Podcast appearances and mentions of Fanny Howe

Fanny Howe passed away on July 9 at the age of 85. Yvette Benavides pays tribute to the author and shares Howe's poem, "Loneliness."

This episode explores new research, which has found 1.5-million-year-old footprints of two different species of human ancestors at the same spot. --- Read this episode's science poem here. Read the scientific study that inspired it here. Read ‘Footsteps' by Fanny Howe here. --- Music by Rufus Beckett. --- Follow Sam on social media and send in any questions or comments for the podcast: https://linktr.ee/sam.illingworth

Read by Juliet Prew Production and Sound Design by Kevin Seaman

Lichen is a strange presence on this planet. Traditionally, scientists have understood lichen as a new organism formed through symbiosis between a fungus and an algae. But the science is evolving. It seems that there may be more than one species of fungus involved in this symbiosis, and some scientists have suggested that lichen could be described as both an ecosystem and an organism. Lichen may even be immortal, in some sense of the word.In lichen, the poet Forrest Gander finds both the mystery of the forest and a rich metaphor for our symbiosis with one another and with the planet, for the relationship between the dead and the living, and for how our relationships with others change us indelibly. In his poem, “Forest,” lichen are a sensual presence, even erotic, living in relationship to the other beings around them. They resemble us, strangely, despite our dramatic differences.The words of the poem teem with life, like the forest they explore, and Forrest's marvelous reading of the poem adds a panoply of meanings and feelings through his annunciation, his breaths, his breaks. It's phenomenal.This poem, and his work more broadly, is about nothing less that who we are on this Earth and how we live—how we thrive—in relationship.Forrest Gander writes poetry, novels, essays, and translations. He is the recipient of many awards and honors, including a Guggenheim Fellowship and the Pulitzer Prize in poetry for his book, Be With. As an undergraduate, like me, he studied geology, which became foundational to his engagement with ecological ethics and poetics.Forrest often collaborates with other artists on books and exhibitions, including a project with the photographer Sally Mann. His latest book of poetry is a collaboration with the photographer Jack Shear, called Knot (spelled with a “k”). He recently collaborated with artist Ashwini Bhat on an exhibition at the Shoshana Wayne Gallery in Los Angeles, called “In Your Arms I'm Radiant.”His poem, “Forest,” is from his 2021 collection of poems, Twice Alive.Forrest has taught at Harvard University and Brown University. He spoke to me from his home in Northern California, where he now lives.This episode of Chrysalis is part of the Chrysalis Poets series, which focuses on a single poems from poets who confront ecological issues in their work.You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!Forrest GanderBorn in the Mojave Desert in Barstow, California, Forrest Gander grew up in Virginia. He spend significant years in San Francisco, Dolores Hidalgo (Mexico), Eureka Springs, and Providence. With the late poet CD Wright, he has a son, the artist Brecht Wright Gander. Forrest holds degrees in both Geology and English literature. He lives now in Northern California with his wife, the artist Ashwini Bhat. Gander's book Be With was awarded the 2019 Pulitzer Prize. Concerned with the way we are revised and translated in encounters with the foreign, his book Core Samples from the World was a finalist for the Pulitzer Prize and the National Book Critics Circle Award. Gander has collaborated frequently with other artists including photographers Sally Mann, Graciela Iturbide, Raymond Meeks, and Lucas Foglia, glass artist Michael Rogers, ceramic artists Rick Hirsch and Ashwini Bhat, artists Ann Hamilton, Tjibbe Hooghiemstra, dancers Eiko & Koma, and musicians Vic Chesnutt and Brady Earnhart, among others.   The author of numerous other books of poetry, including Redstart: An Ecological Poetics and Science & Steepleflower, Gander also writes novels (As a Friend; The Trace), essays (A Faithful Existence) and translates. Recent translations include It Must Be a Misunderstanding by Coral Bracho, Names and Rivers by Shuri Kido, and Then Come Back: the Lost Neruda Poems. His most recent anthologies are Pinholes in the Night: Essential Poems from Latin American (selected by Raúl Zurita) and Panic Cure: Poems from Spain for the 21st Century.Gander's books have been translated and published in more than a dozen other languages. He is a United States Artists Rockefeller Fellow and has received fellowships from The National Endowment for the Arts and the Guggenheim, Whiting, and Howard Foundations. In 2011, he was awarded the Library of Congress Witter Bynner Fellowship. Gander was the Briggs-Copeland poet at Harvard University before becoming The Adele Kellenberg Seaver Professor of Literary Arts and Comparative Literature at Brown University where he taught courses such as Poetry & Ethics, EcoPoetics, Latin American Death Trip, and Translation Theory & Practice. He is an Emeritus Chancellor for the Academy for the Academy of American Poets and is an elected member of The Academy of Arts & Sciences.Gander co-edited Lost Roads Publishers with CD Wright for twenty years, soliciting, editing, and publishing books by more than thirty writers, including Michael Harper, Kamau Brathwaite, Arthur Sze, Fanny Howe, Frances Mayes, Steve Stern, Zuleyka Benitez, and René Char.“Forest”By Forrest GanderErogenous zones in oaks slung with stoles of lace lichen the sun's rays spilling through leaves in broken packets a force call it nighttime thrusts mushrooms up from their lair of spawn mycelial loam the whiff of port they pop into un- trammeled air with the sort of gasp that follows a fine chess move like memories are they? or punctuation? was it something the earth said to provoke our response tasking us to recall an evolutionary course our long ago initation into the one- among-others and within my newborn noticing have you popped up beside me love or were you here from the start a swarm of meaning and decay still gripping the underworld both of us half-buried holding fast if briefly to a swelling vastness while our coupling begins to register in the already awake compendium that offers to take us in you take me in and abundance floods us floats us out we fill each with the other all morning breaks as birdsong over us who rise to the surface so our faces might be sprungRecommended Readings & MediaForrest Gander reading his poem “Unto Ourselves” from Twice Alive.TranscriptIntroJohn FiegeLichen is a strange presence on this planet. Traditionally, scientists have understood lichen as a new organism formed through symbiosis between a fungus and an algae. But the science is evolving. It seems there may be more than one species of fungus involved in this symbiosis. And some scientists have suggested that lichen, and could be described as both an ecosystem and an organism. Lichen may even be immortal in some sense of the word. In lichen, the poet Forrest Gander finds both the mystery of the forest and a rich metaphor for our symbiosis with one another and with the planet, for the relationship between the dead and the living, and for how our relationships with others change us indelibly. In his poem, "Forest," lichen are an essential presence, even erotic, living in relationship to the other beings around them. They resemble us strangely, despite our dramatic differences. The words of the poem teem with life, like the forest they explore, and Forrest's marvelous reading of the poem as a panoply of meanings and feelings through his enunciation—his breaths, his breaks; it's phenomenal. This poem in his work, more broadly, is about nothing less than who we are on this earth, and how we live; how we thrive in relationship. I'm John Fiege, and this episode of Chrysalis is part of the Chrysalis Poets series. Forrest Gander writes poetry, novels, essays, and translations. He is the recipient of many awards and honors, including a Guggenheim Fellowship, and the Pulitzer Prize in poetry for his book Be With. Forrest often collaborates with other artists on books and exhibitions, including a project with a photographer Sally Mann. His latest book of poetry is a collaboration with a photographer Jack Scheer called Knot. He recently collaborated with artist Ashwini Bhat on an exhibition at the Shoshana Wayne Gallery in Los Angeles, called In Your Arms I'm Radiant. His poem, "Forest," is from his 2021 collection of poems, Twice Alive. Forrest has taught at Harvard University and Brown University. He spoke to me from his home in Northern California, where he now lives. Here is Forrest Gander reading his poem "Forest."PoemForrest Gander“Forest”Erogenous zones in oaks slung with stoles of lace lichen the sun's rays spilling through leaves in broken packets a force call it nighttime thrusts mushrooms up from their lair of spawn mycelial loam the whiff of port they pop into un- trammeled air with the sort of gasp that follows a fine chess move like memories are they? or punctuation? was it something the earth said to provoke our response tasking us to recall an evolutionary course our long ago initation into the one- among-others and within my newborn noticing have you popped up beside me love or were you here from the start a swarm of meaning and decay still gripping the underworld both of us half-buried holding fast if briefly to a swelling vastness while our coupling begins to register in the already awake compendium that offers to take us in you take me in and abundance floods us floats us out we fill each with the other all morning breaks as birdsong over us who rise to the surface so our faces might be sprungConversationJohn FiegeThank you. It's so wonderful hearing you read it, the intonation and the flow of the words and your emphasis is just like completely new hearing you read it, rather than just reading it myself. I want to start with the sexual imagery. You begin with "erogenous zones in oaks, slung with stoles of lace lichen." And that last line, "stoles of lace lichen the," that was one of the things that jumped out to me, is the is at the end of the line there. And you read it as if it was the end of the line rather than pausing and using it as part of the next stanza. But in addition to these, this erogenous zone, you've got thrusting mushrooms in a layer of spawn, and sexual imagery doesn't often accompany decomposition, and decomposers like lichen and in fungi, but this combination brings a strong sense of the interconnectedness of life and death of reproduction and decomposition. And so this is the cyclical world we live in, even though we're often myopically or delusionally, focused on some kind of progressive, linear, supernaturally immortal view of our lives. How are you imagining the reader encountering the beginning of this poem, and its images of sexually charged decomposition?Forrest GanderI'm, uh, trying to connect decomposition and eros, or the merging of more than one species, one individual, into a community. And I'm trying to use a syntax, which you notice, that also doesn't easily separate itself into clear, discrete sentences, but seems to be connected at both ends. And the sense is for us to lose our security in reading our feeling that we dominate the reading that we can figure it out quickly and divide it up into these parcels, and instead, create a kind of reading experience that mimics the kind of experience that we actually live, where everything is connected, and, and where the erotic and the decomposing are involved in the same processes.John FiegeYeah, and thanks to Governor Jerry Brown, lace lichen is now the official California state lichen making...Forrest Gander(Chuckles) Isn't that great? John Fiege...making California the first state to recognize a lichen as a state symbol. And the poem, like you were saying, how the syntax is mimicking the organic world. Visually, the line breaks and the varied intended indentations appear as local lace lichen itself. Can you talk about your relationship with lichen?Forrest GanderYes. You know, I think like you think, which is why you're doing these podcasts, that we're in an exigent historical moment where the environment is rapidly changing, and species are rapidly disappearing. And we've been hearing about this for decades without really responding in a sufficient way to the exigency of our situation. So I'm trying to find models of, instead of just heaping on more climate information horror, I'm trying to find models of other ways of thinking about our relationship with the world. And one, since I have a background in science—I have a degree in geology—is a scientific one. And I worked with a mycologist, named Anne Pringle, who taught me to see fungus and lichen in places where I hadn't been seeing them before. And it turns out lichen covers about 92% of the world you can find lichen in. And despite that, most people know what it is. They've seen, like on rocks, green, brown, little spots. It turns out, scientists don't really know what lichen is.John FiegeIt's cool to find something that scientists don't feel like they know that much about.Forrest GanderIt is! And yet, it seems like there's more more of those things that we don't really know that we can't measure, that we can't feel like we are in control of it all. And lichen is these two—more actually, it's not just an algae and cyanobacteria, or Sienna bacteria and fungus that get together it there's more organisms that are involved that come together, and are transformed completely and can't go back to what they were. And they formed this new organism that acts completely differently. And we're not so different from that, that our own bodies are full of other organisms, and even our DNA contains DNA of parasites that long ago became incorporated into our system. So lichen gives us a way of thinking about the mutualities that our lives are really made of.John FiegeYeah, and this poem, "Forest," is part of that collection, Twice Alive, where you have "Post-Fire Forest" and other poems related to wildfire and the aftermath of them, and that collection follows on the heels of your previous collection, Be With, which, you know this moving series of eulogistic poems to your late wife. It seems that Be With wrestles with and processes personal grief, while "Twice Alive" adds the element of ecological trauma. How are those two realms of trauma-related phenomena—the personal and the ecological? And how do they play out in the poem?Forrest GanderThe poems of "Be With”… they are so personally painful to me, I couldn't even read from the book after I published it. I think I read twice and then stopped reading from it. And one, as Albert Camus says, you can't live on in a grief or depression that's so terrible that it doesn't leave you with any openings. And so I wanted to find positive things to write about. But we're living during an ecological crisis. So I'm, and I've been writing about that crisis through really most of my adult life. But I wanted to find positive ways of reimagining our relationship with the world and maybe with death also. Because in lichen, and in the metaphor of like, and work, to two or more things come together and are transformed. I thought of human intimacy and the way that my relationship, my close relationships, I'm transformed in those relationships, I become something else. And that thing, which is welded in love, has a durability, and lasts. And in the same way, scientists—some scientists are saying that our whole idea of death comes out of our mammalian orientation. And that may be because some things don't die, and have theoretical immortality, and lichen, given enough nutrients, may be one of those things.John FiegeThat's amazing. How does it make you feel to think about the possibility that there's something that actually has some kind of immortality?Forrest GanderHow does it make us feel? I think it checks what we have always thought we've known. And it checks our instinctual perspective. And that kind of check, I think, is really helpful in terms of how we begin to reimagine our place in a world of other species that are completely different from us, and yet, share so much DNA.John FiegeCan you tell me about the Sangam literary traditions that you've referenced as an important element of your recent work in Eco-poetry?Forrest GanderSure! What brought me to Sangam was looking for other models of relationships between the human and the nonhuman. And it turns out that, you know, 2000 years ago, in Southern India, there was a blossoming of literature, which came to be called Sangam, which means convergence, and that one of the two styles of that poetry, which is called Akam, it was considered not only unethical but impossible to write about human emotions, as though they were independent of the landscape around us, which affects our perceptions. And, it impacts how and what we feel. And so, using that model for poems and finding that the same five landscapes that come up in the Sangam poems are the same five landscapes that one can find in California, where I live, I used those Sangam poems as a kind of model for writing poems that expressed that mutuality of, of the human and the nonhuman in the five landscapes of California in my home.John Fiegeisn't that so satisfying on so many levels to be able to look so far back in history? And to see people encountering the world in ways that are so resonant with the ways you are, we are encountering the world today in a completely different part of the planet, even? It's kind of amazing.Forrest GanderIt is! And yeah, I think it's what we will find everywhere that, you know, the Native Americans in what we now called the United States. They didn't think that these European invaders would last very long because the European invaders hadn't lived for thousands of years, with animals and plants of this continent. And so they thought we would fail. And we have failed, we've failed to live in a way that takes into account our interdependence with the nonhuman world.John FiegeWell, jumping back into the poem, your word choices and juxtapositions and the sounds, and the rhythms of the words in the poem are so powerful. Here's a section that begins at the end of a stanza and carries on to the next, "a force call it nighttime thrusts mushrooms up from their lair." I like this idea of nighttime as a force that has the power to push things up out of the earth. And nighttime is when we rest, but also maybe when we have sex, or maybe when we don't have sex often enough. But how is nighttime of force for you?Forrest GanderBecause there are so many processes, especially plant processes, that take place after the sun goes down. And that often, we're not thinking about night being a reenergizing process for other species. And also, I'm connecting nighttime, and that darkness with the half-buried to the things that go on in the dark, the things that go on underground.John FiegeRight! Well, here's another section I'd like to dig into. If you don't mind me reading, I feel bad reading your poem as you read it so beautifully, but just to go through it again. Like memories, are they or punctuation? Was it something the earth said to provoke a response, tasking us to recall an evolutionary course, our long-ago initiation into the one among others? So in this section of the poem, you shift from third person into first person plural, and we don't exactly know what the 'we' or the 'us' is, but I'm imagining it to be our species collectively speaking with the earth here. I personified a personified Earth. And each of us is merely one among others, one person among other people, but also humans are just one among many other species on the earth. So what's going on here, with the earth being provocative, the shift to first person plural, and to us thinking about our evolutionary course?Forrest GanderSo I'm thinking of mushrooms as kind of exclamation marks that come up and call our attention to the nonhuman, and also how memories are like that, that they pop up from the darkness of our mind into our conscious mind. And that, what they remind us of, what any contact with a nonhuman reminds us of, is our involvement with them; our long ago initiated course as an interdependent species, as a community in a community, that we are one among many others, as you say, and that if we forget that, then we don't take care of the earth because we don't recognize that it's part of taking care of ourselves. And for many human communities and cultures earlier, this was de rigueur, it was understood that, that we were involved. Our lives were educations in how to live with the world around us. But we've become so separated from that in our urban cultures that we need reminding.John FiegeRight, right. Well, and that reminds me of another section of the poem, we have this phrase "newborn noticing." So the stanza it's in is, "and within my newborn noticing, have you popped up beside me, my love? Or were you here from the start?" And I love this idea of newborn noticing it suggests that we're noticing a new, but also noticing, as a newborn does, like Lao says—‘newborn baby, unbiased, undistracted, nonjudgmental.' And this section feels like it touches on our deeply ingrained, anthropocentrism and ignorance of other species, and maybe how poetry can help us notice the world around us more fully, especially the other-than-human world. What is this 'newborn noticing' to you?Forrest GanderRight, I'm so glad you bring up Lao Tzu, also. Lao Tzu says, "Those who are not in constant awe; surely some great tragedy will befall them." And hear the 'newborn noticing,' again, that earlier passage you mentioned, that connects the punctuation to coming out of the ground of the mushrooms, to memories that come out of the darkness of our mind into our conscious mind. That's also the birth of something.John FiegeSo here's... oh, go ahead.Forrest GanderI just like that you've been, I mean, some people ask, you know, what can we do in this environmental crisis, and one of the things we can do is to try to have a chorus of not just scientists and biologists, but a chorus of artists and priests, and poets. And that's what you've been doing: putting together that chorus of responses to our crisis. And I think it's going to take the voices of a lot of people from a lot of different trajectories, to affect any kind of change. So I'm proud of what you're doing.John FiegeYeah, I totally agree. And I'm glad you notice and appreciate that (chuckles). You know, one thing I say all the time is, you know, our environmental discourse is dominated by science, economics, and policy. And those three things are all extremely important, and we have to keep on top of all of them. But it's leaving out the whole rest of the human experience. And if we are not all focused on this problem, and dealing with it in the ways that we know how, and the ways that we know how to interact with the world, we just... we can't get there because the problem is... it's so overwhelming as it is to leave it up to a small portion of the population to address is not sufficient,Forrest GanderRight? Or it would have changed already. And I think what art and poetry and literature can do is add a kind of an emotional and psychological approach to it, that can add it to the science, and can be more convincing,John FiegeRight? And not even just like, a way to convince people, but just a way to, to understand and feel the problem is so much beyond, you know, just a reason-based problem that you can solve or not, you know, but that it's part of who you are and what you value in the world and what you know, get you up out of bed every morning.Forrest GanderThat's beautifully put. Yeah, I agree with you.John FiegeWell, here here's another line I love from the poem, "A swarm of meaning and decay." And this goes back to that cyclical view of life and death; birth and decomposition. And it also brings in this concept of meaning—this thing that humans are obsessed with. Our perpetual question of why—what is the meaning of life? And so much of the foundation of our understanding of meaning is bound up in the perpetuation of life. And oftentimes, in the avoidance of death, despite the need for death to bring life. Can you talk more about this "swarm of meaning and decay?"Forrest GanderSo the "swarm of meaning and decay" comes just a moment after my "newborn noticing." And here, the poem merges the human—we don't really know for sure whether I'm talking about human beings, or I'm talking about other forms of life that are emerging from the underworld, like fungus, for instance. And in that merging of subjectivity and world, I'm trying to emphasize how the human life and the processes of the life—lives that aren't human—are completely related to each other. It's interesting to me that the kind of poetry that I write is sometimes categorized as eco-poetry, the idea of Eco-poetry is that there might be a way of writing in which human subjectivity and the non-human aren't so discrete from each other and that we might be able to show in writing, a different way of experiencing, or really, the real way of experiencing our relationships with otherness, which is that our subjectivities merge into otherness. That we're made of multiple creatures and were made by multiple interactions with the world. And I think that's what art has always done, is that it's expanded our way of thinking of the human.John FiegeDefinitely, definitely. Well, let me jump into the last two stanzas in the poem, which read, "And abundance floods us floats us out, we fill each with the other all morning breaks as songbird over us who rise to the surface, so our faces might be strong." And again, there's so much richness in this language. But to start off with, how does abundance, both flood us and float us?Forrest GanderWell, our lives are abundant; the world is abundant. And that sense of merging with another in intimacy, in love, and merging with the world is a sense of expanding. This, you know, the notion of the self, and that's an abundance, it's recognizing our collaborative relationship with otherness. And it floats us out of ourselves so that we're not locked into our own minds, our own singular psyches, we fill with each other. And then again, here, the syntax is working in two ways. We fill with each other, we fill with the other "all morning". And then we revise that as we, as we make that break. We fill with the other "all morning breaks as birdsong over us." And I'm thinking here about how human beings, Homo sapiens, from the start, almost all of human beings have experienced birdsong since we were born, since early in our lives. We've grown up with the songs of birds infused in our minds, in our hearing. And how much of a part of us birdsong is. We're rising to the surface like the mushrooms coming from underground to blossom so that our faces might be sprung. And here again, the human and the nonhuman? Am I talking about mushrooms here? Or am I talking about human beings? I'm purposely talking about both in a way that is perhaps indistinguishable.John FiegeAnd as you mentioned, the poem starts with the imagery of the mushrooms thrusting upward. And then, at the end here, it seems that the we in the poem rises to the surface. And the last line of the poem is, so our faces might be sprung. This sense of emergence comes to that most intimate thing—our faces—and this vague 'we' suddenly has a face. And we are like flowers or emergent mushrooms in the nighttime. Where does this poem leave you? And how do you think about where you'd like to leave the reader at the end?Forrest GanderI think in that uncertainty about where the human and where the non-human begins, I think that's the strategy of the poems, which is presenting not some romantic notion of our involvement with others, but I think a form of realism, it's recognizing that our involvement with otherness is entire, that were composed of otherness. So I think the feeling of what a mushroom is, is just the face, it's this little—fruited body, they call it—of an organism that's underground that we don't see at all. And, in a way, that's what our lives are also: this brief flourishing of the face of something that's connected to a body that's much larger than ours. And that ambiguous space is what I'm interested in, in thinking about.John FiegeAnd does that noticing or that knowledge calls us to do something? In particular, do you think?Forrest Gander  32:43Well, I don't want to turn the poem into a didacticism. But the poem presents a vision. And that vision can contribute to the way that we see ourselves in the world. And the way we see ourselves in the world forces us to make ethical decisions about how we are and what we do. So in, I want to provide a vision or share a vision. And I want readers to do with it what they feel called upon to do. There have been different ways that we've understood our relationship and our role in a living Earth, through time and in different cultures. And the worldview that we have now, which is using the Earth very transactional, can be changed. And that art can inspire us to imagine those kinds of changes. In some ways, we're like the yeast that gets put with grapes to make wine. The yeast, which is a fungus, eats the sugar, and it secretes basically alcohol. That's what where we get alcohol from, and it proliferates and proliferates, and keeps producing alcohol until at about 13%. The yeast kills itself it dies because it can't live with an alcohol content greater than that. And we're like that yeast on this earth. We're using up all of the resources, and we're proliferating, and pretty soon, there's not going to be room for us to live on the world will pollute ourselves out of existence, and the world will go on. It's just that we won't be part of it.John FiegeThat's a beautiful place to end; with yeast, and lichen, and erogenous zones. All swirling around together. Can you end by reading the poem once again?Forrest GanderSure. So, 'forest' is one of the five major landscapes that appear in the Sangam poems.[See poem as transcribed above]John FiegeForrest, thank you so much. This has been wonderful.Forrest GanderThanks a lot, John. I'm really pleased to be a part of your series and to be part of the chorus of voices that you're putting together.John FiegeAnd it's a beautiful voice that you've brought to it. OutroJohn FiegeThank you so much to Forrest Gander. Go to our website at chrysalispodcast.org, where you can read his poem "Forrest" and find our book and media recommendations. This episode was researched by Elena Cebulash and edited by Brody Mutschler and Sophia Chang. Music is by Daniel Rodriguez Vivas, mixing is by Juan Garcia. If you enjoyed my conversation with Forrest, please rate and review us on your favorite podcast platform. Contact me anytime at chrysalispodcast.org, where you can also support the project, subscribe to our newsletter, and join the conversation. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.chrysalispodcast.org

For many religious people, the pandemic accelerated a decline in institutional allegiance and trust that was already well underway. Many Catholics stopped attending Mass and still haven't returned. One figure who thinks deeply about the contemporary decline in religious practice and affiliation is Irish poet and theologian Pádraig Ó Tuama, host of the weekly podcast Poetry Unbound and author of the new book Being Here: Prayers for Curiosity, Justice, and Love. On this episode, he joins associate editor Griffin Oleynick for a conservation sparked by this collection of ‘anarchic' prayers. Touching on the Church's difficult relationship with women, LGTBQ people, and abuse victims, Ó Tuama testifies to the peace and freedom made possible by laying down “the burden of belief.” For further reading:  A collection of essays on staying in and leaving the Church Christian Wiman on poetry in the Bible A profile of the poet Fanny Howe

This episode's got Aaron sweating, then Miguel Murphy joins the queens for some flaming hot poetry takes.Review Breaking Form on Apple Podcasts here. Please support Breaking Form and buy Aaron's and James's  books:Aaron's STOP LYING is available from the Pitt Poetry Series. James's ROMANTIC COMEDY is available from Four Way Books.Or, if you'd like to shop indie, we recommend Loyalty Bookstores, a DC-area Black-owned bookshop.Read a recent Beckian Fritz Goldberg poem. Or listen to her read at the University of Arizona Poetry Center (from In the Badlands of Desire and Never Be the Horse).Rilke recalled: "I had to wear beautiful long dresses, and until I started school I went about like a little girl. I think my mother played with me as though I were a big doll." Speaking of dolls, read Eva-Maria Simms's article "Uncanny Dolls: Images of Death in Rilke and Freud" in New Literary History here.The Bernadette Mayer book Aaron references is Midwinter Day (New Directions, reissued the original 1982 book in 1999). Read more about the book's composition (in one day, as Aaron says) in this interview with Mayer conducted by Fanny Howe. Read more about Eric McHenry's discovery of Langston Hughes's real birthdayHeather McHugh's poem that Aaron references is "I Knew I'd Sing" from her first book, Dangers. Visit McHugh's website: https://www.heathermchugh.comFor more about gay sincerity, here's a Gawker article by Paul McAdory called "Gay Sincerity is Scary" and has a tagline that is too shady to not quote: "When it comes to popular gay fiction, on earth we're briefly cringe." Visit the online Whitman archive (which documents the many, many photographs of Whitman, many of them nudes), thus validating what Miguel says when he calls Walt our first Instagram poet.Richard Hugo talks about public and private poets in his essay "The Triggering Town"Read Plath's "Letter in November" and her poem "Berck-Plage" or listen to her read that poem here. Miguel references Lucille Clifton's poem "Leaving Fox," which begins "so many fuckless days and nights."

City Lights presents Eileen Myles, joined by Fanny Howe, Maggie Nelson, Camille Roy, Laurie Weeks, Simone White, Frank Wilderson, and Jillian Weise, celebrating the publication of "Pathetic Literature," edited by Eileen Myles and published by Grove Atlantic. This event was originally broadcast via Zoom and hosted by Peter Maravelis. You can purchase copies of "Pathetic Literature" directly from City Lights here: https://citylights.com/pathetic-lit/ “Literature is pathetic.” So claims Eileen Myles in their bold and bracing introduction to "Pathetic Literature," an exuberant collection of pieces ranging from poetry to drama to prose to something in between, all of which explore those so-called “pathetic” or sensitive feelings around which lives are built and revolutions are incited. From confrontations with suffering, embarrassment, and disquiet, to the comforts and consolations of finding one's familiar double in a poem, "Pathetic Literature" is a swarming taxonomy of ways to think differently and live pathetically on a polarized and fearful planet. To learn more about Eileen Myles and the other participants, visit: https://citylights.com/events/eileen-myles/ This event was made possible by support from the City Lights Foundation: citylights.com/foundation

On February 28, 2023, The Lannan Center hosted a reading and talk featuring poets Kazim Ali and Fanny Howe.Kazim Ali was born in the United Kingdom and has lived transnationally in the United States, Canada, India, France, and the Middle East. His books encompass multiple genres, including the volumes of poetry Inquisition, Sky Ward, winner of the Ohioana Book Award in Poetry; The Far Mosque, winner of Alice James Books' New England/New York Award; The Fortieth Day; All One's Blue; and the cross-genre texts Bright Felon and Wind Instrument. His novels include the recently published The Secret Room: A String Quartet and among his books of essays are the hybrid memoir Silver Road: Essays, Maps & Calligraphies and Fasting for Ramadan: Notes from a Spiritual Practice. He is also an accomplished translator (of Marguerite Duras, Sohrab Sepehri, Ananda Devi, Mahmoud Chokrollahi and others) and an editor of several anthologies and books of criticism. He is currently a Professor of Literature at the University of California, San Diego. His newest books are a volume of three long poems entitled The Voice of Sheila Chandra and a memoir of his Canadian childhood, Northern Light.Fanny Howe is the author of over twenty books of poetry and prose including Love and I (2019), The Needle's Eye (2016), Second Childhood (2014), Come and See (2011), On the Ground (2004), Gone (2003), Selected Poems (2000), Forged (1999), Q (1998), One Crossed Out (1997), O'Clock (1995), and The End (1992). The recipient of the 2002 Lenore Marshall Poetry Prize for Selected Poems (2000), she has also won awards from the National Endowment for the Arts, the National Poetry Foundation, the California Council for the Arts and the Village Voice, as well as fellowships from the Bunting Institute and the MacArthur Colony. Howe was shortlisted for the Griffin Poetry Prize in 2001. A creative writing teacher of note, Howe has lectured at Tufts University, Emerson College, Columbia University, Yale University and the Massachusetts Institute of Technology. She is Professor Emerita of Writing and Literature at the University of California, San Diego.Music: Quantum Jazz — "Orbiting A Distant Planet" — Provided by Jamendo.

(May 19) Elana Bell is the author of Mother Country (BOA Editions in 2020), poems about fertility, motherhood, and mental illness. She is also the founder of the Mother-Artist Salon, a virtual community dedicated to supporting mothers in their artistic practice. Elana's debut collection of poetry, Eyes, Stones (LSU Press 2012), was selected by Fanny Howe as the winner of the 2011 Walt Whitman Award from the Academy of American Poets, and brings her complex heritage as the granddaughter of Holocaust survivors to consider the difficult question of the Israeli-Palestinian conflict.Writer Mother Monster is a conversation series devoted to dismantling the myth of having it all and offering writer-moms solidarity, support, and advice as we make space for creative endeavors. Each episode is streamed live on Facebook and YouTube, then archived right here as an audio podcast.Support the show

Last week, Graywolf Press released Civil Service, the debut poetry collection by Jewish Currents Culture Editor Claire Schwartz. The book is a daring study of the violence woven into our world, from everyday encounters to the material of language itself. The poems unfold in three main sequences: a quartet of lyric lectures, a fragmentary narrative that follows a cast of archetypal figures named for the coordinates of their complicities with power—the Dictator, the Curator, the Accountant, and so on—and a series of interrogation scenes centered on a spectral, fugitive figure named Amira, who gives us a glimpse of another world. To celebrate the release of Civil Service, Schwartz spoke with Managing Editor Nathan Goldman and the book's editor at Graywolf Press, Chantz Erolin, about the book, as well as poems by Paul Celan and Edmond Jabès that deeply informed it. They discussed dispersed responsibility for state violence, thinking as feeling, and the political possibilities of poetry. Works Mentioned: https://bookshop.org/a/1530/9781644450949 (Civil Service) by Claire Schwartz “https://granta.com/lecture-on-loneliness/ (Lecture on Loneliness)” by Claire Schwartz “https://www.sas.upenn.edu/~cavitch/pdf-library/Freud_MourningAndMelancholia.pdf (Mourning and Melancholia)” by Sigmund Freud “https://apogeejournal.org/2016/09/06/the-felt-house-that-moves-us-a-conversation-with-saretta-morgan/ (The Felt House That Moves Us: A Conversation with Saretta Morgan),” a conversation with Muriel Leung and Joey De Jesus “https://sahityaparikrama.weebly.com/uploads/1/2/0/9/120943912/the_concept_of_character_in_fiction_william_gass.pdf (The Concept of Character in Fiction)” by William H. Gass The Souls of Black Folk by W.E.B. Du Bois “https://poets.org/poem/death-fugue (Death Fugue)” by Paul Celan, trans. Pierre Joris “https://poets.org/poem/stretto (Stretto)” by Paul Celan, trans. Pierre Joris “https://jewishcurrents.org/celans-ferryman (Celan's Ferryman),” a conversation between Fanny Howe and Pierre Joris Voyage of the Sable Venus by Robin Coste Lewis “https://lithub.com/robin-coste-lewis-black-joy-is-my-primary-aesthetic/ (Robin Coste Lewis: ‘Black Joy is My Primary Aesthetic,')” a conversation between Claire Schwartz and Robin Coste Lewis The Book of Questions by Edmond Jabès, trans. Rosmarie Waldrop “https://tinhouse.com/podcast/rosmarie-waldrop-the-nick-of-time/ (Rosmarie Waldrop: The Nick of Time),” a conversation with David Naimon  Austerlitz by W.G. Sebald, trans. Anthea Bell “https://nourbese.com/wp-content/uploads/2020/03/Gasp.pdf (The Ga(s)p)” by M. NourbeSe Philip “https://www.newyorker.com/culture/persons-of-interest/fred-motens-radical-critique-of-the-present (Fred Moten's Radical Critique of the Present)” by David S. Wallace Minima Moralia by Theodor Adorno Reconsidering Reparations by Olúfẹ́mi O. Táíwò “https://jewishcurrents.org/assuming-the-perspective-of-the-ancestor (Assuming the Perspective of the Ancestor),” a conversation between Claire Schwartz and Olúfẹ́mi O. Táíwò “https://lithub.com/perennial-a-poem-by-claire-schwartz/ (Perennial)” by Claire Schwartz Thanks to Jesse Brenneman for producing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).”

The wings poetry came give you….

Recorded by Fanny Howe for Poem-a-Day, a series produced by the Academy of American Poets. Published on September 3, 2021. www.poets.org

Production and Sound Design by Kevin Seaman

The conversation: How might attention be considered as a connecting point between contemporary dance practice and Craniosacral Biodynamics? With this question in mind, Michaela invites guest Laressa Dickey to speak about the points of overlap she has found between working with language, movement and in therapeutic settings. Together they discuss some of the basic and more complex principles fundamental to Craniosacral Biodynamics, beginning to explore more broadly the ways that this work can inform our sense of ourselves both in life and as applied to movement-based artistic practice. They also discuss:- interdisciplinary artistic practice: tensions/mysteries between forms as generative gaps- compositional resonance between dance and creative writing- rethinking the traditional client-practitioner relationship- improvisationInterviewee: Laressa Dickey's artistic work lands in the fields of writing, movement/performance, and bodywork. She has published four books of poems as well as several chapbooks. Together with sound artist Andrea Steves, Dickey published RADIO GRAVEYARD ORBIT (Sming Sming), a speculative artist's book about space junk. Her collaborative installation with Ali Gharavi, How to Pass Time with No Reference, was included in the Bergen Assembly 2019. Along with Magdalena Freudenschuss, she was commissioned by Bergen Assembly to create a series of feminist essays on the politics of care, entitled: Re:assembling Emotional Labor: On the Politics of Care. Since 2005, she's been using movement improvisation and performance to inform her writing practice, and vice versa. Her bodywork is influenced by Biodynamic Craniosacral Therapy, Body Mind Centering studies, Amerta Movement and an attuned, empathetic imagination.Interviewer: Michaela Gerussi is a Canadian dance artist based between Tkaronto (Toronto, Canada) and London, UK. Michaela's dance practice is nourished by her inquiry into the nervous system, interoception and attunement, in relation to her studies in Biodynamic Craniosacral therapy. Her work considers shifting relationships between people, places and materials, layering subtle perceptual detail with a functional, dynamic approach to movement. Her collaborative performances, intermedia and site-specific works have been presented in Montreal (QC), Toronto (ON), Sherbrooke (QC), Buffalo (NY) and Berlin (DE). She is currently completing an MFA in Creative Practice, based in London at Trinity Laban and Independent dance.Read more:- Suprapto Suryodarmo and Amerta Movement (https://www.amertamovement.co.uk/)- Bettina Mainz (http://www.bettinamainz.de/)- Body Mind Centering (https://www.bodymindcentering.com/)- Deep Listening, founded by composer Pauline Oliveros (https://deeplistening.org/)- Biodynamic Craniosacral Therapy in the UK http://www.cranio.co.uk/Keywords:Paula Mann, Bebe Miller, Joe Goode, Patricia Brown, Myung-Mi Kim, Fanny Howe, Biodynamic Craniosacral therapy, contemporary dance practice, somatic practice, Body Mind Centering, Laressa Dickey, writing

This episode - The Season Two Premiere of The SpokenWeb Podcast - chronicles different phases in the evolution of Deep Curation as a poetry reading curation practice, from its earlier iterations with Klara merely choosing the poems read by the authors and the order of their presentation, to its more robust form, with excerpted and intertwined works creating a thematic, cohesive arc. Poets featured from Deep Curation archival audio, include Lee Ann Brown, Margaret Christakos, Kaie Kellough, Sawako Nakayasu, Deanna Radford, and Erin Robinsong.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Episode Producers:Klara du Plessis is a third year PhD student in English at Concordia University and one of the governing board student representatives of the SpokenWeb research team. She experiments with a new practice of literary event organization called a Deep Curation, navigating the texts presented and their strategic, thematic arc. Klara's debut collection of multilingual long poems, Ekke, won the 2019 Pat Lowther Memorial Award, was shortlisted for the Gerald Lampert Memorial Award, and garnered much critical acclaim. Her second book-length narrative poem, Hell Light Flesh, is freshly released, September 2020 from Palimpsest Press.Jason Camlot's recent works include Phonopoetics: The Making of Early Literary Recordings (Stanford 2019), the co-edited collection, CanLit Across Media: Unarchiving the Literary Event (with Katherine McLeod, McGill-Queen's UP, 2019), and the article, “The First Phonogramic Poem: Conceptions of Genre and Media Format, circa 1888” in the open access journal, BRANCH: Britain, Representation and Nineteenth-Century History (February 2020). He is the principal investigator and director of The SpokenWeb, a SSHRC-funded partnership that focuses on the history of literary sound recordings and the digital preservation and presentation of collections of literary audio.  He is Professor of English and Tier I Concordia University Research Chair in Literature and Sound Studies at Concordia U in Montreal.Voices Heard:Lee Ann Brown, Margaret Christakos, Isis Giraldo, Kaie Kellough, Kate Lilley, Sawako Nakayasu, Deanna Radford, Erin RobinsongPrint References:Bernstein, Charles. ed. Close Listening: Poetry and the Performed Word. New York: Oxford University Press, 1998.Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du Réel, 2009.Brown, Lee Ann. In the Laurels, Caught. Albany: Fence Books, 2013.Christakos, Margaret. charger. Vancouver: TalonBooks, 2020.du Plessis, Klara. “Santa Cova Muscles.” Unpublished.Kellough, Kaie. Magnetic Equator. Toronto: Penguin Random House, 2019.Longair, Sarah. “Cultures of Curating: the Limits of Authority.” Museum History Journal 8.1 (2015): 1-7.Middleton, Peter. “How to Read a Reading of a Written Poem.” Oral Tradition 20.1 (March 2005): 7-34. Web. 25 December 2016.Nakayasu, Sawako. Texture Notes. Seattle: Letter Machine Editions, 2010.Obrist, Hans Ulrich and Asad Raza. Ways of Curating. New York: Faber and Faber, 2014.Radford, Deanna. Poems. Unpublished.Robinsong, Erin. Rag Cosmology. Toronto: Book*Hug, 2017.Rogoff, Irit. “Curating/Curatorial.” Ed. Beatrice von Bismarck, Jörn Schafaff, and Thomas Weski. Cultures of the Curatorial. Berlin: Sternberg Press, 2012. 19-38.Vidokle, Anton. “Art without Artists?” Ed. Beatrice von Bismarck, Jörn Schafaff, and Thomas Weski. Cultures of the Curatorial. Berlin: Sternberg Press, 2012. 216-226.Wheeler, Lesley. Voicing American Poetry: Sound and Performance from the 1920s to the Present. Ithaca: Cornell University Press, 2008.Poetry Recordings:Deep Curation 4th Space. Feat. Margaret Christakos, Kaie Kellough, Deanna Radford. 7 November 2019. Personal archive.Deep Curation Boston University. Feat. Lee Ann Brown, Fanny Howe, Sawako Nakayasu. 30 January 2020. Personal archive.Deep Curation Mile End Poets' Festival. Feat. Aaron Boothby, Klara du Plessis, Canisia Lubrin, Erin Robinsong. 24 November 2018. Personal archive.Sir George Williams Reading Series. Feat. Jackson Mac Low. 26 March 1971. https://montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#1Four Horsemen. Two Nights. 9 and 10 October 1987. http://writing.upenn.edu/pennsound/x/4-Horsemen.phpAmbient Sounds:Cmusounddesign. “02 Museum.” 03:02. 29 November 2009. Attribution License. https://freesound.org/people/cmusounddesign/sounds/84529/Ecfik. “Museum Ambiences.” 01:16. 2 August 2019. Creative Commons 0 License. https://freesound.org/people/ecfike/sounds/478349/Pastabra. “Lounge tea party: Ambience.” 03:21. 31 October 2016. Attribution License. https://freesound.org/people/Pastabra/sounds/366194/Wilhelmsqueek. “Cutting_Croissant_ST.” 00:20. 9 June 2016. Creative Commons 0 License. https://freesound.org/people/wilhelmsqueek/sounds/347384/Music:“Manny in Sound” by Blue Dot Sessions (www.sessions.blue). Attribution Noncommercial License.“Turning to You” by Blue Dot Sessions (www.sessions.blue). Attribution Noncommercial License.Tuned Down and Slowed “Turning to you” by Blue Dot Sessions (www.sessions.blue). Attribution Noncommercial License. Manipulations by Jason Camlot 

Love and I, poems by Fanny Howe, about love, the failure of love, and the transformation of love over the years.

Production and Sound Design by Kevin SeamanOne Night in BalthazarBy Fanny Howe The hotel bar downstairswas dirty and dark and almost emptyexcept for him whom I didn’t know I lost my balancebecause evil is aroused by absence  Outside on the islanda brick city had grown up and old A person could only nibble on its shadows  Where was my beloved? The cornerstone was familiarbut unrecognizableand I didn’t understand why infinity was seeping into my hair   Somebody said:“He’s out of his bottle” I guess it meantTemporarily out of service and empty. But then there was Arsenebeside the last remaining cabinwandering with his eyes on the camera  Dynamite in his pocketand a piece of thread to trap a rabbit.  Evil is a growing thingIt has its own gravityand never answers to its nameIt is a hole into chaos. It is real Arsene held me in his armsHe was drunk as usualand his nipple smelled of rum But still I loved him—loved him madly!—as if he was the one

Set in transit even as they investigate the transitory, the cinematic poems in Love and I move like a handheld camera through the eternal, the minds of passengers, and the landscapes of Ireland and America. From this slight remove, Fanny Howe explores the edge of “pure seeing” and the worldly griefs she encounters there, cast in an otherworldly light. These poems layer pasture and tarmac, the skies above where airline passengers are compressed with their thoughts, and the ground where miseries accumulate, alongside comedies, in the figures of children in a park. Love can do little but walk with the person and suddenly vanish, and that recurrent abandonment makes it necessary for these poems to find a balance between seeing and believing. For Howe, that balance is found in the Word, spoken in language, in music, in and on the wind, as invisible and continuous lyric thinking heard by the thinker alone. These are poems animated by belief and unbelief. Love and I fulfills Howe's philosophy of Bewilderment. Howe is in conversation with Martha Ronk, author of 11 books of poetry and one book of short stories, Glass Grapes.

Fanny Howe gives away the secret to being cavalier and brave.

Conversion is never neat and tidy. We like to think of “the new life” as a radical break from the past. But in reality the threads of our prior lives—both good and bad—are woven into our present. Few know this as well as Megan Phelps-Roper, author of the new memoir Unfollow, and a former member of the now-infamous Westboro Baptist Church. She talks with us about her formative early years in that community, as well as her faith journey since, in which she's discovered spiritual freedom and a growing comfort with uncertainty. Plus, Dominic and the Commonweal staff chat about the new Fall Books issue, which features a profile of Catholic poet Fanny Howe.

The editors discuss Fanny Howe’s poem “The Definitions” from the March 2019 issue of Poetry.

Iranian-American poet Kaveh Akbar’s debut collection Calling a Wolf a Wolf (Penguin) has been attracting ecstatic reviews and endorsements. The poet Fanny Howe writes ‘The struggle from late youth on, with and without God, agony, narcotics and love, is a torment rarely recorded with such sustained eloquence and passion as you will find in this collection’. Kaveh Akbar was joined in reading and conversation by Richard Scott, whose debut collection Soho (Faber) paints an uncompromising portrait of love and shame in contemporary London. See acast.com/privacy for privacy and opt-out information.

In a program from 2009, Andrew talks with poet and essayist Fanny Howe, recipient of the Ruth Lilly Poetry Prize from The Poetry Foundation, publishers of Poetry magazine [...]

Wednesday Reading Series Benjamin Hollander was born in Haifa, Israel and as a boy immigrated to New York City. He presently lives on the west coast of North America. His books include: In the House Un-American (Clockroot Books/Interlink Publishing, Spring 2013); Memoir American (Punctum Books, Spring 2013); Vigilance (Beyond Baroque Books, 2005); Rituals of Truce and the Other Israeli (Parrhesia Press, 2004); The Book of Who Are Was (Sun & Moon Press, 1997); How to Read, Too (Leech Books, 1992); and, as editor, Translating Tradition: Paul Celan in France (ACTS, 1988). Of his newest book, In The House Un-American, the poet David Shapiro says: “It is difficult to speak of Benjamin Hollander's masterpiece, so America, so like an inner emigration, as if we had all changed names….A book of this order comes very rarely to our consciousness; we are so censorious of new genres….[T]his book exists as music barely heard in the air becomes music of our ground, grain.” Fanny Howe has written numerous books of fiction, essays and poetry and has won a Guggenheim Fellowship, a Lenore Marshall Award and the Ruth Lilly Lifetime Achievement Award, among others. Her most recent collection of poetry Second Childhood was published by Graywolf Press. She is currently a Visiting Writer at Brown University.

Hosted by Al Filreis and featuring Rae Armantrout, Laynie Browne, and Kerry Sherin Wright.

Laynie Browne, Rae Armantrout, and Kerry Sherin Wright join Al Filreis to discuss two short poems by Fanny Howe, "The Descent" and "The Source."

This week: While at CAA Duncan was up to some funny business in his hotel room. No, no, not that, he was (with the assistance of the talented Anthea Black) interviewing the multi-talented author, filmmaker, Chris Kraus. Kraus spent her childhood in Connecticut and New Zealand. After obtaining a BA at a young age from Victoria University of Wellington, New Zealand, Kraus worked as a journalist for five years, and then moved to New York. Part of the city's then-burgeoning art scene, Kraus made films and video art and staged performances and plays at many venues. In the late 1970s she was a member of The Artists Project, a City-funded public service venture of painters, poets, writers, filmmakers and dancers. Her work as a performance and video artist satirized the Downtown scene's gender politics and favored literary tropes, blending theatrical techniques with Dada, literary criticism, social activism, and performance art. Kraus continued to make films through the mid 1990s. Since 2007 Chris Kraus is a professor of film at European Graduate School in Saas-Fee, Switzerland. She now lives in Los Angeles. Semiotext(e) Native Agents Series Kraus founded the Semiotexte Native Agents imprint to publish fiction, mostly by women, as an analogue to French theories of subjectivity. In addition to groundbreaking works of fiction by writers like Michelle Tea and Ann Rower, Native Agents has published notable volumes of poetry and prose by Eileen Myles, Barbara Barg, and Fanny Howe, as well as memoirs and interviews by Kathy Acker, Bob Flanagan, David Rattray, and William Burroughs.

I and you have been thinking of a poetry superbowl, an all star-team, Emily Dickinson, wide receiver (“the spreading wide my narrow hands to gather paradise”), QB, is it Emerson, calling the plays for The Poet? Yes, Walt, you’re the … Continue reading → The post EMILY DICKINSON AS WIDE RECEIVER (“SPREADING WIDE MY NARROW HANDS TO GATHER PARADISE”), EMERSON AS COACH, QB TENNYSON/HOMER, SAFETY WILLIAM BLAKE (“KISSING THE JOY AS IT FLIES”), RUNNING BACK FANNY HOWE, TACKLE PHILIP METRES, KICKER A. POPE, COLOR JACK COLLOM, ET.AL: POETRY SUPERBOWL ROSTER (including but not limited to Lisa Robertson, Laura Kasischke, Zackary Schomburg, Richard Blanco, Louis Jenkins, Milton, Dante, e.e. cummings (“leaping greenly spirits”) and listener scouts nominees, T.S Eliot, Dorothy Parker, Dr. Seuss, e.e. cummings, Bukowski, Dorianne Laux, Kim Addonnizo, AND RINGER (“STINGS LIKE A BEE”): POETRY SUPERBOWL ROSTER first appeared on Dr. Barbara Mossberg » Poetry Slowdown.