's book Ferry to Malta will be out in April, and you can hear him read and discuss his work April 27th at Brookline Booksmith. Read the transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices

"For me, there is something so solid and comforting in stone" says Sassan Tabatabai in our conversation, and in his poem "Firestones" the words roll, weigh and satisfyingly click together. Firestones I was collecting rocks on the Cardiff coast, a testimony to centuries of silt left on the shore, of sediment pressed into stone: sandstone, shale, tufa, travertine, jasper, flint. There was the stone that knew the sadness of the sea, that saved its secrets. It was pock-marked with holes and lay half-buried in sand eager to save the ocean's spray, like tears, in its miniature pools. There was the stone that always rolled in place. It had rolled round and round with each wave, desperately trying to control the tide. The was the stone that shoe rings upon rings placed by the seas over the years, that kept time for the Pacific. There were stones that breathed sulfur, that sparked when they touched. Unremarkable in luster or shine, they were the lovers of the ocean, firestones whose sparks were not dampened by salty waves (but they only made sense in pairs). And there was this one, more white, more brilliant, more polished than any stone. But it was once upon a shell; it needed centuries to become stone. It was a counterfeit firestone: it did not breathe sulfur, it could not make sparks. I traced my steps back along the Cardiff coast and the stones I returned to the sands. The ocean's secrets would be well-kept by the stones: its tears would be stored in pools, its tides kept in check, its years measured in rungs. But love itself I could not leave on the beach. I kept the firestones. Discussing this poem with Sassan, we touched on Scholar's stones came up and also Gerard Manley Hopkins's journals full of words/names. From here we moved to other poems and poems and Sassan's work in different languages (Persian, English), poetic traditions (haiku, Sufi poetry, ghazal) and activities (writing, translation, teaching). His dissertation on Persian poet Rudaki is mentioned. His "messy" practice across these many boundaries expresses a kind of playful profusion, ultimately rooted in sound, word, and the music of the lines. *Qazal* As a boy, I waited for the smile to appear in you. Listened for echoes of the sigh I could hear in you. You are the mirror where I have sought the beloved: Her hyacinth curls, a nod, a wink. a tear, in you. In the marketplace you can learn your future for a price. They are merchants of fate; I see the seer in you. What had been buried under the scriupture's weight, Its truth, without words or incense, becomes clear in you. They who bind you on the altar of sacrifice Hide behind masks; don't let them smell the fear in you. As I approach the house lit by dawn's blue light, Step by step, I lose myself, I disappear in you. We closed out our talk with a reading of Sassan's translation of David Ferry's "Resemblance" (also featured in episode 55), with the Persian and English stanzas alternating. Sassan's book Ferry to Malta will be out in April, and you can hear him read and discuss his work April 27th at Brookline Booksmith. Read the transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

"For me, there is something so solid and comforting in stone" says Sassan Tabatabai in our conversation, and in his poem "Firestones" the words roll, weigh and satisfyingly click together. Firestones I was collecting rocks on the Cardiff coast, a testimony to centuries of silt left on the shore, of sediment pressed into stone: sandstone, shale, tufa, travertine, jasper, flint. There was the stone that knew the sadness of the sea, that saved its secrets. It was pock-marked with holes and lay half-buried in sand eager to save the ocean's spray, like tears, in its miniature pools. There was the stone that always rolled in place. It had rolled round and round with each wave, desperately trying to control the tide. The was the stone that shoe rings upon rings placed by the seas over the years, that kept time for the Pacific. There were stones that breathed sulfur, that sparked when they touched. Unremarkable in luster or shine, they were the lovers of the ocean, firestones whose sparks were not dampened by salty waves (but they only made sense in pairs). And there was this one, more white, more brilliant, more polished than any stone. But it was once upon a shell; it needed centuries to become stone. It was a counterfeit firestone: it did not breathe sulfur, it could not make sparks. I traced my steps back along the Cardiff coast and the stones I returned to the sands. The ocean's secrets would be well-kept by the stones: its tears would be stored in pools, its tides kept in check, its years measured in rungs. But love itself I could not leave on the beach. I kept the firestones. Discussing this poem with Sassan, we touched on Scholar's stones came up and also Gerard Manley Hopkins's journals full of words/names. From here we moved to other poems and poems and Sassan's work in different languages (Persian, English), poetic traditions (haiku, Sufi poetry, ghazal) and activities (writing, translation, teaching). His dissertation on Persian poet Rudaki is mentioned. His "messy" practice across these many boundaries expresses a kind of playful profusion, ultimately rooted in sound, word, and the music of the lines. *Qazal* As a boy, I waited for the smile to appear in you. Listened for echoes of the sigh I could hear in you. You are the mirror where I have sought the beloved: Her hyacinth curls, a nod, a wink. a tear, in you. In the marketplace you can learn your future for a price. They are merchants of fate; I see the seer in you. What had been buried under the scriupture's weight, Its truth, without words or incense, becomes clear in you. They who bind you on the altar of sacrifice Hide behind masks; don't let them smell the fear in you. As I approach the house lit by dawn's blue light, Step by step, I lose myself, I disappear in you. We closed out our talk with a reading of Sassan's translation of David Ferry's "Resemblance" (also featured in episode 55), with the Persian and English stanzas alternating. Sassan's book Ferry to Malta will be out in April, and you can hear him read and discuss his work April 27th at Brookline Booksmith. Read the transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

"For me, there is something so solid and comforting in stone" says Sassan Tabatabai in our conversation, and in his poem "Firestones" the words roll, weigh and satisfyingly click together. Firestones I was collecting rocks on the Cardiff coast, a testimony to centuries of silt left on the shore, of sediment pressed into stone: sandstone, shale, tufa, travertine, jasper, flint. There was the stone that knew the sadness of the sea, that saved its secrets. It was pock-marked with holes and lay half-buried in sand eager to save the ocean's spray, like tears, in its miniature pools. There was the stone that always rolled in place. It had rolled round and round with each wave, desperately trying to control the tide. The was the stone that shoe rings upon rings placed by the seas over the years, that kept time for the Pacific. There were stones that breathed sulfur, that sparked when they touched. Unremarkable in luster or shine, they were the lovers of the ocean, firestones whose sparks were not dampened by salty waves (but they only made sense in pairs). And there was this one, more white, more brilliant, more polished than any stone. But it was once upon a shell; it needed centuries to become stone. It was a counterfeit firestone: it did not breathe sulfur, it could not make sparks. I traced my steps back along the Cardiff coast and the stones I returned to the sands. The ocean's secrets would be well-kept by the stones: its tears would be stored in pools, its tides kept in check, its years measured in rungs. But love itself I could not leave on the beach. I kept the firestones. Discussing this poem with Sassan, we touched on Scholar's stones came up and also Gerard Manley Hopkins's journals full of words/names. From here we moved to other poems and poems and Sassan's work in different languages (Persian, English), poetic traditions (haiku, Sufi poetry, ghazal) and activities (writing, translation, teaching). His dissertation on Persian poet Rudaki is mentioned. His "messy" practice across these many boundaries expresses a kind of playful profusion, ultimately rooted in sound, word, and the music of the lines. *Qazal* As a boy, I waited for the smile to appear in you. Listened for echoes of the sigh I could hear in you. You are the mirror where I have sought the beloved: Her hyacinth curls, a nod, a wink. a tear, in you. In the marketplace you can learn your future for a price. They are merchants of fate; I see the seer in you. What had been buried under the scriupture's weight, Its truth, without words or incense, becomes clear in you. They who bind you on the altar of sacrifice Hide behind masks; don't let them smell the fear in you. As I approach the house lit by dawn's blue light, Step by step, I lose myself, I disappear in you. We closed out our talk with a reading of Sassan's translation of David Ferry's "Resemblance" (also featured in episode 55), with the Persian and English stanzas alternating. Sassan's book Ferry to Malta will be out in April, and you can hear him read and discuss his work April 27th at Brookline Booksmith. Read the transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

‘My friend, whom I loved so dear, who with me went through every danger,my friend Enkidu, whom I loved so dear, who with me went through every danger:‘the doom of mortals overtook him. Six days I wept for him and seven nights.I did not surrender his body for burial, until a maggot dropped from his nostril.‘Then I was afraid that I too would die, I grew fearful of death, and so wander the wild.‘What became of my friend was too much to bear, so on a far road I wander the wild;what became of my friend Enkidu was too much to bear,] so on a far path I wander the wild.‘How can I keep silent? How can I stay quiet? My friend, whom I loved, has turned to clay,my friend Enkidu, whom I loved, has turned to clay. Shall I not be like him and also lie down,never to rise again, through all eternity?'The Epic of Gilgamesh is a very old poem. The Standard Babylonian version of it was redacted over three thousand years ago by an editor and poet named Sîn-lēqi-unninni, but much of the material he compiled was even older than that. The poem describes Gilgamesh, the king of Uruk, two-thirds divine and one-third human, who is so superior to everyone else that the gods must create a companion for him. That companion is Enkidu, a bestial man who must be carefully brought into civilization. Their relationship — and the questions that arise after the gods condemn Enkidu to an early death — are still compelling several thousand years later. Chris and Suzanne explore this fragmentary monument of ancient literature, and think about what choices a translator (and a reader!) have to make when engaging with it.SHOW NOTES.The Epic of Gilgamesh, as translated by Andrew George, N.K. Sandars, Sophus Helle, and David Ferry. [Many others are available!]Our episode on The Iliad.On cuneiform writing.In a very different context, Chris has talked about Gilgamesh on a podcast before.Michael Schmidt: Gilgamesh: The Life of a Poem, an accessible book-length overview of the poem.Next: Sophocles: Antigone. [Bookshop.]And our 2023 reading list, if you want to read ahead! (Some books may change. We are fickle.)Support The Spouter-Inn on Patreon. Thanks!

In classical narrative poetry, there's these formulaic repetitions that come up, right? And then we have these very weird formulaic repetitions that come up in Blind Owl. And I think the function is completely the opposite in the classical works and in this modern work. [In classical poetic narratives, repetitions] keep the reader kind of grounded. It's that same familiar signpost that keeps you on the right track. When we get to Blind Owl, when we get these very odd repetitions … it unhinges the reader, right? It makes you feel like you're in some weird dream and you can't get up.Sassan Tabatabai is a poet, translator, and scholar of Medieval Persian literature. He is Master Lecturer in World Languages and Literatures and the Core Curriculum, and Coordinator of the Persian Language Program at Boston University. His translations of Persian poetry have appeared in numerous journals, and he is the author of Father of Persian Verse: Rudaki and His Poetry, Sufi Haiku, and Uzunburun: Poems. He is also the translator of the novel Blind Owl by Sadeq Hedayat, published by Penguin Classics. His forthcoming books, both scheduled for release in spring 2023 are Ferry to Malta: Poems and Translations, and a Persian translation of the poetry of David Ferry.He joins Suzanne and Chris to talk about the challenges in translating prose and poetry, and to further explore the influences and the intricacies of Sadeq Hedayat's novel Blind Owl.SHOW NOTES.Sassan Tabatabai on Twitter.Sassan Tabatabai's books and translations: Blind Owl. Father of Persian Verse: Rudaki and His Poetry. Sufi Haiku. Uzunburun: Poems. Also some translations of Rumi.Our episodes on Blind Owl, The Conference of the Birds, and Frankenstein.Support The Spouter-Inn on Patreon. Thank you!

NB: I twice, inexplicably claim that the name “Sestius” doesn't appear in David Ferry's translation of Horace i.4. It obviously does.Get bonus episodes by subscribing to the SLEERICKETS Secret Show!Wear SLEERICKETS t-shirts and hoodies. They look good!Some of the topics mentioned in this episode:– Hyperbole by Belinda Rule– Pam Brown– Ken Bolton– John Forbes– Louise Gluck– The Sewanee Review– Good poet and editor Eric Smith– Sick Leave– Harry Reid– Mitch Hedberg– Steven Wright– William Logan– Alice's conversation with Harry Reid– Horace ii.14– Horace i.6– Horace iv.2– Horace i.4– Alice's fantastic two-part John Forbes Episode– The Odes of Horace trans. David Ferry– The Essential Horace trans. Burton Raffel– Death, an Ode by John Forbes– The David Ferry interview in Literary Matters– Death Be Not Proud by John Donne– Andrew Zawacki– Brian Henry– A. E. Housman– Philip Larkin– A. E. Stallings– Alan Shapiro– Shane McCrae– Joshua Mehigan– Ethan McGuire– Ryan Wilson– Jonathan Farmer– Pindar– Those Winter Sundays by Robert HaydenEmail: sleerickets [at] gmail [dot] comTwitter: @BPlatzerSister Podcast (Alice): Poetry SaysEratosphere (Cameron): W T ClarkMusic by ETRNLArt by Daniel Alexander Smith

Since the original airing of this episode in June 2021, Roger Reeves' second book Error! Hyperlink reference not valid. was published by W.W. Norton, and the paperback edition of David Ferry's translation of The Aeneid was published by the University of Chicago Press. The underworld, that repository of the Shades of the Dead, gets a lot of traffic from heroes (Gilgamesh, Theseus, Odysseus, Aeneas) and poets (Orpheus, Virgil, Dante). Some come down for information or in hopes of rescuing or just seeing their loved ones, or perhaps for a sense of comfort in their grief. They often find those they have loved, but they rarely can bring them back. Comfort they never find, at least not in any easy way. In conversation with Elizabeth for this episode of Recall this Book, originally broadcast back in 2021, poets Roger Reeves and David Ferry join the procession through the underworld, each one leading the other. They talk about David's poem Resemblance, in which he sees his father, whose grave he just visited, eating in the corner of a small New Jersey restaurant and “listening to a conversation/With two or three others—Shades of the Dead come back/From where they went to when they went away?” Roger reads “Grendel's Mother,” in which the worlds of Grendel and Orpheus and George Floyd coexist but do not resemble each other, and where Grendel's mother hears her dying son and refuses the heaven he might be called to, since entering it means he'd have to die. Mentioned in this episode David Ferry, Bewilderment: New Poems and Translations, University of Chicago Press Virgil, The Aeneid, translated by David Ferry, University of Chicago Press Roger Reeves, Error! Hyperlink reference not valid., Copper Canyon Press Jonathan Culler, Theory of the Lyric , Harvard University Press. Read transcript of the episode here. 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

Since the original airing of this episode in June 2021, Roger Reeves' second book Best Barbarian was published by W. W. Norton, and the paperback edition of David Ferry's translation of The Aeneid was published by the University of Chicago Press. The underworld, that repository of the Shades of the Dead, gets a lot of traffic from heroes (Gilgamesh, Theseus, Odysseus, Aeneas) and poets (Orpheus, Virgil, Dante). Some come down for information or in hopes of rescuing or just seeing their loved ones, or perhaps for a sense of comfort in their grief. They often find those they have loved, but they rarely can bring them back. Comfort they never find, at least not in any easy way. In conversation with Elizabeth for this episode of Recall this Book, originally broadcast back in 2021, poets Roger Reeves and David Ferry join the procession through the underworld, each one leading the other. They talk about David's poem Resemblance, in which he sees his father, whose grave he just visited, eating in the corner of a small New Jersey restaurant and “listening to a conversation/With two or three others—Shades of the Dead come back/From where they went to when they went away?” Roger reads “Grendel's Mother,” in which the worlds of Grendel and Orpheus and George Floyd coexist but do not resemble each other, and where Grendel's mother hears her dying son and refuses the heaven he might be called to, since entering it means he'd have to die. Mentioned in this episode David Ferry, Bewilderment: New Poems and Translations, University of Chicago Press Virgil, The Aeneid, translated by David Ferry, University of Chicago Press Roger Reeves, King Me, Copper Canyon Press Jonathan Culler, Theory of the Lyric , Harvard University Press. Read transcript of the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Since the original airing of this episode in June 2021, Roger Reeves' second book Error! Hyperlink reference not valid. was published by W.W. Norton, and the paperback edition of David Ferry's translation of The Aeneid was published by the University of Chicago Press. The underworld, that repository of the Shades of the Dead, gets a lot of traffic from heroes (Gilgamesh, Theseus, Odysseus, Aeneas) and poets (Orpheus, Virgil, Dante). Some come down for information or in hopes of rescuing or just seeing their loved ones, or perhaps for a sense of comfort in their grief. They often find those they have loved, but they rarely can bring them back. Comfort they never find, at least not in any easy way. In conversation with Elizabeth for this episode of Recall this Book, originally broadcast back in 2021, poets Roger Reeves and David Ferry join the procession through the underworld, each one leading the other. They talk about David's poem Resemblance, in which he sees his father, whose grave he just visited, eating in the corner of a small New Jersey restaurant and “listening to a conversation/With two or three others—Shades of the Dead come back/From where they went to when they went away?” Roger reads “Grendel's Mother,” in which the worlds of Grendel and Orpheus and George Floyd coexist but do not resemble each other, and where Grendel's mother hears her dying son and refuses the heaven he might be called to, since entering it means he'd have to die. Mentioned in this episode David Ferry, Bewilderment: New Poems and Translations, University of Chicago Press Virgil, The Aeneid, translated by David Ferry, University of Chicago Press Roger Reeves, Error! Hyperlink reference not valid., Copper Canyon Press Jonathan Culler, Theory of the Lyric , Harvard University Press. Read transcript of the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Since the original airing of this episode in June 2021, Roger Reeves' second book Error! Hyperlink reference not valid. was published by W.W. Norton, and the paperback edition of David Ferry's translation of The Aeneid was published by the University of Chicago Press. The underworld, that repository of the Shades of the Dead, gets a lot of traffic from heroes (Gilgamesh, Theseus, Odysseus, Aeneas) and poets (Orpheus, Virgil, Dante). Some come down for information or in hopes of rescuing or just seeing their loved ones, or perhaps for a sense of comfort in their grief. They often find those they have loved, but they rarely can bring them back. Comfort they never find, at least not in any easy way. In conversation with Elizabeth for this episode of Recall this Book, originally broadcast back in 2021, poets Roger Reeves and David Ferry join the procession through the underworld, each one leading the other. They talk about David's poem Resemblance, in which he sees his father, whose grave he just visited, eating in the corner of a small New Jersey restaurant and “listening to a conversation/With two or three others—Shades of the Dead come back/From where they went to when they went away?” Roger reads “Grendel's Mother,” in which the worlds of Grendel and Orpheus and George Floyd coexist but do not resemble each other, and where Grendel's mother hears her dying son and refuses the heaven he might be called to, since entering it means he'd have to die. Mentioned in this episode David Ferry, Bewilderment: New Poems and Translations, University of Chicago Press Virgil, The Aeneid, translated by David Ferry, University of Chicago Press Roger Reeves, Error! Hyperlink reference not valid., Copper Canyon Press Jonathan Culler, Theory of the Lyric , Harvard University Press. Read transcript of the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Since the original airing of this episode in June 2021, Roger Reeves' second book Error! Hyperlink reference not valid. was published by W.W. Norton, and the paperback edition of David Ferry's translation of The Aeneid was published by the University of Chicago Press. The underworld, that repository of the Shades of the Dead, gets a lot of traffic from heroes (Gilgamesh, Theseus, Odysseus, Aeneas) and poets (Orpheus, Virgil, Dante). Some come down for information or in hopes of rescuing or just seeing their loved ones, or perhaps for a sense of comfort in their grief. They often find those they have loved, but they rarely can bring them back. Comfort they never find, at least not in any easy way. In conversation with Elizabeth for this episode of Recall this Book, originally broadcast back in 2021, poets Roger Reeves and David Ferry join the procession through the underworld, each one leading the other. They talk about David's poem Resemblance, in which he sees his father, whose grave he just visited, eating in the corner of a small New Jersey restaurant and “listening to a conversation/With two or three others—Shades of the Dead come back/From where they went to when they went away?” Roger reads “Grendel's Mother,” in which the worlds of Grendel and Orpheus and George Floyd coexist but do not resemble each other, and where Grendel's mother hears her dying son and refuses the heaven he might be called to, since entering it means he'd have to die. Mentioned in this episode David Ferry, Bewilderment: New Poems and Translations, University of Chicago Press Virgil, The Aeneid, translated by David Ferry, University of Chicago Press Roger Reeves, Error! Hyperlink reference not valid., Copper Canyon Press Jonathan Culler, Theory of the Lyric , Harvard University Press. Read transcript of the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Mr. Doyle and Ms. Dunne read and discuss the second half of tablet eleven from Gilgamesh: A New Rendering in English Verse by David Ferry.

A reading from the beginning of Virgil great poem of farming and nature, Georgics, in the translation by David Ferry. There will be more readings from this book to come. Any comments, or suggestions for readings I should make in later episodes, can be emailed to humanvoiceswakus1@gmail.com. I assume that the small amount of work presented in each episode constitutes fair use. Publishers, authors, or other copyright holders who would prefer to not have their work presented here can also email me at humanvoiceswakus1@gmail.com, and I will remove the episode immediately. --- Support this podcast: https://anchor.fm/humanvoiceswakeus/support

Amanda Holmes reads Horace's poem “To Licinius,” translated by David Ferry. Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman.This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. See acast.com/privacy for privacy and opt-out information.

The Epic of Gilgamesh (c. 1200 BCE, Standard Babylonian) is based on Gilgamesh of Uruk, a historical king subject to centuries of cult-worship and mythmaking before his exploits were written down. Although this was not unlike the fate of many ancient rulers, the Epic of Gilgamesh separates itself by its poetic modernity and psychological complexity. In this video, Joel Parrish and Alex Sheremet discuss Gilgamesh's failed quest for immortality, the ‘wild man' Enkidu as Gilgamesh's foil and savior, proto-feminist characters such as the prostitute Shamhat, as well as structural questions and the power of specific passages before critiquing a Christian reading of Babylonian polytheism and Great Flood myths. You can also watch this episode on our YouTube channel: https://youtu.be/Ldg1wfTuenY Read the latest writing from the automachination universe: https://automachination.com Joel's website: https://poeticimport.com Read Alex's (archived) essays: https://alexsheremet.com Music sample: Lowkemia - "Lorem Ipsum" (CC BY-SA 3.0) Timestamps: 0:00 – Comparing two translations of the epic (Andrew George vs. David Ferry) 4:58 – History of the Epic of Gilgamesh + competing versions 13:16 – A synopsis of the Epic of Gilgamesh 17:38 – Appending Tablet XII 22:12 – Tablet I: Gilgamesh, Ecclesiastes, and goodness vs. greatness as Nietzschean concepts 35:48 – Tablet I (cont.): The creation of Enkidu 46:30 – Tablet I (cont.): Is Shamhat a proto-feminist icon? 53:48 – Has the Adam and Eve story been misinterpreted? 01:01:15 – Gilgamesh dreams of Enkidu 01:03:45 – Tablet II: Enkidu confronts Gilgamesh in Uruk 01:12:53 – Tablet III: Gilgamesh is given more dimensions 01:16:36 – Tablet IV: What explains Enkidu's overly sanguine interpretation of dreams? 01:24:46 – Tablet V: is Humbaba merely a stock villain? 01:30:20 – Tablet VI: Ishtar and the Bull of Heaven 01:41:18 – Tablets VII & VIII: the death and funeral of Enkidu 01:51:14 – Tablet IX: Gilgamesh mourns Enkidu 02:00:36 – Joel: these are some of the most modern lines in the epic 02:05:50 – Tablet X: a Christian lecturer on Gilgamesh's Great Flood 02:18:30 – …but what does Genesis ACTUALLY say of such interpretations? 02:43:18 – Alex: monotheism concentrates polytheistic dualities into one being  02:48:12 – Tablet XI: Gilgamesh fails to gain immortality 02:54:41 – Tablet XII re-visited

Their tongues are ashes when they’d speak to us. David Ferry, “Resemblance” The underworld, that repository of the Shades of the Dead, gets a lot of traffic from time to time, especially from heroes (Gilgamesh, Theseus, Odysseus, Aeneas) and poets (Orpheus, Virgil, Dante). Some come down for information or in hopes of rescuing or just … Continue reading "55 David Ferry, Roger Reeves, and the Underworld"

Our film is: The Oak Room DVD & Digital Download Release Date: 26th April 2021 Director: Cody Calahan Cast: RJ Mitte, Ari Millen, Martin Roach, Nicholas Campbell, David Ferry and Peter Outerbridge Credit: Breakthrough Entertainment, Black Fawn Films, Citizen Skull Productions, Lightbulb Film Distribution Genre: Horror, Mystery, Thriller Running Time: 90 min Cert: 18 Trailer: Here. https://youtu.be/Z_kn_zQcJS4 Platforms: Sky Store, iTunes/ Apple, YouTube, Google Play and Rakuten Website: Here. https://laddiemovie.com/ Pre-order on iTunes: Here. https://itunes.apple.com/gb/movie/the-oak-room/id1557739157 ------------ *(Music) 'What Means The World To You’ (feat. Keema) by Cam'ron - 2000 --- Send in a voice message: https://anchor.fm/eftv/message

País Canadá Dirección Norma Bailey Guion Keith Ross Leckie Fotografía Boris Mojsovski Reparto Gary Cole, Laura Harris, Rossif Sutherland, Nahanni Johnstone, Catherine Disher, Zoé De Grand Maison, Tom Barnett, Shannon Doyle, David Ferry, Lisa Ciara, Peyton Kennedy Sinopsis Los robos en casas se están haciendo habituales en un tranquilo barrio. Lo más curioso es que el ladrón solo se lleva ropa interior de las mujeres. La policía sospecha que pronto irá más lejos. Si te gustó el audio, suscríbete, dale a "me gusta" y comparte el vídeo. ¡Nos ayuda mucho! 👍

Aeneas tells the story of the end of the Trojan War, and where to go from there. He's visited by ghosts, quite a few ghosts. It's a vibe. CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Virgil's Aeneid, translated by David Ferry, and Virgil's Aeneid, translated by Sarah Ruden. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Aeneas tells the story of the end of the Trojan War, and where to go from there. He's visited by ghosts, quite a few ghosts. It's a vibe.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources: Virgil's Aeneid, translated by David Ferry, and Virgil's Aeneid, translated by Sarah Ruden.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

The Psycast team: Frank Zero, Jeremy Knight and Steven Snider of VISUP are joined by Christopher Knowles of The Secret Sun. Topics covered: Quantum AI, the Singularity, Accelerationism (Ccru), H. P. Lovecraft, D-Wave, Elon Musk and Geordie Rose, Jack Kirby and comic book shamanism, the black oil, Kenneth Grant and Peter Levenda, X-Files and Fringe, reality as a simulation, TBMC and psychic children, portals and remote viewing, the elite's relationship with technology and genetics, Epstein, Stranger Things & John Dies at the End, parapolitics and technology, cybernetics and Project Montauk, Project Artichoke, contemporary paganism, Esalen, South Park, Silicon Valley and Burning Man, Peter Tompkins, secret societies, Andrijah Puharich, talking to plants, Sophia and talkbots, Spider Man and the alien symbiote, Philip Corso and "Lucifer's Technology" Secret Sun series, Carl Maria Stanley, David Ferry, Colonia Dignidad in Chile, Necro(Simon)omicon, and Snider's new book

Aeneas meets Dido who asks him to tell her all he's been through to get to Carthage (it's a lot). Meanwhile, Venus and Cupid plot.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sponsor! Care Of: for 50% off your first order, go to takecareof.com and enter code MYTHSBABY50.Sources: The Aeneid, translated by David Ferry.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

Aeneas meets Dido who asks him to tell her all he's been through to get to Carthage (it's a lot). Meanwhile, Venus and Cupid plot. CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sponsor! Care Of: for 50% off your first order, go to takecareof.com and enter code MYTHSBABY50. Sources: The Aeneid, translated by David Ferry. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Discussions and lectures by the best and brightest thinkers from Boston University

Jupiter and Venus discuss Aeneas and the Trojans' fate, and it's time we meet the Carthaginians and their badass queen Dido.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources: The Aeneid, translated by David Ferry.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions See acast.com/privacy for privacy and opt-out information.

Jupiter and Venus discuss Aeneas and the Trojans' fate, and it's time we meet the Carthaginians and their badass queen Dido. CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: The Aeneid, translated by David Ferry. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions Learn more about your ad choices. Visit megaphone.fm/adchoices

It's (finally) time... Aeneas, the hero founder of Rome, exile from Troy, son of Venus, hated by Juno... He's lived quite the life. Here's part one of it.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sponsor! Bombas: for 20% off your first purchase, visit bombas.com/MYTHSBABY!Sources: The Homeric Hymns (the Homeric Hymn to Aphrodite) translated by Susan C. Shelmerdine; The Aeneid, translated by David Ferry.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

It's (finally) time... Aeneas, the hero founder of Rome, exile from Troy, son of Venus, hated by Juno... He's lived quite the life. Here's part one of it. CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sponsor! Bombas: for 20% off your first purchase, visit bombas.com/MYTHSBABY! Sources: The Homeric Hymns (the Homeric Hymn to Aphrodite) translated by Susan C. Shelmerdine; The Aeneid, translated by David Ferry. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Let's talk Rome: their mythology and some very important historical contexts of a little thing called the Aeneid.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sponsor! Care/Of: for 50% off your first Care/of order, go to TakeCareOf.com and enter code MYTHSBABY50!Sources: Roman Mythology: A Traveler's Guide from Troy to Tivoli, Virgil's Aeneid, translated by David Ferry, Ovid's Fasti, translated by Anne and Peter Wiseman. Mythology, by Edith Hamilton.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

Let's talk Rome: their mythology and some very important historical contexts of a little thing called the Aeneid. CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sponsor! Care/Of: for 50% off your first Care/of order, go to TakeCareOf.com and enter code MYTHSBABY50! Sources: Roman Mythology: A Traveler's Guide from Troy to Tivoli, Virgil's Aeneid, translated by David Ferry, Ovid's Fasti, translated by Anne and Peter Wiseman. Mythology, by Edith Hamilton. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ms. Archabal and Mr. Doyle team up to tackle tablet 6 of David Ferry’s translation of Gilgamesh.

Mr. Doyle and Ms. Archabal read and dissect the fourth and fifth tablets of Gilgamesh (using David Ferry’s rendering).

Mr. Doyle and Ms. Archabal are back to work through the epic poem, Gilgamesh (as translated by David Ferry). In this episode, the dynamic duo reads and discusses the first tablet.

Discussions and lectures by the best and brightest thinkers from Boston University

S02 E10, “The Red Angel”: Disco Night #30. Why the Trek 210. Teevee #546. Nerdrotic 210. Ceti Alpha 3 #119. Age of Discovery 210. Discovery Home Companion 210. Phantastic Geek 210. A Command of Her Own 60. Star Trek Universe 210. The Edge T29. Spockcast #39. Post Show Recaps 210. Disco Nights Supplemental 210. Shuttle Pod 210. The Edge 66. Transporter Lock 210. Transporter Room 3 #158. Star Trek Wars 210. Subspace Transmissions 210. The Edge L28. Discovery Pod 210. Recap FREQcast 210. From the Holodeck 210. Discussing Trek #62. Mission Log Live #62. Discotrek #38. Priority One #405. The DiscoTrek 210. Mi Bandera - DJ Nelson, Juzt 1 Brothers, Wepaman 2001. El Camino - Nocando 2017. Tao Te Ching, Lao Tzu, Victor H. Mair trans. (1990). Book of Psalms, Robert Alter trans. (2007). Pleasures of Reading in an Ideological Age, Robert Alter (1989). Mary Kinzie, A Poet’s Guide to Poetry (1999). Robert Lowell, “Mr. Edwards and the Spider” (1946). David Ferry, “At the Bar” (2012). W.H. Auden, “The Fall of Rome” (1940). W.H. Auden, “A Walk After Dark” (1949). Barton Gellman, Angler (2008). Edwin Muir, “The Enchanted Knight” (1934). Louise Bogan, “Single Sonnet” (1937).

Discussions and lectures by the best and brightest thinkers from Boston University

A bookstore is more than a retail space, and on this episode of Open Stacks we welcome back old friends and longtime members of the Co-op for a celebration of community committed to a sense of time and conversation spoken across the ages. Poet David Ferry goes in search of a communal voice in his landmark translation of Virgil's The Aeneid; peace activist and Indologist David Shulman walks us through the West Bank in Palestine, retracing the "ambiguous grounds for action," freedom, and despair in territories that can't seem to coexist; and Hyde Park's own Michelle Obama returns to the Co-op to kickoff her tour for Becoming. 

Poet David Ferry reads from his translation of Vergil's Aeneid. Poets Mai Der Vang, Emily Yoon, and Zhou Sivan share stories of conflict and displacement. Eduardo Rabasa, Erika L. Sanchez, & José Ángel Navejas discuss the immigrant experience.   Open Stacks is the official podcast of the Seminary Co-operative Bookstores. 

January 18, 2017 at the Boston Athenæum. Historically, Boston has been home to numerous prominent American poets. This remains true today, making its civic moniker of “the Athens of America” as fitting now as it was in the nineteenth century. This evening’s performance, directed by Poets’ Theatre President and Artistic Director Robert Scanlan, is a gathering of Boston’s best poets, including Jennie Barber, Martha Collins, David Ferry, Regie Gibson, George Kalogeris, Marcia Karp, Fred Marchant, Jill McDonough, Lloyd Schwartz, and Meg Tyler. They will read their own works paired with the works of their nineteenth-century predecessors, invoking the ghosts of poets such as William Cullen Bryant, Lydia Maria Child, Emily Dickinson, Ralph Waldo Emerson, Nathanial Hawthorne, Oliver Wendell Holmes, Edgar Allan Poe, and Walt Whitman. The program will pay tribute to the Athenæum’s rich historical and literary roots while demonstrating how a living and contemporary literary scene continues to be nourished by this tradition.

Midnight Cab was a popular Canadian radio drama that started in 1992.. A total of 35 episodes were produced and we've chosen 4 of them for you. The shows stars were David Ferry as Walker Devereaux, a young man, rather gullible and naive, from Bear River (north of Lake Superior) who comes to Toronto in order to become an author and winds up driving a cab on the midnight shift. He solves mysteries with the help of cab dispatcher, Krista Papadopoulos, played by Jacqueline Samuda. We hope you enjoy these 4 episodes of Midnight Cab on Brando Classic Old Time Radio

Poets Maureen McLaneDavid Ferry, Tom Pickard and Liz Berry in conversation at the Poetry Now DLR Book Mountains to Sea Book Festival 2015 in Dun Laoghaire

Poet Alice Lyons, curator of Poetry Now 2015, part of the DLR Mountains to Sea Book Festival on poetry and poets Liz Berry, Tom Pickard and David Ferry.

In this Points of View Podcast Associate Artistic Director Sarah Garton Stanley interviews director David Ferry and Rosemary Thompson for Stuff Happens. “Stuff happens… and it's untidy, and freedom's untidy, and free people are free to make mistakes and commit crimes and do bad things.” ~ U.S. Secretary of Defense Donald Rumsfeld on April 11, 2003, following the looting and pillaging of Baghdad History in the making. Stuff Happens is dramatic dynamite, a provocative political drama starring a president, a prime minister, and a crowd of high-level decision-makers. Should the U.S. lead a war against Iraq? Are there indeed weapons of mass destruction or just words of mass distraction? A spellbinding blend of documented details, public-record information, and theatrical invention, Hare's fusing of historical narrative with human drama exposes the relentless politicking behind the 2003 invasion. Stuff Happens is presented by special arrangement with Samuel French, INC. Did you know? Stuff Happens premiered at the National Theatre in London in 2004 and has subsequently been performed across the globe, including in Washington, DC.

Prof David Ferry talks to ecancer at the 2012 ESMO meeting in Vienna about the first randomised phase II clinical trial in metastatic oesophageal cancer. Previously, after first line chemotherapy, which only provides an average of 10 months survival, no second line therapy could be offered. Between 1996-2011, only 55 phase II trials had been conducted for oesophageal cancer and just five trials resulting in response. Prof Ferry and his team investigated gefitinib with 450 patients, but with results not meeting the primary goal of overall survival. However, secondary goals of increased progression free survival and quality of life in patient reported outcomes were reported. Future studies from the data are already occurring in the translational setting with analysis of biopsy samples for potential biomarkers.

A look at what's in the limelight this week in national arts news.