Podcast appearances and mentions of Ezra Pound

Paola Tonussi"Poesie"Rupert BrookeInterno Poesiawww.internopoesialibri.comCuratela e traduzione: Paola TonussiPostfazione: Silvio RaffoDefinito come «il migliore dei Georgiani» da Ezra Pound, Rupert Brooke (1887-1915) è il poeta della transience, la bellezza che presto svanisce. Celebre per i sonetti di guerra, da lui poco considerati, Brooke è poeta ben più intenso del mito creato da quei versi e dalla morte precoce nell'azzurro Egeo: una leggenda, un'illusione che colma il disperato bisogno d'ideale degli inglesi in guerra, ma deforma il giovane agitatore socialista e amante dei cruenti elisabettiani nell'idolo dell'establishment. Di straordinaria maestria tecnica adagiata su un letto formale, la sua poesia s'immette nel solco di Marvell e l'assunto nostalgico del tempo che va, quale tentativo di fermare l'istante, la bellezza dai piccoli piedi sempre in fuga, transitoria. Nei così detti “ugly poems” si rivela invece poeta di acuminata ironia, il primo a considerare temi tabù per l'epoca – decadimento fisico della vecchiaia, avversione per la banalità borghese, contrasto tra eros e matrimonio. Con occhi addestrati alle visioni – Donne, Marvell, Webster, Milton – quella di Rupert Brooke è una poesia molto più moderna della sua fama, che va scoperta e restituita al suo vero orizzonte: la meraviglia della linea inglese, da Shakespeare a Auden.Rupert Brooke, nato a Rugby nel 1887 è l'astro della sua generazione: brillante sportivo, studioso che concorre alla riscoperta di Donne, Webster e gli elisabettiani, i cui saggi lo rendono Fellow del King's College a Cambridge. Personalità affascinante, sognatore che scrive versi in giardino e vegetariano ante litteram, attrae a Grantchester, il villaggio fuori Cambridge dove vive, amici e artisti: Virginia Woolf, Forster, Lytton Strachey, Maynard Keynes, Duncan Grant e altri. Ammirato da Pound e Henry James, Eliot e Fitzgerald, è il poeta della transience, la bellezza che presto svanisce, l'amico generoso che lascia la propria eredità letteraria ai poeti Gibson, Abercrombie e de la Mare, perché possano scrivere senza assilli pratici. Oltre i “sonetti di guerra” che gli danno fama di war poet quasi suo malgrado, Rupert Brooke pubblica in vita una sola raccolta, Poems 1911, che rivela agli inglesi un Marvell minore e una poesia colma d'ironia, levità ed eccezionale maestria tecnica. La seconda raccolta, Poems 1914, esce postuma: il poeta muore infatti andando ai Dardanelli nell'aprile 1915, ed è sepolto a Sciro nell'Egeo dai compagni soldati destinati a morire poco dopo di lui. IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

It seems like such a simple question, but how to read a poem, like poetic interpretation itself, can be answered in many different ways. But what's the best way to go about reading a poem? Katie turns to art criticism for a process that guides the episode to a deep reading of poems by: Robert Frost,  Carolina Ebeid, Alex Dimitrov, Ezra Pound, and Billy Collins. At the table:Katie DozierTimothy GreenJoe BarcaBrian O'SullivanDick WestheimerNate Jacob

This episode we continue to follow the monk Xuanzang on his path along the silk road.  From Gaochang, he traveled through the Tarim Basin, up over the Tianshan Mountains, to the heart of the Western Gokturk Qaghanate.  From there, he traveled south, through the region of Transoxania to Bactria and the land of Tukhara.  He pushed on into the Hindu Kush, witnessing the stone Buddha statues of Bamiyan, and eventually made his way to the land of Kapisa, near modern Kabul, Afghanistan.  From there he would prepare to enter the Indian subcontinent: the home of the historical Buddha. For more discussion and some photos of the areas along this journey, check out our podcast blog at https://sengokudaimyo.com/podcast/episode-121   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is Episode 121: Journey to the West, Part 2   The cold winds blew through the travelers' doubled up clothing and thick furs.  Cold, wet ground meant that even two sets of boots were not necessarily enough after several days.  The frozen mist would often obscure everything except for the path immediately in front, hiding the peaks and making the sky a uniform white. In many places, the path would be blocked by rock, ice, or snow—the remnants of an avalanche, which could easily take an unsuspecting traveler.  And there was the elevation.  Hiking through the mountains, it was easy enough to reach heights of a mile or higher, and for those not accustomed to that elevation the thin air could take a surprising toll, especially if you were pushing yourself.  And the road was no less kind to the animals that would be hauling said travelers and their gear. And yet, this was the path that Xuanzang had agreed to.  He would continue to push through, despite the various deprivations that he would be subjected to.  No doubt he often wondered if it was worth it.  Then again, returning was just as dangerous a trip, so why not push on?   Last episode we introduced the monk Xuanzang, who traveled the Silk Road to India in the 7th century and returned to China.  He brought back numerous sutras to translate, and ended up founding a new school, known as the Faxian school—or the Hossou school in Japan.   As we mentioned last time, Xuanzang during his lifetime met with students from the archipelago when they visited the continent.  The records of his travels—including his biography and travelogue—are some of the best information we have on what life was like on the silk road around this time. In the last episode, we talked about Xuanzang: how he set out on his travels, his illegal departure from the Tang empire, and his perilous journey across the desert, ending up in Gaochang.  There, King Qu Wentai had tried to get him to stay, but he was determined to head out.  This episode we are going to cover his trip to Agni, Kucha, and Baluka—modern Aksu—and up to the Western Gokturk Qaghanate's capital of Suyab.  From there, we'll follow his footsteps through the Turkic controlled regions of Transoxania and into Tukhara, in modern Afghanistan.  Finally, we'll cover the last parts of his journey before he reached the start of his goal:  India. From Gaochang, Xuanzang continued on, through the towns he names as Wuban and Dujin, and into the country of Agni—known today as the area of Yanqi—which may also have been known as Wuqi.  The route was well-enough known, but it wasn't necessarily safe.  At one point, Xuanzang's caravan met with bandits, whom they were fortunately able to pay off.  The following night they encamped on a river bank with some merchants who also happened to be traveling the road.  The merchants, though, got up at midnight and headed out, hoping to get to the city early so that they could be the first ones to the market.  They only made it a few miles down the road, however, before they encountered more bandits, who slaughtered them and took their goods.  The following day, Xuanzang and his retinue came upon the merchants' remains lying in the road and saw the aftermath of the massacre. This was an unforgiving land, and the road was truly dangerous, even for those who traveled it regularly.  And yet Xuanzang was planning to travel its entire length until he reached India. So with little alternative, they carried on to the royal city of Agni. Agni, or Yanqi, sits on the southwestern edge of the basin, west of Bositeng lake, on the border between the Turfan basin and the larger Tarim Basin.  The name is thought to be a Tocharian—or Turfanian—name for the city, which is also known as Karashr. According to the biography by Huili, Xuanzang and his party didn't stay long in Agni.  Apparently Agni and Gaochang were not exactly on friendly terms, and even though the King of Agni and his ministers reportedly came out to greet Xuanzang and welcome him to their city, they refused to provide any horses.  They spent a single night and moved on. That said, Agni still made an impression on Xuanzang.  He noted how the capital was surrounded by hills on four sides, making it naturally defensible.  As for the people, he praises them as honest and straightforward.  They wore clothing of felt and hemp cloth, and cut their hair short, without hats or any kind of headwear.  Even the climate was pleasant, at least for the short time he was there.  He also notes that they used a script based on India—likely referring to the Brahmic script, which we find in the Tarim basin. However, as for the local lord, the King of Agni, he is a little less charitable.  Xuanzang claimed he was brave but “lacked resourcefulness” and he was a bit of a braggart.  Furthermore, the country had “no guiding principles or discipline and government orders are imperfect and not seriously implemented.”  He also mentioned the state of Buddhism in the country, noting that they were followers of Sarvastivada school, a Theravada sect popular along the Silk Road at the time.  Xuanzang was apparently not too pleased with the fact that they were not strict vegetarians, including the “three kinds of pure meat”.  From Agni, Xuanzang continued southwest, heading for the kingdom of Kucha.  He seems to have bypassed the nearby kingdom of Korla, south of Agni, and headed some 60 or 70 miles, climbing over a ridge and crossing two large rivers, and then proceeding another 200 miles or so to the land of Kucha. Kucha was a kingdom with over one hundred monasteries and five thousand monks following a form of Theravada Buddhism.  Here, Xuanzang was welcomed in by the king, Suvarnadeva, described as having red hair and blue eyes.  While Xuanzang was staying in Kucha, it is suspected that he probably visited the nearby Kizil grotto and the Buddhist caves, there, which include a painting of King Suvarnadeva's father, King Suvarnapuspa, and his three sons. You can still visit Kucha and the Kizil grottos today, although getting there is quite a trek, to be sure.  The ancient Kuchean capital is mostly ruins, but in the Kizil caves, protected from the outside elements, you can find vivid paintings ranging from roughly the 4th to the 8th century, when the site was abandoned.  Hundreds of caves were painted, and many still demonstrate vibrant colors.  The arid conditions protect them from mold and mildew, while the cave itself reduces the natural bleaching effect of sunlight.  The paintings are in numerous styles, and were commissioned by various individuals and groups over the years.  They also give us some inkling of how vibrant the city and similar structures must have been, back when the Kuchean kingdom was in its heyday. The people of Kucha are still something of a mystery.  We know that at least some of them spoke an Indo-European language, related to a language found in Agni, and both of these languages are often called Tocharian, which we discussed last episode.  Xuanzang himself noted that they used Indian writing, possibly referring to the Brahmi script, or perhaps the fact that they seem to have used Sanskrit for official purposes, such as the inscription on the cave painting at Kizil giving the name of King Suvarnapuspa.  The Kucheans also were clothed in ornamental garments of silk and embroidery.  They kept their hair cut, wearing a flowing covering over their heads—and we see some of that in the paintings. Xuanzang also notes that though we may think of this area as a desert, it was a place where rice and grains, as well as fruit like grapes, pomegranates, plums, pears, peaches, and almonds were grown.  Even today, modern Xinjiang grows some absolutely fantastic fruit, including grapes, which are often dried into raisins. Another point of interest for Xuanzang may have been that Kucha is known as the hometown of none other than Kumarajiva.  We first mentioned Kumarajiva back in episode 84.  Kumarajiva was one of the first people we know of who translated many of the sutras from India that were then more widely disseminated throughout the Yellow River and Yangzi river basins.  His father was from India and his mother was a Kuchean princess.  In the middle of the 4th century, when he was still quite young, he traveled to India and back with his mother on a Buddhist pilgrimage.  Later he would start a massive translation project in Chang'an.  His translations are credited with revolutionizing Chinese Buddhism. Xuanzang was initially welcomed by the king, his ministers, and the revered monk, Moksagupta.  They were accompanied by several thousand monks who set up tents outside the eastern gate, with portable Buddha images, which they worshipped, and then Xuanzang was taken to monastery after monastery until sunset.  At one of the monasteries, in the southeast of the city, there were several tens of monks who originally came from Gaochang, and since Xuanzang had come from there, they invited him to stay with them. The next day he met and feasted with the King, politely declining any meat, and then went to the monastery in the northwest to meet with the famous monk: Moksagupta.  Moksagupta himself had made the journey to India, and had spent 20 years there himself.  It seems like this would have been the perfect person for Xuanzang to talk to about his plans, but instead, the two butted heads.  Moksagupta seems to have seen Xuanzang's Mahayana faith as heretical.  He saw no reason for Xuanzang to travel all the way to India when he had all the sutras that anyone needed there in Kucha, along with Moksagupta himself.   Xuanzang's response seems to have been the Tang dynasty Buddhist version of “Okay, Boomer”, and then he went ahead and tore apart Moksagupta's understanding of his own sutras—or so Xuanzang relayed to his biographers.  We don't exactly have Moksagupta's side, and, let's face it, Xuanzang and his biographers are not necessarily reliable narrators.  After all, they followed Mahayana teachings, which they considered the “Greater Vehicle”, and they referred to the Theravada teachings as the “Hinayana” or “Lesser Vehicle”.  Meanwhile, Theravada Buddhists likely saw many of the Mahayana texts as extraneous, even heretical, not believing them to actually be the teachings of the Buddha. It must have been winter time, as the passes through the mountains on the road ahead were still closed, and so Xuanzang stayed in Kucha, spending his time sightseeing and meeting with various people.  He even went back to see Moksagupta, but the older monk shunned him, and would get up and exit the room rather than engaging with him, so they had no more conversations. Eventually, Xuanzang continued on his way west, following along the northern rim of the Tarim basin.  Two days out from Kucha, disaster struck.  Some two thousand or so Turkish bandits suddenly appeared—I doubt Xuanzang was counting, so it may have been more or less.  I imagine that memories of what had happened to the merchants near Agni must have gone through Xuanzang's mind.   Fortunately, for him, they were fighting over loot that they had pillaged from various travelers, and since they couldn't share it equally, they fell to fighting each other and eventually dispersed. He travelled for almost 200 miles after that, stopping only for a night at the Kingdom of Baluka, aka Gumo—the modern city of Aksu.  This was another Theravada Buddhist kingdom.  Xuanzang noted tens of Buddhist temples, and over 1000 Buddhist monks.  The country was not large—about 200 miles east to west and 100 miles north to south.  For reference that means it was probably comparable in size with Kyushu, in terms of overall area, or maybe the size of Denmark—excluding Greenland—or maybe the US state of Maryland.  Xuanzang described the country as similar to Kucha in just about every way, including the written language and law, but the spoken language was different, though we don't get many more details. From Baluka, he crossed northward through the Tianshan mountains, which are classified as an extension of the Pamirs known as the Ice Mountains.  Had he continued southwest, he would have hit Kashgar and crossed over between the Pamir and Tian Shan ranges into the Ferghana valley, but instead he turned north. We don't know exactly why he took this perilous option, but the route that may have been popular at the time as it was one of the most direct routes to the seat of the Western Gokturk Empire, which he was currently traveling through. The Tian Shan mountains were a dangerous journey.  Avalanches could block the road—or worse.  Xuanzang describes the permanent ice fields—indeed, it is the ice fields and glaciers of the Tian Shan that melt in the summer and provide the oasis towns of the Tarim Basin with water, even to this day.  In Xuanzang's day, those glaciers were likely even more prevalent than today, especially as they have been recorded as rapidly disappearing since 1961.  And where you weren't on snow and ice, the ground was probably wet and damp from the melt.  To keep warm, you would wear shoes over your shoes, along with heavy fur coats, all designed to reduce exposure. Xuanzang claims that 3 or 4 of every 10 people didn't survive the crossing—and that horses and oxen fared even worse.  Even if these numbers are an exaggeration, the message is clear:  This was a dangerous journey. After about seven days, Xuanzang came out of the mountains to the “Great Pure Lake”, the “Da Qing Hai”, also known as the Hot Sea or the Salt Sea, which likely refers to Issyk Kul.  The salt content, along with the great volume of water it possesses, means that the lake rarely freezes over, which is likely why it is seen as “hot” since it doesn't freeze when the fresh water nearby does.  This lake is the second largest mountain lake in the world, and the second deepest saltwater lake.  Traveling past the lake, he continued to Suyab, near modern Tokmok, in Kyrgyzstan, just west of the modern capital of Bishkek.  This was an old Sogdian settlement, and had since become the capital of the Western Gokturks.  Sogdians—like Xuanzang's guide, Vandak—were integral to the Gokturk kingdom. Their language was the lingua franca of the Silk Road, and at the time of the Gokturk Khaganate, it was also the official court language, and so when Xuanzang appeared at the court of the Great Khagan of the Western Gokturks, it was likely the language of diplomacy. When we think of Turkic people, many in the English speaking world think of Turkiye, and perhaps of the mighty Ottoman empire.  Some may think of Turkmenistan, Kazhakstan, Kyrgyzstan, or Uzbekistan, among others.  And of course, there are the Uyghur people in Xinjiang.  All of these people claim roots in the ancestral Turkic homeland in the Altai mountains, which sit largely in western Mongolia, north of China's Xinjiang region.  Much like the Xiongnu and the Mongols, they were pastoral nomads, moving their herds across the steppes, often covering great distances.  They would regularly move through different regions, perhaps returning each season, though sometimes not returning for years at a time.  They were often seen as barbarians by settled people living in cities, and yet their goods and horses were highly prized. Nomad and sedentary lifestyles would often collide.  Farmers would turn pastureland into fields, and when the nomadic people returned on their circuits, they would find walls and fences where there was once open land, and the people there would claim to “own” the land, a concept often foreign to people who were always on the move.  Nomadic people, such as the Gokturks, were not necessarily keeping vast libraries of records about themselves and their histories, and so much of what we get comes from external sources, which do not always have incredibly reliable narrators.  To many of the settled agriculturalists, groups like the Turks were marauders who raided their villages and farms.  They were a great bogeyman of the steppes, which required the firm hand of strong defenses to keep out—or so their opponents would want people to think. While they were known for their warfare, which incorporated their mobility, but they were keenly interested in trade, as well.  They understood the value of the trade routes and the various cities and states that they included in their empire.  Thus, the Sogdians and the Gokturks seem a natural fit: the Sogdians were more settled, but not entirely so, as demonstrated by their vast trade networks.  And the Sogdians also were part of the greater central Eurasian steppe culture, so the two cultures understood each other, to a degree.  They are even depicted similarly in art, with slight differences, such as long hair that was often associated with Turks over the Sogdians.  In some areas of the Gokturk empire, Sogdians would run the cities, while the Gokturks provided military aid and protection. Xuanzang's description of the people of Suyab, or the “City of Suye River”, doesn't pick out anyone in particular, and he even says that it was a place where traders of the Hu, or foreign, tribes from different countries mingle their abodes.  He mentions the people here as being called Suli, which is also the name given to the language—this may refer to “Sogdian” in general.  They write with an alphabet that is written vertically rather than horizontally—this may refer to a few scripts that were written this way, possibly based off Syriac or Aramaic alphabets that were adapted to Sogdian and other Iranian languages, but it isn't clear. We are told that the people dressed in felt and hemp clothing, with fur and “cotton” garments.  Their clothes fit tightly, and they kept their hair cut short, exposing the top of their heads—though sometimes they shaved it completely, tying a colored silk band around the forehead. He goes on to describe these people as greedy liars, possibly a reference to the mercantile nature of many of the people at the time. Something to note: The Turks of this time had not yet encountered Islam, which was just now starting to rise up in the Middle East.  The Prophet Muhammad is said to have been born around the end of the 6th century CE and was preaching in the early 7th century, though his teachings would begin to spread outward soon enough.  But that means that the Gokturks were not an Islamic empire.  Rather, their own traditions seem to have focused on the worship of Tengri, an Altaic personification of the universe, often simplified as a “sky god”.  Tengrism can be found amongst the Xiongnu, Mongols, and others, and it was the national religion of the Gokturks themselves, but there were many who also adopted other religions that they encountered, including Zoroastrianism, Christianity, Manichaeism, and Buddhism.  In fact, Xuanzang notes that the Turks he met in Suyab would not sleep or sit on beds made of wood because wood was thought to contain the spirit of fire, which he says they worshipped.  That sounds similar to Zoroastrian beliefs, where fire is associated with Ahura Mazda, who is also worshipped as a sky god.  These may have been beliefs inherited from their Eastern Iranian Sogdian partners. In Xuanzang's biography, we are given more details about his visit to Suyab.  Apparently, as he was headed to the city, he met a hunting party, which we are told was the retinue of Yehu Khan.  Hunting was an important part of life on the steppes, and it continued to be a favorite sport of the Gokturk nobility. Yehu Khan—possibly Yagbhu Khan, though that is up for some debate—is described as being dressed in a green silk robe, with his hair exposed, and wearing  a turban of white silk about ten feet long that wrapped his forehead and hung behind his back.  His “hunting” expedition wasn't just a couple of the guys.  It included about 200 officials, all with plaited hair and dressed in brocade robes—they weren't exactly out there roughing it.  He also had his soldiers, dressed in furs, felt, or fine woolen clothes, and there were so many cavalry that they stretched out of sight.  The Khan seemed pleased to meet Xuanzang, but his hunt was expected to last another couple of days, at least, so he sent an attendant named Dharmaja to take Xuanzang back to wait for the Khan to return. Three days later, Xuanzang was given an audience.  The khan was seated in a large yurt.  Xuanzang noted the seeming incongruity between the khan, sitting there in the tent, decorated with golden flowers, with the officials dressed in magnificent brocade garments sitting in two long rows in front of him and the armed guards behind him, compared to the simple felt walls of the tent. A ”yurt” is a common feature of nomadic life on the steppes.  It wasn't exactly a single person operation to haul them around, but they can be taken down and put up with relative ease.  And while yurts could be relatively simple, there are examples of much more elaborate structures.  There is little reason they couldn't be made larger, perhaps with some extra support.  In later centuries, there are examples of giant yurts that seem like real construction projects.  Use of tents, even in a city, where they had permanent palace buildings, was likely a means of retaining the nomadic steppe traditions, even while enjoying the benefits of city life. Whom exactly Xuanzang met with is a matter of debate.  His records seem to indicate that it was Tong Yabghu Qaghan of the Western Gokturk Khaganate, but other sources say that Tong Yabghu Qaghan died in 628, and the earliest Xuanzang could have been meeting with him was 630, two years later, so if that is the case, he must have met with Tong Yabghu's son, Si Yabghu Qaghan.  It is likely that Xuanzang, who was dictating his accounts years after, mentioned the Qaghan and then, when they looked up who it was, they simply made a mistake.  Remember, Xuanzang would have had everything translated through one or two languages.  He did know what he saw, however, and he recounted what he remembered. Tong Yabghu Qaghan oversaw the height of the Gokturk Qaghanate, and appears to have favored the Buddhist religion, though there were many different religions active in their territories at the time.  They oversaw an extremely cosmopolitan empire covering huge swaths of central Eurasia, including the lucrative silk road.  Xuanzang notes that at the court there were individuals from Gaochang and even a messenger from the Han—which is to say the Tang Empire.  One wonders if Xuanzang—or anyone at that time—realized just how tenuous the Khan'sposition was.  After Tong Yabghu's death, the Qaghanate would decline, and less than a decade later it would fall to the Tang dynasty, who took Suyab and made it their western outpost.  In fact, Suyab is thought to have been the birthplace, over a century later, of a young boy who would find a love of poetry.  That boy's name was Li Bai, or Ri Haku, in Japanese. He would become one of the most famous poets in Chinese history, and his poems were even known and studied in Japan.  And it was largely through Japanese study of Li Bai's poems that his works came to the English speaking world: first through Ernest Fenollosa, who had studied in Japan, and then by the celebrated Ezra Pound, who had used Ernest's notes to help with his own translations of the poems. This was, though, as I said, over a century after Xuanzang's journey.  At the time of our story, the Qaghan was throwing a feast, including Xuanzang and all of the foreign envoys.  Xuanzang comments on the food and drink—his hosts provided grape juice in lieu of wine, and cooked a special vegetarian feast just for him, while the other guests ate a feast of meat, such as veal, lamb, fish, and the like.  There was also the music of various regions along the Silk Road, which Xuanzang found to be catchy, but of course not as refined as the music he was used to, of course.  After dinner Xuanzang was asked to expound upon the Darma, largely about the basic principle that you should be kind to one another—I doubt he was getting into the deep mysteries of Buddhist philosophy. Xuanzang stuck around the court for three more days, during which time the Qaghan tried to get him to stay, but Xuanzang insisted that he had to make it to India.  And so the Qaghan relented.  He found men in his army who could translate for Xuanzang along his journey, and had letters of introduction written to at least as far as the state of Kapisa, in modern Afghanistan. And so, armed with the Qaghan's blessing and a fresh translator, Xuanzang struck out again.  They headed westward for over one hundred miles, eventually reaching Bingyul, aka the Thousand Springs.  This is the area where the Qaghan and his court would spend his summers, and the deer in the area were protected under his orders, so that they were not afraid of humans—which sounds similar to the situation with the deer in Nara.  Continuing on another fifty miles or so—the distances are approximate as Xuanzang's primary duty was not exactly to map all of this out—Xuanzang arrived at the city of Taras, in modern Kazakhstan, another place where the cultures of the Silk Road mixed and mingled.  Xuanzang didn't have much to say about Taraz, apparently, though it is one of the oldest cities in Transoxania, founded near the beginning of the Common Era.  A few miles south of there, Xuanzang reportedly found a village of re-settled ethnic Han that had been captured by the Gokturks and settled here.  They had adopted the dress and customs of the Turkic people, but continued to speak a version of Chinese. Southwest of that he reached the City of White Water, likely referring to Aksukent.  This is the same “Aksu” as the city in Xinjiang, both of which mean “White Water” in Turkic, but this one is in the south of Kazakhstan.  Xuanzang found the climate and products an improvement over what he had experienced in Taras.  Beyond that, he next arrived at the city of Gongyu, and then south again to Nujkend, and then traveling westward to the country of Chach, aka Tashkent.  Both Nujkend and Chach were large cities in nations of smaller, mostly autonomous city-states, which made up a lot of the political geography of Transoxania. I would note that Xuanzang's notes here are much more sparse than previously.  This may be because these were outside of the Tarim basin and therefore of less interest to individuals in the Tang empire.  Or perhaps he was just making his way more quickly and not stopping at every kingdom along the way. From Tashkent, he continued southeast to the Ferghana valley—the country of Feihan.  Oddly, this country doesn't appear in Xuanzang's biography, even though the Ferghana Valley seems to have been fairly well known back in the Tang Empire—it was known as the home of some of the best horses, which were one of its first major exports.  In fact, the Han dynasty even mounted a military expedition to travel to Ferghana just to obtain horses.  Xuanzang is oddly silent on this; however, he does talk about the fertile nature of the land.  He mentions that their language here is different from the lands he had been traveling through up to this point, and also points out that the people of the Ferghana valley were also visibly different from others in the area. From the Ferghana valley, Xuanzang headed west for about 300 miles or more to the land of Sutrushana—perhaps referring to the area of Ushrusana, with its capital of Bunjikat.  This country was also largely Sogdian, and described as similar to Tashkent.  From there, he traveled west through a great desert, passing skeletons, which were the only marker of the trail other than a view of the far off mountains.  Finally, they reached Samarkand, known as the country of “Kang” in Chinese, which was also the term used to mark Sogdians who claimed descent from the people of Samarkand. Samarkand is another of the ancient cities of Central Asia, and even today is the third largest city in modern Uzbekistan.  Human activity in the region goes back to the paleolithic era, and the city was probably founded between the 8th and 7th centuries BCE.  Samarkand was conquered by Alexander the Great, and during the Achaemenid Empire it was the capital of Sogdiana.  During Xuanzang's visit, Samarkand was described as an impenetrable fortress with a large population. For all of his travel, Samarkand was the first place Xuanzang notes as specifically not a Buddhist land.  In fact, there were two monasteries, suggesting that there had been Buddhists, but if any monks tried to stay there then the locals would chase them out with fire.  Instead, they worshipped fire—likely meaning Ahura Mazda and Zoroastrianism.  This leads to a story that I have to wonder about, given the reliability of our narrators. It is said that Xuanzang was met by the King with arrogance, but after staying the night Xuanzang was able to tell the King about Buddhism and its merits.  The king was intrigued, and asked to observe the Precepts, and treated Xuanzang with hospitality and respect.  So when two of Xuanzang's attendants went to the monasteries to worship, they were chased out with fire.  When the king heard about this, he had the people arrested and ordered their hands to be cut off.  Xuanzang could not bear to witness such suffering, however, and he intervened to have them spared.  So instead the king had them flogged and banished from the city.  Ever since then, all the people believed in Buddhism. Some parts of this strike true.  It was likely that the king would entertain this strange wanderer who had arrived with letters from the great Qaghan—that may have even explained why Xuanzang had been encouraged to make the dangerous journey to Suyab in the first place, so that he could obtain such permission.  And it would not be strange for the king to listen to his teachings.  If Xuanzang's attendants were attacked, that would have been a huge breach of hospitality, and however the King felt about it, he no doubt had to do something about it.  And so all of that sounds somewhat believable.  Does that mean everyone suddenly converted to Buddhism?  I don't know that I'm quite willing to go that far.  It is also likely that there were Buddhists there already, even if the majority religion was Zoroastrianism. From Samarkand, Xuanzang traveled farther southwest, to the country of Kasanna, which seems to have been the edge of what we might call Sogdiana.   According to his biographers, however, there was a little more to all of this.  Rather, he headed west to Kusanika.  Then he traveled to  Khargan, and further on to the country of Bukhara, and then to Vadi.  All of these were “An” in Chinese, which was the name element used for Sogdians from this region.  He then continued west to the country of Horismika, on the other side of the Amu Darya, aka the Oxus River of Transoxanian fame. From there he traveled further southwest, entering into the mountains.  The path here was often such that they had to travel single-file, and there was no food or water other than what you brought with you.  Eventually they came to a set of doors, known as the Iron Gate.  This was a Turkic fortress.  It was no doubt fortuitous that he had come from his meeting with the Qaghan, and likely had permission to pass through.  From there, they entered the country of Tukhara. As we noted in Episode 119, Tukhara was in the region of Bactria.  It was bordered by the Pamir range in the east, and the Persian empire in the west.  There were also the Great Snow Mountains in the south, likely referencing the Hindu Kush. Tukhara had been conquered by the Gokturks just within the past couple of decades, and Xuanzang notes that the country had been split into largely autonomous city-states as the local royalty had died without an heir many years before.  With the Gokturk conquest, it was now administered by Tardu Shad, the son of Tong Yabghu Qaghan.  “Shad” in this case was a local title. Here, Xuanzang's narrative gets a little dicey, especially between his biography and his records.  The records of the Western Regions denotes various countries in this area.  It is unclear if he traveled to all of them or is just recounting them from records he obtained.  He does give us at least an overview of the people and the region.  I would also note that this is one of the regions he visited, again, on his return trip, and so may have been more familiar with the region than those areas he had passed through from Suyab on down. For one thing, he notes that the language of the region was different from that of the “Suli”, which appears to refer to the Sogdians.  This was the old territory of the Kushan empire, and they largely spoke Bactrian.  Like Sogdian, it was another Eastern Iranian language, and they used an alphabet based largely on Greek, and written horizontally rather than vertically.  They also had their own coins. This region had plenty of Buddhist communities, and Xuanzang describes the cities and how many monasteries they had, though, again, it isn't clear if he actually visited all of them or not.  These are countries that Li Rongji translates as “Tirmidh”, “Sahaaniyan”, “Kharuun”, “Shuumaan”, etc. It does seem that Xuanzang made it to the capital city, the modern city Kunduz, Afghanistan. Xuanzang actually had something specific for the local Gokturk ruler, Tardu Shad.  Tardu Shad's wife was the younger sister of King Qu Wentai of Gaochang, whom we met last episode.  Qu Wentai had provided Xuanzang a letter for his younger sister and her husband.  Unfortunately, Xuanzang arrived to learn that the princess of Gaochang had passed away, and Tardu Shad's health was failing.  It does seem that Tardu Shad was aware of Xuanzang, however—a letter had already come from Qu Wentai to let them know that Xuanzang was on his way.  As I mentioned last episode, letters were an important part of how communities stayed tied together.  Of course, given the perils of the road, one assumes that multiple letters likely had to be sent just in case they didn't make it.  The US Postal Service this was not. Tardu Shad, though not feeling well, granted an interview with Xuanzang.  He suggested that Xuanzang should stick around.  Then, once the Shad had recovered from his illness, he would accompany Xuanzang personally on his trip to India.  Unfortunately, that was not to be.  While Xuanzang was staying there, he was witness to deadly drama.  Tardu Shad was recovering, which was attributed to the recitations by an Indian monk who was also there.  This outcome was not exactly what some in the court had wanted.  One of the Shad's own sons, known as the Tagin prince, plotted with the Shad's current wife, the young Khatun, and she poisoned her husband.  With the Shad dead, the throne might have gone to the son of the Gaochang princess, but he was still too young.  As such, the Tagin Prince was able to usurp the throne himself, and he married his stepmother, the young Khatun.  The funeral services for the late Tardu Shad meant that Xuanzang was obliged to stay at Ghor for over a month. During that time, Xuanzang had a seemingly pleasant interaction with an Indian monk.  And when he finally got ready to go, he asked the new Shad for a guide and horses.  He agreed, but also made the suggestion that Xuanzang should then head to Balkh.  This may have meant a bit of backtracking, but the Shad suggested that it would be worth it, as Balkh had a flourishing Buddhist community. Fortunately, there was a group of Buddhist monks from Balkh who happened to be in Kunduz to express their condolences at the passing of Tardu Shad, and they agreed to accompany Xuanzang back to their hometown, lest he end up getting lost and taking the long way there. The city of Balkh is also known as “Baktra”, as in “Bactria”, another name of this region.  A settlement has been there since at least 500 BCE , and it was already an important city when it was captured by Alexander the Great.  It sits at the confluence of several major trade routes, which no doubt were a big part of its success.  Xuanzang's biography notes that it was a massive city, though it was relatively sparsely populated—probably due to the relatively recent conquest by the Gokturks, which had occurred in the last couple of decades.  That said, there were still thousands of monks residing at a hundred monasteries in and around the city.  They are all characterized as monks of Theravada schools.  Southwest of the city was a monastery known as Navasamgharama, aka Nava Vihara, or “New Monastery”.  Despite its name, the monastery may have actually been much older, going back to the Kushan emperor Kaniska, in the 2nd century CE.  Ruins identified as this “New Monastery” are still visible south of Balkh, today. The monastery is described as being beautifully decorated, and it seems that it had a relic—one of the Buddha's teeth.  There are also various utensils that the Buddha is said to have used, as well.  The objects would be displayed on festival days.  North of the monastery there was a stupa more than 200 feet in height.  South of the monastery was a hermitage.  Each monk who studied there and passed away would have a stupa erected for them, as well.  Xuanzang notes that there were at around 700 memorial stupas, such that they had to be crammed together, base to base. It was here that Xuanzang met a young monk named Prajnaakara, who was already somewhat famous in India, and well-studied.  When questioned about certain aspects of Buddhism, Xuanzang was impressed by the monk's answers, and so stayed there a month studying with the young monk. Eventually, Xuanzang was ready to continue on his journey.  He departed Balkh towards the south, accompanying the teacher Prajnakara, and together they entered the Great Snow Mountains, aka the Hindu Kush.  This path was even more dangerous than the trip through the Tian Shan mountains to Suyab.   They eventually left the territory of Tukhara and arrived at Bamiyan.  Bamiyan was a kingdom in the Hindu Kush, themselves an extension of the Himalayan Mountain range.  It Is largely based around valley, home to the modern city of Bamyan, Afghanistan, which sits along the divide between Central Asia and the Indian subcontinent.  Today it is a major center for individuals of the Hazara ethnic group, one of the main ethnic groups in Afghanistan, which is a multi-ethnic state that includes, today, the Pashtun, Hazara, Tajik, and Uzbek people, along with a number of smaller ethnic groups.  Today they largely reside in the mountainous areas of the Hindu Kush. Bamiyan made an impact on our protagonist.   Their language was slightly different from that in Tukhara, but using the same—or similar enough—writing system.  Buddhism was thriving in the capital, and we are told of a rock statue of the standing Buddha, over a hundred feet in height, along with a copper statue of the standing Buddha nearby.    There was also another reclining Buddha a mile or two down the road.  There were multiple monasteries with thousands of monks, and the ruler of that kingdom received Xuanzang well. Xuanzang wasn't the first monk to travel to Bamiyan from the Middle Kingdom—in this he was, perhaps unwittingly, on the trail of the monk Faxian.  Faxian likely did not see these statues, though, as we believe they were built in the 6th and early 7th century—at least the stone Buddha statues.  They were a famous worship site until February 2001, when the Taliban gave an order to destroy all of the statues in Afghanistan.  Despite this, they were inscribed as UNESCO World Heritage Site in 2003. Fortunately, we have images from before their destruction.  These statues were a blend of Greco-Buddhist and Gandharan art styles—appropriate as it stands between the Hellenistic area of Tukhara and the ancient region of Gandhara—including the modern city of Kandahar and into the Indus Valley region of Pakistan. Continuing east through the mountains, Xuanzang eventually came out at the kingdom of Kapisa.  This may have had its capital around modern-day Bagram, north of modern Kabul, but the country seems to have been quite large.  Kapisa over saw some tens of other countries, and it is thought that at one time its influence extended from Bamyan and Kandahar to the area of modern Jalalabad.  Their language was even more different than that of Tukhara, but they were still using the same writing system.  The king of Kapisa is said to have been of Suli ethnicity—which would seem to indicate that he was Sogdian, or at least descended from people of the Transoxanian region.    Xuanzang notes that the ruler, as rough and fiery as he is described—as a true warlord or similar—he nonetheless made a silver image of the Buddha, eighteen feet in height, every year.  He also gave charity to the poor and needy in an assembly that was called every five years.  There were over one hundred monasteries and some 6000 monks, per Xuanzang's recollection, and notably, they were largely following Mahayana teachings. For the most part the monks that Xuanzang had encountered on this journey were Theravada—Xuanzang refers to them as “Hinayana”, referring to the “Lesser Vehicle” in contrast to Xuanzang's own “Mahayana”, or “Greater Vehicle”.  “Theravada” refers to the “way of the elders” and while Mahayana Buddhism largely accepts the sutras of Theravada Buddhism, there are many Mahayana texts that Theravada Buddhists do not believe are canonical.  We discussed this back in Episode 84. There was apparently a story of another individual from the Yellow River being sent as a hostage to Kapisa when it was part of the Kushan Empire, under Kanishka or similar.  Xuanzang recounts various places that the hostage, described as a prince, lived or visited while in the region.  Xuanzang's arrival likely stirred the imagination of people who likely knew that the Tang were out there, but it was such a seemingly impossible distance for most people.  And yet here was someone who had traveled across all of that distance.  One of the monasteries that claimed to have been founded because of that ancient Han prince invited Xuanzang to stay with them.  Although it was a Theravada monastery, Xuanzang took them up on the offer, both because of the connection to someone who may have been his countryman, but also because of his traveling companion, Prajnakara, who was also a Theravada monk, and may not be comfortable staying at a Mahayana monastery. Xuanzang spends a good deal of ink on the stories of how various monasteries and other sites were founded in Kapisa and the surrounding areas.  He must have spent some time there to accumulate all of this information.  It is also one of the places where he seems to have hit at least twice—once on the way to India, and once during his return journey. The King of Kapisa is said to have been a devotee of Mahayana Buddhism.  He invited Xuanzang and Prajnakara to come to a Mahayana monastery to hold a Dharma gathering.  There they met with several leading figures in the monastery, and they discussed different theories.  This gathering lasted five days, and at the end, the king offered Xuanzang and the other monks five bolts of pure brocade and various other gifts.  Soon thereafter, the monk Prajnakara was invited back to Tukhara, and so he and Xuanzang parted ways. And it was about time for Xuanzang to continue onwards as well.  From Kapisa, he would travel across the “Black Range” and into Lampaka.  This may refer to the area of Laghman or Jalalabad.  Today, this is in modern Afghanistan, but for Xuanzang, this would have been the northwestern edge of India.  He was almost there. And so are we, but we'll save his trip into India for next episode. Until then thank you for listening and for all of your support. If you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

Beau Shipley and Keeby Styles barely survive the WWI battle of the Meuse-Argonne. Beau returns to Charleston in a fatalistic attempt to stop his former girlfriend's wedding to a rival, while Keeby remains in Paris to become a writer.Beau discovers that time, the war, the Spanish Flu, and a dark family secret have left the Charleston he remembered unrecognizable, so he returns to Paris to live as a painter.On separate but intertwining paths, Beau and Keeby are swept up in what Gertrude Stein called the Lost Generation, two aspirants mired in the panoramic parade of ambitious expats seeking fame and fortune in the world of arts and letters.Then, drunken and desperate, Beau one night makes a fateful choice that will change both their lives—forever.22 Rue Montparnasse is a tale about high aspirations and bad decisions, with cameo appearances by the likes of Gertrude Stein, Alice B. Toklas, Tsugahiro Foujita, Ernest Hemingway, Georges Brach, Amedeo Modigliani, Misia Sert, Coco Chanel, and Ezra Pound.Support this show http://supporter.acast.com/houseofmysteryradio. Become a member at https://plus.acast.com/s/houseofmysteryradio. Hosted on Acast. See acast.com/privacy for more information.

It's an episode to savour, as Toby and TJ look back on the always entertaining Book 3 of the Wake, and all the fun we had along the way. With great guests, amazing community, purist support, and laughs aplenty, Book 3 has been all the fun you'd expect from the segment of the Wake set just before the dawn. With discussions that include global simulacra, along with legendary Wakeists like Bernard Benstock, Simon Loekle, Ben Watson, and Richard Harte, we throw the doors wide to encourage you to access the inaccessible here on Wake, where the Tap-Out button is no longer welcome. This week's chatters: Toby Malone, TJ Young Progress: 590 pages complete, 38 pages to go; 93.95% read. Contextual Notes Trent Dalton Brandon Nicklaus's blog From Swerve of Shore to Bend of Bay r/jamesjoyce r/wakepod WAKE on YouTube WAKE Part 1 Supercut WAKE Part 2 Supercut Benstock, Bernard. Joyce Again's Wake. Collard, David. Multiple Joyce. London: Sagging Meniscus P, 2022. The legacy of Simon Loekle The Wake in pictures, Peter Quadrino FW as simulacrum Katarzyna Bazarnik JOYCE, LIBERATURE AND WRITING OF THE BOOK Collected Epiphanies of James Joyce: A Critical Edition John Gordon filling the gaps Documents from Furina:  i. Christmas Eve, written in Trieste in 1904 as attested to his brother Stanislaus; a short story (finished but fair copy incomplete) intended for Dubliners but withdrawn due to unknown reasons; a fragment was later reincorporated into Clay. ii. The Cat of Beaugency, dit The Cat and the Devil, written on 10 August 1936 in Villers-sur-Mer in a letter to his grandson, the late Stephen James Joyce; epistolary, infantile fable. iii. The Cats of Copenhagen, written on 5 September 1936 in Copenhagen's Turist Hotel in a postcard to his grandson (one may perhaps consider it a sort-of 'sequel' to the previous entry), the late Stephen James Joyce; epistolary, infantile fable. iv. The incipit of the holograph manuscript of The Dead, from the collections of Yale University. v. The original version of the short story The Sisters, as published (under the pseudonym Stephen Dædalus) in the "Our Weekly Story" section of The Irish Homestead on 13 August 1904; as commissioned by George William "Æ" Russell, who later appeared in Ulysses. vi. An extract from a letter (dated 14 August 1925) to Harriet Shaw Weaver: a poem called The Waste Land; a parody of T. S. Eliot's chef d'œuvre of the same name. vii. An extract from a similar, earlier letter (dated 13 June 1925) to the same recipient: a poem called Canto; a parody of Ezra Pound's modernist epic - it is not a parody of any particular canto but a general jab at the style. viii. The history and evolution of the poem "Tilly", the first and 'bonus' poem of Pomes Penyeach; written in Dublin in 1904. ix. A remastered and enhanced version of Joyce declaiming John F. Taylor's oration from the seventh episode, 'Aeolus', of Ulysses. x. A recording of Joyce's only other musical composition (aside from The Ballad of Persse O'Reilly) - Bid Adieu - setting the eleventh entry from his début collection of poetry, Chamber Music. The singer is tenor Kevin McDermott and the pianist is Ralph Richey. xi. The full text - part I and part II - of Finn's Hotel; eleven 'epicleti' which were sketches of the Work in Progress, written in Paris and Bognor Regis in 1923. .pdf available here. xii. C. K. Ogden's 1932 translation of the last four pages of the Anna Livia Plurabelle closing chapter of Book I, as supervised by the artist, intoBasic English, along with the translator's preface. Ben Watson and Frank Zappa Ben Watson: Finnegans Wake vs. Theory Here Comes Everybody's Karma For early drops, community and show notes, join us at our free Patreon, at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/wakepod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or check out our Linktree, at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/wake.pod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. We welcome comments from everyone: even, nay, especially, the dreaded purists. Come and "um actually" us!

“If the public can predict you, it starts to like you. But the Marchesa didn't want to be liked.” For the first three decades of the twentieth century, the Marchesa Luisa Casati astounded Europe. Artists such as Man Ray painted, sculpted, and photographed her; writers such as Ezra Pound and Jack Kerouac praised her strange beauty. An Italian woman of means who questioned the traditional gender codes of her time, she dismissed fixed identities as mere constructions. Gathering on the occasion of the 25th anniversary of the first publication of Infinite Variety: The Life and Legend of the Marchesa Casati (the first full-length biography of Luisa Casati, now offered in an updated, ultimate edition), Michael Orlando Yaccarino joins Valerie Steele, Joan Rosasco, and Francesca Granata in conversation about the enigma that is the Marchesa Casati.Michael Orlando Yaccarino is a writer specializing in international genre film, fashion, music, and unconventional historic figures. Scot D. Ryersson (1960–2024) was an award-winning writer, illustrator, and graphic designer. Michael and Scot collaborated on many projects, are coauthors of Infinite Variety: The Life and Legend of the Marchesa Casati, The Ultimate Edition, and are founders of the Casati Archives. www.marchesacasati.comValerie Steele is a fashion historian and director and chief curator of the Museum at the Fashion Institute of Technology. Steele is the author or editor of twenty-five books, including Paris Fashion, Fetish, and Fashion Designers A-Z.Joan Rosasco taught at Smith College, Columbia University, and New York University, with focus on European art and culture, French literature, and the Belle Époque period. She is author of numerous publications including The Septet.Francesca Granata is associate professor of fashion studies at Parsons School of Design. Her research focuses on modern and contemporary visual culture, fashion history and theory, and gender and performance studies. Granata is editor of Fashion Criticism and author of Experimental Fashion, and wrote the afterword to Infinite Variety.Praise for the book:"Ryersson and Yaccarino are judicious historians of frivolity who capture the tone of a life that was obscenely profligate yet strangely pure."—The New Yorker"A meticulously researched biography, Infinite Variety is as much art history as chronicle of personal obsession."—The New York Times"Fascinating . . . with or without her cheetahs, the Marchesa Casati's circus of the self makes her a natural for the new millennium."—Vanity FairInfinite Variety: The Life and Legend of Marchesa Casati, The Ultimate Edition is available from University of Minnesota Press.

Letos mineva sto štirideset let od rojstva ameriškega pesnika Ezre Pounda (1885–1972), ki je ne le spremenil poezijo 20. stoletja, temveč tudi precej vplival na mnoge pesnike in pesnice po drugi svetovni vojni po vsem svetu. Njegovo glavno delo, mogočna pesnitev, izvirno naslovljena The Cantos, še danes buri akademske duhove. Pound se je tej pesnitvi posvečal več desetletji, integralna verzija, objavljena leta 1970, pa vsebuje 117 spevov. Pound je to pesnitev skozi leta objavljal po delih, kot delo v nastajanju. Tako je leta 1948 v samostojni knjigi izdal enajst spevov s skupnim naslovom Pizanski Cantos. Knjigo zdaj lahko beremo tudi v prevodu Miklavža Komelja. Obsežna izdaja s številnimi opombami in obsežno spremno besedo je lansko leto izšla pri Slovenski matici. Ob Poundovem jubileju in izidu te knjige s prevajalcem predstavljamo tega kontroverznega modernista in njegovo ustvarjanje. Foto: Wikipedija

Founded in Chicago in 1914, the avant-garde journal the Little Review became a giant in the cause of modernism, publishing literature and art by luminaries such as T.S. Eliot, Djuna Barnes, William Butler Yeats, James Joyce, Ezra Pound, Pablo Picasso, Max Ernst, Gertrude Stein, Jean Toomer, William Carlos Williams, H.D., Amy Lowell, Marcel Duchamp, Joseph Stella, Hans Arp, Mina Loy, Emma Goldman, Wyndham Lewis, Hart Crane, Sherwood Anderson, and more. Perhaps most famously, the magazine published Joyce's Ulysses in serial form, causing a scandal and leading to a censorship trial that changed the course of literature. In this episode, Jacke talks to scholar Holly A. Baggett about her book Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review, which tells the story of the two Midwestern women behind the Little Review, who were themselves iconoclastic rebels, living openly as lesbians and advocating for causes like anarchy, feminism, free love, and of course, groundbreaking literature and art. PLUS Phil Jones (Reading Samuel Johnson: Reception and Representation, 1750-1970) stops by to discuss his choice for the last book he will ever read. Additional listening: 600 Doctor Johnson! (with Phil Jones) 564 H.D. (with Lara Vetter) 165 Ezra Pound The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com. 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

Uma aventura épica entre a tradução literária, a "transcriação", a música e a performance. O diretor de teatro Octavio Camargo há 20 anos revisita numa imersão total o texto clássico de Homero, a "Ilíada", ao lado da Cia Iliadahomero, baseada em Curitiba. Em Paris, ele conduziu ao lado de artistas brasileiros uma oficina no Centro Cultural Centquatre (104), em um projeto que explorou o teatro e a tradição experimental, usando técnicas de "transcriação" com ajuda da Inteligência Artificial (IA). O conceito de "transcriação", desenvolvido pelo poeta concretista brasileiro Haroldo de Campos, é uma abordagem inovadora no campo da tradução literária, particularmente em relação à poesia. Inspirado por ideias de Ezra Pound e pelo concretismo brasileiro, Haroldo de Campos propôs uma prática tradutória que vai além da simples transferência de conteúdo entre línguas, enfatizando a recriação do texto original em um novo contexto linguístico e cultural. A transcriação não é apenas uma tradução literal ou fiel ao texto original, mas sim uma recriação que mantém o espírito, a força estética e a função poética do original. Campos considera o tradutor Odorico Mendes, que realizou a primeira tradução da "Ilíada" de Homero para o português ainda no século 19, o "pai da transcriação" no Brasil. A "transcriação" é uma "tecnologia de tradução", onde a função poética se torna mais importante em algum lugar do que a mera transcrição literal de uma frase."Estamos aqui a convite de Cláudia Washington, que trabalha no 104, para conduzir um ateliê de tradução experimental inspirado no trabalho de Odorico Mendes", explica Octavio Camargo. Mendes foi o tradutor pioneiro de Homero para a língua portuguesa, com versões completas da "Ilíada" e da "Odisseia". "Odorico realizou grande parte desse trabalho em Paris, onde viveu por 14 anos, entre 1850 e sua morte em 1864. Suas traduções, marcadas por um estilo único e inovador, chegaram às mãos de Dom Pedro II e foram publicadas postumamente, cerca de dez anos depois", conta.Estranhamento"A tradução do Odorico guarda um estranhamento na língua portuguesa que a gente gostaria de preservar. Então, o uso das ferramentas digitais não é apenas transferir a responsabilidade da tradução para a inteligência artificial, não é utilizar a inteligência artificial como uma ferramenta auxiliar, mas preserva todo o sentido do workshop e do encontro, que passa pela pessoa que fala francês, pelo crivo artístico e também pelo histórico existencial do performer", detalha Camargo.A oficina explora a interseção entre a tradução literária e as novas tecnologias. "Nosso objetivo é investigar como ferramentas digitais, como tradutores automáticos, podem ser usadas para traduzir um poeta tão complexo quanto Odorico Mendes. A ideia não é simplesmente transferir a responsabilidade da tradução para a inteligência artificial, mas utilizá-la como um recurso auxiliar, preservando as particularidades do texto original, como suas inversões sintáticas e construções anacolúticas", afirma o diretor."Tradução da tradução"Camargo destaca que o foco da oficina não é produzir uma tradução literal, mas sim criar uma "tradução da tradução" para o francês, buscando manter o estranhamento característico do texto de Odorico. "O trabalho é pensado como um script para performances na língua francesa, conectando a poética de Odorico ao contexto contemporâneo e ao público local", explica."O Odorico faz uma tradução anacolútica de Homero. O anacoluto é uma figura de linguagem onde você inverte a ordem sintática da frase. Normalmente, a frase escrita em prosa tem sujeito, verbo e complemento, nessa ordem. O anacoluto inverte, e às vezes coloca o complemento antes do sujeito, e às vezes antes do verbo. Às vezes chega a omitir o verbo, como é na vida real", explica Octavio Camargo, que além de diretor de teatro é professor de composição no curso de Composição e Regência da UNESPAR - Escola de Música e Belas Artes do Paraná, possui mestrado em estudos literários pela UFPR e é doutorando em filosofia na Universidade Federal do Paraná em parceria com a EHESS, a Escola de Altos Estudos em Ciências Sociais de Paris.Erra quem acredita que a prosa transcreve a oralidade. A prosa "domestica" a fala, coloca-a dentro de um formato destinado à leitura silenciosa, apenas para o leitor, enquanto a lingua oral é cheia de quebras de convenções da gramática.A proposta também inclui uma abordagem cênica, em diálogo com o trabalho da companhia fundada por Octavio no Brasil, que realizou, em 2016, uma performance integral da "Ilíada" na tradução de Odorico. "Foram 24 horas de espetáculo, fruto de 20 anos de pesquisa. Agora, em Paris, estamos lidando com o canto um da 'Odisseia', que aborda a saga de Telêmaco em busca do pai, Ulisses", detalha.A narrativa, escrita provavelmente no século VIII a.C., continua a ressoar nos dias atuais. "Os épicos de Homero foram, na Grécia antiga, uma espécie de política pública de educação, transmitindo valores éticos e culturais. Hoje, eles nos convidam a refletir sobre dois modelos de existência: o de quem permanece e luta pelos seus, como na 'Ilíada', e o de quem parte, sem o peso da saudade, como na 'Odisseia'. Esses dilemas ainda dialogam com nosso tempo", analisa Octavio.Cláudia Washington, artista visual, performer e colaboradora do Centquatre (104), falou sobre a concepção e a realização da oficina de tradução experimental liderada por Octavio Camargo e sua equipe em Paris. "Conheço o trabalho do Octavio e da companhia há muito tempo, e sempre admirei a profundidade e a inovação que eles trazem. Quando surgiu a oportunidade de conectar esse projeto ao Centquatre, um espaço colaborativo de arte contemporânea, achei que seria o ambiente perfeito para acolher a oficina", explicou Cláudia. "O 104 é um lugar marcado pela diversidade de pessoas e pela abertura à experimentação, o que casou perfeitamente com a proposta de explorar a tradução de Odorico Mendes para o francês."Receptividade do público francêsO convite e a parceria com o Centquatre resultaram em três dias de intensas atividades, com a possibilidade de novos desdobramentos no futuro. "A recepção do público francês foi muito positiva. A oficina atraiu um público jovem, mas também experiente, formado por pessoas interessadas em literatura, música e na cultura brasileira. Essa conexão com o Brasil, especialmente por meio de uma tradução que parte de um texto brasileiro para o francês, despertou grande curiosidade", destacou Cláudia.Além disso, a música, um elemento essencial na identidade cultural do Brasil, foi um dos pontos de destaque. "A música brasileira é amada e amplamente reconhecida na França, o que contribuiu para criar um vínculo ainda mais forte entre o público e a proposta do ateliê", concluiu."Escrita viva"Fernando Alves Pinto, ator e integrante da oficina de tradução experimental, reflete sobre a interação entre cena e texto, destacando como essa relação transforma a experiência teatral. "O texto ganha vida na cena. Quando você lê um texto de forma mecânica, como um computador, ele perde significado. Mas o que Odorico Mendes escreveu tem uma pulsação, quase como um fluxo de pensamento não lógico, não aristotélico. É uma escrita viva, que já traz em si a teatralidade", explica.Para ele, o processo de tradução para o francês é uma oportunidade de revisitar e revitalizar a obra. "Ao transpor o texto para outra língua, somos obrigados a reexaminar tudo. Às vezes penso: será que vamos conseguir fazer algo tão bom quanto Odorico? Claro que não, mas é uma delícia tentar. Esse trabalho de renascer o texto na cena, com nossa interpretação e energia, traz uma vitalidade única", conclui.A oficina no Centquatre contou com a participação de artistas de diferentes áreas, como Chiris Gomes (atriz de teatro, performance e canto), Cláudia Washington (artes visuais e performance), Fernando Alves Pinto (ator de teatro e cinema), a violoncelista Kimdee, e Véronique Bourgoin (performer e fotógrafa). "É um trabalho multidisciplinar que busca atualizar Homero e abrir espaço para novas formas de olhar para o épico", concluiu o diretor Octavio Camargo.Depois de Paris, o diretor brasileiro Octavio Camargo segue viagem para Berlim, onde realiza uma exposição de trabalhos da Oficina de Autonomia, ao lado do artista Brandon LaBelle, com obras de áudio e vídeo que apontam para formas de navegar por regimes dominantes de inteligibilidade, gravadas no Brasil Espanha e Alemanha.

Of all the great American Modernists, the poetry of Marianne Moore is perhaps the most idiosyncratic, even the most radical, of them all—no small feat in a group of friends and admirers that included Ezra Pound, T. S. Eliot, Wallace Stevens, William Carlos Williams, e. e. cummings, and HD. Moore's preferred form was a syllabic stanza bespoke to each poetic occasion, like the unique shell of each individual snail or paper nautilus, and often containing rhyme. In these stanzas, Moore hid behind her virtuosic performance of deflection and difficulty and, of course, revealed herself in it, much as one of her pet-subjects, the exotic animal-portrait, contained a self-portrait at its heart. In her poem on the jerboa, Moore contrasts the desert mouse's decorousness with the decadence of empire, and in so doing, distinguishes her ideal of true artistry—a vigorous, humble, and ultimately liberated response to one's natural and formal limitations—with a false art which oppresses the natural in service of the powerful. Wes & Erin discuss Marianne Moore's poem, “The Jerboa,” first published in 1932, and whether power and wealth might paradoxically prove less abundant than the strictures of form and necessity.

Cassandra de Alba has published several chapbooks including habitats by Horse Less Press in 2016, Ugly/Sad by Glass Poetry Press in 2020, and Cryptids, which was co-authored with Aly Pierce and published by Ginger Bug Press in 2020. Her work has appeared in The Shallow Ends, Big Lucks, Wax Nine, The Baffler, Verse Daily, and others. Amy Lowell was born in 1874 in Brookline, Massachusetts. She was educated in private schools in Boston and at her home. Lowell's first significant poetry publication came in 1910 when her poem “Fixed Idea” was published in the Atlantic Monthly. Two years later, her book A Dome of Many-Coloured Glass was published by Houghton Mifflin. She went on to write several other books of poetry, and she was a key figure in the Imagist movement led by Ezra Pound. She wrote a major biography of the poet John Keats, which was published in 1925, the same year in which she died. Lowell's book What's O'Clock won the Pulitzer Prize for poetry in 1926. Links:Cassandra de AlbaCassandra de Alba's websiteThree poems in Dear Poetry Journal"Self-Portrait with Rabbit Ears and Seventeen" at Verse Daily"Miniatures" in Ghost City"End Times Fatigue" at SweetAmy LowellBio and poems at Poetry FoundationBio and poems at Poetry.org

Cassandra de Alba has published several chapbooks including habitats by Horse Less Press in 2016, Ugly/Sad by Glass Poetry Press in 2020, and Cryptids, which was co-authored with Aly Pierce and published by Ginger Bug Press in 2020. Her work has appeared in The Shallow Ends, Big Lucks, Wax Nine, The Baffler, Verse Daily, and others. Amy Lowell was born in 1874 in Brookline, Massachusetts. She was educated in private schools in Boston and at her home. Lowell's first significant poetry publication came in 1910 when her poem “Fixed Idea” was published in the Atlantic Monthly. Two years later, her book A Dome of Many-Coloured Glass was published by Houghton Mifflin. She went on to write several other books of poetry, and she was a key figure in the Imagist movement led by Ezra Pound. She wrote a major biography of the poet John Keats, which was published in 1925, the same year in which she died. Lowell's book What's O'Clock won the Pulitzer Prize for poetry in 1926. Links:Cassandra de AlbaCassandra de Alba's websiteThree poems in Dear Poetry Journal"Self-Portrait with Rabbit Ears and Seventeen" at Verse Daily"Miniatures" in Ghost City"End Times Fatigue" at SweetAmy LowellBio and poems at Poetry FoundationBio and poems at Poetry.org

For our first episode of the New Year, John and Ben are discussing Ryan Ruby's poem about the history of poetry: "Context Collapse". Topics of discussion include jongleurs, Ezra Pound, and romanticism. As always, we hope you enjoy the conversation!

In this extended version of Nothing But The Poem Kevin Williamson interviews Donny O'Rourke, editor of Dream State - The New Scottish Poets which was published in 1994 and remains the gold standard of poetry anthologies, and, arguably, the most visionary poetry anthology ever published in Scotland. Dream State's contributors were all aged under 40 at the time and were assembled by fellow poet and broadcaster Donny O'Rourke. Only 6 of these poets - John Burnside, Carol Ann Duffy, Kathleen Jamie, Jackie Kay, W N Herbert and Robert Crawford had appeared in The New Poetry - Bloodaxe's high profile generational anthology - the year before. Donny O'Rourke had his finely tuned ear to the ground, and, as well as the 6 poets listed above, he brought together another 19 Scottish poets under the age of 40, all overlooked by the Bloodaxe anthology. These included Don Paterson, David Kinloch, Meg Bateman, Richard Price, Graham Fulton, Robert Alan Jamieson, Maud Sulter, Alan Riach, and a 28 yer old - and as yet bookless poet - Roddy Lumsden. Donny O'Rourke was no ordinary editor. He was a visionary with an agenda who not only hoped to achieve a "gathering of forces' but wanted an anthology with zero fillers and, crucially, for the anthology to be a vital energetic snapshot of all aspects of Scottish life at a time the country had entered a tumultuous phase in its history. Dream State's ambition was huge: poetry as "news that stays news" as Ezra Pound once wrote. Popular culture, street smart wit, political tensions, scientific discoveries and radical re-imaginings infuse every page. O'Rourke was no narrow nationalist, as is stated in the introduction, but drew upon Edwin Morgan as the anthology's outward looking internationalist and hyper curious guiding spirit. Dream State was egalitarian in its sense of purpose from the outset. From Alasdair Gray came the inclusive definition of Scots as anyone who lived in Scotland, or who was from Scotland and left. Dream State was relatively balanced gender-wise too (for the 1990s). 15 male poets and 10 female poets. The New Poetry, despite its vitality and excellence, on the other hand had just 17 women poets out of its 55 contributors. We also hear the words of many working class poets in Dream State, perhaps abandoned by much of the politics of the time, making their voices heard. In this podcast Donny O'Rourke sits down in the Scottish Poetry Library with Kevin Williamson (who was publishing and editing Rebel Inc magazine at the same time) to revisit the creative riot that was the early 1990s. They discuss Dream State and the time and place which gave birth to it. Dream State The New Scottish Books was published by Polygon.

Ezra Pound had his own complicated relationship with fame, exercising a profound influence upon 20th-century literature but being tried for treason in the U.S. after broadcasting propaganda for the fascists during WWII. Today's poem is a guarded reflection on the never-ending quest. Happy reading. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

1. mai 2022 begynner poeten og gjendikteren Øyvind Berg å skrive denne litterære dagboka, og han avslutter 31. juli. "Sommeren med Balder" handler om Dina og Øyvind og den store gjeterhunden de har skaffet seg. Av nødvendighet handler det også om krigen i Ukraina, som framkaller minner fra Bosniakrigens Sarajevo, hvor Dina vokste opp. Og det handler om å føle seg hjemme i en fremmed tradisjon, som den japanske haikudiktningen. Men mest av alt handler det om å finne lys i livet, om humor, og om å åpne seg for det som lever. «Sommeren med Balder» er en bok skrevet med vemod, begeistring og livsglede. Øyvind Berg (f. 1959) debuterte med diktsamlingen Retninger i 1982. Siden har han utgitt en lang rekke diktsamlinger, essays, skuespill og gjendiktninger. Fra 1986 til oppløsningen i 2011 var han et markant medlem i teatergruppa Baktruppen. I 2013 ga han ut Stećci. Ikke rot med knoklene mine. Bosniske gravskrifter 1200–1500 sammen med Dina Abazović. Bergs romandebut Roseromanen utkom i 2019 til strålende kritikker. Samme år mottok han Gyldendalprisen for sitt samlede forfatterskap. Øyvind Berg har gjendiktet Brecht, Paul Celan, Kenneth Patchen, Ezra Pound, Per Højholt, Heiner Müller og William Shakespeare.

Ilaria Bonacossa"Lisetta Carmi. Molto vicino, incredibilmente lontano"Mostra al Palazzo Ducale di Genovawww.palazzoducale.genova.itwww.civita.artLa mostra Lisetta Carmi. Molto vicino, incredibilmente lontano è stata annunciata per il prossimo autunno a Palazzo Ducale. Un viaggio che parte da Genova e dall'Italia per raccontare con il suo sguardo acuto e lucido realtà lontane e mondi in trasformazione, con inedite immagini a colori capaci di trasformare la lettura delle sue fotografie più famose in bianco e nero.Genova emerge nelle sue sfaccettature inaspettate, città in cui Lisetta Carmi per i vent'anni della sua carriera fotografica ha sempre stampato e sviluppato le sue immagini raccontando da questo luogo la sua visione del mondo e delle persone che sceglieva di ritrarre, come le famose fotografie del porto, a cui si affiancheranno immagini inedite dell'anagrafe e della vita politica e sociale della città.In mostra presso Palazzo Ducale anche le immagini della serie dei travestiti degli anni '60, pubblicate nel 1972 suscitando scalpore e segnando le ricerche fotografiche di molti artisti internazionali, non solo in bianco e nero ma anche a colori e la serie inedita erotismo e autoritarismo a Staglieno in cui il famoso cimitero genovese si trasforma sotto l'obbiettivo della fotografa in un ritratto della società borghese ottocentesca e dell'erotismo associato ai monumenti funebri.Genova sceglie di omaggiare questa figura dirompente di fotografa e artista centrale nella storia della fotografia del dopoguerra la cui carriera si è sviluppata per vent'anni nella sua città natale.Lisetta Carmi, molto vicino incredibilmente lontano è curata da Giovanni Battista Martini, esperto di fotografia contemporanea e curatore dell'archivio Lisetta Carmi che ha scritto e concepito numerose mostre dell'artista negli ultimi anni ed Ilaria Bonacossa, curatrice d'arte contemporanea e direttrice di Palazzo Ducale Genova, ed è promossa e organizzata da Palazzo Ducale Fondazione per la Cultura Genova e Civita Mostre e Musei.Lisetta Carmi nasce a Genova il 15 febbraio 1924, in un'agiata famiglia borghese. A causa delle leggi razziali è costretta nel 1938 ad abbandonare la scuola e a rifugiarsi con la famigliain Svizzera. Nel 1945, al termine della guerra, torna in Italia e si diploma al conservatorio di Milano. Negli anni seguenti tiene una serie di concerti in Germania, Svizzera, Italia e Israele. Nel 1960 interrompe la carriera concertistica e si avvicina in modo casuale alla fotografia trasformandola in una vera e propria professione. Per tre anni lavora come fotografa al Teatro Duse di Genova. Accetta diversi incarichi dal Comune di Genova realizzando una serie di reportage in cui descrive le diverse realtà e problematiche sociali della città come, ad esempio, gli ospedali, l'anagrafe, il centro storico e le fogne cittadine.Dopo aver realizzato nel 1964 un'ampia indagine nel porto di Genova, diventata poi una mostra itinerante, continua un reportage sulla Sardegna iniziato nel 1962 e che terminerà negli anni Settanta. Successivamente si reca a Parigi e da questo soggiorno nasce il volume Métropolitain, libro d'artista contenente una serie di scatti realizzati nella metropolitana parigina. Nel 1965 prende corpo il suo progetto più noto, che nel 1972 diventerà un libro, dedicato ai travestiti genovesi. Nel 1969 viaggia per tre mesi in America Latina e l'anno successivo in Afghanistan e Nepal. Nel 1971 compra un trullo in Puglia, a Cisternino. Il 12 marzo 1976 conosce a Jaipur, in India, Babaji Herakhan Baba, il Mahavatar dell'Himalaya, incontro che trasformerà radicalmente la sua vita. Lo stesso anno è in Sicilia per incarico della Dalmine per il volume Acque di Sicilia, dove sono raccolte immagini del paesaggio e della realtà sociale della regione, accompagnate da un testo di Leonardo Sciascia. Negli anni realizza una serie di ritratti di artisti e personalità del mondo della cultura del tempo tra cui Judith Malina, Joris Ivens, Charles Aznavour, Edoardo Sanguineti, Leonardo Sciascia, Lucio Fontana, César, Carmelo Bene, Luigi Nono, Luigi Dallapiccola, Claudio Abbado, Jacques Lacan e Ezra Pound, di cui si ricordano i celebri scatti realizzati nel 1966 presso l'abitazione del poeta sulle alture di Zoagli in Liguria.Negli anni successivi Lisetta Carmi si dedicherà completamente alla costruzione dell'ashram Bhole Baba, a Cisternino, e quindi alla diffusione degli insegnamenti del suo maestro. Nel 1995 incontra, dopo trentacinque anni, il suo ex allievo di pianoforte Paolo Ferrari e inizia con lui una collaborazione di studio filosofico-musicale.Lisetta Carmi muore, o come avrebbe detto lei, abbandona il suo corpo terreno, il 2 luglio 2022 a Cisternino.Lisetta non fotografa per raccontare, fotografa per capire, e la fotografia le serve come una chiave per aprire delle porte, per entrare dove nessuno poteva entrare.Catalogo della mostra pubblicato da Silvana Editorialewww.silvanaeditoriale.itIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

So, you're wondering how HD got that moniker? And no, we're not talking about high definition television. HD, also known as Hilda Doolittle, was an Imagist poet and novelist. She's known more in connection to other writers like Ezra Pound and William Carlos Williams and for an unfortunate kink incident involving early psychologist Havelock Ellis.Continue reading "The Goddess of Imagism – Ep.49"

Today's poem is a particularly novel example of an ancient writerly tradition: writing about how hard it is to write. Happy reading.On February 9, 1874, Amy Lowell was born at Sevenels, a ten-acre family estate in Brookline, Massachusetts. Her family was Episcopalian, of old New England stock, and at the top of Boston society. Lowell was the youngest of five children. Her elder brother Abbott Lawrence, a freshman at Harvard at the time of her birth, went on to become president of Harvard College. As a young girl she was first tutored at home, then attended private schools in Boston, during which time she made several trips to Europe with her family. At seventeen, she secluded herself in the 7,000-book library at Sevenels to study literature. Lowell was encouraged to write from an early age.In 1887 Lowell, with her mother and sister, wrote Dream Drops or Stories From Fairy Land by a Dreamer, printed privately by the Boston firm Cupples and Hurd. Her poem “Fixed Idea” was published in 1910 by the Atlantic Monthly, after which Lowell published individual poems in various journals. In October of 1912, Houghton Mifflin published her first collection, A Dome of Many-Coloured Glass.Lowell, a vivacious and outspoken businesswoman, tended to excite controversy. She was deeply interested in and influenced by the Imagist movement, led by Ezra Pound. The primary Imagists were Pound, Richard Aldington, H.D. (Hilda Doolittle), and Ford Madox Ford. This Anglo-American movement believed, in Lowell's words, that “concentration is of the very essence of poetry” and strove to “produce poetry that is hard and clear, never blurred nor indefinite.” Lowell campaigned for the success of Imagist poetry in America and embraced its principles in her own work. She acted as a publicity agent for the movement, editing and contributing to an anthology of Imagist poets in 1915.Lowell's enthusiastic involvement and influence contributed to Pound's separation from the movement. As Lowell continued to explore the Imagist style she pioneered the use of “polyphonic prose” in English, mixing formal verse and free forms. Later she was drawn to and influenced by Chinese and Japanese poetry. This interest led her to collaborate with translator Florence Ayscough on Fir-Flower Tablets in 1921. Lowell had a lifelong love for the poet John Keats, whose letters she collected and whose influence can be seen in her poems. She believed him to be the forbearer of Imagism. Her biography of Keats was published in 1925, the same year she won the Pulitzer Prize for her collection What's O'Clock (Houghton Mifflin Company, 1925).A dedicated poet, publicity agent, collector, critic, and lecturer, Amy Lowell died on May 12, 1925, at Sevenels.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

SUMMARYIn this first episode of Season 6, producer Andrew Whiteman invites listeners to step into an arena of collaboration between poetry and sound. We all know it when we hear it, and we have mixed feelings about it. Why does the archaic meeting place of music and poem hit such a nerve? Is this art form literature or is it music? Surely, it's not song, is it? And if poems already carry their prosodic intentions within themselves – why bother supplementing them with extraneous audio?" These questions are answered by Siren Recordings, a new digital-DIY sonic poetry label run by Kelly Baron and Andrew Whiteman.*SHOW NOTESAudio played in the episode“Happy Birthday Ed Sanders Thank You!”, written and performed by Edward Sanders ( from "This is the Age of Investigation Poetry and Every Citizen Must Investigate” part of the “Totally Corrupt Dial-a-Poem Series by John Giorno. Found at https://www.ubu.com/sound/gps.html ) and Andrew Whiteman. Unreleased track. Audio clips of Amiri Barak, Helen Adam, and the Four Horseman from Ron Mann's 1980 film Poetry in Motion. found at https://vimeo.com/14191903.“The Great Reigns” written and performed by Erica Hunt ( from Close Listening with Charles Bernstein at WPS1 Clocktower Studio, New York, June 20, 2005, available at https://writing.upenn.edu/pennsound/x/Hunt.php ), and Andrew Whiteman. “#7” by Alice Notley and AroarA. Unreleased track. Text taken from Notley's book “In The Pines”, Penguin Books. 2007.“ Pinbot” and “Abu Surveillance” by Anne Waldman and Andrew Whiteman. Unreleased track. Text taken from Waldman's book “Iovis: the Trilogy”, Coffeehouse Press. 2011.“How I wrote Certain of my Books” by David UU and the Avalettes.  from the casette Very Sound (Sound Poems By David UU). Underwhich Audiographic Series, No.18. 1984.  "whn i first came to vancouvr” by bill bissett. from the cassette Sonic Horses. Underwhich Audiographic Series, No.19.1984. "From The Life & Work Of Chapter 7 (For Steven Smith)” by Tekst. from the cassette "Unexpected Passage”.Underwhich Audiographic Series – No. 15. 1982. “ Canto One” by Andrew Whiteman featuring Robert Duncan, Ezra Pound, Richard Sieberth, Al Filreis. buried somewhere at Penn Sound. https://writing.upenn.edu/pennsound/. Unreleased track.*PRODUCER BIOAndrew Whiteman is a founding member of the indie-rock collective Broken Social Scene, and a PhD student at Concordia University investigating the confluence of mythology and experimental poetics. He is a musician, producer and sound artist with special interest in Sonic Poetics, and has collaborated on recordings with Alice Notley (In The Pines, 2013) and Anne Waldman (IOVIS, 2023) among others. This work has led directly to the creation of Siren Recordings, a boutique sonic poetry label, hub and ever-growing archive he runs with Kelly Baron and Brandon Hocura.  His divinatory practice is located at https://intarotgate.com.

Today's poem offers a needful portrait of ‘manly talk.' Happy reading.Louis Untermeyer was the author, editor or compiler, and translator of more than 100 books for readers of all ages. He will be best remembered as the prolific anthologist whose collections have introduced students to contemporary American poetry since 1919. The son of an established New York jeweler, Untermeyer's interest in poetry led to friendships with poets from three generations, including many of the century's major writers. His tastes were eclectic. In the Washington Post, Martin Weil related that Untermeyer once “described himself as ‘a bone collector' with ‘the mind of a magpie.'” He was a liberal who did much to allay the Victorian myth that poetry is a highbrow art. “What most of us don't realize is that everyone loves poetry,” he was quoted by Weil as saying, pointing out the rhymes on the once-ubiquitous Burma Shave road signs as an example.Untermeyer developed his taste for literature while a child. His mother had read aloud to him from a variety of sources, including the epic poems “Paul Revere's Ride” and “Hiawatha.” Bedtime stories he told to his brother Martin combined elements from every story he could remember, he revealed in Bygones: The Recollections of Louis Untermeyer. When he learned to read for himself, he was particularly impressed by books such as Alfred Lord Tennyson's Idylls of the King and Dante's Inferno. Gustave Dore's illustrations in these books captivated him and encouraged his imagination toward fantasy. Almost 50 years later, Untermeyer published several volumes of retold French fairy tales, all illustrated by the famous French artist.In addition to children's books and anthologies, Untermeyer published collections of his own poetry. He began to compose light verse and parodies during his teen years after dropping out of school to join his father's business. With financial help from his father, he published First Love in 1911. Sentiments of social protest expressed in the 1914 volume Challenge received disapproval from anti-communist groups 40 years later; as a result of suspicion, Untermeyer lost his seat on the “What's My Line” game show panel to publisher Bennett Cerf. During the 1970s, he found himself “instinctively, if incongruously, allied with the protesting young,” he wrote in the New York Times. In the same article he encouraged the spirit of experiment that characterized the decade, saying, “it is the non-conformers, the innovators in art, science, technology, and human relations who, misunderstood and ridiculed in their own times, have shaped our world.” Untermeyer, who did not promote any particular ideology, remained a popular speaker and lecturer, sharing criticism of poetry and anecdotes about famous poets with audiences in the United States and as far away as India and Japan.Untermeyer resigned from the jewelry business in 1923 in order to give all his attention to literary pursuits. Friendships with Robert Frost, Ezra Pound, Arthur Miller, and other literary figures provided him with material for books. For example, The Letters of Robert Frost to Louis Untermeyer contains letters selected from almost 50 years of correspondence with the New England poet. The anthologist's autobiographies From Another World and Bygones relate as much about other writers as they do about his personal life. Bygones provides his reflections on the four women who were his wives. Jean Starr moved to Vienna with Untermeyer after he became a full-time writer; Virginia Moore was his wife for about a year; Esther Antin, a lawyer he met in Toledo, Ohio, married him in 1933; 15 years later, he married Bryna Ivens, with whom he edited a dozen books for children.In his later years, Untermeyer, like Frost, had a deep appreciation for country life. He once told Contemporary Authors: “I live on an abandoned farm in Connecticut … ever since I found my native New York unlivable as well as unlovable. … On these green and sometimes arctic acres I cultivate whatever flowers insist on growing in spite of my neglect; delight in the accumulation of chickadees, juncos, cardinals, and the widest possible variety of songless sparrows; grow old along with three pampered cats and one spoiled cairn terrier; season my love of home with the spice of annual travel, chiefly to such musical centers as Vienna, Salzburg, Milan, and London; and am always happy to be home again.” Untermeyer died in 1977.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

  Adriaan en Simon bespreken onder meer: (g)een medisch bulletin / een uitgebreid verslag van de Biënnale van Venetië / met de lola-borstel het graf van Tine, de weduwe van Multatuli, schoonmaken / het poëtisch intermezzo met Joseph Brodsky en Ezra Pound / luisteraars bieden hulp aan / Simon ontmoette een engel / Adriaan schrijft aan een essay over koffers   Schrijvers van dienst: Multatuli / Nelleke Noordervliet / Harry Mulisch / Ernest Hemingway   Storytel sponsort deze aflevering. Maak gebruik van het aanbod voor luisteraars van de podcast om Storytel 30 dagen gratis te proberen. Ga naar: www.story.tel/vandis   Simon interviewt de Duitse schrijver Bernard Schlink in boekhandel Donner te Rotterdam op 26 september: https://www.donner.nl/interview-bernhard-schlink-over-zijn-roman-het-late-leven   Wil je een vraag stellen of reageren? Mail het aan: vandis@atlascontact.nl   Een optreden van Adriaan bijwonen? Data, tijden, kaartverkoop: https://www.adriaanvandis.nl/agenda/   Van Dis Ongefilterd wordt gemaakt door Adriaan van Dis, Simon Dikker Hupkes en Bart Jeroen Kiers.  Montage: Sten Govers (van Thinium Audioboekproducties).    Volg de uitgeverij op Instagram: @atlascontact Website: www.atlascontact.nl © 2024 Atlas Contact | Adriaan van DisSee omnystudio.com/listener for privacy information.

durée : 03:00:49 - Les Nuits de France Culture - par : Albane Penaranda - Par Véra Feyder - Avec Henri Cartier-Bresson (photographe, peintre, dessinateur), René Dumont (agronome, homme politique), Claude Lefranc (son compagnon de captivité), Célia Bertin (romancière), Cathy (ex-détenue à Fleury-Mérogis), Eric Hubert (qui a écrit à Henri Cartier-Bresson pour le rencontrer), Vincent Dulau (élève de l'E.S.A.G.), Yahne Le Toumelin (peintre, nonne bouddhiste) et le Dalaï-Lama - Avec en archives, les voix d'Alberto Giacometti, Tériade, Jean Renoir, Ezra Pound, Carson McCullers, Raymond Devos. Textes de Louis Aragon, Arthur Koestler, Victor Hugo, Paul Nizan, Georges Braque, Saint-Simon, Gustave Flaubert, Joseph Conrad et James Joyce - Avec des extraits des films "La règle du jeu" ; "La grande illusion" de Jean Renoir et "Une nuit à l'opéra" des Marx Brothers - Réalisation Nicole Vuillaume

Zachary Schomburg is a poet, painter, and a publisher for Octopus Books, a small independent poetry press. He earned a BA from the College of the Ozarks and a PhD in creative writing from the University of Nebraska. He is the author of six books of poems including, most recently, Fjords vol. 2, published by Black Ocean in 2021 and a novel, Mammother, published by Featherproof Books in 2017. Gertrude Stein was born in Allegheny, Pennsylvania in 1874. She attended Radcliffe College and Johns Hopkins Medical School. In 1903, she moved to Paris where she eventually began writing poetry, fiction, and nonfiction. She became an influential figure in the worlds of art and literature, and her home became a gathering place for artists and writers like Henri Matisse, Ezra Pound, Pablo Picasso, F. Scott Fitzgerald, and Max Jacob. She died near Paris in July of 1946.Links:Read "The Cliff Floats Low" at Sixth FinchRead "Tender Buttons [Apple]" at Poets.orgZachary SchomburgZachary Schomburg's websiteBio and bio at Poetryfoundation.org"Moving a Plane Around a Living Room: In Conversation with Zachary Schomburg" in TimberTwo poems at JellyfishGertrude SteinBio and poems at Poetryfoundation.org"Gertrude Stein - Author & Poet: Mini Bio" from BiographyBio and poems at Poets.orgMentioned in this episode:KnoxCountyLibrary.orgThank you for listening and sharing this podcast. Explore life-changing resources and events, sign up for newsletters, follow us on social media, and more through our website, www.knoxcountylibrary.org.Rate & review on Podchaser

Zachary Schomburg is a poet, painter, and a publisher for Octopus Books, a small independent poetry press. He earned a BA from the College of the Ozarks and a PhD in creative writing from the University of Nebraska. He is the author of six books of poems including, most recently, Fjords vol. 2, published by Black Ocean in 2021 and a novel, Mammother, published by Featherproof Books in 2017. Gertrude Stein was born in Allegheny, Pennsylvania in 1874. She attended Radcliffe College and Johns Hopkins Medical School. In 1903, she moved to Paris where she eventually began writing poetry, fiction, and nonfiction. She became an influential figure in the worlds of art and literature, and her home became a gathering place for artists and writers like Henri Matisse, Ezra Pound, Pablo Picasso, F. Scott Fitzgerald, and Max Jacob. She died near Paris in July of 1946.Links:Read "The Cliff Floats Low" at Sixth FinchRead "Tender Buttons [Apple]" at Poets.orgZachary SchomburgZachary Schomburg's websiteBio and bio at Poetryfoundation.org"Moving a Plane Around a Living Room: In Conversation with Zachary Schomburg" in TimberTwo poems at JellyfishGertrude SteinBio and poems at Poetryfoundation.org"Gertrude Stein - Author & Poet: Mini Bio" from BiographyBio and poems at Poets.orgMentioned in this episode:KnoxCountyLibrary.orgThank you for listening and sharing this podcast. Explore life-changing resources and events, sign up for newsletters, follow us on social media, and more through our website, www.knoxcountylibrary.org.Rate & review on Podchaser

Luca Gallesi"Ezra Pound a Pisa"Un poeta in prigioneEdizioni Areswww.edizioniares.itQuesto libro ricostruisce le vicende che portarono Ezra Pound (1885-1972) alla reclusione prima in una gabbia di ferro a Pisa e poi, senza processo, alla detenzione per tredici anni in un manicomio criminale statunitense. Viene anche analizzato il contenuto dei Canti pisani, senza trascurare le vicissitudini legate al conferimento del prestigioso Premio Bollingen, vinto da Pound con questa opera nel 1949.I Canti pisani – divenuti giustamente la sezione più famosa dell'opus magnum del poeta, i Cantos – sono l'esame di coscienza di un uomo che faceva sinceramente il punto sulle sue azioni, sapendo che a breve sarebbe potuto finire sulla forca, come stava succedendo ad altri intellettuali accusati di collaborazionismo.Luca Gallesi (1961) collabora con le pagine culturali de “il Giornale” e “Avvenire”. Dirige una collana specializzata in economia per la casa editrice Mimesis e la collana Poundiana delle Edizioni Ares, in cui ha pubblicato Le origini del fascismo di Ezra Pound (2005) e I Cantos di Ezra Pound. Una guida (2022). Tra le altre opere, ha scritto un libro sull'economia nelle fiabe, C'era una volta l'economia (2012), tradotto anche in francese da Pierre-Guillaume de Roux, e un saggio sulle vite parallele di Ezra Pound e Gore Vidal, “Amo l'America, nonostante...” (Mimesis 2023).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Jake and Phil are joined by the poet and critic Alice Gribbin to discuss Ezra Pound's The Serious Artist and Eliot Weinberger's The Life of Tu Fu The Manifesto: Ezra Pound, The Serious Artist https://archive.org/details/literaryessaysof00poun/page/n5/mode/2up The Art: Eliot Weinberger, The Life of Tu Fu https://www.ndbooks.com/book/the-life-of-tu-fu/ For more of Alice's writing: https://www.alicegribbin.com/?utmsource=substack&utmmedium=web&utmcampaign=substackprofile

Matías Rivas, Arturo Fontaine y Sofía García-Huidobro recordaron al pintor y al escritor, quienes fallecieron esta semana. Además, recomendaron libros, un documental y una serie imperdible para este fin de semana.

Matías Rivas, Arturo Fontaine y Sofía García-Huidobro recordaron al pintor y al escritor, quienes fallecieron esta semana. Además, recomendaron libros, un documental y una serie imperdible para este fin de semana.

Today's poem features a failed resurrection and a response that spirals through all the customary stages of grief.Hilda Doolittle was born on September 10, 1886, in Bethlehem, Pennsylvania. She attended Bryn Mawr College, where she was a classmate of Marianne Moore. Doolittle later enrolled at the University of Pennsylvania, where she befriended Ezra Pound and William Carlos Williams.H.D. published numerous books of poetry, including Flowering of the Rod (Oxford University Press, 1946); Red Roses From Bronze (Random House, 1932); Collected Poems of H.D. (Boni and Liveright, 1925); Hymen (H. Holt and Company, 1921); and the posthumously published Helen in Egypt (Grove Press, 1961). She was also the author of several works of prose, including Tribute to Freud (Pantheon, 1956).H.D.'s work is characterized by the intense strength of her images, economy of language, and use of classical mythology. Her poems did not receive widespread appreciation and acclaim during her lifetime, in part because her name was associated with the Imagist movement, even as her voice had outgrown the movement's boundaries, as evidenced by her book-length works, Trilogy and Helen in Egypt. Neglect of H.D. can also be attributed to her time, as many of her poems spoke to an audience which was unready to respond to the strong feminist principles articulated in her work. As Alicia Ostriker said in American Poetry Review, “H.D., by the end of her career, became not only the most gifted woman poet of our century, but one of the most original poets—the more I read her the more I think this—in our language.”H.D. died in Zurich, Switzerland, on September 27, 1961.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Latest Spoken Label (Poetry Podcast) is a various artist Poetry Podcast co-hosted with ML Liebler (whose own podcast will follow next) features some student and a fellow young creative writing faculty member. Writers featured are: Alexis Ball is a 20-year-old English and creative writing student at Wayne State University in Detroit, Michigan. They are passionate about poetry and have been writing since they learned the alphabet. Alexis hopes to one day work for an editing and publishing company and possibly become a college professor later in life. Nicholas Lowengruber I've been writing poetry since 2016 after reading an excerpt from Walden, but I didn't really know what I was doing until studying under poets at Wayne State University like ML and Robert Laidler. One of my biggest regrets so far is ever reading Ezra Pound; I how I wanted to be him growing up (except without being a fascist), and I still need to take time before I learn to appreciate the respect for imagery and the capability to take an object and look at it through many different lenses that Pound instilled in me. I'm wrapping up my third year at Wayne State University, double majoring in Philosophy and English; thinking too much is a curse, and I'm learning to work with it. Regarding my more current work, I'm an e.e. cummings devotee and continuing to learn to make poetry weird, turning towards the Language movement. Currently pondering Eve's morally questionable decision to leave Caleb trapped at the end of Ex Machina after everything that they went through. young creative writing faculty member Robert Laidler. Email address for each of the writers are: mlliebler@aol.com, (ML Liebler) Rtlaidle@wayne.edu, hg8410@wayne.edu (Nick), alexis.ball@wayne.edu

Un romanzo emozionante che nasce dall'esperienza personale dell'autrice. In "Molto molto tanto bene" (Einaudi) Caterina Bonvicini racconta la sua esperienza a bordo delle navi delle Ong che salvano migranti in mare e in particolare narra l'incontro speciale con una bambina, il suo gemello e la madre dei piccoli. La scrittrice decide di accogliere prima la madre Chantal e la piccola Amy che ha solo cinque anni e mezzo. Poi si attiva per far arrivare in Italia anche il gemellino di Amy, rimasto inizialmente in Libia con un'amica della madre. Ma spesso chi scappa dal proprio paese, in questo caso la Costa d'Avorio, si fida delle persone sbagliate e quindi il piccolo riuscirà ad arrivare in Italia non attraverso un corridoio umanitario protetto, ma facendo la traversata del Mediterraneo. Sembra una storia a lieto fine, ma nella vita le cose sono spesso più complicate e Caterina Bonvicini ha avuto la grande capacità di restituirci in questo romanzo tutta la complessità, le contraddizioni e le emozioni che possono caratterizzare una storia come questa.Nella seconda parte parliamo di "Il tempo degli imprevisti" (Guanda) di Helena Janeczek, vincitrice del Premio Strega 2018 con "La ragazza con la Leica". Il Novecento narrato attraverso quattro racconti in cui i protagonisti sono uomini e donne realmente esistiti e che l'autrice sceglie di fotografare in un determinato momento storico che diventa quasi un momento simbolico. A incarnare lo spirito degli inizi del secolo c'è la storia di Abigaille Zanetta, maestra che arriva a Milano nel 1906, aderisce al socialismo, si batte per i diritti degli operai e delle donne e finirà in carcere. Gli anni '20 vengono rappresentati dal dottor K, ossia Franz Kafka, che si trova a Merano e pensa di essere spiato. Subito dopo ci troviamo a Venezia dove la figlia del poeta Ezra Pound viene seguita da un ragazzino con il quale era cresciuta. Infine arriviamo al 1937, alla vigilia delle leggi razziali: a Trieste c'è il giovane Alberto, ossia Albert Hirschman, destinato a diventare un grande economista.

Daily QuoteMiss Brooke had that kind of beauty which seems to be thrown into relief by poor dress. (George Eliot)Poem of the DayA GirlEzra PoundBeauty of WordsThe RoseLogan Pearsall Smith

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comEli is a journalist and friend. He's a former senior national security correspondent for The Daily Beast and Newsweek, and a former columnist for the Bloomberg View. He's now a reporter for The Free Press, a contributing editor at Commentary Magazine, and the host of his own podcast, The Re-Education. I thought I should have a strong Israel supporter to come on and challenge my recent columns.For two clips of our convo — on the West Bank settlements, and Trump's record on Israel — pop over to our YouTube page. Other topics: Eli raised as a latchkey kid in Philly; his leftwing Jewish parents; turning neocon in college during the ‘90s PC wars; Milton Friedman's Free to Choose a formative book; Eli's love of rap from an early age; Tribe Called Quest and the Native Tongue movement of “rap hippies”; Black Nationalism; David Samuels' story on white kids driving hip-hop; Kanye's genius and grappling with his anti-Semitism; the bigotry of Ezra Pound and T.S. Eliot; Nietzsche's madness; the persistence of Jew hatred across history and cultures; dissidents in the Catholic Church; Augustine; Jewish mysticism and Kabbalah; the faux sophistication of conspiracy theorists; Bob Dole as a Gen Xer; envy and resentment over Israel's success; the First Intifada; Labor Zionism; Ben-Gurion and Arab resistance; Menachem Begin; Netanyahu's dad; the IRA bombing British leaders; Arafat walking away from Camp David; the Second Intifada; 9/11 and Islamofascism; the Iraq War and Abu Ghraib; the settler movement and Judeo-fascists; Jared Kushner; the Abraham Accords; Arabs serving in the Knesset; Israel withdrawing from Gaza and southern Lebanon; the evil of Hamas; Yossi Klein Halevi; the IDF's AI program; the tunnels and 2,000-lb bombs; Dresden; John Spencer's Understanding Urban Warfare; Rafah; Trump's vanity; Soleimani and the Damascus embassy; and the US supplying weapons to Israel.Browse the Dishcast archive for an episode you might enjoy (the first 102 are free in their entirety — subscribe to get everything else). Next up: Kara Swisher on Silicon Valley. After that: Adam Moss on the artistic process, George Will on Trump and conservatism, Johann Hari on weight-loss drugs, Noah Smith on the economy, Nellie Bowles on the woke revolution, Bill Maher on everything, and the great Van Jones! Send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

What is National Poetry Writing Month?Welcome, art enthusiasts and wordsmiths alike, to another episode of Create Art Podcast! We are diving headfirst into the enchanting world of poetry as we celebrate National Poetry Writing Month (NaPoWriMo). This annual event, which takes place every April, encourages poets and aspiring writers around the globe to embrace their creativity and commit to writing a poem each day for the entire month.The Beauty of National Poetry Writing Month:NaPoWriMo, similar to its prose-centric counterpart National Novel Writing Month (NaNoWriMo), is a celebration of the written word and the boundless creativity that can flow when one dedicates themselves to a daily practice. Poets of all levels of expertise are invited to take part, from seasoned wordsmiths to those just dipping their toes into the vast ocean of verse.Create Art Podcast has always been a haven for artists to share their creative processes, and NaPoWriMo offers a unique opportunity for poets to reflect on their craft. With a daily commitment to producing poetry, participants discover new facets of their writing style, experiment with various forms, and explore uncharted emotional territories.Prompt for todayAnd now for our optional prompt! Ezra Pound famously said that “poetry is news that stays news.” While we don't know about that, the news can have a certain poetry to it. Today, we'd like to challenge you to write a poem based on one of the curious headlines, cartoons, and other journalistic tidbits featured at Yesterday's Print, where old news stays amusing, curious, and sometimes downright confusing.Poem for TodayPreacher Advises Against Going To Hell, It will Be Boring 10 April 24 Lets just put aside the concept of hell for a minute Since it is not in the bible And has been mistranslated so many times Can we agree it is a separation from your god for a minute And according to you this would still give me eternal life What if i don't want that What if I just wanted to die and be done What if lets just say I want one chance to do everything I will be known for Let it all ride on this life And cash in my chips and let them fall where they may But no I am not given a choice if I want to come into this world And if I choose to depart prematurely (according to you) I will be forever punished Would it surprise you I like my sex a bit rough I enjoy having fingernails draw blood down my back I enjoy having my nipples bit into and my neck marked up with burses It shows me that I am alive I like some pain when I am fucking Both inflicting it and getting it I don't mind having someone pleasure themselves in my asshole While I thrust deeper into someone else Your hell excited me According to you the people i would rather hang out with will be there The people that Jesus hung out with will be there And yes some harp music is nice to sleep to I'd rather feel the drum beat of heathens fill my soul See my idea of hell Is much like Satre's Hell is other people whom I don't want to hang out with Which would be people going to your heaven So your fairy tale That is supposed to scare me Like i was a little child That I actually believed in for...

Poet, editor, translator, and critic Louis Simpson was born in Jamaica to Scottish and Russian parents. He moved to the United States when he was 17 to study at Columbia University. After his time in the army, and a brief period in France, Simpson worked as an editor in New York City before completing his PhD at Columbia. He taught at colleges such as Columbia University, the University of California, Berkeley, and the State University of New York at Stony Brook.A contemporary of confessional poets like Robert Lowell, John Berryman, and Sylvia Plath, Simpson's early work followed a familiar arc. In the New York Times Book Review, critic David Orr noted its highlights: “Simpson has followed a path lined with signposts sunk so deep in our nation's poetic terra firma that they've practically become part of the landscape. Those signposts declare that a poet born in or around the 1920s should (1) begin his career writing witty, ironic formal poems bearing the stamp of Eliot and Auden; then (2) abandon that formalism for a more 'natural' free verse approach, while (3) dabbling in surrealism; until (4) finally settling on social, conversational poems in the manner of a man speaking to men.” While Simpson's early books like The Arrivistes (1949) and A Dream of Governors (1959) show the influence of Auden, they also speak to his horrific experiences in World War II, where he served in the 101st Airborne Division and saw active duty in France, Belgium, and Germany. Simpson's intense formal control, at odds with the visceral details of soldiering, also earned him comparisons to Wilfred Owen. At the End of the Open Road (1963) won the Pulitzer Prize and marked a shift in Simpson's poetry as well. In this and later volumes, like Searching for the Ox (1976) and The Best Hour of the Night (1983), Simpson's simple diction and formally controlled verses reveal hidden layers of meaning.Simpson's lifelong expatriate status influenced his poetry, and he often uses the lives of ordinary Americans in order to critically investigate the myths the country tells itself. Though he occasionally revisits the West Indies of his childhood, he always keeps one foot in his adopted country. The outsider's perspective allows him to confront “the terror and beauty of life with a wry sense of humor and a mysterious sense of fate,” wrote Edward Hirsch of the Washington Post. Elsewhere Hirsch described Simpson's Pulitzer Prize-winning collection, At the End of the Open Road (1963), as “a sustained meditation on the American character,” noting, “The moral genius of this book is that it traverses the open road of American mythology and brings us back to ourselves; it sees us not as we wish to be but as we are.” Collected Poems (1988) and There You Are (1995) focus on the lives of everyday citizens, using simple diction and narratives to expose the bewildering reality of the American dream. Poet Mark Jarman hailed Simpson as “a poet of the American character and vernacular.”A noted scholar and critic, Simpson published a number of literary studies, including Ships Going Into the Blue: Essays and Notes on Poetry (1994), The Character of the Poet (1986), and Three on the Tower: The Lives and Works of Ezra Pound, T.S. Eliot, and William Carlos Williams (1975). Simpson also penned a novel, Riverside Drive (1962), and the autobiographies The King My Father's Wreck (1994) and North of Jamaica (1972).Simpson's later work included The Owner of the House: New Collected Poems (2003), a collection that spans his 60-year career, and Struggling Times (2009). In addition to the Pulitzer Prize, Simpson received numerous awards and accolades, including the Prix de Rome, the Columbia Medal for Excellence, and fellowships from the Guggenheim Foundation. He was a finalist for the prestigious Griffin International Poetry Award, and his translation of Modern Poets of France: A Bilingual Anthology (1997) won the Harold Morton Landon Translation Award.Simposon died in Setauket, New York in 2012.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Today's poem from Ezra Pound (a poet with his own colorful history of exile) is after the style of Li Po, featured last week.Ezra Pound was born in Hailey, Idaho, on October 30, 1885. He completed two years of college at the University of Pennsylvania and earned a degree from Hamilton College in 1905. After teaching at Wabash College for two years, he travelled abroad to Spain, Italy, and London, where, as the literary executor of the scholar Ernest Fenellosa, he became interested in Japanese and Chinese poetry. He married Dorothy Shakespear in 1914 and became London editor of the Little Review in 1917.In 1924, Pound moved to Italy. During this period of voluntary exile, Pound became involved in Fascist politics and did not return to the United States until 1945, when he was arrested on charges of treason for broadcasting Fascist propaganda by radio to the United States during World War II. In 1946, he was acquitted, but was declared mentally ill and committed to St. Elizabeths Hospital in Washington, D.C. During his confinement, the jury of the Bollingen Prize for Poetry (which included a number of the most eminent writers of the time), decided to overlook Pound's political career in the interest of recognizing his poetic achievements, and awarded him the prize for the Pisan Cantos (New Directions, 1948). After continuous appeals from writers won his release from the hospital in 1958, Pound returned to Italy and settled in Venice, where he died, a semi-recluse, on November 1, 1972.Ezra Pound is generally considered the poet most responsible for defining and promoting a Modernist aesthetic in poetry. In the early teens of the twentieth century, he opened a seminal exchange of work and ideas between British and American writers, and was famous for the generosity with which he advanced the work of such major contemporaries as W. B. Yeats, Robert Frost, William Carlos Williams, Marianne Moore, H. D., James Joyce, Ernest Hemingway, and especially T. S. Eliot.Pound's own significant contributions to poetry begin with his promulgation of Imagism, a movement in poetry that derived its technique from classical Chinese and Japanese poetry—stressing clarity, precision, and economy of language, and foregoing traditional rhyme and meter in order to, in Pound's words, “compose in the sequence of the musical phrase, not in the sequence of the metronome.” His later work, for nearly fifty years, focused on the encyclopedic epic poem he entitled The Cantos.-bio via American Academy of Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Nous sommes le 11 octobre 1923, à Toronto. Ernest Hemingway écrit à son amie Sylvia Beach : « Nous avons une terrible nostalgie de Paris. » Sa destinataire, originaire de Baltimore, qui a ouvert, quatre ans plus tôt, dans la capitale française, la librairie « Shakespeare and company » assure quant à elle : « Je ne voulais pas quitter cette ville. Je l'aimais tellement qu'à la pensée d'y rester et de devenir Parisienne à mon tour, je n'hésitai plus. » Quant à Henry Miller, l'auteur de « Tropique du Cancer » et de « Jours tranquille à Clichy », il écrira, en 1944, dans ses « Lettres à Emil » : « Mieux valait être un mendiant à Paris qu'un millionnaire à New York ». Hemingway, Miller, Sylvia Beach, mais aussi Scott Fitzgerald, Anaïs Nin, Ezra Pound ou Gertrude Stein, représentants d'une brillante génération de la littérature américaine, vont s'installer, dès la fin de la Grande Guerre, dans la ville lumière. Toutes et tous seront marqué.e.s par leur exil volontaire. Que venaient-ils chercher à Paris ? Que fuyaient-ils de cette Amérique en passe de devenir la première puissance mondiale ? Invité : Ralph Schor, professeur émérite à l'université de Nice-Sophia Antipolis. Auteur de « Le Paris des écrivains américains, 1919-1939 » éditions Perrin. Sujets traités : Ernest Hemingway, Sylvia Beach, Henry Miller, Scott Fitzgerald, Anaïs Nin, Ezra Pound, Gertrude Stein, Grande Guerre, Paris Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

RU283: KATRINA MAKKOUK ON THE OCCULT INFLUENCES IN EZRA POUND'S PISAN CANTOS http://www.renderingunconscious.org Rendering Unconscious episode 283. Katrina Makkouk is an author and researcher who lives in California. She earned her Master's degree in English from Clemson University. Her primary research interests include modernism and the intersection of occult philosophy and methodology in literature. She's here to talk about her new book Invoking the Spirits – The Occult Influences in Ezra Pound's Pisan Cantos (Trapart Books, 2024). https://amzn.to/430uRln Watch this episode at YouTube: https://youtu.be/uC1TFGufIkM?si=j3oLKh4b5zrqQjeg Rendering Unconscious Podcast received the 2023 Gradiva Award for Digital Media from the National Association for the Advancement for Psychoanalysis (NAAP). https://naap.org/2023-gradiva-award-winners/ Support Rendering Unconscious Podcast: Patreon: https://www.patreon.com/vanessa23carl Substack: https://vanessa23carl.substack.com Make a Donation: https://www.paypal.com/donate/?business=PV3EVEFT95HGU&no_recurring=0¤cy_code=USD Your support of Rendering Unconscious Podcast is greatly appreciated! Rendering Unconscious is a labor of love put together by Dr. Vanessa Sinclair with no support from outside sources. All support comes from the listeners and fans. THANK YOU for your support! Rendering Unconscious now has its own Instagram page! Follow: https://www.instagram.com/renderingunconscious/ Join us! Online Event · Modern Occultism & A Limitless Search by Mitch Horowitz, Occult Influences In Pound's Pisan Cantos by Katrina Makkouk Sunday, March 10, 2024, 1:00 PM NYC (10AM PT / 18 CET). https://www.morbidanatomy.org/events/2024/3/10/online-event-modern-occultism-amp-a-limitless-search-by-mitch-horowitz-occult-influences-in-pounds-pisan-cantos-by-katrina-makkouk Join Mitch Horowitz for Icons of Modern Esoterica: A Six-Part Online Class, Thursdays, February 22–March 28, 8PM ET https://www.mitchhorowitz.com/events Be sure to check out these previous episodes: RU65: SCHOLAR KATRINA MAKKOUK & ANTHROPOLOGIST SIEGFRIED DE RACHEWILTZ & ON ENNEMOSER & POUND (FULL PANEL) http://www.renderingunconscious.org/occult/ru67-rewriting-the-future-2019-panel-vii-siegfried-de-rachewiltz-and-katrina-makkouk/ RU38: KATRINA MAKKOUK ON AUTOMATIC WRITING & PHILOSOPHY IN EZRA POUND'S PISAN CANTOS http://www.renderingunconscious.org/occult/katrina-makkouk-writer/ Rendering Unconscious Podcast is hosted by Dr. Vanessa Sinclair, a psychoanalyst based in Sweden, who works with people internationally: http://www.drvanessasinclair.net Follow Dr. Vanessa Sinclair on social media: Instagram: https://www.instagram.com/rawsin_/ Twitter: https://twitter.com/rawsin_ TikTok: https://www.tiktok.com/@drvanessasinclair23 Visit the main website for more information and links to everything: http://www.renderingunconscious.org Many thanks to Carl Abrahamsson, who created the intro and outro music for Rendering Unconscious podcast. https://www.carlabrahamsson.com His publishing company is Trapart Books, Films and Editions. https://www.bygge.trapart.net Check out his indie record label Highbrow Lowlife at Bandcamp: https://highbrowlowlife.bandcamp.com Follow him at: Twitter: https://twitter.com/CaAbrahamsson Instagram: https://www.instagram.com/carl.abrahamsson/ TikTok: https://www.tiktok.com/@carlabrahamsson YouTube: https://www.youtube.com/@carlabrahamsson23 The song at the end of the episode is “A trance to alter consciousness” from the album “Magic City” by Vanessa Sinclair and Pete Murphy. Available at Pete Murphy's Bandcamp Page. https://petemurphy.bandcamp.com Our music is also available at Spotify and other streaming services. https://open.spotify.com/artist/3xKEE2NPGatImt46OgaemY?si=nqv_tOLtQd2I_3P_WHdKCQ Image: book cover

Dave McArthur and Clint Lanier drink gin martini cocktails while discussing the epic modernist poem "The Wasteland".

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 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

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The business failure. The blown meeting. The marriage that fell apart. These things didn't go the way you wanted. It's frustrating and painful. It's hard to see anything good about it.Surely, that's what Hemingway felt when, as we talked about recently, his entire literary output was lost in one unfortunate incident. Don't tell me this is ‘good,' he wrote to Ezra Pound. “I ain't yet reached that mood.” We can imagine, in fact we know Marcus Aurelius felt similarly about devastating moments in his own life. “It's unfortunate that this happened,” Marcus writes in one passage in Meditations. He was pitying himself. He was pissed off. But then he corrected himself. “No, it's fortunate,” he said, “and I've remained unharmed by it — not shattered by the present or frightened of the future. It could have happened to anyone. But not everyone could have remained unharmed by it.”-Ryan reminds us of the power that can be found in remembering our mortality, and reads this week's meditation from The Daily Stoic Journal, on today's Daily Stoic Podcast.THE DAILY STOIC (PREMIUM LEATHER EDITION BOOK)✉️ Sign up for the Daily Stoic email: https://dailystoic.com/dailyemail

Nous sommes le 11 octobre 1923, à Toronto. Ernest Hemingway écrit à son amie Sylvia Beach : « Nous avons une terrible nostalgie de Paris. » Sa destinataire, originaire de Baltimore, qui a ouvert, quatre ans plus tôt, dans la capitale française, la librairie « Shakespeare and company » assure quant à elle : « Je ne voulais pas quitter cette ville. Je l'aimais tellement qu'à la pensée d'y rester et de devenir Parisienne à mon tour, je n'hésitai plus. » Quant à Henry Miller, l'auteur de « Tropique du Cancer » et de « Jours tranquille à Clichy », il écrira, en 1944, dans ses « Lettres à Emil » : « Mieux valait être un mendiant à Paris qu'un millionnaire à New York ». Hemingway, Miller, Sylvia Beach, mais aussi Scott Fitzgerald, Anaïs Nin, Ezra Pound ou Gertrude Stein, représentants d'une brillante génération de la littérature américaine, vont s'installer, dès la fin de la Grande Guerre, dans la ville lumière. Toutes et tous seront marqué.e.s par leur exil volontaire. Que venaient-ils chercher à Paris ? Que fuyaient-ils de cette Amérique en passe de devenir la première puissance mondiale ? Invité : Ralph Schor, professeur émérite à l'université de Nice-Sophia Antipolis. Auteur de « Le Paris des écrivains américains, 1919-1939 »; Perrin. Sujets traités : Paris, Littérature, Ernest Hemingway, Gertrude Stein, Ezra Pound, Anaïs Nin, Scott Fitzgerald, Sylvia Beach, Henry Miller Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 15h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

In today's poem, Marianne Moore (November 15, 1887 – February 5, 1972) gets candid about poetry itself.One of American literature's foremost poets, Marianne Moore's poetry is characterized by linguistic precision, keen and probing descriptions, and acute observations of people, places, animals, and art. Her poems often reflect her preoccupation with the relationships between the common and the uncommon, advocate discipline in both art and life, and espouse restraint, modesty, and humor. She frequently used animals as a central image to emphasize themes of independence, honesty, and the integration of art and nature. Moore's work is frequently grouped with poets such as H.D., T.S. Eliot, William Carlos Williams, Wallace Stevens, Ezra Pound, and, later, Elizabeth Bishop, to whom she was a friend and mentor. In his introduction to her Selected Poems (1935), Eliot wrote: “Living, the poet is carrying on that struggle for the maintenance of a living language, for the maintenance of its strength, its subtlety, for the preservation of quality of feeling, which must be kept up in every generation … Miss Moore is, I believe, one of those few who have done the language some service in my lifetime.”-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe