Podcasts about Emily Dickinson

University of Georgia professor, Rafiki Jenkins, joins Doc and Mike to discuss the origins of human monstrosity (can a human be monstrous?) and how horror fictions presents and complicates history and American culture. We hope you have a fortunate Friday the 13th!   Jerry Rafiki Jenkins is Assistant Director of the Institute for African American Studies at the University of Georgia. Rafiki holds a doctorate in Literature from the University of California, San Diego, and his research focuses on Black speculative fiction and film, with an emphasis on horror, and future human studies. Rafiki is the author of Anti-Blackness and Human Monstrosity in Black American Horror Fiction (Ohio State UP, 2024) and The Paradox of Blackness in African American Vampire Fiction (Ohio State UP, 2019), and he co-edited, with Martin Japtok, Human Contradictions in Octavia E. Butler's Work (Palgrave Macmillan, 2020) and Authentic Blackness/Real Blackness: Essays on the Meaning of Blackness in Literature and Culture (Peter Lang, 2011). Rafiki has also authored several book chapters, and his peer-reviewed articles appear in Pacific Coast Philology, Screening Noir, African American Review, Journal of Children's Literature, and Science Fiction Studies.     About this podcast: MONSTERS! They haunt our days and chill our dreaming nights, to paraphrase Emily Dickinson. There's not a population on earth that does not have its own unique monster stories to tell to frighten, but also to instruct on the nature of good and evil, right and wrong. But what happens when monsters get out of control, when the monstrous imagination starts to bleed over into the real world? What are the effects of monsters on real people's real lives? This podcast examines the histories and mysteries of some of our favorite monsters to unlock their secrets and expose their influence on our lives.   About the hosts: Michael Chemers (MFA, PhD) is a Professor of Dramatic Literature in the Department of Theater Arts at UC Santa Cruz. His work on monsters includes The Monster in Theatre History: This Thing of Darkness (London, UK: Routledge 2018). Dr. Chemers is the Founding Director of The Center for Monster Studies. Formerly the Founding Director of the Bachelor of Fine Arts in Dramaturgy Program at Carnegie Mellon University, he joined the faculty of UCSC in 2012. He is also the author of Ghost Light: An Introductory Handbook for Dramaturgy (Carbondale, IL: Southern Illinois University Press, 2010) and Staging Stigma: A Critical Examination of the American Freak Show (New York: Palgrave MacMillan, 2007). Dr. Chemers is also an actor, a juggler, and a writer of drama. Mike Halekakis is an entrepreneur, business owner, internet marketer, software engineer, writer, musician, podcaster, and hardcore situational enthusiast. He is the co-founder of What We Learned, a company that specializes in compassionate training courses on complex adult subjects such as caregiving for people who are sick, planning for death, and administering after the loss of a loved one. He is also the CEO of Moneyfingers Inc., a company that trains people on how to successfully create, market, and sell products on the internet. When not burning the candle at both ends with a blowtorch, Mike loves video games, outdoor festivals, reading comics and novels, role-playing, writing and playing music, hanging out with the world's best cats, and spending time with his amazing wife and their collective worldwide friend-group.

Piše Sanja Podržaj, bere Eva Longyka Marušlič. Druga pesniška knjiga pesnice, prevajalke in aktivistke Ane Makuc Švercam lubenice je zorela dolgo časa in je s provokativno podobo, ki jo je ustvarila ilustratorka in vizualna umetnica Samira Kentrić, med bralke in bralce prišla konec lanskega leta. Zbirka izrazito angažiranih pesmi je pisana na način, ki ga poznamo že iz avtoričinega prvenca Ljubica Rolanda Barthesa – v vsaki pesmi spregovori druga oseba, vsaka v svojem unikatnem položaju. V njem beremo pesmi, ki se vživljajo v nekatere znane ženske iz zgodovine in literature. Med drugim imajo besedo fiktivne Saloma, Lolita in Rdeča kapica ter zelo resnične Virginia Woolf, Frida Kahlo in Sylvia Plath. Pesmi se berejo kot njihovi monologi in skušajo naslikati njihov psihološki portret. To nam, bralkam in bralcem, ponuja drugačen pogled na posameznico, ki je sicer imenovana, a bi bila lahko tudi slehernica, ter izpostavlja kompleksnost osebnosti, ki niso brez notranjih nasprotij in konfliktov. Te postopke poznamo na primer iz romanov hrvaške pisateljice Slavenke Drakulić, ki se je vživljala v Frido Khalo, Milevo Marić in v Doro Maar, ali pa iz svetovne uspešnice ameriške pisateljice Madeline Miller, ki je v romanu Kirka na ta način pisala o mitski čarovnici Kirki, znani iz Odiseje. Takšen pristop je izrazito feminističen, saj iz upovedovanja intimnega ustvarja družbeno kritiko in s tem potrjuje, da je osebno (še vedno) politično. Na podlagi primera namreč pokaže na neenakost in nepravičnost v patriarhalni družbi. Ti primeri pogosto izhajajo iz preteklosti, a kljub temu so vzporednice z današnjim časom jasne. Čeprav se zdi, da smo kot družba na področju pravic žensk in enakopravnosti spolov napredovali, se ob branju tovrstne literature vse prevečkrat pokaže, da nekatere težave trdovratno vztrajajo. In prav o teh lahko beremo v zbirki Švercam lubenice. Tudi v zbirki Švercam lubenice spregovorijo nekatere znane ženske, kot sta fiktivni Gospa Dalloway iz romana Virginie Woolf in Urška iz Prešernovega Povodnega moža, pa tudi pesnica Emily Dickinson. Vendar pa je večina govork in govorcev tokrat brezimnih posameznikov. Poleg žensk imajo besedo tudi otroci, moški in celo duhovi. Prepoznamo lahko celo nekatere dogodke, ki so odmevali v javnosti, na primer umor novinarke Kim Wall in reševanje tajskih dečkov iz poplavljene jame. Če zbirko primerjamo z avtoričinim prvencem, je tematsko bolj raznolika. Obsega petindvajset pesmi, med katerimi so nekatere povezane z naslovi, na primer Ženska v belem 1 in 2, v katerih spregovori Emily Dickinson, a bi ju lahko brali tudi kot credo pesnice, ki pravi: »Pišem, torej sem.« Na podoben način je skozi celotno zbirko posejanih sedem pesmi z naslovom Švercam lubenice, ki tudi tvorijo njeno jedro. V teh pesmih prisluhnemo eni govorki, vsaj tako se zdi, ženski, ki razmišlja o svoji nosečnosti, spreminjajočem se telesu in porodu, o tem, da bo po njem del nje »sam hodil po svetu«. Teh sedem pesmi predstavlja najmočnejši del zbirke, z njimi se najtesneje povezujejo tudi ilustracije, ki iz lubeničnih pešk tvorijo oblike ženskega telesa ali delov telesa in podobe, ki spominjajo na plod, zgovorna pa je tudi izbira semen za ustvarjanje le-teh. »Švercanje lubenic« postane metafora za nosečnost, za napet in težek trebuh pod široko bundo, kot lahko beremo v eni izmed pesmi. O tem obdobju, o katerem pogosto beremo same lepe stvari, namreč ko nosečnica sije, žari, je blažena, Ana Makuc piše bolj večplastno. To ni čas absolutnega veselja nad novim življenjem, temveč tudi negotovosti, strahu in sprememb, zaradi katerih se zamaje odnos do telesa in lastne identitete, ki se znajde na preizkušnji: »Težko je vedeti, / kdo si, / ko meje tvojega telesa / niso meje tvoje kože.« Otrok je del materinega telesa in tujek hkrati, materinstvo pa pomeni, vsaj za nekaj časa, obstajati za nekoga drugega. To ne prinese vedno samo pozitivnih občutkov, vendar družba od žensk, ki postanejo matere, to pričakuje. Tabu tako še vedno ostaja poporodna depresija, o kateri beremo v pesmi Nočna varuška, ali pa dejstvo, da dve rdeči črtici nista vedno zaželeni, kot v pesmi Ostani s težavo. Pesmi v zbirki Švercam lubenice so izrazito pripovedne in oprijemljive, na ta način omogočajo, da se tudi bralke in bralci zlahka vživimo v pesniške govorke in govorce. Ena od osnovnih funkcij branja je prav to, da se z vživljanjem v izkušnje drugih ljudi gradi empatija. Predsodki pogosto izhajajo iz neznanja in nerazumevanja, pesmi Ane Makuc pa so priložnost, da prisluhnemo. A zbirka ni brez svojih težav. Medtem ko se sedem pesmi Švercam lubenice tematsko zelo dobro povezuje z večino drugih v zbirki, ki govorijo o materinstvu, skrbstvenem delu, družinskem nasilju in zlorabi, pa nekaj pesmi izstopa, kot da bi se v zbirki znašle po naključju ali zaradi aktualnosti problematike. Morda se tako zdi, ker so po zbirki na redko posejane in jih ni veliko ter tako delujejo kot nekakšna anomalija v nizu pesmi, osredotočenih na ženske izkušnje. Takšna je na primer pesem Deport or game, v kateri lahko prepoznamo besede begunca iz dokumentarnega filma Rdeči gozdovi Nike Autor. Game oziroma igra predstavlja tvegano prečkanje schengenske meje, kar nekateri poskušajo tudi dvajsetkrat, kot beremo v pesmi, za nekatere pa je poskus usoden. Tako si lahko predstavljamo, da je bil usoden za begunko z dojenčkom, katere duh spregovori v pesmi Duh begunke z dojenčkom. Švercanje v naslovu namiguje tudi na prehajanje čez mejo in se s tem navezuje na begunsko problematiko, a vendar se ob pogledu na zbirko kot celoto zdi, da so bile nekatere pesmi dodane zgolj zato, da bi bilo v njej čim več aktualnih in angažiranih vsebin, čeprav bi bila brez njih vsebinsko povsem zaokrožena in celo bolj celovita. Še ena pesem, ki se zdi popolnoma iz konteksta zbirke, je pesem Jama, v kateri sledimo kolektivni pripovedi dvanajstih dečkov, ki so bili skupaj s trenerjem ujeti v jami 14 dni. Tu je še pesem Podmornica, ki govori o brutalnem umoru novinarke Kim Wall in zdi se, da pripoveduje njen morilec – pri tem sploh ni jasno, zakaj do besede ne pride žrtev zločina, ki ji je bil glas že tako ali tako odvzet. In medtem ko za večino pesmi lahko rečemo, da se upirajo črno-belemu pogledu na žensko izkušnjo, pa je recimo pesem Delo iz ljubezni na svoj način zasidrana v stereotipnih predstavah ženske – gospodinje, ki je »pri tridesetih s štirimi otroki / kot posušena starka«. Iz nje lahko razberemo nekakšno pomilovanje, skratka nasprotje od ubesedovanja večplastnosti in kompleksnosti ženskih življenj. Lahko se strinjamo z besedami Barbare Korun v spremni besedi: pesniška zbirka Ane Makuc Švercam lubenice marsikomu ne bo všeč. Je izrazito angažirana in politična, s tem pa nas sooča tudi z nekaterimi neprijetnimi dejstvi, ki bi jih morda najraje prezrli. Kljub nekaterim pomanjkljivostim gre za premišljene pesmi, ki nam ponujajo okno v svet nekoga drugega, drugačnega, in s tem priložnost, da premislimo o svojih prepričanjih. Ali bo knjiga prišla v roke tistim, ki bi takšna soočenja najbolj potrebovali, pa je stvar kakšne druge razprave. Vsekakor si želimo, da bi.

Today is the second part of my Latin American orchestral song tribute. Last week we explored Villa-Lobos and Revueltas; today we devote ourselves to Argentina, and primarily two composers: Alberto Ginastera, and Osvaldo Golijov, in settings by writers as varied as Emily Dickinson, Rosalía de Castro, Manuel Mujica Lainez, David Grossman, Mercedes de Toro, Alejandro Casona, and Franz Kafka; performed by Hina Spani, Phyllis Curtin, Dawn Upshaw, Nadine Sierra, Virginia Tola, Mónica Ferracani, and Miriam Khalil, among others, alongside three artists (Rayanne Dupuis, Christopher Dylan Herbert, and Ilana Davidson) who happen to be friends and colleagues of mine. The episode begins with memorial tributes to iconic writer Edmund White and beloved French singer Nicole Croisille, both of whom died this week. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Elizabeth Barrett (1806-1861) was one of the most prolific and accomplished poets of the Victorian age, an inspiration to Emily Dickinson, Oscar Wilde, Edgar Allan Poe, and countless others. And yet, her life was full of cloistered misery, as her father insisted that she should never marry. And then, the clouds lifted, and a letter arrived. It was from the poet Robert Browning (1812-1889), admiring her from afar, declaring his love. How did these two poets find each other? What kind of life did they share afterwards? And what dark secrets had led to her father's restrictions…and how might that have affected his daughter's poetry? Host Jacke Wilson takes a look at the story of the Brownings. This episode originally ran as episode 95 on May 29, 2017. It is presented here without commercial interruption. Additional listening: 415 "Goblin Market" by Christina Rossetti 130 The Poet and the Painter - The Great Love Affair of Anna Akhmatova and Amedeo Modigliani 138 Why Poetry? (with Matthew Zapruder) Music Credits: “Handel – Entrance to the Queen of Sheba” by Advent Chamber Orchestra (From the Free Music Archive / CC by SA). “Monkeys Spinning Monkeys” and “Piano Between” by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0. Learn more about your ad choices. Visit megaphone.fm/adchoices

Poetry, butterflies, and original music oh my! With some help from poets Emily Dickinson, Robert Frost, William Wordsworth, and John Keats, along with original music by composer Gabriel Ruiz-Bernal, Jacke tackles the topic of butterflies. Yes, yes, we all know that butterflies are symbols of beauty and transformation - but can great poets get beyond the clichés? Why did Keats imagine himself as a butterfly in his love letters? Did Robert Frost mansplain poetry to Emily Dickinson (and do we agree)? In this episode, we flit and float and fleetly flee and fly through literature, life, music, and poetry - like a butterfly, maybe? (Maybe so!) Additional listening: John Keats  More John Keats 700 Butterflies at Rest The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com . "Two Butterflies" performed by Gabriel Ruiz-Bernal and Allison Hughes. Help support the show at patreon.com/literature or historyofliterature.com/donate . The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature . Learn more about your ad choices. Visit megaphone.fm/adchoices

La vita di una delle più grandi poetesse di tutti i tempi non è quella della "vergine reclusa", ripiegata a scrivere versi che sostituiscano l'esistenza cui ha rinunciato. Anche il suo ritiro dal mondo è pieno di ascolto, di attenzione agli altri e di relazioni espresse in versi talmente incendiari da essere esclusi nei primi libri postumi. Oggi possiamo leggere tutto e capire meglio come si può essere soli ma non isolati. Una tranquilla vita da vulcano di Sara De Simone, Solferino Questo e gli altri podcast gratuiti del Post sono possibili grazie a chi si abbona al Post e ne sostiene il lavoro. Se vuoi fare la tua parte, ⁠⁠⁠⁠abbonati al Post⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

The uniting, in today's poem, of Spring and sadness is not immediately intuitive. However, it makes more natural sense amidst the many partings and reminiscences of graduation season. 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

Spoštovani, družinska prijateljica mi je za letošnji rojstni dan podarila Pesmi in pisma ene največjih ameriških pesnic, Emily Dickinson (1830-1886), ki je napisala okoli 1800 pesmi, a jih je bilo v času njenega življenja objavljenih le sedem, pa še te ne pod njenim pravim imenom. Ves čas je doživljala krizo vere, čeprav je bila vzgojena v krščanski veri. Boga je nagovarjala kot sebi enakega, kar je bilo takrat nezaslišano. Zaradi privzgojenih okostenelih puritanskih predstav o Bogu je našla svojo pot do Boga, daleč od ver in cerkva. Veliko je trpela, doživela izdajstva, težko zbolela in se umaknila, ker je vedela, da je ne bodo razumeli. Spoznala je, da se ne splača zasajati človeških src z rožami, če jih niso pripravljeni zalivati z vodo. Zaprla se je v svoj svet, da bi obvarovala svojo svobodo. Sama se ni počutila v zaporu, kajti edini zapor, ki lahko zveže dušo, je »jaz«, ego. (Henry Van Dyke) Edinemu, s katerim se je dopisovala, je napisala: »Vprašajte, kdo so moji tovariši. Hribi, gospod, in sončni zahod, pa pes, velik kot jaz sama, ki mi ga je kupil oče. Boljši so od bitij, ker vedó, a te ne izdajo.« V brezčasno pesnico je dozorela zaradi silnega trpljenja, ki jo je naučilo razlikovati med pametnim in modrim človekom. Ali je pameten, ugotovimo po njegovih odgovorih, ali je moder, pa po njegovih vprašanjih. Resnična modrost ne prihaja iz razuma, ampak iz srca. Sprašujem se, kaj pa, če v Božji sijoči obraz ni hotela zreti zato, ker je bil zanjo tako neskončno lep, da bi jo njegova lepota oslepila, ne pa, ker vanj ni verjela. Ali pa, ker na njegovem obrazu ni mogla gledati žalosti in ostati živa, ker je v njegovi žalosti prepoznala lepoto Božje ljubezni, ki trpi skupaj z našim trpljenjem. Zanjo je bila svoboda najlepši, čeprav najtežji dar, ki nam ga je podaril Bog. Z njo je povezano tudi zlo, pa ne, ker bi Bogu ušlo iz steklenice. Skrite pasti svobode lahko osvetli vojaški primer iz časov stare Perzije, ko so ujetega dezerterja obsodili na smrt. Poveljnik mu je dal možnost izbire med strelskim vodom ali velikimi črnimi vrati. Odločitev je bila težka, a pobegli vojak se je raje odločil za smrt pred strelskim vodom in se odločil oditi v neznano po znani poti. Preden so obsodbo izvršili, je vseeno poveljnika vprašal: »Oprostite, radoveden sem, kaj je na drugi strani velikih črnih vrat?« Poveljnik mu je odgovoril: »Svoboda! Ampak poznam le nekaj dovolj pogumnih, da jo sprejmejo.« A takrat je bilo zanj že prepozno. Pesnica Emily Dickinson jo je sprejela za črnimi vrati, sicer ne bi preživela.

Simona Garbarino"Taccuino delle molte me"Prefazione di Lella CostaLieto Colle Editorewww.ronzanieditore.itC'è un alberoabbastanza solo per godere appieno del sole,poi c'è un prato abbastanza verdeda far invidia,poi c'è un uomo né vecchio né giovaneche aspetta,la mano destra appoggiata al troncola fronte offerta al vento.Non so se l'autrice preferisca definirsi poeta o poetessa, e poco conta: il fatto è che Simona Garbarino sa scrivere poesie. Ma belle, eh? Belle proprio. Perché ama smodatamente le parole, e le sceglie con cura assoluta, e le combina con la sapienza di chi è insieme artista e artigiana. Perché ha un formidabile senso del ritmo, della metrica, delle rime, e contemporaneamente racconta storie – magari piccole, magari intime, spesso sorprendenti, e soprattutto sempre vestite da un'impercettibile, delicata ironia. Perché ha una voce. Mi ha fatto venire in mente Wisława Szymborska ma anche (Simo, guarda che per me è un complimentone!) Guido Gozzano, Emily Dickinson, Carol Ann Duffy, Vivian Lamarque. E Amelia Rosselli, perché ha un cuore che anch'io “preferisco largamente a ogni altra burrasca”. Perché ho una nuova amica, ed è un regalo bellissimo. Grazie, ragazza. (dalla prefazione di Lella Costa)Simona Garbarino (Genova, 1965) è attrice di teatro e attrice comica, con numerose esperienze televisive al fianco di Marcello Cesena (su Mediaset in diverse edizioni di “Mai dire…”, su Rai2 in varie edizioni di “Quelli che il calcio”, su TV8 all'interno del Gialappa Show). È pedagogista, formatrice, docente universitaria, poetessa. La prima pubblicazione risale al 2020 con Poesie del risveglio (Edizioni ZonaContemporanea), vincitrice nella sezione “Poetry” all'interno dell'“Actors&Poetry Festival” di Genova. Nel 2022 con la Rivista di Poesia «Fili d'aquilone» n°60 pubblica la silloge Cerimoniosi silenzi. Partecipa a festival di poesia in Italia e in Francia (Casa de la Poésie El Cactus di Ostuni, Versipelle – Comunità Poetica della Campania, Festival Faim di Lione etc.). Diplomata e specializzata presso la Libera Università dell'Autobiografia di Anghiari, conduce atelier di scrittura autobiografica, immaginativa e poetica. Promuove la diffusione della poesia in ambito sociale, educativo, riabilitativo e formativo.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

You are capable of radical change. If you aren't convinced that you can create change in your life, take Aimee's story about how her hen became a rooster (seriously, just listen in and it'll make sense). Beyond that chicken talk, this episode is focused on our human potential for change and healing. We'll touch on neuroplasticity, epigenetics, and the motivational role of hope. We think you'll come away with a better understanding of how you're wired for change and can intentionally steer it towards greater wellbeing.  If you enjoyed this episode, please rate and review us wherever you listen to your favorite podcasts!  Sources and Notes: Joy Lab Program: Take the next leap in your wellbeing journey with step-by-step practices to help you build and maintain the elements of joy in your life. Emotional Inertia: Feeling Dull & Disconnected [Joy Lab ep. 207] Zhang, X., et al. (2023). Overview of Avian Sex Reversal. International journal of molecular sciences, 24(9), 8284. https://doi.org/10.3390/ijms24098284 Bian, Z., et al. (2024). Genetic predisposition, modifiable lifestyles, and their joint effects on human lifespan: evidence from multiple cohort studies. BMJ evidence-based medicine, 29(4), 255–263. https://doi.org/10.1136/bmjebm-2023-112583 Weger, U. W., & Loughnan, S. (2013). Mobilizing unused resources: using the placebo concept to enhance cognitive performance. Quarterly journal of experimental psychology (2006), 66(1), 23–28. https://doi.org/10.1080/17470218.2012.751117 Head to YouTube to see Haley's new spurs (16:28) Closing poem excerpt: Emily Dickinson, "Hope is the Thing With Feathers." Full transcript here. Please remember that this content is for informational and educational purposes only. It is not intended to provide medical advice and is not a replacement for advice and treatment from a medical professional. Please consult your doctor or other qualified health professional before beginning any diet change, supplement, or lifestyle program. Please see our terms for more information. If you or someone you know is struggling or in crisis, help is available. Call the NAMI HelpLine: 1-800-950-6264 available Monday through Friday, 10 a.m. – 10 p.m., ET. OR text "HelpLine" to 62640 or email NAMI at helpline@nami.org. Visit NAMI for more. You can also call or text SAMHSA at 988 or chat 988lifeline.org.

A las 20:00 h. se presenta en el Centro Cultural Alcazaba de Mérida el libro "Emily Dickinson. Poemas selectos". Es una edición hermosísima en tapa dura con 120 poemas de esta genial poeta traducidos por Marino González Montero y acompañados por 140 dibujos del pintor José Paulete.

The Moon comes Full on Monday, then wanes through the Milky Way on the anniversary of the death of Emily Dickinson, a teller of the All-Embracing True Tales (as the ancients called poetry and myth).

'Todo empieza con la sangre' de Aixa De la Cruz (Alfaguara) ya está en los anaqueles de la Biblioteca de Antonio Martínez Asensio en Hoy por Hoy.  Una gran historia de amor, que como todo, en la vida y en la muerte, arranca con la sangre y , en concreto, con un pacto de sangre ¿No venimos todos de ahí? Pues eso. Una novela además donde el tres es más equilibrado que el dos y la trieja menos tóxica que la pareja. Ahí lo dejamos, lean y disfruten. Aixa De la Cruz nos donó además otros dos libros para nuestras estanterías: 'Ancho mar de los sagarzos' de Jean Rhys (Debolsillo) y 'Poesía completa' de Emily Dickinson (Visor). Nuestro bibliotecario Antonio Martinez Asensio registró una trilogía de Monserrat Roig para disfrutar de las lecturas con el buen tiempo con las novelas: 'Ramona, adios' , 'Tiempo de cerezas' y 'La hora violeta'. Las tres editadas por Casonni. A la trilogía de Monserrat Roig , Martínez Asensio añadió 'Aguas de primavera' de Ivan Turguenev (Alba editorial) que será la novela que nos contará en su programa "Un libro una hora". En el capítulo de novedades el empleado Pepe Rubio nos trajo dos: 'La trasmigración' de Juan Jacinto Muñoz Rengel  (ADN) y 'Radio Benjamin' de Walter Benjamin con ilustraciones de Judy Kauffmann (Libros del Zorro Rojo). Pascual Donate volvió a rescatar un libro abandonado entre armarios y cajoneras de la redacción de la Cadena SER,  en este caso '100 oficios para el recuerdo: un viaje por la España rural en busca de la labores del pasado' de Eugenio Monesma (Lunwerg) . Y por último llegaron las donaciones de los oyentes de Hoy por Hoy: 

Erin & Wes continue their discussion of four of Dickinson's best-loved poems, whose little rooms contain some of the definitive poetic statements on grief, pain, violence, death, reason, identity, and encounters with the divine.

Bright Bold & Real has produced a special community series - Mindful Community Collective, MC² - to refresh and heal. This guided meditation is perfect to rest your mind and give your week a sense of calm, grace, and flexibility. Consider this time an oasis for your mind and soul.

Erin & Wes continue their discussion of four of Dickinson's best-loved poems, whose little rooms contain some of the definitive poetic statements on grief, pain, violence, death, reason, identity, and encounters with the divine.

We need Emily Dickinson's startling originality today more than ever. This is why I sat down with Sharon Cameron, one of the greatest commentators on Dickinson's poetry, to explore some of Dickinson's poems in an extra-long podcast. “It's astonishing that after forty years of reading Dickinson, I am still ‘awed beyond my errand' by how Dickinson's poems let us experience something viscerally, at the edge of comprehension,” Cameron remarks in this conversation that forgoes clichés and favors critical acumen. By closely considering a few poems, Cameron explains how Dickinson speaks from placeless places and from within experiences outside of language, how her poems create wonder, and how her poems link without merging the mundane, the erotic, and other incommensurate dimensions of life. Sharon Cameron's book include: Lyric Time: Dickinson and the Limits of Genre; Choosing Not Choosing: Dickinson's Fascicles; and, most recently, The Likeness of Things Unlike: A Poetics of Incommensurability (Chicago University Press, 2024), on Emily Dickinson, Walt Whitman, Willa Cather, and Wallace Stevens. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

We need Emily Dickinson's startling originality today more than ever. This is why I sat down with Sharon Cameron, one of the greatest commentators on Dickinson's poetry, to explore some of Dickinson's poems in an extra-long podcast. “It's astonishing that after forty years of reading Dickinson, I am still ‘awed beyond my errand' by how Dickinson's poems let us experience something viscerally, at the edge of comprehension,” Cameron remarks in this conversation that forgoes clichés and favors critical acumen. By closely considering a few poems, Cameron explains how Dickinson speaks from placeless places and from within experiences outside of language, how her poems create wonder, and how her poems link without merging the mundane, the erotic, and other incommensurate dimensions of life. Sharon Cameron's book include: Lyric Time: Dickinson and the Limits of Genre; Choosing Not Choosing: Dickinson's Fascicles; and, most recently, The Likeness of Things Unlike: A Poetics of Incommensurability (Chicago University Press, 2024), on Emily Dickinson, Walt Whitman, Willa Cather, and Wallace Stevens. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

We need Emily Dickinson's startling originality today more than ever. This is why I sat down with Sharon Cameron, one of the greatest commentators on Dickinson's poetry, to explore some of Dickinson's poems in an extra-long podcast. “It's astonishing that after forty years of reading Dickinson, I am still ‘awed beyond my errand' by how Dickinson's poems let us experience something viscerally, at the edge of comprehension,” Cameron remarks in this conversation that forgoes clichés and favors critical acumen. By closely considering a few poems, Cameron explains how Dickinson speaks from placeless places and from within experiences outside of language, how her poems create wonder, and how her poems link without merging the mundane, the erotic, and other incommensurate dimensions of life. Sharon Cameron's book include: Lyric Time: Dickinson and the Limits of Genre; Choosing Not Choosing: Dickinson's Fascicles; and, most recently, The Likeness of Things Unlike: A Poetics of Incommensurability (Chicago University Press, 2024), on Emily Dickinson, Walt Whitman, Willa Cather, and Wallace Stevens. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

“Me and Karma vibe like that.”  This week on AP Taylor Swift Podcast we dive deep into “Karma” from Midnights and its surprising literary connections. Continuing from last week's exploration of Emily Dickinson, we unravel how Taylor Swift plays with themes of fate, justice, and reincarnation in this song. We analyze the song's vivid metaphors, from keeping your side of the street clean to flexing like a goddamn acrobat—wait, but who's flexing? Plus, we debate whether Taylor herself becomes karma by the song's end and what that means for her storytelling.  Subscribe to get new episode updates: aptaylorswift.substack.com/subscribe Stay up to date at aptaylorswift.com    Mentioned in this episode:    Emily Dickinson  “Kingdom of Heaven”  Spiderman  Aladdin  Harry Potter and the Chamber of Secrets  My Lady Jane  Bridgerton Mean Girls  John Tucker Must Die    ***   Episode Highlights:  [01:46] What is Karma? [07:08] “You're talking shit for the hell of it” [10:21] “I keep my side of the street clean” [18:01] “Karma is my boyfriend, Karma is a god” [22:51] “Spider boy, king of thieves”  [30:20] “Ask me why so many fade but I'm still here” [35:50] “Karma's gonna track you down” [44:44] The purpose of “Karma”

April 15, 2025 - "I heard a fly buzz when I died (465)" by Emily Dickinson, read by Kendra Parker by The Desmond-Fish Public Library & The Highlands Current, hosted by Ryan Biracree

What makes for a fair fight between centuries? In this episode, English titans Emily Dickinson and Margaret Atwood duke it out, poem by poem, as we arrive at a better understanding of each poet through their juxtaposition.At the table:Katie DozierTimothy Green

Ó Tuama's interests lie in language, violence, and religion. Growing up in a place with a long history of all three (Ireland, yes, but also Europe), he finds that language might be the most redeeming. In language, there is the possibility of vulnerability, of surprise, of the creative movement towards something as yet unseen. Any artist of words inspires him: from Krista Tippett to Lucille Clifton, Patrick Kavanagh to Emily Dickinson, Lorna Goodison to Arundhati Roy. Ó Tuama loves words — words that open up the mind, the heart, the life. For instance — poem: a created thing.

Ó Tuama's interests lie in language, violence, and religion. Growing up in a place with a long history of all three (Ireland, yes, but also Europe), he finds that language might be the most redeeming. In language, there is the possibility of vulnerability, of surprise, of the creative movement towards something as yet unseen. Any artist of words inspires him: from Krista Tippett to Lucille Clifton, Patrick Kavanagh to Emily Dickinson, Lorna Goodison to Arundhati Roy. Ó Tuama loves words — words that open up the mind, the heart, the life. For instance — poem: a created thing.

“And I was catching my breath, barefoot in the wildest winter…” What happens when a 21st-century American poet meets a 19th-century one? In this Show & Tell episode, we explore the literary lineage between Taylor Swift and Emily Dickinson—two iconic writers whose work spans centuries but shares unmistakable DNA (literally—did you know they might be distant cousins?!). From slant rhymes and stylized punctuation to themes of isolation, longing, and hope, we unpack the poetic parallels between Dickinson's timeless verses and Taylor's lyrics. In true Show & Tell fashion, each of us brings a favorite Dickinson poem paired with a Swift song that touch on shared motifs such as separation, isolation, and hope. Tune in to find out which modern-day Taylor tracks sound like 19th-century poetry—and why we think Emily might vibe with Evermore. Take our listener survey: https://aptaylorswift.substack.com/survey/2658723 Subscribe to get new episode updates: aptaylorswift.substack.com/subscribe Stay up to date at aptaylorswift.com    Mentioned in this episode:  The Letters of Emily Dickinson The Complete Poems of Emily Dickinson Emily Dickinson's Hope is the Thing with Feathers They Put Us Far Apart (Poem 474) It Was Not Death, for I Stood Up (Poem 355) Message in a Bottle – Taylor Swift Evermore – Taylor Swift Karma – Taylor Swift Beauty and the Beast (live-action & Broadway versions) Hamilton Taylor Swift by the Book Ancestry.com – Taylor & Emily's distant cousin connection Emily Dickinson Museum Tikvah (Hebrew word for hope)   ***   Episode Highlights:  [06:26] “Message in a Bottle” + they put us far apart [16:03] “Evermore” + It was not death, for I stood up  [29:31] “Karma” + Hope is a thing with feathers Follow AP Taylor Swift podcast on social!  TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree →linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm →  tinyurl.com/aptslibro Contact us at aptaylorswift@gmail.com  Affiliate Codes:  Krowned Krystals - krownedkrystals.com use code APTS at checkout for 10% off!  Libro.fm - Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here tinyurl.com/aptslibro This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.

Send us a textThis week Lauren is talking about one of her favorite subjects, and no! It's not Taylor Swift...but it's Emily Dickinson.In Lauren's opinion, Maria Popova has written one of the most beautiful essays about Emily Dickinson and Sue Gilbert, called Emily Dickinson's Electric Love Letters to Susan Gilbert for The Marginalian. Please support her by donating to her work at her website!https://www.themarginalian.org/If you like our podcast, please leave us a review and download episodes. You can reach out to us through Instagram, TikTok, or email. Thanks for joining us!Insta/TT: @LesbianBookClubPodEmail: LesbianBookClubPod@gmail.com

If only because of its seeming incongruity with a brain “wider than the sky,” the central fact of Emily Dickinson's life has become her seclusion. As she wrote to Thomas Wentworth Higginson in 1869, “I do not cross my Father's ground to any House or town.” Like the relatively modest dimensions of her poems, this self-imposed constraint—of the property line within Amherst, Massachusetts, then the Dickinson home itself, then her bedroom—proved no barrier to a cosmic poetic imagination which “went out upon circumference,” and to which no subject, tone, or emotion was foreign. Erin & Wes discuss four of Dickinson's best-loved poems, whose little rooms contain some of the definitive poetic statements on grief, pain, violence, death, reason, identity, and encounters with the divine: numbers 340, 372, 320, and 477.

In this talk on using the Dharma to combat depression, Anne Freeman imagines a conversation between herself, Master Sotesan, the founding teacher of Won Buddhism, and Emily Dickinson. What do these two figures say about dealing with difficult emotions and the evening blues? How can we use meditation to clear the weeds of disturbance from our mind field?www.wonbuddhismnc.org/donations

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere at the Magic Theatre. She speaks with Ethnotech's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the Aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.”     Our Guests discussed: April 2-20, 2025 Magic Theatre The Boiling, a tale of american nihilism tickets, wheelchair accessible Joan Osato SFFILM Cedar Road Iyagi Grant Applications:  sffilm.org/artist-development Ethnohtec May 22 Ethnohtec https://sfpl.org/events/2025/05/22/panel-strong-bamboo-3-part-1 Strong Like Bamboo SF Library Koret Auditorium Free https://sfpl.org/events/2025/05/25/performance-strong-bamboo-3-part-2   Coming Up Next Transcript   Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:00:34] Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere of the boiling at the Magic Theatre. She speaks with Eth-Noh-Tec's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.” So join us on APEX Express as we join some creative conversations.   Miko Lee: [00:01:17] Tonight on Apex Express, we have the collaborators behind Magic Theater and Campo Santo's, world Premier of the boiling: a tale of American nihilism. Welcome playwright Sunhui Chang and video artist Joan Osato.    Joan Osato: [00:01:30] Thank you for having us on, Miko.    Miko Lee: [00:01:33] Yes. First I'm gonna start for each of you with a personal question, which is an adaptation from the amazing Chinaka Hodges. And my question for each of you, and let's start with Joan first, is who are your people and what legacy do you carry with you?    Joan Osato: [00:01:49] I consider myself a child of immigrants in this country. My lineage Japanese, Japanese American by way of Hawai'i a lot of my lineage is carried by that diaspora, but also by my history at Youth Speaks for a couple of decades. And so I consider that my family also and Camp Santo.    Miko Lee: [00:02:12] Yay. Love that. And then Joan, what legacy do you carry with you?   Joan Osato: [00:02:17] A legacy of resilience and I know how to farm. I like to think of myself as a gardener and a great farmer. so that's the legacy I carry with me.    Miko Lee: [00:02:29] Thank you so much, Joan. Sunhui, what about you? Who are your people and what legacy do you carry with you?    Sunhui Chang: [00:02:36] Well, I'm part of the diaspora, the Korean American diaspora that happened in the seventies. My family immigrated to the island of Guam in 1976, as part of developing the island of Guam. As, you know, the Korean diaspora at that time in the seventies, we were kind of shipped around the world a little bit, for our labor. There's a huge Korean population of workers that also went to West Germany and other places, Guam is not as well known, but it was definitely part of that. So in 76, our family landed on the island of Guam.    Miko Lee: [00:03:11] Wow, that's so interesting. And then what about what legacy you carry with you?    Sunhui Chang: [00:03:16] I think my legacy I have to say is that definitely of the immigrant working class, you know, as with a Korean diaspora, there's some things of, like the East Coast Koreans, as you may know, have a different history of being much more educated whereas kind of the west coast and the Korean diaspora during the seventies towards islands like Guam, we were much more working class. So that is my legacy. I have working class roots that, I never seem to be able to get away from and I don't want to.   Joan Osato: [00:03:47] Shoot. That's the same for me too, my working class roots.   Miko Lee: [00:03:51] So it sounds like you two have some commonalities there and that seem to have flowed over into the creation of this play. Sunhui can you talk about an overview of this brand New World premier, the boiling.    Sunhui Chang: [00:04:05] Simply put, it's a story of a tracker and a tracer, a government team that was formed to track and trace down carriers of the virus called the Boiling. and it actually. starts out as a chase, but what we really dig into is more about, identity, home, what it means to be, what is home and what it means to be, at home, and also, about redemption, you know, through our lives, you know? So it's multi-layered, so it's hard to kind of explain in a log line. but it's a chase story that kind of delves into the characters.    Miko Lee: [00:04:40] And I understand this was inspired by a real news story. Can you tell us about that real news story?    Sunhui Chang: [00:04:46] Oh, yeah. the genesis of this we have to kind of go back to the beginning of the pandemic back to December, 2019. I had just finished a gallery installation in San Francisco and then at the end of that I flew back to Seattle. Now at that period of time, there was this talk that there's this virus that's in China. That might affect us, we're not quite certain, but it could be something that could lead to a global pandemic, but we didn't quite know at that time. But then when I landed in Seattle, March 17th, 2020 was the date that Governor j Insley shut down the state of Washington. So that is a big take 'cause, As you know, we all hunkered down at that point. And then in one of the hunkering down is of course, I was watching the news and one of the news story, happened to come across where they were talking about a Econo Lodge motel that the state of Washington had purchased to turn into a quarantine motel, a voluntary quarantine motel where people who, felt that they were infected could check themselves in, to be evaluated. So the story goes that two people had actually checked into this motel totally voluntarily, but one of them the morning after. And this is captured, with a surveillance video. We actually see this one person walking out of their room at the motel. We see them walk across the street to a gas station with a market. Now the surveillance actually then switches over to the gas station surveillance, which shows him walking to the gas mart, walking inside, making a purchase, and then actually walking out. And then we see another footage of the surveillance that's going from the outside surveillance of the store. We actually see him, walk towards the bus stop, get on a bus. And then just the bus leaves and that is it. And the news story ends with that. They had no idea where this person drifted off to. and for me it just, it had this weird, eerie fascination that just grabbed me. and remember at that time, Seattle was such a hotbed for Covid. It was where the nursing home happened, where so many of the elderly had passed on, and we didn't even wanna secondhand touch a surface, so there was a real heightened sense of alarm that was happening. So seeing this story of this potential infected person just drifting off. And then what made it eerie was that I wanted to see what followed up. So for days after I kept watching the news, what is the follow up? What happened? It was never brought on again. Never. Another mention I. and for me that actually made it even more eerie. So it really sat with me, to the point where I had to actually just write down the first words of my, the first line of my story, the boiling. And the first line was, “Carrier X stepped out of the tightness of his room and breathed deeply the soft drizzle of the Pacific Northwest to cool his body from the growing fever.” So those were the first words that I wrote. and then it was just kind of off to the races 'cause the way I write Miko is that I'm very much organic. I kind of set a story and then I become a vessel of the story. I don't come to the story with agendas or anything of that nature. After the first sentence, it just kind of took a life of its own. So that's it.    Miko Lee: [00:08:18] That is amazing. I did not hear that story. and the real news story. That is wild. That would've sat with me too. Joan, had you heard of that story before being brought onto this project?    Joan Osato: [00:08:29] Well, when we did a reading during the pandemic. I did hear parts of that story, but I think it's also a story that a lot of us can relate to, because like here in the Bay Area, of course, we also experienced severe lockdown. Whereas in other parts of the country, I think that the type of lockdown, although being, you know, trying to be really safe for people also induces this sense of isolation and paranoia. And so wanting to get information about who's getting affected and like, where's it happening? I think that was all like kind of a mini obsession of like. Everyone who experienced the pandemic, you know what I mean?    Miko Lee: [00:09:10] How do you think that pandemic has had an impact on theater and on audiences?    Joan Osato: [00:09:16] Well on the most basic levels, you know, like what theaters are grappling with, just in terms of coming out of and recovering from pandemic, I think everybody understands that, you know, theater in general is struggling because of the changes that happened in terms of, Perhaps what people place importance on the isolation that we went through, the kind of, paranoia about being in groups of people and in space and in community together. And so, that affects, you know, theaters and you can, you can see that since the pandemic some have closed. But I also think that, the effects are also that, groups like The Magic or Campo Santo during the Pandemic, we never stopped working and we just figured out innovative ways to, you know, support artists, do radio plays, do, amalgamations of like filming. And so a lot of us became like very, very adept at different types of media that are theatrically based, like Sunhui's play, but that we had to carry out, like online or, you know, through other types of media.    Sunhui Chang: [00:10:30] I just wanted to add on that is that, the pandemic, you know, there there was definitely things that really affected us as humans in such a negative way, but what I also found admiring was, with Joan and Camp Santo and the artists and trying to find creative ways of, still letting, having an outlet. it really was that the story of the boiling would not have taken place if artists such as Joan and Camp Santo. If they didn't, if they weren't able to pivot and make these kind of online transitions at the moment, such as doing readings and such, cause that's how the story was first brought about. So, in many ways it was hard. But also I do appreciate these artists who have been able to kind of keep going and didn't shut down and kept letting the creative creativity somehow flow. I so appreciated that.    Joan Osato: [00:11:20] Yeah, it was definitely a beautiful thing. And then, you know, Miko, throughout the pandemic, you know, we would have like online viewings of our archives or we would sit with audience members, who were joining us and basically hang out for like three, four hours online. So trying to create the space not only to kind of generate support for artists who are. Completely outta work, but also to, just connect us even though we were. You know, obviously under these conditions where we couldn't see each other in person and it wouldn't have been advisable for us to even try to gather, you know, because, I consider us, you know, in-inside of our community extremely vulnerable. So, you know, just grappling with that tension, was really hard.    Miko Lee: [00:12:09] Yeah. And I kind of hear both of you saying that in those really tough times, there was this push to get more creative, to find more ways of reaching people and, and to look at ways that we can, um, innovate given that, and I'm wondering, given our current political climate where things are changing every hour now. I mean, the first Trump administration, it was kind of every week and now it feels like every hour a new kind of devastating thing is happening. I'm wondering how you both think theater can be used as a tool for social change.    Sunhui Chang: [00:12:41] For me Theater and, and really the arts, what I do love about it, is this really, and I kind of touch upon it with the story and such, and it really hit me during, COVID, during the pandemic, is that it's really for me, what it does is listening.  I know as artists, we love telling our story. We love telling what we see, our interpretations and things like that. but I think what I have really come about with the arts is the fact that I like the other side of it is the listening part, for me with my collaborators, that I have to listen. You know, it's not about just me talking, but just listening. So for me, the theater aspect of it and the art aspect of it is that I hope that, as we go through these tough times, what it really has us doing is listening to each other more. One of the things that I really feel in that way and appreciative of listening is the fact that without listeners, there's no storytelling. Listening is really the foundation of our humanity. You know, I mean, just talking really gets us nowhere. What really makes us move forward collectively is listening.   Joan Osato: [00:13:50] Mm, Sunhui heard that. Yes, I heard that. [laughs] As far as theater and kind of responding to the moment. I think, you know, the type of theater that we embody is always speaking to politics is always speaking to, you know, the culture of the moment and especially it's speaking, because a lot of Campo and the Magic's work is like based inside of, theater companies that live, work, breathe, are about by and for the communities, like in the Bay Area right. So there's just no way of separating the kind of politics from what happens like inside of these plays. For the boiling in particular though, I think there's a lot of stuff that, that people can think about and here inside the play that will resonate with them. One, we're, we're talking about a hypothetical, but it's not really a hypothetical situation about a pandemic, a very, harmful, very urgent, current conditions. You know, when there's no CDC to have, get your information from when there's no public health that's functioning in this country, we can, we can see what happened during the last pandemic and just make that comparison and draw those comparisons, you know, what would happen in the next one. Right. also that, you know, to me and Sunhui, you can totally. speak to this, but to me, Carrier X, the person that represents is this kind of violence and nihilism that exists inside of the, you know, the current, you know, psyche or administration right at this moment. this real like. It's definitely violent to the point of not caring whether people live or die and so I, you know, I think that's very striking about the play and it happening right now as premiering it right now, because I think people can draw a lot of parallels between. Like this personality, this complete disorder that seems to be going on, like not only in American politic, but amongst the large population in America itself. You know what I mean? That kind of disregard.    Miko Lee: [00:16:18] Joan, that is so interesting. I wonder if you both can talk a little bit more about Patient X as this kind of figure of narcissism and selfishness that we're seeing that's happening in our broader politics right now.   Sunhui Chang: [00:16:31] Yeah, Carrier X, he does, you know, he does kind of represent this nihilism of American nihilism, which to me it's really historical and cultural. we could go all the way back to the nihilism of manifest destiny, feeling like we have something to do that it was even, maybe. God's order, you know, a higher order that was given to us. And we have to take on this task and finish the task at no matter what cost, right? By any means necessary in a way. and that nihilism for me, I. historical, but when I see it currently that happens now, is that I see nihilism in the fact that people want to cut off Medicaid, Medicare, these social programs that are not just help people actually are crucial and it's really, it's a survival. So for me, when I see that kind of disregard, yes, it's not this overt violent nihilism, but I do find it to be so nihilistic in the damage that it does to all of us, you know? And I do find That this nihilistic violence, there's two flip side to it. The people who are directly affected, and harmed by it, but also the people who carry it are out, who carry out these acts of nihilism they do get damaged as well. So for me, so yeah, the nihilism, it's taken on a different life, but. It's a part of America and it seems to continuously carry forward through our days.    Miko Lee: [00:18:00] And Sunhui with the intentional characters, the lead being Korean American adoptee, and, the detective being a black woman, and then carrier X being white. Share with me a little bit about the racial element and your intention behind making those characters of those, ethnic backgrounds.    Sunhui Chang: [00:18:20] You know, there was no intention, as I said, I just write very organically. So there was never this thought of, oh, here's the three characters. One's gonna be a Korean adoptee, one's gonna be a black homicide detective, and another's gonna be a white carrier. It was never that I. It's hard for me to explain the process, but those were the characters that just kind of naturally came out. for me, it just felt fitting to it. So, I don't have agendas as I write, as I said, so there was none of that. It was just for me, as a vessel of the story, as a story was coming out, it was just. Oh yeah, this character is this, this character is that, and this one is this. so no intention. But, once those things came alive, then the story kind of, evolves around what's, organically happening. So yeah, there wasn't intent, but at the end of it all, of course, I go, oh, I see what has come about and how the story is so, In hindsight now going, oh yeah, I did this. for me, it feels right in the, in the fact that for me, this is America Miko. To me, I, I don't write with an Asian American kind of pen, or, or a brown person pen for me, I actually first and foremost say I'm an American. There's no way around it. and it's simply put too, is that. I am an American. so for me, these characters are just. Natural. And when I know about me being American and knowing about American history, these characters just naturally fit in, you know?    Miko Lee: [00:19:50] Yep. Thank you so much. I've read that you talk about new Americana theater. Mm-hmm. And also Joan, you were talking about how during the pandemic, you know, everybody's learning new techniques, new ways of storytelling, just because everybody was forced to with the lockdown. Sunhui, can you talk more about what you believe New America Theater is all about?    Sunhui Chang: [00:20:12] For me, the reason why I kind of see it as new Americana theater, first off, 'cause it's, it's American, the stories that come out of me is very American. you know, and I recognize it. And for me, I, it is, this is part of the American fabric, so that's why it's called Americana. And for me, I say it's new. 'cause what's new is the perspective that it's coming out from. perspective, which brings on different characters, a different storyline, you know, different message. So yeah, that's, that's it for me when I refer to it as New America in the theater. It's just that, that it's, it's an American tale that now we've been able to incorporate new voices into.   Miko Lee: [00:20:54] I noticed there's a really large list of collaborators. Of course the two of you, but then there's a lot of other people as well. Can you talk about that creative process, how you all were able to work together, how you made decisions about, oh, this is the part we're gonna use film, this is the part we're gonna use, movement.   Sunhui Chang: [00:21:11] Like I said, it's very much organic. Our third major collaborator is Ellen Sebastian Chang. she is the director of the show, and when me, Joan and her, we first started delving into it, we did. It was just sitting down and talking a lot. Going through the scripts, the different skill sets that we bring in. And really it was through the dialogue miko and of us talking with each other, but also listening to each other. and that was a big part is that as we started listening to ourselves, we came out with this direction.    Miko Lee: [00:21:47] And what would you both like the audience to walk away with after seeing the boiling?   Joan Osato: [00:21:52] I think, you know, as Sunhui talked about this, ritual of deep listening and so, the play doesn't guide anyone towards some natural conclusion that they should have about, you know, it's, it's not saying you, you must believe this, it's really leaving it up to the viewer, the listener, to draw their own conclusions. And, I think that, that people who come to this will be incredibly moved. I think that they will see a lot of parallels with what we're going through now and what we've gone through. And examine there is a kind of shameful history that we all need to grapple with, whether we own it or not. You know, Sunhui had talked about manifest destiny and that being like one of the founding, you know, kind kinds of principles that this country is founded upon. And there are many, many others That I think the play touches on which give pause and, and give the people who are engaging with this, room to think and reexamine their own actions in the world and how they approach it.   Sunhui Chang: [00:23:02] I'll just mention as an aside, you know, some of the things that we're looking at is. Our disconnect from the natural world and how that has impacted the natural world. Right.  I think Joan is spot on in, in that about, yeah, first and foremost, I do find this so important once again to say about listening. I do. I, that is the big thing that I would love is that for us to, if we really wanna truly have dialogues, and especially with people who we disagree with, and there is a lot of disagreement in this world right now. and for me, yeah, to, Get us back to a place where we could really listen to each other and not be in such a place where all we wanted to do is kind of say what we have to say. It's almost this thing of, oh, you know, the other has to listen, the other has to listen. And I really would like it that it becomes kind of more inward that we all say, Hey, it is time for me to listen. And then of course just the fact that when, as we listen to each other, what I do find and what I hope that others find as well, is that we're much more connected and we have so many things that tie us together than separate.   Miko Lee: [00:24:19] Well, thank both of you so much for joining us on Apex Express. Is there anything else you wanna add?   Sunhui Chang: [00:24:24] Just one thing, Miko, one of the elements of this play, is this natural world with birding and I would love to just, one of the big inspiration is that it's just a quote from Emily Dickinson and the quote is, “hope is the thing with feathers.” For me, I would love for people to kind of sit with that and think about that and what that means for us as human beings in relationship to the natural world, you know, and the importance of that.   Miko Lee: [00:24:52] Oh, that's such a beautiful visual image. Thank you so much for sharing that. I appreciate both of you for sharing your time with me.    Joan Osato: [00:24:59] Thank you, Miko.    Sunhui Chang: [00:25:00] Thank you Miko    Miko Lee: [00:25:01] The Boiling is a brand new play, and it's a story of a Korean American adoptee Brian, who's a virologist from the Midwest, and a former homicide Detective v, a black woman who lives in the Pacific Northwest, and they're partnered to do this trace and track from north to south. They're following David, a white nihilistic carrier of a feverish virus called the Boiling. This world Premier Show opens to the magic theater and runs from April 2nd through April 20th. You can get more information about this show, including links to buy tickets at our show notes on kpfa.org/programs/apexexpress.   Ayame Keane-Lee: [00:25:42] Next we'll listen to an excerpt from The Camp, the first opera on the Japanese American Concentration camps during World War II. The camp premiered from February 22nd to March 2nd, 2025 at the JACCC Aratani Theater in Los Angeles. Composed by Daniel Kessner, who combines modern classical with Japanese instruments, A libretto by Lionelle Hamanaka, directed by Diana Wyenn, with Associate Director John Miyasaki, 11 singers and a 22 piece orchestra conducted by Steve Hofer. The incidents in The Camp Opera were drawn from different camps where over 126,000 Japanese Americans were imprisoned to see the many Japanese American groups that supported this project, including JANM, DENSHO and Raf Shimpo see the camp opera.com and if you know a place where The Camp can be performed near you, please contact the campopera.com/support.    MUSIC   Miko Lee: [00:27:53] Welcome to Apex Express. I'm so glad to have Eth-Noh-Tec once again, we get Robert Kikuchi-Yngojo and Nancy Wang.   Nancy Wang: [00:28:03] Yay. Yes. Hi. Hello. So glad to be here with you Miko.   Miko Lee: [00:28:07] We have been friends and colleagues for, it feels like a hundred billion years. The times that we're in are so complicated right now. But I just wanna first start with the question I often ask people, which is for each of you to tell me who are your people and what legacy do you carry with you?   Nancy Wang: [00:28:27] Well, I am Chinese American, and I am fifth generation on my mother's side. And. So we go all the way back to 1850 when our family first came on a junk boat and started the fishing industry in the Monterey Bay area.    Robert Kikuchi-Yngojo: [00:28:45] And I am, half Japanese, half Filipino, born in San Francisco, raised in Concord, California, and living in the Bay Area for all my life.   Miko Lee: [00:28:50] And what legacy do you carry with you?    Robert Kikuchi-Yngojo: [00:28:58] Well, I guess the identity I have as an Asian American, Japanese, and Filipino, um, I embrace all of that. The legacy is, as an artist, a performer. I've dedicated my life to creating works that reflect an Asian American consciousness, social, political, cultural. Both traditional works as well as new modern stories and music as well.    Nancy Wang: [00:29:25] And I was also a psychotherapist, so my work in the arts, whether it's dance, which I started out being a dancer and then a playwright, and then storytelling. I always weave in the healing aspect of what we all need to do in our communities. And so I use my art to also bring solace and bring celebration and bring, Depth and and the breadth of who we are as Asian Americans, as human beings, as part of this world, this country, then this city, so that we can celebrate who we are together.   Miko Lee: [00:30:04] Thank you for that. I hear you talking about activism, Asian American history, who we are and healing. I'm wondering if you could give me an update about what you're working on right now.   Nancy Wang: [00:30:14] Well, we have several things in the pipeline. I, for one, just finished writing and has now published Red Altar, which is the story of my ancestors. Three generations are followed in this book, about how they established the fishing industry in the Monterey Bay area. All the ways they had to reinvent themselves as laws were passed against them. The people try to get rid of them. And it's really a story of courage and determination and persistence, ingenuity and obviously success. Because I'm here. So I'm gonna be doing some more readings and that can be found on our webpage. Right. And Robert,    Robert Kikuchi-Yngojo: [00:30:55] I am focusing on archiving our work and after working with Nancy and creating Eth-Noh-Tec for the last 43 plus years, we have developed over 200 stories, and we put them on stage. We've written them, some of them are now being written as a compendium of stories. These are Neo-traditional folk tales and myths from Asia. And, people don't know much of this, but I am also an artist, so I'm creating illustrations that depict these stories. That's one project.   Nancy Wang: [00:31:23] Yeah, that's our next book. but what we're really excited about is our second Strong Like Bamboo, stories of resilience in the era of Asian American hate, but it's really broadened beyond Asian American because this year on May 22nd, will be a gathering of Latino and Asian artists and musicians, storytellers, and activists to just sit around and really share our stories, share our music, share our concerns, and to build bridges with each other because it, we will need to increase, our coalitions during this era. It's gotten worse, so we really need to come together.   Robert Kikuchi-Yngojo: [00:32:08] and we titled it strong like bamboo because of the Asian anecdote about, you know, one bamboo can snap, but together binding many bamboo together we're much stronger. So it's a call out to the community to bring all of our constituents and broaden that so that we are strong, as people of color.    Nancy Wang: [00:32:25] And of course we're gonna have food, which always brings us all together. But also bamboo can bend. Without breaking, so that's on a Thursday, May 22nd. But on May 25th, I have curated four other storytellers to tell their stories of their racist experiences and how they came through it to a healing place.    Robert Kikuchi-Yngojo: [00:32:48] There's a gathering of Asian American storytellers, both from the Chicago area and also from the west coast.    Nancy Wang: [00:32:53] And there'll be a panel so they can ask questions and we can have discussions. But after that, the people in the audience will have the opportunity to break up into small groups of three in which they get to share their own stories, their own concerns, and that's really the whole thing is about inspiring people to come through what they're going through and coming out, on the other side with some hope and healing. Because when we share our stories, we lift that particular burden of, say our story about our racist experience. We lifted off our own shoulders and we get to share it. With someone who's listening with compassion and we don't feel alone anymore. It's really a powerful, powerful way to find community connection, relation, and strength.   Robert Kikuchi-Yngojo: [00:33:45] And we'll have also in both of those events, resources in earlier years, I was an Asian American songwriter and did a lot of songs of not just identity, but of unity. I'm also gonna be singing a theme song called Bamboo, which is part of the title and also, a work by Chris Jim, famous of the Chris and Joe Asian American Duet from years ago. the one song we're still here, though it was written 30, 40 years ago. It's still pertinent to what's going on now, especially declaring that America is a multiracial, multiethnic, texture of society.   Nancy Wang: [00:34:20] and, in 2026 we're gonna bring on, African-American and Euro-American, storytellers also, so that we really have a multicultural representation of all who we are and how we still will need to come together. I hope things will be better by 2026, but who knows?    Miko Lee: [00:34:39] Thank you so much for sharing about how storytelling can really be a tool for social change. Is there anything else you wanna share with our audience?   Nancy Wang: [00:34:47] Yeah. please come to our strong like Bamboo on May 22nd and 25th is gonna be at the San Francisco Public Library Main Library, both are free to the public May 22nd the Thursday at May 22nd, it's gonna be in Hispanic room,    Robert Kikuchi-Yngojo: [00:35:05] and what time?   Nancy Wang: [00:35:06] Six to seven-thirty. And on Sunday it'll be in the presentations, the performances in the panel will be in the Koret auditorium, and then small groups will convene in the Hispanic room, which is right next door, and it's got elevators. So no problem, in getting there. Plus Bart and the bus is, it's easy to get there. And so that's what we wanted so that people could feel welcome.    Robert Kikuchi-Yngojo: [00:35:35] And that second show on Sunday Strong like Bamboo will feature our guest artist storytellers, professional storytellers. One of them being a local Eleanor Clement Glass who's half African American and Filipino, talking about her experiences. And then also, two guest artists from Chicago, one of them being Lillian Ji, who is a Japanese American hapa. Then third is, Archie Jun, who is a Thai American gay comedian storyteller who is a total riot. we are really wanting to blend many of our communities together to hear this talent Yes. And to deal with the topics.    Nancy Wang: [00:36:10] So we would love for the LGBTQ plus community to come out as well and support him and feel proud because all of the stories will, will really showcase our strength and our ability to deal with these things and come out the other side. So we are hoping that in the process of telling our pain, but coming out, on the other side, that it will be an inspiration for everyone to keep going during this difficult, very difficult time.    Miko Lee: [00:36:41] Thank you so much for joining me today.    Nancy Wang: [00:36:44] You're welcome. Thank you   Ayame Keane-Lee: [00:36:46] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, and online worldwide at kpfa.org.   Miko Lee: [00:37:05] Welcome Jiehae Park to Apex Express. I am so excited to talk to you about the world premier of the aves opening at Berkeley Repertory Theater, May 2nd through June 8th. Welcome to Apex Express.    Jiehae Park: [00:37:19] Hi, Miko. It's so nice to be here. Thanks for having me.    Miko Lee: [00:37:22] I wanna just first start with a personal question, which is, who are your people and what legacy do you carry with you?   Jiehae Park: [00:37:31] Hmm. I love the phrasing of that question. I was born in Korea and I came to the states when I was three years old with my parents who came to go to graduate school. And my father's family fled the north during the war. And my mother's family had always been in the south. And I definitely think that who they are and where they came from is a big part of who I am and the questions that I think of. And in a lot of ways, not just, racially and culturally, but also in terms of their interests. They're both scientists. This play deals, I hope thoughtfully with questions of identity and consciousness, that I've always been interested in.    Miko Lee: [00:38:18] And what legacy do you feel like you carry with you from them?   Jiehae Park: [00:38:22] Hmm. I mean, I write a lot about immigrants. This play isn't specifically about that, but in a lot of my previous work, I, I have. have written a lot about immigrants and I feel like my parents, you know, they came to this country when they were in their twenties. They didn't speak the language. They came from a generation of folks and at that time in the country where they were really, they had to be a certain way to survive. And I think that, intensity of work ethic, and the things that you also have to give up in order to get to where you think you wanna be, that question is, is part of their legacy to me. It's a, it's a gift and also something that, like a lot of other immigrants, I think I'm always sort of turning over in my mind and, and trying to look at from other angles.    Miko Lee: [00:39:12] Thank you for sharing. I'm wondering if you can talk to us about, first this title of your, world Premier, the aves. Where did this title come from? What is it about?    Jiehae Park: [00:39:23] So the title is the Latin word for Birds. And, the play there's a mystery that sort of unspools early on. So without, without giving too much away we see this old couple on a bench, on a park bench, and they have clearly been together for a long time and they are having a conversation that seems like a very ordinary conversation. And over the course of the first scene, we soon learn that they are discussing, doing something that will have ramifications throughout the rest of the play. And the aves is a word that I loved because of the association with birds. There, there are birds that make an appearance in this play, in both pedestrian and unexpected ways, in mysterious ways, and hopefully humorous ways. and then the connotation also of Ave Maria and this, this feeling of the sacred, which also infuses the play, which has a lot of humor, but also when I was writing it, I was thinking a lot about nature and the passage of time and this feeling of awe that I get when engage with nature. And I think that word also has those connotations for me.    Miko Lee: [00:40:46] And that sounds like a mystery that people need to come to find out more about. Can you tell us what inspired this work?    Jiehae Park: [00:40:54] I used to live on the northside of Central Park in Harlem, and I had this tiny, tiny little window that looked out, onto the north side of the park. And every day I would sit down to write and through my tiny window, I would see the same man sitting on this bench every day. And as the seasons changed and the leaves changed and the light changed, but still every morning there was the consistency of seeing the same person. And I think I I was thinking a lot about the passage of time and of nature shifting And I think subconsciously I was thinking about getting older myself. This was a time before I had children, but I was starting to become aware of my parents aging and generationally My peers, also our parents were aging and, and starting to have, you know, the complications and the beautiful things that can come with that. So I think all of that was a big soup in my subconscious. and I sat down and I wrote the first scene very quickly and then. I didn't know exactly what the rest of the play was gonna be, but I knew structurally that the first scene would be this old couple and that the second scene would be, a slightly different configuration of, of bodies. But that was hard to be so mysterious, um, and that the nex scene would be a different specific configuration of body. So I was thinking about the age of the bodies that you're watching and the story evolved from that. And I guess I should say that the play is set in a moment sort of best after now. So it's not the present, but it's not the distant future. It's certainly not like hard sci-fi by any means, but I think it uses some tools of speculative fiction. To ask questions that hopefully are illuminating about ourselves now.    Miko Lee: [00:42:59] Interesting. Did you ever talk with the man in the park that inspired this piece?   Jiehae Park: [00:43:05] You know, it's so funny. After the first couple of weeks of watching him, I realized he lived in my building and I hadn't noticed him before.    Miko Lee: [00:43:18] Wow. That's amazing.    Jiehae Park: [00:43:20] And I think that that's also something that. I had been thinking a lot about at the time this question of presence and attention, especially in New York, which is a city that is so loud. I mean, I love, I love New York and there's so many things that I love about New York, but it is such a loud city and it is hard to hear yourself think and, and the quality of attention in any. I was gonna say in any city, but in like any moment in our extremely chaotic world, I mean, especially now, that sort of quiet present quality of attention that I think is so beautiful and so rare, and I associate with, I'm not religious, but, but when I was a kid, I was, and this, this quality of, of sacred space, I think I was, I was really curious about that. And at the time, I think I had also that year gone on a silent meditation retreat. so trying to bring that quality of attention to my ordinary life as a urban citizen, I think was also part of the experience of writing the play. But yeah, he lived in my building and I hadn't noticed him before. And so this question of what do we notice and what do we need to shift in ourselves to notice what's in front of us and has been in front of us.    Miko Lee: [00:44:44] I am hearing you talk about a sense of presence and, and time passing. I'm wondering if that is what you want the audience to walk away with or are there other things that you're interested in provoking with this piece?    Jiehae Park: [00:44:57] As an audience member, when I go to any play, I always hope to leave a little bit different than how I entered and. That shift can be really subtle. In fact, for me as an audience member, sometimes it feels more profound when it is subtle. So on, on like at like a really baseline level. We've been having a lot of conversations with the design team about how to create this. Quality of space that feels different from the mundane so that when we enter the space of the theater, so for our body chemistry changes and that we are being asked by the play to lean in and pay attention perhaps in a way that we're not asked to pay attention, in, in the world outside of that room. And to be able to request that of an audience and share that with an audience. Together, I think is such a beautiful thing. And, and one of my favorite things about any collective experience when, when it all feels like we're breathing together. And my hope is that that's something that we can create, at a, like a biochemical level in our bodies, on a sort of more. Intellectual, emotional, philosophical level. I think there are questions that the play is asking about, what makes us, us and memory and the ability of a person and a relationship to change over a long period of time. And over the course of events that. May require forgiveness. those were certainly things that I was thinking about while I was writing it. So there's also that, that more character relational level of questioning that, that I think, will resonate with people, in different ways depending on where they are in their lives. And then I think especially because, you know, there's a lot of conversation about sandwich generation now, like folks, I. Who have dealt with aging themselves or aging parents and, the complexities and possibilities that can create. I think that there's another layer of the play that stirs up some of those questions as well.   Miko Lee: [00:47:04] Speaking of complexities and possibilities, I understand that you studied music and that you're also an actor and then you also write for Marvel's Runaways. Can you share a little bit about how these different elements impact you as a writer, as a creator?    Jiehae Park: [00:47:20] Yeah, so I started as an actor, which I think a lot of people do, mostly because it's the most accessible thing. Like you can audition for a play. You can't sort of audition to write a play. you can just write a play. But that, I think, came later for me. I don't really perform a ton anymore, although I did love it. and then the shift to television happened eight or so years ago. There's a big movement of playwrights moving into television, during peak tv. And they're very different. there is some shared similarity in storytelling instincts and craft. but the mediums are just really different, so I feel like I get very different things from, from all of them. I feel like I learned being a performer for a long time. As an artist, it's just getting to bump up against people who you think are fascinating and learn from them what you like and what you don't like, and who you wanna be and who you don't wanna be. and from tv I think I learned, To not be so precious. It takes a really long time for me to write a play. and I used to think, oh, I have to go into the woods and like be silent for a month and then like a play will emerge. And like sometimes it happens and it, that feels like a blessing when it does. But in TV, because there's so much money at stake and so much time pressure that you know, when something's due, it's just due and you turn it in. And if it's not perfect, you just deal with it and you make it as good as you can. And I think that there's a certain amount of shedding of perfectionism, which has been really healthy for me. but I do. Love the theater for the ability to spend a long period of time contemplating something and, and making it with a group of people who feel inspiring and we're all moving towards the same thing. and I think there's a little bit more space or a lot more space in the theater for things that may feel. mysterious or more open. whereas in television especially these days with the sort of decline of peak TV, there's an expectation of propulsion. Like overt propulsion, if that makes sense. That is not a criticism like, you know, I also love TV. but it is, it's like the pace of it is different and the ask of it is different than the ask of a play and and the baseline thing of just, you're not in the same room with the people experiencing it that is so special in theatre.    Miko Lee: [00:49:45] How do you go about shifting that mindset for that kind of speed of TV that you're describing versus the kind of longer meditative state of creating theater?    Jiehae Park: [00:49:55] Yeah, I mean, I think there's hopefully a two-way exchange. Because I also think that bringing some of those qualities of thoughtfulness and deliberation to the world of TV within the container, within the boundaries of it, can be incredibly useful. And ultimately a lot of the things that delight people, delight people regardless of the format. So that, like, that feeling of inevitable but surprising, like that's something that is of tremendous value in all mediums, right? I think for me personally, when I write a play. I try to make a space in my life that is a little more still. and I have a toddler now, so that's challenging. But in a way, working in television has been really helpful for that because, you know, I don't have five hours in the middle of the day to, you know, be with myself and listen to the trees. I maybe have like 30 minutes, but to try to drop into that as. quickly and without angst, without like working myself up about it. 'cause that's a waste of time. That's been a useful lesson to learn. Whereas working in television can feel a lot less lonely also than playwriting because in a writer's room, most shows in the states are written in the writer's room, there are few exceptions, and you're with a group of people. And so there's a sort of energetic exchange happening there that in a play only happens much, much later when you're in rehearsal and ideally in production. there's a sort of joyful energy and exchange that can happen in a writer's room, both when you're breaking the story and then ultimately when you're in production. And there's like many, many more people involved. And there's the crew and the cast and you know, all of the technical departments and producers. I feel like you mentioned, Code switching earlier. And, humans are so adaptable and I think we automatically sort of shift our brain chemistry and our body chemistry in response to the environment around us. sometimes very consciously, sometimes unconsciously, sometimes both. so I think a certain amount of that is just, okay, these are the given circumstances. And then, you become who you need to be in that space.   Miko Lee: [00:51:54] Thank you for sharing. Okay. I have one last TV question, which is that given that everybody's in this writing room together and you're, there's kind of a speed that's attached to it, do you feel like things get thrown out more quickly and with less kind of emotion attached to it than in theater?    Jiehae Park: [00:52:10] It's possible. I think it depends on the person. So I just worked on season four of the morning show last year. And there is a real need on that show because it deals with the news to be absorbing what's happening in the world and shifting the story based on that. And so that there has to be a sort of lightness around that. So in that kind of environment, absolutely. but I've also been in other rooms where someone got really attached to an idea, and maybe it was clear that that idea wasn't gonna work out, but there was, there was still like something, in it that wanted to be held onto and, and it may be hung on for a long time. And that process. Also could have happened, like that exact parallel process could have happened in a play. And actually in neither of the situation, is that necessarily a bad thing? Like is there something about that idea that maybe is not the idea itself, like the emotional core underneath it or the deep, deep idea underneath it that is useful? That even if the manifestation of the thing doesn't continue, if the manifestation gets thrown out, but like the real thing that was underneath it was important gets folded in in some unexpected way. I don't think it's a bad thing either way. It just is the peculiarities of any particular process.   Miko Lee: [00:53:22] And it sounds like it's about the people too, right?    Jiehae Park: [00:53:25] Yes, definitely. Absolutely. Yeah, yeah. Yeah. And I've certainly been in that book where I'm like, oh, I really think it's like this. It's gotta be this, it's gotta be this. And then, you know, two years later, I look at the draft, I'm like, oh, no, no, no. It, it is definitely not that. Like let me take that entire thing out. and it just was in that particular moment, I wasn't ready for whatever reason to let go of that idea. And that's okay. I am now, and then it moves on.    Miko Lee: [00:53:48] We're circling back to the beginning of the conversation about the aves, which is about presence and being in that moment. And where you are in that moment might be, no, this isn't right. And then years later you say, oh yeah, that wasn't right. Or that was right.   Jiehae Park: [00:54:03] Yeah, exactly, exactly. To listen to yourself is a, you know, I, I am, I've been doing this for a long time now and, that is still something that I feel like I always have to learn, that I think just is a human.   Miko Lee: [00:54:15] Yes. The perennial lesson of Yes, intuition. I'm wondering if you could tell our audience why they should go see the aves.    Jiehae Park: [00:54:24] My hope is that if you are curious about a certain kind of experience and attention in the theater, that you'll accept our invitation to this play, which is an unusual play. I don't think that everyone should see this play, just like, I don't think everyone should see any particular work of art, but if the things that we've been discussing, if the sort of vibe that you're getting from this conversation resonates with you, then the experience of seeing this play with a group of people who are also curious about that kind of experience may be something. That is enjoyable for you and would probably therefore also be enjoyable for that audience to be together with you and for the play to be together with you in that space.    Miko Lee: [00:55:17] Thank you so much for spending time chatting with us. Folks can see the aves at Berkeley rep May 2nd through June 8th. Thank you so much, Jiehae.   Ayame Keane-Lee: [00:55:26] For you Asian American film makers out there: SFFILM announced a new annual filmmaking grant in partnership with Cedar Road. The SFFILM Cedar Road Iyagi Grant is dedicated to fostering bold, original feature film projects that amplify Asian and Asian American perspectives on screen. In Korean, iyagi means “story”—a word that embodies the heart of this grant's mission: to champion storytelling as a powerful bridge connecting people across cultures and perspectives. A link to the grant application will be available in our show notes.    Miko Lee: [00:55:58] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important.    APEX Express is created by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tangloao, Cheryl Truong and Ayame Keane-Lee.  The post APEX Express – 4. 3.25 – Coming Up Next appeared first on KPFA.

April 4, 2025 - "The leaves, like women, interchange (987)" by Emily Dickinson, read by Tabitha Biracree by The Desmond-Fish Public Library & The Highlands Current, hosted by Ryan Biracree

Welcome to Dev Game Club, where this week we sadly conclude our series on Interstate '76. Poor Tim could not really play the game at all, so we're going to have to let this one go, but we'll still talk about a few things. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Up to Mission 10 (B) Issues covered: Tim being unable to get the game running, other cultural objects disappearing, physics implementation details from an implementer!, PC compatibility testing, running down bugs even today, flight stick vs controller, acceleration and turning, independent throttle, analog triggers on modern controllers, easy difficulty, getting a lot out of a few cars, making cars seem smarter, lack of uncanny valley, feeling a whole story in a mission, level design vs mission design, repetitive missions in other games, rewarding you with movies, impersonating a President, committing to a stylistic identity, standing out from the crowd, leveraging an IP shift, moving around between teams, the other game made with the same fiction, working remotely in the games industry, fear and trust. Games, people, and influences mentioned or discussed: Nosferatu, Moby Dick, Typee, Omoo, Emily Dickinson, Hailee Steinfeld, True Grit, Phil Salvatore, Carlos, Julio Jerez, Daniel Stanfield, Starfighter (series), Quake, Tomb Raider, Ultima Underworld, Trespasser, TIE Fighter, Wing Commander (series), George H. W. Bush, FASA, Duke Nukem, Blood, Shadow Warrior, Gladius, Final Fantasy Tactics, Red Rock, Sam and Max, Republic Commando, Rebel Assault, Mortimer and the Riddles of the Medallion, Wes, Twisted Metal, Luxoflux, Vigilante 8, Star Wars: Demolition, SNES, Zombies Ate My Neighbors, Super Star Wars, Big Sky Trooper, Activision, Nintendo 64, Game Boy Color, Dave K, Grand Designs, Bethesda Game Studios, Microsoft, Kingdoms of Amalur, .38 Studios, LostLake, Mors_d, Minecraft, Kirk Hamilton, Aaron Evers, Mark Garcia. Next time: TBA Twitch Discord DevGameClub@gmail.com

If only because of its seeming incongruity with a brain “wider than the sky,” the central fact of Emily Dickinson's life has become her seclusion. As she wrote to Thomas Wentworth Higginson in 1869, “I do not cross my Father's ground to any House or town.” Like the relatively modest dimensions of her poems, this self-imposed constraint—of the property line within Amherst, Massachusetts, then the Dickinson home itself, then her bedroom—proved no barrier to a cosmic poetic imagination which “went out upon circumference,” and to which no subject, tone, or emotion was foreign. Erin & Wes discuss four of Dickinson's best-loved poems, whose little rooms contain some of the definitive poetic statements on grief, pain, violence, death, reason, identity, and encounters with the divine: numbers 340, 372, 320, and 477.

Rip into roti with writer Tim Paggi as we discuss the story behind his X-Files-inspired juvenilia, the reason he demanded a refund from Barnes & Noble for a volume of Emily Dickinson's poetry, why a writing teacher (wrongfully) accused him of plagiarism, how the beginning of the pandemic was also the beginning of his fiction writing career, whether his recent Cthulhu references were intentional or unavoidable, why the Severance TV show has him feeling anxious (it's probably not the reason you think), the C-word he avoids using in his fiction, whether facing down audiences on stage helped him deal with rejections on the page, the many reasons he loves cosmic horror, the drunkest group he ever led through Baltimore on a ghost tour, and much more.

Listen to ASCO's Journal of Clinical Oncology Art of Oncology poem, "The First Hero” by Christopher Kim, who is a research assistant at Institute for Stem Cell Biology and Regenerative Medicine at Stanford University. The poem is followed by an interview with Kim and host Dr. Mikkael Sekeres. Kim reflects on his post-surgery sonnet. TRANSCRIPT Narrator: The First Hero, by Christopher Kim, BS  When he is like this—eyes closed, face still— he is unfamiliar. He wears a face younger than usual; fragile limbs washed in fluorescent light, eyes blurred with a diagnosis or ripe hyacinths or the last words we shared. Be good, son. Be bright. When he is still, anesthetized into memory, so too are the aphids in the garden. Lines of buzzing bodies descended from flight but clustered in quiet surrender. Fathers of sons who are trying to heal, who are failing, who retreat into the silence of sterile rooms. A heartbeat stutters and everything sings. Like the birds we watch outside the ICU window: how they peck at unyielding concrete and fill themselves with sharpness, their bodies frenzied, their bodies temporary.   Mikkael Sekeres: Hello and welcome to JCO's Cancer Stories: The Art of Oncology, which features essays and personal reflections from authors exploring their experience in the oncology field. I'm your host, Mikkael Sekeres. I'm Professor of Medicine and Chief of the Division of Hematology at the Sylvester Comprehensive Cancer Center, University of Miami. Today, I am so thrilled to be joined by Christopher Kim. He's a research assistant at the Institute for Stem Cell Biology and Regenerative Medicine at Stanford University. In this episode, we will be discussing his Art of Oncology poem, “The First Hero.” At the time of this recording, our guest has no disclosures. Both he and I have agreed to address each other by first names during the podcast. Chris, welcome to our podcast and thank you for joining us. Christopher Kim: Of course. Thank you so much for having me. It's just such an honor to be here. Mikkael Sekeres: We absolutely loved your poem. It was incredible and addressed a topic I think a lot of us face at some point in our lives and that's when we see a family member who's sick. Before we get into that, I was wondering if you can tell us a little bit about yourself. Where are you from and how did you get to this point? Christopher Kim: Absolutely, yeah. As you mentioned before, I'm working as a research assistant at the Stanford Medical School and I pretty much only recently graduated from college so I feel like I'm still in this like ‘in between' stage. I'm a Bay Area native. I went to Stanford for undergrad, just kind of stayed on with the lab that I worked with while I was an undergrad. I would like to go on to medical school in the future. I'm learning a lot working as a research assistant, getting some hands-on experience with basic biology research. And another thing about myself is I'm an avid musician, play violin, play guitar. I like to sing. And of course, I really enjoy writing as well. Mikkael Sekeres: That's a great background. Well, we definitely need more doctors who are writers, musicians and singers. So you fit that bill. And then the fact that you do some lab based research is just amazing. You sound like a polymath. Christopher Kim: Oh, I don't know about that. I try my best. Mikkael Sekeres: Can you tell us a little bit about your own story as a writer? How long have you been writing poetry? When did you get started? And how did you get started? Christopher Kim: Yeah, absolutely. So, I've always written sort of on my own, so I don't think I ever had the courage to share my writing with others because, you know, it's kind of a vulnerable thing to share your inner thoughts with someone. So I have been kind of writing on my own since maybe late middle school and early high school. That's when I started putting my thoughts onto paper. But I only recently started to submit my poetry to, you know, these journals because, you know, after a while I was thinking, I think they're worth sharing with others because maybe some people may be going through similar situations where they can feel a little bit encouraged by the words that I write in terms of, you know, feeling the emotions that they feel. Mikkael Sekeres: Well, lucky for us, you made that decision. So when you were an undergrad, did you take any writing courses? Because it's interesting, you've been in the area of writing since you were in middle school, high school. That must have continued through college. And sometimes formal courses help us refine those skills. But then there are also plenty of examples of people who just did it on their own. Christopher Kim: Absolutely. The main writing course I took, funnily enough, they weren't really creative writing courses. They were more rhetoric based or kind of just like the regular English writing classes at college undergraduates take. However, I did have a group of friends who I would share my writing with. I think that was like the most important part of my sort of evolution as a writer. Because before I would just kind of write on my own and maybe kind of hide it away, you know, in my little locked box, I guess. But then having this opportunity to meet other people my age, my peers, who, you know, I finally gained enough kind of courage to– I say courage, but I really mean, like I finally gained enough comfort to share it with them. And, you know, gaining their feedback and seeing their response was really the most important part of, I think, my writing in college. So not necessarily like formal classes, but more like the people I met and how they responded to my writing, which is- I'm really thankful for them. Mikkael Sekeres: You know, it's so interesting because there is this temptation to be like Emily Dickinson and write your poems and squirrel them away in your desk and never show them to anyone. And then, you know, the body of your work is discovered posthumously, which I think is kind of sad. I mean, you know, great that we have Emily Dickenson poetry, but it would have been nice that, you know, she had known how appreciated she was during her lifetime. Christopher Kim: Oh, absolutely. Mikkael Sekeres: And I think the hardest first step is that word that you use, courage. The courage to identify people outside of ourselves, to share our poetry with, or our narrative pieces. So how did you find those people? Christopher Kim: It's often the case that, you know, you make your closest friends when you kind of struggle together. So I think a lot of these friends I met were through taking courses together that were difficult and that sort of combined, I don't want to say misery, that's maybe too strong a word, combined struggle against one common goal. I think that's when we started becoming close. And then it was like outside of a writing context. But I think, I don't know, it's like part luck and part finding these people in these classes and then having conversations with them late at night and then eventually going towards sharing your arts, whatever. Some of them are musicians. They share their music. Some of us share our writing. Mikkael Sekeres: Yeah. No, I hear you. There's that shared experience of being in difficult situations. I think a lot of us who've gone through undergrad and med school and then became doctors and started our training, we have incredibly close friends. We met in our residencies and fellowship because those were major stressor points in our lives and major transitional phases also when we felt that we grew. The other aspect that I've heard in identifying people to be first readers of your poetry or prose is to identify people you trust. People who are friends will give you a good read, will be appropriately critical, and will also be encouraging. You need those people to feed back to you truth about the quality of your writing and provide substantive criticism that helps you grow as a writer. Christopher Kim: Definitely agree. You know, you've found your true friends when they're not afraid to criticize you because they're so close to you and they really want you to be better. So, yeah, I definitely agree with that. Mikkael Sekeres: Yeah. And those who will take it seriously where, I think plenty of times in my own life where I've given a piece of writing to somebody, hoping for good feedback, and then you feel like you have to hound them to finally get that feedback. And obviously they're not invested in it, as opposed to a trusted body of readers where they are going to take it seriously, they're going to read it closely, and then they're going to get back to you without you feeling as if you're imposing on them. Christopher Kim: Absolutely. Yeah. It's very valuable once you've found that group of people or friends, and you know, I still contact them regularly today. So, yeah, as you mentioned, you know, I think it's definitely like maybe a lifelong process or lifelong friendship where you can always go back to them for sort of that support. And you also are able to provide that support for your friends, too. Mikkael Sekeres: Yeah. I'm curious about your writing process. What triggers you to start a poem? And, you know, how do you face that dreaded blank page? Christopher Kim: Bay Area traffic can be very long and the commute can be pretty rough. Mikkael Sekeres: Not at all like that in Miami, by the way. In Miami, we just breeze through traffic. Yeah, not at all. Christopher Kim: I would love to visit someday to compare. But yeah, Bay Area traffic can be pretty rough. As much as I love podcasts and music, there comes a point where I kind of run out of things to listen to after a while. So I really found myself driving along, but then letting my thoughts wander. And funnily enough, that's when my creative inspirations hit. Maybe it's because there's something about driving that's like the perfect amount of not thinking. You know, it's like an automatic process and that let's your– obviously I'm paying attention to the road - but you kind of let your mind wander through creative thoughts, and that's on place of creative inspiration. I've had close family members who have struggled with cancer specifically, and other serious health issues, and I've had experiences being a caretaker for them, like ‘The First Hero'. Being in that position really inspires you to write, I think, for me. Mikkael Sekeres: So I wonder if I could follow up on that and if you're only comfortable doing so. Can you tell us what prompted you to write “The First Hero”? Christopher Kim: So it's kind of a combination of experiences. My grandfather struggled with cancer for a long time, and eventually he passed away from cancer. Mikkael Sekeres: I'm sorry. Christopher Kim: I appreciate that. Thank you. And he had cancer when I was a young child, which luckily went into remission for a couple years. But then later on, you know, as I started college, that's when it came back, and that's when he passed. And I think seeing his struggles with cancer, that was one big part of inspiration for this poem. But also another thing was my father also went through some health issues where he had to go through surgery and a long period of recovery, and he still kind of struggles with some issues today. And seeing people that you love that much in a position where it's really hard, especially when they're father figures in your life. They're your grandfather and your father. And, you know, when you're a kid, you know, your dad is like, they're a superhero. Your dad is the hero who can do anything, who can achieve any answer, any question you have, who can build anything you want, can buy you things, you know, all that stuff. But now seeing them in this reverse state of being vulnerable and not being able to do too much, it really affected me. And those two experiences were my main inspiration for this poem. Mikkael Sekeres: That was really beautifully said, Chris. I'm a parent of three, and I think that it comes with a lot of responsibility to remember that just carrying the title of mom or dad implies so much to one of your own children that you have to remember the import of everything that you do for them, for your kids, and everything that you say. And it carries just that much added significance because of the role we play as parents. It's so interesting to hear it enunciated by you in that way as well. And I think part of what makes good parents, there are a thousand things that go into the formula of a good parent, and we only know for sure if we made it, if, depending on the amount of therapy our kids have to go through when they're older, right? I think part of that, though, is remembering the great responsibility that comes with just simply the title of being a parent. Christopher Kim: Absolutely. Mikkael Sekeres: You started to talk a little bit about this. I'm curious about how the dynamic between parents and children changes when a parent is sick. Christopher Kim: Yeah, it's kind of a reversal of roles in a way, because your parents, when you're born, you're the most vulnerable. They're responsible for sort of ushering you into this world, keeping you alive. Seeing your parents grow older and seeing them aging is a tough experience. And my mom often tells me whenever she would see her parents, after a while, in her mind, she still sees her parents as when they were their younger selves, when she was younger. But then suddenly it would hit her that they're, like, much older and that also makes you feel a little bit more aware of how you are aging and how much older you are. But at the end of the day, they're always going to be your parents. Mikkael Sekeres: They really are. Our parents age and we age with them, and we evolve in how we view parents, and we all go through this, and I don't think it ever ends until your parents pass. I'm sure you're familiar with this. There's a saying that you never really become an adult until your parents pass. Christopher Kim: You mentioned that you're more aware of what parenthood is as you get older. I mean, obviously I don't have any kids myself, but I'm sure my parents always USED say to me, you know, “You'll understand when you have kids.” Mikkael Sekeres: You sort of do. You sort of do. Christopher Kim: I sort of do. Right, exactly. Mikkael Sekeres: My dad always said to me that parenting is unskilled labor. So you sort of get it when you're a parent, you're still really figuring it out. Christopher Kim: Absolutely. Yeah. And the older I get, it's like I realize. I think I've gained more appreciation for the sacrifices my parents have made for me, and I've definitely taken their parenthood lessons to heart for whenever, if I choose to have kids later on. Mikkael Sekeres: So that's great. I'm sure they'd be thrilled to hear that, Chris. I wanted to end with one last question for you. Are there poets who've been a particular influence on you or favorite poets you want to name? Christopher Kim: One name that kind of comes to mind is there's a poet named Ocean Vuong. Their work blends together personal history and like, family history with beautiful lyricism. They always feel like musical in a way. Their words kind of often linger on with you long after. Mikkael Sekeres: That's great. Well, listen, Chris Kim, I'd like to thank you so much for joining us on today's podcast and for your absolutely beautiful poem, “The First Hero.” Christopher Kim: Thank you so much for having me. I'm super thrilled to be on. This is my first podcast ever, so it was such a great experience. I felt so welcomed. So thank you for, you know, hearing my thoughts or listening to my thoughts. I appreciate it. Mikkael Sekeres: Well, you're good at them. Keep them up. Until next time. Thank you for listening to JCO's Cancer Stories: The art of Oncology. Don't forget to give us a rating or review and be sure to subscribe so you never miss an episode. You can find all of the ASCO shows at asco.org/podcasts. Until next time. Thanks so much for joining us.   The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity or therapy should not be construed as an ASCO endorsement. Like, share and subscribe so you never miss an episode and leave a rating or review.  Guest Bio: Christopher Kim is a research assistant at the Institute for Stem Cell Biology and Regenerative Medicine at Stanford University.

Daily QuoteLife is pretty simple: You do some stuff. Most fails. Some works. You do more of what works. (Leonardo da Vinci)Poem of the DayOn this wondrous seaEmily DickinsonBeauty of WordsSense and SensibilityJane Austen

How awful is your favorite author?  Did you once love the works of a film director and the ideals they expressed, but, to your dismay, they turned out to be a lout? How does their badness change their art? Do texts belong to the author once they're released into the world? In this episode, Doc and Mike talk with the Co-Director of the Center for Monsters Studies, Renee Fox, about the concept of the "death of the author" and how texts and art can take on their own life, beyond the creator's intentions or control, long after publishing. They discuss complicated artists, Dickens, JK Rowling, Harry Potter, fandom and more!   Renee Fox is the UC Santa Cruz Associate Professor and Jordan-Stern Presidential Chair for Dickens and Nineteenth-Century Studies, Co-Director of The Dickens Project and Co-Director of The Center for Monster Studies.   About this podcast: MONSTERS! They haunt our days and chill our dreaming nights, to paraphrase Emily Dickinson. There's not a population on earth that does not have its own unique monster stories to tell to frighten, but also to instruct on the nature of good and evil, right and wrong. But what happens when monsters get out of control, when the monstrous imagination starts to bleed over into the real world? What are the effects of monsters on real people's real lives? This podcast examines the histories and mysteries of some of our favorite monsters to unlock their secrets and expose their influence on our lives.   About the hosts: Michael Chemers (MFA, PhD) is a Professor of Dramatic Literature in the Department of Theater Arts at UC Santa Cruz. His work on monsters includes The Monster in Theatre History: This Thing of Darkness (London, UK: Routledge 2018). Dr. Chemers is the Founding Director of The Center for Monster Studies. Formerly the Founding Director of the Bachelor of Fine Arts in Dramaturgy Program at Carnegie Mellon University, he joined the faculty of UCSC in 2012. He is also the author of Ghost Light: An Introductory Handbook for Dramaturgy (Carbondale, IL: Southern Illinois University Press, 2010) and Staging Stigma: A Critical Examination of the American Freak Show (New York: Palgrave MacMillan, 2007). Dr. Chemers is also an actor, a juggler, and a writer of drama. Mike Halekakis is an entrepreneur, business owner, internet marketer, software engineer, writer, musician, podcaster, and hardcore situational enthusiast. He is the co-founder of What We Learned, a company that specializes in compassionate training courses on complex adult subjects such as caregiving for people who are sick, planning for death, and administering after the loss of a loved one. He is also the CEO of Moneyfingers Inc., a company that trains people on how to successfully create, market, and sell products on the internet. When not burning the candle at both ends with a blowtorch, Mike loves video games, outdoor festivals, reading comics and novels, role-playing, writing and playing music, hanging out with the world's best cats, and spending time with his amazing wife and their collective worldwide friend-group.

“Many people with autism gravitate toward leadership because of the traits and values of our culture… We're born leaders because we're born to see world-building vision.” Today, we are joined by autistic advocate and host of the Autistic Culture Podcast, Dr. Angela Kingdon. Angela drops a science/history lesson, a ton of pop culture references, and some much-needed thoughts on neurodiversity in the workplace and leadership.Listen in to find out:- What Angela's learned about herself and this awesome community since being diagnosed in 2012.- Why understanding the things neurodivergent folks have to know about themselves (to accommodate their environments) would benefit 100% of people, neurodivergent or not.- The horrifying story of why we don't use the term Asperger's anymore.- Why leaders must develop cultural literacy around differences (aside from the fact that it benefits them too).- Some great anecdotes about autistic people, inventions, and culture.“Autistics have been around forever – they created the first stone tools, but it wasn't a label or diagnosis until 1943.”“Taylor Swift and her great aunt, Emily Dickinson, are both perfect examples of autistic traits.”“When people are neurotypical, they're so used to assuming their way is the way. One-size-fits-all isn't real, and that does need to shift.”—Dr. Angela Kingdon is a dynamic autistic advocate, author, and speaker, renowned for her impactful work in promoting neurodiversity and supporting autistic individuals. As the host of the Autistic Culture Podcast, Angela shares her experiences and insights as a late-diagnosed autistic person, aiming to create a more inclusive and understanding society.Angela's journey began with a diagnosis at the age of 39, which she describes as a turning point that allowed her to embrace her unique neurodiverse perspective fully. Leveraging her lifelong special interest in non-fiction, she founded Difference Press™ and created The Author Incubator™, a program that has helped nearly 2,000 entrepreneurs write, publish, and promote their books. Angela's expertise and dedication have led her company to remarkable success, with her clients' books reaching millions of readers and generating significant revenue.Angela holds a B.A. and an M.A. in Journalism and Media Affairs from George Washington University and a Ph.D. in Communications from the European Graduate School as well as a graduate certificate in Corporate Social Responsibility from the Unviersity of Colorado Boulder. She is also a bestselling author of eight books, including neurodiversity-affirming titles like The Equalizing Quill and Make ‘Em Beg To Work For You, which have earned her acclaim and recognition in the publishing industry.Angela is not just an advocate; she is a beacon of inspiration, empowering autistic individuals and educating the broader community about the value of neurodiversity. Her advocacy extends beyond her professional work. She actively engages with audiences through social media platforms and her podcast, sharing her story and encouraging others to understand and embrace neurodiversity. Her commitment to making the world a safer and more inclusive place for neurodivergent people is evident in her storytelling, public speaking, and educational efforts designed to foster neuroinclusive workplaces and provide valuable insights into the benefits of neurodiverse teams and strategies for creating supportive environments for autistic individuals.Regulating Stims: echolalic singing, nail-biting, fidget bubble poppersAlliterative SPINs: Hamlet, Hamilton, John HammWebsite: https://angelakingdon.com/LinkedIn: https://www.linkedin.com/in/angelakingdon/Instagram: https://www.instagram.com/autisticculturepodcastFacebook: https://www.facebook.com/drangelakingdonYouTube: https://www.youtube.com/@AutisticCulturePodcast

In "I Look In People's Windows", Taylor Swift continues the metaphorical exploration of "what if" that we've seen all throughout THE TORTURED POETS DEPARTMENT. A song that explores the aftermath of a lost connection, Taylor uses the idea of looking in from the outside to show how she's deep in her own thoughts of what could've been. Lacey, Ana, Nick, and Amy break down the lyrics of the song, how it connects to others across her discography, the inspiration from Emily Dickinson, and so much more! Where does this song fall in your TTPD rankings? And did you know this song could be the answer to a trivia question? Let's discuss! THIS PODCAST IS SPONSORED BY VIIA! Try VIIA Hemp! https://viia.co/TSFPOD use code TSFPOD THIS PODCAST IS SPONSORED BY RUFF GREENS! To get YOUR FREE Jumpstart Trial Bag, go to http:/ruffgreens.com and use Promo code TAYLORSWIFTFAN. THIS PODCAST IS SPONSORED BY HELLO FRESH! Get up to 10 FREE meals and a free high-protein item for life at HelloFresh.com/taylorswiftfan10fm THIS PODCAST IS SPONSORED BY QUINCE! Go to https://www.quince.com/taylorswiftfan for free shipping on your order and 365-day returns There are lots of ways to reach us, including our exclusive Lobster Lounge! Join in on the discussion there at https://station.page/13 , or let us know on the socials! CONTACT THE PODCAST! Voicemail Number- (689) 214-1313 Email- the13podcast@gmail.com IG- https://www.instagram.com/the13podcast TikTok- https://www.tiktok.com/@the13podcast Twitter- https://twitter.com/the13TSpodcast YouTube- https://www.youtube.com/@13ATaylorSwiftFanPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Amanda Holmes reads Emily Dickinson's “After Great Pain, a Formal Feeling Comes.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman. This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. Hosted on Acast. See acast.com/privacy for more information.

Daily QuoteA man does not plant a tree for himself; he plants it for posterity. (Alexander Smith)一个人种树并非为了自己，而是为了子孙后代。（亚历山大•史密斯）Poem of the DayOn this wondrous seaEmily DickinsonBeauty of Words故乡的榕树（上）黄河浪

Welcome to this episode, where we dive into engaging lesson ideas for March! This month offers a wealth of opportunities to create meaningful learning experiences for your students. From celebrating Women's History Month and Poetry Month to exploring the arrival of spring, we've got you covered with creative ideas and actionable lesson plans. Episode Highlights:

Arby's sauces and Emily Dickinson“Dickinson” episodes watched for this F&L:*S1E1 - Because I Could Not Stop*S3E10 - This was a PoetMake show suggestions or share your favorite Emily Dickinson poem.WEBSITE: https://anchor.fm/fandlpodcastEMAIL: FandLpodcast@gmail.comTWITTER: https://twitter.com/FandLpodcastINSTAGRAM: https://www.instagram.com/fandlpodcastFACEBOOK: https://facebook.com/fandlpodcast

This episode explores new research, which has found that Ancient Egyptian mummies still smell nice. --- Read this episode's science poem here. Read the scientific study that inspired it here. Read ‘The Egyptian Tomb of Emily Dickinson' by Alexandria Peary here. --- Music by Rufus Beckett. --- Follow Sam on social media and send in any questions or comments for the podcast: https://linktr.ee/sam.illingworth

In this episode, I get to discuss two of my favorite things: bees and mythology.Salvator R. Tarnmoor, or Ludovico Ambrosius when he is writing, joins the show to discuss his recent collection of poems on honeybees. This anthology collects poems from authors thousands of years apart and includes selections on bees from Virgil, Homer, Shakespeare, Emily Dickinson, and many, many more.Get ready for a heavy dose of ambrosia and some deadly stingers.O Honeybees: An Illustrated Anthology of Bee PomesFollow Salvator R. Tarnmoor on Twitter.com @s_r_tarnmoorFind his book here: https://www.amazon.com/Honeybees-Illustrated-Anthology-Bee-Pomes/dp/B0CFCLWNM2*************************************************************************************************************Follow me on Twitter @AaronIrberSubscribe to my Substack -https://aaronirber.substack.com/ for updates on the show, essays, and more!Donate to my Patreon - I Might Believe in Faerieshttps://www.patreon.com/imightbelieveinfaeriesLike my Facebook page - I Might Believe in FaeriesBattle Of The Creek by Alexander Nakarada | https://www.serpentsoundstudios.comMusic promoted by https://www.free-stock-music.comAttribution 4.0 International (CC BY 4.0)https://creativecommons.org/licenses/by/4.0/Logo Art by Linnea Kisby*************************************************************************************************************

Talking points: masculinity, culture, gratitude, anger, poetryI don't typically get starstruck or awed in interviews, even though I've talked to many incredible people. But David? Well, he's had an immense impact on my life, and so much of my work and way of thinking lives inspired by him. He joined me in Seattle and shared so much wisdom, beauty, and of course, poetry. Dig into this one.(00:00:00) - What is the “conversational nature of reality”, why the unknown is so uncomfortable, and the fear of “descent”(00:18:44) - How the need for control kills off meaning and purpose, and how real poetry and philosophy come from NOT knowing what to say(00:25:53) - David reads “Blessing of the Morning Light”(00:32:42) - How does a man start building a relationship to the unknown parts of himself, and David's relationship with his father(00:44:24) - The role of anger and the power of poetry(00:56:16) - On forgiveness and male friendship(01:31:57) - How do you properly thank someone who's had a profound impact on you?David Whyte is an internationally renowned poet and author, and a scintillating and moving speaker. Behind these talents lies a very physical attempt to give voice to the wellsprings of human identity, human striving and, most difficult of all, the possibilities for human happiness. He draws from hundreds of memorized poems, his own and those of other beloved poets such as Wordsworth, Emily Dickinson, Keats, Pablo Neruda, Fleur Adcock and the sonnets of Shakespeare. He is the author of ten books of poetry, three books of prose on the transformative nature of work; a widely-acclaimed, best-selling book of essays, and an extensive audio collection.Connect with David-Website: https://davidwhyte.com/-Instagram: https://www.instagram.com/davidjwhyte/-Facebook: https://www.facebook.com/PoetDavidWhyte/-YouTube: https://www.youtube.com/@poetdavidwhyte-SubStack: https://davidwhyte.substack.com/***Pick up my book, Men's Work: A Practical Guide To Face Your Darkness, End Self-Sabotage, And Find Freedom: https://mantalks.com/mens-work-book/Heard about attachment but don't know where to start? Try the FREE Ultimate Guide To AttachmentCheck out some other free resources: How To Quit Porn | Anger Meditation | How To Lead In Your RelationshipBuild brotherhood with a powerful group of like-minded men from around the world. Check out The Alliance. Enjoy the podcast? If so, please leave a review on Apple Podcasts, Stitcher, or

Creative Codex ✓ Claim : Read the notes at at podcastnotes.org. Don't forget to subscribe for free to our newsletter, the top 10 ideas of the week, every Monday --------- What do J.R.R. Tolkien, David Lynch, Emily Dickinson, and Damon Albarn have in common? They each pursued ambitious projects—something challenging within their skillset that compelled their growth. On this video-minisode, we explore the benefits of ambitious projects and the many inspiring examples of artists pushing their limits. ∞∞∞∞∞ Check out the dark pop album (CATHARSIS) which I wrote & produced here: https://www.youtube.com/@mjdorian ∞∞∞∞∞Support Creative Codex on my Patreon and get access to exclusive episodes, including the LIMITED RELEASE SERIES (Jim Morrison & Kurt Cobain), the Red Book Reading series, and all the Episode Exclusives: ⁠⁠⁠⁠⁠⁠https://www.patreon.com/mjdorian⁠⁠⁠⁠⁠⁠ Buy me a coffee or add to my fancy books fund on Venmo:⁠⁠⁠⁠⁠⁠https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1⁠⁠⁠⁠⁠⁠ ∞∞∞∞∞ Connect with me on social media for all the newest updates:YouTube: ⁠⁠⁠⁠⁠⁠https://www.youtube.com/creativecodex⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/mjdorian/⁠⁠⁠⁠⁠⁠Twitter: ⁠⁠⁠⁠⁠⁠https://twitter.com/mjdorian⁠⁠⁠⁠⁠⁠TikTok: ⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@mjdorian⁠⁠⁠⁠⁠⁠ --------- Written & Produced by MJDorian All Rights Reserved.

What do J.R.R. Tolkien, David Lynch, Emily Dickinson, and Damon Albarn have in common? They each pursued ambitious projects—something challenging within their skillset that compelled their growth. On this video-minisode, we explore the benefits of ambitious projects and the many inspiring examples of artists pushing their limits. ∞∞∞∞∞ Check out the dark pop album (CATHARSIS) which I wrote & produced here: https://www.youtube.com/@mjdorian ∞∞∞∞∞Support Creative Codex on my Patreon and get access to exclusive episodes, including the LIMITED RELEASE SERIES (Jim Morrison & Kurt Cobain), the Red Book Reading series, and all the Episode Exclusives: ⁠⁠⁠⁠⁠⁠https://www.patreon.com/mjdorian⁠⁠⁠⁠⁠⁠ Buy me a coffee or add to my fancy books fund on Venmo:⁠⁠⁠⁠⁠⁠https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1⁠⁠⁠⁠⁠⁠ ∞∞∞∞∞ Connect with me on social media for all the newest updates:YouTube: ⁠⁠⁠⁠⁠⁠https://www.youtube.com/creativecodex⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/mjdorian/⁠⁠⁠⁠⁠⁠Twitter: ⁠⁠⁠⁠⁠⁠https://twitter.com/mjdorian⁠⁠⁠⁠⁠⁠TikTok: ⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@mjdorian⁠⁠⁠⁠⁠⁠ --------- Written & Produced by MJDorian All Rights Reserved.

This week on Diving in Deep, Sara Evans reunites with renowned songwriter, Marcus Hummon! The two of them look back on what it was like to write some of Sara's hit songs like "Born To Fly." Marcus also dives into his newest personal project of transcribing Emily Dickinson poems into an EP he released back in November. They both open up about the vulnerability of songwriting, writing together for the first time, and what it means to white trash dance. Tune into this week's episode to get the inside scoop on Sara's songs!Listen to Unbroke: (https://ffm.to/seunbroke)About Marcus Hummon:Grammy winner and two-time NSAI Songwriter's Hall of Fame nominee, Marcus Hummon has enjoyed a successful career as a songwriter, recording artist, composer, playwright, and author. His songs span many genres, including pop, R&B, gospel, and most notably, country. Several of his songs have been nominated for Grammys, ACMs, CMAs, and BMIs, and in 2005, his song ‘Bless The Broken Road' won the Grammy for ‘Best Country Song' in both 2005 and 2007. In the realm of theatre, Hummon has written 6 musicals and an opera featured in various festivals and winning multiple awards. He released his new single, “I Never Saw A Moor,” on October 18th of this year for his highly-anticipated Emily Dickinson-inspired EP, Songs For Emily. Stream it wherever you listen to music now!LET'S BE SOCIAL:Follow Marcus Hummon:Instagram – ( @marcushummon)Tiktok – (@marcushummonsongwriter)Twitter/X – (@marcushummon)Facebook – (@marcus.hummon)Website – https://www.marcushummon.netFollow Diving in Deep Podcast:Instagram –(@divingindeeppod)TikTok – (@divingindeeppod)Twitter – (@divingindeeppod)Facebook – (@divingindeeppod)Follow Sara Evans: Instagram – (@saraevansmusic)TikTok – (@saraevansmusic)Twitter – (@saraevansmusic)Facebook – (@saraevansmusic)Produced and Edited by: The Cast Collective (Nashville, TN)YouTube – (‪@TheCastCollective‬)Instagram – (@TheCastCollective)Twitter – (@TheCastCollective)Directed by: Erin DuganEdited By: Sean Dugan, Corey Williams, & Michaela Dolph

Happy New Year (and Happy Reading) from The Daily Poem!Born in Amherst, Massachusetts, to academic Calvinist parents, poet, author, and Native American rights activist Helen Hunt Jackson (born Helen Maria Fiske) was orphaned as a child and raised by her aunt. Jackson was sent to private schools and formed a lasting childhood friendship with Emily Dickinson. At the age of 21, Jackson married Lieutenant Edward Bissell Hunt and together they had two sons. Jackson began writing poetry only after the early deaths of her husband and both sons.Jackson published five collections of poetry, including Verses (1870) and Easter Bells (1884), as well as children's literature and travel books, often using the pseudonyms “H.H.,” “Rip van Winkle,” or “Saxe Holm.” Frequently in poor health, she moved to Colorado on her physician's recommendation and married William Sharpless Jackson there in 1875.Moved by an 1879 speech given by Chief Standing Bear, Jackson wrote A Century of Dishonor (1881), an exposé of the rampant crimes against Native Americans, which led to the founding of the Indian Rights Association. In 1884 she published Ramona, a fictionalized account of the plight of Southern California's dispossessed Mission Indians, inspired by Harriet Beecher Stowe's Uncle Tom's Cabin.Jackson was inducted into the Colorado Women's Hall of Fame in 1985.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Earlier this week Diane hosted a special edition of The Diane Rehm Book Club, her monthly series held on ZOOM in front of a live audience. This month she asked some of her favorite book lovers to join her to talk about their favorite reads of year. And they did not disappoint. Her guests were Ann Patchett, novelist and owner of Parnassus Books, Eddie Glaude Jr., professor of African American Studies at Princeton University and author of several books on race and politics, and Maureen Corrigan, book critic on NPR's Fresh Air. She also teaches literary criticism at Georgetown University. See below for a list of each guest's top books of the year, along with all of the titles discussed during this conversation. Maureen Corrigan's top books of 2024: “James” by Percival Everett “Colored Television” by Danzy Senna “Long Island” by Colm Tóibín “Tell Me Everything” by Elizabeth Strout “Martyr!” by Kaveh Akbar “Creation Lake” by Rachel Kushner “Cahokia Jazz” by Francis Spufford “The God of the Woods” by Liz Moore “A Wilder Shore” by Camille Peri “The Letters of Emily Dickinson” edited by Cristanne Miller and Domhnall Mitchell Ann Patchett's top books of 2024: “James” by Percival Everett “Martyr!” by Kaveh Akbar “Colored Television” by Danzy Senna “Sipsworth” by Simon Van Booy “Tell Me Everything” by Elizabeth Strout “Mighty Red” by Louise Erdrich “Time of the Child” by Niall Williams “An Unfinished Love Story” by Doris Kearns Goodwin “The Backyard Bird Chronicles” by Amy Tan “Hotel Balzaar” by Kate DiCamillo (middle grade book)  “Water, Water: Poems” by Billy Collins Eddie Glaude Jr.'s top books of 2024: “Slaveroad” by John Edgar Wideman “Recognizing the Stranger: On Palestine and Narrative” by Isabella Hammad  “We're Alone” by Edwidge Danticat Other titles mentioned in the discussion: “Wide Sargasso Sea” with introduction by Edwidge Danticat “Demon Copperhead” by Barbara Kingsolver “The Dog Who Followed the Moon: An Inspirational Story with Meditations on Life, Experience the Power of Love and Sacrifice” by James Norbury “Afterlives” by Abdulrazak Gurnah “Someone Knows My Name” by Lawrence Hill “Moon Tiger” by Penelope Lively “Sandwich” by Catherine Newman “Windward Heights” by Maryse Condé “There's Always This Year” by Hanif Abdurraqib “Mothers and Sons” by Adam Haslett (publication date in January 2025) “Memorial Day” by Geraldine Brooks (publication date in February 2025) “33 Place Brugmann” by Alice Austen (publication date in March 2025) “Cloud Atlas” by David Mitchell “Independent People” by Halldor Laxness “The Great Gatsby” by F. Scott Fitzgerald “Beloved” by Toni Morrison “Sing, Unburied, Sing” by Jesmyn WardTo find out more about The Diane Rehm Book Club go to dianerehm.org/bookclub.