Podcasts about New Brunswick

Join Hoda and her guests as they bring Career Literacy to life. Tricia Berry shared, “Change is good but change is hard… Even good change is still a challenge”. What are your thoughts on change? How have you handled the changes in your life? Peter Pitts said, “There is this unspoken magic that occurs. It all boils down to people. It's just people meeting people meeting people”. If careers are shaped as much by relationships and conversations as by skills and credentials, how might career literacy help you recognize, navigate, and intentionally build human connections that influence your academic and career paths? Reflect. Share. Start the conversation.   Guest 1 Bio Tricia Berry, a Learning Specialist for Career Education K-12 with the New Brunswick Department of Education and Early Childhood Development. She has been working on the advancement of career education K-12 and more specifically, focused on equitable access for each learner in New Brunswick. Tricia is a Canadian Certified Counsellor (CCC) with extensive experience working in secondary education. Further, she has had the privilege of speaking at a variety of international conferences, collaborating and consulting with the Organization for Economic Co-Operation and Development (OECD) on Career Readiness, and to network as a member of Team Canada attending the International Centre for Career Development and Public Policy (ICCDPP) symposia in Norway.   Guest 2 Bio  Peter Pitts retired in 2019 after a 42-year career in college admissions. Over those years, Peter had the pleasure of working with more than 2,000 families as they navigated the admissions and financial aid processes.  At various times during those 42 years, Peter held these titles: Admission Counselor, Assistant Director of Admission, Director of Admission, Assistant Vice President of Admission and Financial Aid, and (for the last 27 years of his career) Regional Director of Admission for Monmouth College of Illinois (Chicago territory).  Upon his retirement, Peter published his first book, After Breakfast I Change Lives, which is a mix of heartwarming and humorous stories about the students he met throughout his career. His second book, Common Sense Guide to Choosing a College: Making a Case for Small Residential Colleges is a collection of essays that help guide students and their parents through the college admission process. His third book, 333 Awesome Small Colleges (that just might save you money!), is an annotated list of 333 colleges that highlights their unique/special programs and some of their available scholarships. His fourth book, Cool Stuff at Small Colleges, features 240 unique/awesome programs at 120 small colleges. His fifth book, Choosing Your College Major (the Ikigai Approach) gives practical advice on choosing a major.    For career counselling for you or someone you care about, start with a free discovery call: careercycles.com For gamified, story-based professional development, learn about and schedule a demo of Who You Are Matters!

Poet/author and activist Kevin Powell is in our wealth building spotlight. Powell is one of the most acclaimed political, cultural, literary and hip-hop voices in America today. Kevin is a native of Jersey City, raised by a single mother in extreme poverty, but managed to study at Rutgers University in New Brunswick thanks to New Jersey's Educational Opportunity Fund. Kevin has gone on to be the author of 17 books, including his newest title, A Poem for Evangeline.http://www.kevinpowell.net/poems.php https://www.instagram.com/poetkevinpowell/ https://www.instagram.com/diprimaradio/ https://www.dominiquediprima.com/

Episode 56: Healing Through Laughter with Janelle NilesLaughter has always held a sacred place in our communities. It connects us, heals us, and speaks truths that words alone cannot reach. Today, on Aunties on Air, we sit down with trailblazing comedian Janelle Niles, creator of the all-indigenous variety show Got Land? Comedy. We explore the intersections of identity, the power of taking up space on stage, and how reclaiming our narrative through humor can be a beautiful tool for healing. Wabanaki Words Used:Apc-oc (again in the future, parting, good-bye, farewell) - https://pmportal.org/dictionary/apc-oc Topics Discussed: Janelle Niles - https://www.gotlandcomedy.com/comedians/janelleniles Got Land? Comedy - https://www.gotlandcomedy.com/ Sipekne'katik - https://www.sipeknekatik.ca/ Ottawa, Canada - https://ottawatourism.ca/en/about-ottawa Halifax, Canada - https://discoverhalifaxns.com/ Indian Brook - https://en.wikipedia.org/wiki/Indian_Brook_14 White Clay tribes - https://en.wikipedia.org/wiki/Gros_Ventre Tamiskaming First Nation - https://tfnadmin.wixsite.com/tfnadmin Anishinaabe - https://thecanadianencyclopedia.ca/en/article/anishinaabe Ojibwe - https://www.mnhs.org/fortsnelling/learn/native-americans/ojibwe-people Keepers of the Circle Pre-employment Program - https://keepersofthecircle.com/culture-confidence-and-competence George Carlin - https://en.wikipedia.org/wiki/George_Carlin Paul Mooney - https://en.wikipedia.org/wiki/Paul_Mooney_(comedian) Charlie Hill - https://en.wikipedia.org/wiki/Charlie_Hill Candy Palmater - https://en.wikipedia.org/wiki/Candy_Palmater Apollo Theater - https://www.apollotheater.org/ Bubba's Comedy Show - https://www.gotlandcomedy.com/comedians/bubbas IndigE-girl Comedy Show - https://www.indigegirlcomedy.com/ New Brunswick, Canada - https://en.wikipedia.org/wiki/New_Brunswick The Candy Palmiter Show - https://www.cbc.ca/radio/2.5649/2.5670/the-candy-palmater-show-1.3755863 Jileen's Gofundme - https://www.gofundme.com/f/expenses-during-treatment-and-recovery-for-jileen-niles Wabanaki Tribal Nations:Houlton Band of Maliseet Houlton Band of Maliseet Indians | Littleton, ME (maliseets.net)Mi'kmaq Mi'kmaq Nation | Presque Isle, ME (micmac-nsn.gov)Passamaquoddy Tribe Indian Township Passamaquoddy Tribe @ Indian Township | Peskotomuhkati MotahkomikukPassamaquoddy Tribe Sipayik Sipayik Tribal Government – Sipayik (wabanaki.com)Penobscot Nation Penobscot Nation | Departments & Info | Indian Island, Maine Special Thanks/Woliwon: Guest: Janelle NilesProducer: Gavin AllenPodcast Team: Macy Downs

Harbinger Showcase is a weekly podcast featuring highlights from Canada's #1 coast-to-coast community of politically and socially progressive podcasts. On this episode we look at what being sovereign within a united Canada means for the province on ALBERTA ADVANTAGE, explain how Mark Carney's investment summit maple-washed a giant corporate giveaway on THE BREACH SHOW, explore explore polymarket and sports betting on THE END OF SPORT and unpack Sierra Club Canada's new strategic plan on THE ENVIRONMENT IN CANADA.   This episode is brought to you by the new University of Manitoba Press release Confronting the Resurgent Right, a series of essays exposing the deep roots and new threats of Canada's regressive right edited by Miriam Edelson.  Find it at uofmpress.ca.Harbinger Showcase is syndicated to community and campus radio and heard every week on CKUT 90.3FM in Montreal, at CFUV 101.9FM in Victoria, at CIVL 101.7FM in Abbotsford, at CHLY 101.7FM in Nanaimo, at CJSR 88.5FM in Edmonton, on CJUM 101.5FM and CKUW 95.9FM in Winnipeg, at CiTR 101.9FM, CJSF 90.1FM and at CFRO 100.5FM in Vancouver, at Hamilton's CFMU 93.3FM, at Radio Laurier in Waterloo, at CJTM 1280AM in Toronto, at CJAM 99.1FM in Windsor, at LOCAL FM in St John, New Brunswick and at CJBU 107.3FM in Sydney, Nova Scotia. Find out more about the network, subscribe to the weekly newsletter and support our work at harbingermedianetwork.com.

Harbinger Showcase is a weekly podcast featuring highlights from Canada's #1 coast-to-coast community of politically and socially progressive podcasts. On this episode we look at what being sovereign within a united Canada means for the province on ALBERTA ADVANTAGE, explain how Mark Carney's investment summit maple-washed a giant corporate giveaway on THE BREACH SHOW, explore explore polymarket and sports betting on THE END OF SPORT and unpack Sierra Club Canada's new strategic plan on THE ENVIRONMENT IN CANADA.   This episode is brought to you by the new University of Manitoba Press release Confronting the Resurgent Right, a series of essays exposing the deep roots and new threats of Canada's regressive right edited by Miriam Edelson.  Find it at uofmpress.ca.Harbinger Showcase is syndicated to community and campus radio and heard every week on CKUT 90.3FM in Montreal, at CFUV 101.9FM in Victoria, at CIVL 101.7FM in Abbotsford, at CHLY 101.7FM in Nanaimo, at CJSR 88.5FM in Edmonton, on CJUM 101.5FM and CKUW 95.9FM in Winnipeg, at CiTR 101.9FM, CJSF 90.1FM and at CFRO 100.5FM in Vancouver, at Hamilton's CFMU 93.3FM, at Radio Laurier in Waterloo, at CJTM 1280AM in Toronto, at CJAM 99.1FM in Windsor, at LOCAL FM in St John, New Brunswick and at CJBU 107.3FM in Sydney, Nova Scotia. Find out more about the network, subscribe to the weekly newsletter and support our work at harbingermedianetwork.com.

Send us Fan MailEight yards is not a “moose hunting story” distance. It's a “make one perfect decision after another” distance. Stephen Smith joins us fresh off New Brunswick moose season to break down a rut hunt that started with calm planning and ended with a fired-up bull coming in through thick alders like a dozer. We talk about what he heard, what he did, what he wishes he'd done sooner, and why pushing in on a raking bull is always a gamble you need to respect.We also get into Stephen's big news: his real human moose calls are now on the COCALL system. He walks us through how the opportunity happened, why the COCALL app and Bluetooth setup can sound shockingly real, and how electronic moose calls can fit into a smart calling plan without replacing woodsmanship. If you've ever wondered where those sounds come from, what “good” audio really means, or how to position a speaker so the moose locks onto the sound instead of you, you'll get clear, field-tested answers.On the scent side, Stephen shares how Pro Expedition approaches moose hunting scents, lures, and mineral sites, plus why minerals matter most over the long haul, especially for spring recovery and consistent animal patterns. We wrap with practical guidance on buck fever, shot placement coaching, fast meat care, and how sharing knowledge keeps moose calling traditions alive.If you enjoy real hunting stories with real takeaways, subscribe, share this with a hunting buddy, and leave a review so more people can find the show. What's the closest a bull has ever come to you while calling?Check us out on Facebook  Hunts On Outfitting, or myself Ken Marr. Reach out and  Tell your hunting buddies about the podcast if you like it, Thanks!

Which Canadian Cities Are Most Exposed to U.S. Tariffs? Tariffs and the ongoing Canada-U.S. trade dispute are creating another layer of uncertainty for Canadian businesses, workers, landlords and real estate investors. But the impact is not going to be equal across the country. In today's episode, Wayne and Gabby look at which Canadian cities have the greatest exposure to U.S. tariffs, why certain local economies are more vulnerable than others, and what investors should be thinking about when choosing markets and building portfolios that can survive economic disruptions. The Rental Market Is Getting More Competitive Before getting into tariffs, Wayne and Gabby share an update from their own rental portfolio. A new tenant moved in early over the weekend, and Gabby explains why they were particularly happy with the tenant profile, including strong credit, good communication, insurance in place, and rent and security deposit paid ahead of time. They also discuss the changing Edmonton rental market. Tenants currently have more options in certain property categories, which means landlords may have to work harder to attract strong applicants. Wayne and Gabby currently have multiple renovation crews moving between properties, but these aren't simply renovations for the sake of improving a property. They're strategic improvements designed to make their rentals more competitive, reduce vacancy and help achieve stronger rents. When supply increases, being "good enough" may not be enough. Presentation, pricing, tenant experience and property condition become increasingly important. What Happens When a Tenant Moves In Before the Lease Starts? A live viewer asked an important landlord question: If you allow a tenant to move in before the official lease date, does that create additional liability? Gabby walks through three things landlords should consider: • Update the lease commencement date and have the appropriate parties acknowledge the change. • Make sure the tenant's insurance begins on the actual possession date. • Collect the required rent and security deposit before possession is provided. Landlords can also decide whether to charge prorated rent for the additional days. In this particular situation, Wayne and Gabby chose not to charge extra because the property was already vacant and the early possession was only a matter of days. Real Estate Investors Need to Build for the Storm One of the biggest themes of today's episode is that economic disruptions are inevitable. Oil crashes, pandemics, rapidly rising interest rates, flooding, trade disputes and other unexpected events continually test real estate investors. Wayne's argument is that investors shouldn't build portfolios that only work when everything goes right. They should buy properties with enough cash flow and financial cushion to withstand periods when things go wrong. He discusses an example of a mentorship student's property generating approximately $670 per month in cash flow. That cushion gives the investor significantly more room to absorb higher expenses, lower rents or other unexpected changes than a property operating close to break-even. Cash flow isn't spending money. It's a risk mitigator. The 5% Rule and Surviving Economic Disruptions Wayne returns to the cash flow framework from his book, The 5% Rule™: A Real Estate Cash Flow Test for Canadian Investors. The formula is: (Annual Cash Flow ÷ Down Payment) × 100 5–6% = sufficient 7–9% = strong 10%+ = excellent Wayne's position is that investors should be buying properties capable of producing meaningful cash flow without depending on appreciation. The greater the cushion, the better positioned the investor is to deal with vacancies, declining rents, higher financing costs and economic shocks. Search "The 5% Rule by Wayne Hillier" on Amazon to learn more. Which Canadian Cities Are Most Exposed to U.S. Tariffs? The episode then examines Canadian cities whose economies have particularly strong exposure to trade with the United States. The industries highlighted include: • Energy in Alberta and New Brunswick • Automotive and manufacturing in Southern Ontario • Steel in Hamilton • Aluminum, forestry and manufacturing in Quebec Saint John, New Brunswick ranked at the top of the tariff exposure index discussed during the show, followed by Calgary. Calgary's position is particularly interesting for Alberta investors. The city's economy has significant exposure to the corporate and export side of Canada's energy industry, and an enormous percentage of its international merchandise exports are destined for the United States. Southern Ontario also features prominently because of its deeply integrated manufacturing and automotive supply chains. Windsor, Kitchener-Cambridge-Waterloo, Brantford and Guelph were among the markets discussed. Hamilton's steel industry creates another form of exposure, while several Quebec communities face risks connected to aluminum, forestry and manufacturing. Lethbridge also appeared among the top 10, although Wayne emphasizes that simply appearing on the list doesn't mean every city faces an equivalent level of exposure. There is a substantial difference between the exposure measurements at the top and bottom of the list. Edmonton vs. Calgary For Wayne, one of the most interesting comparisons is Edmonton versus Calgary. Although both cities are part of an energy-producing province, their economic structures are different. Calgary's economy has greater direct exposure to the corporate and export side of energy. Edmonton still has significant connections to energy, manufacturing and industrial activity, but its economy also includes substantial government, healthcare, education, construction and other sectors. In the ranking discussed during the episode, Edmonton was considerably further down the list at 24th. Wayne explains why economic diversification is one of the fundamentals he considers when choosing a real estate market. No market is immune to economic shocks, but he wants to invest in large markets with strong economies and enough diversification to absorb them. That resilience is one of the reasons Wayne continues to favour Edmonton real estate investing. Don't Wait for Perfect Conditions The takeaway isn't that investors should stop buying real estate because tariffs, interest rates or economic uncertainty exist. There is always another challenge coming. Wayne and Gabby's strategy is to build portfolios that can survive those challenges through strong cash flow, adequate reserves, appropriate tenant profiles, careful market selection and disciplined buying. Waiting for perfect conditions isn't the strategy. Preparing for imperfect conditions is. REI Masters Mentorship Special For a limited time, anyone who joins the REI Masters Mentorship Program before October 3, 2026 receives 24 months of mentorship for the price of 12. You'll also receive entry to the upcoming REI Masters Retreat in Edmonton on October 17–18. Learn more: www.reimasters.ca Canadian Real Estate Investing Morning Show Hosted by Wayne Hillier and Gabby Hillier. Broadcasting live every weekday at 7:00 AM Mountain Time from Edmonton, Alberta. Bring your real estate investing questions and join the conversation live. Sponsors Calvin Realty – Edmonton Investor-Focused Realtor Team www.calvinrealty.ca Finngo Bookkeeping & Tax Specialized bookkeeping and tax services for Canadian real estate investors. www.finngo.com/rei Kirkwood & Brennan Mortgage Group Investor-focused mortgage planning for Canadian real estate investors. www.kbmortgages.ca keaton@kbmortgages.ca

Which Canadian Cities Are Most Exposed to U.S. Tariffs? Tariffs and the ongoing Canada-U.S. trade dispute are creating another layer of uncertainty for Canadian businesses, workers, landlords and real estate investors. But the impact is not going to be equal across the country. In today's episode, Wayne and Gabby look at which Canadian cities have the greatest exposure to U.S. tariffs, why certain local economies are more vulnerable than others, and what investors should be thinking about when choosing markets and building portfolios that can survive economic disruptions. The Rental Market Is Getting More Competitive Before getting into tariffs, Wayne and Gabby share an update from their own rental portfolio. A new tenant moved in early over the weekend, and Gabby explains why they were particularly happy with the tenant profile, including strong credit, good communication, insurance in place, and rent and security deposit paid ahead of time. They also discuss the changing Edmonton rental market. Tenants currently have more options in certain property categories, which means landlords may have to work harder to attract strong applicants. Wayne and Gabby currently have multiple renovation crews moving between properties, but these aren't simply renovations for the sake of improving a property. They're strategic improvements designed to make their rentals more competitive, reduce vacancy and help achieve stronger rents. When supply increases, being "good enough" may not be enough. Presentation, pricing, tenant experience and property condition become increasingly important. What Happens When a Tenant Moves In Before the Lease Starts? A live viewer asked an important landlord question: If you allow a tenant to move in before the official lease date, does that create additional liability? Gabby walks through three things landlords should consider: • Update the lease commencement date and have the appropriate parties acknowledge the change. • Make sure the tenant's insurance begins on the actual possession date. • Collect the required rent and security deposit before possession is provided. Landlords can also decide whether to charge prorated rent for the additional days. In this particular situation, Wayne and Gabby chose not to charge extra because the property was already vacant and the early possession was only a matter of days. Real Estate Investors Need to Build for the Storm One of the biggest themes of today's episode is that economic disruptions are inevitable. Oil crashes, pandemics, rapidly rising interest rates, flooding, trade disputes and other unexpected events continually test real estate investors. Wayne's argument is that investors shouldn't build portfolios that only work when everything goes right. They should buy properties with enough cash flow and financial cushion to withstand periods when things go wrong. He discusses an example of a mentorship student's property generating approximately $670 per month in cash flow. That cushion gives the investor significantly more room to absorb higher expenses, lower rents or other unexpected changes than a property operating close to break-even. Cash flow isn't spending money. It's a risk mitigator. The 5% Rule and Surviving Economic Disruptions Wayne returns to the cash flow framework from his book, The 5% Rule™: A Real Estate Cash Flow Test for Canadian Investors. The formula is: (Annual Cash Flow ÷ Down Payment) × 100 5–6% = sufficient 7–9% = strong 10%+ = excellent Wayne's position is that investors should be buying properties capable of producing meaningful cash flow without depending on appreciation. The greater the cushion, the better positioned the investor is to deal with vacancies, declining rents, higher financing costs and economic shocks. Search "The 5% Rule by Wayne Hillier" on Amazon to learn more. Which Canadian Cities Are Most Exposed to U.S. Tariffs? The episode then examines Canadian cities whose economies have particularly strong exposure to trade with the United States. The industries highlighted include: • Energy in Alberta and New Brunswick • Automotive and manufacturing in Southern Ontario • Steel in Hamilton • Aluminum, forestry and manufacturing in Quebec Saint John, New Brunswick ranked at the top of the tariff exposure index discussed during the show, followed by Calgary. Calgary's position is particularly interesting for Alberta investors. The city's economy has significant exposure to the corporate and export side of Canada's energy industry, and an enormous percentage of its international merchandise exports are destined for the United States. Southern Ontario also features prominently because of its deeply integrated manufacturing and automotive supply chains. Windsor, Kitchener-Cambridge-Waterloo, Brantford and Guelph were among the markets discussed. Hamilton's steel industry creates another form of exposure, while several Quebec communities face risks connected to aluminum, forestry and manufacturing. Lethbridge also appeared among the top 10, although Wayne emphasizes that simply appearing on the list doesn't mean every city faces an equivalent level of exposure. There is a substantial difference between the exposure measurements at the top and bottom of the list. Edmonton vs. Calgary For Wayne, one of the most interesting comparisons is Edmonton versus Calgary. Although both cities are part of an energy-producing province, their economic structures are different. Calgary's economy has greater direct exposure to the corporate and export side of energy. Edmonton still has significant connections to energy, manufacturing and industrial activity, but its economy also includes substantial government, healthcare, education, construction and other sectors. In the ranking discussed during the episode, Edmonton was considerably further down the list at 24th. Wayne explains why economic diversification is one of the fundamentals he considers when choosing a real estate market. No market is immune to economic shocks, but he wants to invest in large markets with strong economies and enough diversification to absorb them. That resilience is one of the reasons Wayne continues to favour Edmonton real estate investing. Don't Wait for Perfect Conditions The takeaway isn't that investors should stop buying real estate because tariffs, interest rates or economic uncertainty exist. There is always another challenge coming. Wayne and Gabby's strategy is to build portfolios that can survive those challenges through strong cash flow, adequate reserves, appropriate tenant profiles, careful market selection and disciplined buying. Waiting for perfect conditions isn't the strategy. Preparing for imperfect conditions is. REI Masters Mentorship Special For a limited time, anyone who joins the REI Masters Mentorship Program before October 3, 2026 receives 24 months of mentorship for the price of 12. You'll also receive entry to the upcoming REI Masters Retreat in Edmonton on October 17–18. Learn more: www.reimasters.ca Canadian Real Estate Investing Morning Show Hosted by Wayne Hillier and Gabby Hillier. Broadcasting live every weekday at 7:00 AM Mountain Time from Edmonton, Alberta. Bring your real estate investing questions and join the conversation live. Sponsors Calvin Realty – Edmonton Investor-Focused Realtor Team www.calvinrealty.ca Finngo Bookkeeping & Tax Specialized bookkeeping and tax services for Canadian real estate investors. www.finngo.com/rei Kirkwood & Brennan Mortgage Group Investor-focused mortgage planning for Canadian real estate investors. www.kbmortgages.ca keaton@kbmortgages.ca

Your health is not just about willpower, it is also about the system you wake up in every day. We sit down with Dr. Jennifer Russell to talk about what happened when she became one of the most recognizable public health voices in New Brunswick, and what that experience taught her about resilience, misinformation, and the real cost of leading through uncertainty.We get into the behind-the-scenes reality of pandemic decision-making: nonstop data, modeling, policy tradeoffs, and the pressure of being judged for changing recommendations when science evolves. Dr. Russell shares how her Canadian Armed Forces background helped her operate in “military mode,” and why the emotional impact of online hate and threats often gets processed after the crisis ends. If you are a physician or health professional trying to educate online, you will hear practical guidance on safety, mental health support, and focusing your message on the people who are open to change rather than the loud extremes.Then we pivot to the next emergency that rarely gets treated like one: the chronic disease epidemic. We connect lifestyle medicine to upstream prevention, social determinants of health, and why policy and legislation can move population health more than one-on-one care alone. We talk food insecurity, food deserts, and realistic nutrition guidance, including the overlap between the MIND diet, DASH diet, and Mediterranean-style eating. Dr. Russell also shares what she is building at the University of New Brunswick's Institute of Population Health, from countering childhood vaccine misinformation to the “Health Compass” project that uses projections to help flatten the demand curve on our health care system.If you care about public health, prevention, chronic disease, and building a healthier New Brunswick without burning out the people doing the work, this conversation is for you. Subscribe, share with a friend, and leave a review with the one policy change you think would make healthy choices easier.Go check out my website for tons of free resources on how to transition towards a healthier diet and lifestyle.You can download my free plant-based recipes eBook and a ton of other free resources by visiting  the Digital Downloads tab of my website at https://www.plantbaseddrjules.com/shopDon't forget to check out my blog at https://www.plantbaseddrjules.com/blog You can also watch my educational videos on YouTube at https://www.youtube.com/channel/UCMpkQRXb7G-StAotV0dmahQCheck out my upcoming live events and free eCourse, where you'll learn more about how to create delicious plant-based recipes: https://www.plantbaseddrjules.com/Go follow me on social media by visiting my Facebook page and Instagram accountshttps://www.facebook.com/plantbaseddrjuleshttps://www.instagram.com/plantbased_dr_jules/Last but not least, the best way to show your support and to help me spread my message is to subscribe to my podcast and to leave a 5 star review on Apple and Spotify!Thanks so much!Peace, love, plants!Dr. Jules 

Interview with Patrick Cruickshank, Director & CEO of Nine Mile MetalsOur previous interview: https://www.cruxinvestor.com/posts/nine-mile-metals-csenine-234m-of-visual-copper-and-a-horizon-never-seen-in-historic-records-10758Recording date: 24th September 2026Nine Mile Metals Ltd. (CSE:NINE) is a Canadian junior explorer focused on copper-rich volcanogenic massive sulphide deposits in the Bathurst Mining Camp of New Brunswick. Its lead asset is the Wedge, a deposit that Cominco mined in the 1960s. According to the company's presentation, historic production was approximately 1.5 million tonnes at 2.88% copper.The company is midway through a 10,000-metre Phase 3 programme, its largest to date. CEO and Director Patrick J. Cruickshank said 22 holes and roughly 5,500 metres had been completed at the time of the interview, with only five holes reported. Assay turnaround of about a month, and the need to rebuild each hole from anonymously numbered samples, explains the gap. Certified results to date includes 24.55 metres of 3.49% copper equivalent over true width and another 14.15 metres at 5.09% copper equivalent.The geological picture has become more complex and potentially more valuable. Drilling has identified three lenses rather than one. One is a polymetallic lens with lead, zinc, silver, copper and gold. Another, to the east, carries high-grade copper and gold over roughly 40 metres. The lenses dip steeply, so reported intercept widths reflect drill angle rather than true lens size.The next step is methodical rather than aggressive. Because the upper third of the deposit has collapsed and historic plans of the workings are unavailable, Nine Mile is running a borehole electromagnetic survey across eight holes. The survey should produce a 3D map of old workings and remaining conductors. The company will then complete the programme by drilling to depth on the northwest side of a fault that cuts the deposit. Historic mining did not test below about 150 to 300 metres.Apex Geoscience is consolidating historic and modern data into a live model. An updated NI 43-101 technical report is expected in the first quarter, followed by a maiden mineral resource estimate. Management's stated mandate is to demonstrate a footprint of up to 10 million tonnes. That target remains untested until the resource estimate is published.Beyond the Wedge, a new rig is heading to Tribag, four kilometres west along the same trend, to test six targets at 350 to 400 metres depth over about 3,000 metres. At Nine Mile Brook, where the company drilled 10.12% copper over 15.10 metres, a second rhyolite cap found this summer will be drilled next spring.Financially, the company is in its strongest position in several years. It holds about C$5 million in cash and says it is funded for two to almost three years without needing to raise. Management reports inbound interest from companies about joint ventures and acquisitions, although no agreement has been announced.The principal risks are typical of pre-resource exploration. These include laboratory delays, unverified historic data, copper equivalent figures that differ in methodology between holes and the absence of any defined resource. Investors should watch pending Phase 3 assays, the borehole survey results, the Tribag programme and the first-quarter technical report as the key near-term markers.View Nine Mile Metals' company profile: https://www.cruxinvestor.com/companies/nine-mile-metalsSign up for Crux Investor: https://cruxinvestor.com/subscribe

Interview with Julien Davy, CEO of Silver AcadiaRecording date: 23rd September 2026Silver Acadia Exploration Inc. (CSE:SLA) is an early-stage explorer focused on high-grade silver in New Brunswick's Bathurst Mining Camp. The district has a long production history, but it was explored mainly for zinc. CEO Julien Davy believes that left the silver potential of the company's Nicholas-Denys project under-examined.The core of the investment case is the historical dataset. About 125,000 m of drilling has been completed on the project area over roughly 50 years, and about half of it was never assayed for silver. Around 50,000 m of core is still available. After hyperspectral scanning last year, the company is now re-assaying 20 to 22 selected holes, about 6,000 to 7,000 m in total. Results are expected around November. This work costs much less than redrilling and is intended to guide new targeting.Geologically, the company describes the system as hydrothermal with remobilised mineralisation rather than pure VMS. Mapping and structural studies indicate that the highest grades sit at intersections between the regional Rocky Brook-Millstream corridor and secondary structures. The company controls about 20 km of the corridor but is concentrating on a 3 km priority area. Phase 1 drilling of roughly 3,600 m tested the model where reported results include 328.9 g/t silver and 1.0 g/t gold over 24.8 m.Management's objective is to show continuity across a broad envelope grading 70 to 80 g/t silver, with higher-grade ore shoots inside it. Davy argues that an envelope of that grade near surface could be economic in a safe jurisdiction. The company is working toward a Mineral Resource Estimate targeted for 2027.The shareholder base is a notable strength. About 30 holders own roughly 70% of the stock, including Michael Gentile and Victor Cantore. The company raised $4.7 million in two private placements in 2025. It now has about $2 million in cash, around 74.6 million shares outstanding and about 109 million fully diluted.Funding is the key near-term issue. Drilling begins in November at an all-in cost of about $320 per metre and is expected to run until March or April 2027. The planned Phase 2 programme of about 15,000 m would cost roughly $4.8 million at that rate, well above current cash. Investors should expect a financing. Warrant exercises at $0.18 to $0.24 could contribute some of the capital.Beyond the flagship, Silver Acadia holds four other projects. Goldstrike, on the same trend to the west, has returned a 455 g/t gold grab sample and 1.19 g/t gold over 10.2 m in drilling. SEDEX combines an untested gravity anomaly with an antimony occurrence that returned 4.2% antimony over 0.6 m. These projects receive about 20% of spending.The main risks are non-compliant historical data, unproven continuity, narrow high-grade intervals, dilution, untested metallurgy and silver price volatility. For investors comfortable with early-stage exploration risk, the re-assay and winter drill results are the milestones to watch.View Silver Acadia's company profile: https://www.cruxinvestor.com/companies/silver-acadia-explorationSign up for Crux Investor: https://cruxinvestor.com/subscribe

Send us Fan MailTribute to Dolly Parton: recollections and music.https://www.facebook.com/ron.moores.18https://podcast.ronmoores.com/

Ever wondered what it takes to make a movie or launch a comedy festival? Listen no further! This episode reveals all...James is joined by Awesome Comedy Festival founder Marc Savoie and comedian and movie director Mike Paterson at the Rec N Rollbowling alley in Campbellton, New Brunswick to learn how they have launched the biggest things to happen to east coast comedy inyears.But first he is rambling about his road schedule, the new Oasis documentary, The Dink, his new books and this weekend's Sea Dogsseason opener game! Mullinger's Weekly Ramble is brought to you by PodstarterPlease send any questions to comedy@jamesmullinger.comFor podcast advertising and sponsorship opportunities, please emailinfo@podstarter.ca

Nine Mile Metals CEO Patrick Cruickshank joined Steve Darling from Proactive to discuss encouraging assay results from recent drilling at the company's Wedge Mine Project in New Brunswick's prolific Bathurst Mining Camp, further demonstrating the strength and continuity of the volcanogenic massive sulphide (VMS) mineralization system. The latest results come from drill hole DDH WD-26-14, which was collared on the southwestern edge of the company's current drill pattern and completed to a depth of 158 metres. The hole successfully intersected a significant interval of high-grade VMS mineralization between 107.35 metres and 121.50 metres before transitioning into interbedded sediments and volcanics and ultimately terminating in felsic volcanic rocks. Cruickshank noted that the mineralized zone consisted primarily of pyritic VMS mineralization containing visible chalcopyrite, along with localized galena and sphalerite. Assays showed increasing grades of silver, gold, copper and zinc with depth, highlighting the strength of the system and its potential for further expansion. Peak assay values from the hole included 4.57% copper, 11.30% zinc, 2.29% lead, 62 grams per tonne silver and 1.355 grams per tonne gold. The company believes these results continue to demonstrate the polymetallic nature of the Wedge deposit and reinforce its exploration potential within one of Canada's most productive mining districts. Cruickshank also highlighted results from drill hole DDH WD-26-11, another hole drilled from the southwestern portion of the exploration pattern. The hole was completed to a depth of 149 metres and successfully intersected two distinct zones of high-grade VMS mineralization carrying copper, lead, zinc, silver and gold. The upper mineralized zone contained pyrite, chalcopyrite, covellite and bornite, reflecting a strong copper-rich component. One individual sample returned a copper grade of 3.47%, underscoring the quality of the mineralization encountered. The mineralized sequence was interrupted by what the company interprets as a historic exploration drift, evidenced by the presence of blast holes within the drill core. Below the void, copper-rich VMS mineralization resumed and continued until terminating against a silicified sedimentary mélange at approximately 104.4 metres depth. According to Cruickshank, the latest drilling continues to confirm the presence of robust, high-grade mineralization at Wedge while expanding the company's understanding of the geometry and continuity of the deposit. The increasing precious metal values with depth and the presence of multiple sulphide-rich zones provide additional encouragement as Nine Mile advances exploration within the Bathurst Mining Camp. #proactiveinvestors #ninemilemetlas #cse #nine #otc #vmxsxf #mining #wedgemine #BathurstMiningCamp #VMS #Copper #Zinc #Gold #Silver #Lead #MiningExploration #DrillingResults #CriticalMinerals #JuniorMining #ResourceDevelopment

New Brunswick is considering banning fishing and hunting licences for American citizens, as part of their government's response to the latest round of U.S. tariffs. But Americans make up the majority of clients for most outfitters in the province — and they pay thousands of dollars to hunt moose, Atlantic salmon, black bears, and other local wildlife in the province. Canadian outfitters say a ban on Americans would put many local hunting and fishing guides out of business.

Harbinger Showcase is a weekly podcast featuring highlights from Canada's #1 coast-to-coast community of politically and socially progressive podcasts. On this episode we deep dive into hyperscale data centers on TECH WON'T SAVE US, speak with Palestinian comedian Kokym on HABIBTI PLEASE, unpack how Doug Ford wields anti-American posturing to paper over policy on THE NORTH STATE and find out how 'To Catch a Fascist' on POLITE CONVERSATIONS.See Harbinger and unrigged.ca hosts at the 25th anniversary edition of POP Montreal: join The Rover, Rachel Gilmore, Rob Rousseau, the Canadian Centre for Policy Alternatives and Script Health at Clubhouse Rialto September 23rd to 27th for POPSymposium's free daily programming.See the full schedule of panels and the rest of the lineup including speakers like Jeremy Dutcher and Lisa Perley-Dutcher discussing Indigenous Language reclamation through music and education, Canadian media legend Sook Yin Lee, the iconic Nardwuar the Human Serviette and more than 50 alt/indie musical performances from Canadian and international acts at popmontreal.com.Harbinger Showcase is syndicated to community and campus radio and heard every week on CKUT 90.3FM in Montreal, at CFUV 101.9FM in Victoria, at CIVL 101.7FM in Abbotsford, at CHLY 101.7FM in Nanaimo, at CJSR 88.5FM in Edmonton, on CJUM 101.5FM and CKUW 95.9FM in Winnipeg, at CiTR 101.9FM, CJSF 90.1FM and at CFRO 100.5FM in Vancouver, at Hamilton's CFMU 93.3FM, at Radio Laurier in Waterloo, at CJTM 1280AM in Toronto, at CJAM 99.1FM in Windsor, at LOCAL FM in St John, New Brunswick and at CJBU 107.3FM in Sydney, Nova Scotia. Find out more about the network, subscribe to the weekly newsletter and support our work at harbingermedianetwork.com.

Jerry opens the show today discussing New Brunswick pondering the idea of blocking Americans from hunting and fishing permits. He also chats with Gavin Tighe about an article in the Toronto Star about Judges’ grilling of accused men leads to sex assault and dangerous driving cases being overturned. Ask a traffic cop! Sean Shapiro joins Jerry to answer your traffic questions. Finally, Jerry and Cristian discuss gas saving tips and if they agree on all of them.

What does it take to forge a career in country music across three continents? In this episode, we sit down with tri-continental country artist Robert Ross—a 11-year Canadian Army veteran, Australian citizen, and current Nashville resident.Robert opens up about his journey from hearing his mother sing around their home in New Brunswick to topping the Australian Airplay charts with "Jack Daniels" and working alongside Grammy-winning producer Gil Grand on his sophomore album, Better With Time. We discuss how over a decade of military service shaped his "worn denim" songwriting style, the stories behind his Josie Music Award-nominated singles, and the comfort behind his legacy track "Don't You Cry."Mentioned in This Episode & Key LinksOfficial Music Video: Check out Robert's emotionally resonant single Don't You Cry on YouTube.Robert Ross Official Website: robertrossmusic.comFeatured Tracks: "Jack Daniels", "Drink en Down", "Mamma's Song", and "For You Girl".Connect with Robert RossInstagram: @robertrossmusicFacebook: Robert Ross MusicStreaming: Available on Spotify, Apple Music, Amazon Music, and TikTok.If you enjoyed this episode, please leave a 5-star review on Apple Podcasts or Spotify and subscribe so you never miss an interview!Follow us on Instagram & TikTok: [@unfiltered.undiscovered]Visit our Hall of Fame to explore past and current inductees: https://unfilteredandundiscovered.com/hall-of-fame-unfiltered-undiscovered/ Copyright Disclaimer:"The Unfiltered & Undiscovered Podcast features interviews and showcases with music artists, along with our Mystery Song Deep Dive segment, which is intended solely for educational and entertainment purposes. Any songs discussed or played during the podcast remain the property of their respective copyright owners, and no copyright infringement is intended."Follow our SocialsFor all of our links- Socials, Platforms and Playlistshttps://my.linkpod.site/unfiltered Find our playlists on Spotify, Apple Music, Youtube Music and Amazon Musichttps://unfilteredandundiscovered.com/spotify-playlists-hub/ Thanks for tuning in 

Harbinger Showcase is a weekly podcast featuring highlights from Canada's #1 coast-to-coast community of politically and socially progressive podcasts. On this episode we deep dive into hyperscale data centers on TECH WON'T SAVE US, speak with Palestinian comedian Kokym on HABIBTI PLEASE, unpack how Doug Ford wields anti-American posturing to paper over policy on THE NORTH STATE and find out how 'To Catch a Fascist' on POLITE CONVERSATIONS.See Harbinger and unrigged.ca hosts at the 25th anniversary edition of POP Montreal: join The Rover, Rachel Gilmore, Rob Rousseau, the Canadian Centre for Policy Alternatives and Script Health at Clubhouse Rialto September 23rd to 27th for POPSymposium's free daily programming.See the full schedule of panels and the rest of the lineup including speakers like Jeremy Dutcher and Lisa Perley-Dutcher discussing Indigenous Language reclamation through music and education, Canadian media legend Sook Yin Lee, the iconic Nardwuar the Human Serviette and more than 50 alt/indie musical performances from Canadian and international acts at popmontreal.com.Harbinger Showcase is syndicated to community and campus radio and heard every week on CKUT 90.3FM in Montreal, at CFUV 101.9FM in Victoria, at CIVL 101.7FM in Abbotsford, at CHLY 101.7FM in Nanaimo, at CJSR 88.5FM in Edmonton, on CJUM 101.5FM and CKUW 95.9FM in Winnipeg, at CiTR 101.9FM, CJSF 90.1FM and at CFRO 100.5FM in Vancouver, at Hamilton's CFMU 93.3FM, at Radio Laurier in Waterloo, at CJTM 1280AM in Toronto, at CJAM 99.1FM in Windsor, at LOCAL FM in St John, New Brunswick and at CJBU 107.3FM in Sydney, Nova Scotia. Find out more about the network, subscribe to the weekly newsletter and support our work at harbingermedianetwork.com.

1904 VIKINGSNorse Voyages Traversed Atlantic To AmericaMartyn Whittock, author of American Vikings: How the Norse Sailed into the Lands and Imaginations of America: Eighth-century Norse expansion was fueled by population growth, royal ambitions, and an Islamic silver shortage resulting from Caliphate shifts to Baghdad. The Norse expanded across Britain to Iceland in the 870s and Greenlandunder Erik the Red in the 980s. Around 1000 AD, Leif Erikson ventured west, sighting Helluland, Markland, and Vinland. Excavations at L'Anse aux Meadows in Newfoundland confirm an 11th-century Norse base camp where timber was felled in 1021 AD. Butternut wood and wild grapes indicate explorations extended south toward New Brunswick or New England. Although sagas record trade and violent conflicts with indigenous "Skraelings," small population numbers prevented permanent colonization. The Maine penny highlights regional trade networks, while Whittock critiques alt-right groups who misappropriate Vinland legends for modern racial ideologies. (1)This episode includes AI-generated content.

About Bryan ElliottBryan Elliott is a professional engineer, serial entrepreneur, and holder of multiple technological patents. He is the founder and CEO of FLō Energy Solutions, a 27-year values-based engineering company and trusted advisor to grocery retailers across North America.Bryan brings an engineer's mindset to leadership: take things apart, understand what is actually happening, and build something better. He has applied this approach to organizations, people, and even a shelf of books he gives away for free.Bryan is also the co-founder of M46 Ministries with his daughter, Bryn, and the children's charity Bee Me Kidz. He lives in New Brunswick, Canada, with his wife, Teresa, and their six children.Connect with BryanVisit https://m46ministries.com/ to connect with Bryan, explore his books, and access his resources.Free ResourcesEverything discussed in this episode is available for free through M46 Ministries. Resources are available to read, download, print, and share in multiple formats. Hard copies are also available on Amazon at the lowest price the platform allows.Connect On Social:Podcast Facebook PageSteve Facebook Steve InstagramSteve LinkedInPete FacebookPete Instagram Pete LinkedIn

Newfoundland's film and television industry is booming as Netflix's Below becomes the latest Hollywood production to shoot in the province, bringing jobs, local spending, and the potential for a major tourism boost.Plus, Parliament returns with the Carney government preparing to fast-track major projects and overhaul federal labour laws — ambitious moves that could accelerate investment while provoking pushback from unions, Indigenous groups, environmental advocates, and local communities.And in The Big Picture: airport privatization could raise travel costs, Canada and France deepen their space partnership, European intelligence officials warn of a possible Russian attack on NATO territory, New Brunswick adds AI literacy to its school curriculum, Google's Gemini reportedly breaks containment, tensions rise between the Houthis and Saudi Arabia, Germany's AfD wins another state election, and more.The Peak Daily is produced in partnership with reframevid.com

Send us Fan MailA woodcock can sit so tight it feels impossible until you watch a dog lock up with the bird practically under its nose. That moment is the doorway into upland bird hunting, and it is exactly where our chat with Donald Henderson begins. Donald is an avid upland hunter, a field trialer, and the president of the Maritime Bird Dog Club, and he explains how a first Brittany turned into a full-on bird dog life built around training, hunting, and keeping the tradition moving forward.We get specific about pointing dog field trials and what they actually test: two dogs run as a brace, judges evaluate race, drive, style, and bird work, and a single mistake on point can end your day. Donald compares wild bird trials on woodcock and ruffed grouse with released-bird events, and he explains why modern trialing still leans on old-school tools like bells even when most of us hunt with GPS collars. We also talk training strategy, including why wild birds are the best teachers, how homing pigeons and remote launchers help start young dogs, and why woodcock are often easier for early lessons while grouse demand experience.Then we zoom out to the bigger issue: clubs and trials only exist if new people show up. Donald shares the history behind the Maritime Bird Dog Club and the North American Woodcock Championship, plus practical ways to come watch, ask questions, and get involved without feeling out of place. If you're curious about New Brunswick woodcock hunting, ruffed grouse dog work, pointing dog training, or how field trials shape the future of bird dog breeding, this one is for you.Subscribe, share this with a hunting buddy, and leave a review if you want more conversations like this. What's the bigger draw for you, the birds or watching a good dog work?Check us out on Facebook  Hunts On Outfitting, or myself Ken Marr. Reach out and  Tell your hunting buddies about the podcast if you like it, Thanks!

Tuck your pants into your socks, people. That's the new Maritime fashion if you want to enjoy the wilderness without ticks these days. It's a world away from Vett Lloyd's bite, back in 2010, where authorities told the scientist there were no ticks in New Brunswick. That bite provoked Vett to become a leading scientist in the fight against ticks, and helped inspire a new wave of research being carried out today. Get up grossly close to the creepy crawlies with producer Myfanwy Davies in her documentary, More Voices In The Wilderness.

We were joined by Jai Sadler for a deep dive into the Early 2000's music scene in New Brunswick. We talk everything form his early days promoting shows to where he currently sits in helping to promote music in today's industry at Music NB and his show, the Radical Fabulatorium. The tunes you'll hear: The Ditchpigs - Forever is a Long Time, 283 - End, Catherine Kennedy - Squatter's Rights, Joey Robin Hache - Montmorency, Joey Robin Hache - Bulldozer, Simon Daniel - Apollo A big thanks to friend of the cast Elissa of Picadilly Coffee Roasters. Be sure to check them out for all your coffee needs and the best roasts Canada has to offer! Find us wherever you get your podcasts and follow us on ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠. Special thanks to Maeve Capson.

Among the steel, aluminum, and auto sectors, Canada's softwood lumber industry has also fallen victim to US tariffs. But levies on Canadian lumber are nothing new, and neither are tensions between the two countries surrounding lumber exports. Host Caryn Ceolin speaks to Russ Taylor, a global wood business and market consultant, about the impact of tariffs on Canada's lumber sector, how the industry has long been a point of tension between our two nations, and what Canada can do to better support its wood business. We love feedback at The Big Story, as well as suggestions for future episodes. You can find us:Through email at hello@thebigstorypodcast.ca Or @thebigstory.bsky.social on Bluesky Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Harbinger Showcase is a weekly podcast featuring highlights from Canada's #1 coast-to-coast community of politically and socially progressive podcasts. On this episode we discuss the pragmatics of organizing street actions in Calgary on ALBERTA ADVANTAGE, talk about what happens when provinces go rogue with healthcare policies that defy federal laws and evidence-based solutions on PRESS PROGRESS SOURCES, break down Ontario Premier Doug Ford's potential fall from political grace on THE BREACH SHOW and pointificate on humanity's favourite four-pawed companions on SRSLY WRONG.See Harbinger and unrigged.ca hosts at the 25th anniversary edition of POP Montreal: join The Rover, Rachel Gilmore, Habibti Please, Rob Rousseau, the Canadian Centre for Policy Alternatives and Script Health at Clubhouse Rialto September 23rd to 27th for POPSymposium's free daily programming.Visit popmontreal.com for the full schedule of panels and the rest of the lineup including speakers like Jeremy Dutcher and Lisa Perley-Dutcher discussing Indigenous Language reclamation through music and education, Canadian media legend Sook Yin Lee, the iconic Nardwuar the Human Serviette and more than 50 alt/indie musical performances from Canadian and international acts.Harbinger Showcase is syndicated to community and campus radio and heard every week on CKUT 90.3FM in Montreal, at CFUV 101.9FM in Victoria, at CIVL 101.7FM in Abbotsford, at CHLY 101.7FM in Nanaimo, at CJSR 88.5FM in Edmonton, on CJUM 101.5FM and CKUW 95.9FM in Winnipeg, at CiTR 101.9FM, CJSF 90.1FM and at CFRO 100.5FM in Vancouver, at Hamilton's CFMU 93.3FM, at Radio Laurier in Waterloo, at CJTM 1280AM in Toronto, at CJAM 99.1FM in Windsor, at LOCAL FM in St John, New Brunswick and at CJBU 107.3FM in Sydney, Nova Scotia. Find out more about the network, subscribe to the weekly newsletter and support our work at harbingermedianetwork.com.

The Creature Code September 14th, 2026 EP: 24 Into the Unknown: Paranormal Investigations & Healing Experiences with Kat Ward What happens when a lifetime of paranormal experiences leads to a quest for real answers? In this episode, we sit down with Kat Ward—a lifelong sensitive, paranormal investigator with the Canadian Supernatural Research Society (CSRS), and the creator and host of the Paranormal Heart Podcast. From her early experiences with the unexplained to investigating haunted locations, Kat has dedicated her work to creating a safe space for others to share and make sense of their own paranormal encounters. A proud PNL Podcast Alumni-Network member (S2/E18), Kat's show airs weekly on the Universal Paranormal Radio Network (UPRN) every Tuesday at 6 PM EST, following the Paranormal NL Podcast. Beyond the mic, Kat is also an accomplished voice actor, narrating Integrity: An Obsidian Guardian Novel on Audible and featuring in the horror/comedy movie Camp Smokey. In this episode, we cover: • Kat's early life as a sensitive and paranormal experiencer • Her field investigations with the Canadian Supernatural Research Society • How Paranormal Heart Podcast creates a compassionate space for experiencers • Her voice work, audiobook narration, and acting projects BIO: Kat has been a paranormal experiencer and sensitive since a very young age. She grew up in New Brunswick, and now lives in Ontario, Canada. Finding answers to the unexplained led her into becoming a paranormal investigator with the Canadian Supernatural Research Society (CSRS), then starting Paranormal Heart Podcast. Kat Comforts and helps people understand their paranormal experiences. Paranormal Heart provides a safe place where people can openly talk about their paranormal encounters without being ridiculed or judged. New episodes of her Paranormal Heart Podcast are released on UPRN every Tuesday at 6PM EST. You can also find her show on her own platforms like YouTube, Podbean, & More. Kat is currently working on narrating a book series entitled The Obsidian Guardian series, written by J.B. Coates. The first book in the series called Integrity: An Obsidian Guardian Novel, is now available as an audiobook, and can be found on Audible. Kat also has a small voice over roll (Lorraine) in the horror/comedy movie Camp Smokey written and directed by Vinnie Vineyard and Luke Walker. Connect with Kat Ward: Linktree: https://linktr.ee/paranormalheart Show Guest Inquiries: paranormalheart13@gmail.com Voice / Narration Inquiries: katwvoiceactor@gmail.com Audiobook: Integrity: An Obsidian Guardian Novel by J.B. Coates (Available on Audible) Don't forget to Like, Subscribe, and hit the notification bell for more deep dives into the unexplained! United Public Radio & UFO Paranormal Radio www.uprntalkradio.com

Send us Fan MailIrish/Canadian filmmaker Brian Harrington visits “Sounds Atlantic” to preview his upcoming documentary film “Al Tuck My Blues Away” on September 20th. at the Atlantic Canada International Film Festival. Al Tuck may be “Canada's most enigmatic songwriter from Summerside Prince Edward Island”. Newfoundland singer-songwriter Amelia Curran says that “it's a familiar story, the best songwriter you've never heard of – there's lots of those…but this one's… ours”! Says Al: “I'm just puttin' it out there and hoping for the best!”https://www.facebook.com/ron.moores.18https://podcast.ronmoores.com/

The former premier of New Brunswick and former Canadian ambassador to the US gives his take on the trade war, and Canada at this moment. He has some sharp words for Alberta premier Danielle Smith and tells a wild story about the advice he and Jean Chretien got from another world leader after the 1995 Quebec referendum. Also in this episode: our conversation with beloved Acadian musician Lisa Leblanc.

A sexy new romance novel has been drawing a new generation of fans to Prince Edward Island, and now it's about to become a Netflix series. We go on the set of "This Summer Will Be Different" and talk to the showrunners Linsey Stewart and Dane Clark. Also in this episode: We pay a visit to Mrs Dunster's — an iconic New Brunswick bakery that is becoming a national success story.

In the midst of a fierce trade war, Ottawa wants to reduce its reliance on the U.S. But Canada's former defence minister says pivoting away from American military hardware is a challenge the government hasn't quite figured out. A former UN Special Rapporteur on the situation of human rights in the occupied Palestinian territories praises Canada for joining a ban on imports from Israeli settlements. But Michael Lynk says that move is just a start. Deliberations are about to begin over designs for a revitalized prime minister's residence. The head of the jury, celebrated architect Moshe Safdie, tells us what the future could hold for 24 Sussex.A fungus leaves corn kernels an unappetizing grey-black colour, but those unsightly cobs are a beautiful Mexican delicacy that's now being embraced by foodies north of the Rio Grande. It was in the Smithsonian for more than 150 years, but now, the last known pelt of an extinct woolly dog has finally been returned to its former Pacific habitat. A Sami reindeer herder in Sweden worries about the survival of his culture — as politicians debate whether a desire to mine rare earth minerals trumps his people's land rights. Enter, if you dare, the corn maze of one New Brunswick farm, which celebrates the corn-sistent corn-tributions of PWHL great Marie-Philippe Poulin, by being shaped like her face. As It Happens, the Tuesday Edition. Radio that's always looking at the broader corn-text.

#978 Show Notes: https://wetflyswing.com/978Presented by: Montana Fly Fishing Lodge, TroutRoutes, Stonefly Nets, Yellowstone Teton TerritorySponsors: https://www.wetflyswing.com/sponsors Marlon Prince gives us a guide's view of New Brunswick, including the famous Miramichi River and a long list of fisheries that don't always get the same attention. We dig into when to come, what to bring, how the spring salmon fishery works, and why New Brunswick has become much more than a place anglers drive through on their way somewhere else.Show Notes: https://wetflyswing.com/978

In this episode of Canada Is Boring, Rhys Waters and Jesse “Two Cups” Harley dive into the wild true story of Grand Manan Island, a tiny community in New Brunswick, Canada, that lost faith in the RCMP and carried out its own brand of mob justice.Discover how a small coastal island (population < 3,000) went to war with local crack dealer Ronnie Ross—from escalating harassment and arson to gunfire, a burned-down “drug house” on Cedar Street, and the infamous “Grand Manan Five” who became local heroes.For premium content, socials, merch, to leave a voicemail or message us go to canadaisboring.com Hosted on Acast. See acast.com/privacy for more information.

The Saint John container port in New Brunswick is drawing attention from all over the world. The people there are positioning the place as one answer to our tariff troubles. A growing number of companies are shipping through the port, to and from places, other than the US. Saint John is one of the most tariff-affected Canadian cities. So ,we talk about one of the success stories we found there as people there are working hard to adapt to changing times.And why some see the Port of Saint John as a gateway to the world.

Harbinger Showcase is a weekly podcast featuring highlights from Canada's #1 coast-to-coast community of politically and socially progressive podcasts. On this episode join Maisonneuve editor in chief and New Feeling music journalism co-op co-founder Rosie Long Decter, the Council of Canadians' Nik Barry-Shaw, the Canadian Centre for Policy Alternatives' Jon Milton, Alberta Advantage correspondent Liam Devitt, independent journalist Rachel Gilmore and Tech Won't Save Us Paris Marx for a live broadcast recording from this summer's Suoni Per il Popolo music festival recorded at Casa del Popolo on June 21st in Montreal.Harbinger Showcase is syndicated to community and campus radio and heard every week on CKUT 90.3FM in Montreal, at CFUV 101.9FM in Victoria, at CIVL 101.7FM in Abbotsford, at CHLY 101.7FM in Nanaimo, at CJSR 88.5FM in Edmonton, on CJUM 101.5FM and CKUW 95.9FM in Winnipeg, at CiTR 101.9FM, CJSF 90.1FM and at CFRO 100.5FM in Vancouver, at Hamilton's CFMU 93.3FM, at Radio Laurier in Waterloo, at CJTM 1280AM in Toronto, at CJAM 99.1FM in Windsor, at LOCAL FM in St John, New Brunswick and at CJBU 107.3FM in Sydney, Nova Scotia. Find out more about the network, subscribe to the weekly newsletter and support our work at harbingermedianetwork.com.

Teenage Dream or PR Scheme? The Justin Trudeau x Katy Perry romance has got Canada shaking its head. DAHHHH Blue Jays win! And the team tries to seal the Honmoon with a new baseball fight song. How did Doug Ford convince Ronald Reagan to star in the Premier's new ad? Plus, New Brunswick is having a fire sale of the American liquor it pulled of the shelves. Gavin Crawford quizzes Miguel Rivas, Ann Pornel and Brandon Ash-Mohammed about this week's headlines. (This episode aired October 2025)

A big issue hangs over university students and professors, and that's artificial intelligence. There are some rules and guidelines, but professors are largely left on their own to determine how much they want to adopt AI or not – and that's created a wide range of opinions.Today, we hear from five Canadian university professors about how they're thinking about education and students in the world of AI. We speak with Amanda Perry, professor of literature at Champlain College-Saint Lambert and Concordia University; Matt Dinan, associate professor and director of the Great Books program at St Thomas University in New Brunswick; Sarah Elaine Eaton, professor in the Werklund School of Education at the University of Calgary; Adegboyega Ojo, professor and Canada Research Chair in AI Governance at Carleton University; and Mike Welland, professor of Engineering Physics at McMaster University.This episode originally aired May 4, 2026.Questions? Comments? Ideas? Email us at thedecibel@globeandmail.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

It all began on a dark and stormy night. Three reporters went off chasing a strange lead about cars rolling uphill, leading to the discovery of what eventually became Magnetic Hill, the famous landmark in Moncton, New Brunswick.   This story and many others appers in the fourth Backyard History book 'Mysterious Stories From Atlantic Canada's Past,' get a signed. copy at backyardhistory.ca/books

The Rebel News podcasts features free audio-only versions of select RebelNews+ content and other Rebel News long-form videos, livestreams, and interviews. Monday to Friday enjoy the audio version of Ezra Levant's daily TV-style show, The Ezra Levant Show, where Ezra gives you his contrarian and conservative take on free speech, politics, and foreign policy through in-depth commentary and interviews. Wednesday evenings you can listen to the audio version of The Gunn Show with Sheila Gunn Reid the Chief Reporter of Rebel News. Sheila brings a western sensibility to Canadian news. With one foot in the oil patch and one foot in agriculture, Sheila challenges mainstream media narratives and stands up for Albertans. If you want to watch the video versions of these podcasts, make sure to begin your free RebelNewsPlus trial by subscribing at http://www.RebelNewsPlus.com

What does it take to build a real estate team that consistently produces at a high level? In this live interview from the 2026 Glover U Live Unreal Retreat in Traverse City, Michigan, Jeff Glover sits down with top-producing real estate agent and team leader Johnathan Drisdelle of Fredericton, New Brunswick. With 18 years in the real estate industry and seven consecutive years of selling more than 100 homes, Johnathan has built a proven business focused on lead generation, listings, systems, and team development. In 2025, his team sold 211 units totaling $90 million in sales volume. Johnathan shares an inside look at what drives his success, including his typical day, his lead generation strategy, and the systems that help his team consistently produce at a high level. He also explains why he chose to get involved with Glover U even after already building a successful real estate business, why he makes Glover U a part of his team's development, and why he continues to bring Glover U in to train his agents. In this interview, you'll learn: • What a typical day looks like for a 200+ unit team leader • How Johnathan approaches lead generation and business development • Why successful agents should never stop investing in coaching • How he became highly effective at the real estate listing process • What changed in his listing business after implementing what he learned from Glover U • Why he believes his entire team should be involved in coaching • How ongoing training helps agents improve their skills and performance • Why Johnathan hires Glover U to train and develop his team Whether you're a real estate agent, team leader, broker, or aspiring top producer, this conversation offers practical insight into building a scalable real estate business, generating consistent leads, winning more listings, and developing a high-performing team.

Sami Landri is the proudest Acadian you'll ever meet. The “trash-chic” Canadian drag queen has reached millions of fans with her Chiac accent and absurdly hilarious TikToks. After becoming a fan favourite on Canada's Drag Race Season 6, Sami returned to compete as a finalist on Canada's Drag Race All Stars. She joins Q guest host Garvia Bailey to talk about her Drag Race journey, her approach to drag, and how she's helping pioneer a new Acadian drag scene in Moncton, New Brunswick.

On this episode of So Fly, we're joined by Nathan Wilbur, President of the Atlantic Salmon Federation (ASF), to talk about one of the most iconic fish on the planet: the wild Atlantic salmon. Based in Fredericton, New Brunswick, Nathan has spent more than a decade with the ASF working to conserve and restore wild Atlantic salmon across eastern Canada. His work has ranged from developing conservation programs and building coalitions and Indigenous partnerships to advocating for stronger salmon management at the government level. In July 2025, Nathan stepped into the role of President of the organization. Nathan is also a Professional Engineer with a background in rivers and fluvial geomorphology. He earned a Bachelor of Science in Forest Engineering from the University of New Brunswick before completing a Master's in Civil Engineering, where his research focused on cold-water habitat for Atlantic salmon. But for Nathan, salmon and rivers are more than a career. He's also a lifelong angler with a deep connection to fish, flowing water and the natural world. We chat with Nathan about the current state of wild Atlantic salmon, the biggest challenges facing populations today, habitat and river restoration, conservation and management, and the work being done to give these incredible fish a better future. Plus, we learn a little about Nathan the angler. Enjoy! Explore the ASF: https://www.asf.ca/ HOW TO HELP SO FLY: Please go leave us a review on APPLE PODCASTS. It really helps our show get out there, which means we get to make MORE episodes.  Thank you to our sponsors: Drift Outfitters Redington Chums Costa Muskoka Brewery Hooké   Podcast Intro Theme Song Music: “Favela Beat“ by Birocratic (www.birocratic.com) The song used in our podcast was licensed via Birocratic License v05.2016. For info on how you can use this music in your project, check out ⁠http://www.birocratic.com/license-app.⁠ To download Birocratic's 60+ song discography, visit http:// birocratic.bandcamp.com. Thanks to all our listeners.  

Harbinger Showcase is a weekly podcast featuring highlights from Canada's #1 coast-to-coast community of politically and socially progressive podcasts. On this episode join Free City Radio host Stefan Christoff, Local 514's Kalden Dhatsenpa, The Rover managing editor Savannah Stewart, The Breach Show producer Katia Lo Innes, Palestinian Youth Movement, federal NDP president Niall Ricardo and the CKUT News Collective for a live broadcast recording from this summer's Suoni Per il Popolo music festival recorded at Casa del Popolo on June 21st in Montreal.Harbinger Showcase is syndicated to community and campus radio and heard every week on CKUT 90.3FM in Montreal, at CFUV 101.9FM in Victoria, at CIVL 101.7FM in Abbotsford, at CHLY 101.7FM in Nanaimo, at CJSR 88.5FM in Edmonton, on CJUM 101.5FM and CKUW 95.9FM in Winnipeg, at CiTR 101.9FM, CJSF 90.1FM and at CFRO 100.5FM in Vancouver, at Hamilton's CFMU 93.3FM, at Radio Laurier in Waterloo, at CJTM 1280AM in Toronto, at CJAM 99.1FM in Windsor, at LOCAL FM in St John, New Brunswick and at CJBU 107.3FM in Sydney, Nova Scotia. Find out more about the network, subscribe to the weekly newsletter and support our work at harbingermedianetwork.com.

On this episode, Payton dives into the case of Edward Hall, a small town priest that was found dead with his love affair, Eleanor Mills. Links: Netflix Video Every Monday @11am PST, 12pm MST, 2pm EST 1pm CST https://www.netflix.com/murderwithmyhusband  Patreon: https://www.patreon.com/murderwithmyhusband NEW MERCH LINK: https://mwmhshop.com Discount Codes: https://mailchi.mp/c6f48670aeac/oh-no-media-discount-codes Twitch: https://www.twitch.tv/themwmh Instagram: https://www.instagram.com/murderwithmyhusband/ Watch on Youtube: https://www.youtube.com/@murderwithmyhusband Listen on Apple: https://podcasts.apple.com/us/podcast/into-the-dark/id1662304327 Listen on spotify: https://open.spotify.com/show/36SDVKB2MEWpFGVs9kRgQ7?si=f5224c9fd99542a7 Sources: Compact Murder - https://compacthistories.com/murder/the-hall-mills-murders/   Our Great American Heritage - https://www.ourgreatamericanheritage.com/2024/07/the-1922-salacious-murders-of-the-priest-and-his-choir-singer-hall-hills-murders/   The New Yorker -  https://www.newyorker.com/books/double-take/a-sensational-murder-trial-in-the-newly-founded-new-yorker  Mr. Local History Project - https://mrlocalhistory.org/the-hall-mills-murder-the-countrys-first-sensationalized-trial/  Historic Mysteries - https://www.historicmysteries.com/major-crimes/the-hall-mills-murders/1336/  Ebsco - https://www.ebsco.com/research-starters/law/hall-mills-murder-case  Crime Reads - https://crimereads.com/the-murder-of-edward-hall-and-eleanor-mills-new-jerseys-original-crime-of-the-century/  Wikipedia - https://en.wikipedia.org/wiki/New_Brunswick,_New_Jersey  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Plus: Alberta's premier voices concerns about the federal government's tariff strategy, New Brunswick's leader shuts down the idea of cutting off power to neighbouring Maine, the B.C. Conservatives lose their third MLA this month, and a Legionnaire's outbreak that sickened several Toronto transit employees is traced back to the transit system's cooling equipment. We love feedback at The Big Story, as well as suggestions for future episodes. You can find us: Through email at hello@thebigstorypodcast.ca Or @thebigstory.bsky.social on Bluesky Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: Welcome to part two of our discussion of the poems of Elizabeth Bishop. We are currently about. Oh, I'm okay. I'm proud of us. We're just about halfway through the Moose. That's not bad compared to our usual record. We're not halfway through stanza one. We're going. You know, it's about a bus trip. It's encouraging us to pick up the pace a little bit and get to our next stop. So we were just going to pick up with the woman in stanza 13 climbing into the bus. 0:41 Wes: Before you say that, I just want to make one little observation. 0:44 Erin: Oh, sure. 0:45 Wes: Just that we get right as soon as the light goes out, it's then that we get the barking of a dog and the smell of salt. First it's the smell of salt hay and then it's the barking of a dog. So smell is introduced. And is that the first time sound is really introduced in any. You know, we get the bus starting and all that, but I think that's right. It's very visual up to that point, I think. And then as soon as we lose the light, we get these new sensory modalities. The collie just supervised this dog, gives us a nice bark, and presumably we can't even see him. We just hear him. So I just love that. I just. I love the transition into darkness. It's so. 1:26 Erin: Yeah. 1:26 Wes: I don't know how else to say it. 1:28 Erin: Yeah. 1:28 Wes: And it's then that we. This really is the midpoint of the poem because now we're going to make this transition into the world of the bus, I guess. As the woman climbs in, we have 1:41 Erin: the ship's port lantern, as you said, being an indication that it's now nearly or fully dark outside. 1:47 Wes: She says red light swims through the dark. 1:50 Erin: Yeah. I'm assuming that at this point a bus would have some form of illumination, at least for when it's stopped and the doors open for people getting on and off the bus. Right. It would. It would light up on the inside interior. Yeah. 2:03 Wes: Yeah. 2:03 Erin: Or at least maybe it would stop, certainly if it were stopping at a station or a little, you know, whatever those things are called. Those little. Yeah, there's a word for it. 2:14 Wes: We need something to see the freckles by. 2:16 Erin: Right. We need something. Exactly. But wherever they would be stopping would have some form of street light illumination or something of that order. Anyway. 2:26 Wes: But it's interesting you say this, because I didn't picture a bus station at any point in this. And I just imagine people along the side of the road. 2:34 Erin: Right. But if it were a course, it 2:38 Wes: couldn't be that way. 2:39 Erin: Well, I don't think it's a station. I think it would be a stop with a. You know, like a lean to. You know, what are those things that just. 2:44 Wes: Yeah, sure. 2:45 Erin: That just protect you from the elements. 2:47 Wes: Yeah. Bust down. 2:48 Erin: Right. 2:48 Wes: Yeah. 2:49 Erin: And that would probably have at least a street light. But anyway, then we get the moonlight. Maybe my favorite. Oh, it's so hard to say, but maybe my favorite image in the poem is the hairy, scratchy, splintery moonlight and mist caught in them like lambswool on bushes in a pasture. Just. There's nothing. There's no image greater than that. That's unbelievable. 3:13 Wes: There's kind of a more wildness to this. Right. The image now, the hairiness and scratchiness and splinteriness. It's a bit less Domesticated, I guess, than the previous part of the poem. 3:27 Erin: That's a really good point. I hadn't thought of that. Even a suggestion of danger, like the lamb running. 3:34 Wes: I just thought, this is where the hobbits are entering Fangorn Forest. 3:39 Erin: Yes. Yeah, yeah, the New Brunswick. 3:41 Wes: But you go a little bit more. It's a little wilder and more primal. I think once you. Even if you're on a bus, once you get into the woods, there's something different about it. 3:52 Erin: That's right. 3:53 Wes: But yeah, you're right. The idea that the moonlight could get caught in that. That's a great image. 3:59 Erin: Something giving chase to the lamb would cause it potentially to get a little ensnared in the chase. 4:06 Wes: It's as if Lambswool has, you know, a lamb is brushed up on the bramble or whatever and left its will so that. So the moonlight, instead of making this cosmic journey and landing on articulating the environment, has been subordinated to the environment. Right. It's become. It's been captured by these hairy woods. It's caught on it and, you know, a piece of it has come off from being caught on something that's scratchy and splintery. So that. That. Yeah, this is the great reversal. And that's the place where you can really get some good sleeping. Yes, right. 4:44 Erin: Yes. And where dreamy things can happen. 4:47 Wes: Divagation. Yeah, wanderings. 4:51 Erin: I looked that up. Wandering, straying or digressing from a main course, path or topic. So like a digression as long as 4:59 Wes: the bus stays on track. 5:00 Erin: Yeah, that's right. 5:01 Wes: You do whatever you want with your mind. 5:02 Erin: That's right. And the night. I just looked on Google Maps while I was writing my little notes in the margins. And if you were to take a bus today from Great Village to Boston, it would take like 10 hours. So it definitely is a, yikes, full course of the night on this night bus. So I love what happens in stanza 16, which begins in the creakings and noises, an old conversation not concerning us, but recognizable somewhere back in the bus. So I really love that it's grandparents voices, she says, uninterrupted talking. This is where the I becomes an us. And this is a characteristic of a bishop. I think she's rather reluctant to use an I, capital I in a poem. She's more likely to use a we or an us. And here it's as if they're all part of the same family now in the bus and the adults. It's almost like everybody on the bus who isn't a grandparent is a child and the adults in the back are talking and we are all, oh, that doesn't concern us. Just go to sleep. It's none of your business. Just stop eavesdropping on us. Right, so there's some community that's been formed already by the people who are not the grandparents talking. Do you get that impression? 6:20 Wes: Yeah, it's a bit confusing. So, yeah, let's try to figure it out. Because it. So it begins. A dreamy navigation begins in the night. She doesn't say, I started dreaming or they started dreaming or we started dreaming. Although it seems almost like it's collective. Right. So that the bus is dreaming or everyone on the bus is dreaming together, which kind of lines up with the not concerning us later on, the gentle auditory slow hallucination. So that's a very interesting idea. Right. The dream is usually associated with subjectivity. Right. The cogito and Descartes. Right. The dream tells us that we might have trouble distinguishing reality from what's in our own minds. And we in our own minds are very potentially cut off from reality. But it's a. It's an alienated individual position here. The dream is. Seems to be collective. And perhaps it's collective because it's partly real. Right. Is that the conversation? I thought, okay, there's a conversation going on in the back of the bus and it is old people talking. But as you're lying back, you could sort of. You can't hear exactly what they're saying. And you might have that kind of half dream, Right. Where you're. The dream is kind of lined up with or intertwined with what's going on in reality. So she's hearing in the conversation of the old people, her grandparents voices. Is that the way you took this? Or. Or they, they're hearing the grandparents voices or. Yeah. How do we, how do we interpret this? 7:54 Erin: I interpreted it as, you know, people of the age of grandparents having a real conversation. But the idea that one could be having an auditory. I mean, we are given the word auditory slow hallucination. So the idea that there could be an auditory hallucination or kind of half dream of one's own grandparents having a conversation, or it may be superimposed on a real conversation kind of inaudible going on on the bus. I never noticed this before. The G in grandparents is capitalized. So it does seem to sit to suggest the speaker's particular grandparents rather than. 8:30 Wes: Oh, I was going to. I thought you were going to say archetypal grandparents. 8:34 Erin: Oh, yeah, I suppose it could be yeah, it could be read that way, too. I think all of these things are true, right? 8:40 Wes: Yeah. 8:40 Erin: I mean, the image works because of the, shall we say, universal particularity of this experience. 8:47 Wes: The ordinary way to write the poem would be to. And a much simpler way would be to put this in her point of view and not try to put it into a collective point of view. But that seems to be what she's doing. 8:59 Erin: Yes. The effectiveness, though, I think is the. And it could just be the speaker's perception of it, but the atmospheric quality, because everyone on the bus is going to share an experience shortly, but already they are sharing an experience and a kind of atmosphere that they're all listening to the hum and having that. You know, when you're in the car and you. Maybe when you're a kid and you put your ear up against, like, the. The car door or the window or something, and you hear orchestral music. I don't know if you ever had that. I used to always hear classical music when I would put my head up. 9:38 Wes: Yeah, I don't think I have that. 9:40 Erin: All kinds of. And I always think, like, I should write this down. But you always have, like, a hallucination of an orchestra playing songs. Different songs. Sometimes like fantastical songs. Yeah. You know, my particular experience maybe doesn't quite get at the. Yeah. The sense that this is shared. 9:57 Wes: Well, you're put into a kind of dreamy state, and yet you're getting at the auditory hallucination part. I mean, for me, I think, as a child, and this, I think, is very evocative of childhood. It's something about being half asleep or falling asleep. You're on a journey and there are adults in the car and there's some. Maybe some sense of safety, I think is very relevant to this poem. But being ensconced in the world of adults and not quite alone when you do this thing, which is potentially very lonely, which is go to sleep. And of course, a lot of kids don't want to go to sleep because that loneliness factor. But it's a much different experience if you're traveling. You're all on the way to something together. And of course, you're with people who are awake and, you know, are going 10:45 Erin: to be awake, maybe because the kids are falling asleep. Their. Their voices are lowered and softer. And maybe that also contributes Right. To the. The way in which. That lulls the children in the back simply because they're aware of not wanting to talk too loudly. Certainly that would be the case on a bus like this, where they're Having a conversation where they're talking in. In lower voices and maybe actually inducing that calm and hum for sleep in the people, the other people in the bus who aren't talking. 11:15 Wes: And the question is, what are the adults doing with their talk? Right. It's not going to work if your parents are just fighting. In this case, it's the grandparents. Voices are clearing things up and I guess bringing certain things to resolution, coming to terms with these losses. But a lot of it does sound a bit gossipy and not necessarily like the most comforting. 11:39 Erin: Yes. Yeah. 11:39 Wes: Sort of talk we could imagine. Yeah. 11:41 Erin: Well, you know, in a situation like this where you might be a child in this car, could be that you're coming back from whatever, like a, like a late night and then the adults in the car are working through whatever has just happened over the course of the night. And. Oh no, she was the one who had that long. Yeah. Who had the criminal record because of that thing, remember where they. Oh, yeah, yeah. That was like 20 years ago. So you sort of get that. But for an entire family history going back ages and ages, talking in eternity. Deaths, deaths and sicknesses. The year he remarried, the year something happened. Oh, yeah, what year was that? Right. Something about the journey afterwards or maybe away from home. If these people are also. If their home is Nova Scotia and they're departing it, you know, then there's that backwards looking quality where something about the idea of the journey and moving away from the place is giving the opportunity to then take stock and look back. So there's this sort of like dual action happening in the poem where the further the bus goes, the further back they're kind of looking from deaths and sicknesses to then remarriage and then childbirth. Son lost when the schooner found her. 12:58 Wes: These are all very blue collar tragedies, right? 13:00 Erin: Yes. 13:01 Wes: He was arrested for insider trading. 13:04 Erin: No, but I mean, you know, there's a reverse order to what's happening, you know, so we get. We have death, then sickness, then remarriage, then dying in childbirth. So there's a rewind is what I mean. Yeah. 13:17 Wes: Well, we come back in the end to death. The way it's all summed up. 13:20 Erin: Insider trading. Sorry. 13:23 Wes: Huh? 13:24 Erin: Sorry, Just insider trading. That really is funny. 13:31 Wes: And he had an affair. No. A sharp indrawn breath. Half grown, half acceptance. That means life's like that. We know it. Also death, you know, and then the question, what does also death mean there? Death knows it, we also know death. But it, you know, it made me wonder at various points I wondered. Well, Is this an element here of a journey to the underworld or to the afterlife? Maybe it's a job not claiming that that's strong thematic part of this, but maybe a hint of that type of thing. Because the journey, I mean, and it does seem like journeys are good places for this or like when I travel, it produces in me a very different state of mind. And I do find it very calming in a way, you know, especially actually being on the train or something like that, because you're in between two different locations and you maybe you're not caught up in the expectations or the constricting qualities of any particular location. If I'm at home, I have to do this and that work, or if I'm at a destination, then I'm dealing with relatives or I have to be a tourist or something like that. But there's something liberating about being in between two locations. So it does seem like a place for this type of dreamy hallucination or this reflection or this clearing of things up. It's almost like therapy. Right? That's what all of this sounds like. People are talking through their problems, but where is it that they get to in the end here? The half grown, half acceptance. So it's not fully acceptance. It sums things up with this, maybe a degree of resignation. So yeah, I don't know. What do you make of the stanza? 15:15 Erin: Well, they're traveling west significantly. Right. I do take a lot of this to be a kind of, say, pre figurement of death, even though at the same time the fact that they're in the woods, the fact that not to jump ahead too much, the fact that the moose will come out of the woods and appear notably in the middle of the road, there is a suggestion of middle age or middleness, or midway in the journey of our life, I found myself within a dark forest. So I think it works both ways, or perhaps it's working in several ways simultaneously for the various passengers. So maybe the speaker is experiencing something more akin to the Dante esque middle of the journey on the bus. And something about the bus journey is also, symbolically speaking, a kind of final bus journey for some of the other passengers. And that intersection seems significant, but I don't know how, just in the sense that there's a retrospective quality happening or maybe even a reversion to childhood that goes on for the speaker and the other people in the bus by virtue of the propinquity to these old people at the end of their life's journey. Because there is very little about middleness Here, come to think of it, other than the moose appearing in the middle of the road. Right. It seems that the other people on the bus are like children and the grandparents are the adults. 16:50 Wes: I mean, I think part of what's comforting when we're children is that feeling that adults know the answers and that adults know how to cope with all the dangers and have experience doing that and therefore can protect us. The reality, of course, as we realize as we get older, is that that's not true. So what they may have is more of this acceptance that's sort of highlighted in this stanza, which is potentially a good thing, but maybe a double edged sword because it does seem to be a form of dying. It does seem to be a form of the very thing that we want to be protected from. 17:30 Erin: There's also, though, that. What I used to call my mom, the external hard drive. I used to say back before she. 17:42 Wes: She liked that. 17:44 Erin: I think now it would make her sad because she'll say, you know, very openly that she. Her memory is gone. But it used to be that she knew all the, you know, you could ask her who said that at that one. You know, there's that kind of. I mean, that's a sort of jokey, gossipy scorekeeping thing that she would keep tabs on. But there's also just the idea of long memory being the history keeper, the record keeper, the, you know, and there's sort of settling accounts over the course of this conversation. Oh, right, it was that year. Okay. And then this happened and then, then that happened. And that's important too, I think, for, you know, it situates children in a context. Not just say this idea of death that you're referring to, but also how to situate oneself in a life. 18:34 Wes: Right. 18:34 Erin: There's a. There's a sort of frame that the grandparents or the elder relatives have that whole history up until you enter the narrative and where you fit within that. We mentioned in part one a little bit about Bishop's family history just to kind of prefigure the types of story that she inserts, I think very significantly into the poem, particularly about poor Amos who just wouldn't stop praying in the store and had to be. Had to be put away. Right. Of course she does a gender swap, but yeah, we all have family stories like this, of this kind of unruly behavior or madness of some kind or other or some sort of family drama. 19:19 Wes: Yeah. So it's universal. But the way she captures it is very clever with this talk that we don't quite know whether it's just the conversation of the people, the old people at the back of the bus, or whether it's her dream or whether it's both or somewhere in between. They're interlaced, those two things. And that. That interlacing gets at this aspect of universality. Although I think by the time we get to the stanza where she's fantasizing about the grandparents and the featherbed, this, it start. Seems to become inescapably personal, which is why I think of the. The point of view is getting more and more focused. Right. With. With time. Yeah. And potentially it's still universal, but it seems almost like a personal memory. Right. So talking the way they talked in the old feather bed. Right. The way they. Her. Her grandparents presumably in the old feather bed, peacefully on and on. Dim lamp light in the hall, down in the kitchen, the dog tucked in her shaw. Shawl. Yeah, get another. And get another dog here. 20:28 Erin: I love this. 20:29 Wes: The collie, the barking dog. And. Yeah, so this, this stanza is wonderful. And it gets at exactly this thing that you've been talking about, which is the, like, comfort of being a kid overhearing adults talking. It really, despite this talk of death. Right. A reconciliation with death. This is the point. Seems to be the point of view of a child who finds this very comforting. And. Right. She'll say in the next stanza, now it's all right now even to fall asleep, just as on all those nights, the way in which the adult world and the safety of protective figures can make sleep okay to do. And then suddenly that's interrupted. 21:07 Erin: But I love too. I mean, yes, it's so particular, but it also just in this one stanza does so many things in miniature that the poem is doing all along, this telescoping in again to a scene which. Which even as a child, if it were her childhood in particular that she's referencing, she couldn't possibly know or see. She wouldn't be able to see the grandparents in their featherbed. She would have to be picturing them in the featherbed and she wouldn't be able to see the dog in the hall. And also I wonder if this. If the stanza in its operation is kind of doing. I mean, this is just occurring to me now, but maybe it's doing that kind of hallucinatory work that has prior been described where we actually get a remix of, you know, this is the third dog in the poem. But it's also the elements in the stanza are a kind of recapitulation of the light, the red light swimming, the port Lantern becomes the lamp light in the hall. We get the dog barking now becomes the dog curled up in the shawl. And then maybe even because we also get kitchen, maybe the shawl is even a kind of transposition of the table, tablecloth shook out. Right. So there's something actually in the stanza which has that hallucinatory quality that she's describing where these three elements swim in the imagination and then become the lamplight and the dog and the shawl in this half asleep kind of dream space. Maybe that's pushing things too far, but it does seem to be. It's the dreamiest stanza perhaps in the whole poem. Maybe the following one. Now it's all right now even to fall asleep. But this gets interrupted that next stanza. So this one, I think is the real depth of the dreamy or borderline dreamy or hallucinatory moment. 23:00 Wes: Yeah, this is great because it really underlines the way deviation creates the capacity for stasis or for comfort. So the deviation of a bus trip or of the dreaming. Right. Which is movement, which is dynamic and has that momentum, forward momentum that we were talking about, sort of underwrites or grounds this ability to. For stasis, for stopping, for going to sleep, for feeling comforted as a child and safe, I think. And I keep repeating that word because of the. What's going to happen. The use of the word that's going to happen in this poem later. But yeah, I'm not sure if you were saying that explicitly, but that's what came to mind my mind as you were talking. This. The way in which this journey, devigation, motion can ground something that's going to be more static or stationary, which is what we're going to get in the moose. Because it interrupts the. It explicitly interrupts the motion of the bus and the external line of the poem in a way that parallels the comfort that's produced by the dreaming. 24:08 Erin: Yeah. In stanza 22 is where we have that break that you're describing. The moose finally appears. Well, the moose doesn't appear until stanza 23 finally appears. 24:21 Wes: We've been waiting for you. 24:22 Erin: We've been waiting for you. The title has promised that you would come and then here you are. It is foretold of your coming. 24:29 Wes: Comes through the curtains, takes his bow. Right. 24:32 Erin: We get nights, just as on all those nights. And then the moose's appearance, the lights turn on. And that rhyme you get, I mean, it's a very basic, simple rhyme. Right. But there's that sort of sudden jolt which is then also visualized where in the middle of night we have this appearance, this bright because of the headlights on it. Appearance of the moose. And it looms and sniffs at the bus's hot hood, which I'm assuming means that it thinks that the bus might be a boy moose. 25:06 Wes: No. Well, it's a very hot bus, I'll say that. 25:10 Erin: Ow. Ow. 25:14 Wes: That enamel. And it's dented and, you know, depends on if you like bad buses. No, just kidding. 25:21 Erin: Dented from its last encounter with a girl bus. 25:25 Wes: Yeah. It's funny because I wrote in my notes, but was just reading it stanza by stanza. And the previous stanza I'd said, okay to sleep, even with death looming. Looming for all of us, you know, all day one. You know, one day we all die. Blooming in that sense. And then suddenly the moose is looming, standing there, looming. And I thought, whoa, that's really interesting 25:45 Erin: that I. Oh, yes, chose. 25:48 Wes: Chose that word before I even got to the next stanza. Not to give some, you know, obvious rote sort of identification of the moose with death or the experience of the moose as having something to do with that. But obviously they're coming into contact here with something quite primal and important. It's not just, oh, look, there's a nice moose, but is he sniffing or she's sniffing the buses hot hood because she thinks it might be another moon. That hadn't actually occurred to me. 26:21 Erin: I must have been infected with that reading at some point that this was a frisky moose, that it otherwise doesn't seem frisky at all. It seems pretty. Like a pretty staid, respectable moose. 26:34 Wes: But frisky and ditzy. 26:39 Erin: That's right. Hello. 26:41 Wes: What? 26:41 Erin: Oh, look, I seem to be in the middle of the road. Pardon me. 26:46 Wes: So, towering, antlerous, high as a church, homely as a house. We're safe as houses, a man's voice assures us. Perfectly harmless. Which you presume, right, that the. The man making that assurance is. Precedes the idea of it being homely as a house and safe as houses. Even though. So. So she interestingly puts the associations before her associative responses before the actual stimulus. Right. I don't think she's the one who is thinking about how they must be safe and. And he's saying something. I mean, as far as I know. I don't know back then. But you were warned about bison and mooses, right? Or is it mooses or moose? I think we're warned because they don't. They. They seem harmless, but they're not. And so I was quite surprised by this stanza. And I thought this idea, okay, safe as houses. Well, yeah, houses ought to be safe, but they're not always safe. The bus, the moving container of the bus turns out to be, in a way safer and more conducive to reverie and dreaming and all of that. 27:59 Erin: No matter how you slice it, whether you see the moose as harmless, truly, or not so harmless, this has got to be just a little bit of a wink, right? A man's voice assures us. 28:09 Wes: I mean, I think we're definitely meant to be skeptical. 28:12 Erin: Yeah. 28:13 Wes: This perfectly harmless line, it's not there for us to nod our heads in agreement. 28:20 Erin: Oh, yeah, he's right, right, right. I think it's more like, oh, here's another mansplainer. 28:26 Wes: He's moose splaining. 28:28 Erin: Mooseplaining this woman moose to moose splaining. Just out for a good time, having her existence commented upon by another man's voice. Probably a podcaster. One of those male podcasters has a manosphere podcast. 28:45 Wes: Girl mooses are. 28:49 Erin: Then we get these childish again. The passengers are like children and having this childlike response to the appearance of the moose, including. It's awful, plain sad. So much judgment of women's bodies. 29:04 Wes: I mean, they're not good looking creatures. Let's just. They're, you know, put that on the table. Come on. They are in an ugly sort of way. 29:11 Erin: Yeah. I mean, okay, I guess they don't follow, you know, classical proportions. They don't represent the golden mean. 29:21 Wes: They're not into beauty society societal beauty standards. All right. 29:28 Erin: They are like cartoon characters. 29:29 Wes: They're miss Positive is what they are. 29:35 Erin: Well, what I love though, about the description, you know, we get several, I suppose. Yeah. Contradictory descriptions of the moose in a way, because we get homely as a house or safe as houses. We get awful plane. But then she looks the bus over grand otherworldly, so she has some gravitas. She's like a great character actress who. Who may not be beautiful in that leading lady way, but she's Kathy Bates. Yes. Yeah, well, that's maybe a bit insulting to Kathy Bates, who I do think is a very attractive woman, but. 30:19 Wes: Sorry, Kathy. 30:20 Erin: I know, I love her. 30:21 Wes: Come on the show sometime, please. 30:24 Erin: Oh my gosh, I would die. I love Kathy Bates anyway. And then we get curious creatures. Well, first we get the idea that it inspires joy and then we get curious creatures. So there's a. The joy is then immediately undercut by a kind of ambivalence. Right. So there's just all of these descriptions of the moose combine to create a kind of ambivalent portrait, such as it is, of the animal. 30:47 Wes: Are we going to be able to answer this question? Why? Why do they feel the sweet sensation of joy? I mean, I think I would probably feel it. 30:57 Erin: Why? Why do we all feel it? I mean, they have. Well, they've successfully done what I couldn't see a moose in real life. So they're like one up on Erin. Can't wait to go back and tell her we saw moose. Yeah, I've seen certain things. I can't think of a specific example of this, but I've had plenty of instances. Whether it is a wild animal or, I don't know, like a sunset or a really spectacular natural event of some kind or other. You do get that feeling of joy, kind of excitement. 31:28 Wes: Yeah. Unfortunately, most of my encounters with large animals are at zoos. I did see a bear once. I was going to the bathroom. My mom had a house in Front Royal, Virginia, at the beginning of the Appalachian Mountains. And it was up high on a. We called it a mountain, but it was, I guess, more of a hill. But so it was out, you know, it was kind of. There was a bear on the mountain, let's just put it that way. And, yeah, I was going to the bathroom one day and looking out the window. There's a window right. You know, above the toilet. And suddenly there's bear's face looking at me. Wow. What the. So, but that, you know, and. And that was majestic. No, just kidding. That it was. I. It was surprising. 32:13 Erin: Yeah. 32:14 Wes: And there's an element of fear that involved. Even if you're, you know, even if, you know, black bears are harmless and there's a wall between you. Some. Something scary about it. I didn't have time to feel like it's majestic. Yeah. You know, like you have had these experiences in. In nature, but I can't think of a encounter like this. But it. I seem sure that if I had an encounter like this, I would feel exactly the same way. So. Yeah. What is otherworldly about it? What is majestic about it? It's a big, dumb beast. And I say that with love, without any criticism in the sense that. Right. It's an encounter with something primal. And I think we have to take into account the size of the animal as well. I mean, it is interesting to run into a fox or something like that, but it's also a matter of scale here. But. Yeah. What is otherworldly about it? I mean, I think the most. The most obvious part of this is that you know, we have lost something in our humanity and becoming language using creatures and becoming self conscious creatures. And sometimes when we're confronted with an animal like this, we're confronted with that loss. We're not as connected to the environment because of the intermediation of something like language, which poetry of course tries to overcome. It tries to put language into a disintermediating. Sorry to use these business terms. I don't know why this is happening. Into a disintermediation. 33:46 Erin: Actualize. Yeah, yeah. 33:49 Wes: When it. Yeah, right. Synergize it's agenda. Often where language might put distance between us and the world. Poetry, I think, can undo that distance. Like I was saying, with the very vivid imagery, I can undo that distance with figurative language. And maybe that distance is also undone to some extent by the dreaming or the half dreaming hallucinatory state that she was in. And the comfort of that, the return to childhood, which is also a simpler time. I don't know. I'm thinking out loud here. But yeah, I wanted to try to get more at this, you know, the otherworldly status of the moose and the joy that comes from encountering it. 34:34 Erin: I was thinking to myself, is the moose's gaze really clearly encapsulated? And then I thought, yes, she regards us amicably. And then I was like, no, no, that's the passenger who gets on the bus. 34:44 Wes: Right. Does the moose have freckles? Yeah, that'd be an interesting twist, right? 34:50 Erin: But yeah, but there is one. 34:51 Wes: Turned her into a moose. 34:53 Erin: Well, I would think that this would be a more garden variety animal encounter and maybe even a more, to use a word, I don't like, problematic poem in terms of its relationship with the animal. If it were to focus on the gaze of the animal. Because I think that is the thing which is often at the core of these interactions with animals in which we project or hope to have a kind of meaningful encounter. You want to meet the gaze of the animal and in so doing understand it. Right. And of course you don't realize that you're just projecting onto it a kind of maybe mutual regard. She regards us amicably. That you are seeing it and it is seeing you. And there's an acknowledgement and there's this, you know, spiritual encounter that you have with this animal. And all of that, of course, is often quite silly. It's often quite reductive and fanciful and unrealistic. But I am thinking of an encounter that springs to mind is in Utah. I hiked the same trail almost every day. And I Would often hike it late in order to escape the full heat of the desert sun. Which is a little dangerous, right? Because sometimes the sun would be setting and then all kinds of things come out. And one time I was trying to get back to my car before it got completely dark. And what I thought was a wolf, but what must have been a coyote. And the coyotes in Utah are huge. They look like wolves and completely white. Came out from over a hill, crossed my path, turned, looked at me in the eyes for a very long time, turned and went over on the other side of the hill. I mean, curiously, then, of course, I got to the car and I actually found out that a beloved family member, an elderly family member of mine, had passed away. And I said, I think I just saw her. You know, I had this feeling of, like. I don't know, the sense of this connection, inherent connection between these two. This woman who was dear to me and this encounter. But, of course, that's all silliness. And the idea that I was having a sort of interaction through the gate. Some sort of reciprocal. Right. Interaction with this animal was also entirely just my own projecting onto the animal. However, I will say that that's an instance in which I felt fear. But then there was also this, like, joy at the encounter, I think fear because it was dark. Because I wasn't actually sure if this was a wolf because it blocked my path. It was far enough away that I didn't feel as threatened as I might have. But it was definitely a mixed perception. 37:28 Wes: You didn't shoot it and then hang it around your neck. No, because I was thinking. I just suddenly thought of the albatross poem. 37:37 Erin: Rime of the Ancient Mariner. 37:38 Wes: Rime of the Ancient Mariner. And that sort of relationship to the natural world where. I mean, I forget what we said about it, but maybe I said something about envy and wanting to kill the albatross for. Because of its freedom or something like that. I don't. I don't know. But I think it's important because, yeah, this is part of something about the encounter with the natural world. Whether it's a big moose or something else. Yes. Is otherworldly. Strangely enough, it's otherworldly to us, even though it's where we come from. It's uncanny, maybe. And Freud actually, in the German, I think uncanny is sort of like unhomelike is what the German sounds like. And Freud made a lot out of this. I think it's home, but it's a home from which we've become alienated. We're animals, we're something more than animals. And so that primal encounter brings us back to that foundation, that natural foundation in us, but we can't fully come to terms with it. And I think the other aspect of this, I think the death. Right. So there is a link to death. Just. And I was thinking about that when you described thinking of it as seeing. As seeing your departed loved one. Because if we could regress to that animal state, it would be a kind of death. I think that the association with the movement to the pre. Linguistic, natural foundation is something like the movement towards dying, but there's something comforting. 39:07 Erin: Yes. 39:07 Wes: Right. And we encounter that when we encounter the gaze. To have a. Have a gaze returned by an animal like that usually like, like our internal. Our entire psychological structure, what makes us self. Self conscious is the internalization of a human gaze. Right. To the extent that we. We get an animal gaze, I think we are returned to that more primal part of ourselves. And it does seem to me to have something to do with being reconciled to mortality. Right. Which is part of what the function of that dialogue between the elderly people is doing. 39:44 Erin: You're leading me into the one, say, reading of the moose that I wanted to get to. And I just want to say that I think the great thing about Bishop and about this poem and all her poems is that the moose is a moose. It's not a symbol. I hesitate to offer any kind of 40:03 Wes: direct reading, but that's her job on this podcast, though. 40:05 Erin: I know, I know. It's. Yeah. In the letters with Robert Lowell when he's writing to her about her poem at the fish houses, he says, alas, all my fish just become symbols. 40:16 Wes: Ah, very good. 40:17 Erin: I hesitate to reduce. I think what you've just said makes me think that it's the maternal, the mother. 40:25 Wes: Which also brings us back to the house. 40:28 Erin: Yes, the house. Yeah. It's something that comes like the clapboard churches, like clamshells seem to arise out of the ground, if you will, or are directly compared to these native creatures. The houses are then in turn used as comparisons for the moose, the maternal. The idea that this is something that returns us to nature, that this is the encounter that we would have presumably upon death. It's the loved one that is somehow comforting, maternal, and is a female moose. It's moose mom. I don't know. I don't know. Something going on there. 41:04 Wes: Moose mom. 41:05 Erin: Natural and strange at the same time, not us. And I guess that's why I. That's why I mentioned that the story of my grandfather at the beginning, because I don't know why I wanted so badly to see a moose right after my grandfather's death. But there was something, like, logical about it to me. And I was familiar with this poem, but I very much did not have. You know, it was not something that was the forefront of my mind at all. But I think there is this inherent connection, and it's silly. You know, I kind of can't believe I'm saying this, but I do. I do think there is this kind of connection between this desire that I felt to see this animal. Like the particular kind of primordial itch that the moose in particular seems to be scratching for me in that moment. For Bishop, in this poem, something that is at once safe and comforting and from another world, natural in that kind of elemental way. 42:00 Wes: Yeah. 42:01 Erin: That all kind of coalesce in that image. 42:04 Wes: Very good. 42:05 Erin: Okay. I think that's it, Wes. All we're left with is the dim smell of moose and an acrid smell of gasoline. 42:12 Wes: Oh, you know, we should have talked about that. Maybe we can start with that on our next Bishop recording. We'll. We'll begin with the smells, the smells and the significance of that image at the end. 42:25 Erin: Nice. 42:25 Wes: That smellage at the end. 42:26 Erin: Smellage. All right. Thank you. 42:29 Wes: Thank you.

A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: A poem about a map opens north and south, the first collection of the great 20th century poet Elizabeth Bishop. And since maps have been associated with her poetic vision, at once telescoping and binocular, and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also handheld, man made intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative and personal. Over the next few episodes, we'll be reading a selection of some of Bishop's most anthologized poems, starting with the moose as expressions of, among other things, her map, like imagination. This is Erin O'Luanaigh. And this is Wes Alwan, and you're listening to Subtext. Wes, have you ever seen a moose in the wild? 1:12 Wes: I have not, but I have seen Instagram videos of them and people getting too close, and I've heard that they actually are quite dangerous. 1:23 Erin: Oh, perfectly harmless. 1:24 Wes: As cute as they look. So not safe as houses. Which is a very surprising line, unless you think that houses maybe aren't as safe as they seem or ought to be. But that's something we'll talk about later. How about you? 1:38 Erin: I have not. And I actually, it's become a running joke among certain friends of mine that I haven't seen a moose because I long to see a moose in the wild. This is my dearest wish. 1:52 Wes: Is that the first time anyone said that in history? I long to see. 1:56 Erin: I don't know. 1:57 Wes: It's a good first line for a poem, actually. Why do you long. Long to see a moose in the wild? 2:03 Erin: Really? Maybe because of the poem. I don't know. I just really want to, but I. Maybe this will become significant without getting too personal or maybe with getting too personal. With apologies to the listeners. Ten years ago now, when my grandfather passed that summer, my grandmother wanted to go up to Maine and revisit certain places that she had been with him. And we ended up going to Acadia. And I was so excited to see. Am just. I got it into my head that I had to go to Acadia and see a moose. And I even bought a sweatshirt. I'm not wearing it right now. I looked down to see if I was wearing it. It's the same size and shape as this one. This is a Yankees, 1996 World Series sweatshirt. 2:42 Wes: It's not a Rocky and Bullwinkle sweatshirt, is it? 2:45 Erin: No, no, no. It's an acadia and it has a. It has a mousse on it. And so I bought it the first day that I was there and I was like, this is my sweatshirt and it has a moose on it. And I'm gonna. I'm gonna see a moose. And I did not see a moose. And then I. I bought a moose sweatshirt in, I think Grand Teton, and I was like, I'm gonna see a moose. And I did not see a moose. And then I lived obviously many years in Utah, and things would happen. Everybody knew I wanted to see a moose. And I would go to these trails where you could see moose. And I would like be going up a trail and someone would be coming down saying, there are moose up there. We just saw a moose. You just saw baby moose. I'd get all upsided and I would. I would run up and it was gone and people would taunt me. 3:32 Wes: So you don't want to see like a magic white heart or something like that? 3:38 Erin: No, no, I just want to see him. Even the garden variety moose? No, no. Just a humble moose will hide itself from me when. When it knows that I am after it. 3:49 Wes: Because they are a goofy, right? Are they majestic? Are they goofy looking? Are they both? 3:55 Erin: I think they're both. And I think that kind of qual quality is really well captured in the poem. No, I mean that quality of if not being then looking safe as houses or being a gargantuan size, and yet having. I know this is a female moose, which I believe is called a cow, as opposed to a bull. Right. But the bulls, even their horns have that hand like quality to them. You know, it looks kind of like an outstretched hand. 4:22 Wes: Interesting. 4:24 Erin: Yeah. They're not majestic. 4:25 Wes: Yeah, I think that's important to the poem. It's not some obviously majestic creature, although it is large and there is majesty in it in the poem, but it's not the typical majesty that you can just get from, oh, look at this beautiful animal. 4:41 Erin: Yeah. And this is kind of why I brought up my grandfather. There was some connection for me as I think there is something quite personal going on with the moose at the end, other than the shared experience of everybody in the bus, all of that. Like there's something bigger than us, more than us, and yet familiar in a way. And it's magical in a sense, because to see it is kind of a rare thing. Yet it also comes out of the landscape that she's that she's grown up in and that she's part of. I think there's a. Yeah. A lot of interesting dualities going on. 5:17 Wes: Okay. So maybe you can read the whole thing and then you could give a little bit. Or we could give a little bit of the biographical background because this is a bus trip she actually took. Right. 5:26 Erin: Yeah. 5:27 Wes: The significance of Nova Scotia, which is where she's departing from in the poem and all of that stuff. But. Yeah. Do you want to start by reading? 5:35 Erin: Sure. The moose from narrow provinces of fish and bread and tea, home of the long tides, where the bay leaves the sea twice a day and takes the herrings long rides where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home, where silted red sometimes the sun sets facing a red sea and others veins the flats. Lavender rich mud and burning rivulets. On red gravelly roads, down rows of sugar maples, past clapboard farmhouses and neat clapboard churches, bleached ridged as clam shells, past twin silver birches through late afternoon a bus journeys west, the windshield flashing pink, pink glancing off of metal, brushing the dented flank of blue beat up enamel, down hollows, uprises and waits patient, while a lone traveler gives kisses and embraces to seven relatives and the collie supervises goodbye to the elms, to the farm, to the dog. The bus starts. The light grows richer. The fog shifting, salty, thin, comes closing in. Its cold round crystals form and slide and settle in the white hen's feathers in gray glazed cabbages on the cabbage roses and lupins like apostles. The sweet peas cling to their wet white string on the whitewashed fences. Bumblebees creep inside the foxgloves and evening commences. One stop at Bass river, then the economies, lower middle, upper five islands. Five houses where a woman shakes a tablecloth out after supper. A pale flickering gone the Tantramar marshes and the smell of salt hay. An iron bridge trembles and a loose plank rattles but doesn't give way. On the left a red light swims through the dark. A ship's port lantern. Two rubber boots show illuminated, solemn. A dog gives one bark. A woman climbs in with two market bags. Brisk, freckled, elderly. A grand night. Yes, sir. All the way to Boston. She regards us amicably. Moonlight as we enter the New Brunswick woods. Hairy, scratchy, splintery moonlight and mist caught in them like lamb's wool. On bushes in a pasture the passengers lie back, snores some long sighs. A dreamy divagation begins in the night, a gentle auditory slow hallucination in the creakings and noises, an old conversation not concerning us but recognizable somewhere back in the bus, grandparents, voices uninterruptedly talking in eternity, names being mentioned. Things cleared up finally. What he said, what she said, who got pensioned. Deaths, deaths and sicknesses. The year he remarried, the year something happened, she died in childbirth. That was the son lost when the schooner foundered. He took to drink. Yes, she went to the bad when Amos began to pray, even in the store and finally the family had to put him away. Yes, that peculiar affirmative. Yes, a sharp indrawn breath, half grown, half acceptance. That means life's like that, we know it. Also death talking the way they talked in the old featherbed, peacefully on and on, dim lamplight in the hall, down in the kitchen, the dog tucked in her shawl. Now it's all right now, even to fall asleep, just as on all those nights. Suddenly the bus driver stops with a jolt, turns off his lights. A moose has come out of the impenetrable wood and stands there, looms rather in the middle of the road. It approaches, it sniffs at the bus's hot hood, towering antlerless, high as a church, homely as a house or safe as houses, a man's voice assures us, perfectly harmless. Some of the passengers exclaim in whispers, childishly, softly, sure are big creatures. It's awful plain. Look, it's a she. Taking her time. She looks the bus over, grand, otherworldly. Why. Why do we feel. We all feel the sweet sensation of joy? Curious creatures, says our quiet driver, rolling his Rs. Look at that, would you? Then he shifts gears for a moment longer by craning backward. The moose can be seen on the moonlit McAdam. Then there's a dim smell of moose, an acrid smell of gasoline. 11:05 Wes: Thank you. Very nice. It's really great to hear it spoken out loud. Spoken is the wrong word. It's the word read, performed. Do you want to say anything about the form of the poem before I ask you about some of the autobiographical background? 11:22 Erin: Yeah. Short lines, six line stanzas, 20, I believe. 28 stanzas in all. Irregularly rhymed, should we say? Kind of like a lot of bishop, you know, we get A, B, C. Then sometimes not rhymed where you might expect. So the rhymes peek their heads out and then. And then recede. Chatty a little bit in places, lots of repetitions of words. But that. That's something we could talk about More. But, yeah, kind of. Kind of mysterious form. One of the best things I've ever heard or read, I guess, about Bishop was by Michael Hoffman, who wrote quite a bit about her. And he said that it seems as though every time Bishop is writing, whether in form or in a kind of nonce form that she's creating, that she seems to be just inventing every form, like from scratch. You know, there's no blueprint. She doesn't have a familiar style in which she writes or particular kind of verse form that she seems to gravitate to. And when she writes, you know, a sistina or a villanelle or a sonnet or something like that, it seems like she's almost inventing the form as she goes along. And in this instance, there's a real. I keep wanting to say homemade after Crusoe in England. But, yeah, I think that's maybe what he was trying to get at, that homemade quality, that sort of bespoke kind of quality. And in the places where the rhyme goes in and out, I think that's really exemplified. 12:53 Wes: Well, it better be bespoke. She took forever to write it. 12:55 Erin: Yeah, that's right. She started this in, I think, 1946. 13:01 Wes: And then she finished it when this 13:04 Erin: was published in Geography 3. So she finished it in the 70s. 13:07 Wes: Okay. 13:08 Erin: Geography 3 came out in 1977. And this must have been published before then, individually, perhaps in the New Yorker, I think. Oh, geography three is 76. I would say maybe 72 is the date that comes to mind. Don't quote me on that. 13:24 Wes: Do we know why it took her so long? Obviously, she put it down for a couple days here and there. 13:29 Erin: It was the July 15th issue, 1972. So close to the day that we're recording. Why did it take her so long? She just worked on things forever and ever and ever. You see it, if you read. I highly recommend to listeners that they Get Words in Air. A very, very thick book of all the letters between Bishop and her friend Robert Lowell. You see her bringing up things or even mentioning in a description that she's writing to Lowell in a letter, a line that will later show up in a poem. Yeah. Low rate of productivity is great to. 14:08 Wes: You know, I can relate to that. 14:11 Erin: I take it as my model, honestly. Like, you know, live. Live Large and die with a slim Collected is kind of a. 14:19 Wes: Kind of a great Monroe Doctrine. But call it. What's another name? Bishpro. 14:28 Erin: That's right. 14:29 Wes: Is it right that she was forced to complete it because she agreed to read it this is something for deadlines. Right. At Harvard's Phi Beta Kappa ceremony. 14:38 Erin: I didn't know that. I know she read it at that ceremony, but I didn't know that that's what. The impetus for completing it. But that doesn't surprise me. 14:45 Wes: Yeah. So deadlines help every once in a while. 14:47 Erin: Absolutely, absolutely. 14:49 Wes: And then biographically. Right. This is based on a trip that she actually took, and she. She'd been to visit relatives in Nova Scotia and then came back on this bus trip. And the. There really was a moose. There really was a collie. Seven relatives for the rest of it. Yeah, yeah. Seven else. 15:11 Erin: Yeah, yeah. The specificity and all of it's. You know, there is a kind of like a photo realism, not just in the style, but in the. You know, we could sort of be certain that these things happened the way that she is recording them somehow, and yet she's spinning it into something more than just reportage. 15:30 Wes: So she was raised partly by her grandparents in Great Village, Nova Scotia. Right. Her. Her father had died in infancy and her mother was institutionalized. 15:41 Erin: That's right, yeah. 15:41 Wes: She aged at. When she was 5. 15:43 Erin: That's right. 15:44 Wes: So it's important just because. Yeah. The bus is leaving Nova Scotia, but go. Go ahead. 15:48 Erin: Yeah, it is important. She was born in 1911 in Worcester, Massachusetts, and she's buried there. I've seen her grave up there. It has a line or two lines from the bite on her tombstone. All the untidy activity continues. Awful but cheerful. Yeah. So she was born in 1911. Her father died, I think, of Bright's disease when she was 8 months old. And then her mother was institutionalized when she was 5, and she never saw her again. She didn't die until the 30s, I think, while Bishop was at Vassar. 16:23 Wes: Do we know what she was institutionalized for? Mental illness in general? 16:28 Erin: Yes. I don't know exactly what. In a short story of Bishop's, she describes as her. A scream coming from her mother. And whatever was wrong was exacerbated by her husband's death. And so then Elizabeth was left to be raised by her grandparents in Nova Scotia who were quite poor. And I guess she was kind of running around barefoot on the farm and stuff like that. And her father's family were very wealthy, and so when they came up to visit Elizabeth, they were, I guess, horrified by the fact that she was just like, you know, running around, hanging out with farm animals. And they took her to. Back with him to Worcester, and she was very unhappy there. Very ill child. She had asthma and eczema. And really, like, I think almost died of both at one time or other, very unhappy. And then eventually she moved to an aunt's house in, I want to say, in Revere, Massachusetts, and she was a little happier there. And then she went to Vassar, and I've been to the Vassar campus to see various buildings associated with Bishop and also to see. They did a really fabulous exhibition of her postcards at the Vassar Library a couple of years ago, which I really loved, seeing her hand and her little. In jokes and asides and really amazing to see. Anyway, at Vassar, the librarian there set up a meeting between Bishop and Marianne Moore, who became a mentor to her. They were very close. And then also over the course of her life, she was very close with and had an important friendship with Lowell. Hence the enormous book of letters. I have it here. It's so heavy I could barely pick it up. But this is a great book. It's kind of like an epistolary novel. Yeah. And she was. I think it's important to say, too, that she was a lesbian who had a very long relationship with a Brazilian architect named Lota de Mecedo Soares, who was her partner in Brazil for 15 years. She lived down there, known for travel. A lot of her collections, whether it's Geography three, which is the most obvious one, or north and south, have. There are a lot of Brazilian pumps. There are a lot of geographical poems. The first poem in her first collection, north and south, was the Map, which is often read as a kind of ars poetica. She's known for these types of, you know, sweeping landscapes that the moose begins with, and an interest in landscape and in this kind of bird's eye view. But then also you get these telescoping details, like a cinematic close up interspersed. Much is made of that in Bishop, of that kind of vision of hers, and specifically of, I don't know, the idea that she creates these. These beautiful miniatures, which is true, but maybe sometimes can be a little. I mean, she's revered, as she should be, and she's one of the most popular poets and she also has a great ear and she has so many other great things going on. So I don't want to exclusively focus on that kind of visual element, though it's there and it's very rich. 19:43 Wes: So from narrow provinces of fish and bread and tea. That's a very good opener. Why are they narrow provinces? And what is the. What are the fish and bread and tea doing? Fish and bread sounds vaguely like it could be a biblical reference, but maybe it's not. But you add tea. Right. There's something mundane here and perhaps restricted, provincial. And that's what she's going to be departing from. I mean, well, begins with the tides, but. 20:12 Erin: Yeah, right. Yeah, that's right. Narrow in a few kinds of ways. Because there's a strange. Because of the Bay of Fundy, there's almost that like U shaped corridor of land around it. So Nova Scotia is kind of narrow. And then up into. Then there's the narrow isthmus. I don't know, I don't know if I'm using that word correctly. Up into New Brunswick. Yeah, so there's something maybe a little, I don't want to say spiritually narrow, maybe somewhat limited or like practical. Practical and, you know, just the necessities and a place we learn that that is. That maybe has to be stalwart in response to the vagaries of the water around it. The Bay of Fundy, I was reading online, the tide, over the course of just one tide, can rise and fall 50ft because the bay is like a giant funnel. When it goes out, it just leaves this vast, open, muddy plain basically behind it. 21:16 Wes: She portrays this very beautifully. We get the image of the tide retreating and then the flats that are being illuminated by the setting sun as burning rivulets. And then there's almost a transition into the bus ride when she says on red gravelly roads, eventually the subject of that is going to be the bus. Although in the beginning, before we get to the bus, it looks like the rivulets have almost become roads. So you almost get the sense like the tides come in and it's going to go further inward, it's going to go all the way to Boston, but it's going to become the inhabitants of the bus who are much like the herrings. Right. In the first stanza. The herrings on the tides take herrings on long rides. So it's almost as if as the tide comes in, she is caught in the tide and brought along with it towards her destination. 22:08 Erin: That's right, yeah. And the bay itself, the water itself is also like a traveler, you know, you might go to visit it and find it's not at home, it's gone out for on a trip or something. So there's also that connection as well. Whereas the roads are part of this more solid and dependable and the water being fickle and not always depended on to be there. 22:31 Wes: Well, I was going to say there's something very poignant about the way she describes the tides and whether they're in or out. And I can't put my finger on it exactly. It's almost. It's this idea of. Right. Where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home. If the tide is in or coming in the river clashes with it in a wall of brown foam. Is that the idea now? And what's the image there? Is it always a wall of brown foam? Well, either way, I just. Something about this idea of. It depends on whether the bay is at home or something like that. It's a poignant image. 23:12 Erin: It is. It's that sense of just. Of disappointment or just missing someone, like a missed opportunity. Seems kind of surprisingly emotionally resonant, considering that she's talking about a tide. 23:25 Wes: And we. You know, it introduces the idea of home and. Which I think will be significant. And later on we'll talk about whether the moose is safe as houses and the reflections of the elderly and all that stuff. But. 23:40 Erin: And boundaries, too, right. You have very slippery boundary between the bay and the. And the sea, between the rivers and the bay that feeds them. And I think that boundary very much plays into the idea of home. And you could say that the bus seems to be a part of that too. Right. Like the bus becomes the home. So there's a little bit of the slippery idea of this transposition of home life into the bus, or the people on the bus all becoming the. We like a family within it. The way that it can literally cross national boundaries. It's going to Boston across the border. 24:18 Wes: Yeah. And then they'll be observing provincial life, I guess, from within the bus. And. And, you know, a woman shaking out an apron, for instance, or home life. But, yeah, I had the same thought to you. The bus. The interior of the bus becomes its own kind of mobile home, I guess. I guess the wall brown foam part. There's that push and pull, or it's a matter of who's doing the pushing. Right. In one case, the brown foam. The wall of brown foam is caused as. As the river pushes on the retreating tide. And the other case, it's the tide pushing back against the river as it comes in. But in either case, there's a clash there. 24:58 Erin: Then there are places, though, where there's blurring of boundaries. Like one of my favorite lines in the whole poem, the idea of the churches as ridged as clamshells. She always takes that. This is much remarked upon among scholars of Bishop. Where you get the thing that's. That's really big, suddenly reduced in size to the handheld, but coming out of the same idiom. You know, both the clamshell and this clapboard church are in a way equally native to Nova Scotia. The brilliance of connecting those two things and fishing being an industry in the area, you know, sort of springing out of the fishing industry. 25:42 Wes: Yeah. And shells are what's left as the tide retreats. Right. As it's as if the houses are just the natural residue of a retreating tide. 25:52 Erin: That's great. 25:52 Wes: From the beginning of the poem, there's a sense of momentum, and almost like you, at least in my case, I felt like I'm on a camera moving over the landscape, and it starts with the tide, and then it moves to the burning rivulets. Right. So now we're hovering over. I don't know what you would call it, a. A tidal plane. Anyway, she calls it the flats. Right. So all the silt, and we're moving along there, and then suddenly we're on a gravelly road. So the sun takes over from the sea. The redness of the sun. And then the bus takes over from the sun. But that's the momentum of the poem is from sea to sun to bus. 26:37 Erin: Yeah. The bus flashes pink. We get lots of pairs of the same word, creating a kind of chime with each other. So we get the windshield flashing pink. Pink glancing off of metal. And we wonder, I suppose, because part of the reason why the roads are red is because of the clay content. Right. Of the road itself. So we get that combination of, like, something red in the road or in the composition of the soil and rock of the area. 27:07 Wes: Laterite, I think, which I only know because of Graham Green, who I've been reading. Oh, and what heart of the matter. He's talking about laterite houses, like. So from the red clay, you can make, you know, homes from as well, and common in Sierra Leone. So he used the word like a hundred times before he finally looked it up. All right. There must be something that's going to not know what he's talking about. I'm like, oh, okay, now I get it. Yeah. 27:41 Erin: So that's the mineral, the. 27:44 Wes: It's reddish. Yeah. Reddish clay type of soil, topsoil or something like that. I should know more about this because I used to write about this, too, when I was writing about transportation and engineering. 27:56 Erin: Right. 27:57 Wes: It's important what kind of soil you're building on. But anyway, I remember nothing about that. But, yeah. So it could be the right word. Who knows? But. But, yeah. So you're getting at the. Yeah. The way the redness of the sun is interacting with the. 28:12 Erin: Yes, it's coming. 28:13 Wes: The redness of the soil. 28:14 Erin: Yeah. And that kind of redness coming from below and above to glint off of the bus. The windshield is flashing pink from the sun and the metal is flashing pink from the road. They're both brushing the dented flank of the blue beat up enamel from one direction or the other, it seems. Yeah. Sort of tunnel of red in which the. In which the bus is traveling. 28:41 Wes: Such a vivid image that she gives us. It made me think, you know, sometimes it's almost better than film. It's more vibrant or more. Don't know how to say it, but I was thinking about this because in some of the philosophy podcasts we do, there are philosophers who deny that we have imagery in our head. Exactly. Or we can never. Which seems true. Right. We can't imagine anything with the vividness that we would have if we actually saw it. But it makes me think when I read a poem like this, but also. And also reading some of the novels I've been reading. Well, there's a special kind of vividness to figurative language that perception can't capture. In some ways it's more. More vivid, definitely. 29:26 Erin: I think the sonic quality of the word, the repeated. Right. It's on the one hand a repeated image, but then it also creates that kind of just the soundscape, makes them feel somehow more synesthetic to say, but somehow more picturable or more tangible or more. I don't know, the pink glancing off metal, the dented flank beat up enamel. You know, there's just. It's like. I think that's contributing to it, to the vividness of the image. And yeah, you talked about momentum, too. I mean, this entire. This whole first sentence is six stanzas long. It ends with. And Akali supervises. So there's also that kind of. Yeah. Locomotive propulsion of the camera work, so to speak, Zooming in and then following the road into the bus. And then the bus arrives to sort of catch again, quite cinematically the scene that's actually happening or the place where the eye, if there is an eye in the poem, actually is the lone traveler embracing these relatives with the collie watching on. So there's a sense in which the I eye of the poem doesn't actually catch up with the speaker until stanza six and the end of this first sentence until we get goodbye to the elms, to the farm, to the dogs. So there's kind of lamination at that moment of the I eye and the capital I. 30:49 Wes: We seem to be gradually getting more of a point of view. Right. It's very omniscient in the beginning, hovering over the landscape. And I think gradually we're going to be getting a her point of view in the bus and then a we. But also just to note, this is one. I think this is the first of three pauses. Right. There's gonna. It's gonna pause here, the bus. The momentum is gonna stop as the bus lets on the lone traveler, which I presume is her. Right. Her saying goodbye. And then there'll be a pause when the amicable freckled woman gets on. She's there because we need everything to be in threes. And then we. Then we're gonna pause for the moose in the very end. I didn't miss anything. Right. There's not other places where we stop? 31:32 Erin: No. I mean, there are, of course, stanzas that end some more definitively than others and stopped with a period. There's a stop at Bass River. Right. So there is a little bit of that kind of start. Stop syntactically. But I think you're right that those are the stops where there's content. 31:49 Wes: Content goes. 31:50 Erin: Yes. And where there's a very particular. Yeah, the content of the bus, except for the moose obviously doesn't get on the bus. But there's a stop that's motivated, let's say, rather than just being described as various stops along the way where we don't know who got on and who got off or whatever. Certainly there's also a movement toward that more personal experience of the speaker. But then there are also things that the speaker couldn't possibly know or you know, because once she's said goodbye to everyone and gets on the bus, then we also get the sort of nature show close ups. The crystals of fog, the lupins like apostles, the sweet peasants clinging. One of my favorite parts, clinging to their wet white string on the whitewashed fences. Again, we get two uses of white right next to each other. Bumblebees creeping in the foxgloves. All things you really can't see from certainly from a moving bus. 32:43 Wes: Yeah, the point of view gets focused very, very gradually, maybe through the whole palm. Maybe it's not fully focused until the very end, but. Yeah. So you're pointing out something important which is at the sort of omniscient point of view is still here in these very. What do you call it when you take a close up with your phone? Macro, ironically. Yeah. These very close up pictures of flora and fauna and very Beautiful. 33:12 Erin: Yeah. They compound and then they get more and more loaded and mysterious. And just when we're about to maybe go over the edge, we get recalled back a little bit. That's at least how I'm reading, for instance, stanza 12, about the ship's port lantern and the boot and the bark of the dog. And then suddenly a woman climbs on the bus. And so we're sort of stopped from going off into some sort of train of thought that you could follow there down a rabbit hole. But I love that stanza on red light swimming through the dark. It reminds me of the last stanza of disillusionment, of 10 o'. Clock. Do you know the old sailor, drunk and asleep in his boots, catches tigers in red weather? I think that's how it goes, the Stevens bomb, because we get the boots and the red light in the ship, so they're probably. No. No real connection there. 34:07 Wes: So all of these little intricate descriptions that she's giving, right. It begins with the light growing richer, which I take it mean, means we're approaching dusk and evening, or we're in dusk and it's evening is approaching and a kind of mini winter, Right. Something. It's a diurnal cycle, but there's a bit of a parallel to something seasonal. Right. So we get crystals forming and the images like sweet peas clinging and the bumblebees inside foxgloves. As evening commences, it's almost like. I don't know if this is true, but it's almost as if we're getting the response of the animals and flora and fauna to the commencement of evening. That's our first indication of it. So I was surprised to see, okay, it's still light out enough for us to see a woman shaking a tablecloth out after supper. And that is beautifully described as a pale flickering. Right. Almost as if that's something like the light reflecting off the enamel bus, or not pink anymore, but just a flickering of pale light and then gone, I suppose. Does that mean that we're now without light? Is that sort of the way nighttime is ushered in by the end of the next stanza? And it's in the next stanza that we see a red light in the dark. Now we have a ship in the dark. So it's almost as if. Yeah, the shaking of the tablecloth is like a magician. Abracadabra. Now it's nighttime, Right? 35:39 Erin: Yeah. I love that. Yeah. You're making me realize how many connections there are to Keats in this poem. Right. There's something Keatsian about it, very. To Autumn, you get the sweet peas clinging on the fence. You get that image of fecundity things on top of other things. You know, the mossed cottage trees and the late flowers for the bees. And then the shaking out of the tablecloth is like the hair lifted by the winnowing wind. Right. Because there's. There's wind, there are flowers and bees. And then there's also, of course, redness and that image of, you know, like the evening. Autumn. Evening redness. And maybe this is. Yeah. Rows of sugar maples. Those could be red as well. If we're in an autumnal landscape, can't be too late because everything is, you know, it's got to be like August, maybe because we have this. Or. No, I guess maybe not. Gray glazed cabbages. I don't know enough about cabbages to know at what point in their development. 36:40 Wes: Yeah. Whatever season it is. I just think that the evening is almost like a mini winter. It gets colder and we see the. 36:46 Erin: Definitely. 36:47 Wes: We see the effects of it. But, yeah, maybe autumn is probably the logical season for. 36:53 Erin: Right. Yeah. And that point. Or that point in the transition from summer to autumn where, I mean, even on a summer night in Nova Scotia, the evening temperature is quite autumnal regardless. And so when the woman climbs on with the market bags, we get. 37:09 Wes: Shall we take a. Shall we? 37:12 Erin: Oh, yes. 37:13 Wes: Let's let the freckled amicable woman on in part two. 37:17 Erin: She'll have to wait. 37:18 Wes: Let's not let her on the bus yet. 37:20 Erin: You have to wait for everyone else to get off before you can get on. It's one of the cardinal rules of public transportation. Okay, we will continue in part two. Thank you. 37:29 Wes: Thank you.

Weed laws, fake pot shops, zoo trivia, a workers' comp guy who secretly wanted to be a game show host, and a first-time comic bombing gloriously all in one night. Thank you, Omaha! Tickets for the "Who Is Me" tour and merch available at https://www.adamraycomedy.com  Tour dates! Aug 4th - 6th - New Brunswick, NJ Aug 9th - Halifax, CA Aug 23rd - Tempe, AZ Aug 29th - Vancouver, BC Sep 12th - Mississauga, ON Sep 18th - Honolulu, HI Sep 23rd - Puyallup, WA Oct 2nd - Anaheim, CA Oct 3rd - San Diego CA Oct 9th - Bozeman, MT OCT 10th - Salt Lake City, UT Oct 17th - Atlanta, GA Oct 18th - Birmingham, AL Oct 21st - Madison, WI and Check out THE ADAM RAY SHOW on NETFLIX! New episodes EVERY FRIDAY Subscribe to Adam's Youtube.com/adamraycomedy for new episodes of DR. PHIL LIVE ( i'm sure you do all this already ) This episode is brought to you by Betterhelp! Our listeners get 10% off their first month at ⁠⁠⁠Betterhelp.com/aboutlastnight⁠⁠⁠ this is a paid advertisement from BetterHelp Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Phil Live with Nicky Paris, Chris Larson, Rhys Nicholson hits Brisbane, and this crowd does not hold back. From wild “therapy” sessions to a full drag runway walk-off with Pauline, Brisbane River, and Caitlyn Jenner, it's nonstop high-energy crowd work, savage life advice, and Aussie chaos from start to finish. Tickets for the "Who Is Me" tour and merch available at https://www.adamraycomedy.com  Tour dates! July 31st - Aug 2nd - San Jose, CA Aug 4th - 6th - New Brunswick, NJ Aug 9th - Halifax, CA Aug 23rd - Tempe, AZ Aug 29th - Vancouver, BC Sep 12th - Mississauga, ON Sep 18th - Honolulu, HI Sep 23rd - Puyallup, WA Oct 2nd - Anaheim, CA Oct 3rd - San Diego CA Oct 9th - Bozeman, MT OCT 10th - Salt Lake City, UT Oct 17th - Atlanta, GA Oct 18th - Birmingham, AL Oct 21st - Madison, WI and Check out THE ADAM RAY SHOW on NETFLIX! New episodes EVERY FRIDAY Subscribe to Adam's Youtube.com/adamraycomedy for new episodes of DR. PHIL LIVE ( i'm sure you do all this already ) Learn more about your ad choices. Visit megaphone.fm/adchoices