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3 episodes with frank o'hara
3 episodes with frank o'hara
4 episodes with frank o'hara
3 episodes with frank o'hara
2 episodes with frank o'hara
2 episodes with frank o'hara
3 episodes with frank o'hara
2 episodes with frank o'hara
For Grace, After A Party by Frank O Hara
We welcome internationally bestselling author, Stephanie Danler, to discuss Stray, her memoir of growing up in a family shattered by lies and addiction, and of her attempts to find a life beyond the limits of her past. ** We start by discussing how Stray was not the most obvious follow-up to her bestselling novel, Sweetbitter, and how she knew this was what she needed to write next (even though she didn’t want to). (01:40) ** We discuss a powerful passage from Stray in which Stephanie touches on her impulse to destroy and how she continually fights her self-destructive impulses. (04:45) ** Stephanie shares how motherhood has been about shedding identities and made her question who she is, and also how the expectations of motherhood differed wildly from her own experiences. (10:30) ** We then discuss how motherhood is the craziest, most awe-inspiring thing we’ve ever done, but also how we need to leave more space for discussions around the challenges, shock and confusion of motherhood. (13:45) ** In writing Stray, Stephanie wrote from her wounds, those hot spots of shame and pain. We absolutely loved hearing Stephanie’s advice on how to find those places and write from them. (23:05) ** Stephanie excels at distilling people into two types: this one is people who trust the world and people who don't. In the beginning she wasn't sure if the Love Interest would last, but a passage in Stray reveals the answer as to how she keeps moving forward in her relationship. (26:35) ** We discuss one of our favorite topics -- the unlikeable female protagonist -- and get Stephanie’s take on whether we’ve made any progress since Tess in Sweetbitter. (31:51) ** Of course we discuss astrology with Stephanie … the three of us making a fire sign trifecta of Sagittarius, Aries and Leo! Stephanie shares what it’s like to live in a house full of fire signs! (37:45) ** Stephanie reads a passage from Stray about her Southern California mysticism and we discuss whether she still embraces that skepticism. (41:15) ** Stephanie reads a portion of Frank O’Hara’s poem “Mayakovsky” and tells us why she chose to open her memoir with this particular piece of poetry, as well as the role poetry has played in her writing life. (44:05) ** Stephanie shares the books she's reading and gives us an update on the various projects she is working on right now. Follow us on Instagram and Facebook @popfictionwomen and on Twitter @pop_women. To do a full deep dive, check out our website at http://www.popfictionwomen.com (www.popfictionwomen.com). Stay Complicated! We’ve launched a platform at patreon.com/popfictionwomen to keep making the podcast you love -- and to make it even better. Support this podcast
is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne or being sick to my stomach on the Travesera de Gracia in Barcelona partly because in your orange shirt you look like a better happier St. Sebastian partly because of my love for you, partly because of your love for yoghurt partly because of the fluorescent orange tulips around the birches partly because of the secrecy our smiles take on before people and statuary it is hard to believe when I'm with you that there can be anything as still as solemn as unpleasantly definitive as statuary when right in front of it in the warm New York 4 o'clock light we are drifting back and forth between each other like a tree breathing through its spectacles and the portrait show seems to have no faces in it at all, just paint you suddenly wonder why in the world anyone ever did them I look at you and I would rather look at you than all the portraits in the world except possibly for the Polish Rider occasionally and anyway it's in the Frick which thank heavens you haven't gone to yet so we can go together for the first time and the fact that you move so beautifully more or less takes care of Futurism just as at home I never think of the Nude Descending a Staircase or at a rehearsal a single drawing of Leonardo or Michelangelo that used to wow me and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank or for that matter Marino Marini when he didn't pick the rider as carefully as the horse it seems they were all cheated of some marvelous experience which is not going to go wasted on me which is why I'm telling you about it Twitter：@camelliayang Instagram：@camelliayang Clubhouse: @camelliayang Website: https://www.camelliayang.com/
Canción inspirada en “Poem (Á la recherche de Gertrude Stein)”, de Frank O’Hara. Letra, música, voz y guitarra: Dani Zelko. Voz y guitarra: Vero Mercado. Grabada en un mensaje de WhatsApp en 2020 en Buenos Aires.
Översättning: Gunnar Harding Urval och uppläsning: Lina Ekdahl Diktsamling: "Till minne av mina känslor" Rallarros förlag MUSIK George Gershwin: Preludium nr 2 ciss-moll EXEKUTÖR Angela Brownridge, piano
Season 2 has arrived! In S2E1, “For Those Who Think Young,” Kristina and Elias settle back in and make Raspberry Champagne Floats and Stingers (drink lesson starting at 2:31) before jumping ahead over a year to Valentine’s Day 1962 (episode recap & discussion starting at 5:28). Kristina presents her Mt. Rushmore of Holidays and recalls a fond college memory. Then, Kristina and Elias celebrate Sterling’s return, discuss the different types of horse people, and try to parse Jackie Kennedy’s spell over every woman in the show. Follow us: https://www.instagram.com/madmenandtonic/ Meditations in an Emergency by Frank O’Hara (1957), including the opening Poem, Les Éttiquettes Jaunes https://www.amazon.com/Meditations-Emergency-Frank-OHara/dp/0802134521 Raspberry Sorbet Champagne Float: https://www.thecookierookie.com/raspberry-pink-champagne-floats/ Stinger cocktail: https://www.allrecipes.com/recipe/222899/stinger-cocktail/ Lost New York City blog about “steak row” http://lostnewyorkcity.blogspot.com/2009/07/remembering-steak-row.html Our Favorite Companion Book, Mad Men Carousel by Matt Zoller Seitz https://www.amazon.com/Mad-Men-Carousel-Paperback-Companion/dp/1419729462/ref=sr_1_2?crid=3FK6CVJ9J7PLA&dchild=1&keywords=mad+men+carousel&qid=1603901501&s=books&sprefix=mad+men+car%2Cstripbooks%2C184&sr=1-2 Elway’s Cherry Creek; https://www.elways.com/cherry-creek-home/ Duchess Megan looking at Prince Harry: https://i.insider.com/5b0321375e48ec73068b458a?width=1800&format=jpeg&auto=webp What’s My Age Again by Blink-182 (NSFW) https://www.youtube.com/watch?v=K7l5ZeVVoCA Kiss Me by Sixpence None the Richer: https://www.youtube.com/watch?v=8N-qO3sPMjc Other Sources: https://en.wikipedia.org/wiki/Lut%C3%A8ce_(restaurant) https://en.wikipedia.org/wiki/BUtterfield_8 https://en.wikipedia.org/wiki/Savoy-Plaza_Hotel https://en.wikipedia.org/wiki/Millennium_Biltmore_Hotel https://en.wikipedia.org/wiki/Vichyssoise https://en.wikipedia.org/wiki/Hooters_Air --- Send in a voice message: https://anchor.fm/mad-men-tonic/message
'Meditations in an Emergency' by Frank O'Hara read by Conner Milliken. 'Meditations in an Emergency' is the titular poem from the collection first published by Grove Press in 1957. A transcript can be found at https://www.poetryfoundation.org/poetrymagazine/poems/26538/meditations-in-an-emergency More from Conner Milliken can be found at https://cnnrmllkn.com and https://twitter.com/cnnrmllkn?s=20
Production and Sound Design By Kevin Seaman
No siempre percibís cómo me siento. Anoche, al aire cálido de la primavera, mientras yo le soltaba una diatriba incendiaria a alguien que no me interesa, lo que a mí me inflamaba era mi amor por vos, ¿no es raro? porque en habitaciones llenas de desconocidos mis sentimientos más tiernos se retuercen y dan el fruto de los gritos. Alargá la mano, ¿no aparece de repente un cenicero, ahí? ¿al lado de la cama? Y alguien que amás entra en la habitación y dice ¿no te gustarían los huevos un poquito diferentes hoy? Y cuando llegan son simples huevos revueltos y el tiempo se mantiene cálido.
Today we had Vince Van Rossum reading Frank O'Hara's 'St. Paul and All That'. We talked about the big things of the night that are forgotten in the morning, Alex Turner and stripping off to reveal what we really feel.
Welcome back, our poem this week is from the Professor of Whimsy himself - Robert Garnham! -- 'To the car full of girls who shouted 'Poof!' at me as they drove past' Of course it might have been a lucky guess. Though I held high in the Scottish drizzle A RAINBOW UNICORN UMBRELLA Which even I concede was a little camp. Or maybe my pink feather boa was Poking out from my Tesco's bag for life. Or maybe they were just nasty bastards. It wasn't like I was gawping at a fit bloke, Or wearing my I Like Cock tshirt, Or logging into Grindr and shouting, Where are you, FunkyLoveMuffin, Cooooooeeeeee! I was on the way to buy a steak and Kidney pie And you can't get any straighter than that. As the car sped away I felt the loving embrace of the generations who couldn't. But did anyway. Souls whose crime was to love But loved fiercely and with passion. This thought, and my RAINBOW UNICORN UMBRELLA Added some glitz to a drizzly Tuesday morning. What was it that gave the game away? Did I flounce did I strut did I sashay Did I mince, Does it matter? No glitter in the drizzle no secret street sequins I've been out and proud Since before you were born, Gayer than the gayest gay that ever did gay, Though I do occasionally wear an anorak. Like phantoms they come, Alan Turing, Oscar Wilde, Freddie Mercury, Frank O'Hara, Marcel Proust, Noel Cowerd, Quentin Crisp, Their ghosts swirling along the Edinburgh cobbles, Bert and Ernie from Sesame Street, And the anonymous lovers of old Proudly flying the flag before it even existed, Beating down the fear and marching brave, Stonewall freedom fighters, Harvey Milk, a fist raised Triumphant in the oneness of a gay new world That those for whom biology had different ideas Might walk unmolested in the conscience Of public acceptance. And I, oh, I might rise before you! You will cower and tremble, I, mighty gay overlord, Will crush thy Fiat Panda betwixt my Powerful thighs For it is I, prince of rainbows, Puncher of preconceptions, The Pink Avenger, Exacting my just and fearful revenge In the name of blessed queerdom! But then, I just sigh, And I say to myself, Some people Are just tossers. -- More from Robert Garnham available from our web store: https://burningeye.bigcartel.com/artist/robert-garnham http://burningeye.co.uk
Four weeks into our collective Great Pause, the Bafflers examine “Red Shift,” Ted Berrigan’s iconic New York School poem. This close reading – distinguished in part by our own Sparrow having been Berrigan’s student - proceeds from the astrophysical definition of “redshift” to speculations into what attributive meanings to which Berrigan might allude. This includes a broad look into the nature of time as surfaced in the poem and in part depth charged in Berrigan situating the poem “at 8:08 p.m.” (the Eight-Fold Path, I-Ching and Hubble’s insights into an exploding universe). We touch on his forebearers – Allen Ginsberg, Frank O’Hara and John Ashbery - as well as Berrigan’s friends and allies, including Joe Brainard, Dick Gallup and Ron Padgett (including a nod to the latter’s memoir TED). We look to his nineteenth-century antecedents in the Transcendentalists and Whitman as well as how Berrigan self-identified as a late Beatnik. We touch on the role the song “California Dreaming” plays in the work and Berrigan’s working-class poetics, among other ruminative forays, including the Esopus River, the poets Jorie Graham, Bernadette Mayer, Lewis Warsh and Robinson Jeffers, as well as what existential insight might be disguised in a Harris Tweed jacket. SPECIAL FEATURE: We embed a recording of Berrigan reading the work at Naropa University, 1982, from EXACT CHANGE Yearbook 1995 no. 1 (Ed. Peter Gizzi). ADDENDUM: 1. The chronological early publishing history of THE SONNETS is correctly listed below: C Press — c1963. Mimeograph edition Grove Press — c1967 United Artists — 1982 (With seven additional sonnets not in original) 2. This podcast includes speculation around Berrigan's financial straits and schemes as well as the circumstances around his death. We regret and ask forgiveness for any inaccuracies, and please listen with an open heart.
March 23 – July 23, 2020Kathleen O. Ellis GalleryGallery Talk: Thursday, March 26, 6pmReception: Thursday, March 26, 5-7pmPacifico Silano’s The Eyelid Has Its Storms… borrows its title from a Frank O’Hara poem. O’Hara’s musings and observations about everyday queer life inspired Silano’s artistic practice. “The eyelid has its storms,” the poem begins. “There is the opaque fish-scale green of it after swimming in the sea and then suddenly wrenching violence, strangled lashed, and a barbed wire of sand falls onto the shore.” O’Hara’s deeply visual poem, like Silano’s work, evokes duality—in memory, in the present, and future, shimmering beauty and umbral violence often occur at once.Through the appropriation of photographs from vintage gay pornography magazines, Silano creates colorful collages that explore print culture and the histories of the LGBTQ+ community. His large-scale works evoke strength and sexuality while acknowledging the underlying repression and trauma that marginalized individuals experience. Born at the height of the AIDS epidemic, Silano lost his uncle due to complications from HIV. “After he died,” says Silano, “his memory was erased by my family due to the shame of his sexuality and the stigma of HIV/AIDS around that time period.” Silano set out to create art that reconciled that loss and erasure. Silano’s exhibition somberly contemplates such pain and photography’s role in the struggle for queer visibility, while celebrating enduring love, compassion, and community.In collaging, Silano decisively fragments, obscures, and layers images that he has rephotographed from these magazines. He reassembles and ultimately recontextualizes these images, removing the overtly explicit original content. “These new pictures-within-pictures are silent witnesses that allude to absence and presence,” says Silano. He sees them as stand-in memorials, both for the now-missing models as well as those who originally consumed their images. Silano meditates on the meaning of the images and tearsheets that he collects over time. What continually excites him is precisely the “slipperiness” of representation and meaning in photography as our culture shifts. “The lens that we read [images] through today gives them new context and meaning,” he observes. “In another 30 or 40 years, they might very well mean something completely different.”—Pacifico Silano is a lens-based artist born in Brooklyn. He has an MFA in Photography from the School of Visual Arts. His group shows include the Bronx Museum, Museo Universitario del Chopo in Mexico City, Oude Kerk in Amsterdam, and Tacoma Art Museum. His solo shows include Baxter ST@CCNY, The Bronx Museum, Fragment Gallery in Moscow, Rubber-Factory, and Stellar Projects. Aperture, Artforum, and The New Yorker have reviewed his work. Silano’s awards include the Aaron Siskind Foundation’s Individual Photographer’s Fellowship, Finalist for the Aperture Foundation Portfolio Prize, and First Prize at Amsterdam’s Pride Photo Awards. His work is in the Museum of Modern Art’s permanent collection. Silano participated in Light Work’s Artist-in-Residence Program in 2016.pacificosilano.com—Special thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: "Dawn Line Approaching" by Blue Dot SessionsMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.
Andy reads Meditations in an Emergency by Frank O'Hara.
Welcome to February & Session 6! Despite being a little under the weather, your host, Wacko Zacho, catches you up on his week, shares some tips on limiting social media usage, reads poetry from NYC poet, Frank O'Hara, talks about a visit from a falcon, and gives you his recipe for vegan ham and eggs. Music from Nick Drake. Enjoi!
Today’s program considers how poetry may serve to identify, comment on, and transcend the varied restrictions placed on us as we work to sustain a civil society and our places in it. Not all of those restrictions are acceptable or palatable. Some of them – beyond the impositions of power, especially political power, that I talked about last time – are quite painful, and the reactions of poets to them are often epiphanic in their lyric expressions. I read poems by Frank O’Hara, Lithuanian poet Marcelijus Martinaitis, Larry Thomas, and Nitoo Das. I end the program with two of my own poems that comment as well on the press of such limitations.
Rupi Kaur, Nayyirah Waheed, Morgane Ortin... La poésie contemporaine est féminine et féministe ! Grâce à une écriture vive et percutante, ces jeunes autrices contemporaines cheminent dans les pas de leurs aînées pour délivrer une poésie engagée et militante.Si le genre a toujours eu une place importante dans la culture anglo-saxonne, celui-ci connaît pourtant un nouvel engouement, porté par de nouveaux canaux de diffusion favorisant sa démocratisation. Clémentine et Kyiémis explorent cette nouvelle culture émergente autour de la poésie notamment à travers le recueil “Je transporte des explosifs, on les appelle des mots “ aux Editions Cambourakis. Références entendues dans l’épisode : La chaîne Youtube Button Poetry est dédiée à la découverte de jeunes auteur.e.s de poésie et à la poésie de performanceJe transporte des explosifs, on les appelle des mots : poésie et féminismes aux Etats-Unis, Cambourakis, 2019Bell Hooks est une militante afroféministe américaineGloria Andaluza (1942-2004) est une poétesse et militante féministe lesbienne chicanaAssata Shakur fut dans les années 1960 et 1970, militante du Black Panther Party et de l’Armée de Libération NoireMohja Kahf, est une poétesse et universitaire syro-américaine. “Hijab Scene 7” est le titre du poème mentionné dans l’épisode. Jan Clausen est une écrivaine, poétesse et militante lesbienne. Elle est cofondatrice de la revue féministe lesbienne Conditions. Audre Lorde (1934-1992) se définissait comme “Noire, lesbienne, féministe, mère, guerrière et poétesse”. Elle est l’autrice du poème “Litanie pour la survie”, et des recueils de poèmes Coal (1976) et The Black Unicorn (1978)Nayyirah Waheed, Salt., CreateSpace, 2013 Rupi Kaur est une poétesse canadienne. Elle est l’autrice de Milk and Honey paru en 2014Une étude américaine publiée en 2018 par le site QuartzyClaire Do Sêrro est éditrice littéraire de NiL éditions (Robert Laffont)Warsan Shire est une poétesse britannico-somalienneIjeoma Umebinyuo est une poétesse nigérianne Amanda Lovelace, The Princess Saves Herself in This One, CreateSpace, 2016Cécile Coulon a publié Les Ronces, un recueil de poèmes récompensé par le prix Apollinaire 2018De nombreux poèmes sont publiés sur la page Facebook Parisian PoetryAmours solitaires rassemble témoignages et poèmes explorant le sentiment amoureux Gael Barboza est un artiste polyvalent et écrivain. Il est l’auteur d’un recueil de poésie, intitulé Jazz (2017). Kyiémis, À nos humanités révoltées, Métagraphes, 2018Maya Angelou (1928-2014) est une poétesse, écrivaine, et militante américaine. John Ashbery (1927-2017) est un poète américain associé à la New York School of Poetry. Son oeuvre a été récompensée par de nombreux prix littéraires. Frank O’Hara, Lunch Poems, City Lights, 1964Adrienne Rich (1929-2012) est une poétesse et essayiste féministe américaineEmily Dickinson (1830 - 1886) est une poétesse américaineLa série Dickinson a été lancée le 1er novembre sur Apple TV+. Hailee Steinfeld y incarne Emily Dickinson.Le film A Quiet Passion (2016) a été réalisé par Terence DaviesLéon-Gontran Damas (1912-1978) est un poète, écrivain et homme politique guyanais. Il est cofondateur du mouvement de la négritude. Black lebelAimé Césaire (1913-2018) est un poète et homme politique français. Il est l’un des fondateurs du mouvement de la négritudeLe Centre international de la Poésie de Marseille (cipM) est situé 2 rue de la Charité dans le 2ème arrondissement de Marseille Le Bordel de la Poésie est un événement littéraire unique autour de la poésie et du monde du cabaretCulture Rapide est un cabaret populaire situé au 103 rue Julien Lacroix dans le 20ème arrondissement de Paris. Le lieu propose des soirées Open Mic “spoken Word Poetry”Le RÊV Café est un café-restaurant solidaire et associatif situé au 54 ter rue de Robespierre à Montreuil Quoi de Meuf est une émission de Nouvelles Écoutes conçue par Clémentine Gallot et présentée avec Kyiémis. Avec la participation d’Alice Heathwood à la lecture des poèmes. Montage et mixage par Laurie Galligani. Générique réalisée par Aurore Meyer Mahieu. Prise de son Eric De La Rochette au Studio Belleville. Coordination Ashley Tola.
@YouKnowFargo is here! We talk about Fargo's poems for paintbucket as well as Augusto Boal, Mahmoud Darwish, & Frank O'Hara.
As Sean said, we did curse poems in the last episode, so we're doing love poems next to get the bitter taste out of our mouths." In this episode, we talk about how love poems are always starting with the threat of sentimentality, always have an implied narrativity, and are always in defiance of Rilke's directive to his young poet addressee, "Don't write love poetry." In this episode, with attention to the fact that we all hate-to-love and love-to-hate love poems, and extra attention to some canonical love poems that are talking about LGBT relationships before the poets could openly talk about them, we talk about Walt Whitman's lesser-known "From Pent-Up Aching Rivers"; Elizabeth Barrett Browning's famous Sonnet 44 about married love; and Frank O'Hara's sweet "Having a Coke with You." (WW: https://whitmanarchive.org/published/LG/1891/poems/30) (EBB: https://www.poetryfoundation.org/poems/50538/sonnets-from-the-portuguese-44-beloved-thou-has-brought-me-many-flowers) (FOH: https://poets.org/poem/having-coke-you)
Production And Sound Design by Kevin Seaman
A year on from launching the GDS podcast, senior creative writers Angus Montgomery and Sarah Stewart talk about their jobs. The pair discuss their career paths and the role of writers in government and how clear writing can help people to do their jobs better. Angus Montgomery: Hello, and welcome to the latest episode of the Government Digital Service podcast. My name is Angus Montgomery and I’m a Senior Writer at GDS. And for this episode of the podcast, I’m joined by my colleague Sarah Stewart. Sarah Stewart: Hello. I’m also a Senior Writer at GDS. Angus Montgomery: So our voices might sound quite familiar because both Sarah and I, with our colleague Laura, have been on all the episodes of the GDS podcasts that we’ve done so far and as part of those episodes, we’ve been interviewing people across GDS and across government about their work and talking about the things that they do to help transform government and to build digital services and to make things better for users. And, we realised that we’re nearly a year into this podcast now, I think this is our 11th episode, and we haven’t actually properly introduced ourselves and talk about what we do, and how our work contributes to digital transformation across government and helps everyone in GDS and across government do their jobs better. So that’s what we intend to do with this podcast. Sarah Stewart: And we’re also going to be sharing our top tips for clear writing, which we’ve put together over the past 3 years of working at GDS, so we’ll be sharing those with you as well. Angus Montgomery: Yeah, so Sarah and I, just as a bit of background, we’re both Creative Writers at the Government Digital Service. We both joined on the same day. Can you remember what day that was? Testing you. Sarah Stewart: It was May 23rd. Angus Montgomery: I thought it was the 22nd. Sarah Stewart: Strong start. Angus Montgomery: Sarah’s memory is better than mine. May 23rd 2016. And we work as part of a team called the Creative Team in GDS. And we’re in a team that also has people like filmmakers, production experts, graphic designers, Graham Higgins, who’s also in the room with us, who is doing the production of this podcast and is one of our filmmakers, and audio production and all sorts of other amazing things as well. And our role, the role of our team, is to help everyone in GDS, from Director General down throughout the organisation of all parts talk about their work, communicate their work and explain what it’s doing to help government work better and to make things better for users. Sarah Stewart: Don’t sell us short, Angus. We also write at a ministerial level as well. So it’s from Minister down. Angus Montgomery: So, yeah what we want to do with this podcast as Sarah has already talked about, is explain a bit about our jobs and what we’re here to do, talk a bit about writing and communication and why it’s important and to give our ten top tips, pieces of guidance, principles, whatever it is that you want to call them about how to write and communicate more clearly. So that’s what we’re going to do. But before we kick that off...Sarah, can you tell me a little bit about what your background is and how you came to work at GDS? Sarah Stewart: Well I don’t know how far we should go back - but at school, the only 2 things that I thought I was good at and enjoyed were English and rounders. And there’s not much you can do with rounders, so I pursued English. I read English at university, came down to London, did my postgrad down here. Became a journalist. Hated every second of it. I was a business journalist and it was a generally terrible experience for me. Although I did pick up some useful things, like always carry a notebook and pen with you, which I still do to this day. Angus Montgomery: How’s your shorthand? Sarah Stewart: It is non-existent. And also about libel as well, that was an important lesson. Angus Montgomery: Oh yeah, that’s very important. Sarah Stewart: And then I was lucky enough to get a job working at Shelter, which is a housing and homelessness charity and they also campaign for better housing rights and conditions. And I was a Content Writer and Producer there, so I launched their advice Youtube channel, I edited their advice on their website, I launched their advice sound clips, and I edited their blog as well, of case studies. And then after a couple of years, I found out about the job at GDS. Angus Montgomery: What attracted you to GDS? Sarah Stewart: Funny story actually, I had never heard of GDS before applying. I was at Shelter and someone that I worked with left the job advert on my desk with a post-it that said ‘this is the kind of job you can go for in a few years time’ and I thought ‘Screw that, I'll apply for it now.’ It wasn’t really my ambition to work in government, but it kind of worked out well. I really enjoy what we do now. But you did know about GDS before you joined. Angus Montgomery: I did. So my background was similar in the sense that I was a journalist, I hadn’t worked doing anything else actually, I’d been a journalist my entire career Sarah Stewart: And you liked it? Angus Montgomery: Uh, yeah. I mean like...Liked is not a strong word. Sarah Stewart:...liked it more than I did? Did you cry in the loos everyday like I did? Angus Montgomery: No, that’s really unpleasant and horrible. I’m sorry that you went through that. But there might have been some loo crying at certain stages. I think the thing about journalism, as you sort of implied, is that when it’s good, it’s really fun and it is a great industry to work in. And you can do lots of different things, and lots of exciting things and meet lots of interesting people. It is really really tough. And when it’s bad, it is very very unpleasant and a difficult environment to work in. So I was working for a website called Design Week, which covers the UK design industry. Around the time I became editor was around the time that GDS was setting up and launching and getting a really big profile. And was winning awards like a D&AD black pencil and the design of the year awards, so obviously it was a really really big design story. And I got to know some of the design team in GDS, and I was you know obviously, while that was happening, an observer of what was happening, I was reading all the blog posts, I was looking at all the posters and all the other communication that it was putting out Sarah Stewart: Oh my god, you’re really putting me to shame. Angus Montgomery: But GDS was a really big story, it looked really interesting to me, was hugely appealing in the sense that of, something similar to what you said, this was an organisation that was serving the whole nation. And an organisation that was very clearly there to do something good. It was there to help government work better for users and for everyone, for civil servants and everyone. Being involved in something like that was really really appealing, and remains really really appealing, it’s why I still come to work everyday. Before we get onto the kind of, the writing aspect and the top tips, the kind of the educational part of this podcast, what is it that you enjoy most about working at GDS and what do you find most satisfying? Sarah Stewart: That’s a good question. I’m lucky to say that they are quite a few things that I enjoy. I like the fact that when I write, and that can be if I’m drafting a speech or writing a presentation or helping someone edit a policy document or write a ministerial forward, that I’m actually doing something that’s important to the idea of democracy, because in order for people to make good decisions, they need to know what the facts are. And I like that I can ask the difficult questions that get to the facts, I like that I can challenge people and say ‘no, you need to include more detail’, I can say ‘you should leave this out because it’s maybe not the right time to come out and say this particular thing.’ I love the feeling when someone, maybe this is a bit self-indulgent, but when someone is delivering a speech that I’ve written, it’s like the best feeling in the world, because I’m naturally introverted and I know that these words aren’t my words, but when a joke goes down really well and the audience laughs or when you, you know, when the key message has been hit and people understand it and an action is taken, that’s massively rewarding. But there’s... I get so much pleasure from just the act of writing. I mean when I’m not doing it at GDS, I’m doing it in my spare time. There’s just something really satisfying, I guess like mathematicians, when they do a sum correctly or they workout a formula and it and it all works out wonderfully well, it’s writing a sentence that flows beautifully and is truthful and you know, moves people to do something or to consider something in a different way. So I don’t think there’s really one part that I don’t enjoy. I mean I hate meetings, but doesn’t everyone? What, how about you? Angus Montgomery: I think something similar. Although I’m kind of less wedded in a weird way to the craft of writing. I mean writing, it’s not something that I don’t enjoy but I kind of, I don’t get a huge amount of pleasure in a sense from, like constructing a sentence or the kind of technical aspects of it. But the thing I enjoy most is, I really like the idea that writing is structured thinking. So when you write something down, you need to be really clear and it needs to be really structured and it needs to make sense. And so the thing I get most satisfaction from is, when you’re working with someone to help them explain a difficult concept that can exist maybe only in their own head, and they’re explaining it in a way that they can’t fully articulate, you’re just about understanding it. And there’s that breakthrough moment when you write something down and you show it to them and they go ‘yes, that’s exactly what I’m trying to say!’ Sarah Stewart: Yeah. Angus Montgomery: ‘That makes total sense, that’s exactly what I’m trying to do’. That to me is the really satisfying part of this, is like getting. And I suppose corollary to that is the fact that we work with really intelligent, really nice people as well, but really super intelligent people that are really driven and really focussed on what they’re doing, and have these really complex things going on in their heads. And maybe because they are so close to that work, the aren’t always capable or don’t always find it easy to communicate as clearly as possible. And that’s really our role is to go in there and say, ‘right, let me inside your head, let me inside all those really deep technical details and All the different things that you’re thinking about. And I will help you communicate this clearly’. Sarah Stewart: Yeah. Angus Montgomery: And like that to me is the really satisfying part, it’s like being the bridge between this really intelligent person who has a really complicated idea, and the person who needs to understand that. At the risk of asking I suppose a cliched question, tell me about your day-to-day, and what it is that you actually do, and what it is that we do and what we write and produce? Sarah Stewart: Yeah, so we write a whole host of things. So there’s obviously the kind of straightforward written content, so blog posts, press articles, op-eds. I tend to... Angus Montgomery: What’s an op-ed? Sarah Stewart: Oh sorry. Good question. It’s, well actually I was, I… Angus Montgomery: I don’t know the answer to this actually, which is why I… Sarah Stewart: It’s either…So there are some people who think it’s an opinion editorial. So someone just speaking about a subject that they know. Other people think that it means ‘opposite the editorial page’ But basically what we take it to mean, and what I’m doing I think, is writing an opinion piece so… Angus Montgomery: For a newspaper or magazine. Sarah Stewart: Yeah for a newspaper or a magazine. And so I’ll be writing on behalf of somebody, I don’t think it’s any secret to say that you know in government, there are speech writers and there are other...people like us exist in order to kind of help Senior Civil Servants communicate. So, I tend to specialise in speeches but we also write presentations for people across GDS, we might be writing forewords for strategy papers, we might be editing, you know, policy documents, but that’s a very small part of what we do I think. And we also write scripts for animations and films and do things like podcasts. Angus Montgomery: So we wanted to give you ten principles that help us communicate clearly, and that we think you might benefit from as well. And some of them are you know, things that might seem obvious and some of them may be are a bit more left field. But they are all things that we kind of, help us to our day-to-day jobs. So without further ado, Sarah do you want to give us point one and tell us a little bit about it? Sarah Stewart: OK so my first principle is: Establish ‘The Point’. Before you write anything, whether it’s a speech, a blog post, a presentation, a love letter – establish what the point of your writing is. And ‘The Point’ comprises two parts – and I’m thinking of trademarking this actually, it’s: What you want you want to say and why it needs to be said. We’ll come onto audience in just a second. So once you’ve established what the point is, write it on a post-it note, stick it at the top of your doc. It will be your guiding star. It will keep you relevant, it will keep you focused and if you can’t figure out what the point is, don’t write. Don’t agree to do the speech. Don’t agree to do the presentation. The chances are you’ll come up with the point at a future date, but if you’re really struggling to establish what it is that you want to say and the reason for saying it, just don’t do it. You’ll waste people’s time and wasting people’s time is a sin. Angus Montgomery: Point three of the point, I think. You’ve got what you want to say and why you want to say it but also who you want to say it to.The audience, as you mentioned, is an important thing. You have to assume that the thing you’re saying is interesting to someone or to a group of people, and then you have to work out who that group of people is. Knowing that will help you work out the best way of communicating your message. It might be that the thing you want to say or write is best done as a blog post, or it might best done as a film, or best done presentation or it might be better to draw it as a picture and create a poster of it. Knowing the what, the why and who you’re trying to tell it to, will help you shape your message and the way you’re communicating your message. My first point so number 2 of our principles is, ‘write it like you’d say it’. So I mentioned earlier about a big part of our role, or the main part of our role is to help organisations, this organisation, communicate in a human voice. To me a human voice is the voice that you would use to describe something to a friend when you’re you know, having lunch or at the pub or at the park or whatever. Like if this is that thing about like, if you’re trying to describe a really difficult technical concept, then think about how you would explain it to a friend or to your mum or to you know, son or daughter or whatever it might be. And then write down the way that you would do that. So it shouldn’t be really that much difference between the written word and the spoken word. Although obviously you’ll have far fewer sort of ‘ums’ and ‘ahs’ and all those sorts of things. But like a human voice written on page should sound like speech to me. So when you read something, it should sound like someone is saying it to you, someone is speaking to you in the way that, in a sort of slightly informal, kind of suppose, kind of friendly tone of voice but in a way that’s understandable and relatable. And that really helps you to, I think, get away from what can be a quite, there can be a formality about the written word, and I think that this is again, why some people find writing quite a sort of scary prospect, is it can feel like you have to use the longest most complex, most impressive words possible. And actually you really don’t. You need to use the shortest, clearest, simplest words possible just as you would if you were trying to explain something verbally really clearly. So write it like you’d say it, and the way, a thing that can help you to do that is, as you’re writing something down, read it out. Does it make sense if you say it out loud? Does it make sense if you say it in your head? Does that article that you’ve written sound like something you would naturally say? If it does, then you’re broadly along the right lines I think. Sarah Stewart: That’s a good tip. And it neatly links it my next point, which is ‘don’t try and sound clever’. Essentially what you want to be is clear and concise and don’t over do it. Don’t try and impress anyone because you are probably doing something that is impressive. You probably have all the vocabulary you need to express it clearly. Leave it there. This reminds me of a good quote by the investor Charlie Munger. He said ‘if you want to be thought of as a good guy, be a good guy.’ So if you want to come across as smart, then be smart and explain what you’re doing. But don’t go out there having an agenda that you have to come across as something. It’s inauthentic. You see it, particularly in academic writing. People who are so in that world become - it’s almost impossible to cut through what they’re saying. For example, my friend sent me the abstract of his book and his opening sentence was 58 words long with no punctuation. I could individually pick out what every single word meant, I knew the meaning of each word but in the syntax, in that sentence, I had no idea what was going on. And I was trying to give positive feedback and I said look I’m really sorry, I don’t know what it is you’re trying to say and he said: ‘Oh, well, it’s written for academics’ - well, presumably at some point you want other people to read it! Angus Montgomery: Sometimes in this organisation as well, people say ‘oh it’s written for Senior Civil Servants’ or it’s written for a particular audience or it’s written someone whose a specialist, but they are people too. When you’re a senior civil servant, you don’t suddenly become this person who communicates in a really arcane fashion or understands things in a really complex fashion. You’re also a person who needs to understand things really, really quickly, so being able to write things down and explain things in a clear and accessible fashion is appropriate for any reader, regardless of who they are. Sarah Stewart: Yeah, actually there’s a really good discussion if you want some further reading or further listening. It’s Stephen Pinker in conversation with Ian McEwan on academic writing and the importance of clear writing. So after you’ve listened to this podcast, do give it a watch it’s on YouTube. Angus Montgomery: Which leads nicely, these are segueing quite nicely together I think, to my point or my next point. Which is something that we say quite a lot at GDS, which is ‘show the thing’. And by that we mean if you’re talking about something or you’re trying to tell someone about a product or a service or a thing, just show it. Explain how it works, say what it is, don’t use metaphors, don’t try to dress it up, don’t try to make it sound like it’s doing things that it isn’t. Just explain what it does. Because as you’ve just said, if the thing that you’ve built or the thing that you’re trying to describe is valuable and worth talking about, then all you need to do is explain it clearly and it will do the work for you. You don’t need to dress it up, you don’t need to put marketing on it, you don’t need to you know make it sound like it’s the incredible next you know, use loads of adjectives like ‘stunning’ and ‘life changing’. You just need to show it and if it’s a worthwhile thing then the reader will understand that and accept that and will be on board with it. So show the thing, talk about it as clearly as possible, say what it does, and that’s all you need to do. That’s basically it. Sarah Stewart: I’ve come up with an original next principle, Angus. Burn! Which is about feedback and welcoming feedback and a sub point of this, is the message: you are not your writing. So the other day, some kids came in for work experience. Can I call them kids? Some students came in for work experience and I spoke to them about my job and writing more generally. And a question they asked was ‘what do you do when someone gives you really bad feedback about your writing?’ I think the most important and first thing that you should learn and it’s the most difficult thing that writers have to come to terms with is: you are not your writing. Yes, it has come out of your head and through your hands and is informed by the experiences you’ve had, but once it leaves you, it is a separate entity. And once you have that disconnect, that it is a separate entity, you stop being precious about it and you start thinking about the work and the work is the most important thing. So, when someone says to you ‘this is a really confusing piece of writing’ or ‘this is a really confusing essay ‘ or ‘this is a muddled blog post’, they are not saying ‘you are a terrible person.’ They are not saying ‘you’re an imbecile’ or ‘you are a failure as a writer’. They are saying ‘this is muddled’ ‘this is confusing’. It doesn't feel good to be criticised or to have negative feedback, but it’s a gift. It’s an opportunity for you to... Angus Montgomery: Feedback is a gift Sarah Stewart: It really is. I was thinking about the best advice I was ever given as a writer which was being told, when I was a journalist, which is probably why I hated it so much, that I was a rubbish writer. So I think I needed to hear that things weren’t very good or I would have been writing, you know, like a crazy woman for the rest of my life. You need feedback, you need to welcome that in. Because it’s always about the work, it’s never really about you, and it’s never even about you when you’re writing memoir or yoru autobiography, it’s still a separate thing. Angus Montgomery: That leads, leads very neatly into my next point. Which is another GDSism, something that we say quite a lot at GDS which is, ‘the team is the editor’. And before I got into this, because it’s a common thing we say at GDS, I should probably give a shoutout to some of the original Creative Team and Creative Writers at GDS, who you know we’re standing on the shoulders of giants and all that stuff, a lot of certainly my ways of working and thinking have come from these people. So people like Giles Turnbull, Ella Fitzsimmons, Matt Sheret, Amy McNichol and this is the thing I used to hear a lot from them, ‘the team is the editor’ and that means, to pick up on exactly your point, we’re not doing this writing on our own, like we are the writer kind of in charge ultimately of the document or the piece of writing that will go out but we’re working in collaboration with a lot of other people. So we could be working in collaboration with the person who has developed the idea or product or service or whatever it is that we’re trying to communicate. We’ll be working with a comms specialist who will be thinking about what’s the best way to best place to publish this. You might be working with someone who edits the blog. And we’re working with the rest of our team as well because we’re not working in isolation. Pretty much everything that I write, I share with you and I think vice versa. And you have to, you’re nothing without an editor. A writer is nothing without a good editor. No book that you have read and no newspaper article that you’ve read and no film that you’ve seen and no commercial you’ve seen on TV is just a result of a single writer... Sarah Stewart: That’s so… Angus Montgomery: ...with their vision. Sarah Stewart: Yeah, that’s so true. And I think that’s why people get so put off writing as well because they seem, people think of writers as, like, strange creatures inspired that they you know, get hit on the head by muse and are able to write perfect prose. But it goes through loads and loads and loads of editing to get that kind of pure, perfect sentence. Angus Montgomery: So ‘the team is the editor’ and the editor is the unsung hero of writing as well. They are the person in the background that is making all these things work. The reason people give feedback isn’t because they want to undermine you or attack you, it’s because they want to make the work better. And you have to welcome that and find that as well. As a writer it’s really important not to isolate yourself and do it on your own, and plough away and... Sarah Stewart: It is nerve-wracking to share your work and you do have to be aware of when, for example, say I’m writing a speech, it’s not unusual to have twenty people in the document all feeding in their ideas and you have to be able to distinguish: what is a ‘showstopper’ so a fact that needs to go in or something that has to come out because it’s incorrect, what’s personal opinion and what’s style. And if you have a really clear idea of that, there does come a point where you can say, ‘Actually, no, I’ve taken in everything I need to take in and I’m happy with the piece now.’ Just to add to that, sharing with the team and the team is the editor, of all things I’ve written and shared with you or shared with the team, I’ve never had a case where it’s been made worse by a suggestion, the work has always improved. Angus Montgomery: If the person who is giving you feedback understands what this piece of writing is trying to do and that person is sort of vaguely competent, then they will give you useful constructive feedback. Sarah Stewart: I feel like maybe we’re rambling on this or maybe I’m rambling on this, but In terms of feedback givers, it’s very easy to criticise someone. It’s very easy to say ‘this isn’t good’. It takes intelligence to say what’s not quite working about it. So when you are giving feedback to someone, really consider, first of all, of course, their feelings because you don’t want to come across as, well you don’t want to be an awful person, but what’s useful for them to know about this. And we’ve got some fantastic posters around the office on how to give feedback effectively. So just make sure that if you’re required to give feedback, you’re doing it in an intelligent, kind way. Angus Montgomery: In a constructive fashion. Sarah Stewart: Yes, better. Angus Montgomery: and your next point? Sarah Stewart:... is to ‘read’. Reading is as important as writing. If you want to be a really good writer, you have to read lots and you should read good things. You know like the classics like Nabokov, James Joyce and Jane Austen. Yes of course you should read them because they’re fantastic, and it’s a pleasure to read a good writer. But also, just don’t be too much of a snob about it.Read a Mills and Boon book, read Fifty Shades of Grey, and again no shade on E.L James because she’s a multi-millionaire doing what she loves. Angus Montgomery: It takes skill to write that stuff surely. Sarah Stewart: Yeah. In particular I would say read poetry. Not only because I think it’s super cool, poetry can teach you a lot about conveying complex ideas in a very short space of time and you know, we’re you know kids of the digital age, we don’t have a very long attention span so understanding how to kind of compress ideas is very important. But poetry can teach you a lot about the music of a sentence. And especially for speech writing, it’s particularly important. A poem can teach you about the sound of words, the meter, how a piece scans, it’s called scansion. So there’s no alchemy to writing really well, it is just about practicing writing and reading. Angus Montgomery: Any poem in particular or poet in particular? Sarah Stewart: Well...good question. I would recommend the Confessional poets, so like Sylvia Plath. But actually, do you know what? Any American poet from the 1950s onwards because American poetry in particular, they have a way of, I say ‘they’ in a very general sense, I would recommend the Confessional School and the New York School in particular – – as you’ve asked – because they just say it how it is. And also the Beat poets as well, although they can talk a lot in abstraction, you can learn a lot by their directness. Angus Montgomery: Yeah. Sarah Stewart: So yeah. Ginsberg, Kerouac. Angus Montgomery: Yeah. Sarah Stewart: Frank O'Hara. Angus Montgomery: Very minimal viable words. My next principle, next tip, is quite a practical one. And it’s something that might not work for everyone, but I find really really helpful, which is to never start with a blank page. So if you’re writing something, the scariest thing is when you kind of open up a Word doc or a Google doc or have a physical sheet of blank paper in front of you, and you’re like ‘oh my god, what do I do with this now?’ like ‘I need to turn this from this blank sheet into a speech or an article or a blog post or a presentation or whatever it might be. And that blankness is the most terrifying part of this and starting is the most terrifying part of any project and writing is no different. So the way that I deal with that is when I have a blank page in front of me, I immediately go to Google or other search engines are available obviously, and or previous pieces that I’ve done that are similar, copy paste and just throw as much text as I can on to that page, that even if it’s only tangentially similar, gives me something to work from. So that I’m not starting from scratch, so that I have something to bounce ideas off of or something re-work or something that guides me in the right direction, and also takes away that fear of you know, just having a totally blank page in front of you. Sarah Stewart: I do that all the time actually. If I’m writing a speech for example, I always write ‘good morning or good afternoon everyone’. And then if anyone asks me if I’ve made any progress, I can at least say I’ve made a start! Angus Montgomery: Yeah exactly. The vital start is there. Sarah Stewart: Yeah. It’s psychologically important to have something down on paper. Angus Montgomery: Yeah. Sarah Stewart: You’re right. Angus Montgomery: So I think it’s that, it’s that starting and then sort of flowing, flowing from there basically. Sarah Stewart: Yeah. Angus Montgomery: And what’s your next principle? Sarah Stewart: So my next principle I’ve entitled, ‘enough is enough’. So just don’t overdo it. Just write enough, and enough doesn’t mean writing an epic poem nor does it mean writing a haiku. Sorry, there are a lot of poetry allusions in this – but it means writing enough to get the job done. And the poet Frank O’Hara had a lovely quote about, you should read it, it’s called...it’s in a piece of writing that he called Personism: A Manifesto. And he describes writing and how effective writing is wearing a piece of clothing so it fits you perfectly, so it does exactly the job that it’s meant to do. Angus Montgomery: It’s showing the thing. Sarah Stewart: And you might ‘show the thing’...it’s a very confusing analogy. Angus Montgomery: It’s a very confusing mixing, we’re mixing several metaphors here to prove a point. Sarah Stewart: Yeah. Angus Montgomery: But yeah. And bringing me, without really a segue in this one, but bringing us nicely nevertheless to the final point which is, ‘stay human’. And this is not necessarily a writing point, this is something obviously that we should be all doing all the time in whatever work we do, but the reason I’m talking about it, and we’ve touched on this several times, writing isn’t something that we just do in isolation on our own Writing our, the writing that we do is helping one person, one human being, convey a message to another person, another human being or a group of them. And the people in that process are really really important, like the written word is important, but the people in that process are the most important parts. So just when we’re dealing with people, we always try to be as nice and humble and listen as much as we can and advice and guide and all those sorts of things. But just try and do it nicely because it can be a stressful situation for people. So thank you Sarah. Sarah Stewart: Thank you Angus. This has been nice, hasn’t it? Angus Montgomery: This has been nice. Sarah Stewart: So that brings us to the end of our 10 principles. This podcast will be embedded into a blog post, which will be published on the GDS blog. Please leave your comments for clear writing and any advice that you have for others. Angus Montgomery: Thank you for listening to the latest episode of the GDS podcast. We hope you enjoyed it and if you want to listen to previous episodes that we’ve done or what to subscribe for the future, then please just do to wherever it is that you download your podcasts from and hit the subscribe button. And we hope to have you as a listener again soon. Sarah Stewart: Farewell.
7 grudnia 2018 roku w Muzeum Sztuki Nowoczesnej w Warszawie odbyło się spotkanie poświęcone nowemu, poszerzonemu wydaniu książki Piotra Sommera O krok od nich. Przekłady z poetów amerykańskich. Tomik zawiera obszerny wybór wierszy każdego poetów (wśród nich: Charles Reznikoff, e.e. cummings, John Berryman, Robert Lowell, Allen Ginsberg, John Cage, Frank O'Hara, John Ashbery, Kenneth Koch, a także nieobecni w pierwszym wydaniu: William Carlos Williams, David Schubert i James Schuyler), a także reprodukcje obrazów Jane Freilicher oraz posłowie tłumacza i autora wyboru, Piotra Sommera. Spotkanie zorganizowało nagrodzone Lwem Hieronima wydawnictwo Karakter, a poprowadził je dr Mikołaj Wiśniewski (literaturoznawca, anglista, filozof, autor monografii Nowy Jork i okolice poświęconej twórczości Jamesa Schuylera). Za książkę O krok od nich: Przekłady z poetów amerykańskich autorstwa Piotra Sommera w opracowaniu graficznym Przemysława Dębowskiego Wydawnictwo Karakter zostało nagrodzone w ogólnopolskim konkursie edytorskim na Najlepszą Książkę Roku: "Pióro Fredry" 2018. Nagrodę przyznaje się za wartości literackie i edukacyjne, a także wysoki poziom edytorski oraz typograficzno-artystyczny.
As we continue up the backlog, we listen to: Modern Jazz Quartet, John Coltrane, Valve Studio orchestra, AM Radio, T.S. Eliot, Frank O’Hara, Porest, Art of Noise. Its a very Jazzy and Poetic kind of collage today. This Episode Aired on Holy Thursday, and since DePaul is a Catholic institution, I thought it only fitting … Continue reading "Avant-Garbage #D07"
Kate Clanchy is a writer, poet, teacher and journalist. She has a thirty-year career in teaching and is the recipient of several awards for her writing including a Forward Prize for her poetry collection Slattern. Her novel Meeting the English was shortlisted for the Costa Prize. Clanchy’s BBC Radio 3 programme We Are Writing A Poem About Home was a collaborative work with students and was shortlisted for the Ted Hughes Award 2015. In 2018 an anthology of her students’ work, England: Poems from a School, was published to great acclaim, and she was awarded an MBE for services to literature. Her new book, Some Kids I Taught and What They Taught Me, has been called, by Philip Pullman: ‘the best book on teachers and children and writing that I've ever read’. @KateClanchy1 Mukahang Limbu is an 18 year old Nepalese writer based in Oxford. He is a 3-time Foyle Young Poet, a SLAMmbassador, and has won the First Story National Competition. In 2019 he was also the recipient of the Outspoken prize for poetry. His poems have been published in ‘England: Poems from a School’, an anthology written by migrants and he is a die-hard fan of poets Ocean Vuong, Raymond Antrobus, Mary Jean Chan, Frank O'Hara and Rebecca Perry, among many others. @mukki_s1 Recorded live at Wilton's Music Hall London in April 2019. 5x15 brings together five outstanding individuals to tell of their lives, passions and inspirations. There are only two rules - no scripts and only 15 minutes each. Learn more about 5x15 events: 5x15stories.com Twitter: www.twitter.com/5x15stories Facebook: www.facebook.com/5x15stories Instagram: www.instagram.com/5x15stories
Jake and Phil discuss America's greatest poets named Frank, with Frank O’Hara’s "Personism Manifesto" and Frank Bidart’s “Ellen West” Frank O’Hara, “Personism” http://opencourses.uoa.gr/modules/document/file.php/ENL9/Instructional%20Package/Texts//Readings/Week%203%3A%20Pop%20art%3A%20breaking%20down%20the%20boundaries%20between%20high%20and%20low/Frank%20O%27Hara%20Personism-2.pdf Reuben Brower, The Fields of Light https://books.google.com/books/about/Thefieldsof_light.html?id=AuhYAAAAMAAJ Kenneth Koch, “Fresh Air” https://www.poetryfoundation.org/poems/52929/fresh-air Daniel Clowes, Art School Confidential https://www.imdb.com/title/tt0364955/ The Collected Poems of Frank O’Hara https://www.ucpress.edu/book/9780520201668/the-collected-poems-of-frank-ohara Steven Burt, “Okay I’ll Call You/Yes Call Me: Frank O’Hara’s Personism” https://www.poets.org/poetsorg/text/okay-ill-call-you-yes-call-me-frank-oharas-personism Frank O’Hara, “Meditations in an Emergency” https://www.poetryfoundation.org/poetrymagazine/poems/26538/meditations-in-an-emergency Frank O’Hara, “Having a Coke With You” https://www.poets.org/poetsorg/poem/having-coke-you Sloterdijk, Rules for the Human Zoo https://rekveld.home.xs4all.nl/tech/Sloterdijk_RulesForTheHumanZoo.pdf Frank O’Hara, “My Heart” https://www.poetrysociety.org/psa/poetry/poetryinmotion/atlas/newyork/my_heart/ Czeslaw Milosz, The Captive Mind https://www.penguinrandomhouse.com/books/115135/the-captive-mind-by-czeslaw-milosz/9780679728566/ Geoffrey Hill, “Language, Suffering, and Silence” https://academic.oup.com/litimag/article/1/2/240/958441 Frank O’Hara, “Ave Maria” https://www.poetryfoundation.org/poems/42670/ave-maria Frank Bidart, “Ellen West” https://www.poetryfoundation.org/poems/48284/ellen-west Tom Sleigh, Interview with a Ghost https://www.graywolfpress.org/books/interview-ghost Frank Bidart, “Writing Ellen West” https://frame-tales.tumblr.com/post/67714978473/frank-bidart-writing-ellen-west Frank Bidart, Half-Light: Collected Poems https://us.macmillan.com/books/9780374125950 De Maistre, as quoted in Isaiah Berlin’s Two Enemies of Enlightenment http://berlin.wolf.ox.ac.uk/lists/nachlass/maistre.pdf David Jones, Epoch and Artist https://www.faber.co.uk/9780571339501-epoch-and-artist.html Audio Clips: The Stranglers, No More Heroes https://www.youtube.com/watch?v=-gfIgA-PYyQ John Ashberry reading a letter from O’Hara https://www.youtube.com/watch?v=oacw2wX5nac Frank O’Hara reading Having a Coke With You https://www.youtube.com/watch?v=YDLwivcpFe8 Style Wars https://www.youtube.com/watch?v=0BdlXqBXm2o Pocahontas, Colors of the Wind https://www.youtube.com/watch?v=O9MvdMqKvpU
In the words of celebrated Canadian poet Anne Carson, “if prose is a house, poetry is a man on fire running quite fast through it”. Whether you’re into Frank O’Hara or Emily Dickinson, Audre Lorde or e. e. cummings, Walt Whitman or Sylvia Plath, we’ve got something for you in this poetry-themed show. Our guest is poet and academic Hannah Sullivan, who joined us to talk about her evocative debut collection, Three Poems, which explores the intimacies and intricacies of life, from sex and love and being young in New York, to the birth of a son, and the death of a father. So, come get lyrical with us and we might even drop some rhyming couplets over the next hour on Literary Friction. Email us: litfriction@gmail.com Tweet us and find us on Instagram: @litfriction Recommendations on the theme, Poetry: Octavia: Witch by Rebecca Tamás http://www.pennedinthemargins.co.uk/index.php/2019/01/rebecca-tamas/ Carrie: Meditations in an Emergency by Frank O'Hara https://groveatlantic.com/book/meditations-in-an-emergency/ General Recommendations: Octavia: My Sister the Serial Killer by Oyinkan Braithwaite https://atlantic-books.co.uk/book/my-sister-the-serial-killer/ Carrie: Terrific Mother by Lorrie Moore https://www.faber.co.uk/catalog/product/view/id/7029/s/9780571351831-terrific-mother/ Hannah: A Compass Error by Sybille Bedford https://www.dauntbooks.co.uk/product/book/a-compass-error/
Brooklyn Poets Yawp open mic, 2.11.19, featuring Prof. Julie Hart (8:52) and Poem of the Month winner Alex Sarrigeorgiou for "Poem in the Manner of Frank O'Hara" (1:13:07). For more info, go to brooklynpoets.org/events/yawp.
Daan Doesborgh gaat in gesprek met Radna Fabias over Laura Vasquez, Frank O'Hara en hoe een periode van scheppen vooraf wordt gegaan door een periode van consumeren. Lees de besproken gedichten en meer in het begeleidende Vrij Nederlandartikel: https://www.vn.nl/poeziepodcast-radna-fabias/
Production and Sound Design by Kevin Seaman
Frank O'Hara foi um #poeta, crítico e dramaturgo dos Estados Unidos, que formou o grupo fundador da chamada Escola de Nova Iorque, juntamente com John Ashbery e Kenneth Koch. Foi curador do Museu de Arte Moderna de Nova York, escreveu crítica de #arte e um imenso volume de #poesia. Sua relação com a #pintura e os #pintores é complexa e já foi interpretada pela crítica de diversas maneiras.
Analysis of the poem "Why I Am Not a Painter" by Frank O'Hara.
Episode 1 of Commonplace’s special series on translation.Rosa Alcalá is the author of three full-length collections of poetry, most recently, MyOTHER TONGUE (Futurepoem), and translator of several full-length translations including the recently released New and Selected Poems of Cecilia Vicuña (Kelsey Street Press) for which Alcalá received a translation fellowship from the National Endowment of the Arts in 2015.Alcalá talks to Commonplace host Rachel Zucker about the experience of translating and transcribing the poetry and performances of Chilean-born artist Cecilia Vicuña. Alcalá speaks about growing up in Paterson, N.J., having been a child interpreter and mediator for her Spanish-speaking parents, language shame, studying at Brown and meeting Vicuña for the first time, studying transcription and ethnopoetics with Dennis Tedlock at SUNY Buffalo, grappling with how to record ephemerality, inaudibility, temporality, volume, tone and the feeling of listening (and mishearing) when translating, transcribing, and editing Vicuña’s multi-lingual performances for the book Spit Temple. Alcalá describes her long friendship with Vicuña, accepting the invitation to edit and translate Vicuña’s New and Selected, retranslating earlier translations, how the work of translating others affects her own writing, poetry as a space to say what is impossible to say in any language, literary and linguistic heritage, her interest in the NY School poets (especially Frank O’Hara and Bernadette Mayer), raising a bilingual child, and her poem “Heritage Speaker” from MyOTHER TONGUE.LINER NOTES:05 – Rosa Alcalá reads “The Brilliance of Orifices” from New and Selected Poems of Cecilia Vicuña (Kelsey Street Press, 2018).8:49 – Alcalá reads “Mondo (Fragmentos del Diario Estúpido)” from New and Selected Poems of Cecilia Vicuña.19:11 – Cecilia Vicuña singing and reading [McNally].22:20 – Vicuña introduces and begins reading her poem, “Quen- to Shipibo” [McNally].28:30 – “The translation is definitely associated to time...” Vicuña speaking about working with her translators [McNally].36:20 – Alcalá reads “Art in General, New York City, May 19, 1999” from Spit Temple (Ugly Duckling Presse, 2012).40:14 – Alcalá reads “Cecilia Vicuña: The Poetry Project at St. Marks Church, 2002 [a letter]” from Spit Temple.58:24 – Alcalá reads “Heritage Speaker” from MyOTHER TONGUE (Futurepoem, 2017).
In Session # 5 pain and grief is explored in the context of post divorce alienation and isolation from children who are caught in the middle. The topic of pain and grief is expanded upon using "A Grief Observed," by C.S. Lewis as well as a poem by Frank O'Hara. In addition, the idea of "checking-in" in therapy is explored. A Grief Observed Meditations in an Emergency Mad Men Americans For Equal Shared Parenting
Off the Books is a show where emerging writers talk about the books that have influenced them. In this episode Megan Hunter, author of the debut THE END WE START FROM discusses the sensuality of Angela Carter in TIGER BRIDE, the consciousness of Virginia Woolf in THE WAVES, and the utter love imbued in Frank O’Hara’s poetry. She reads a passage from each writer before discussing to give you a delicious taste of their work. To end with Megan reads from her own book - a heartbreaking tale of love, motherhood, disaster and hope. Discover wonderful books old and new and have your literary senses stimulated! July 2018.
Off the Books is a show where emerging writers talk about the books that have influenced them. In this episode Megan Hunter, author of the debut THE END WE START FROM discusses the sensuality of Angela Carter in TIGER BRIDE, the consciousness of Virginia Woolf in THE WAVES, and the utter love imbued in Frank O’Hara’s poetry. She reads a passage from each writer before discussing to give you a delicious taste of their work. To end with Megan reads from her own book - a heartbreaking tale of love, motherhood, disaster and hope. Discover wonderful books old and new and have your literary senses stimulated! July 2018.
In this episode I read The Day Lady Died by Frank O'Hara from the collection of poetry Jazz Poems, an Everyman's Library Pocket Poets series book. And I also do a little commentary on the poem. If you are enjoying this podcast, I would greatly appreciate if you could please leave a review on ITunes, Anchor or wherever you're listening to this podcast. Thank you for listening, I hope you enjoy this episode.
Latest episode of Naked Poetry --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/nakedpoetry/message
Frank O'Hara's poems are joyous, bitchy, romantic, funny, sexy chronicles of city days and nights. And he had such a lovely broken nose.
David Sedaris reads Frank O'Hara; Mary-Louis Parker reads Joy Williams; Dakota Johnson reads Roberto Bolaño; John Ashbery is scored by musician Steve Gunn; and The Paris Review's Southern Editor John Jeremiah Sullivan sings Robert Johnson. "A True Account of Talking to the Sun at Fire Island" from THE COLLECTED POEMS OF FRANK O'HARA by Frank O'Hara, copyright © 1971 by Maureen Granville-Smith, Administratrix of the Estate of Frank O'Hara, copyright renewed 1999 by Maureen O'Hara Granville-Smith and Donald Allen. Used by permission of Alfred A. Knopf, an imprint of the Knopf Doubleday Publishing Group, a division of Penguin Random House LLC. All rights reserved. “Soonest Mended” from The Double Dream of Spring by John Ashbery. Copyright © 1970, 1969, 1968, 1967, 1966 by John Ashbery. Used by permission of Georges Borchardt, Inc., on behalf of the author. All rights reserved.
'Why I Am Not A Painter' by Frank O'Hara read by Sarah McCrory. 'Why I Am Not A Painter' was first published in 1957 in the Evergreen Review. A transcript can be found at https://www.poets.org/poetsorg/poem/why-i-am-not-painter .
'Poem [Lana Turner has collapsed!]' by Frank O'Hara read by Alex Kennedy. 'Poem [Lana Turner has collapsed!]' was first published within 'Lunch Poems' by City Lights Books in 1964. A transcript can be found at https://www.poets.org/poetsorg/poem/poem-lana-turner-has-collapsed . More from Alex Kennedy can be found at http://www.daatpress.com
In episode 36 guest David Moss joins us to take a look at two short films directed by Alfred Leslie, Pull My Daisy with Jack Kerouac, Allen Ginsberg, and Gregory Corso (and guest appearance by one of our favorite painters, Larry Rivers), and The Last Clean Shirt with Frank O'Hara.
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Welcome to another episode of the Bowie Book Club, where wild speculation and grasping for straws about Bowie’s favorite books has reigned supreme since 2016. This time, we got some lunch with the most personable of New York poets, Frank O'Hara who seemed to know everybody and everything going on around him.
This is a reading of Heroic Sculpture by Frank O'Hara read by Owen Piper. This poem was first dated 5th October 1958, in manuscript x329. Published in Paris Review 49, summer 1970. http://owenpiper.com
Panel: Matthew Holman, Gabby Fletcher, Rachel Eames, Anna Girling Matthew is a PhD student at University College London. He works on late modernism (1955-65) and on the transatlantic avant-garde. His research focuses on the poet and curator Frank O’Hara, and on his relationships and collaborations with European gestural art. Gaby is a first year PhD candidate at the National University of Ireland, Galway and is a recipient of the Hardiman Research Scholarship. Her research draws together the writers Edith Wharton, Djuna Barnes, and Gertrude Stein to consider how their writing responds to the articulation of female identity found in American social reform campaigns. Rachel is in the first year of her Midlands3Cities funded PhD in English at the University of Birmingham. She is working on the relationship between early 20th Century physics, literature and culture, looking particularly at the ways physics was experienced and adopted by Modernist poets. Anna is a PhD student in the English Department at the University of Edinburgh. Her thesis looks at the American writer, Edith Wharton, and at her ambivalent engagement with modernity. More broadly, Anna is interested in the transatlantic culture of the interwar period, and in the relation of gender, sexuality and race to representations of transnationalism and cosmopolitanism – particularly in non-canonical (and middlebrow) texts. Her work on Edith Wharton has been published in the Edith Wharton Review and the Times Literary Supplement.
The Guests: Cooper Wilhelm: Twitter: https://twitter.com/cooperwilhelm also, http://poetryandstrangers.com/. Abiola Lawal: https://www.my-etymology.tumblr.com, Portfolio www.bee1.allyou.net, IG: Musecian The Books: “As Planned” by Frank O’Hara, Robert Creeley, James Schuyler, Sonnet 16 by Shakespeare, The Poetry Foundation http://www.poetryfoundation.org/features/audiolanding, Robert Hass, “Stardust” by Neil Gaiman, “The Hidden Messages of Water” by Masaru Emoto, “Infinite Jest” by David Foster Wallace, “Tom Sawyer” by Mark Twain, “Otherland” Series by Tad Williams, Dr. Seuss, “Hitchhiker’s Guide to the Galaxy” by Douglas Adams, “The Illustrated Man” by Ray Bradbury, “Nameless” by Grant Morrison, “Stoner Coffee Table Book” by Steve Mockus The Music: “Walk in the Sky” by Bonobo and Bajka; “Between the Bars” by Madeleine Peyroux Writing: Hit the wikipedia random article and write! Movies: “Stardust”: WATCH IT IF YOU HAVEN’T! :), “What the Bleep Do We Know?,” “American Crime Story” #inkandworm #rfb #BKiscold #poetryandstrangers #idontliketheMTAsubwaypoetry #poetry #humansofny #mysteriousnoises #shewascalledrita #molecularchemistandbiophysicisttopoet #gowherethemoneyis #thebelovedonealwaysleaves #whycanteverydaybelikeyou #bettertohavelovedandlost #ghosted #blackmagic #necromancy #wikipediarandompage #elizabethanmedicine #dontsigh #cantcontrolthesethingsyoucanonlysayyes #marktwaintherearenonewideas #everytimeyoureadapoemyoumakeitliveagain #readpoetryoutloud #memorizepoetry #recite #onthespot #swanblushes #jiminycricket #doonething #doneisbetterthanperfect #poetrycanbelonely #poetrycommunity #poetryinbrooklyn #attentiondeficitdating #babiesarealiens #babiesarenotaliens #happyvalentinesday #starsonlyshineatnight #starsarestillthereduringtheday #winter #mourning #africa #coneyisland #emfwaves #wereelectricalcreatures #love #secondhalloween #happyvalentinesday #water #watersnob #noiceinwater #thesimplicityofwater #filteredwater #snap #love #evanwilliams #antilove #catslovepoetry #poetrylovescats #loveissocoolwhenitworks #animalsacrifices #moloch
Larry O. Dean was born and raised in Flint, Michigan. As a young man, he worked with Academy Award-winning filmmaker, Michael Moore, published essays and reviews on popular culture in the alternative press, and also cartooned for fanzines and other underground outlets. He attended the University of Michigan, where he won three Hopwood Awards in Creative Writing, along with fellow poets John Ciardi, Robert Hayden, Jane Kenyon, and Frank O’Hara, among others; and Murray State University’s low-residency MFA program. He teaches creative writing, literature, and composition as an adjunct English instructor, and is a Poet-in-Residence in the Chicago Public Schools through the Poetry Center of Chicago’s Hands on Stanzas program. He was a recipient of the Gwendolyn Brooks Award for teaching excellence in 2004.
This is what we do over here at ME READING STUFF occasionally. As the lights of the city dim, and the glorious people of the Land beg for provocation & sweet nothings, we turn that $50 mic on and we READ. We read about Channing Tatum learning about what incense is and living near a Whole Foods. We read about Channing Tatum understanding the difference between dead bird feathers and sex toys. And we also read a poem by the great Frank O'Hara. We do it all over here, and we do it for you. Are you breathing? I am, but barely. Sincerely, Robyn
Outside of Lamont Library, which houses the Woodberry Poetry Room, listen to Powell M. Cabot Professor of American Literature Elisa New read one of alumnus Frank O’Hara’s “Lunch Poems.”
In partnership with City Lights Books, who first published Frank O’Hara’s “Lunch Poems” 50 years ago, this special event features readings from a newly expanded edition that also includes communiqués by O’Hara pulled from the City Lights archive housed at the Bancroft Library at UC Berkeley. Participants include: Jayne Gregory, Robert Hass, Owen Hill, Elaine Katzenberger, Evan Klavon, Giovanni Singleton, Julianna Spahr, Joseph Bush and Matthew Zapruder. Series: "Lunch Poems Reading Series" [Humanities] [Arts and Music] [Show ID: 28889]
In partnership with City Lights Books, who first published Frank O’Hara’s “Lunch Poems” 50 years ago, this special event features readings from a newly expanded edition that also includes communiqués by O’Hara pulled from the City Lights archive housed at the Bancroft Library at UC Berkeley. Participants include: Jayne Gregory, Robert Hass, Owen Hill, Elaine Katzenberger, Evan Klavon, Giovanni Singleton, Julianna Spahr, Joseph Bush and Matthew Zapruder. Series: "Lunch Poems Reading Series" [Humanities] [Arts and Music] [Show ID: 28889]
In partnership with City Lights Books, who first published Frank O’Hara’s “Lunch Poems” 50 years ago, this special event features readings from a newly expanded edition that also includes communiqués by O’Hara pulled from the City Lights archive housed at the Bancroft Library at UC Berkeley. Participants include: Jayne Gregory, Robert Hass, Owen Hill, Elaine Katzenberger, Evan Klavon, Giovanni Singleton, Julianna Spahr, Joseph Bush and Matthew Zapruder. Series: "Lunch Poems Reading Series" [Humanities] [Arts and Music] [Show ID: 28889]
In partnership with City Lights Books, who first published Frank O’Hara’s “Lunch Poems” 50 years ago, this special event features readings from a newly expanded edition that also includes communiqués by O’Hara pulled from the City Lights archive housed at the Bancroft Library at UC Berkeley. Participants include: Jayne Gregory, Robert Hass, Owen Hill, Elaine Katzenberger, Evan Klavon, Giovanni Singleton, Julianna Spahr, Joseph Bush and Matthew Zapruder. Series: "Lunch Poems Reading Series" [Humanities] [Arts and Music] [Show ID: 28889]
Jane reads some poetry to keep you warm this season or just to distract you from family drama! Poets mentioned:Frank O'Hara, Christopher Marlowe, T.S. Eliot, Erica Bernheim, Nick Twemlow, Jericho Brown, Jeffrey McDaniels, Ariana-Sophia M. Kartsonis, and Suzanne Buffam. For more information go to dibtbpodcast.blogspot.com
Daniel & Ben dedicate this show to some of their favorite poems & poets. Featured works are Frank O'Hara's "Homosexuality," Gabriela Mistral's "God Wills It," Denise Levertov's "Caedmon," Anne Sexton's "The Truth the Dead Know," Karen Fiser's "Across the Border," and Federico Garcia Lorca's "Despedida."
AMIRI BARAKACLICK HERE TO LISTEN TO SHOWPoet, writer, teacher, and political activist Amiri Baraka was born Everett LeRoi Jones in 1934 in Newark, New Jersey. He attended Rutgers University and Howard University, spent three years in the U.S. Air Force, and returned to New York City to attend Columbia University and the New School for Social Research. Baraka was well known for his strident social criticism, often writing in an incendiary style that made it difficult for some audiences and critics to respond with objectivity to his works. Throughout most of his career his method in poetry, drama, fiction, and essays was confrontational, calculated to shock and awaken audiences to the political concerns of black Americans. For decades, Baraka was one of the most prominent voices in the world of American literature.Baraka’s own political stance changed several times, thus dividing his oeuvre into periods: as a member of the avant-garde during the 1950s, Baraka—writing as Leroi Jones—was associated with Beat poets like Allen Ginsberg and Jack Kerouac; in the ‘60s, he moved to Harlem and became a Black Nationalist; in the ‘70s, he was involved in third-world liberation movements and identified as a Marxist. More recently, Baraka was accused of anti-Semitism for his poem “Somebody Blew up America,” written in response to the September 11 attacks.Baraka incited controversy throughout his career. He was praised for speaking out against oppression as well as accused of fostering hate. Critical opinion has been sharply divided between those who agree, with Dissent contributor Stanley Kaufman, that Baraka’s race and political moment have created his celebrity, and those who feel that Baraka stands among the most important writers of the twentieth century. In the American Book Review, Arnold Rampersad counted Baraka with Phyllis Wheatley, Frederick Douglass, Paul Laurence Dunbar, Langston Hughes, Zora Neale Hurston, Richard Wright, and Ralph Ellison “as one of the eight figures . . . who have significantly affected the course of African-American literary culture.”Baraka did not always identify with radical politics, nor did his writing always court controversy. During the 1950s Baraka lived in Greenwich Village, befriending Beat poets Allen Ginsberg, Frank O’Hara, and Gilbert Sorrentino. The white avant-garde—primarily Ginsberg, O’Hara, and leader of the Black Mountain poets Charles Olson—and Baraka believed in poetry as a process of discovery rather than an exercise in fulfilling traditional expectations. Baraka, like the projectivist poets, believed that a poem’s form should follow the shape determined by the poet’s own breath and intensity of feeling. In 1958 Baraka founded Yugen magazine and Totem Press, important forums for new verse. He was married to his co-editor, Hettie Cohen, from 1960 to 1965. His first play, A Good Girl Is Hard to Find, was produced at Sterington House in Montclair, New Jersey, that same year. Preface to a Twenty Volume Suicide Note, Baraka’s first published collection of poems appeared in 1961. M.L. Rosenthal wrote in The New Poets: American and British Poetry since World War II that these poems show Baraka’s “natural gift for quick, vivid imagery and spontaneous humor.” Rosenthal also praised the “sardonic or sensuous or slangily knowledgeable passages” that fill the early poems. While the cadence of blues and many allusions to black culture are found in the poems, the subject of blackness does not predominate. Throughout, rather, the poet shows his integrated, Bohemian social roots. The book’s last line is “You are / as any other sad man here / american.”With the rise of the civil rights movement Baraka’s works took on a more militant tone. His trip to Cuba in 1959 marked an important turning point in his life. His view of his role as a writer, the purpose of art, and the degree to which ethnic awareness deserved to be his subject changed dramatically. In Cuba he met writers and artists from third world countries whose political concerns included the fight against poverty, famine, and oppressive governments. In Home: Social Essays (1966), Baraka explains how he tried to defend himself against their accusations of self-indulgence, and was further challenged by Jaime Shelley, a Mexican poet, who said, “‘In that ugliness you live in, you want to cultivate your soul? Well, we’ve got millions of starving people to feed, and that moves me enough to make poems out of.’” Soon Baraka began to identify with third world writers and to write poems and plays with strong political messages.Dutchman, a play of entrapment in which a white woman and a middle-class black man both express their murderous hatred on a subway, was first performed Off-Broadway in 1964. While other dramatists of the time were wedded to naturalism, Baraka used symbolism and other experimental techniques to enhance the play’s emotional impact. The play established Baraka’s reputation as a playwright and has been often anthologized and performed. It won the Village Voice Obie Award in 1964 and was later made into a film. The plays and poems following Dutchman expressed Baraka’s increasing disappointment with white America and his growing need to separate from it. Critics observed that as Baraka’s poems became more politically intense, they left behind some of the flawless technique of the earlier poems. Richard Howard wrote of The Dead Lecturer (1964) in the Nation: “These are the agonized poems of a man writing to save his skin, or at least to settle in it, and so urgent is their purpose that not one of them can trouble to be perfect.”To make a clean break with the Beat influence, Baraka turned to writing fiction in the mid-1960s, penning The System of Dante’s Hell (1965), a novel, and Tales (1967), a collection of short stories. The stories are “‘fugitive narratives’ that describe the harried flight of an intensely self-conscious Afro-American artist/intellectual from neo-slavery of blinding, neutralizing whiteness, where the area of struggle is basically within the mind,” Robert Elliot Fox wrote in Conscientious Sorcerers: The Black Postmodernist Fiction of LeRoi Jones/Baraka, Ishmael Reed, and Samuel R. Delany.The role of violent action in achieving political change is more prominent in these stories, as is the role of music in black life.In addition to his poems, novels and politically-charged essays, Baraka is a noted writer of music criticism. His classic history Blues People: Negro Music in White America (1963) traces black music from slavery to contemporary jazz. Finding indigenous black art forms was important to Baraka in the ‘60s, as he was searching for a more authentic voice for his own poetry. Baraka became known as an articulate jazz critic and a perceptive observer of social change. As Clyde Taylor stated in Amiri Baraka: The Kaleidoscopic Torch, “The connection he nailed down between the many faces of black music, the sociological sets that nurtured them, and their symbolic evolutions through socio-economic changes, in Blues People, is his most durable conception, as well as probably the one most indispensable thing said about black music.” Baraka also published the important studies Black Music (1968) and The Music: Reflections on Jazz and Blues (1987). Lloyd W. Brown commented in Amiri Baraka that Baraka’s essays on music are flawless: “As historian, musicological analyst, or as a journalist covering a particular performance Baraka always commands attention because of his obvious knowledge of the subject and because of a style that is engaging and persuasive even when the sentiments are questionable and controversial.”After Black Muslim leader Malcolm X was killed in 1965, Baraka moved to Harlem and founded the Black Arts Repertory Theatre/School. The Black Arts Movement helped develop a new aesthetic for black art and Baraka was its primary theorist. Black American artists should follow “black,” not “white” standards of beauty and value, he maintained, and should stop looking to white culture for validation. The black artist’s role, he wrote in Home: Social Essays (1966), is to “aid in the destruction of America as he knows it.” Foremost in this endeavor was the imperative to portray society and its ills faithfully so that the portrayal would move people to take necessary corrective action. He married his second wife, Amina, in 1967. In that same year, Baraka published the poetry collection Black Magic,which chronicles his separation from white culture and values while displaying his mastery of poetic technique. There was no doubt that Baraka’s political concerns superseded his just claims to literary excellence, and critics struggled to respond to the political content of the works. Some felt the best art must be apolitical and dismissed Baraka’s newer work as “a loss to literature.” Kenneth Rexroth wrote inWith Eye and Ear that Baraka “has succumbed to the temptation to become a professional Race Man of the most irresponsible sort. . . . His loss to literature is more serious than any literary casualty of the Second War.” In 1966 Bakara moved back to Newark, New Jersey, and a year later changed his name to the Bantuized Muslim appellation Imamu (“spiritual leader,” later dropped) Ameer (later Amiri, “prince”) Baraka (“blessing”).By the early 1970s Baraka was recognized as an influential African-American writer. Randall noted in Black World that younger black poets Nikki Giovanni and Don L. Lee (later Haki R. Madhubuti) were “learning from LeRoi Jones, a man versed in German philosophy, conscious of literary tradition . . . who uses the structure of Dante’s Divine Comedy in his System of Dante’s Hell and the punctuation, spelling and line divisions of sophisticated contemporary poets.” More importantly, Arnold Rampersad wrote in the American Book Review, “More than any other black poet . . . he taught younger black poets of the generation past how to respond poetically to their lived experience, rather than to depend as artists on embalmed reputations and outmoded rhetorical strategies derived from a culture often substantially different from their own.”After coming to see Black Nationalism as a destructive form of racism, Baraka denounced it in 1974 and became a third world socialist. He produced a number of Marxist poetry collections and plays in the 1970s that reflected his newly adopted political goals. Critics contended that works like the essays collected in Daggers and Javelins (1984) lack the emotional power of the works from his Black Nationalist period. However, Joe Weixlmann, in Amiri Baraka: The Kaleidoscopic Torch, argued against the tendency to categorize the radical Baraka instead of analyze him: “At the very least, dismissing someone with a label does not make for very satisfactory scholarship. Initially, Baraka’s reputation as a writer and thinker derived from a recognition of the talents with which he is so obviously endowed. The subsequent assaults on that reputation have, too frequently, derived from concerns which should be extrinsic to informed criticism.”In more recent years, recognition of Baraka’s impact on late 20th century American culture has resulted in the publication of several anthologies of his literary oeuvre.The LeRoi Jones/Amiri Baraka Reader (1999) presents a thorough overview of the writer’s development, covering the period from 1957 to 1983. The volume presents Baraka’s work from four different periods and emphasizes lesser-known works rather than the author’s most famous writings. Transbluency: The Selected Poems of Amiri Baraka/LeRoi Jones (1961-1995), published in 1995, was hailed by Daniel L. Guillory in Library Journal as “critically important.” And Donna Seaman, writing inBooklist, commended the “lyric boldness of this passionate collection.” Kamau Brathwaite described Baraka’s 2004 collection, Somebody Blew up America & Other Poems, as “one more mark in modern Black radical and revolutionary cultural reconstruction.” The book contains Baraka’s controversial poem of the same name, which he wrote as New Jersey’s poet laureate. After the poem’s publication, public outcry became so great that the governor of New Jersey took action to abolish the position. Baraka sued, though the United States Court of Appeals eventually ruled that state officials were immune from such charges.Baraka’s legacy as a major poet of the second half of the 20th century remains matched by his importance as a cultural and political leader. His influence on younger writers has been significant and widespread, and as a leader of the Black Arts movement of the 1960s Baraka did much to define and support black literature’s mission into the next century. His experimental fiction of the 1960s is considered some of the most significant African-American fiction since that of Jean Toomer. Writers from other ethnic groups have credited Baraka with opening “tightly guarded doors” in the white publishing establishment, noted Maurice Kenney in Amiri Baraka: The Kaleidoscopic Torch, who added: “We’d all still be waiting the invitation from the New Yorker without him. He taught us how to claim it and take it.”Baraka was recognized for his work through a PEN/Faulkner Award, a Rockefeller Foundation Award for Drama, and the Langston Hughes Award from City College of New York. He was awarded fellowships from the Guggenheim Foundation and the National Endowment for the Arts. Amiri Baraka crossed over on January 9, 2014To visit Amiri Baraka's website CLICK HERE
During the construction of the Brooklyn Bridge, poet Walt Whitman declared it “the grandest physical habitat and surroundings of land and water the globe affords." His poem “Crossing Brooklyn Ferry” is celebrated by poetry lovers every year in an event in which they cross the Brooklyn Bridge reading poems about the bridge and city. So many poets, like Jack Kerouac and Frank O’Hara have drawn inspiration from New York City. And the city continues to be a literary muse for poets today. On this week's Cityscape, we're tapping into New York City's poetry community -- past and present.
Counterspells Against Bullshit and Jive by Brightmoments on Mixcloud Light My Fire: A Counterspell Against Bullshit and Jive Shadow and Light. Shadow and Act. Faulkner and Ellison. Shade Tree and Time to Face the Sun. The rugged elegance of fame and fortune the hood rich way can lure anyone through the nondescript back door of his wildest dreams come true, toward rituals so sordid and raw he wonders if it was curiosity or a brisk curse that brought him there. But everything’s groovy for a while. Wine, weed, and women are flowing and you learn to make music on the monkey’s back, on that high ‘ocean-style’ wave. That’s where Lee Perry sat or huddled or flew or dove in from; in the proud/prowed heart of Kingston, Jamaica’s finest recording studio, just before he torched it, set unapologetic fire to his own creation, the renown Black Ark. He was seated g-like, at the mouth of the fountain in audiocolor, quenched, shunning the show-tunes and battle hymns and monkeys on his mind, (by monkeys I mean anxieties, or the fear of fulfilling the white man’s onerous stereo/and radio/ types of the black man) so he sat there as a king and god and champion of black dignity, in a most plush and throne-like chair he could see, surrounded by such lucky machines and admirers and mirrors from dusk until dawn they were shoving songs into his heart like daggers and dragging his mind into the hive. It could all be so much simpler, he realized, as he burnt the whole thing down that lucky day. Every record, every vibration, every burden disguised as relief or comfort, every perfect circle of wax and wane we call a LongPlay: all into cinders and smoke until broken was the curse and revolving door of a life course superimposed on him by ambition, until he could make healing music again. This emission of the Feed comprises pieces that Lee Perry rescued from the rubble and reassembled. He brought the Ark out of the rouge and into the rain or reign (see also reine) where it is rendered an agent of hope and deliverance. Most basically, he cleared the party of bullshit and jive, he acted like a true Black Cop, and when the unwanted presences turned the quiet corner, he started the music again. He proved that we don’t always need electricity for black music, for we are electricity. So, here we enter his self-made universe in its Era of Good Feelings, in the rejuvenating discomfort of themes such as: How to celebrate a loss, how to eliminate the semantic structure that inverts loss and gain, how to be your own forest, how destruction is a myth or just a flipside of creation, positive, a pause/reset just when things get too theatrical or ridiculous, how to catch on fire and use the rising tempo to access a higher vibration until you’re a bundle of interdependent elements rolling across an omniscient void that is your total mind, how that changes the meaning of end of Spike Lee’s Do the Right Thing which I like to call by its nickname Do the Riot Thing, how misconstrued archetypes such as the diva (or the divine) and the collective (check out the Emerald Tablet) are meant to interact, how collectivity defragments (in and of and as) the black imagination, how that collectivity manifests today in both the ‘real’ and ‘cyber’ worlds, how they are different worlds, acting co-dependant though in need of behavior that honors their interdependency, how what they share is a commons, how their whole body is an ear, how to reread Gwendolyn Brooks’ The Preacher Ruminates Behind the Sermon in that context, how the diva takes one for the team by showing up in the places where gathering, especially gathering to listen to things together, feels most ominous, locations such as, in the fire, in the water, in the poem, in the music, in the moment, in the white man, as Frank O’Hara, or Kennedy, or King, or half-breed between these things, or their shared fantasy, which doubles as their shared fear, or All of these at once.
80: Mathew Dickman talks about his latest poetry book, Mayakovsky's Revolver and how Frank O'Hara and a dream inspired the title of the collection. Daniel, Ben and Mathew talk about language driven literature and like Flannery O'Connor's fiction, Dickman's poems organically travel and surprise the reader. Matthew Dickman reads the Poem of the Week: "Gas Station" from "Mayakovsky's Revolver." In this week's Poetic License, Sasha Pimentel-Chacon shares memories from her childhood and her homeland in the Philippines, and how she relates those memories to light & dark spaces in the poetic form.
76: David Shapiro's contemporary poets are Keats and Stevens. Listen to this episode to learn how this prodigy of the violin and poetry showed his teenage work to Frank O'Hara or to hear what he means by "Proust on the side of the starless chaos of the social, and Kafka on the starless eyes of the interior." His latest collection of poetry is titled, "New & Selected Poems (1965-2006)." In this episode, he plays his bat mitzvah violin piece and reads "Falling Upwards."
An informal conversation between poets John Ashbery and Ron Padgett, remembering the life of Frank O’Hara. Conducted at Harvard University in April 2011, and used by permission of Ron Padgett, John Ashbery, and the Woodberry Poetry Room, Harvard College Library. To see the event video, click here.
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Piotr Sommer is a poet, essayist, and translator of Anglo-American poetry into Polish. He has published seven collections of his poems, two books of essays, and has translated John Ashbery, John Berryman, D. J. Enright, Seamus Heaney, Kenneth Koch, Robert Lowell, Derek Mahon, Frank O'Hara, and Charles Reznikoff. Sommer's most recent book of poems in translation is Continued (Wesleyan University Press, 2005). He is editor for Literatura na Swiecie, a magazine of international writing. He lives outside Warsaw.
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Piotr Sommer is a poet, essayist, and translator of Anglo-American poetry into Polish. He has published seven collections of his poems, two books of essays, and has translated John Ashbery, John Berryman, D. J. Enright, Seamus Heaney, Kenneth Koch, Robert Lowell, Derek Mahon, Frank O'Hara, and Charles Reznikoff. Sommer's most recent book of poems in translation is Continued (Wesleyan University Press, 2005). He is editor for Literatura na Swiecie, a magazine of international writing. He lives outside Warsaw.
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. David Shapiro has written over twenty volumes of poetry and prose, including the first book on John Ashbery, the first book on Jim Dine's painting, the first book on Jasper Johns' drawings (the last two from Abrams) and the first study of Piet Mondrian's much tabooed flower studies. He has translated books from French and Spanish and recently edited a book on aesthetics: Uncontrollable Beauty. Born in l947, David received his degrees from Columbia and Cambridge Universities, but before he was fifteen he had put together many privately printed volumes of poetry. At fifteen he met Frank O'Hara, corresponded with John Ashbery, and was collaborating with Kenneth Koch and many painters of the so-called New York School. A tenured art historian at William Paterson University, Shapiro has won National Endowment for the Humanities and National Endowment for the Arts fellowships, been nominated for a National Book Award, and been the recipient of numerous grants for his work.Recent books of poetry include A Burning Interior (Overlook Press, 2002) andNew and Selected Poems (1965-2006) (Overlook Press, 2007).
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. David Shapiro has written over twenty volumes of poetry and prose, including the first book on John Ashbery, the first book on Jim Dine's painting, the first book on Jasper Johns' drawings (the last two from Abrams) and the first study of Piet Mondrian's much tabooed flower studies. He has translated books from French and Spanish and recently edited a book on aesthetics: Uncontrollable Beauty. Born in l947, David received his degrees from Columbia and Cambridge Universities, but before he was fifteen he had put together many privately printed volumes of poetry. At fifteen he met Frank O'Hara, corresponded with John Ashbery, and was collaborating with Kenneth Koch and many painters of the so-called New York School. A tenured art historian at William Paterson University, Shapiro has won National Endowment for the Humanities and National Endowment for the Arts fellowships, been nominated for a National Book Award, and been the recipient of numerous grants for his work.Recent books of poetry include A Burning Interior (Overlook Press, 2002) andNew and Selected Poems (1965-2006) (Overlook Press, 2007).
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Piotr Sommer is a poet, essayist, and translator of Anglo-American poetry into Polish. He has published seven collections of his poems, two books of essays, and has translated John Ashbery, John Berryman, D. J. Enright, Seamus Heaney, Kenneth Koch, Robert Lowell, Derek Mahon, Frank O'Hara, and Charles Reznikoff. Sommer's most recent book of poems in translation is Continued (Wesleyan University Press, 2005). He is editor for Literatura na Swiecie, a magazine of international writing. He lives outside Warsaw.
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Piotr Sommer is a poet, essayist, and translator of Anglo-American poetry into Polish. He has published seven collections of his poems, two books of essays, and has translated John Ashbery, John Berryman, D. J. Enright, Seamus Heaney, Kenneth Koch, Robert Lowell, Derek Mahon, Frank O'Hara, and Charles Reznikoff. Sommer's most recent book of poems in translation is Continued (Wesleyan University Press, 2005). He is editor for Literatura na Swiecie, a magazine of international writing. He lives outside Warsaw.
Marjorie Perloff discusses the poetry of Frank O'Hara.
The John Giorno Poetry Systems
Marjorie Perloff, renowned literary critic and professor of humanities at Stanford University, examines the interrelation between the works of Jasper Johns, poet Frank O'Hara, and composer John Cage. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.
Knowing When to Stop A demanding conversation with a modern composer about setting poetry to music, featuring a love duet with text by Frank O---Hara.
Charles Ruas is joined by Susan Howe to reminisce about their collaboration in the production of a 1975 WBAI radio project that celebrated the life and work of poet and playwright, V. R. "Bunny" Lang. This 2004 recording of their discussion serves as an entree to Clocktower Radio's rebroadcast of the short series of historic programs that they produced about the late writer whose "querulous warmth and astounding energy (made her a) 'queen' to her circle of friends". The original tribute consisted of a series of interviews with Lang's collaborators and contemporaries and a radio play/re-enactment of one of her works. The young Susan Howe knew Lang, her mother was a member of The Poets' Theater in Cambridge-- a collective that Lang co-founded in 1950 along with Thornton Wilder, William Carlos Williams and others. As a girl, Howe performed in some of their productions, which strongly influenced her future work. In addition to The Poets' Theater, Lang served in the Canadian Women's Army Corps during WWII and was an editor for the Chicago Review. Following this she move to New York where she became associated with the New York School of Poets and established an important friendship with Frank O'Hara. She died of Hodgkin's disease in 1956 at the age of 32. American poet and critic, Susan Howe (born 1937) is known for her work infused with historical and mythical references. She is often linked with the Postmodern Language poets. Howe has been awarded with numerous awards, such as two American Book Awards and a Guggenheim fellowship. She has taught at universities across the United States. Her published works include; Hinge Picture (1974), Articulation of Sound Forms in Time (1987), The Birth-Mark: Unsettling the Wilderness in American Literary History (1993), and Frolic Architecture (2011). Howe has two 2015 releases from New Directions, The Quarry, selections from her uncollected essays, nominated for a National Book Award and including her seminal piece, The End of Art, and a re-issue of her 1993 The Birth-mark, examining the histories of landmark works from Cotton Mather to Emily Dickinson and subsequent American writers.
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