Podcasts about Hart Crane

Play Episode Listen Later Nov 25, 2024 38:08

The queens play a round of Step Your Poetry Up before poet-voicing porn dialogue. Please Support Breaking Form!Review the show on Apple Podcasts here.Pretty Please.....Buy our books: Aaron's STOP LYING is available from the Pitt Poetry Series. James's ROMANTIC COMEDY is available from Four Way Books.SHOW NOTES:Here are links to some of the poems we mention:Amy Lowell, "Patterns"Robinson Jeffers, "Credo"H.D., "Sea Rose"Sara Teasdale, "Moonlight"An essay on Hart Crane's "The River"Robert Duncan, "My Mother Would Be a Falconress"Theodore Roethke, "In a Dark Time"Robert Creeley, "The Rain"James Dickey, "The Sheep Child"Galway Kinnell, "The Bear"Stanley Kunitz, "Father and Son"We make reference to the poet C. Dale Young--visit him online here.

Robert Hayden's "Those Winter Sundays"

Play Episode Listen Later Aug 20, 2024 6:13

As the school year begins, today's poem goes out to all of those everyday saints performing the unseen and unsung acts of love that make life possible for rest of us!Born Asa Bundy Sheffey on August 4, 1913, Robert Hayden was raised in the Detroit neighborhood Paradise Valley. He had an emotionally tumultuous childhood and lived, at times, with his parents and with a foster family. In 1932, he graduated from high school and, with the help of a scholarship, attended Detroit City College (later, Wayne State University). In 1944, Hayden received his graduate degree from the University of Michigan.Hayden published his first book of poems, Heart-Shape in the Dust (Falcon Press), in 1940, at the age of twenty-seven. He enrolled in a graduate English literature program at the University of Michigan, where he studied with W. H. Auden. Auden became an influential and critical guide in the development of Hayden's writing. Hayden admired the work of Edna St. Vincent Millay, Elinor Wiley, Carl Sandburg, and Hart Crane, as well as the poets of the Harlem Renaissance—Langston Hughes, Countee Cullen, and Jean Toomer. He had an interest in African American history and explored his concerns about race in his writing. Hayden ultimately authored nine collections of poetry during his lifetime, as well as a collection of essays, and some children's literature. Hayden's poetry gained international recognition in the 1960s, and he was awarded the grand prize for poetry at the First World Festival of Negro Arts in Dakar, Senegal, in 1966 for his book Ballad of Remembrance (Paul Breman, 1962).Explaining the trajectory of Hayden's career, the poet William Meredith wrote:Hayden declared himself, at considerable cost in popularity, an American poet rather than a Black poet, when for a time there was posited an unreconcilable difference between the two roles. There is scarcely a line of his which is not identifiable as an experience of Black America, but he would not relinquish the title of American writer for any narrower identity.After receiving his graduate degree from the University of Michigan, Hayden remained there for two years as a teaching fellow. He was the first Black member of the English department. He then joined the faculty at Fisk University in Nashville, where he would remain for more than twenty years. In 1975, Hayden received the Academy of American Poets Fellowship and, in 1976, he became the first Black American to be appointed as Consultant in Poetry to the Library of Congress (later, U.S. poet laureate).Hayden died in Ann Arbor, Michigan, on February 25, 1980.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Matthew Specktor on hybrid memoir, Hollywood failure & that time Marlon Brando left a voicemail

The Book I HAD to Write

Play Episode Listen Later Jul 31, 2024 38:28

In this episode, I talk with author and novelist about his recent hybrid memoir and cultural exploration, Always Crashing in the Same Car. We discuss his fascination with figures who faced creative crises in Hollywood, from F. Scott Fitzgerald, filmmaker Hal Ashby or musician Warren Zevon to more overlooked but similarly brilliant figures like Carole Eastman, the screenwriter of the 1970s classic Five Easy Pieces.We also explore the realities of growing up in LA, including being “celebrity-adjacent.” That's perhaps best illustrated by the time Marlon Brando left an incredible monologue in the form of a voicemail. We do a deep dive into the attraction of hybrid memoir for fiction writer, Matthew's approach to research, and whether it's possible any longer to be a middle-class creative in Hollywood.--------------------------“All of those kind of impulses fused in me, and eventually, and I sort of realized, like, oh, this is what I want to write. I want to write a book that's a memoir that isn't about me, or a memoir that's only kind of, you know, partly about me.”--------------------------Key Takeaways* Always Crashing In the Same Car pays homage to figures who've faced both genius and marginalization in Hollywood, including Thomas McGuane, Renata Adler, Carole Eastman, Eleanor Perry, Hal Ashby, Michael Cimino, Warren Zevon & more. The book is about “those who failed, faltered, and whose triumphs are punctuated by flops...”* Matthew shares his fascination with Carol Eastman, best known for Five Easy Pieces. He was deeply touched by her prose writings, comparing her to poets like Hart Crane and Wallace Stevens.* The book and the interview also delves more deeply into women's contributions to Hollywood, focusing on other overlooked talents like Eleanor Perry and Elaine May. Matthew reflects on his mother, a one-time screenwriter, and how her generation had less opportunity to develop their skills.* Why a hybrid memoir? Matthew was reading, and inspired by, writers like Hilton Als, Heidi Julavits, and Olivia Laing. He wanted to create a narrative that wasn't limited to—or rather moved beyond—the self, weaving together cultural criticism about Hollywood and creative crises.* We talk a lot about voice, which Matthew says is crucial for him to discover early on. “Once I can locate the voice for any piece of writing... I have it in the pocket,” he says. The narrator of this book blends personal reflections with a noir quality, he says.* Matthew sees himself as a novelist at heart. He considers the narrative tools of a novelist indispensable, even when writing memoirs and cultural critiques: “I am fundamentally a novelist….I think that's part of being a fiction writer or novelist is, you know, anything that you write is a kind of criticism in code. You're always responding to other texts.”* Matthew begins by explaining his unique research style: "I'm kind of ravenous and a little deranged about it…” His research process involves intuitive dives, like a two-day blitz through Carol Eastman's archives.* The discussion also touched on Matthew's upbringing with a mom who was a one-time screenwriter and who crossed the picket line during one writer's strike, and his father, who had modest beginnings but went on to become a famous Hollywood “superagent” representing Marlon Brando, Morgan Freeman, Helen Mirren & many others.* At the same time, Matthew explores misconceptions around Hollywood glitz, addressing the middle-class reality of many involved in the film industry. For a long-time, Hollywood could support such middle-class creatives, Matthew contends, something that is no longer really possible.* Addressing the evolution of the entertainment industry, Matthew notes the shift towards debt servicing, influenced by corporate acquisitions. This financial pragmatism often overrides the creative impulse, squeezing the middle class out.* Another takeaway? The creative world, especially in Hollywood, is fraught with periods of drift and struggle. In one sense, Always Crashing In the Same Car is a love letter to that state of things.--------------------------"I still kind of think of [Always Crashing…] as being secretly a novel. Not because it's full of made up s**t…but because I think sometimes our idea of what a novel is is pretty limited. You know, there's no reason why a novel can't be, like, 98% fact."--------------------------About Matthew SpecktorMatthew Specktor's books include the novels That Summertime Sound and American Dream Machine, which was long-listed for the Folio Prize; the memoir-in-criticism Always Crashing in The Same Car: On Art, Crisis, and Los Angeles, California, and The Golden Hour, forthcoming from Ecco Press. Born in Los Angeles, he received his MFA in Creative Writing from Warren Wilson College in 2009. His writing has appeared in the New York Times, GQ, The Paris Review, Tin House, Black Clock, and numerous other periodicals and anthologies. He is a founding editor of the Los Angles Review of Books.Resources:Books by Matthew Specktor:* Always Crashing in the Same Car: On Art, Crisis, and Los Angeles, California* American Dream Machine* That Summertime Sound* Slow Days, Fast Company by Eve Babitz, introduction by Matthew SpecktorReferenced on this episode:* The Women, by Hilton Als* Low, by David Bowie* The Great Gatsby, This Side of Paradise, The Last Tycoon, The Pat Hobby Stories, and The Crack-Up, by F. Scott Fitzgerald* F. Scott Fitzgerald on Writing, edited by Larry W. Phillips* The Folded Clock: A Diary, by Heidi Julavits* The Lonely City, by Olivia Laing* 300 Arguments, by Sarah Manguso* “Bombast: Carole Eastman,” by Nick Pinkerton* “The Life and Death of Hollywood,” by Daniel Bessner, Harper's, May 2024.CreditsThis episode was produced by Magpie Audio Productions. Theme music is "The Stone Mansion" by BlueDot Productions. Get full access to The Book I Want to Write at bookiwanttowrite.substack.com/subscribe

Amy Clampitt's "The Godfather Returns to Color TV"

Play Episode Listen Later Jul 12, 2024 8:43

Just when you thought you were out, The Daily Poem pulls you back in–to poems about movies. Today's charming and earnest poem imitates the medium it describes (film) by swapping memorable images and sensations for linear propositions. Happy reading.Amy Clampitt was born and raised in New Providence, Iowa. She studied first at Grinnell College in Grinnell, Iowa, and later at Columbia University and the New School for Social Research in New York City. Throughout the 1940s and 1950s, Clampitt held various jobs at publishers and organizations such as Oxford University Press and the Audubon Society. In the 1960s, she turned her attention to poetry. In 1974 she published a small volume of poetry titled Multitudes, Multitudes; thereafter her work appeared frequently in the New Yorker. Upon the publication of her book of poems The Kingfisher in 1983, she became one of the most highly regarded poets in America. Her other collections include A Silence Opens (1994), Westward (1990), What the Light Was Like (1985), and Archaic Figure (1987). Clampitt received fellowships from the Guggenheim Foundation, the MacArthur Foundation, and the Academy of American Poets. A member of the American Academy of Arts and Letters, Clampitt taught at the College of William and Mary, Amherst College, and Smith College.Joseph Parisi, a Chicago Tribune Book World reviewer, called the poet's sudden success after the publication of The Kingfisher “one of the most stunning debuts in recent memory.” Parisi continued, “throughout this bountiful book, her wit, sensibility and stylish wordplay seldom disappoint.” In one of the first articles to appear after The Kingfisher's debut, New York Review of Books critic Helen Vendler wrote that “Amy Clampitt writes a beautiful, taxing poetry. In it, thinking uncoils and coils again, embodying its perpetua argument with itself.” Georgia Review contributor Peter Stitt also felt that “The Kingfisher is … in many ways an almost dazzling performance.” In the Observer, Peter Porter described Clampitt as “a virtuoso of the here and the palpable.” Porter ranked her with the likes of Emily Dickinson and Elizabeth Bishop.Critics praised the allusive richness and syntactical sophistication of Clampitt's verse. Her poetry is characterized by a “baroque profusion, the romance of the adjective, labyrinthine syntax, a festival lexicon,” said New York Times Book Review contributor Alfred Corn in an article about Clampitt's second important collection, What the Light Was Like (1985). Indeed, the poet's use of vocabulary and syntax is elaborate. “When you read Amy Clampitt,” suggests Richard Tillinghast in the New York Times Book Review, “have a dictionary or two at your elbow.” The poet has, Tillinghast continues, a “virtuoso command of vocabulary, [a] gift for playing the English language like a musical instrument and [a] startling and delightful ability to create metaphor.” Her ability as a poet quickly gained Clampitt recognition as “the most refreshing new American poet to appear in many years,” according to one Times Literary Supplement reviewer.Clampitt's work is also characterized by erudite allusions, for which she provides detailed footnotes. Times Literary Supplement critic Lachlan Mackinnon compared her “finical accuracy of description and the provision of copious notes at the end of a volume,” to a similar tendency in the work of Marianne Moore. “She is as ‘literary' and allusive as Eliot and Pound, as filled with grubby realia as William Carlos Williams, as ornamented as Wallace Stevens and as descriptive as Marianne Moore,” observed Corn. Washington Post reviewer Joel Conarroe added Walt Whitman and Hart Crane to this list of comparable poets: “Like Whitman, she is attracted to proliferating lists as well as to ‘the old thought of likenesses,'” wrote Conarroe. “And as in Crane her compressed images create multiple resonances of sound and sense.”What the Light Was Like centers around images of light and darkness. This book is “more chastely restrained than The Kingfisher,” according to Times Literary Supplement contributor Neil Corcoran. Conarroe believed that the poet's “own imagery throughout [the book] is sensuous (even lush) and specific—in short, Keatsian.” Corn similarly commented that “there are stirring moments in each poem, and an authentic sense of Keats' psychology.” He opined, however, that “her sequence [‘Voyages: A Homage to John Keats‘] isn't effective throughout, the reason no doubt being that her high-lyric mode” does not suit narrative as well as a plainer style would.Clampitt's Archaic Figure (1987) maintains her “idiosyncratic style,” as William Logan called it in the Chicago Tribune. New York Times Book Review contributor Mark Rudman noted the poet's “spontaneity and humor; she is quick to react, hasty, impulsive, responsive to place—and to space.” In the London Sunday Times, David Profumo further praised Archaic Figure. Taking the example of the poem “Hippocrene,” the critic asserted that this work “demonstrates her new powers of economy, the sureness of her rhythmic touch and the sheer readability of her magnificent narrative skills.” “Amy Clampitt,” concluded Logan, “has become one of our poetry's necessary imaginations.”Clampitt died in Lenox, Massachusetts in 1994. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Hart Crane's "Chaplinesque"

Words in the Air: 52 Weeks of Poetry

Play Episode Listen Later Jul 10, 2024 7:04

In today's poem, written a century ago, cinema (and Charlie Chaplin) is already supplying metaphors for the work and experience of modern poets. Happy reading.Harold Hart Crane was born on July 21, 1899, in Garrettsville, Ohio, and began writing verse in his early teenage years. Though he never attended college, Crane read regularly on his own, digesting the works of the Elizabethan dramatists and poets William Shakespeare, Christopher Marlowe, John Donne and the nineteenth-century French poets Charles Vildrac, Jules Laforgue, and Arthur Rimbaud. His father, a candy manufacturer, attempted to dissuade him from a career in poetry, but Crane was determined to follow his passion to write.Living in New York City, he associated with many important figures in literature of the time, including Allen Tate, the novelist and short story writer Katherine Anne Porter, E. E. Cummings, and Jean Toomer, but his heavy drinking and chronic instability frustrated any attempts at lasting friendship. An admirer of T. S. Eliot, Crane combined the influences of European literature and traditional versification with a particularly American sensibility derived from Walt Whitman.His major work, the book-length poem, The Bridge, expresses in ecstatic terms a vision of the historical and spiritual significance of America. Like Eliot, Crane used the landscape of the modern, industrialized city to create a powerful new symbolic literature.Hart Crane died by suicide on April 27, 1932, at the age of thirty-two, while sailing back to New York from Mexico.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Repose of Rivers by Hart Crane

Play Episode Listen Later Jul 1, 2024 2:01

Read by John Lescault Production and Sound Design by Kevin Seaman

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Mondolivro - Hart Crane em antologia traduzida por Anderson Lucarezi

Mondolivro

Play Episode Listen Later May 28, 2024 1:34

No Mondolivro de hoje, Afonso Borges fala sobre a antologia de Hart Crane, que será organizada e traduzida por Anderson Lucarezi. A obra receberá o título de "Transmembramento da canção". Saiba mais no episódio.See omnystudio.com/listener for privacy information.

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Episode 196 - A tide of voices

PoemTalk at the Writers House

Play Episode Listen Later May 22, 2024 54:10

The group gathers at the Writers House's Wexler Studio to discuss Hart Crane's "The Harbor Dawn," as performed by Tennessee Williams.

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Episode 126: My View of the Smoking High Place - MING Public Poetry

My___on Mondays

Play Episode Listen Later Apr 1, 2024 5:15

Porphyro In Akron by Hart Crane, 1921.

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The Air Plant

Audio Poem of the Day

Play Episode Listen Later Feb 22, 2024 1:42

by Hart Crane (read by Thomas Lux)

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Al puente de Brooklyn - (Hart Crane)

Teatro en la Granja

Play Episode Listen Later Jan 11, 2024 3:18

Hart Crane (Garrettsville, 1899 - en aguas de Cuba, 1932) Uno de los precursores de la poesía moderna estadounidense, por su intensidad visionaria y a la vez épica. De niño recibió escasa educación, fue apasionado, inquieto y de gran fragilidad emocional. Era partícipe, como Whitman, de una idea de la historia con sentido coherente y no como fragmentación o decadencia irreversible. A diferencia de T.S.Eliot, usó los nuevos paisajes industriales y urbanos para expresar significados de simbolismo positivo. Tras la publicación de su poemario El puente (1930), uno de los más celebrados de la literatura norteamericana del siglo XX, obtuvo la beca Guggenheim, lo que le permitió viajar por Europa, México, Key West y el Caribe, dedicándose por entero a la poesía, el alcohol y las aventuras sentimentales con hombres y mujeres. El largo poema El puente, su obra mayor, consta de quince partes y está inspirado en el puente de Brooklyn: su significado simbólico modelado en forma de estructura sinfónica es la unión del presente con el pasado a través del poder de la creación, que expresa una visión vigorosa del significado histórico y espiritual de Norteamérica. En uno de sus viajes, de regreso a Estados Unidos, fue golpeado por unos marineros, como respuesta a su intento de seducirlos, y al día siguiente se suicidó lanzándose a las aguas del Caribe. AL PUENTE DE BROOKLYN Cuántos amaneceres, frío tras su mecido descanso, habrán de zambullirse las gaviotas a su alrededor soltando anillos blancos de tumulto, erigiendo la Libertad por encima del agua encadenada. Luego, con limpia curva, apartamos los ojos, espectrales como las velas que pasan por debajo, de alguna hoja de cálculo que será archivada; hasta que el ascensor nos libera de la jornada... Pienso en los cines, esas vistas panorámicas de multitudes inclinadas ante una escena trepidante nunca mostrada, pero a la que pronto se apresuran, anunciada a otros ojos en la misma pantalla. Y tú, cruzando el puerto entre destellos de plata, como si te alcanzase el sol, dejas en tu andar cierto balanceo pendiente. Tu misma libertad te sigue sosteniendo. Desde algún túnel de metro, celda o altillo un loco se apresura hacia tus parapetos, se inclina un poco, su camisa chillona se hincha, una broma se arroja desde la atónita caravana. La luz del mediodía gotea en las vigas de Wall Street, diente roto de celeste acetileno; toda la tarde giran las grúas entre nubes... Tus cables respiran aún el Atlántico Norte. Oscuro como el cielo de los judíos tu galardón... gracia concedida de anonimia que el tiempo no disipa: vibrante absolución, el perdón que nos otorgas. Arpa y altar fundidos por la furia (¡qué fuerza afinaría el coro de tu cordaje!), umbral terrible de la promesa del profeta, de la oración de paria y del gemido del amante. De nuevo las luces del tráfico que rozan tu lenguaje, veloz y sin cesuras, inmaculado suspiro de los astros, salpican tu ruta, cifran la eternidad. Hemos visto la noche alzada en tus brazos. Bajo la sombra de tus pilares esperé; sólo en la oscuridad tu sombra es clara. Los iluminados bloques urbanos se han borrado, ya la nieve sepulta todo un año de hierro... Insomne como el río que pasa debajo de ti, tú que abovedas el mar, hierba que sueña en las praderas, ven a nosotros, los humildes, baja y con tu curvatura ofrece un mito a Dios. CRÉDITOS: Poema: Al puente de Brooklyn Autor: Hart Crane Traducción: Jaime Priede Ambientación musical: Cold embrace (Midnight Syndicate) Voz y montaje: Manuel Alcaine

Allen Tate's "Edges"

Play Episode Listen Later Nov 20, 2023 6:55

John Orley Allen Tate (November 19, 1899 – February 9, 1979) was a poet, critic, biographer, and novelist. Born and raised in Kentucky, he earned his BA from Vanderbilt University, where he was the only undergraduate to be admitted to the Fugitives, an informal group of Southern intellectuals that included John Crowe Ransom, Donald Davidson, Merrill Moore, and Robert Penn Warren. Tate is now remembered for his association with the Fugitives and Southern Agrarians, writers who critiqued modern industrial life by invoking romanticized versions of Southern history and culture. Tate's best-known poems, including “Ode to the Confederate Dead,” confronted the relationship between an idealized past and a present he believed was deficient in both faith and tradition. Despite his commitment to developing a distinctly Southern literature, Tate's many works frequently made use of classical referents and allusions; his early writing was profoundly influenced by French symbolism and the poetry and criticism of T.S. Eliot. During the 1940s and 1950s, Tate was an important figure in American letters as editor of the Sewanee Review and for his contributions to other midcentury journals such as the Kenyon Review. As a teacher, he influenced poets including Robert Lowell, John Berryman, and Theodore Roethke, and he was friends with Hart Crane, writing the introduction to Crane's White Buildings (1926). From 1951 until his retirement in 1968, Tate was a professor of English at the University of Minnesota.In the decades that he was most active, Tate's “influence was prodigious, his circle of acquaintances immense,” noted Jones in the Dictionary of Literary Biography. James Dickey could write that Tate was more than a “Southern writer.” Dickey went on, “[Tate's] situation has certain perhaps profound implications for every man in every place and every time. And they are more than implications; they are the basic questions, the possible solutions to the question of existence. How does each of us wish to live his only life?”Allen Tate won numerous honors and awards during his lifetime, including the Bollingen Prize and a National Medal for Literature. He was the consultant in poetry at the Library of Congress and president of the National Institute of Arts and Letters.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Cher Revises Poetry

Writers Aloud: The RLF Podcast

Play Episode Listen Later Nov 20, 2023 25:53

Snap out of it! The queens use Cher to revise some poems and the result is ICONIC!Support Breaking Form!Review the show on Apple Podcasts here.Buy our books: Aaron's STOP LYING is available from the Pitt Poetry Series. James's ROMANTIC COMEDY is available from Four Way Books. You can hear Louise Glück read "The Mirror" here and read it for yourself here. (The show was taped before LG's untimely death.)Read "Old Ironsides" by Oliver Wendell HolmesRead "Homage to my hips" by Lucille CliftonYou can read Alexandra Teague's excellent poem "Language Lessons" here. Tess Gallagher's "I Stop Writing the Poem" can be found here. Go here to read Dorothea Lasky's poem "If you can't trust the monitors"Here's Robert Lowell's poem "The Quaker Graveyard in Nantucket"Finally, we mention Hart Crane's poem "Chaplinesque"Here are two clips from Moonstruck"Meeting outside the opera"I want you to come upstairs with me and get in my bed!"

Poetry Break with Rebecca Watts

Play Episode Listen Later Jul 6, 2023 35:26

Rebecca Watts and our host Julia Copus discuss ‘My Grandmother's Love Letters' by twentieth century American poet Hart Crane, in Poetry Break.

american poetry watts love letters my grandmother hart crane

Hart Crane: "Recitative"

Poem-a-Day

Play Episode Listen Later Jun 3, 2023 5:12

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on June 3, 2023. www.poets.org

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The Fall of the White American Gay

Eminent Americans

Play Episode Listen Later May 30, 2023 65:17

Episode Reading List:* From Queer to Gay to Queer, James Kirchick* How Hannah Arendt's Zionism Helped Create American Gay Identity, Blake Smith* When the Pope Hits Your Eye Like a Big Pizza Pie, That's Ahmari, James Kirchick* Eve Kosofsky Sedgwick's Big Fat Nonbinary Mistake, Blake Smith* Are Conservatives the New Queers?, Blake Smith* Wesley Yang, The Souls of Yellow Folk, John PistelliI have a working hypothesis that no one has suffered a more dramatic decline in a certain kind of social status, as a result of changes in left-liberal elite culture and politics, than white gay men. Less than a decade ago they were at the vanguard of social progress, having led a gay rights movement that achieved an extraordinary series of legal, political, and cultural victories. Now they're perceived as basically indistinguishable, within certain left-liberal spaces, from straight white men. In some activist circles they may be even more suspect, since they're competing for leadership roles and narrative centrality where straight men wouldn't presume (or particularly desire) to tread. My hypothesis, if it's accurate, is interesting on its own terms, as part of a much longer history in America of ethnic and other minority groups rising and falling in relative cultural, intellectual, and literary status. It's also interesting, however, for what it tells us about the recent evolution of left and liberal politics, as they've shifted and reshaped themselves in reaction to both great victories, like the legalization of gay marriage, and to depressingly intractable problems like the persistent racial gaps in wealth, health, incarceration, and crime.I'm less interested in the justice or injustice of this shift in standing (though I'm somewhat interested) than I am in the facts of it and its implications. Why has it happened? What does it feel like for the people who have experienced it? What are its implications? Will there be a backlash? To assist me in thinking through what it all means, I invited to the podcast Blake Smith and Jamie Kirchick. Jamie is a columnist for Tablet magazine, a writer at large for Air Mail, and the author of last year's New York Times bestseller, Secret City: The Hidden History of Gay Washington. He has long been an outspoken critic of some sectors of the gay left and what he perceives of as their desire to subordinate the project of achieving full civic and political equality for gay people to a more radical, revolutionary project to tear down conventional bourgeois ideas of gender, sexuality, marriage, family, monogamy, and identity. In a recent essay in Liberties, “From Queer to Gay to Queer,” Jamie compares the liberal tenets of the gay rights movement to the radical aspirations of what he calls “political queerness”: With its insistence that gay people adhere to a very narrow set of political and identitarian commitments, to a particular definition that delegitimates everything outside of itself, political queerness is deeply illiberal. This is in stark opposition to the spirit of the mainstream gay rights movement, which was liberal in every sense — philosophically, temperamentally, and procedurally. It achieved its liberal aspirations (securing equality) by striving for liberal aims (access to marriage and the military) via liberal means (at the ballot box, through the courts, and in the public square). Appealing to liberal values, it accomplished an incredible revolution in human consciousness, radically transforming how Americans viewed a once despised minority. And it did so animated by the liberal belief that inclusion does not require the erasure of one's own particular identity, or even the tempering of it. By design, the gay movement was capacious, and made room for queers in its vision of an America where sexual orientation was no longer a barrier to equal citizenship. Queerness, alas, has no room for gays. The victory of the gay movement and its usurpation by the queer one represents an ominous succession. The gay movement sought to reform laws and attitudes so that they would align with America's founding liberal principles; the queer movement posits that such principles are intrinsically oppressive and therefore deserving of denigration. The gay movement was grounded in objective fact; the queer movement is rooted in Gnostic postmodernism. For the gay movement, homosexuality was something to be treated as any other benign human trait, whereas the queer movement imbues same-sex desire and gender nonconformity with a revolutionary socio-political valence. (Not for the first time, revolution is deemed more important than rights.) And whereas the gay movement strived for mainstream acceptance of gay people, the queer movement finds the very concept of a mainstream malevolent, a form of “structural violence.” Illiberal in its tactics, antinomian in its ideology, scornful of ordinary people and how they choose to live, and glorifying marginalization, queerness is a betrayal of the gay movement, and of gay people themselves. In the podcast I refer to Jamie as “a man alone.” This isn't quite true. He has comrades out there, in particular older gay writers like Andrew Sullivan and Jonathan Rauch, who share many of his commitments and critiques. Generationally, however, Jamie seems more alone than they do, without a cohort of gay intellectuals of roughly his age who share his intellectual reference points, his liberalism, and his very specific experience of coming of age as a gay man and journalist in America when he did, at his specific point of entry to AIDS, the decline of print and rise of online journalism, and the political advance of gay (and more recently trans) rights. He's a man alone but also, if the premise of this podcast is accurate, a man alone who has been publicly articulating a set of feelings and arguments that is shared by many of his gay male peers, of various generations, but hasn't yet taken shape in the form of a political or intellectual reaction.Blake Smith is my first return guest to the podcast, having recently joined me to discuss Pulitzer Prize-winning essayist and critic Andrea Long Chu (the “it girl of the trans world,” as I called her). He is a recent refugee from academia, now living and working as a freelance writer in Chicago, writing for Tablet magazine, American Affairs, and elsewhere. At 35 he is only a few years younger than Jamie, but is the product of a very different set of formative biographical and intellectual influences. Raised in a conservative Southern Baptist family in a suburb of Memphis, Blake's big coming out, as he tells the story, was less as a gay man than as the kind of academically credentialed, world-traveling, city-based sophisticate he has become. If Jamie's sense of loss is maybe something in the vicinity of what I proposed at the top of this post–that he went from being in the ultimately victorious mainstream of the gay rights struggle to being seen as a member of the privileged oppressor class, at best a second-class “ally” and at worst an apostate to the cause –than Blake's experience is less about any personal or political loss of status or standing than it is a variant of the venerable intellectual and literary tradition of pining for a scene or scenes from eras prior to your own. Think Owen Wilson's character in Woody Allen's Midnight in Paris, who was magically transported back to Paris in the 1920s, the scene he'd always romanticized, only to fall in love with a woman from that era who herself romanticizes and eventually chooses to abandon him for another, earlier cultural moment, the Belle Époque scene of the 1890s. For Blake, the key era, maybe, was the brief post-Stonewall period before AIDS superseded all other concerns––so the 1970s, more or less– when gay male life was sufficiently out of the closet for a gay male public to come into existence and begin to define itself and understand how it related, or didn't relate, not just to the straight world but also to feminism, women, Marxism, black civil rights, and other left-wing and liberal movements. In a recent piece in Tablet, Blake writes about the magazine Christopher Street, founded in 1976, and its project of helping to bring into existence a coherent intellectual and cultural community of gay men:In its cultural politics of building a gay male world, Christopher Street featured poetry and short stories, helping launch the careers of the major gay writers of the late 20th century, such as Edmund White, Andrew Holleran, and Larry Kramer. It also ran many essays that contributed to an emerging awareness that there was a gay male canon in American letters, running from Walt Whitman and Hart Crane to John Ashbery and James Merrill.Christopher Street was by no means the only venue for the construction of a gay world, but [editor Michael] Denneny and his colleagues were perhaps the sharpest-minded defenders of its specificity—their demand that it be a world for gay men. In a debate that has now been largely forgotten, but which dominated gay intellectual life in the 1970s, Denneny's Arendtian perspective, with its debts to Zionism, was ranged against a vision of politics in which gay men were to be a kind of shock force for a broader sexual-cum-socialist revolution.For Blake, what's been lost or trumped is less the liberal politics that Jamie champions and that Christopher Street more or less advocated than the existence of a gay male world of letters that had fairly distinct boundaries, a relatively private space in which gay men–who may always remain in some way politically suspect, even reviled, by the mainstream–can recognize and talk to each other. As he writes in another recent essay in Tablet, maybe half-seriously, “One should, …know one's own type (Jew, homosexual, philosopher, etc.) and remain at a ‘playful distance' from those outside it, with ‘no expectation of essential progress' toward a world in which the sort of people we are can be publicly recognized and respected. No messiahs, and no end to paranoias and persecutions—but, in the shade of deft silences, the possibility of cleareyed fellowship with one's own kind.”Jamie, Blake, and I had what I found to be a really exciting conversation about all these issues and more. Give it a listen.Eminent Americans is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

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The Long and Short: Hart Crane's 'The Bridge'

Close Readings

Play Episode Listen Later May 24, 2023 10:07

In their fifth episode, Mark and Seamus reach their first 20th century poet of the series, the Ohio-born, New York-loving ad man Hart Crane, and his epic 1930 work The Bridge. Directly inspired by The Waste Land, The Bridge sought to address modernity, as Eliot had done, with all its conflicts, contradictions and difficulties, but infuse it with a Whitman-esque expression of American greatness.This is an extract from the episode. To listen in full and to our other Close Readings series, sign up:Directly in Apple Podcasts here: https://apple.co/3pJoFPqIn other podcast apps here: lrb.me/closereadingsSeamus Perry is Professor of English Literature at the University of Oxford and Mark Ford is Professor of English Literature at University College London. Hosted on Acast. See acast.com/privacy for more information.

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RADIO N.A.V. x61 EL POETA HART CRANE; EL ÚLTIMO ROMÁNTICO

RADIO NADIE AL VOLANTE

Play Episode Listen Later May 14, 2023 88:45

Hoy vamos a hablar de poesía. Vamos a hablar de un poeta fascinante que surgió en la primera mitad del siglo XX y se convirtió en uno de esos poetas que vienen a inmolarse en una búsqueda que va más allá de los conceptos y de las palabras; que vienen para erigir una poesía que se convierta en un código secreto legado por un dios desconocido. Un poeta que murió demasiado joven, como Keats, Shelley o Lorca; demasiado joven para haber disfrutado lo suficiente, para haber atesorado tanta sabiduría, para sangrar tanta tristeza. Con tan solo 32 años se arrojó de un barco desapareciendo en el Golfo de México, ahogado como también murió ahogado Shelley. Todos ellos desaparecieron superados por la vida, demasiado mundana, demasiado terrible; buscando esa ficción suprema de la que hablaba el poeta Wallace Stevens donde poder resguardar su alma frente a la tormenta, a la vez que trataban de dejarnos un legado sublime para los que teníamos que vagar por este mundo, para recordarnos que existe lo inmarcesible, lo intemporal y lo eterno, y que, aunque ellos no pudieron, nosotros tal vez lo logremos. Hoy nuestra sección de Poetical Resistance de vuestro poeta Gabriel Moreno viene a tratar de desentrañar la vida y la obra de un poeta poco conocido pero que se encuentra a la altura de los más grandes, como diría nuestro gordo Buda, Harold Bloom, a la altura de Blake, Shelley o Whitman. Así que ya nos encontramos en nuestro apartamento en Brooklyn Heights, contemplando el puente que marca el paisaje como el monumento faraónico de un nuevo mundo que se erige como estandarte de una humanidad renovada. Vamos a reconstruir la identidad de América, vamos a repensar la negatividad de la Tierra Baldía de Elliot, vamos a emborracharnos y enamorarnos de los marineros más bellos, vamos a sumergirnos en el alma del poeta, Hart Crane.

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Six classic restaurants on the Left Bank of Paris

The Earful Tower: Paris

Play Episode Listen Later Mar 13, 2023 27:56

We revisit a chat with writer John Baxter about Paris and its compendium of history. We especially dig into the Left Bank and its classic restaurants, which are listed below. Le Select Address: 99 Bd du Montparnasse, 75006 Paris Lapérouse Address: 51 Quai des Grands Augustins, 75006 Paris Tour d'Argent Address: 19 Quai de la Tournelle, 75005 Paris Charivari Address: 143 Bd Raspail, 75006 Paris Le Balzar Address: 49 Rue des Écoles, 75005 Paris La Méditerranée Address: 2 Pl. de l'Odéon, 75006 Paris This episode was originally released for Patreon members, and each question was sent in from members. As such, we talk about a lot more than just restaurants, and John also mentions La Philharmonie de Paris (Address: 221 avenue Jean Jaurès - 75019 Paris), the poet Hart Crane, French actress and courtesan Liane de Pougy, and actress Kitty Carlisle Hart. Find John's books and his literary tours here. Support The Earful Tower podcast on Patreon here, where I'll release more members-only episodes in the future. SOCIAL MEDIA: Check out The Earful Tower on Instagram, TikTok, Facebook, and YouTube. More from the Earful Tower on the homepage here, and thanks to Pres Maxson for the music throughout.

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“My Grandmother's Love Letters” by Hart Crane

Read Me a Poem

Play Episode Listen Later Mar 7, 2023 2:54

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

acast grandmothers love letters my grandmother chad crouch amanda holmes hart crane david lehman canvasback stephanie bastek

Langdon Hammer on James Merrill ("Christmas Tree")

Close Readings

Play Episode Listen Later Dec 25, 2022 57:39

Our own Very Special Christmas Episode: Langdon Hammer joins the podcast to talk about James Merrill's "Christmas Tree."Langdon Hammer is the Niel Gray, Jr. Professor of English at Yale University and the author of James Merrill: Life and Art (Knopf, 2015). With Stephen Yenser, he edited A Whole World: Letters from James Merrill (Knopf, 2021). He is also the author of Hart Crane and Allen Tate: Janus-Faced Modernism (Princeton, 1993) and the editor of Library of America editions of Crane and May Swenson. He is poetry editor at The American Scholar and a contributor to The New York Times Book Review, The New York Review of Books, The Yale Review, and The Los Angeles Review of Books. You can find a free, online version of "Modern Poetry," one of his Yale University undergraduate lecture courses, here.Please follow, rate, and review the podcast if you like what you hear, and sign up for my newsletter for more links and to stay up to date on our plans.

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"What's in a name?" asks Aaron Copland

Composers Datebook

Play Episode Listen Later Oct 30, 2022 2:00

Synopsis It was on today's date in 1944 that Martha Graham and her dance company first performed the ballet "Appalachian Spring" by Aaron Copland. The premiere took place at the Library of Congress in Washington, D.C, as part of the 80th birthday celebrations for music patron Elizabeth Sprague Coolidge, who had commissioned Copland's score for $500 – not a bad commission back then! Copland used an old Shaker hymn called "Simple Gifts" as a principal theme for his ballet. The austere but simple elegance of Shaker art reminded him, he said, of Graham's style of dancing, and tied in with her vague suggestions that the ballet would be about early American pioneers. Copland left the title up to Graham. Arriving in Washington for the rehearsals, Copland wrote: “The first thing I said to Martha when I saw her was, ‘What have you called the ballet?' She replied, ‘Appalachian Spring.' ‘What a pretty title. Where did you get it?' I asked, and Martha said, ‘Well, actually it's from a poem by Hart Crane.' I asked, ‘Does the poem have anything to do with your ballet?' ‘No,' said Martha. ‘I just liked the title.'” Understandably, Copland said he was always amused when people said, "Oh Mr. Copland, I can just see the Appalachian Mountains when I hear your music!" Music Played in Today's Program Aaron Copland (1900-1990) Appalachian Spring Saint Louis Symphony;Leonard Slatkin, cond. EMI 73653

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145 - Catholic Imagination Conference poetry reading

The Catholic Culture Podcast

Play Episode Listen Later Oct 18, 2022 68:16

The Catholic Culture Podcast Network sponsored a poetry reading session at the fourth biennial Catholic Imagination Conference, hosted by the University of Dallas. Thomas Mirus moderated this session on Sept. 30, 2022, introducing poets Paul Mariani, Frederick Turner, and James Matthew Wilson. Paul Mariani, University Professor Emeritus at Boston College, is the author of twenty-two books, including biographies of William Carlos Williams, John Berryman, Robert Lowell, Hart Crane, Gerard Manley Hopkins, and Wallace Stevens. He has published nine volumes of poetry, most recently All that Will be New, from Slant. He has also written two memoirs, Thirty Days and The Mystery of It All: The Vocation of Poetry in the Twilight of Modernism. His awards include fellowships from the Guggenheim Foundation, the NEA and NEH. He is the recipient of the John Ciardi Award for Lifetime Achievement in Poetry and the Flannery O'Connor Lifetime Achievement Award. His poetry has appeared in numerous anthologies and magazines, including Image, Poetry, Presence, The Agni Review, First Things, The New England Review, The Hudson Review, Tri-Quarterly, The Massachusetts Review, and The New Criterion. Frederick Turner, Founders Professor of Arts and Humanities (emeritus) at the University of Texas at Dallas, was educated at Oxford University. A poet, critic, translator, philosopher, and former editor of The Kenyon Review, he has authored over 40 books, including The Culture of Hope, Genesis: An Epic Poem, Shakespeare's Twenty-First Century Economics, Natural Religion, and most recently Latter Days, with Colosseum Books. He has co-published several volumes of Hungarian and German poetry in translation, including Goethe's Faust, Part One. He has been nominated internationally over 40 times for the Nobel Prize for Literature and translated into over a dozen languages. James Matthew Wilson is Cullen Foundation Chair of English Literature and Founding Director of the MFA program in Creative Writing at the University of Saint Thomas, in Houston. He serves also as Poet-in-Residence of the Benedict XVI Institute for Sacred Music and Divine Worship, as Editor of Colosseum Books, and Poetry Editor of Modern Age magazine. He is the author of twelve books, including The Strangeness of the Good. His work has won the Hiett Prize, the Parnassus Prize, the Lionel Basney Award (twice), and the Catholic Media Book Award for Poetry.

Episode 53: Paul Mariani on Robert Lowell

Sacred and Profane Love

Play Episode Listen Later Sep 30, 2022 59:56

In this episode, I speak with the poet, critic, and biographer Paul Mariani, professor emeritus at Boston College. We discuss his new book, All that Will be New and his biography of Robert Lowell, The Lost Puritan. We discuss Lowell's life, poetry, and his struggle with the permanent things: religion, marriage, art, family. Given the influence of Hopkins on his early poems, I think this episode pairs well with episode 38 with Nick Ripatrazone. As always, I hope you enjoy our conversation. Paul Mariani is the University Professor of English emeritus at Boston College. He is the author of twenty books, including biographies of William Carlos Williams, John Berryman, Robert Lowell, Hart Crane, Gerard Manley Hopkins, and Wallace Stevens. He has published nine volumes of poetry: All That Will New, Ordinary Time, Epitaphs for the Journey, Deaths & Transfigurations, The Great Wheel, Salvage Operations: New & Selected Poems, Prime Mover, Crossing Cocytus, and Timing Devices. He is also the author of the spiritual memoir, Thirty Days: On Retreat with the Exercises of St. Ignatius and The Mystery of It All: The Vocation of Poetry in the Twilight of Modernity. His awards include fellowships from the Guggenheim and the NEA and NEH. In September 2019, he was awarded the inaugural Flannery O'Connor Lifetime Achievement Award from the Catholic Imagination Conference at Loyola University, Chicago. Jennifer Frey is an associate professor of philosophy and Peter and Bonnie McCausland Faculty Fellow at the University of South Carolina. She is also a fellow of the Institute for Human Ecology at the Catholic University of America and the Word on Fire Institute. Prior to joining the philosophy faculty at USC, she was a Collegiate Assistant Professor of Humanities at the University of Chicago, where she was a member of the Society of Fellows in the Liberal Arts and an affiliated faculty in the philosophy department. She earned her Ph.D. in philosophy at the University of Pittsburgh, and her B.A. in Philosophy and Medieval Studies (with a Classics minor) at Indiana University, in Bloomington, Indiana. She has published widely on action, virtue, practical reason, and meta-ethics, and has recently co-edited an interdisciplinary volume, Self-Transcendence and Virtue: Perspectives from Philosophy, Theology, and Psychology. Her writing has also been featured in Breaking Ground, First Things, Fare Forward, Image, Law and Liberty, The Point, and USA Today. She lives in Columbia, SC, with her husband, six children, and chickens. You can follow her on Twitter @ jennfrey. Sacred and Profane Love is a podcast in which philosophers, theologians, and literary critics discuss some of their favorite works of literature, and how these works have shaped their own ideas about love, happiness, and meaning in human life. Host Jennifer A. Frey is an associate professor of philosophy at the University of South Carolina. The podcast is generously supported by The Institute for Human Ecology at the Catholic University of America and produced by Catholics for Hire.

Episode 53: Paul Mariani on Robert Lowell

Sacred and Profane Love

Play Episode Listen Later Sep 30, 2022 59:56

In this episode, I speak with the poet, critic, and biographer Paul Mariani, professor emeritus at Boston College. We discuss his new book, All that Will be New and his biography of Robert Lowell, The Lost Puritan. We discuss Lowell's life, poetry, and his struggle with the permanent things: religion, marriage, art, family. Given the influence of Hopkins on his early poems, I think this episode pairs well with episode 38 with Nick Ripatrazone. As always, I hope you enjoy our conversation. Paul Mariani is the University Professor of English emeritus at Boston College. He is the author of twenty books, including biographies of William Carlos Williams, John Berryman, Robert Lowell, Hart Crane, Gerard Manley Hopkins, and Wallace Stevens. He has published nine volumes of poetry: All That Will New, Ordinary Time, Epitaphs for the Journey, Deaths & Transfigurations, The Great Wheel, Salvage Operations: New & Selected Poems, Prime Mover, Crossing Cocytus, and Timing Devices. He is also the author of the spiritual memoir, Thirty Days: On Retreat with the Exercises of St. Ignatius and The Mystery of It All: The Vocation of Poetry in the Twilight of Modernity. His awards include fellowships from the Guggenheim and the NEA and NEH. In September 2019, he was awarded the inaugural Flannery O'Connor Lifetime Achievement Award from the Catholic Imagination Conference at Loyola University, Chicago. Sacred and Profane Love is a podcast in which philosophers, theologians, and literary critics discuss some of their favorite works of literature, and how these works have shaped their own ideas about love, happiness, and meaning in human life. Host Jennifer A. Frey is an associate professor of philosophy at the University of South Carolina. The podcast is generously supported by The Institute for Human Ecology at the Catholic University of America and produced by Catholics for Hire.

Quotomania 298: Hart Crane

Quotomania

Play Episode Listen Later Jul 26, 2022 1:39

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Harold Hart Crane was born on July 21, 1899 in Garrettsville, Ohio and began writing verse in his early teenage years. Though he never attended college, Crane read regularly on his own, digesting the works of the Elizabethan dramatists and poets William Shakespeare, Christopher Marlowe, John Donne and the nineteenth-century French poets Charles Vildrac, Jules Laforgue, and Arthur Rimbaud. His father, a candy manufacturer, attempted to dissuade him from a career in poetry, but Crane was determined to follow his passion to write.Living in New York City, he associated with many important figures in literature of the time, including Allen Tate, the novelist and short story writer Katherine Anne Porter, E. E. Cummings, and Jean Toomer, but his heavy drinking and chronic instability frustrated any attempts at lasting friendship. An admirer of T. S. Eliot, Crane combined the influences of European literature and traditional versification with a particularly American sensibility derived from Walt Whitman. His major work, the book-length poem, The Bridge, expresses in ecstatic terms a vision of the historical and spiritual significance of America. Like Eliot, Crane used the landscape of the modern, industrialized city to create a powerful new symbolic literature.Hart Crane died by suicide on April 27, 1932, at the age of thirty-two, while sailing back to New York from Mexico.From https://poets.org/poet/hart-crane. For more information about Hart Crane:“Hart Crane”: https://www.poetryfoundation.org/poets/hart-craneThe Complete Poems of Hart Crane: https://wwnorton.com/books/9780871401786“A Discussion with Hart Crane”: https://www.poetryfoundation.org/poetrymagazine/browse?volume=29&issue=1&page=46

Hechos con Palabras - Hart Crane

RADIOMÁS

Play Episode Listen Later Jul 21, 2022 6:04

Hechos con Palabras - Hart Crane by Radiotelevisión de Veracruz

palabras hechos veracruz hart crane

Simply Roger (interview with David Trinidad pt. 2)

academy published poem voyages american poets hart crane

Play Episode Listen Later Jun 9, 2022 27:44

Tantalize, Memory: Our kiki with David Trinidad continues! Buy David's new book, Digging to Wonderland, at your favorite indie bookstore -- or buy it here from Loyalty Books, a Black-owned independent bookseller in Washington, DC.Gypsy Rose Lee (born Rose Louise Hovick, January 8, 1911 – April 26, 1970) was an American burlesque entertainer famous for her striptease act whose memory was adapted into the 1959 stage musical Gypsy. You can watch here some footage of her performing an abbreviated (and very clean) version of her famous routine, "The Psychology of a Stripteaser" in the 1943 film Stage Door Canteen (~5 min).John Yau's new book, Joe Brainard: The Art of the Personal, will be released September 2022 from Rizzoli International Publications. For more about Brainard, visit the website dedicated to his work here. A great retrospect about Joe Brainard appeared in Artforum. Larry Rivers has a great portrait of Frank O'Hara here. According to this website Roger (1954 - 1982) was an American gay porn star who appeared in pornographic movies in the 1970s. After an early career as a model and go-go boy from age 17, he appeared as a "Discovery" centerfold in "Blueboy" magazine, Roger appeared in many film loops of the pre-condom era, co-starring with other notable porn stars of the time, including Al Parker, Jack Wrangler, Chuck Samson, and Bruno. Roger was also a popular stage performer in gay nightclubs and theaters. Roger left the adult film industry in 1980 and in 1982, en route to Las Vegas, perished in a car accident. In 2000, an imposter posing as Roger appeared on a number of Yahoo! groups, but was soon exposed as a fraud. He told stories of having attended Al Parker's memorial service in 1992, remaining in touch with co-star Jack Wrangler, and maintaining a monogamous relationship since the late 1980s while living in a suburb of Chicago. All of this information was completely false.Hear David read his poem "Ode to Dick Fisk" here (at Naropa).Read more about Elaine Equi here. Watch Rachel Blau DuPlessis talk about the "exuberant sexual and lexical energy and gay will to power" of Frank O'Hara's Second Avenue here (~6 min)Sei Shōnagon (清少納言, c. 966–1017 or 1025) was a Japanese author, poet, and a court lady who served the Empress Teishi (Sadako) around the year 1000 during the middle Heian period. She is the author of The Pillow Book (枕草子, makura no sōshi).Want to read more about Sexton, faith, and love? Your wait is over. Read Sylvia Plath's poem "Edge" here. If you want to know what Hart Crane looks like, click here.

american black chicago washington las vegas personal comedy japanese psychology dc lgbtq discovery poetry yahoo digging wonderland trinidad ode hara sexton franko artforum brainard #gay hear david blue boy heian naropa second avenue gypsy rose lee hart crane pillow book buy david joe brainard #authors sei sh stage door canteen

On the Meeting of Garcia Lorca and Hart Crane

Audio Poem of the Day

Play Episode Listen Later Jun 4, 2022 3:34

By Philip Levine

garcia lorca hart crane

Hart Crane: "Voyages V"

Poem-a-Day

Play Episode Listen Later Jun 4, 2022 2:42

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on June 4, 2022. www.poets.org

The Air Plant

Audio Poem of the Day

Play Episode Listen Later Mar 24, 2022 1:42

by Hart Crane (read by Thomas Lux)

plant hart crane

Carter times Three

Composers Datebook

Play Episode Listen Later Feb 17, 2022 2:00

Synopsis The American composer Elliott Carter has a reputation for writing some of the thorniest, most abstract and most technically difficult orchestral scores of the 20th century. But for a few moments at least, during the opening of Carter's “Symphony of Three Orchestras,” which had its premiere performance on today's date in 1977 at a New York Philharmonic concert conducted by Pierre Boulez, audiences must have been surprised by an impressionistic, almost Romantic tone. In notes for the new piece, Carter admitted the opening of the new work was inspired by the poetry of Hart Crane, specifically Crane's description of the New York harbor and the Brooklyn Bridge. Both those New York landmarks were a short walk away from Carter's lower Manhattan apartment. Carter's 15-minute “Symphony of Three Orchestras” quickly shifts into his more recognizably dense style, however, and, as the title indicates, employs three orchestras on one stage, playing with and against each other at various points. As the New York Times reviewer wrote: “It will take many hearings for the relationships of the score to assert themselves, though one can be confident that Mr. Carter, one of the most accomplished constructionists of the age, has assembled everything with pin-point logic.” Music Played in Today's Program Elliot Carter (1908 - 2012) — Symphony for Three Orchestras (New York Philharmonic; Pierre Boulez, cond.) Sony 68334

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Jonas Zdanys Open Windows Poems and Translations

Open Windows Podcast

Play Episode Listen Later Jan 5, 2022 25:44

I read poems about the Brooklyn Bridge today, during the beginning of the month named for the two-faced god Janus, and ask you to consider how both this month and bridges point in two directions, both forward and backwards, to the past and to the future, to memory and to prophecy. I read poems by Walt Whitman, Marianne Moore, Hart Crane, Jack Kerouac, Harvey Shapiro, and Alfred Corn. I end the program with one of my own poems.

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Mona in the Corner

dans fiction dans la sont passages peuvent personnages ponts kwa thornton wilder hart crane san luis rey

Play Episode Play 38 sec Highlight Listen Later Jan 3, 2022 23:56

James and Aaron revisit Reginald Shepherd's poem "The Gods at 2 A.M." Then they play a round of Top, Bottom, Verse where they ponder the erotic styles of poets like Hart Crane, Walt Whitman, and Mona van Duyn. Reginald Shepherd's blog can be found here. His books are still in print and were all published by the University of Pittsburgh Press (under the fabulous direction of Ed Ochester):Some Are Drowning (1994; chosen by Carolyn Forchè for the AWP Award in Poetry)Angel, Interrupted (1996)Wrong ( 1999)Otherhood (2003)Fata Morgana (2007)Red Clay Weather (2011).You can read the interview we reference in Callaloo here. Shepherd held a BA from Bennington College and MFAs from the Writers' Workshop at the University of Iowa and from Cornell. He was born on April 10, 1963 and died September 10, 2008. He appeared in four editions of Best American Poetry and in two Pushcart Prize anthologies. Mona van Duyn was the US Poet Laureate from 1992-1993.

How to Face Resistance: Loran Nordgren, co-author of ‘The Human Element', [reads] ‘My Grandmother's Love Letters'

2 Pages with MBS

Play Episode Listen Later Dec 7, 2021 37:35

Michael's new book How to Begin: Start Doing Something that Matters is now available at www.HowToBegin.com. We've probably all had the experience of someone else resisting one of our brilliant ideas. Do you remember how that feels - not being seen or heard? You know what's almost as irritating, perhaps even more so? When you're the person resisting your own good idea; you team up with the status quo to back away from this opportunity to unlock your greatness. Loran Nordgren is a teacher at the Kellogg School of Management, and the co-author of the book The Human Element: Overcoming the Resistance That Awaits New Ideas, because there are endless reasons why new ideas are not immediately embraced. As a co-author, he joins me in this episode to share how he turned the medium into the message. Get‌ ‌book‌ ‌links‌ ‌and‌ ‌resources‌ ‌at‌ https://www.mbs.works/2-pages-podcast/ Loran reads the poem ‘My Grandmother's Love Letters' by Hart Crane. [reading begins at 10:30] Hear us discuss: “There is deep, incredible promise in collaboration.” [2:46] | “I often feel that we are strangers to almost all generations and things past.” [13:05] | The evolution of connecting with people as you age. [14:15] | Having a healthy relationship with the status quo: “People need time to acclimate to new ideas.” [16:56] | Managing anxiety as a creator. [29:00]

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Les ponts dans la fiction : passages ou personnages?

Personnages en personne

Play Episode Listen Later Dec 5, 2021 28:44

durée : 00:28:44 - Personnages en personne - par : Charles Dantzig - Du pont en corde de San Luis Rey, lieu symbolique fatal dans le roman de Thornton Wilder, au pont de Brooklyn chanté par Hart Crane et à celui de la rivière Kwaï, comment la fiction s'est-elle servi des ponts? Sont-ils de simples passeurs de personnages? Peuvent-ils eux-mêmes en devenir?

Les ponts dans la fiction : passages ou personnages?

France Culture physique

Play Episode Listen Later Dec 5, 2021 28:44

durée : 00:28:44 - Personnages en personne - par : Charles Dantzig - Du pont en corde de San Luis Rey, lieu symbolique fatal dans le roman de Thornton Wilder, au pont de Brooklyn chanté par Hart Crane et à celui de la rivière Kwaï, comment la fiction s'est-elle servi des ponts? Sont-ils de simples passeurs de personnages? Peuvent-ils eux-mêmes en devenir?

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ArtiFact #19: Elizabeth Barrett Browning's "Sonnets from the Portuguese" | Alex Sheremet, Joel Parrish

ArtiFact: Books, Art, Culture

Play Episode Listen Later Aug 23, 2021 177:26

Elizabeth Barrett Browning (1806 – 1861) was one of the best poets of the 19th century, yet remains little known today and even less read. At a time when feminist literary criticism (among other relevant lenses) is ascendant, how did Barrett Browning go from an almost universally admired writer to one that is neglected in favor of her literary inferiors? In ArtiFact #19, Joel Parrish and Alex Sheremet tackle her classic sonnet sequence, Sonnets from the Portuguese, going through roughly half the poems line by line to uncover Browning's complicated views on love, art, and other subjects, highlighting her philosophical depth, technical skill, as well as her inversions of familiar tropes. You can also watch this discussion on our YouTube channel: https://www.youtube.com/watch?v=5nCaB4_tJCQ Timestamps: 0:24 – Introducing Elizabeth Barrett Browning + Sonnets from the Portuguese in context; William Blake, Walt Whitman, Shakespeare, John Donne; Browning's world-building, sonnet-units, and characterization from poem to poem 11:37 – Sonnet 1: “I thought once how Theocritus had sung…” – how Elizabeth Barrett Browning creates a world with values, assumptions, moods, and characters with their own narrative arcs; how a complex and even ambiguous view of love gets presented from the very beginning; the love of melancholy; love vs. death; introducing the objective-subjective distinction in Sonnets from the Portuguese 23:36 – Sonnet 3: “Unlike are we, unlike, O princely Heart!” – inverting the vocative cliché; the modernity of Elizabeth Barrett Browning; time and death as leveling forces for the objective + subjective divide 35:16 – Sonnet 12: “Indeed this very love which is my boast…” – a weaker sonnet that nonetheless has some redeeming features, such as ambiguity in the ending 40:49 – Sonnet 13: “And wilt thou have me fashion into speech…” – inverting the classic ‘I can't even express my love' trope in poetry; the use of literal images to offset generic and/or trope imagery; the subtle and underrated feminism of Elizabeth Barrett Browning 53:20 – Sonnet 14: “If thou must love me, let it be for naught…” – Elizabeth Barrett Browning seeks a more substantive love; cleverness from line to line; a lackluster ending 01:02:20 – Sonnet 15: “Accuse me not, beseech thee, that I wear…” – a truly great poem; some of the best clues to the narrator's thinking about love, relationships, and more 01:13:28 – Sonnet 17: “My poet, thou canst touch on all the notes…” – is Elizabeth Barrett Browning presaging theoretical physics; how the narrator's self-effacing words are strangely turned on the addressee 01:20:32 – Sonnet 18: “I never gave a lock of hair away…” – inverting the “lock of hair” trope in romantic writing 01:29:28 – Sonnet 19: “The soul's Rialto hath its merchandise…” – more sonnet-units, forming a unit with Sonnet 18; Alex makes a decent number of mistakes after failing to refer to his own notes 01:36:43 – Sonnet 22: “When our two souls stand up erect and strong…” – how Elizabeth Barrett Browning uses conventionally “positive” images to opposite effect 01:46:35 – Sonnet 25: “A heavy heart, Beloved, I have borne…” – turning the “heavy heart” cliché into a literal image that becomes the fulcrum for startling imagery 01:52:16 – Sonnet 26: “I lived with visions for my company…” – some good images, but a mixed bag 02:01:04 – Sonnet 33: “Yes, call me by my pet-name! let me hear…” – one of Elizabeth Barrett Browning's greatest + most famous poems; the strange mix of feminist eroticism and invocations of childhood; how EBB plays off of John Milton's famous sonnet “On His Blindness” 02:12:29 – Sonnet 34: “With the same heart, I said, I'll answer thee…” – merely recapitulative of the greater and more daring preceding sonnet 02:19:08 – Sonnet 36: “When we first met and loved, I did not build…” – proto-feminism in its treatment of love as an “unowned thing”; some good images 02:22:27 – Sonnet 37: “Pardon, oh, pardon, that my soul should make…” – some of Elizabeth Barrett Browning's most modern imagery; thematic connections between images help invert the familiar; the Hart Crane-like ending 02:29:49 – Sonnet 43: “How do I love thee? Let me count the ways…” – Elizabeth Barrett Browning's most famous poem; a mix of daring images + conventional choices 02:41:02 – Sonnet 44: “Beloved, thou hast brought me many flowers…” – a great ending to the sequence; Alex and Joel disagree on the quality of the poem; how it recapitulates and refracts Sonnets from the Portuguese Read the latest from the automachination universe: https://automachination.com Read Alex's (archived) essays: https://alexsheremet.com/ Thumbnail photo © Joel Parrish: https://poeticimport.com Tags: #ArtiFact, #Sonnet, #ElizabethBarrettBrowning

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Episode 163 - I Need My "Space" - Say "Jack" - A Capital Idea - Toys And Games - Throw It Here

Instant Trivia

Play Episode Listen Later Jul 23, 2021 7:27

Welcome to the Instant Trivia podcast episode 163, where we ask the best trivia on the Internet. Round 1. Category: I Need My "Space" 1: Ittowers605 feetoverSeattle. the Space Needle. 2: It's been making people scream at Disney World since the '70s. Space Mountain. 3: It's between the 2 "Alt" keys on a standard keyboard. the spacebar. 4: The Chandra or the Hubble, for example. a space telescope. 5: The Oscar-winning actress and actor who fit the category. Kevin Spacey and Sissy Spacek. Round 2. Category: Say "Jack" 1: This man's Chicago-based Rainbow/PUSH action network is a merger of 2 earlier political groups. Jesse Jackson. 2: On TV he played Steve McGarrett, head of Five-O, a special Hawaiian police unit. Jack Lord. 3: He played for the Kansas City Monarchs before he joined the Brooklyn Dodgers in 1947. Jackie Robinson. 4: This actress who now plays Lisa Landry on "Sister, Sister" won an Emmy for "227". Jackee Harry. 5: Formerly a special advisor to LBJ, he's presided over the MPAA since 1966. Jack Valenti. Round 3. Category: A Capital Idea 1: Abuja, this country's first planned city, was built in the Chukuku Hills to replace Lagos as the capital. Nigeria. 2: Empress Taitu chose the name of this Ethiopian capital; it means "new flower". Addis Ababa. 3: Someone had the bright idea to name this city for a duke even before it became New Zealand's capital. Wellington. 4: Someone had the bright idea to build a Disneysea theme park in this Asian city; it opened in 2001. Tokyo. 5: Hey, mon, Bob Marley's home in this Caribbean capital was turned into a Bob Marley museum. Kingston, Jamaica. Round 4. Category: Toys And Games 1: Parker Bros, has made balls, boomerangs and ping pong paddles out of this soft material. Nerf (or foam rubber). 2: Another name for a firefly, or Hasbro's toy that lights up when you hug it. glow worm. 3: Introduced as a doll for boys, this action figure was named after a 1945 WWII movie. G.I. Joe. 4: The Toys R Us 2011 holiday hot toys list included the LeapPad Explorer from this company. LeapFrog. 5: If you roll 5 of a kind you've gotten this, the name of a dice game by Milton Bradley. Yahtzee. Round 5. Category: Throw It Here 1: Completes the proverb "People who live in glass houses shouldn't...". throw stones. 2: To issue a challenge is to "throw down" this, like a medieval knight. the gauntlet. 3: Too bad when Hart Crane jumped ship his father couldn't throw him this, like the same-named candy he invented. a lifesaver. 4: From the Latin for "to speak from the belly", it's the art of throwing one's voice. ventriloquism (to ventriloquize accepted). 5: In 1915 he became the first president to attend the World Series and to throw out the first pitch during a Series game. (Woodrow) Wilson. Thanks for listening! Come back tomorrow for more exciting trivia!

Episode 26: The Adventure of Poetry with Tim Lavenz

Jouissance Vampires

Play Episode Listen Later Jun 26, 2021 108:55

Daniel and Mike are joined by poet and philosopher Tim Lavenz (https://fragilekeys.com) to discuss the mysteries of poetry. What exactly is the 'old quarrel' between philosophy and poetry? What is the mystery of poetry? What are poetry's limitations: what can't it do or decide? Bio for Tim Lavenz: Tim has many creative essays on the topic of poetry (and much else) on his website, fragilekeys.com, and runs a YouTube channel called Experimentum Vocis, which houses his poetry readings and talks. He began writing poems as a teenager thanks to an online rap battles forum. His inquiry into the essence of poetry began at the Iowa Writer's Workshop circa 2007 and has intensified since. The readings mentioned in the episode can be found here. Alain Badiou "Language, Thought, Poetry" Jean Paulhan "Key to Poetry" Handout with excerpts from John Keats and Hart Crane. *Music: "Caledonia Soul Music" by Van Morrison

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#117 Today's Boondoggle- with Jon Hart Crane and his Balls.

Todays Boondoggle on Domain Cleveland Radio

Play Episode Listen Later May 19, 2021 95:42

In this episode Bill is joined once again by Florence Whitengale and we talk with Jon Hart Cane of the YouTube Channel by the same name. Jon talks about living in NYC on 9-11 and documenting that days events, as well as the RNC protests a few years later. Jon also shares what led him down the rabbit hole years later to question the narratives and propaganda put out by our government and mainstream media. He also shares his knowledge on Weather Modification technology, EMF rays, 5G technology, HAARP, and crimes against humanity. Jon, Flo, and Bill also talk about daily routines, healing and recovery with Yumana ball rolling, and Bill Gates being a Dr. Evil figurehead, plus how we must all unite and fight against the CONvid virus, plus how he's using a Beekeepers outfit to fight against this Plandemic, and so much more. So kick back with your headphones and cold one for this latest episode. Enjoy our additional segments featuring music from the Flo White Show and Stories from the VFW Hall. Remember Boondoggle Listeners Matter, so e-mail us at todaysboondoggle@gmail.com and let us know your thoughts so we can read them on air. Tweet us @2daysBoondoggle and Follow us on Instagram @todaysboondoggle as well as on Facebook. Please subscribe and give 5 stars and review. Every review we receive on either Apple Podcast or Google Music we will mention you on a future episode and our Social Media pages. Follow Today's Boondoggle also on our Social Media as well as DomainCle.com and on Anchor.fm Today's Boondoggle logo designed by Stacy Candow. Additional music by Evan Crouse Also please consider financially supporting us at Todays Boondoggle using Venmo, our GoFundMe, or sponsoring us on our Anchor.fm page, so we can continue to provide you with quality entertainment.#11 --- Send in a voice message: https://anchor.fm/todaysboondoggle/message Support this podcast: https://anchor.fm/todaysboondoggle/support

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#117 Today’s Boondoggle- with Jon Hart Crane and his Balls.

DCLE - Domain Cleveland - Entertainment is our Domain

Play Episode Listen Later May 19, 2021

In this episode Bill is joined once again by Florence Whitengale and we talk with Jon Hart Cane of the YouTube Channel by the same name. Jon talks about living in NYC on 9-11 and documenting that days events, as well as the RNC protests a few years later. Jon also shares what led him […]

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Hart Crane to His Father

Human Voices Wake Us

Play Episode Listen Later May 4, 2021 16:13

A reading of a letter Hart Crane sent to his father in January of 1924. I don't know of a better attempt by a poet to explain his vocation to someone who will never understand it, than this. The letter is found on O My Land, My Friends: The Selected Letters of Hart Crane, edited by Langdon Hammer & Brom Weber. Any comments, or suggestions for readings I should make in later episodes, can be emailed to humanvoiceswakeus1@gmail.com. I assume that the small amount of work presented in each episode constitutes fair use. Publishers, authors, or other copyright holders who would prefer to not have their work presented here can also email me at humanvoiceswakeus1@gmail.com, and I will remove the episode immediately.

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May 3, 2021 Five Agrotourism Hotspots, Charles Joseph Sauriol, May Sarton, Seasonal Inspiration, Half Baked Harvest Super Simple by Tieghan Gerard, and the Victor Cicansky Gazebo

The Daily Gardener

Play Episode Listen Later May 3, 2021 18:19

Today we celebrate a Canadian conservationist and author. We'll also learn about a pioneering Belgian-American gardener, poet, and novelist. We hear an excerpt about how poets find inspiration in nature. We Grow That Garden Library™ with a cookbook that shows how to prepare beautiful meals with fewer ingredients and offers foolproof meal-prepping and effortless entertaining. And then we’ll wrap things up with the story of a brand new gazebo in a community garden. Subscribe Apple | Google | Spotify | Stitcher | iHeart To listen to the show while you're at home, just ask Alexa or Google to “Play the latest episode of The Daily Gardener Podcast.” And she will. It's just that easy. The Daily Gardener Friday Newsletter Sign up for the FREE Friday Newsletter featuring: A personal update from me Garden-related items for your calendar The Grow That Garden Library™ featured books for the week Gardener gift ideas Garden-inspired recipes Exclusive updates regarding the show Plus, each week, one lucky subscriber wins a book from the Grow That Garden Library™ bookshelf. Gardener Greetings Send your garden pics, stories, birthday wishes, and so forth to Jennifer@theDailyGardener.org Curated News 5 Agritourism Destinations for Modern Farmers Once it’s Safe Again | Modern Farmer | Shelby Vittek Facebook Group If you'd like to check out my curated news articles and original blog posts for yourself, you're in luck. I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community. So, there’s no need to take notes or search for links. The next time you're on Facebook, search for Daily Gardener Community, where you’d search for a friend... and request to join. I'd love to meet you in the group. Important Events May 3, 1904 Today is the birthday of the naturalist and conservationist Charles Joseph Sauriol. An esteemed son of Toronto, Charles worked to preserve natural areas in Canada. He was primarily devoted to the forests and waterways of Ontario, including his beloved Don River Valley - where his family had a cottage. Even as a teenager, Charles loved the Don, writing in an unpublished manuscript: “The perfume I liked was the smell of a wood fire.... The dance floor I knew best was a long carpet of Pine needles.” In 1927 Charles purchased the 40-hectare property at the Forks of the Don, which would become his second home. The Sauriol family cottage became the place that Charles and his wife and their four children would stay over the long months of the summer. Life at the cottage was elemental and straightforward. Charles tapped the maple trees for syrup and kept beehives near his cottage. The family also had ducks, a goat, and a pet raccoon named Davy, who followed Charles around like a dog. Charles wrote: “In the '20s and 30s, entire slopes of the East Don Valley...were carpeted with flowering trilliums in the spring. It was an unforgettable sight… A woodland without wildflowers is as empty and desolate in some respects as a community without children." During 2018 the Toronto Archives shared many of Charles’s charming diary entries on their Twitter feed. The Toronto Archives is the repository for the Charles Sauriol record and it consists of diaries, manuscripts, subject files, and over 3,000 photos. Charles kept a lifelong diary. At the Don cottage, Charles created a little woodland garden. Many of his diary entries share his gardening adventures and philosophies on plants, like this one from 1938: "I find it hard to come in from the flower borders. My Pansies are a garden of enchantment in themselves. People who love Pansies should grow them from seed. I took the advice, and I have never had such a profusion of bloom and of so many colors." and "One particular toad has taken quite a fancy to the Wild Flower garden. His den is alongside the Hepatica plant. There he sits, half-buried, and blinks up at me while I shower water on him." At the end of his first summer at the cottage in Don Valley, Charles wrote about leaving the place he loved so much: With summer’s heat, the weeks sped by, And springtime streams did all but dry. But days grew short and followed on, Oh, blissful memory of the Don. Of you, we think with saddened heart, Our time is up, and we must part. Today the annual Charles Sauriol Leadership Award recognizes people who make lasting contributions to conservation. May 3, 1912 Today is the birthday of the prolific writer and poet May Sarton. She came out in 1965 after her parents died. The decision impacted her career. May’s writing centers on our humanity, our relationships with ourselves and others, our values, and mindfulness. In a 1983 profile in The New York Times, May said, “I make people think, 'I have flowers in my house, why don't I look at them?' The thing that is peaceful for me is that I feel I have helped people. I'm constantly told, 'You've said the things I've wanted to say.'” Margaret Roach writes about discovering May Sarton this way: “She actually came to my attention thanks to two men, at different times in my life. I might have missed her altogether if not for a one-two punch by Sydney Schanberg, an ex-New York Times colleague who, thirty-odd years ago, offhandedly said, “You would like May Sarton,” and then years later my therapist gave me “Journal of a Solitude”... They knew that the natural world, and specifically the garden, called to me, as it did Sarton.” May wrote : “A garden is always a series of losses set against a few triumphs, like life itself.” May’s tiny home in Nelson, New Hampshire, was her happy place. She had a garden which she loved, and she cared for many houseplants. She once wrote these relatable garden witticisms: “I am not a greedy person except about flowers and plants, and then I become fanatically greedy.” “True gardeners cannot bear a glove Between the sure touch and the tender root.” And some of her thoughts on gardening are prayerlike: “Help us to be ever faithful gardeners of the spirit, who know that without darkness nothing comes to birth, and without light nothing flowers.” “Everything that slows us down and forces patience, everything that sets us back into the slow circles of nature, is a help. Gardening is an instrument of grace.” Unearthed Words The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes. ― Helen Bevington, American poet, prose author, and educator, When Found, Make a Verse of Grow That Garden Library Half Baked Harvest Super Simple by Tieghan Gerard This book came out in October of 2019, and the subtitle is More Than 125 Recipes for Instant, Overnight, Meal-Prepped, and Easy Comfort Foods: A Cookbook. In this New York Times Best-Selling cookbook, Tieghan delights and tempts us with comfort food - much of it made with ingredients fresh from the garden - in her Half Baked Harvest Super Simple. Tieghan is known for her blog, where she effortlessly shows how to make beautiful food for your family. Her Super Simple versions of her famous recipes are distilled into quicker, more manageable dishes. Tieghan includes one-pot meals, night-before meal prep, and even some Instant Pot® or slow cooker recipes. Highlights for family meals include everyday dishes like Spinach and Artichoke Mac and Cheese and Lobster Tacos. And Tieghan’s stress-free dinner party recipes include Slow Roasted Moroccan Salmon and Fresh Corn and Zucchini Summer Lasagna. Tieghan’s cookbook was named one of the best cookbooks of the year by Buzzfeed and Food Network. This book is 288 pages of the 125 easy, show-stopping recipes - each with fewer ingredients, foolproof meal-prepping, and effortless entertaining. You can get a copy of Half Baked Harvest Super Simple by Tieghan Gerard and support the show using the Amazon Link in today's Show Notes for around $15 Today’s Botanic Spark Reviving the little botanic spark in your heart Today at the Grow Regina Yara community garden, a gazebo, designed by Victor Cicansky, will be installed. Two years ago, the Regina community garden received a $90,000 grant from Federated Co-op. Grow Regina wanted to add a gazebo to the community garden for many years. The garden is a unique space in that it offered the community a place to grow and a place to admire art. The garden features a variety of art pieces, including two massive sculptures installed in August of 2010 that frame the entrance to the garden by local artist Victor Cicansky. Gardens have been a consistent theme in Victor’s life. His 2019 memoir, Up From Garlic Flats, is set in the east end of the community in Regina, Saskatchewan. Victor’s father came from Romania, and his Romanian ancestors were gardeners. To Victor, the garden is a place of endless inspiration. Much of Victor’s work features garden tools like shovels and spades, along with aspects of nature like roots and trees. Victor even incorporates garden imagery from fruit, vegetables, and canning jars in his creations. An article featured in the Regina Post from June 2019 said one of Victor’s pieces called “Compost Shovel” featured, “A gigantic blue ceramic shovel covered in vegetables, eggshells, and soil.” Today, the installation of the gazebo today marks the beginning of a new chapter for the garden. Once the install is completed later this week, the gazebo will host numerous functions. And to give you an idea of how beautiful Victor's artistic gazebo is: Imagine a gazebo that has sculpted trees with branches for support beams and a canopy of leaves for a roof. And then the railing of the gazebo features the garden harvest - all kinds of vegetables. Thanks for listening to The Daily Gardener. And remember: "For a happy, healthy life, garden every day."

H. P. Lovecraft Book Club: Series 6: Episode 3: Letters February-August 1930

American Writers (One Hundred Pages at a Time)

Play Episode Listen Later Feb 24, 2021 44:52

What do dinosaur bones, "clock-slavery", Charleston, and Hart Crane have in common? They all are discussed in H. P. Lovecraft's letters in 1930 (specifically February through August). I talk about this and more in this episode of this podcast.

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Toma uno - Neil Young, siempre joven, cumple 75 años - 14/11/20

Toma uno

Play Episode Listen Later Nov 14, 2020 59:04

Neil Young nació en Toronto, de la provincia canadiense de Ontario, el 12 de noviembre de 1945, hace 75 años. Una razón más que suficiente como para que hoy celebremos su cumpleaños número 75 y dediquemos el tiempo de TOMA UNO a escuchar algunas de sus canciones que no suelen ser habituales cuando hablamos de su figura. la de un artista cuya infancia fue especialmente dura, sobreviviendo a la diabetes, polio, epilepsia y teniendo que sufrir el divorcio de sus padres. En 1960, se trasladó con su madre a Winnipeg, en la provincia de Manitoba, y la música pasó a ser su principal refugio. Aprendió a tocar el ukulele, pasó a la guitarra y comenzó a tocar por distintas bandas de la zona. El resto es historia… No serán muchos los que pongan en tela de juicio que Neil Young posee un talento excepcional. Su carrera se inició como miembro de los Squires en la ciudad canadiense de Winnipeg, durante 1963. A partir de entonces, la historia nos ha dejado sus aportaciones a Buffalo Springfield, su unión con David Crosby, Stephen Stills y Graham Nash, y ahí están sus innumerables grabaciones en solitario. A sus películas y documentales hay que añadir también esa continua ampliación de fronteras artísticas. “Get Back To The Country”, uno de los 10 cortes que conformaron oficialmente el álbum Old Ways, una puesta al día de la country music al comienzo de la década de los 80. Para aquel trabajo invitó a Waylon Jennings, ya que sus voces armonizaban bien y contó con nombres tan señalados como los de Lynn Anderson, Gail Davies y, como no, Willie Nelson. Con él cantó a dúo en "Are There Any More Real Cowboys?". Los International Harvesters estaban compuestos en un principio por Ben Keith, Anthony Crawford, Rufus Thibodeaux, Spooner Oldham, Tim Drummond, Karl T. Himmel, Larry Cragg y Joel Bernstein. La segunda formación incorporó a Hargus Pig Robbins, Joe Allen, Matraca Berg y Tracy Nelson. Eran los mejores acompañantes para interpretar aquellos temas en dos giras excepcionales. La apertura en 1985 de aquel álbum nos dejaba una mirada al pasado con “The Wayward Wind”. Neil Young compartió protagonismo vocal con Denise Draper, mientras, entre los invitados, Waylon estaba a la guitarra eléctrica, Bela Fleck se encargaba del banjo y Hargus “Pig” Robbins se sentó al piano. Gogi Grant la convirtió en 1956 en todo un éxito en Estados Unidos, mientras Tex Ritter la popularizaba en Gran Bretaña. Cinco años más tarde, en el 61, la versión de Gogi Grant fue reeditada y Patsy Cline realizó la suya propia para el álbum Patsy Cline Showcase, uno de sus discos fundamentales. El próximo día 25 de este mes de noviembre se cumplirán 44 años de la celebración del histórico concierto de The Band The Last Waltz en el Winterland de San Francisco, California. Entre los invitados estuvo Neil Young que, entre otros temas, realizó esta versión de “Four Strong Winds”, uno de los grandes clásicos de la música folk canadiense que había sido la canción de cierre de su disco del 78 Comes A Time. Sus creadores, Ian & Sylvia, fueron la quinta esencia del folk de aquel país junto a su buen amigo Gordon Lightfoot. Ian Tyson y Sylvia Fricker se encontraron en 1960 y empezaron a actuar juntos muy pronto. Un par de años después aquel “Four Strong Winds” dio título a su Lp de debut. Los impenitentes seguidores de Neil Young saben bien las dificultades para seguir la carrera del canadiense, aunque la edición de sus archivos nos va aclarando un montón de lagunas. En el caso de Oceanside-Countryside, sabemos que tiene que ver con su paso en 1977 por los Triad Studios de Fort Lauderdale, Florida. Quería hacer un disco muy sencillo y personal que terminó convirtiéndose en grabaciones repartidas por hasta seis estudios y dos continentes recogidas en las 10 canciones publicadas en el álbum Comes A Time, que se llamaba en principio Give To The Wind. “Human Highway” abría la segunda cara de Comes A Time, siendo también el título de una película co-dirigida por el propio Young bajo el seudónimo de Bernard Shakey en 1982 y protagonizada por él mismo junto a Dennis Hopper, Dean Stockwell, Russ Tamblyn e incluso miembros de Devo, la banda de Ohio. Hoy hemos oído la versión que realizaron juntos Neil Young y sus viejos compañeros Crosby, Stills & Nash en 1974 para el que iba a ser un nuevo álbum como cuarteto que nunca llegó a completarse. Para celebrar que el pasado 31 de agosto se cumplieron 50 años de la publicación del clásico After the Gold Rush, considerado de forma unánime como una obra maestra del rock, a primeros de diciembre verá la luz una edición especial con los 11 cortes originales más dos versiones de "Wonderin’", un tema descartado en el disco original. La primera versión de las ahora incluidas fue grabada en Topanga, California, en marzo de aquel 1970 y la segunda es una grabación inédita realizada en el Sunset Sound de Hollywood en agosto de 1969 con Danny Whitten, Billy Talbot y Ralph Molina. Es decir, Crazy Horse. Aquellos que tengan en casa el álbum de 1983 Everybody’s Rockin’ recordarán la inclusión de este tema e incluso su publicación en single, pero es evidente la diferencia entre la concepción original que ahora conocemos y aquella en la que le acompañaban los llamados Shocking Pinks. La edición en vinilo que celebra el medio siglo de After the Gold Rush saldrá a la venta a mitad de marzo de 2021 e incluirá “Wonderin’” en un 7”. Neil Young presentaba a sus amigos de los The Stray Gators en directo en febrero de 1973 en Tuscaloosa, Alabama. Eran Tim Drummond, Kenny Buttrey, Jack Nitzsche y Ben Keith. Aquella gira que sirvió de apoyo a la publicación del álbum Harvest no fue nada satisfactoria para el artista canadiense. Había despedido a Danny Whitten y este murió inmediatamente. Pero, tras el enorme éxito de aquel disco, tenía que defenderlo ante grandes audiencias. El resultado fue Time Fades Away, un álbum de malos recuerdos que estuvo sin editarse en CD durante décadas. Pero quedaron muchos momentos guardados en los archivos de conciertos de aquella gira, como el de Tuscaloosa en el que interpretaron la canción que dio título a su álbum más reconocido, Harvest. "Homefires" se grabó en 1974 y Neil Young la ha interpretado en varias ocasiones en directo, incluyendo su gira en solitario de hace un par de años. Sin embargo, nunca se había publicado oficialmente hasta ahora, formando parte del segundo volumen de su Neil Young Archives. El legendario artista fue distinguido como Personaje del Año en la gala del vigésimo aniversario de MusiCares, que se celebró el 29 de Enero de 2010. El cantante y compositor fue premiado en reconocimiento de la influencia de sus logros artísticos, así como su trabajo filantrópico, que ha incluido muchas actividades caritativas a lo largo de los años. Neil Young tenía previsto publicar Homegrown en 1974, dos años después de Harvest, pero lo dejó guardado por el impacto emocional de su ruptura con su novia de entonces. Es evidente que el álbum es un puente entre Harvest y Comes A Time. Se debía haber publicado entre On The Beach y Zuma, pero finalmente apareció Tonight’s The Night, grabado con anterioridad. Dentro de aquella depresión provocada por sus problemas sentimentales, "Try" tiene algún rasgo de optimismo. Es una de las canciones inéditas del proyecto. Además de la voz y la acústica de Neil Young, en la grabación de este corte estaban Levon Helm a la batería, Ben Keith en el steel guitar, Tim Drummond al bajo y Emmylou Harris en las armonías vocales. Las sorpresas han sido habituales a lo largo de la extensa trayectoria de Neil Young. Así llegó hasta nosotros "Long May You Run", la canción que abría y daba nombre al álbum conjunto de Neil Young y Stephen Stills en 1976, un proyecto que los dos músicos anhelaban desde su encuentro en Buffalo Springfield. La inconsistencia mostrada por el canadiense terminó con aquella reunión. Neil Young abandonó la gira en la que la pareja estaba inmersa y se despidió de su compañero mediante un telegrama. En 1993, Neil Young decidió participar en la serie Unplugged de la cadena MTV. Se lo tomó tan en serio que tuvieron que hacer dos sets porque no estaba nada contento con los resultados. Para la promoción de aquello se utilizó esta versión editada de “Long May You Run”, una especie de elegía al primer coche que tuvo Neil Young, un Buick Roadmaster de 1948 que había sido coche fúnebre. El disco salió al mercado esta pasada primavera, 46 años después de que empezara a grabar canciones en aquel mes de junio del 74 y no dejará de hacerlo hasta enero del año siguiente, pasando por estudios de Nashville, en Tennesee, Redwood City y Los Ángeles, en California, en incluso en Londres. "Pocahontas" es un tema de Neil Young que escuchamos en 1979 en su álbum Rust Never Sleeps, aunque el artista canadiense había grabado una versión anterior a mitad de aquella década para el disco que tenía planeado bajo el título de Chrome Dreams, que nunca llegó a editarse. Y esa es la que hoy hemos rescatado. Es posible que el poema de Hart Crane The Bridge de 1930, que tenía a la princesa Pocahontas como eje central, fuera la inspiración para aquella canción que describe fundamentalmente la masacre de una tribu india por parte de colonos europeos. En 1992, el canadiense Neil Young tituló Haverst Moon a su vigésimo primer álbum, que era una especie de secuela de su popularísimo Harvest de 20 años antes. La canción “Harvest Moon” es una perfecta banda sonora para el comienzo del otoño y, aunque pueda parecer que la percusión está realizada con las características escobillas, en realidad fue el barrido de una escoba el utilizado por el batería Tim Drummond. Hoy, en el programa hemos escuchado la versión corte, muy poco conocida. Neil Young estuvo de gira buena parte de los años 84 y 85 con su banda de acompañamiento más cercana a la tradición musical, los International Harvesters, interpretando los temas de Old Ways, que tardó tres años en editarse. El álbum Re-ac-tor se había editado en el 1981 con el apoyo de Crazy Horse, siendo un disco en el que aquellas poderosas guitarras que habían caracterizado su sonido en la década anterior parecían acercarse a las nuevas bandas de la llamada “new wave”. Sin embargo, “Southern Pacific”, que abría la segunda cara de aquel controvertido Lp, sí continuaba la senda abierta con el irrepetible Rust Never Sleeps. Cuando el músico canadiense apareció en los escenarios junto a los International Harvesters, la canción gozó de toda una brisa campera y un menor encasillamiento que el que se escuchaba en el original. Escuchar audio

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Las cartas de amor de mi abuela (Hart Crane, en la voz de Luis Reynaldo Pérez)

Orden de traslado

Play Episode Listen Later Jul 29, 2020 1:45

No hay más estrellas esta noche que las de los recuerdos, y sin embargo, cuánto espacio queda para el recuerdo en el holgado cinturón de la llovizna tenue. Incluso queda suficiente espacio para las cartas de la madre de mi madre, Elizabeth, que han estado guardadas tanto tiempo en un rincón de la buhardilla que están humedecidas y marrones, y quizás se podrían derretir como nieve. En un espacio de esas dimensiones, es necesario dar pasos muy cuidadosos. Todo pende de un invisible pelo blanco, y tiembla como ramas de abedul que tejieran una red en el aire. Y me pregunto: “¿Tenés los dedos suficientemente largos para pulsar esas antiguas teclas que no son sino ecos? ¿Tendrá el silencio suficiente fuerza para llevar la música de vuelta hasta su origen y otra vez hasta vos igual que si estuviese llevándosela a ella?”. Y sin embargo yo llevaría a mi abuela de la mano, y le haría ver cosas que mayormente no comprendería; y por eso tropiezo. La lluvia continúa cayendo sobre el techo y suena como a risas de piadosa dulzura.

de amor la voz incluso tendr cartas abuela reynaldo hart crane

An Evening with T.S. Eliot

Research English At Durham

Play Episode Listen Later Jun 12, 2020 49:11

The Centre for Poetry and Poetics held an evening to celebrate the poetry and influence of T.S. Eliot. Dr Gareth Reeves and Professor Jason Harding, two scholars who specialise in Eliot’s life and works, read from Eliot's own poetry and that of later poets such as Donald Davie and Hart Crane who were inspired by him. Find out more at READ: Research English At Durham.

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Jonas Zdanys Open Windows: Poems and Translations

Open Windows Podcast

Play Episode Listen Later Mar 25, 2020 19:33

My program today is the eighth in a series of programs that present poems written by poets living in various geographic regions of the country. Today's program is the second program focusing on New York. I read poems by poets who lived or wrote in Brooklyn: Walt Whitman, Hart Crane, June Jordan, Vyt Bakaitis, and Suheir Hammad.

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Jonas Zdanys Open Windows: Poems and Translations

Open Windows Podcast

Play Episode Listen Later Feb 19, 2020 19:08

My program today is the third of several programs that focus on poems written by poets living in the various regions of the United States. In my last two programs, I read poems by writers living in the Southwest and more widely in the South. In today’s program, I read poems by poets from the Midwest. They are Timothy Murphy, Fatimah Asghar, Daniel Borzutzky, Steven Schroeder, Hart Crane, and James Wright.

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700 | Review de KURO OBI (Cinturón Negro)

Dragonz | Artes Marciales y Deportes de Contacto

Play Episode Listen Later Jan 31, 2020 15:54

"No puede hacernos ningún mal la injuria, solo cuando la recordamos; por eso la mejor venganza es el olvido. (H. Hart Crane).?????". ¡Muy buenos días a todo el mundo, soy Nacho Serapio Director y Fundador de Dragonz, y te doy la bienvenida a un nuevo episodio de Dragonz Magazine, TU PROGRAMA, de artes marciales y deportes de contacto. Hoy es viernes 31 de enero de 2020 y vamos por el programa número 700! Y nuestro programa de hoy se lo dedico ¡a todos los jóvenes! porque hoy es el Día Nacional de la Juventud, y yo me pregunto... ¿A partir de que edad se deja de ser joven? Porque yo... ¡me siento joven! Hoy en nuestro programa, veremos la review que ha hecho nuestro colaborador Iván Fernández "Ronin" sobre KURO OBI, el clásico japonés sobre el karate de 2007. Si todo esto os parece interesante, podéis probar un mes, porque no hay compromiso de permanencia y podréis borraros cuando queráis, vamos, el Netflix y Amazon de las artes marciales y deportes de contacto. Y para terminar, comentaros que podéis escucharnos en Ivoox, Itunes, Spotify, Soundcloud, Spreaker, Youtube, Stitcher, IHeartRadio, LisentNotes, Google Podcast, PlayerFM, CastBox y Sport Direct Radio en la 94,3 FM en Málaga y toda la Costa del Sol .Todos ellos tienen su formato de dar valoraciones de 5 estrellas o like… ¡y de comentar! así que por favor hacerlo, que me hace mucha ilusión, y nos ayuda a posicionarnos bien, y a que más oyentes nos conozcan. Y ya sin más... ¡Hasta el próximo lunes guerreros! GANBARUUUUUUU #Podcast #Cinemarcial #KuroObi

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231: My Grandmother's Love Letters

The Slowdown

Play Episode Listen Later Oct 14, 2019 4:59

Today's poem is My Grandmother's Love Letters by Hart Crane.

love letters my grandmother hart crane

Episode 322 Featuring Stephen Shanaghan -Community Activist & Restaurateur

E.W. Conundrum's Troubadours and Raconteurs Podcast

Play Episode Listen Later Jun 23, 2019 59:29

Episode 322 also includes an EW Essay titled "Home." We share a recording of Tennessee Williams reading a piece by Hart Crane titled "Eternity." We have an EW poem called "Artists." Our music this go round is provided by these wonderful artists: Django Reinhardt, Stephan Grapelli, Lou Reed, Oasis, Marianne Faithful, Judy Garland, Cole Porter, Branford Marsalis and Terrence Blanchard. Commercial Free, Small Batch Radio Crafted In the Endless Mountains of Pennsylvania... Heard All Over The World. Tell your Friends and Neighbors...

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0206 - "To Brooklyn Bridge" By Hart Crane

Poetry Studio Podcast

Play Episode Listen Later Jun 13, 2019 7:45

In this episode, we will be reading and discussing "To Brooklyn Bridge" By Hart Crane. There will also be a discussion of assonance, so don't miss it!

brooklyn bridge hart crane

Troubadours and Raconteurs with E.W. Conundrum Demure - Episode 322

E.W. Conundrum's Troubadours and Raconteurs Podcast

Play Episode Listen Later Jun 12, 2019 58:59

A Taste - "Our Religion is Economics, and There Is a Soullessness to That For Sure. " We have for your listening pleasure Episode 322 of "Troubadours and Raconteurs with E.W. Conundrum Demure." Episode 322 features a dynamic conversation with Restaurateur, Community Lover, Activist, Impresario Co-Owner & Operator of Pangea in Manhattan's East Village- Stephen Shanaghan. Stephen and I discuss Traveling Europe, the East Village, Opening a Restaurant in the Village, Bohemian Culture, the Importance of Community, NYU's Affect on the Village, Jane Jacobs, the Greatest Artists Are in New York City, PRIDE Week, the Stonewall Inn, Cabaret, Keepin' the Faith... Episode 322 also includes an EW Essay titled "Home." We share a recording of Tennessee Williams reading a piece by Hart Crane titled "Eternity." We have an EW poem called "Artists." Our music this go round is provided by these wonderful artists: Django Reinhardt, Stephan Grapelli, Lou Reed, Oasis, Marianne Faithful, Judy Garland, Cole Porter, Branford Marsalis and Terrence Blanchard. Commercial Free, Small Batch Radio Crafted In the Endless Mountains of Pennsylvania... Heard All Over The World. Tell your Friends and Neighbors...

S2 E1 - "My Grandmother's Love Letters" by Hart Crane

Poetry Studio Podcast

Play Episode Listen Later May 7, 2019 8:25

The first episode of the second season! I read and discuss "My Grandmother's Love Letters" by Hart Crane as well as explore what exactly a metaphor is and how to use one. Read the poem here: https://aaronmbauer.wordpress.com/2019/05/07/my-grandmothers-love-letters-by-hart-crane-s2-e1/

love letters hart crane

Episode 20: Carl Schmitt, Painter of Vision--Andrew de Sa

The Catholic Culture Podcast

Play Episode Listen Later Oct 17, 2018 44:00

The American Catholic painter Carl Schmitt (1889-1989) made fascinating innovations in the use of color. He wrote extensively on the artist's vocation, arguing for seeking holiness through practicing one's art rather than the other way around, and advocating the three virtues of poverty, humility and purity as a necessity for all artists to follow. He inspired artists in other media, like Hilaire Belloc and Hart Crane. He did all this while raising ten children. Andrew de Sa, the Creative Director at the Carl Schmitt Foundation, educates us about this artist who was content to paint in obscurity for God. Links Carl Schmitt Foundation https://carlschmitt.org/ Upcoming CSF Events https://carlschmitt.org/upcoming-events/ Andrew de Sa http://andrewdesaart.com/ Arlington Catholic Herald article about Andrew and the Foundation https://www.catholicherald.com/News/Local_News/Catholic_creators_to_share_methods/

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St. Cecilia and Music

WSOU: The Kinship of Catholics and Jews

Play Episode Listen Later Aug 25, 2018 30:02

Father Lawrence Frizzell and Dr. John Wargacki discuss “St. Cecilia and Music.” John Wargacki, Ph.D. is a professor in the Department of English at Seton Hall University. His scholarly pursuits focus on the poetry of later 19th and early 20th century America, and he has published articles on the works of Emily Dickinson, Hart Crane, Wallace Stevens and Robert Frost.

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Episode 63: Poets and Suicide

No Good Poetry

Play Episode Listen Later Jun 16, 2018 84:31

In this episode we look at the psychological research into higher rates of suicide among those in creative professions, especially poets, and why that might be. We look at the "Sylvia Plath effect," Janusian thinking, and the problematic romanticization of suicide among writers. We also celebrate and share the poetry of some poets who killed themselves, including Hart Crane, Lew Welch, Sylvia Plath, Elise Cowen, Richard Brautigan. The outro music for this episode is Songs for Sylvia Plath Volume 1 by Jeff Pagano Finding A Mental Health ProfessionalNational Alliance on Mental Health New Orleans

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Bookwarm 15: The Bulldozer and the Bridge

Bookwarm Games

Play Episode Listen Later Jun 4, 2018 33:43

Venturing across the bridge with Jacques Maritain and Heidegger, Hart Crane and Walt Whitman, amassing the fragments of the fourfold in Fourside. --- Support this podcast: https://anchor.fm/wesley-schantz/support

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Catalog 10, Episode 6: Hart Crane - The Bridge, Part 3

bridge catalog hart crane

Play Episode Listen Later May 27, 2018 86:28

This week we, again, continue our discussion of Hart Crane's The Bridge.

Catalog 10, Episode 5: Hart Crane - The Bridge, Part 2

bridge catalog hart crane

Play Episode Listen Later May 20, 2018 107:15

This week we continue our discussion of Hart Crane's The Bridge.

Catalog 10, Episode 4: Hart Crane - The Bridge, Part 1

bridge catalog hart crane

Play Episode Listen Later May 13, 2018 157:03

This week we begin a series of discussions on Hart Crane's book-length poem The Bridge.

Founder Andrew Hoyem on the Arion Press

The Biblio File hosted by Nigel Beale

Play Episode Listen Later May 7, 2018 43:48

Andrew Hoyem is the creative spirit of the Arion Press. He's a published poet and exhibited artist who occasionally includes his own writings and drawings in Arion books. The concepts for all Arion publications originate with Hoyem, who chooses literary texts, commissions new work from writers and artists he admires, and designs the books, including their bindings and typography. In the Press's livre d'artiste series, he has worked closely with distinguished artists, many of whom come to the Press in San Francisco to work with him on projects. We met at his offices in The Pracidio in San Francisco to talk about, among other things, Dave Hazelwood's Auerhahn Press, the Grabhorn Press, the importance of text pages, Bruce Rogers, Random House's Leaves of Grass (1931), Charles Olson, skunks, The Legion of Honor Museum, Livres d'artistes, artist Fred Martin, solving problems, Moby Dick (1979), ghost stories, perseverance, weekly tours, M&H Type, connecting with interesting people, Hart Crane's The Bridge (2017) and getting the basics right.

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Catalog 10, Episode 3: Hart Crane - White Buildings, Part 3

buildings catalog hart crane

Play Episode Listen Later May 6, 2018 120:11

This week we conclude our discussion of Hart Crane's White Buildings.

Catalog 10, Episode 2: Hart Crane - White Buildings, Part 2

buildings catalog hart crane

Play Episode Listen Later Apr 27, 2018 117:26

This week we continue our discussion of Hart Crane's first poetry collection, White Buildings.

Catalog 10, Episode 1: Hart Crane - White Buildings, Part 1