Podcasts about Emily Dickinson

In this rewind episode of The Autistic Culture Podcast, hosts Dr. Angela Kingdon and Matt Lowry, LPP uncover the Autistic traits and cultural legacy of 18th-century poet Emily Dickinson.

Carolina Bianchi retorna ao Festival de Avignon para apresentar a trilogia completa Cadela Força, considerada pela crítica europeia como uma das investigações mais radicais do teatro contemporâneo. Do inferno de A Noiva e o Boa Noite Cinderela ao enigma luminoso de Uma Luz Cordial, passando pelos pactos masculinos de The Brotherhood, a artista brasileira constrói um percurso que se recusa a estetizar a dor, abordando temas como violência, sexualidade e literatura. Márcia Bechara, enviada especial a Avignon A apresentação integral da trilogia Cadela Força na Opéra d'Avignon, em uma maratona de dez horas, consolida a posição singular de Carolina Bianchi na cena experimental contemporânea. A artista brasileira retorna ao festival, depois do sucesso estrondoso de A Noiva e o Boa Noite Cinderela, de 2023, com um percurso que confronta violência sexual, feminicídio, pactos masculinos e a própria tarefa da escrita. Sua obra nasce de uma experiência brasileira que não se deixa traduzir completamente, e é justamente essa força que redefine sua presença em Avignon 2026. A trilogia, afirma Bianchi, exigia tempo e densidade. “Cadela Força era uma coisa que foi se apresentando desde o começo também porque sinto que os assuntos, que as matérias que a gente estava movendo dentro dessa trilogia pediam esse lugar assim, de calma, de tempo para poder olhar para esses assuntos.” Para ela, não se tratava de buscar atalhos fáceis: “Acho que estava sempre, desde o começo, distante da gente querer encontrar soluções para coisas que são impossíveis.” No primeiro capítulo, A Noiva e o Boa Noite Cinderela, Bianchi articula histórias reais de feminicídio - dos assassinatos em série de Cidade Juárez ao caso da performer italiana Pippa Bacca, assassinada durante a execução de uma performance na Turquia, em 2008, - como eixo estrutural da obra. O corpo da performer opera como testemunho, instaurando um regime ético que desloca a cena da representação para a inscrição direta dessas narrativas. É o “inferno” da trilogia, uma geografia política da violência que se torna matéria de linguagem. Em The Brotherhood, a investigação se volta aos pactos masculinos que moldam a história da arte. A dramaturgia funciona como dispositivo analítico, expondo genealogias de poder que atravessam a própria autora, que surge como figura espectral. O capítulo evidencia a persistência dessas estruturas e a forma como organizam o campo artístico, mesmo quando examinadas criticamente. Leia tambémFestival de Avignon: 'A Noiva e o Boa Noite Cinderela', ou como explodir no próprio corpo as fronteiras do teatro A volta a Avignon O retorno ao festival, depois da estreia do primeiro capítulo em 2023, produz uma camada adicional de leitura. “Dá uma noção de temporalidade que, uau, é muito louca”, diz Bianchi. “Agora mesmo eu estou olhando para você e pensando quem éramos nós há três anos e éramos outras pessoas.” A volta com a trilogia completa, afirma, revela o percurso desses anos: “O quão imersa eu estive nesses anos nessa 'floresta escura da criação', como diz Dante Alighieri.” A referência à Divina Comédia atravessa sua fala e sua obra. “Essa entrada na criação, passando pelos infernos, pelos purgatórios, pelos paraísos que cada obra contém”, diz, descrevendo o processo como algo que transforma e reorganiza o trabalho. Voltar a Avignon, para ela, é também reconhecer lugares fundamentais da própria trajetória. A proposta da maratona reforça essa dimensão de experiência. “Ela tem uma coisa de ser de fato uma experiência e um convite para uma experiência teatral”, afirma. Bianchi cita o artista argentino Alberto Greco: “Ele dizia que acreditava na obra de arte como ‘aventura total'.” Sustentar dez horas de espetáculo envolve risco, e interessa à artista justamente por isso. “Tem um caminho selvagem. De risco. Tem um caminho tortuoso aí que também me interessa investigar.” O público, diz ela, é convocado a evocar essas perguntas junto com o grupo. “Vamos fazer uma coisa que não fizemos ainda antes e que tem os seus componentes de risco aqui, mas a gente quer sustentar juntos essas perguntas.” Uma luz cordial O terceiro capítulo, Uma Luz Cordial, desloca a violência para a tarefa da escrita. O título vem de um verso de Emily Dickinson, do poema My Life Has Stood a Loaded Gun. “Essa luz cordial que, na verdade, é essa arma disparando a luz de quando a arma explode”, explica. A imagem, para ela, está ligada ao ato de escrever: “O que a tarefa da escrita faz comigo, com o meu corpo.” O capítulo introduz alter egos e figuras literárias, num movimento que ecoa Dante. “Para eu seguir escrevendo, eu também vou me desfazendo, é uma trilogia também sobre um desaparecimento de um corpo que começa nesse Boa Noite Cinderela”, lembra. A violência se fricciona com a sexualidade e se catalisa no encontro com a imaginação. “A sexualidade é um tema muito importante que atravessa essa trilogia. A gente não tem como falar de violência sexual, a gente não tem como pensar o que acontece com essa violência, o que a gente faz depois dessa violência, se a gente também não pensar, não fizer as perguntas sobre a sexualidade.” A escrita, afirma, é o ponto de partida: “Eu sou escritora e essa é a minha primeira tarefa.” Escrever, para Bianchi, é também convocar o público à leitura. “O público vai vir aqui e vai ver dez horas de teatro, e vai ter que ler. Porque é isso, a gente está falando português, eu escrevo em português, essa é a minha língua.” A língua, diz ela, é o chão da obra: “Acredito no poder da linguagem, da língua, da nossa expressão, da escrita.” Teatro como passagem ao coletivo A escrita, porém, para ela, não se encerra na solidão. “Tem esse momento onde essa escrita vai passar ao coletivo. É aí que é o teatro. Eu sou uma escritora que precisa passar por esse lugar da solidão absoluta […] para essa coletividade do teatro, que eu acho impressionante”, conclui Bianchi. A trilogia Cadela Força será apresentada na Opéra de Avignon em três sessões consecutivas durante o Festival de 2026, reunindo os três capítulos em uma única maratona de dez horas. Depois de Avignon, o trabalho segue para Paris, onde integra o Festival de Outono: a trilogia será apresentada nos dias 14, 15 e 16 de novembro de 2026 na capital francesa, retomando a estrutura integral da obra e ampliando sua circulação no circuito europeu.

A encenadora, actriz e escritora brasileira Carolina Bianchi regressou ao Festival de Avignon para estrear “Uma Luz Cordial”, o último capítulo da "Trilogia Cadela Força" aqui iniciada em 2023. Esta é “uma luz atrelada à expressão da violência”, mas também à "expressão do prazer", conta-nos a artista que neste espectáculo confronta o público com “o enigma” que atravessa a peça e que envolve teatro, literatura e sexualidade. Carolina Bianchi e a sua companhia Cara de Cavalo vão também fazer dois dias de maratona teatral de 10 horas com as três peças seguidas da trilogia, um gesto movido pelo desejo de “aventura total”. Carolina Bianchi encerrou a trilogia iniciada em Avignon com “Uma Luz Cordial”, um espectáculo que leva para o palco a violência do acto de escrever e o mistério da sua própria sexualidade. Esta é “uma luz atrelada à expressão da violência”, mas também “à expressão do prazer”, conta-nos a artista que foi buscar o título da peça a um poema que lhe é fundamental: “My Life Had Stood a Loaded Gun”, de Emily Dickinson, em que a imagem de uma arma carregada lhe evoca o potencial explosivo de uma poeta a escrever. Além do novo espectáculo, Carolina Bianchi e a sua companhia Cara de Cavalo retomam toda a trilogia nesta 80ª edição do Festival de Avignon e o público poderá ver, no mesmo dia, “A Noiva e o Boa Noite Cinderela” [que a revelou aos palcos europeus e com o qual conquistou o Leão de Prata da Bienal de Veneza em 2025], “The Brotherhood” e “Uma Luz Cordial”. A maratona teatral de 12 e 13 de Julho, na Opéra Grand Avignon, dura diariamente cerca de dez horas, um gesto movido pelo desejo de “aventura total”, em referência à "obra de arte como aventura total” do artista Alberto Greco, de quem também fala em palco. “A Noiva e o Boa Noite Cinderela”, o primeiro capítulo, arrasta o público para o inferno das violações e dos feminicídios. “The Brotherhood”, o segundo capítulo, mergulha-nos nas alianças masculinas que têm dominado a história da arte e do teatro e verbaliza o fascínio por esses mestres da arte e da violência. Agora, “Uma Luz Cordial”, o terceiro capítulo, tenta fintar a brutalidade da criação artística e faz a literatura irromper em todo o espaço cénico. Diluem-se novamente fronteiras entre teatro e poesia, entre ficção e real, entre autor e alter ego. Carolina Bianchi vai desaparecendo de cena para reaparecer “nas vozes” de autoras como Hilda Hilst e Emily Dickinson. Não se pense que este último capítulo vem curar alguma dor porque, ela avisa em palco, “a dor não passa” e “não há salvação”. Há, no entanto, uma luz ao fundo do túnel, a tal “luz cordial”, ainda que corresponda ao disparo de uma arma no poema “My Life Had Stood a Loaded Gun”. O teatro radical de Carolina Bianchi, que deixa enigmas e não dá respostas, que leva para o palco a complexidade e a perplexidade do mundo, que leva à tona tanto a parte maldita quanto a parte poética da criação, está no Festival de Avignon até 12 de Julho. RFI: Como é que nos pode apresentar este terceiro capítulo que fecha a trilogia “Cadela Força”? Carolina Bianchi, Autora e encenadora da trilogia teatral “Cadela Força”: “Uma Luz Cordial é um trabalho que vai na direcção da escrita, sobre o acto de escrever. Então, ele é, na verdade, eu me colocando ali também, nesta travessia deste espectáculo, como a escrita em si, o meu corpo está muito mais fora de cena do que nos outros trabalhos da trilogia. Acho que também tem essa questão: a de uma escritora que está desaparecendo, que está se tornando pura escrita. Por tocar nesse assunto da escrita, acho que forma um triângulo muito importante com outras duas coisas, que é a imaginação e a sexualidade. Aí, para mim, surge uma equação do enigma desta terceira parte, que é o que atravessa este último capítulo, estas três palavras que não se conseguem mais dissociar, a escrita também como uma possível expressão da sexualidade e é não só falar sobre a sexualidade, mas a escrita como expressão de uma sexualidade. Acho que, sobretudo, é também muito importante dizer: a literatura como forma de prazer.” Há uma poesia de Emily Dickinson essencial na peça, que fala em "uma luz cordial" em que "a arma tem o poder de matar, mas não de morrer". Por que chamou ”Uma Luz Cordial” ao terceiro capítulo? “Esse é o meu poema preferido da vida. Emily Dickinson traz uma possibilidade de ler esse poema - porque é o que eu digo também no trabalho: é difícil chegar a uma conclusão sobre como analisar um poema de Emily Dickinson. E essa é a coisa mais bonita sobre essa autora, que trabalha com enigmas, com espaços de puro mistério na sua escrita, na sua poesia. Acho que essa imagem de uma arma carregada que, para mim, pode ser a imagem da poeta a escrever, é uma das imagens mais bonitas que a poesia já trouxe para o meu imaginário. Aí vem essa frase ‘Uma luz cordial' que está no poema e ela essa sentença para descrever o momento do disparo da arma. Então, o tempo todo ela está trazendo nesse poema esses dois lados de uma arma que também é uma arma que é uma expressão de violência e, ao mesmo tempo, quando o disparo é descrito como uma luz cordial isso também traz outra imagem sobre essa arma, que é uma imagem de vida, uma imagem de sorriso, uma imagem de prazer, uma imagem de iluminação que é muito forte.” Em “A Noiva e o Boa Noite Cinderela” a principal inspiração era a artista italiana Pippa Bacca, violada e assassinada em trabalho. Em “The Brotherhood”, inspirava-se também na dramaturga Sarah Kane que dizia que “não há amor sem violência” e que explorava os temas do amor e da violência. Agora, as suas musas são Hilda Hilst e Emily Dickinson. Porquê falar através da voz destas artistas mulheres e porquê levar de forma tão franca a literatura para o teatro? “Tem uma coisa que eu acho que é importante dizer. A Pippa Bacca, para mim, ela não foi tanto uma inspiração como a minha relação com a Sarah Kane, talvez com outras dessas autoras. Acho que a Pipa Baca tinha uma coisa ali de um mistério do qual eu precisava, era quase a atracção de um detective que eu acho que é um pouco diferente. Nestes dois outros trabalhos, quando Sarah Kane aparece, quando vem a Emily, a Hilda e outras vozes também, para mim tem um aspecto de um encontro que é um encontro onde você se sente pertencente a um lugar ou onde você tenta pertencer a um lugar onde encontra essas outras autoras, onde você se sente menos sozinha, onde você tem um lugar onde se reconhece numa história. Acho que isso acontece muito com a Sarah Kane na ‘Brotherhood', alguém que fez espectáculos extremamente violentos, que sofreu também muitas consequências, boas e ruins, dessa dramaturgia sem concessões que ela fazia. Agora, nesta terceira, o ponto onde a coisa ainda fica mais profunda é a questão de elas serem alter egos. Quando eu falo dessa escritora que morreu e que agora aguarda nesse outro espaço essa hora de voltar, para mim, esse virar escrita também significa dissolver-se em alter egos. A minha voz já não é essa voz central, a voz está espalhada, está tudo espalhado, estilhaçado. Tudo ali é duplo. Também vem essa ideia da fantasmagoria em si, que eu também falo nos outros capítulos. Para mim, essa fantasmagoria chega no seu ápice na trilogia, que é a ideia de que nem sequer essa voz é a voz que agora é a mais ouvida. Essa voz precisa de se dissolver em alter egos e o da Emily Dickinson - que ocupa um lugar muito importante na minha vida, na minha história, com a literatura, com a escrita - aparecem também nesse chamado para seguir escrevendo.” Também interroga o próprio sacrifício da escrita e a violência que é escrever? “Sim, interroga, mas também é um lugar de prazer. Para mim, é muito importante afirmar essa palavra neste último capítulo, que eu acho que também é uma palavra que pouca gente esperava que fosse aparecer aqui. Há uma questão de associação entre a literatura e o prazer e, por isso, também a gente está associando com a questão da sexualidade, porque eu estou trazendo uma sexualidade que também se está colocando como uma grande desorganização, como um grande enigma o tempo todo. Aqui, isso está mais endereçado do que nunca. Então, é um corpo que está ali fervendo, que é o corpo da escritora, que é o corpo da escrita, que é um corpo que também está revelando uma expressão sexual muito forte.” Por isso é que traz esse corpo colectivo da sexualidade para o palco, com os actores da sua companhia Cara de Cavalo? “Sim, sim, porque eu acho que tem ali mesmo uma pergunta sobre como se manifesta essa sexualidade no espectáculo, sem ser a sexualidade de estar atrelada ao real ou o sexo real no palco ou a representação. Não me interessa essa pergunta. Nesta peça, para mim, interessa-me falar como manifestar essa sexualidade que está atrelada ao acto de escrever. É uma sexualidade que vem da palavra e uma sexualidade que está atrelada à leitura. Ela é uma sexualidade que é o tabu da leitura, que limites são esses também que a literatura explode o tempo todo e que para o teatro é mais complicado. Então, acho que tem uma tensão aí entre teatro e literatura, entre o acto de ler e de você também não poder escapar dessa literatura. Acho que tem muitas coisas aí onde esse fio vai dando um nó mesmo.” Nessa “dramaturgia sem concessões”, em que leva também a sexualidade para o palco, recorre a uma obra que a escritora Hilda Hilst escreveu para fintar o pedido do editor que queria uma obra que vendesse muito. A Carolina coloca em cena uma marioneta a representar uma criança manipulada por dois adultos e durante 20 minutos ela fala da sua prostituição infantil. É uma das cenas mais fortes desta peça. Porquê esta cena? “Porque o meu desejo era colocar um livro dentro da peça. Ali a gente tem um livro que é ‘O Caderno Rosa de Lori Lamby' e acho que tem uma questão que ainda traz neste livro particular que é uma resposta a uma determinada maneira que o mercado editorial trabalha, que eu acho muito forte, porque ele é um livro sobre escrita. É uma menina que escreve o tempo todo e é o que a marioneta faz também em cena, ela escreve o tempo todo. Então, uma menina que escreve o tempo todo, inspirada pelo pai, que é um escritor que tem problemas também para vender os seus próprios livros. Inspirada pelo que ela ouve das conversas ao redor, das coisas que lê, ela começa a escrever esse relato. Acho que tem uma coisa que eu acho muito bonita que é, primeiro, uma questão do tabu, um tabu enorme que é a imaginação sexual de uma criança, porque não é só uma questão de abuso, acho que tem ali uma questão ou outra que é o que uma criança imagina quando escreve e isso é uma coisa que toca todo o mundo. Todos nós já fomos crianças. Todos nós sabemos que é uma imaginação que ainda não está tão moldada pelos limites, pelos tabus. Ela narra uma questão extrema nesse contacto dessa imaginação, tem um caminho extremo que a Hilda percorre, porque ela sabe que isso vai provocar algo ali, nesse tabu, com o jeito que a gente percebe essas situações. Ao mesmo tempo, tem uma coisa da escrita dela que é extremamente poética, que tem humor, que é uma coisa que você vê nos outros livros dela que eu acho muito importante. Acho que tem uma coisa desse choque também que isso provoca, que eu acho que é curioso também, que vem na cena seguinte mais explicitamente, que é uma cena que é “O Caderno do Cu do Sapo Liu Liu”, onde a gente tem o inverso, que é o grande escritor que escreve coisas terríveis, violentíssimas e é considerado um génio. Ele é considerado um Rimbaud. A gente está aqui na França, a terra de Georges Bataille, de Marquês de Sade, e é interessante como Hilda Hilst é tão chocante.” É por ser mulher? “Eu acho que o facto de ser mulher também faz ser mais chocante. O facto de ela ser mulher, o facto de ela ter escrito esse livro quando ela tinha 60 anos, mas eu acho que não vem a ser uma questão para mim pessoalmente. Eu não sei se isso é uma questão para quem lê isso e fica completamente perturbado, mas para mim, as questões dela ali, em relação à literatura, aos não limites que a literatura pode operar, são muito interessantes para mim.” Apesar da violência relatada por si e pelas mulheres de que fala, apesar de toda a vulnerabilidade, a trilogia chama-se Cadela Força. Agora que temos a trilogia completa em palco, por que é que a chamou assim? “Essas duas palavras não têm um significado específico quando colocadas em par. Elas não estão nem se dando adjectivo no português brasileiro, elas são palavras que não se estão completando, elas são realmente duas palavras jogadas ali. Acho que tem uma coisa sobre essa sonoridade que elas produzem, sobre as milhares de imagens que essas duas palavras podem produzir em contacto com os materiais da peça. E elas também têm um enigma delas, um segredo.” Na peça diz que “não há salvação”, que “não passa a dor”. Lemos que “o teatro é uma armadilha, que a literatura é uma armadilha e que talvez ainda esteja na mala do carro”, em referência à violação que sofreu e que conta no primeiro capítulo da trilogia. Quem viu os capítulos um e dois poderia esperar uma espécie de salvação no capítulo três ou, pelo menos, que o teatro fosse uma forma de reconstrução para si e, através de si, para outras mulheres. Não foi? “Não. E acho que quem esperava isso de mim assim estava muito equivocado. Para mim, é impossível pensar no teatro como salvação. Eu acho que já estou anunciando isso desde o princípio. Esse lugar de que o artista é alguém que precisa conceder esperança à sociedade, respostas à sociedade, conclusões de perguntas que são impossíveis, é um delírio e uma alucinação porque os artistas não têm essa responsabilidade. O que me interessa é justamente esse mistério do teatro. O teatro começa como um ritual dionisíaco, os rituais dionisíacos eram cheios de violência, cheios dessa violência poética que opera no fundamento da história do teatro. Então, eu acho que o teatro é um lugar onde ele precisa operar na chave do mistério, da instabilidade, não como salvação de nada.” Nas entrevistas que fizemos, em 2023 e em 2025, sobre os capítulos anteriores da trilogia, dizia-nos que “A Noiva e o Boa Noite Cinderela” falava da “antecâmara do inferno já com um pé no inferno”, que “Brotherhood” era “acordar no purgatório” e tentar perceber o que significa “situar-se no teatro depois de voltar do inferno”. E neste terceiro capítulo? “Esse capítulo, a gente chega na citação do 'Paraíso' de Dante Alighieri, esse momento onde tem uma imagem do paraíso que é muito linda, em que ele começa a ver esses espíritos, essas imagens de luz. Quase como chega um ponto ali onde, depois de ele se entender incapaz de seguir escrevendo, ele já se perdeu ali do Virgílio que encontrou uma outra musa que é a Beatriz que agora tem a palavra. Acho que tem alguma coisa nessa transformação onde a luz aparece, para mim, atrelada a uma expressão de violência que está no poema da Emily Dickinson, que também abre esse lugar de onde também há esse prazer da literatura que aparece. Esse lugar onde a literatura vai dominando tudo, onde essa ficção vai dominando tudo. É essa conexão que eu faço com o paraíso, com esse lugar onde a violência não pára, onde a violência não se resolve, mas ela chega a outras formas.” Não há salvação, mas há uma luz cordial? “Mas lembre-se que à luz cordial é o disparo da arma.” Fecha a trilogia no sítio onde a começou, no Festival de Avignon. Mostra o terceiro capítulo, mas também os dois anteriores. Já alguma vez representou dez horas seguidas e por que é que decidiu fazer algo quase sobre-humano? “Nunca representei por dez horas seguidas. Sobretudo, acho que nada me teria preparado, mesmo se tivesse feito. Não, nada me teria preparado para fazer isso, porque acho que essas dez horas são dez horas muito específicas, muito desse universo onde há aí uma consequência de se fazer algo depois do primeiro capítulo e eu acho que é isso que a gente vai estudar juntos. O que é que isso muda na nossa leitura de espectáculos que as pessoas já viram? Como eles vão ler esses espectáculos agora com esse efeito presente e contínuo? O que acontece? O que acontece com o teatro? O que acontece com a performance? O que acontece com a literatura quando se leva isso, essa experiência, que é uma experiência extrema? Tem uma frase num dos textos de ‘Uma Luz Cordial', onde eu estou-me referindo a um outro artista que é o Alberto Greco, um artista argentino, e ele diz que acredita na obra de arte como aventura total. Para mim, isso resume muito bem este gesto. Então, para si, é uma obra de arte total? “Não, aventura total. Não sei se é uma obra de arte total o que nós fazemos, mas eu acredito que o desejo de fazer essa obra tem a ver com esse desejo pela aventura total.” A trilogia ajuda a pensar o impensável. Verbaliza a violência, apropria-se da linguagem da violência para desconstruir o sistema em que ela se baseia. Ao fazê-lo, também não alimenta o sistema em que “Somos todos brotherhood”? Não há maneira de quebrar o ciclo? “Acho que não. Eu não saberia dizer. Acho que não. Acho que esse ciclo talvez vai ser um ciclo que vai demorar muito para ser quebrado. Onde estamos agora no mundo, o que a gente está vendo acontecendo ao redor do mundo, esse conservadorismo extremo, esse fascismo extremo que está em toda parte, que está no mundo das artes também, eu não vejo ainda uma saída desse ciclo. Sinto muito., mas espero que exista um dia. Não sei se eu vou estar aqui para assistir isso, mas…” Foram vários anos a escrever, a interpretar, a representar, a sofrer também com esta trilogia que agora fecha. Olhando para trás, o que é que representou para si e o que gostaria que ela deixasse junto de quem a viu? “Eu acho que é uma coisa enorme. Mesmo assim, eu nunca vou conseguir, talvez nem nesta encarnação, ter distanciamento suficiente para ver tudo o que isso representou na minha vida, na vida das pessoas que trabalham comigo ou ainda de quem acompanhou o trabalho. Agora eu estou muito próxima, ainda estou muito aqui para entender qualquer coisa sobre isso. Eu sei que as mudanças que isso faz na minha vida são imensas. A minha vida foi completamente transformada e transtornada por esse trabalho, mas eu sinto isso assim, eu sinto que eu estou aqui, eu estou dentro dele ainda. Talvez no ano que vem eu consiga já ter um pouco mais de distanciamento para entender, porque agora eu só consigo dizer que isso mexeu em tudo. E eu estou ainda no meio desse furacão.” O furacão que também afectou o público e, se calhar, a história do teatro contemporâneo? “Tomara que sim. Eu nunca consigo afirmar muito esse tipo de coisas. Não sei. Tomara que sim. Tomara que tenha afectado muita gente. Eu acho fez algo, com certeza, com este contexto, mas eu preciso de distanciamento mesmo para entender o que foi feito, o que mexeu.”

Tell all the truth but tell it slant—Success in Circuit liesToo bright for our infirm DelightThe Truth's superb surpriseAs Lightning to the Children easedWith explanation kindThe Truth must dazzle graduallyOr every man be blind—–Emily Dickinson

Bestselling fantasy authors Holly Black and Samantha Shannon on building believable magic systems, researching and constructing immersive worlds, and why the right book often only emerges once you've written the wrong one.   You'll learn Why the most convincing magic on the page often starts with something you once half-believed was real. How writing the wrong version of a book can be the only route to the right one. What the texture of a world quietly promises a reader before the plot even begins. Why putting a character through the worst is often the best thing you can do for a story. When the certainty that your draft is a disaster is just a normal part of the process. What early hype can do to a writer, and why other writers are the antidote. Where to draw the line between research that serves the book and a rabbit hole that doesn't. A method for plotting a long series when you know the destination but not the route. What happens when a character starts refusing what you try to make it do. Episode Links Holly Black — original LWS episode: https://londonwriterssalon.simplecast.com/episodes/127-holly-black-crafting-bestselling-fantasy-world-building-character-development-and-the-prisoners-throne Samantha Shannon — original LWS episode: https://londonwriterssalon.simplecast.com/episodes/068-samantha-shannon-the-art-of-writing-fantasy-fiction-plotting-mental-health About the Guests Holly Black is the #1 New York Times bestselling author of fantasy books, including the Novels of Elfhame, The Coldest Girl in Coldtown, the Spiderwick Chronicles, her adult debut, Book of Night, as well as an Arthurian picture book called Sir Morien. She has been a finalist for an Eisner Award and the Lodestar Award, and the recipient of the Mythopoeic Award, a Nebula, and a Newbery Honor. Her books have been translated into 32 languages worldwide and adapted for film. She currently lives in New England with her husband and son in a house with a secret library. She invites you to visit her online at blackholly.com or follow her @Hollyblack @blackholly. Samantha Shannon is a New York Times and Sunday Times bestselling author of The Bone Season and The Priory of the Orange Tree. Born in West London, she studied English Language and Literature at St Anne's College, Oxford, from 2010 to 2013, specialising in the poetry of Emily Dickinson and Principles of Film Criticism. For show notes, transcripts and to attend our live podcasts visit: podcast.londonwriterssalon.com.For free writing sessions, join free Writers' Hours: writershour.com.*FOLLOW LONDON WRITERS' SALONTwitter: twitter.com/​​WritersSalonInstagram: instagram.com/londonwriterssalonFacebook: facebook.com/LondonWritersSalonIf you're enjoying this show, please rate and review this show!

Emily Dickinson är en av den amerikanska litteraturens mest lästa och gåtfulla poeter. Hon föddes 1830 i Amherst i New England och levde större delen av sitt liv i familjens hus, Homestead. Med tiden drog hon sig undan världen, tog emot gäster bakom en dörr eller vikskärm. Samtidigt skrev hon intensivt. Under sin livstid publicerade hon nästan ingenting. Men efter hennes död 1886 hittade systern Lavinia handsydda häften där dikterna låg bevarade.

The Author Events Series presents James Martin, SJ | Work in Progress  In Conversation with Tamala Edwards Work in Progress, set in the Philly suburbs, is a snapshot of several years-first as a boy, then as a teenager, and finally as a young adult--of being thrown into a series of jobs for which Martin had zero training. He had never set foot in a restaurant kitchen before working as a busboy and dishwasher; never stepped onto a golf course before working as a caddy; and had never seen a factory floor before working as an assembly-line worker. He almost always felt uncomfortable, unsettled, and uneasy. But, like many of us, he needed the money. This coming-of-age story is set in the 1960s and 1970s, a lighthearted tale for readers who enjoy personal narratives, and it's unlike anything Father Martin has written before. As he puts it, "This is a spiritual memoir from a different angle ... told 'slant' as Emily Dickinson might say." Each chapter features photos of memories and milestones throughout Father Martin's young life. If you're an aficionado of snafus, you won't be disappointed. He's not the hero of these stories, more a hapless teenager who learns in each job, even the ones he loathes, something about the value of work, about what it means to be an adult, about people, and about life overall. Rev. James Martin, SJ, born in Philadelphia and raised in the suburbs, is a Jesuit priest, editor at large of America magazine, consultor to the Vatican's Dicastery for Communication, and author of the New York Times bestsellers Learning to Pray, Jesus: A Pilgrimage, and The Jesuit Guide to (Almost) Everything. Father Martin is a frequent commentator in the national and international media, having appeared on all the major networks and outlets, like The Colbert Report, NPR's Fresh Air, The New York Times, and the Wall Street Journal. Tamala Edwards joined 6abc in January of 2005. She is the weekday co-anchor of Action News Mornings from 4 a.m to 7 a.m. and is a regular co-host of Inside Story, conducting probing interviews with newsmakers like Governor Tom Corbett, Senator Bob Casey, Mayor Michael Nutter and others, as well as moderating many election debates. Prior to joining 6abc, Tamala Edwards was the anchor of ABC's World News Now, and World News This Morning. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! All tickets are non-refundable.   (recorded 2/5/2026)

Richie Hofmann returns for a game that shows the queens that being well-versed can mean getting well-bred.Support Breaking Form by reviewing the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series. BEAUTIFUL PEOPLE is available from Bridwell Press. James's ROMANTIC COMEDY is available from Four Way Books.  Notes:Visit Richie Hofmann's website here: https://www.richiehofmann.com/ which includes links to many of the poems Richie reads for us in the episode.Purchase The Bronze Arms Check out a reading Richie gave at LA's Hammer Museum in April 2022 here (~45 minutes)Poets we mention in this episode include:John AshberyElizabeth Barrett Browning was a Pisces. A portrait of EBB hung in Emily Dickinson's bedroom.Robert Browning, especially "My Last Duchess"Elizabeth BishopAnne Bronte, author of Agnes Grey and The Tenant of Wildfell HallCharlotte Bronte, author of  5 novels, including Villette, Jane Eyre, Shirley, Villette, and The Professor, which was published posthumously in 1857. Upon her death, she left two chapters of an unfinished narrative called Emma. Emily Bronte, author of Wuthering HeightsCatullus threatens two friends who have insulted him with both irrumatio and pedicatio in his "Carmen 16" Amy ClampittAllen GinsbergGerard Manley HopkinsRobert Lowell, particularly his poem "Skunk Hour." For more about Lowell's violence towards his wives, receipts are here and here.  J.D. McClatchyFrank O'Hara, particularly his manifesto "Personism"; his poem "Having a Coke with You,"; several poems titled "On Rachmaninoff's Birthday," like this one; and the 56 poems he titled simply "Poem," including "Poem [I will always love you]," "Poem [I live above a dyke bar and I'm happy.]," "Poem [Dee Dum, dee dum, dum dum, dee da]," and "Poem (Lana Turner has collapsed!)."Christina Rosetti, whose middle name is Georgina.Dante Gabriel Rosetti.The Rossetti children were quite artistic. There were two others in addition to Dante and Christina: Maria Rossetti, who published A Shadow of Dante (1871), and William Michael Rossetti, who became an editor, man of letters, and memoirist.Gertrude Stein  We also mention Susan M. Gilbert and Susan Gubar's landmark book, The Madwoman in the Attic: The Woman Writer and the Nineteenth Century Literary Imagination, published by Yale UP in 1979 and reissued in 2020. 

Benedetta Centovalli"Il cielo e la polvere"Visioni e universi di Flannery O'ConnorCon la collaborazione di Fernanda RossiniMimesis Edizioniwww.mimesisedizioni.itFlannery O'Connor (1925-1964) è la voce che ha fuso il gotico sudista con una teologia spietata, trasformando la violenza in un paradossale luogo di grazia. Nei suoi racconti e romanzi si muove un'umanità deformata e visionaria – profeti mancati, fanatici, anime alla deriva – che abita un mondo insieme sacro, degradato e feroce. In questo volume, alcuni tra i massimi studiosi italiani e internazionali (Luca Doninelli, Fernanda Rossini, Mark Bosco, Francesco Valenti, Bruce Gentry, Angela O'Donnell, Elisa Buzzi, Alessandro Matone), insieme a editori (Mario Andreose), editor (Marisa Caramella) e scrittori (Romana Petri, Sandra Petrignani, Andrea Fazioli, Giuseppe Zucco) rileggono l'opera di O'Connor illuminandone i nuclei tematici essenziali: fede, violenza, redenzione. Il primo ritratto critico a tutto campo in Italia di Flannery O'Connor e un invito alla lettura di una delle scrittrici più radicali del Novecento per comprendere meglio l'America di oggi e il nostro presente.Arricchiscono questa edizione due interviste alla scrittrice in prima traduzione italiana.Benedetta Centovalli ha lavorato con ruoli di responsabilità per quasi trent'anni in editoria. In ambito novecentesco si è occupata di Bilenchi, Bassani, Cancogni, Merini, Comisso, Romano, Campo, Lagorio, Sereni, Ortese, Morante e Corti. Nel 2025 è uscito il volume Nella stanza di Emily, dedicato a Emily Dickinson, per La Tartaruga. È docente alla Scuola di Scrittura Flannery O'Connor del Centro Culturale di Milano.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

"A letter is a joy of Earth — It is denied the Gods —," sez Emily Dickinson (#1672), and THE MAN WHO READ EVERYTHING: The Literary Letters of Harold Bloom (Yale University Press) proves it! Heather Cass White rejoins the show to talk about editing Harold Bloom's letters for the book, her history with him and what she learned about him over the course of the project, and how the letters revealed a less determined Bloom and how she empathized with the struggles he went through in his career. We get into the people whose correspondence she included — Alvin Feinman, Northrop Frye, AR Ammons, John Hollander, John Ashbery, James Merrill, Henri Cole, and Ursula K Le Guin — and all the writers and critics she wishes she could have included, the books and projects Bloom proposed but never completed (or started) over the years, the fun she had writing the footnotes, the one person Bloom was intimidated to meet, Bloom's role in the Canon Wars 30-40 years ago (and my practice of checking off books from The List at the end of The Western Canon), where he fell on Ashbery vs. Ammons, and whether marriage is the true subject of literature. We also discuss how her next book on the correspondence of Elizabeth Bishop and Marianne Moore is the opposite of this one, her go-to books to teach American fiction, why she dropped out of Knausgaard before the finish line, how students have & haven't changed over a quarter century of teaching, her late arrival to Surfjan Stevens' music, how I solved her long-standing question about a moment from Bloom's memorial, and a lot more. Follow Heather on Instagram • More info at our site • Support The Virtual Memories Show via Stripe, Patreon, or Paypal, and subscribe to our e-newsletter

6/12/26 (Host – Josh Silver) MTA President Max Page w/ Congressional Candidate Mariah Lancaster: running for an open seat for the 6th Congressional District, Primary in September Director Rose Schwietz Malla, Assistant Director Hia Ghosh, Actor Caleb Koval: Silverthorne Theater Company's Sanctuary City by Martyna Majok, Performances now through June 21 at Hampshire College Theater (Emily Dickinson Hall). Director Jen Polins: The School For Contemporary Dance & Thought presents Hatchery Dance Company's Asteroid B-612: A Love Story inspired by The Little Prince at The Workroom Theater in Northampton. June 12 (sold out) & June 13 2 & 730 pm Josh Silver: Easthampton Override & Easthampton's World Cup Watch Parties MTA President Max Page & Senator Ed Markey: Public Education, The Big Ugly Bill & Markey facing Seth Moulton for the Democratic nomination for U.S. Senate in the September 1 primary.

In Dante's Inferno, the lustful are not burned. They are swept, a great relentless wind moves them endlessly, helplessly, no footing, no direction, just the next gust carrying them where it will. This week's episode is a weekend reflection; slower, more meditative, less about publishing and craft and more about the soul-work questions underneath. Lust in its oldest, broadest sense—unrestrained wanting. The fire the Greeks understood. The Cyclops's single eye. Odysseus making himself Nobody to escape the cave. Emily Dickinson's delight in being Nobody too. And the difference between failure (which you can face) and self-abandonment (which is harder). This is from a nonfiction book I'm working on. If the reflection register resonates, stay close—these weekend episodes will keep coming.The Difficulty is the podcast of Crossroads Publishing Group, a new IBPA-pledged hybrid press based in Chattanooga, TN. We publish serious nonfiction in three lanes—Argument, Reflection, Witness.00:00 What this episode is — the weekend reflection lane01:00 Dante's lustful — swept endlessly by the wind02:30 The id, duende, and Heraclitus on fire03:30 The Cyclops — single eye, all surface, all appetite05:00 Odysseus calls himself “Nobody” — and it saves his life06:00 Emily Dickinson's “I'm Nobody. Who are you?”07:00 The American problem with being Somebody08:00 Personal — what got abandoned along the way09:00 Failure vs. self-abandonment10:00 Soul work, calling, and the descentCrossroads Publishing Group: crossroadspublishing.groupLearn more about two engagement opportunities happening right now: https://crossroadspublishing.group/start/ Get full access to The Descent at chadprevost.substack.com/subscribe

Kelli Russell Agodon is a poet, writer, editor, and book designer whose Dialogues with Rising Tides, was named a Finalist for the Washington State Book Awards. In today's episode, Kelli and Annmarie discuss texting Emily Dickinson, how to write a poem, and Kelli's latest book Accidental Devotions which Traci Brimhall describes as “the kind of beauty you wish to hold forever.” Episode Sponsors: Open Books: Poem Emporium – A poetry bookstore and community space located in historic Pioneer Square, in Seattle, Washington. Stop by our Seattle location or shop at open-books-a-poem-emporium.myshopify.com. Newtonville Books – An independent bookstore located at 10 Langley Rd, in Newton, Massachusetts -- in the old stone building at the north corner of the triangle parking lot. Come for the books. Stay for the books. And learn more and shop online at newtonvillebooks.com. Titles by Kelli Russell Agodon: Accidental Devotions Dialogues with Rising Tides Hourglass Museum Everything Is Writable, co-authored with Annette Spaulding-Convy The Daily Poet: Day-By-Day Prompts, co-authored with Martha Silano Demystifying the Manuscript: Essays and Interviews on Creating a Book of Poems, co-edited with Susan Rich Additional Titles and Authors Mentioned in This Episode: The New Economy, by Gabrielle Calvocoressi Blue Atlas, by Susan Rich Dear Selection Committee, by Melissa Studdard Glitter Road, by January Gill O'Neil Terminal Surreal, by Martha Silano Follow Kelli Russell Agodon: Facebook: @agodon Instagram: @kelliagodon Bluesky: @kelliagodon Threads: @kelliagodon Twitter/X: @kelliagodon Substack: Postcards from a Poet @kelliagodon YouTube: @PoemsYouNeed agodon.com twosylviaspress.com **Writing Workshops: If you liked this conversation and are interested in writing together, please consider the opportunities below. For women interested in an online Saturday morning writing circle, you can sign up here. For anyone interested in a May weekday accountability circle, you can sign up here. For anyone in search of an evening class to jumpstart their creative practice, you can sign up here. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 01:24:25 - Les Nuits de France Culture - par : Albane Penaranda - réalisation : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Send us Fan MailIn this episode (the first of its kind that I've made in almost a year!), I explore some of the ideas presented in Marion Woodman's "Bone: Dying Into Life," which is a collection of journal entries that chronicle her experience with uterine cancer from 1993–1995. I mostly muse on a smattering of quotes that Woodman wrote in the margins of her journal, from the likes of Carl Jung, Emily Dickinson, and Rainer Maria Rilke. Topics include the fast pace of our society and the importance of slowing down (group can help with that!); how we see versions of ourselves in others (group, anyone?); how symptoms are an attempt at healing, and how physical travails can bring us to higher consciousness; the relentless demands of dinner; the value and necessity of mundane activities; the joy of dwelling in Possibility (group again!); and the impossibility of ever knowing someone completely, which means we should try all the more to do it, like good bodhisattvas (and group members!).

With the Missouri Chamber Music Festival's 16th season on the horizon, Nina Ferrigno, the festival's dynamic executive director and a talented pianist, takes center stage in this episode. The theme for this year, 'Hope is the Thing with Music,' reflects a beautiful synergy between music and the poetic words of Emily Dickinson. Ferrigno passionately discusses how the festival aims to weave together these two art forms, creating a rich tapestry of sound and meaning that will resonate with audiences.The episode dives into the nitty-gritty of the festival's planning process, with Nina sharing her excitement about new partnerships and the artistic direction she envisions. The collaboration with the Sheldon Concert Hall marks a significant milestone for the festival, providing a premier venue that enhances the concert experience. As she outlines the concert lineup, listeners are treated to a sneak peek of what to expect, from unique programming to premiering new works that promise to captivate and inspire.Listeners will also appreciate Nina's candid reflections on her journey through music and how it has shaped her life. Her insights into the rehearsal process and the collaborative nature of chamber music highlight the importance of connection and communication among musicians. This episode is not just an overview of the festival; it's a heartfelt celebration of the power of music to evoke emotion and foster community. So, whether you're a seasoned concert-goer or new to the world of chamber music, you'll want to tune in and get excited about the festival running from June 10th to 21st. Grab your tickets and join this musical adventure![00:00] World Premiere Teaser[00:28] Show Welcome and Quote[01:50] Theme Hope and Dickinson[03:49] Festival Turning Point[08:24] Tickets Dates and Venue[09:44] Concert 1 Enchanted Ground[11:59] Concert 2 Musicians Wrestle[16:33] Concert 3 Arianna Quartet[19:17] Concert 4 World Premiere[27:09] How Musicians Are Chosen[31:35] Sponsor Break[32:13] Nina's Musical Roots[38:55] Chamber Music Behind Scenes[43:26] Final Thanks and Sign OffTakeaways:Nina Ferrigno passionately connects music and poetry, highlighting Emily Dickinson's influence on this year's festival theme, "Hope is the Thing with Music."The Missouri Chamber Music Festival's 16th season promises a stellar lineup, featuring world-class musicians and unique performances from June 10th to 21st.Nina's new role as Artistic Director allows her to focus on artistic vision, freeing her from operational duties and bringing fresh energy to the festival.The festival will feature exciting collaborations with the renowned Sheldon Concert Hall, creating a vibrant new home for the concerts this year.Understanding the nuances of chamber music, Nina emphasizes the importance of collaboration, eye contact, and trust among musicians during performances.The premiere of a commissioned piece called "Memoria" by composer David Werfelman will explore the multifaceted nature of memory, adding depth to the festival's offerings.Home Page - Missouri Chamber Music (MOCM) & Festival InformationThe Sheldon - MOCM Single TicketsMetrotix - MOCM Season 16 TicketsFacebook - MOCMInstagram - MOCMMOCM - YouTube ChannelThis is Season 9! For more episodes, go to stlintune.com#mocm #chambermusic #calyxtrio #stlouischambermusic #worldpremiere #missourichambermusicfestival #thesheldon

Episode 2 of The Difficulty.The hardest thing about indie publishing isn't writing the book. It's giving up the fantasy that the book will market itself.In this one I get honest about the ego defenses we run as creators when it's time to put work into the marketplace — the survivorship bias of the "no marketing" success stories, the isolation that breeds false certainty, the asymmetric gap between making (which feels like magic) and marketing (which feels like math).Some of what comes up:— Howard Finster on his farm. Emily Dickinson and her response to Thomas Higginson. Fernando Pessoa's 200 heteronyms in a Lisbon trunk.— The German musician who poured everything into one album, got profoundly little response, and stopped.— My own Iris Blackwood cover that got 14 thumbs up and 38 thumbs down on NetGalley — and what to do with that.— "We haven't failed. We just haven't found our audience yet."The challenge at the end: pick one marketing lane, commit to it for 30–60 days, and report back.If the show is doing something for you, the easiest way to support it is to share this episode with one person you think it'd land for. Or restack the post. Or both.Episode mentions:— The Difficulty Field Guide (free PDF — eight difficulties every working writer faces): https://crossroadspublishing.group/assets/pdfs/The_Difficulty_Field_Guide.pdf— Iris Blackwood and the Curse of Hemlock Island, just out at IF/THEN Books — extras page (Decision Tree map + reading guide): https://crossroadspublishing.group/if-then-books/hemlock-island/New episodes Mondays (the why) and Thursdays (the how).The difficulty in life is the choice. Get full access to The Descent at chadprevost.substack.com/subscribe

While we are on a break, enjoy this episode from Season 2. Season 3 starts May 19!Week 39 of Ted Gioia's Immersive Humanities Course takes on nineteenth-century American literature. To my surprise, this became one of the most enjoyable weeks so far. I went in dreading familiar names and old high-school resentments, but came out newly energized. Mark Twain's The Adventures of Huckleberry Finn (chapters 1–6) was funny, humane, and immediately engaging. Edgar Allan Poe's The Fall of the House of Usher and “The Raven” used ornate language to heighten unease, while Emily Dickinson's poems felt weightless and startlingly modern. Henry David Thoreau's Walden was quotable and provocative, if ultimately grating, and Herman Melville surprised me most of all: Bartleby, the Scrivener lingered with quiet power, and the opening of Moby-Dick left me eager for more. This week revealed a real shift in voice and sensibility—and changed my mind about American literature. I'm looking forward to going back and reading more, but first we need to move on to Week 40 and Russian Literature!LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!) The complete list of Crack the Book Episodes (Amazon affiliate links): https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rCONNECTTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ Like what you heard? Buy me a coffee! https://ko-fi.com/crackthebookLISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321 Captivate - https://crackthebook.captivate.fm

Episode 198 — Pre-Emily Check-In (On Our Way to the Arts Club)Welcome back to The Conner & Smith Show!This week, we're dropping in with a quick, real-time check-in — because tonight is a big one.After recently workshopping The House of Booth, we're now just hours away from presenting the very first material from our brand-new Emily Dickinson project, tentatively titled Emily. You can hear the excitement (and a little chaos) in our voices.Tonight, we're heading to the Arts Club of Washington, where Susan Derry performs selections from the piece. Stephen Gregory Smith joins her on stage, Matt Conner reads stage directions and explores the poetry with us, all accompanied by the brilliant pianist Alex Tang.We recorded this just hours before leaving — a quick moment to share where we are, what's coming, and how much this new work means to us.We'll be back next week with more regular episodes. For now, we're sending our love and taking you right to the edge of something new.⸻Support The Conner & Smith Show on Patreon:

Clint and longtime friend of MUYP Tom Kwei discuss everything from Metallica to Emily Dickinson. The Geese controversy, Ozzy and Sabbath, the best British guitar players, Getdown Services, the Oasis reunion, the Oscars, Paul Thomas Anderson, Metallica at The Sphere, Mark Knopfler and Bob Dylan, David Gilmour, landfill indie music, The Strokes, Witch Fever, Wolf Alice and a bunch of other stuff I can't remember. Enjoy!  Watch Punnit HERE. If you get value from Metal Up Your Podcast, the best way to support the show is to subscribe and leave a review on Apple Podcasts:https://podcasts.apple.com/us/podcast/metal-up-your-podcast-all-things-metallica/id1187775077Want more MUYP?You can support the show directly by becoming a Patron.Patrons at the $5 tier receive:Volumes 1–4 of our Cover Our World Blackened EPsInvitations to appear on the show to discuss Metallica concerts you've attended.The ability to submit questions to past guests including Ray Burton, Halestorm, Michael Wagener, Jay Weinberg, and members of Metallica's crew.Join us here:https://www.patreon.com/metalupyourpodcastJoin the MUYP Discord Server to continue the conversation:https://discord.gg/nBUSwR8tSupport Clint's music:Lunar Satan: https://distrokid.com/hyperfollow/lunarsatan/lunar-satanVAMPIRE: https://distrokid.com/hyperfollow/clintwells/vampireStream or purchase Cover Our World Blackened and Quarantine Covers:https://metalupyourpodcast.bandcamp.comFollow Metal Up Your Podcast on social media and write in anytime:metalupyourpodcastshow@gmail.com

Guests: Kelly Shackelford & Kelly Scott Franklin Host Scot Bertram talks with Kelly Shackelford, president and CEO of First Liberty Institute, about the current state of religious liberty in the United States and his work on President Trump’s Religious Liberty Commission. And Kelly Scott Franklin, associate professor of English at Hillsdale College, returns for a new series on the poems of Emily Dickinson. This week, he focuses on "Death sets a Thing significant." See omnystudio.com/listener for privacy information.

Michela Musante"La lucerna del mondo"Profili di donne da Andromaca ad Anna AchmatovaAncora Editricewww.ancoralibri.itQuindici emozionanti monologhi, tutti al femminile. Quindici donne famose, in bilico tra realtà storica e immaginazione letteraria, salgono su un palcoscenico virtuale per confessarsi davanti a una platea di lettori. Il loro avvicendarsi è scandito da un ritmo cronologico: prima figura narrante è l'eroina troiana Andromaca, ultima la poetessa russa Anna Achmatova. Tra le protagoniste anche Maria di Nazareth, Lucia Mondella, Emily Dickinson e altre voci affascinanti chiamate a declinare con diverse sfumature lo stesso sentimento: l'amore. Grazie a un poliedrico esercizio di mimesi psicologica e linguistica, Michela Musante riesce a immedesimarsi in ciascuna di queste donne che soffrono, lottano, amano, e che nell'amore umano o divino riconoscono la cifra della loro dignità. «Lo sguardo, figlio, senti i miei occhi spalancati incollati ai tuoi ormai serrati e gonfi? Con questi occhi ti contai le dita di mani e piedi appena uscisti dal ventre e ti adagiarono sul mio petto ansante. Cuore di mamma stanca e lieta, cuore di figlio scaldato da paglia e da fango. Le stelle sopra di noi, allora e oggi, le stelle sempre. Che stanno a guardare e tutto sanno, fino alla fine dei giorni» (dal monologo di Maria di Nazareth).Michela Musante, nata a Milano nel 1966, sposata e madre di due figli gemelli, laureata in Lettere Moderne presso l'Università di Pavia, ha lavorato in editoria come redattrice e traduttrice. Attualmente è docente di Italiano e Latino al Liceo Classico-Scientifico “Marie Curie” di Meda (MB). Nel 2022 l'editrice Àncora ha pubblicato il suo memoriale L'ospite, storia di terribile sofferenza e di miracolosa rinascita della figlia Lucrezia, colpita a dodici anni, nel 2019, da insufficienza epatica fulminante e salvata in extremis da un provvidenziale trapianto di fegato all'ospedale Papa Giovanni XXIII di Bergamo. Dopo questo convincente esordio sono apparsi nel 2025, sempre con il marchio di Àncora, i suoi «vagabonsaggi letterari», riuniti sotto il titolo Prima eravamo azzurri.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Get set for a poetry gabfest for the ages! The fabulous Joy Priest joins us for the Breaking Form Interview.Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series. And BEAUTIFUL PEOPLE is available from Bridwell Press. James's ROMANTIC COMEDY is available from Four Way Books. Show Notes:Buy Joy's prizewinning collection of poems, Horsepower, from the University of Pittsburgh Press here or from Loyalty Books, a  Black, Queer, and Asian owned independent bookstore in DC.Visit Joy Priest's website: https://www.joypriest.comYou can see Joy reading from her work here, here, and here. Or read this interview with her here.Read Joy's ode to Whitney Houston, "When I See the Stars in the Night Sky"Nikky Finney won the 2011 National Book Award for her book Head Off and Split. Watch her iconic speech here. Read more about American Honey, a film by Andrea Arnold starring Sasha Lane We mention a few forms, including the Abecedarian and the Sestina. Click the links for more information about them. Poets we mention:Emily Dickinson and Poem 269 ("Wild nights!")Hear poet Jane Kenyon read her poem "Otherwise."Donald HallTerrance HayesRoss GayLouise Glück's "Anniversary"                

I hope this quote from Emily Dickinson helps you find ecstasy in everyday life.   Join the FREE Facebook group for The Michael Brian Show at https://www.facebook.com/groups/themichaelbrianshow   Follow Mike on Facebook Instagram & X

Episode 194 — Exploring EmilyWelcome back to The Conner & Smith Show!This week, we step inside the world of Emily Dickinson as we begin shaping our newest theatrical project — and prepare for our upcoming presentation at the Arts Club of Washington.Exploring Emily is our first public glimpse into a piece that has been quietly evolving behind the scenes, and in this episode, we pull back the curtain on how it's all coming together.We talk about: •

With fasting at an all-time high in popularity, here is an enlightening exploration into the history, science, and philosophy behind the practice—essential to many religions and wellness routines. Whether for philosophical, political, or health-related reasons, fasting marks a departure from daily routine. Based on extensive historical, scientific, and cultural research and reporting, John Oakes The Fast: The History, Science, Philosophy, and the Promise of Doing Without (Avid Reader Press, 2024) illuminates the numerous facets of this act of self-deprivation. John interviews doctors, spiritual leaders, activists, and others who guide him through this practice—and embarks on fasts of his own—to deliver a book that supplies anyone curious about fasting with profound new understanding, appreciation, and inspiration. In recent years, fasting has become increasingly popular for a variety of reasons—from weight loss to detoxing, to the faithful who fast in prayer, to seekers pursuing mindfulness, to activists using hunger strikes as protest. Notable fasters include Moses, Buddha, Jesus, Muhammad, Gandhi, George Washington, Abraham Lincoln, Emily Dickinson, Mark Twain, Cesar Chavez, and a long list of others who have drawn on its power over the ages and across borders and cultures. The Fast looks at the complex science behind the jaw-dropping biological changes that occur inside the body when we fast. Metabolic switching can prompt repair and renewal down to the molecular level, providing benefits for those suffering from obesity and diabetes, cancer, epilepsy, cardiovascular disease, neurodegenerative disorders, and more. Longer fasts can both reinvigorate the immune system and protect it against damage. Beyond the physical experience, fasting can be a great collective unifier, and it has been adopted by religions and political movements all over the world for millennia. Fasting is central to holy seasons and days such as Lent (Christianity), Ramadan (Islam), Yom Kippur (Judaism), Uposatha (Buddhism), and Ekadashi (Hinduism). On an individual level, devout ascetics who master self-deprivation to an extreme are believed to be closer to the divine, ascending to enlightenment or even sainthood. Fasting reminds us of the virtues of holding back, of not consuming all that we can. “Broad in scope and rich in insight” (Publishers Weekly, starred review), this book shows us that fasting is about much more than food: it is about taking control of your life in new and empowering ways and reconsidering your place in the world. John Oakes is the publisher of The Evergreen Review and the editor at large of OR Books. The Fast is his first book. Saman Nasser holds an M.A. in World History from James Madison University, where he currently works as an administrative staff. 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

With fasting at an all-time high in popularity, here is an enlightening exploration into the history, science, and philosophy behind the practice—essential to many religions and wellness routines. Whether for philosophical, political, or health-related reasons, fasting marks a departure from daily routine. Based on extensive historical, scientific, and cultural research and reporting, John Oakes The Fast: The History, Science, Philosophy, and the Promise of Doing Without (Avid Reader Press, 2024) illuminates the numerous facets of this act of self-deprivation. John interviews doctors, spiritual leaders, activists, and others who guide him through this practice—and embarks on fasts of his own—to deliver a book that supplies anyone curious about fasting with profound new understanding, appreciation, and inspiration. In recent years, fasting has become increasingly popular for a variety of reasons—from weight loss to detoxing, to the faithful who fast in prayer, to seekers pursuing mindfulness, to activists using hunger strikes as protest. Notable fasters include Moses, Buddha, Jesus, Muhammad, Gandhi, George Washington, Abraham Lincoln, Emily Dickinson, Mark Twain, Cesar Chavez, and a long list of others who have drawn on its power over the ages and across borders and cultures. The Fast looks at the complex science behind the jaw-dropping biological changes that occur inside the body when we fast. Metabolic switching can prompt repair and renewal down to the molecular level, providing benefits for those suffering from obesity and diabetes, cancer, epilepsy, cardiovascular disease, neurodegenerative disorders, and more. Longer fasts can both reinvigorate the immune system and protect it against damage. Beyond the physical experience, fasting can be a great collective unifier, and it has been adopted by religions and political movements all over the world for millennia. Fasting is central to holy seasons and days such as Lent (Christianity), Ramadan (Islam), Yom Kippur (Judaism), Uposatha (Buddhism), and Ekadashi (Hinduism). On an individual level, devout ascetics who master self-deprivation to an extreme are believed to be closer to the divine, ascending to enlightenment or even sainthood. Fasting reminds us of the virtues of holding back, of not consuming all that we can. “Broad in scope and rich in insight” (Publishers Weekly, starred review), this book shows us that fasting is about much more than food: it is about taking control of your life in new and empowering ways and reconsidering your place in the world. John Oakes is the publisher of The Evergreen Review and the editor at large of OR Books. The Fast is his first book. Saman Nasser holds an M.A. in World History from James Madison University, where he currently works as an administrative staff. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

With fasting at an all-time high in popularity, here is an enlightening exploration into the history, science, and philosophy behind the practice—essential to many religions and wellness routines. Whether for philosophical, political, or health-related reasons, fasting marks a departure from daily routine. Based on extensive historical, scientific, and cultural research and reporting, John Oakes The Fast: The History, Science, Philosophy, and the Promise of Doing Without (Avid Reader Press, 2024) illuminates the numerous facets of this act of self-deprivation. John interviews doctors, spiritual leaders, activists, and others who guide him through this practice—and embarks on fasts of his own—to deliver a book that supplies anyone curious about fasting with profound new understanding, appreciation, and inspiration. In recent years, fasting has become increasingly popular for a variety of reasons—from weight loss to detoxing, to the faithful who fast in prayer, to seekers pursuing mindfulness, to activists using hunger strikes as protest. Notable fasters include Moses, Buddha, Jesus, Muhammad, Gandhi, George Washington, Abraham Lincoln, Emily Dickinson, Mark Twain, Cesar Chavez, and a long list of others who have drawn on its power over the ages and across borders and cultures. The Fast looks at the complex science behind the jaw-dropping biological changes that occur inside the body when we fast. Metabolic switching can prompt repair and renewal down to the molecular level, providing benefits for those suffering from obesity and diabetes, cancer, epilepsy, cardiovascular disease, neurodegenerative disorders, and more. Longer fasts can both reinvigorate the immune system and protect it against damage. Beyond the physical experience, fasting can be a great collective unifier, and it has been adopted by religions and political movements all over the world for millennia. Fasting is central to holy seasons and days such as Lent (Christianity), Ramadan (Islam), Yom Kippur (Judaism), Uposatha (Buddhism), and Ekadashi (Hinduism). On an individual level, devout ascetics who master self-deprivation to an extreme are believed to be closer to the divine, ascending to enlightenment or even sainthood. Fasting reminds us of the virtues of holding back, of not consuming all that we can. “Broad in scope and rich in insight” (Publishers Weekly, starred review), this book shows us that fasting is about much more than food: it is about taking control of your life in new and empowering ways and reconsidering your place in the world. John Oakes is the publisher of The Evergreen Review and the editor at large of OR Books. The Fast is his first book. Saman Nasser holds an M.A. in World History from James Madison University, where he currently works as an administrative staff. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science

With fasting at an all-time high in popularity, here is an enlightening exploration into the history, science, and philosophy behind the practice—essential to many religions and wellness routines. Whether for philosophical, political, or health-related reasons, fasting marks a departure from daily routine. Based on extensive historical, scientific, and cultural research and reporting, John Oakes The Fast: The History, Science, Philosophy, and the Promise of Doing Without (Avid Reader Press, 2024) illuminates the numerous facets of this act of self-deprivation. John interviews doctors, spiritual leaders, activists, and others who guide him through this practice—and embarks on fasts of his own—to deliver a book that supplies anyone curious about fasting with profound new understanding, appreciation, and inspiration. In recent years, fasting has become increasingly popular for a variety of reasons—from weight loss to detoxing, to the faithful who fast in prayer, to seekers pursuing mindfulness, to activists using hunger strikes as protest. Notable fasters include Moses, Buddha, Jesus, Muhammad, Gandhi, George Washington, Abraham Lincoln, Emily Dickinson, Mark Twain, Cesar Chavez, and a long list of others who have drawn on its power over the ages and across borders and cultures. The Fast looks at the complex science behind the jaw-dropping biological changes that occur inside the body when we fast. Metabolic switching can prompt repair and renewal down to the molecular level, providing benefits for those suffering from obesity and diabetes, cancer, epilepsy, cardiovascular disease, neurodegenerative disorders, and more. Longer fasts can both reinvigorate the immune system and protect it against damage. Beyond the physical experience, fasting can be a great collective unifier, and it has been adopted by religions and political movements all over the world for millennia. Fasting is central to holy seasons and days such as Lent (Christianity), Ramadan (Islam), Yom Kippur (Judaism), Uposatha (Buddhism), and Ekadashi (Hinduism). On an individual level, devout ascetics who master self-deprivation to an extreme are believed to be closer to the divine, ascending to enlightenment or even sainthood. Fasting reminds us of the virtues of holding back, of not consuming all that we can. “Broad in scope and rich in insight” (Publishers Weekly, starred review), this book shows us that fasting is about much more than food: it is about taking control of your life in new and empowering ways and reconsidering your place in the world. John Oakes is the publisher of The Evergreen Review and the editor at large of OR Books. The Fast is his first book. Saman Nasser holds an M.A. in World History from James Madison University, where he currently works as an administrative staff. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

With fasting at an all-time high in popularity, here is an enlightening exploration into the history, science, and philosophy behind the practice—essential to many religions and wellness routines. Whether for philosophical, political, or health-related reasons, fasting marks a departure from daily routine. Based on extensive historical, scientific, and cultural research and reporting, John Oakes The Fast: The History, Science, Philosophy, and the Promise of Doing Without (Avid Reader Press, 2024) illuminates the numerous facets of this act of self-deprivation. John interviews doctors, spiritual leaders, activists, and others who guide him through this practice—and embarks on fasts of his own—to deliver a book that supplies anyone curious about fasting with profound new understanding, appreciation, and inspiration. In recent years, fasting has become increasingly popular for a variety of reasons—from weight loss to detoxing, to the faithful who fast in prayer, to seekers pursuing mindfulness, to activists using hunger strikes as protest. Notable fasters include Moses, Buddha, Jesus, Muhammad, Gandhi, George Washington, Abraham Lincoln, Emily Dickinson, Mark Twain, Cesar Chavez, and a long list of others who have drawn on its power over the ages and across borders and cultures. The Fast looks at the complex science behind the jaw-dropping biological changes that occur inside the body when we fast. Metabolic switching can prompt repair and renewal down to the molecular level, providing benefits for those suffering from obesity and diabetes, cancer, epilepsy, cardiovascular disease, neurodegenerative disorders, and more. Longer fasts can both reinvigorate the immune system and protect it against damage. Beyond the physical experience, fasting can be a great collective unifier, and it has been adopted by religions and political movements all over the world for millennia. Fasting is central to holy seasons and days such as Lent (Christianity), Ramadan (Islam), Yom Kippur (Judaism), Uposatha (Buddhism), and Ekadashi (Hinduism). On an individual level, devout ascetics who master self-deprivation to an extreme are believed to be closer to the divine, ascending to enlightenment or even sainthood. Fasting reminds us of the virtues of holding back, of not consuming all that we can. “Broad in scope and rich in insight” (Publishers Weekly, starred review), this book shows us that fasting is about much more than food: it is about taking control of your life in new and empowering ways and reconsidering your place in the world. John Oakes is the publisher of The Evergreen Review and the editor at large of OR Books. The Fast is his first book. Saman Nasser holds an M.A. in World History from James Madison University, where he currently works as an administrative staff. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/spiritual-practice-and-mindfulness

This beautiful recording of nocturnal crickets in Ghana opened up the night to me - I wanted to create a piece that had something of the warmth of a long summer evening, gazing up at the infinite sky as the crickets sing. The arpeggios grow and develop, with more instruments entering throughout the piece, representing the growth of the cricket chorus as more and more insect voices join the song each night.The title is from an Emily Dickinson poem, "The cricket sang":The cricket sang,And set the sun,And workmen finished, one by one,Their seam the day upon. The low grass loaded with the dew,The twilight stood as strangers doWith hat in hand, polite and new,   To stay as if, or go. A vastness, as a neighbour, came,— A wisdom without face or name, A peace, as hemispheres at home,—    And so the night became. 

On the latest episode of ‘New Classical Tracks,' cellist Matt Haimovitz and pianist Christopher O'Riley collaborate on their lates album featuring period instruments and the music of J.S. Bach. Listen now with host Julie Amacher!

“March is a month for expectation,” said American poet Emily Dickinson. Sports fans understand this. As March begins, we see separation between the contenders and the pretenders. In college lacrosse, we begin to see the same hope of promise vs. reality, as teams and leagues jockey for RPI wins before the conference season kicks off. It's on.This week there are five fantastic Top 20 matchups to preview, and D-Fly & Dixie, with an assist from Inside Lacrosse's Kevin Brown, are here to get you primed.The show kicks off with a debate over whether March is the best month for sports fans, followed by Dixie's road show to Ivy League rivals Penn and Princeton. Kevin Brown, IL's managing editor, hops in to describe his fun role at Inside Lacrosse and talk First State lacrosse with D-Fly. Then they get straight to the scintillating slate. GAME PREVIEWSALL GAMES SATURDAYNo. 15 Rutgers (5-1) at No. 3 Princeton (3-1) | noon| ESPN+ | Tigers -5.5/21.5No. 13 Georgetown (1-2) at No. 2 Richmond (5-0) | noon | ESPN+ | Spiders -2.5/22.5No. 7 Cornell (3-1) at No. 14 Penn State (3-2) | 1 p.m. | B1G+ | Big Red -1.5/23.5No. 12 Syracuse (4-2) at No. 13 JHU (4-1) 1 p.m. | ESPN+/ESPNU | Orange -1.5/23.5No. 2 Notre Dame (4-0) at No. 10 Ohio State (6-0) | 2 p.m. | B1G+ | Irish -2.5/22.5GIVE & GOIn this week's Deli-themed Give & Go, the guys share their considerable expertise about the best hot and cold deli sandwich options. 

Daphne Olive returns for her THIRD legendaric appearance on Seaweed Brain!!! From subtly anti-olympian earrings to Emily Dickinson quotations to romance vs romance and everything in between- you know we had to ask all our most niche Sea of Monsters adaptation questions and you know sometimes Daphne had to sit there and smile and nod and say I CAN'T ANSWER THAT. You don't wanna miss this. Seriously. This is like... the really really good stuff. Imagine telling Erica and Carter 5 years ago this would be a regular ole Wednesday episode release. They would have been like HA yeah right. .. wait really??? Praise Artemis.You can find Daphne's jewelry and more about her many varied and glorious lives here: https://www.daphneolive.com/Like this content? Support our podcast on Patreon! There you'll find exclusive episodes, access to our exclusive Patron Discord server, episode outlines, live watch parties, and more!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/seaweedbrain⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Don't wanna subscribe? You can always buy us a coffee: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/seaweedbrainpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow our show:Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SeaweedBrainPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SeaweedBrainPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@EricaSeaweedBrain⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SeaweedBrainPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/Seaweedbrainpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out our merch shop! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/stores/seaweed-brain-podcast?ref_id=21682⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Emily Dickinson and Charles Darwin both saw nature as alive with mystery – and treated wonder as a way of knowing. Literary scholar and science historian Renee Bergland, author of "Natural Magic," is our guide to the forgotten kinship between the reclusive poet and the celebrated naturalist. Dickinson and Darwin never met, but they had at least one close friend in common. Both were both fascinated by fossils. Both wandered the woods and swamps near their homes, studying insects and documenting rare plants. They shared a vision of the interconnectedness of all life. We know that Dickinson, with her background in botany, geology, astronomy and chemistry, was enthralled by Darwin's evolutionary theory. And it certainly seems possible that Darwin, with his degree in theology and his lifelong love of poetry and literature, might have admired the American poet whose close observations and delicate perceptions echoed his own. Bergland's dual biography, just out in paper, is vivid, sparkling intellectual history – a window onto a time when scientific thinking still embraced emotion and wonder as modes of perception. Could the belief in “natural magic” that infused Dickinson's and Darwin's ideas restore our own faith in a universe alive with meaning? Our conversation about the poet who studied natural history and the naturalist who loved poetry suggests a way forward – by reclaiming their shared ecological wonder. — Now out in paperback: "Natural Magic: Emily Dickinson, Charles Darwin, and the Dawn of Modern Science" Previous books from Renee Bergland: "Maria Mitchell and the Sexing of Science: An Astronomer Among the American Romantics" and "The National Uncanny: Indian Ghosts and American Subjects"  —0:00 — Meeting Renee Bergland9:00 — What Is Natural Magic?20:00 — Beauty, Truth, and Evolution34:00 — Hope and the Garden of Change Wonder Cabinet is hosted by Anne Strainchamps and Steve Paulson. Find out more about the show at https://wondercabinetproductions.com, where you can subscribe to the podcast and our newsletter.

durée : 00:57:32 - Samedi fiction - Portrait sonore et poétique d'Emily Dickinson, réalisé à partir de textes de Dominique Fortier, Une vie de papier nous invite à pénétrer dans le monde intérieur et retiré de la poétesse américaine.

durée : 00:57:32 - Samedi fiction - Portrait sonore et poétique d'Emily Dickinson, réalisé à partir de textes de Dominique Fortier, Une vie de papier nous invite à pénétrer dans le monde intérieur et retiré de la poétesse américaine.

The queens read for filth another toxic masculinist article before we play a saucy game based on a gay novel. Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series. And BEAUTIFUL PEOPLE is available from Bridwell Press. James's ROMANTIC COMEDY is available from Four Way Books. Show Notes:Heather Christle's post sparked this episode's discussion and can be found here. Christle's most recent book of poetry is Paper Crown (Wesleyan UP, August 2025)While there isn't an out gay character in Dead Poets Society, there is some gay-coded stuff going on. Read Kaeya Merchant's fabulous essay on the topic: "Dead Poets Society is Queer; Here's Why" The Garth Greenwell essay on Andrew Holleran's Dancer from the Dance which Aaron references was also published in the Yale Review. Check out Garth's website at https://www.garthgreenwell.comAt the end of the show, we quote the line "What did you think, that joy was some slight thing?" which is from Mark Doty's "Visitation"Other poems or poets we reference are:Garret Hongo's "What For"e.e. cummings, "somewhere I have never travelled, gladly beyond"David Bottoms, "Sign for My Father, Who Stressed the Bunt"A.E. Stallings, "Sea Girls"Jorie Graham, "At Luca Signorelli's Resurrection of the Body"Emily Dickinson, Poem 591

Nick Jeffery read Robert Browning's The Ring and the Book, a Victorian epic poem about a murder mystery in 17th Century Italy, to test a theory. John Granger's best guess after surveying the chapter headings of Hallmarked Man last September was that, of all 77 sources for the 139 epigraphs in Strike8, Browning's poem was the most likely to hold a secret message or special meaning inside it. John had said something similar about another Browning poem and Ink Black Heart, Elizabeth Barrett Browning's Aurora Leigh, and Nick had confirmed that through his own reading and confirmation by Rowling herself. He thought John's track record of spotting important epigraph sources merited a test reading.He published his findings on Friday in a post titled ‘The Ring and The Book – A Rowling Reading.' In brief, the murder in Browning's poem is a point-to-point model for the Ironbridge murder mystery in Hallmarked Man with characters in Rowling-Galbraith's book — most notably, Chloe Griffiths, Tyler Powell, and Ian Griffiths — having their astonishing equivalents in Ring. The less obvious but more important links between the two are in their implicit feminism and other messages: Both works critique abusive relationships and patriarchal power: Guido's control of Pompilia and Dino Longcaster's control of Decima Mullins. The legal system (Books 8–9 especially) is satirized as formalistic, pedantic, and often blind to moral reality. True justice requires personal moral intuition beyond mere evidence or procedure. The Pope's monologue (Book 10) weighs this tension most profoundly. In The Hallmarked Man the police are slow to act on new information gained by Strike and Robin and Farah Navabi manages to hoodwink the courts into escaping punishment for her part in Patterson's crimes.The Ring and The Book dramatizes the eternal struggle between good and evil. Pompilia embodies instinctive purity, sacrificial love, and spiritual insight despite her suffering. Guido represents sophisticated, calculating evil that twists morality to justify cruelty. Browning affirms that evil exists but that good can somehow arise from or shine through evil's consequences. In The Hallmarked Man evil is real, monstrous, and often cloaked in normalcy or power structures, but it can be exposed and defeated through persistence, intuition, and moral courage.Nick also discusses in this article the chiastic structure of Ring (!) and the ‘conversation' he heard between Robert Browning in this poem with Aurora Leigh, the masterpiece by his late wife. His ‘Rowling Reading' of Ring and the Book, consequently, will soon be a touchstone piece not only in Rowling Studies but Browning Studies as well (#ArmstrongBrowningLibraryAndMuseum @ Baylor). As they have done before with Nick's ‘Rowling Reading' articles. the Hogwarts Professor team recorded their conversation about the piece (listen to their discussions of I Capture the Castle and Aurora Leigh). Seven High Points of that Ring and the Book epigraph conversation include:* Nick's review of why Serious Strikers and Rowling Readers should read The Ring and the Book along with the story of his immersion in it;* John's explanation of why he was so confident that Browning's poem was a template of some kind for Hallmarked Man even though only six of Strike8's 139 epigraphs were taken from it;* Their survey of Rowling's previous work with epigraphs — Deathly Hallows and Casual Vacancy all the way to Running Grave and Hallmarked Man — for works with similar embedded-in-the-epigraph texts and those without one (or in which it hasn't yet been discovered);* Nick's discussion of Rowling's previous comments about epigraphs and her answer to the question, ‘Which Came First, the Epigraph or the Story?';* John's best guess pre-publication about the text that will be the epigraph source in Sleep Tight, Evangeline and which Strike text it will most resemble with its Whiskey Shambles title;* Nick's commitment to exploring Blue Oyster Cult epigraphs in Career of Evil to see if one of that band's albums, all of which supposedly had sci-fi themes and story continuity, served as a text-within-the-text for Strike3; and* John's suggestion that the relationship of Elizabeth Barrett Browning and Robert Browning, a great love with a shared vocation, might be a point of reflection for Serious Strikers as a template for understanding the Strike-Ellacott partnership.Nick and John will be recording their group charting of Hallmarked Man's Part Eight this week with Sandy Hope and Ed Shardlow (and Presvytera Lois?), a survey of readers is in the works, and the long-awaited close look at the Strike series in light of the Cupid and Psyche myth draws ever nearer. Stay tuned!The Ten Questions, Epigraph Charting, and Links to Previous Epigraph Discussions Here and Elsewhere:The Ring and The Book – A Rowling Reading, Nick Jeffery, February 2026Intro to Epigraphs 101, John Granger, September 2022The Heart is Not About Emotions and Affection but the Human Spiritual Center, John Granger, October 2022A Rowling Reading of Aurora Leigh, Nick Jeffery, November 2025Beatrice Grove's Pillar Post Page at HogwartsProfessor.com* Scroll down for Prof Groves' posts about epigraphs and literary allusion in Cuckoo's Calling, The Silkworm, Troubled Blood, and Ink Black HeartLethal White: Ibsen's ‘Rosmersholm', John Granger, December 2018Rowling, Dylan Thomas, and the I Ching: Three Thoughts on Strike7's Epigraphs, John Granger, April 2023‘Deathly Hallows' and Penn's ‘Fruits of Solitude,' John Granger, October 2008The Aeschylus Epigraph in ‘Deathly Hallows,' John Granger, October 2008Maid of the Silver Sea Epigraphs: Louise Freeman Davis' Collected Posts, 2025The Faerie Queene Epigraphs in Troubled Blood* Scroll down the Troubled Blood Pillar Post for the Faerie Queene commentary by Beatrice Groves, Elizabeth Baird-Hardy and John GrangerRobert-Galbraith.com Posts about the Epigraphs in Each Book* Hallmarked Man's Epigraphs: The Poetry* Hallmarked Man's Epigraphs: The Prose* Scroll Down the site's ‘Features' Page for all the other Epigraph PostsAgents of Fortune: The Blue Oyster Cult Story, Martin Popoff, May 2016Pompilia: A Feminist Reading Of Robert Browning'S The Ring And The Book, Anne Brady, May 1988Roman Murder Mystery: The True Story of Pompilia, Derek Parker, January 2001Sleep Tight, Evangeline: Nick Jeffery and John Granger talk with Dimitra FimiHallmarked Man Epigraphs: The Tally SheetMatthew Arnold: 17 poems, 25 epigraphs, 6 from Merope: A Tragedy* 3, 17, 52, 103, 108, 110 (Merope), 21, 33, 68, 38, 97, 41, 45, 59, 58, 69, 73, 76, 80, 86, 96, 106, 119, 122, 124Robert Browning: 26 poems, 38 epigraphs including frontispiece, 6 from The Ring and the Book* 44, 75, 62, 64, 102, 118 (Ring and Book), frontispiece, 2, 9, 11, 107, 13, 16, 20, 26, 28, 32, 35, 37, 114, 39, 42, 93, 44, 75, 47, 51, 62, 64, 67, 116, 71, 77, 79, 84, 87, 120, 90, 91, 100, 102, 109, 118, 126A. E. Housman: 5 works, 25 poems, 28 epigraphs, 10 from Last Poems* 1, 5, 7, 53, 19, 92, 56, 65, 74, 105 (Last Poems), 23, 30, 34, 36, 40, 43, 46, 49, 57, 63, 78, 82, 89, 94, 98, 112, 115, 125John Oxenham: 1 work, 26 epigraphs* Parts 1-10, Epilogue, 15, 18, 22, 25, 27, 55, 60, 66, 83, 85, 88, 95, 111, 113, 127 (Maid of the Silver Sea)Albert Pike: 3 works (?), 22 epigraphs, 16 from Morals and Dogma* 4, 16, 12, 121 (Liturgy), 8, 10, 14, 29, 31, 48, 50, 54, 61, 70, 81, 99, 101 (Morals and Dogma), 24, 72 (Ancient and Accepted Rite?)Most epigraphs: Robert BrowningFrontispiece: Robert BrowningMost from one poem: Tie, Robert Browning 6 Ring and Book, Matthew Arnold 6 Merope: A TragedyMost from one novel: John Oxenham 26 Maid of the Silver SeaMost from one didactic or discursive argument: Albert Pike 22 (24?) Morals and DogmaConclusions: Ring and Book your best bet as template, Re-read Maid of the Silver Sea, read Merope: A TragedyTally Sheet of Epigraphs for Ink Black Heart:Poet: epigraph numbers, (total)* Christina Rossetti: 8, 14, 22, 24, 25, 35, 38, 50, 52, 54, 56, 84, 86, 90, 98, 103, 105, 107 (18)* Elizabeth Barrett Browning: 12, 21, 33, 39, 42, 45, 47, 58, 67, 71, 72, 82, 96, 101, 102, 104 (16; all but #s 21 and 58 from ‘Aurora Leigh')* Mary Elizabeth Coleridge: Book, 1, 18, 20, 49, 79, 81, 91, 93, 94, 106 (11)* Emily Dickinson: 11, 31, 53, 58, 59, 65, 70, 76, 99 (8)* Charlotte Mew: 16, 17, 40, 55, 66, 92, 95 (7)* Felicia Hemans: 6, 10, 15, 63, 100 (5)* Amy Levy: 7, 23, 32, 80, 85 (5)* Jean Ingelow: 9, 27, 29, 37, 64 (5)* LEL!: 62, 68, 69, 83 (4); see also Rossetti 52 ‘LEL')* Mary Tighe: 36 (Psyche), 43, 60, 88 (4)* Helen Hunt Jackson: 4, 87, 89 (3)* Joanna Baillie: 13, 21, 34 (3)* Augusta Webster: 44, 48, 51 (3)* Emily Pfeiffer: 3, 75 (2)* Charlotte Bronte: 19, 74 (2)* Adah Isaacs Menken: 30, 57 (2)* Constance Naden: 41, 46 (2)* Mathilda Blind: 61, 97 (2)* Mary Kendall: 73, 77 (2)* Martha Jane Jewsbury: 2 (‘To My Own Heart')* Anne Evans: 28* ‘Michael Field' (Katherine Bradley and Edith Cooper): 78The Heart and Vision epigraphs in Ink Black Heart by chapter number:* Heart: 20, 106 (MEC); 21, 67; 52, 107; 68, 85; 2; 63, 80, 85; 17, 40, 55, 95 (Mew); 19, 74; 27; 30; 36, 60; 87 (23)* Vision: Frontispiece, 1, 49, 81 (MEC); 22, 25, 38, 90, 98 (CR); 59; 3; 34; 95; 57; 88; 48; 46 (17)Tally Sheet of Epigraphs for Cuckoo's Calling:* Frontispiece: Rossetti -- A Dirge* Prologue: Lucius Accius, Telephus* Part One: Boethius, The Consolation of Philosophy* Part Two: Virgil, Aeneid* Part Three: Virgil, Aeneid* Part Four: Pliny the Elder, Historia Naturalis* Part Five: Virgil, Georgics* Epilogue: Horace, Odes* [Closing Poem: Tennyson, Ulysses]Brackets/Latch: 19th Century English poets (see Groves)Most epigraphs: Virgil (3); no other author has more than oneMost frequently referenced work: Aeneid (2), shades in UlyssesCenter of Chiasmus: Aeneid (true if ring has 5, 8, or 9 parts)Turtleback lines: Not evident in authors list, perhaps in meanings of specific epigraphsConclusions:* Read Aeneid to look for Cuckoo's parallels;* Study epigraphs to look for parallelsOnline Literature Review for ‘Epigraphs of Cuckoo's Calling:‘https://robert-galbraith.com/epigraphs-of-the-cuckoos-calling/* 2025 connecting the dots between epigraphs and chapter set to follow (generic)* No mention of Strike as Aeneashttps://strikefans.com/the-cuckoos-calling-epigraphs/* Reprinting of epigraphs without commentary* No mention of Strike as Aeneashttps://thesefilespod.com/blog/the-cuckoos-calling-epigraphs/* Includes a very helpful link to The Rowling Library and an article there about the ‘real world' crime serving as a template for the Landry murder* No mention of Strike as Aeneashttps://mugglenet.wpenginepowered.com/2017/09/literary-allusion-cuckoos-calling-part-1-christina-rossettis-dirge/* Brilliant discussion of the Rossetti poem but curiously without reference to resurrection meaning* No mention of Strike as Aeneashttps://mugglenet.wpenginepowered.com/2017/09/literary-allusion-cuckoos-calling-part-2-tennysons-ulysses/* Brilliant discussion of Strike as Ulysses* No mention of Strike as Aeneas, curious becauseh Virgil models Aeneas on UlyssesThe Ten Questions of This Conversation (Sort Of!)1, (Nick) So, John, I finally wrote up my findings about The Ring and the Book as the story template for Hallmarked Man's murder mystery and, as we did with my posts about Aurora Leigh and I Capture the Castle, let's talk about it, expanding on the correspondences between the Browning poem and Strike 8. The natural place to begin is with your guess about Ring and the Book being a template based on your tally of the Hallmarked Man epigraphs, a theory you shared on our first show post-publication. Can you explain your process and what made you so confident about Ring and the Book?2. (John) Looking at that tally, then, Arnold's Merope and Oxenham's Maid of the Silver Sea are quantitatively more likely equivalents to Aurora Leigh in Ink Black Heart, but the Browning frontispiece, number of his epigraphs, the hidden quality of the Ring and Book poem titles, and the relationship with Barrett Browning made it seem the most likely. That the poem is considered one of the great feminist tracts written by a man didn't hurt. I still want to go back to the Arnold poem, though, because of the centrality of his epigraphs in the center Parts and Oxenham deserves a re-read, too, or just a trip to Louise Freeman Davis site, the home of Oxenham Studies online. What struck me while reading your post, Nick, was in the correspondences you found between Ring and the Book and Hallmarked Man. Can you give us the highlights of that?3. (Nick) The Ironbridge murder mystery, then, is largely lifted from the death of Pompilia. Which is unusual isn't it? Has Rowling-Galbraith ever used her epigraphs to point to the template of her story?4. (John) I think, then, that at least four of the previous Strike novels give us the embedded template, per Beatrice Groves The White Divel and The Revenger's Tragedy (and even Hamlet) gives us important clues about The Silkworm crime, Rosmersholm and its incestuous backdrop inform the murder of Lethal White, the Janus deceiver in Faerie Queene should have been a give-away about the poisoner in Troubled Blood, and, as Rowling confirmed and you demonstrated Nick, Aurora Leigh is the working model for Ink Black Heart. I think the closest Rowling epigraph suggestions to story template was in the Rossetti poem that opens Cuckoo's Calling and the Aeschylus epigraph in Deathly Hallows. What has Rowling said, though, about her epigraph sources? Do they precede the novels or follow the writing?5. (Nick) So it's not one or the other, I think, that is, she has a template in mind and if the source doesn't have sufficient quotable pieces to serve a epigraphs for the whole book, she uses other sources from the genre in play or that highlight her central theme (cf., the Gray's Anatomy heart epigraphs in tandem with the hearty women Victorian poets in Ink Black). What I'm struck by here, though, is the shift in importance of epigraphs to Rowling-Galbraith. The numbers are startling, no, between Cuckoo and Hallmarked?6. (John) Not only do we see a jump from eight or nine epigraphs in Strike1 to 139 in Stike8, but Team Rowling is pushing readers to think more seriously about them by posting reviews of the epigraphs in each book, drawing the dot-to-dot correspondences. I confess the Strike novel whose epigraphs are not like the others, Nick, is Career of Evil and its Blue Oyster Cult lyrics. You've been reading a book about Blue Oyster Cult so I'll defer to you in this despite my great fondness for heavy metal groups with sci-fi themed lyrics...7. (Nick) What about the book we haven't got in hand, John: Sleep Tight, Evangeline? We have been told -- sort of! -- the title is from a 2014 song from an American blues band called ‘The Whiskey Shambles.' Which of the previous epigraph models Rowling has used, from Deathly Hallows to Hallmarked Man, do you think we'll be seeing in Strike9? What are your thoughts on that, especially as the best link we have for Sleep Tight, Evangeline is from a rock and blues band?8. (John) So I hope that we're going to see another Running Grave type epigraph experience in Evangeline, though Grave was unique among Rowling novels and their epigraphs in not having a story-book, poem, or play as its primary source. The I Ching, cannot be a story-template per se because it is a divination tool or means to reflection. Unless you think Pike's Morals and Dogmas Freemasonry encyclopedia qualifies as an equivalent of sorts to the I Ching? That's another outlier, isn't it?9. (Nick) To put a Fourth Generation focus on this, John, we should be looking for a technique that Serious Readers can use for Sleep Tight, Evangeline to hunt for the embedded source if its hidden as were Aurora Leigh and The Ring and the Book. You've found the ones no one else noticed in Ink Black Heart and Hallmarked Man, how did you do that and do you think the same method will work for Cuckoo and Career as well as Evangeline?10. (John) So, yes, I found them but you had the first confirmed by Mrs Murray and then connected the dots between the Browning poems and Rowling's work. If this method is going to work on Cuckoo, Career, and Evangeline it will have to involve a spotter and a shooter, though they can be the same person. The spotter technique is nothing but grunt work; chart the epigraphs used and spot the author most frequently referenced and the work of theirs most frequently cited. The shooter work is actually a lot more involved and interesting; tell us about your experiences with the two Browning's' epic poems, that thrill of discovering correspondences. Do you think that excitement is something Rowling is offering her readers a a treasure hunt or as a point of reflection in terms of meaning? This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

Award-winning opera singer Joyce DiDonato and string trio Time for Three performs live portions of their song cycle, Emily — No Prisoner Be, based on the poetry of Emily Dickinson. The group will perform tonight at The Greene Space and on Thursday at Carnegie Hall.Image courtesy of Joyce DiDonato

Grammy award-winning opera singer Joyce DiDonato brings her latest album tour home to Kansas City. “Emily – No Prisoner Be,” explores the work of one of America's greatest poets, Emily Dickinson.

Grammy award-winning opera singer Joyce DiDonato brings her latest album tour home to Kansas City. “Emily – No Prisoner Be,” explores the work of one of America's greatest poets, Emily Dickinson.

This week on Pop of Culture, we meet Heather Taylor and Casey Morgan of Cocoa & Cream Collective—a new bakery opening in Yorktown... soon! They take us through the process of opening a new small business and why their team is truly a collective.We'll also catch up with musician Nick Kendall of Time for Three, a genre-bending trio with a new album based on the works of Emily Dickinson. The tile game Mahjong is having a moment, so we asked local expert Raquel Santoni to give us the basics. And Maya Doss kicks off our first-ever themed month of "WAYWO!"

In this classic episode from the Namaste Archive, Cally talks to award-winning American photographer Mary Berridge about autism, photography, books, sons, nature, nurture, Dungeons & Dragons, reality, fantasy, HIV, insiders, outsiders, languages, Emily Dickinson, equine therapy, anti vaxxers and her book ‘Visible Spectrum: ⁠Portraits from the World of Autism⁠'. Instagram: ⁠@mary.berridge⁠ Mary's ⁠website⁠ Visible Spectrum ⁠book⁠ Wedding ⁠portrait⁠ Songs of the gorilla nation ⁠book⁠   Get tickets for Cally's Tour Order Cally's Book More about Cally Produced by Mike Hanson for Pod People Productions Music by Jake Yapp Cover design by Jaijo Part of the Auddy Network Learn more about your ad choices. Visit megaphone.fm/adchoices

Note: Due to technical difficulties, Rhina wasn't able to join us. Instead, Timothy Green and Katie Dozier talked about her work and read poems with her friends Alfred Nichol and Pedro Poitevin. Rhina P. Espaillat is a bilingual poet, essayist, short story writer, translator, and former English teacher in New York City's public high schools. Her newest book is For Instance, just out from Wiseblood Books. She has previous published twelve books, five chapbooks, and a monograph on translation. Her most recent works include the poetry collections: And After All, The Field, and Brief Accident of Light: A Day in Newburyport, co-authored with Alfred Nicol. Her numerous translations include work by Sor Juana Inés de la Cruz, San Juan de la Cruz, Garcia Lorca, Miguel Hernandez, Emily Dickinson, Walt Whitman, Robert Frost, Richard Wilbur, and many contemporary poets of the Americas and the Hispanic diaspora, among others. Find For Instance here: https://www.wisebloodbooks.com/store/p173/For_Instance%3A_Poems_by_Rhina_P._Espaillat.html As always, we'll also include the live Prompt Lines for responses to our weekly prompt. Submit your poems through Submittable by midnight Sunday for a chance to be invited: https://rattle.submittable.com/submit/269309/rattlecast-prompt-poems-online For links to all the past episodes, visit: https://www.rattle.com/page/rattlecast/ This Week's Prompt: Write a poem that explores how one of the cognitive biases has shaped your life. Next Week's Prompt: Write a formal sonnet—choosing between a Petrarchan, Shakespearean, Spenserian, or Miltonic sonnet. Don't forget the volta and at some point, use an exclamation mark! The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

Michael Rosen talks to James Geary about his lifetime obsession, aphorisms. These short, witty philosophical sayings have been coined by everyone from Emily Dickinson and James Baldwin to Hallmark, and even Michael's mum.Produced for BBC Audio Bristol by Sally Heaven, in partnership with the Open University. Subscribe to the Word of Mouth podcast and never miss an episode: https://www.bbc.co.uk/sounds/brand/b006qtnz

Episode 2754- Vinnie Tortorich and Anna Vocino discuss how it's cheaper to get healthy while Anna whips up one of her most popular chicken entrees. https://vinnietortorich.com/2026/01/its-cheaper-to-get-healthy-episode-2754 PLEASE SUPPORT OUR SPONSORS Pure Vitamin Club Pure Coffee Club NSNG® Foods VILLA CAPPELLI EAT HAPPY KITCHEN YOU CAN WATCH THIS EPISODE ON YOUTUBE - @FitnessConfidential Podcast Vinnie's workout videos are available to purchase! Choose from a 2-day, 4-day, or 6-day workout–or buy all three at a discount! TO PURCHASE VINNIE'S WORKOUT VIDEOS, CLICK THIS LINK: workout videos It's Cheaper to Get Healthy Check out this episode on YouTube: Anna's cooking in the kitchen! (3:00) She is making her excellent chicken, artichoke, and cherry tomato dish from her first cookbook, "Eat Happy." She also calls it "Date Night Chicken." When is "Quitter's Day" really? (6:00) Vinnie has a new acronym. (14:00) FOGA: Fear Of Gym A**holes. Don't let the gym intimidate you. Vinnie's workout videos are now available! They are the same workouts he used to train celebrities. Some people think it's weird to quit eating sugar, but have no problem taking drugs. (22:00) It's cheaper to stay healthy, so get started on a plan! Don't become a part of Quitter's Day. (36:00) If you get off track, get right back on. Don't wait another week, day, month, or year. Vinnie shares a story about a gentleman he chatted with at the airport. (37:00) There's a quote from Emily Dickinson that Vinnie likes: "The possible slow fuse is lit by the imagination." (46:00) Anna encourages you to suspend the disbelief that you can achieve your goals. Visualization and taking the first steps are the only ways to get going. A New Sponsor Jaspr Air Scrubbers has a discount code, VINNIE, that gets you $300 off for a limited time. Jaspr offers a lifetime warranty. Go to Jaspr.co for more information or to purchase. (1:05:00) You can book a consultation with Vinnie to get guidance on your goals. https://vinnietortorich.com/phone-consultation-2/ More News Serena has added some of her clothing suggestions and beauty product suggestions to Vinnie's Amazon Recommended Products link. Self Care, Beauty, and Grooming Products that Actually Work! Don't forget to check out Serena Scott Thomas on Days of Our Lives on the Peacock channel. "Dirty Keto" is available on Amazon! You can purchase or rent it here.https://amzn.to/4d9agj1 Please make sure to watch, rate, and review it! Eat Happy Italian, Anna's next cookbook, is available! You can go to https://eathappyitalian.com You can order it from Vinnie's Book Club. https://amzn.to/3ucIXm Anna's recipes are in her cookbooks, on her website, and on Substack —they will spice up your day! https://annavocino.substack.com/ PURCHASE DIRTY KETO (2024) The documentary launched in August 2024! Order it TODAY! This is Vinnie's fourth documentary in just over five years. Visit my new Documentaries HQ to find my films everywhere: https://vinnietortorich.com/documentaries Then, please share my fact-based, health-focused documentary series with your friends and family. Additionally, the more views it receives, the better it ranks, so please watch it again with a new friend! REVIEWS: Please submit your REVIEW after you watch my films. Your positive REVIEW does matter! PURCHASE BEYOND IMPOSSIBLE (2022) Visit my new Documentaries HQ to find my films everywhere: https://vinnietortorich.com/documentaries REVIEWS: Please submit your REVIEW after you watch my films. Your positive REVIEW does matter! FAT: A DOCUMENTARY 2 (2021) Visit my new Documentaries HQ to find my films everywhere: https://vinnietortorich.com/documentaries FAT: A DOCUMENTARY (2019) Visit my new Documentaries HQ to find my films everywhere: https://vinnietortorich.com/documentaries

To celebrate Melvyn Bragg's 27 years presenting In Our Time, five well-known fans of the programme have chosen their favourite episodes. Comedian Frank Skinner has picked the episode on the life and work of the poet Emily Dickinson and recorded an introduction to it. (This introduction will be available on BBC Sounds and the In Our Time webpage shortly after the broadcast and will be longer than the version broadcast on Radio 4). Emily Dickinson was arguably the most startling and original poet in America in the C19th. According to Thomas Wentworth Higginson, her correspondent and mentor, writing 15 years after her death, "Few events in American literary history have been more curious than the sudden rise of Emily Dickinson into a posthumous fame only more accentuated by the utterly recluse character of her life and by her aversion to even a literary publicity." That was in 1891 and, as more of Dickinson's poems were published, and more of her remaining letters, the more the interest in her and appreciation of her grew. With her distinctive voice, her abundance, and her exploration of her private world, she is now seen by many as one of the great lyric poets. With Fiona Green Senior Lecturer in English at the University of Cambridge and a Fellow of Jesus College Linda Freedman Lecturer in English and American Literature at University College London and Paraic Finnerty Reader in English and American Literature at the University of Portsmouth Producer: Simon Tillotson. Reading list: Christopher Benfey, A Summer of Hummingbirds: Love, Art and Scandal in the Intersecting Worlds of Emily Dickinson, Mark Twain, Harriet Beecher Stowe, and Martin Johnson Heade (Penguin Books, 2009) Jed Deppman, Marianne Noble and Gary Lee Stonum (eds.), Emily Dickinson and Philosophy (Cambridge University Press, 2013) Judith Farr, The Gardens of Emily Dickinson (Harvard University Press, 2005) Judith Farr, The Passion of Emily Dickinson (Harvard University Press, 1992) Paraic Finnerty, Emily Dickinson's Shakespeare (University of Massachusetts Press, 2006) Ralph William Franklin (ed.), The Master Letters of Emily Dickinson (University Massachusetts Press, 1998) Ralph William Franklin (ed.), The Poems of Emily Dickinson: Variorum Edition (Harvard University Press, 1998) Linda Freedman, Emily Dickinson and the Religious Imagination (Cambridge University Press, 2011) Gudrun Grabher, Roland Hagenbüchle and Cristanne Miller (eds.), The Emily Dickinson Handbook (University of Massachusetts Press, 1998) Alfred Habegger, My Wars are Laid Away in Books: The Early Life of Emily Dickinson (Random House, 2001) Ellen Louise Hart and Martha Nell Smith (eds.), Open Me Carefully: Emily Dickinson's Intimate Letters to Susan Huntington Dickinson (Paris Press, 1998) Virginia Jackson, Dickinson's Misery: A Theory of Lyric Reading (Princeton University Press, 2013) Thomas H. Johnson (ed.), Emily Dickinson: Selected Letters (first published 1958; Harvard University Press, 1986) Thomas H. Johnson (ed.), Poems of Emily Dickinson (first published 1951; Faber & Faber, 1976) Thomas Herbert Johnson and Theodora Ward (eds.), The Letters of Emily Dickinson (Belknap Press, 1958) Benjamin Lease, Emily Dickinson's Readings of Men and Books (Palgrave Macmillan, 1990) Mary Loeffelholz, The Value of Emily Dickinson (Cambridge University Press, 2016) James McIntosh, Nimble Believing: Dickinson and the Unknown (University of Michigan Press, 2000) Marietta Messmer, A Vice for Voices: Reading Emily Dickinson's Correspondence (University of Massachusetts Press, 2001) Cristanne Miller (ed.), Emily Dickinson's Poems: As She Preserved (Harvard University Press, 2016) Cristanne Miller, Reading in Time: Emily Dickinson in the Nineteenth Century (University of Massachusetts Press, 2012) Elizabeth Phillips, Emily Dickinson: Personae and Performance (Pennsylvania State University Press, 1988) Eliza Richards (ed.), Emily Dickinson in Context (Cambridge University Press, 2013) Richard B. Sewall, The Life of Emily Dickinson (first published 1974; Harvard University Press, 1998) Marta L. Werner, Emily Dickinson's Open Folios: Scenes of Reading, Surfaces of Writing (University of Michigan Press, 1996) Brenda Wineapple, White Heat: The Friendship of Emily Dickinson and Thomas Wentworth Higginson (Anchor Books, 2009) Shira Wolosky, Emily Dickinson: A Voice of War (Yale University Press, 1984) This episode was first broadcast in May 2017. Spanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Melvyn Bragg and expert guests explore the people, ideas, events and discoveries that have shaped our world In Our Time is a BBC Studios production

There's a tradition among poets to write a poem to put inside the Christmas cards they send. So, the BBC World Service has commissioned one specially from the poet, dramatist and novelist, Michael Symmons Roberts whose Christian faith is important to his identity and work. But his art is not a direct expression of this, and instead he follows the poet Emily Dickinson's instruction to ‘Tell all the truth but tell it slant'.Michael has just become a grandfather, so feels keenly the happiness of the arrival of a cherished child, creating a parallel between his own life and the Christmas story of the birth of Jesus. For In the Studio Julian May follows Michael's creative process as he grapples huge spiritual and personal themes – distilling them to a length which can fit on a Christmas card: a daunting but joyful task.The programme begins with London's Oxford Street, where consumerism triggers preparations a full three months before Christmas - and ends with the sealing of the Christmas cards before they are popped into the post box.

Today's poem is a little more (purposefully) enigmatic than most of Dickinson's verse. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe