Podcasts about John Keats

What do the stolen love letters of John Keats have to do with homicide on the streets of New York? Prosecuting both crimes falls under the remit of assistant district attorney Matthew Bogdanos. A retired Marine colonel with both law and classics degrees, he has been the head of the Manhattan District Attorney's Antiquities Trafficking Unit since its creation in 2017. In his time on the job, the office has has seized more than six thousand pieces of stolen art and antiquities from various museums, art galleries and private homes in order to return them to their countries of origin. Sandra Kanthal travels to New York to learn more about this special unit of law enforcement, and the reasons why one man thinks tracking down stolen treasures of the art world and reuniting them with their rightful owners is vitally important to our past and for our future.

What do the stolen love letters of John Keats have to do with homicide on the streets of New York?  Prosecuting both crimes falls under the remit of assistant district attorney Matthew Bogdanos.   A retired Marine colonel with both law and classics degrees, he has been the head of the Manhattan District Attorney's Antiquities Trafficking Unit since its creation in 2017. In his time on the job, the office has has seized more than six thousand pieces of stolen art and antiquities from various museums, art galleries and private homes in order to return them to their countries of origin. In this Crossing Continents, Sandra Kanthal travels to New York to learn more about this special unit of law enforcement and the reasons why one man thinks tracking down stolen treasures of the art world and reuniting them with their rightful owners is vitally important to our past and for our future. Presenter and Producer: Sandra Kanthal Editor: Penny Murphy Studio Mix: James Beard Production Coordinator: Gemma Ashman

De engelska romantiska diktarna var inga världsfrånvända skönandar, utan politiska poeter som radikalt ville förändra samhället. Gabriella Håkansson berättar en historia som ofta glöms bort. Lyssna på alla avsnitt i Sveriges Radios app. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ursprungligen publicerad 2019-08-15.Tanken på att promenera har något idylliskt över sig. Ett slags frid förknippad med naturen – kanske ser man en romantisk poet som William Wordsworth framför sig, som strövar runt i grönskan och stannar till för att besjunga en blomma eller en antik ruin vid vägkanten.Första gången jag hörde talas om den engelska romantiken var på gymnasiet, vi läste John Keats dikt ”Ode till en grekisk urna” och diskuterade dess olika metapoetiska aspekter. Vi fick lära oss ord som ekfras och sonett, men inte i vilket sammanhang den här vackra poesin skrevs. Och visst fascinerades jag av lord Byrons incestuösa kärlekshistorier och Mary Shelleys tragiska liv – men romantiken blev ändå för mig en estetisk, lite världsfrånvänd rörelse som målade upp ruiner i månljus, stilla promenader och vild natur, och jag tror att den här gymnasiala bilden av romantiken lever kvar hos många, ännu idag.Sällskapets syfte var att upprätta en självstyrande republik, där man och kvinna ska leva i enhet med naturen, dela makten och arbetet lika, och där allt privatägande är avskaffat.Man brukar säga att startskottet för den engelska romantiken var diktsamlingen ”Lyrical Ballads”. Den kom ut 1798, och skrevs gemensamt av Samuel Taylor Coleridge och William Wordsworth. Boken kom till medan de gick långa promenader i det engelska landskapet, och avhandlade Spinoza och tysk metafysik.Så sägs det i varje fall.Men Historien kan berättas på många sätt, och jag tänkte berätta en annan version, med mindre månljus – och mer action, som tar sin utgångspunkt i Samuel Coleridge politiska engagemang.Redan som sjuttonåring skrev den unge poeten sin första prorevolutionära dikt "Bastiljens fall", och tre år senare år senare vann han en poesitävling med ett kritiskt ”Ode till slav-handeln”. Hans rum på Cambridge blev snabbt ett centrum för den radikala studentrörelsen och han kom att umgås med den ökända klick ultraradikaler som kallades för ”de engelska jakobinerna”. Bland dem fanns framstående författare som William Blake, filosofen Mary Wollstonecraft och hennes sambo William Godwin. Själva kallade de sig demokrater och ordnade massmöten där tiotusentals människor kom för att kräva allmän rösträtt. Staten fick kalla fötter och svarade med inskränkt mötesfrihet och gav kronan rätt att kasta vem som helst i fängelse.Konflikten mellan demokraterna och överhögheten förde England farligt nära inbördeskrigets rand, och det var i de här kretsarna den 20-årige Coleridge befann sig när han formade som poet. Sommaren 1794 beslutade han sig för att prova den nya flugan – att fotvandra. Att gå sågs inom rörelsen som det yttersta uttrycket för demokrati. Man klädde sig folkligt, hängde på lokala värdshus och umgicks med allmogen. Filosofiskt knöt man an till de antika vandrande föreläsarna, men promenaden var också ett sätt att återerövra den gamla medeltida idén om allmänningen, ja, att gå till fots var på alla sätt ett politiskt statement. Iklädd arbetarjacka, lösa byxor och ett bärbart bläckhorn vandrade Coleridge över 80 mil på en månad.Tillsammans med en annan radikal poet – Robert Southey – arbetade han därefter fram ett politiskt program där epokens alla progressiva idéer fördes samman till en messiansk häxbrygd.Under namnet ”Det pantisokratiska sällskapet” skulle Coleridge och Southey frälsa världen från sedelkapitalismens och civilisationens fördärv. Sällskapets syfte var att upprätta en självstyrande republik, där man och kvinna ska leva i enhet med naturen, dela makten och arbetet lika, och där allt privatägande är avskaffat. Pantisokratin får många anhängare, och 1796 lämnar Coleridge, Southey och en tredje kamrat storstan för att utropa den första pantisokratiska kommunen, i en liten lägenhet i Bristol. Men verkligheten kommer snart ikapp. Efter någon månad står man inte ut med varandra. Projektet kollapsar.karaktärerna hämtas från vardagslivet – man skriver om barn, gamlingar och dårhjon – figurer som aldrig tidigare existerat i diktens värld.Men Coleridge ger inte upp. När han senare samma år gifter sig och bildar familj gör han ett nytt försök att realisera utopin, nu i mindre skala, på engelska landsbygden, och det är där han träffar William Wordsworth och dennes syster, Dorothy. Han ordnar ett hus åt syskonen bara ett stenkast från sitt eget, och fortsätter – nu i deras sällskap – sina radikala fotvandringar. I pantisokratisk anda diskuterar de tanken på att revolutionera litteraturen, och skapa ett verk som upplyser och förändrar människan i grunden. Wordsworth är entusiastisk, och 1797 påbörjas det gemensamma projektet med en diktsamling som ska komma att bryta med tidens alla estetiska ideal.Istället för högstämda parabler om grekiska gudar hämtar man stoff från balladen och folksagan, istället för hexameter använder man blankvers. Motiven lånas in från låga genrer som gotiken, och karaktärerna hämtas från vardagslivet – man skriver om barn, gamlingar och dårhjon – figurer som aldrig tidigare existerat i diktens värld. Boken utkommer 1798 under titeln ”Lyrical Ballads”– och resten är historia.Men historien kan som sagt berättas på många olika sätt, och man kan undra varför just den här radikala, politiska bakgrunden till romantiken så ofta har hamnat i skymundan? Kanske för att författarna själva tog avstånd från sin radikalitet när franska revolutionen övergick i blodbad och Frankrike blev Englands ärkefiende. Man reviderade sina ungdomsdikter, och många vände kappan efter vinden och blev konservativa. Den ende som vägrade göra avbön var William Hazlitt, som dyrkade Napoleon ända till sin död. Som tack för det blev han bortglömd i 150 år.Men den förklaringen räcker ändå inte, för den andra generationens romantiker, med lord Byron och makarna Shelley i spetsen, var ju ännu mer avantgardistiska. De skrev en litteratur som öppet fördömde religionen, tog avstånd från äktenskapet och rasade över såväl kommersialismen som miljöförstöringen. Pantisokratin i all ära, men 1812 drog Percy Bysshe Shelley radikaliteten till sin yttersta spets och pekade ut köttätandet som roten till allt ont. Han förespråkade en vegetarisk kostreform som måste genomföras innan någon radikal utopi alls kunde bli verklighet.Shelley hade inte bara hämtat sitt tankegods från föregångarna Godwin och Wollstonecraft, han äktade också deras dotter, Mary. Hon, som 1814 i ett svar på makens subversiva dikt, ”Den befriade Prometheus”, skriver romanen ”Frankenstein”.de gamla romantikerna lyfts fram ur glömskan och nu påstås utgöra Englands guldålder. Men först dammas de av och skrubbas rena från obehagligt politiskt godsFem år senare sätter staten definitivt stopp för den radikala rörelsen genom att i Manchester skicka in kavalleriet när en folkmassa på 60 000 person i söndagskläder kräver rösträtt. Arton dör och 650 skadas i vad som kom att kallas för Peterloomassakern – och med det är romantikens dagar räknade. Coleridge, Shelley och de andra börjar betraktas som mossiga, och det är inte förrän Viktorianerna långt senare försöker skapa en nationell kanon som de gamla romantikerna lyfts fram ur glömskan och nu påstås utgöra Englands guldålder. Men först dammas de av och skrubbas rena från obehagligt politiskt gods - och vips står den bildsköne lord Byron gipsbyst på var mans spiselhylla.Det är några av förklaringarna till hur en av Europas mest progressiva litterära rörelser kunde förvandlas till vacker, men uddlös estetik.I England närmar man sig nu tvåhundraårsdagen av Peterloomassakern och säkert kommer man hedra de som föll offer för statens våld. Kanske kommer vi nu äntligen få se en renässans för alla de galna, visionära utopiska idéer som romantikerna också brann för?Gabriella Håkansson, författare

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on August 9, 2026. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.poets.org⁠

According to legend, a young woman who observes certain rites on 20 January, the Eve of St Agnes, will see in her dreams the man she is going to marry. When John Keats found himself in Chichester on that day in 1819, he was inspired to write his own account. In this episode, Seamus and Mark discuss Keats's talent for sublime banality, the competing readings of the lover, Porphyro, and the poem's repurposing of Spenserian allegory for a contemporary love story. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, sign up: Apple Podcasts: ⁠https://lrb.me/applesignupnp⁠ Other podcast apps: ⁠https://lrb.me/scsignupnp Read more on Keats in the LRB: John Bayley: https://lrb.me/npep801 Barbara Everett: https://lrb.me/npep802 Helen Vendler: https://lrb.me/npep803 Learn more about your ad choices. Visit megaphone.fm/adchoices

The healing power of love, creativity, and faith Peter Breggin MD & Ginger Breggin Mon Jul 6 The Breggin Hour Cultural Wars, Faith, Family Life, Health   It was one of those recording sessions that lingers in the heart long after the microphones are turned off. On a recent afternoon, Peter and I had the profound privilege of speaking with Dr. Francis Christian—a gifted surgeon, poet, professor, and thinker whose life embodies the integration of science, art, and deep faith. His latest book of poems, To a Nurse Friend Weeping, published by a small Canadian house, and his Substack (francischristian.substack.com) reflect a man who sees the full spectrum of human experience: suffering, joy, and the creative spark that connects us all to something greater. Dr. Christian joined us as we explored themes close to our own lives—especially in this season of recovery and reflection following Peter's stroke. The conversation flowed naturally from the personal to the cultural, touching on what it means to be fully human in a world that often fragments us. Reconnecting Medicine to the Human Story As a professor of surgery at the University of Saskatchewan, with expertise in trauma and oncology, and a former director of patient safety and quality improvement for the province, Dr. Christian could easily have focused solely on technical excellence. Instead, he founded the Surgical Humanities program and served as founding editor of the Journal of Surgical Humanities. He explained it beautifully: “Unless you're acquainted intimately and engaged with the human story, how can you actually treat the human being?” The humanities—literature, poetry, music, and visual arts—remind physicians, residents, and students of the narratives behind the patients they serve. He shared how he witnessed talented young people set aside their creativity under the pressures of training, only to become cynical. The program sought to reconnect them: through an annual musical evening with an orchestra of physicians, nurses, and students, and a journal that welcomed high-literary-quality pieces from medical voices or non-medical perspectives on medical themes. Creativity isn't a luxury; it is essential to wholeness. As Dr. Christian noted, we are created in the image of God, the Master Creator. To be fully alive is to create—to engage with joy, sorrow, suffering, and relief in ways that science alone cannot teach. For those of us who have faced illness or cared for the sick or wounded, a physician who is truly present—who hears you, respects your humanity—becomes part of the healing itself. Sexuality, Sublimation, and the Gifts of Commitment A recent essay on Dr. Christian's Substack moved me profoundly. In it, he explores the sublimation of sexual energy into creativity and the devastating cultural costs of the sexual revolution. He spoke with poetic respect about human desire—not as mere biology or casual encounter, but as a profound drive that, when channeled with reverence, fuels art, poetry, family, and civilization itself. He drew on John Keats' “Ode on a Grecian Urn,” where the lover's unfulfilled yearning becomes eternal beauty: “Bold lover, never, never canst thou kiss… yet do not grieve… for ever wilt thou love, and she be fair.” For centuries, Christian civilization elevated this longing toward the prize of marriage—a sacred house of fulfillment, commitment, and creative partnership in raising the next generation. The sexual revolution of the 1960s, he observed, lowered the “price” of sex, especially for men, through the pill, abortion, and cultural shifts influenced by feminist and Marxist ideas. What was promised as liberation has delivered falling birth rates, crashing below replacement levels, declining testosterone, less satisfying relationships, sky-high divorce rates, and energies diverted from family into ideologies. Birds, he noted wryly, often show more fidelity than this new mammalian norm. We spoke of the sadness for young people today—burdened by debt, indoctrinated to view children as encumbrances, and offered casual encounters via apps instead of the depth of lifelong trust. Yet there is hope. Some younger generations seem to be turning toward virtue, early commitment, and building families with community support. Peter and I shared from our own journey: the joy of treasuring one another, the self-sacrificial love that grows stronger through trials, and how God's grace sustains it. Peter reflected movingly on how, since his stroke, he has seen God's love through my care for him—and how it has drawn us both closer to the Divine. “Treasure other human beings,” he urged, especially the young. “Dare to love. You'll get hurt, but the more you love, the more you help others become loving.” Dr. Christian echoed this in referencing agape love—the selfless, giving love modeled on the cross. He reminded us of St. Paul and Jesus' mission: to heal the brokenhearted, set the bruised at liberty, and proclaim good news. His hope, like ours, is that people find new life at the foot of the cross and in the resurrection's promise of eternal meaning. A Call to Treasure What Matters This conversation left us refreshed and reminded of what civilization truly rests upon: deep respect, creative fullness, committed love, and faith. In a time when so many forces seek to cheapen human connection, we are called to nurture love like a garden, to greet “that of God” in one another (as the Quakers say), and to resist the fragmentation of modernity. Dr. Francis Christian's life and work stand as a witness: a surgeon who operates with skill and soul, a poet who finds beauty in the weeping and the joy. I encourage you to visit his Substack and explore his poetry. In a world hungry for authenticity, voices like his point us back to what is true, good, and life-giving. Peter and I continue to learn, day by day, about the miracles of recovery, partnership, and grace. We pray this hour of reflection blesses you as it blessed us—to love more boldly, create more freely, and trust in the God who made us for relationship. Thank you, Dr. Christian, for sharing your wisdom and your faith. Our audience—our wonderful community—is richer for it. ______   Learn more about Dr. Peter Breggin's work: https://breggin.com/   See more from Dr. Breggin's long history of being a reformer in psychiatry: https://breggin.com/Psychiatry-as-an-Instrument-of-Social-and-Political-Control   Psychiatric Drug Withdrawal, the how-to manual @ https://breggin.com/a-guide-for-prescribers-therapists-patients-and-their-families/   Get a copy of Dr. Breggin's latest book: WHO ARE THE “THEY” - THESE GLOBAL PREDATORS? WHAT ARE THEIR MOTIVES AND THEIR PLANS FOR US? HOW CAN WE DEFEND AGAINST THEM? Covid-19 and the Global Predators: We are the Prey Get a copy: https://www.wearetheprey.com/   “No other book so comprehensively covers the details of COVID-19 criminal conduct as well as its origins in a network of global predators seeking wealth and power at the expense of human freedom and prosperity, under cover of false public health policies.”   ~ Robert F Kennedy, Jr President Trump's Director of the U.S. Department of Health and Human Services (HHS), the largest health agency in the world. 

John Keats is perhaps the most talented poet of the English Romantic Period. Although his life was cut short by disease at the age of 25, he produced some of the most famous poems in world literature. Less erudite and philosophical than Shelley and not so technically versatile as Byron, he displayed a sure poetic instinct and an amazing ability to appeal powerfully to the senses and to the emotions by the brilliance of his diction. Thus his poetry is noted more for exquisite feeling than for thought, but in his particular sphere he was unmatched. His influence upon later poets has been immense.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

John Keats is perhaps the most talented poet of the English Romantic Period. Although his life was cut short by disease at the age of 25, he produced some of the most famous poems in world literature. Less erudite and philosophical than Shelley and not so technically versatile as Byron, he displayed a sure poetic instinct and an amazing ability to appeal powerfully to the senses and to the emotions by the brilliance of his diction. Thus his poetry is noted more for exquisite feeling than for thought, but in his particular sphere he was unmatched. His influence upon later poets has been immense.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

John Keats is perhaps the most talented poet of the English Romantic Period. Although his life was cut short by disease at the age of 25, he produced some of the most famous poems in world literature. Less erudite and philosophical than Shelley and not so technically versatile as Byron, he displayed a sure poetic instinct and an amazing ability to appeal powerfully to the senses and to the emotions by the brilliance of his diction. Thus his poetry is noted more for exquisite feeling than for thought, but in his particular sphere he was unmatched. His influence upon later poets has been immense.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

It's 1976, and we have more hilarity, honesty, and social commentary from Gyles's diaries. In this episode he shares a stage with Bernard Manning and some go-go dancers, publishes a cheeky book about the Queen, and fires the nanny. Plus Gyles and Harriet chat about love at first sight and John Keats. Enjoy this! Hosted on Acast. See acast.com/privacy for more information.

Se as perdêssemos de vista por umas horas, não saberíamos reencontrar as nossas vidas pelo cheiro, nem pelo gemido que fazem, nem daríamos com esses corpos tão abatidos que só de um certo ângulo, a poucos palmos do espelho, nos parece que sim, serão os nossos, porque repetem vagamente os mesmos gestos ou expressões. Mas mesmo nisso parece instalar-se um certo desfasamento, algum atraso, e são poucos aqueles que nalgum dos seus rastros se mostram firmemente fiéis à sua juventude. Reserva-se esse elogio hoje a tão poucos: “Pouco antes de morrer, o que ele escrevia, o modo como continuava a viver, conservavam a virulência, a agressividade e a independência dos seus 25 anos.” Em certa medida a poesia era uma resistência da juventude pela vida fora, o doloroso alarme mantido na relação com o mundo, a impossibilidade de se saciar com aquele pão com que os demais empurram seja o que for. Chega uma altura em que o abandono parece a nossa melhor arma. Quem ama não faz contas, mas hoje tudo se guia por esses sinais: soma: multiplicação… “O mundo moderno”, escrevia Péguy, “não é universalmente prostituível por luxúria. É totalmente incapaz disso. Ele é universalmente prostituível porque é universalmente intercambiável”. Queremos dizer-nos alguma coisa, mas até as nossas palavras parece que tilintam mais do que soam, estão cheias da frieza do cálculo, não passam de fracções. Ora, o dinheiro não exprime outra coisa senão a desolação do infinitamente reconvertível. Assim, cada palavra vale tanto ou tão pouco como outra qualquer. “Quando o dinheiro vale alguma coisa, a palavra não vale nada. Quando a palavra vale, o dinheiro não vale nada” (comité invisível). Por estes dias, olhando à volta, até isso a que chamam luta já pouco se distingue do conformismo, da resignação. “Quando a História for escrita como deve ser, os homens ficarão admirados do comedimento e da grande paciência das massas e não da sua ferocidade”, assevera o autor de Os Jacobinos Negros. Chega-se a uma altura em que se percebe que o tempo está decididamente contra nós, mas em vez de isso reverter a favor dessa doença mortal, dessa razão desesperada, todos ainda aguardam que a sua situação se resolva. E vamos sair mais algumas vezes e reivindicar esses salários de fome, gratos pela nossa miséria, dando por nós tão longe de qualquer ambição existencial, a qual teria de passar por “repelir para o mais longe possível as relações hostis urdidas na esfera do dinheiro, da contabilidade, da medida, da avaliação”. Os do comité invisível adiantam que, por esta altura, a economia já não é somente aquilo de que devemos sair para deixarmos de ser esfomeados, mas é aquilo de que é necessário sair para viver, para simplesmente estar presente no mundo. O mais grave, assim, é que a cada dia que passa se colhem cada vez mais provas da impossibilidade de dois ou mais se encontrarem num lugar e num tempo, pois mesmo os nossos ímpetos aventurosos estão distribuídos por frequências de onda que só por um acaso milagroso se combinam e enredam. “Após uma ausência de que ninguém teve a culpa/ ficamos acanhados um ao pé do outro/ e as nossas palavras parecem mais recentes do que nós,/ como se tivéssemos de voltar ao momento em que nos conhecemos/ e recuperar-nos até ao presente”, lê-se nuns versos de Linda Pastan, num poema em que ela reconhece como o maior perigo que enfrentam os amantes é “toda essa ressaca/ da vida quotidiana, oculta mas perigosa,/ que tão depressa nos puxa a ambos para o fundo”. De resto, quem ainda se sujeita aos destratos de andar sem rumo, aprender com dificuldade os idiomas do acaso pela hipótese de provar o néctar da beira da estrada, dos fins de mundo, dessas zonas limite? “A economia, é este o seu princípio, faz-nos correr como ratos, para que não estejamos nunca lá, a descobrir o segredo da sua usurpação: a presença./ Sair da economia é fazer emergir o plano da realidade que ela esconde. A troca mercantil e tudo o que ela comporta de dura negociação, de desconfiança, de engano”… Aquele brilhante judeu que se matou por receio de ser entregue à Gestapo, quando tentava escapar pelos Pirenéus, notou que articular o passado historicamente não significa conhecê-lo “como ele de facto foi”, mas apoderar-se de uma recordação, tal como ela relampeja no instante de perigo. O pior do nosso tempo é que os perigos se multiplicam, e se tantos fazem questão de os registar, diagnosticar, se passamos boa parte do nosso tempo comovidos com a nossa infindável capacidade de sofrermos com as dores mais distantes, depois ninguém faz nada em relação àquilo que está mais próximo. Falta aquela capacidade própria dos poetas que, no entender de Cortázar, se reconheciam menos pelo que os trancava em si mesmos e mais naquilo que lhes era próximo, que os fazia sentir implicados no que tinham ao seu redor. “Falo da responsabilidade do poeta, esse irresponsável por direito próprio, esse anarquista enamorado de uma ordem solar e nunca da nova ordem ou do slogan que faz marchar ao mesmo passo cinco ou setecentos milhões de homens numa paródia de ordem. Falo de algo que desagradará profundamente aos comissários, aos jovens turcos ou aos guardas vermelhos; falo de uma condição que ninguém descreveu melhor do que John Keats numa carta a que, há muitos anos, chamei a carta do camaleão e que mereceria ser tão célebre como a ‘Lettre du voyant'. O seu prelúdio deixa-se perceber numa frase escrita um ano antes e quase de passagem. Keats diz ao seu amigo Bayley que nunca esperou outra felicidade além da do puro presente e acrescenta, como quem não quer a coisa: ‘Se um pardal pousa junto da minha janela, tomo parte na sua existência e debico no chão…'” Por estas bandas, ninguém merece um reflexo na carne dos outros, um eco seu que floresça a tempo de lhe dar algum sinal, e tudo o que de mais verdadeiro e sensível acontece, perde-se como se não tivesse acontecido. Vamos fazendo a crónica de “uma pequena nação de pequenos assassinos caseiros” (Luiz Pacheco), por incapacidade de nos sujeitarmos às exigências da admiração, que implicam desde logo deixar de lado o cálculo. É a típica condenação a que nos sujeita um tempo medíocre. Envelheces tão cedo, por essa impossibilidade de escolher, por nos sairmos sempre pior num registo impetuoso, quando toda a eloquência é sentida como uma ofensa. Alheios ao seu próprio sonho, decalca o Pacheco no António Sérgio, para falar de nós, seres caídos nesta espiral vagabunda, num país aos bocados, que se reconhece por este cheiro a despegado, que se mantém colado apenas para favorecer algum esquema. E o Pacheco foi vendo, com o acumular dos anos, este desamparo de “tantos de nós ludibriando os próprios sonhos da sua juventude, anquilosando ambições mais do que legítimas, minguando-se, limitando-se (…) sem horizontes já para inventar algo melhor. Pendurados na fezada de um futuro, que já não vai ser para eles, isto é, que já os apanha disformes: gordos, apatetados, com cirroses… envelhecidos prematuramente por dentro, e muito sono nas almas, leia-se consciências.” E talvez porque não há luta em comum que nos arranque desse casulo, dessa clausura, desse castigo de se ver a definhar para fazer carreira como “eu”, e nos devolva uns aos outros. “Há qualquer coisa de prostituível em todo o lado em que domina o nosso ‘valor social', em todo o lado onde se troca uma parte de nós pela mínima retribuição, seja ela, financeira, simbólica, política, afectiva ou sexual” (comité invisível). E, neste ponto, vale a pena retomar a correspondência de Keats, que, numa carta a Richard Woodhouse, trocou o pardal pelo camaleão: “Quanto ao carácter poético em si... não tem um eu; é tudo e é nada: não tem carácter; deleita-se tanto com a luz como com a sombra; vive naquilo de que gosta, seja horrível ou belo, excelso ou humilde, rico ou pobre, mesquinho ou elevado. Sente tanto prazer em conceber um Iago como uma Imogena. Aquilo que choca o filósofo virtuoso deleita o poeta-camaleão... Um poeta é a coisa menos poética que existe; como não tem identidade, tende continuamente a encarnar-se noutros corpos... O poeta não possui nenhum atributo invariável; é, certamente, a menos poética de todas as criaturas de Deus.” Neste episódio, o David voltou para nos dar uma hipótese de tirarmos a barriga de misérias e saltarmos da greve geral para umas luxuriantes patuscadas, conseguidas na base de todo um arsenal de poções e fórmulas científicas aplicadas à exploração gastronómica, sem abdicar, no entanto, daquela elementar dose de porrada e humilhações sem as quais nunca se faz nada, além dos gerais iscos que convencem os lorpas de que têm muita sorte em ter um chulo a ocupar-se deles. Vamos também dar um passeio pela feira do livro de Lisboa pela mão do Pacheco e ouvir as últimas quanto a editores a quem, por maior que seja a crise, nunca há-de faltar um tremendo jeito para o negócio.

President Trump arrives in China, the first US president to go there in nearly a decade. We'll look at how the balance of power has shifted since then and how Chinese perceptions of America have also changed.Also in the programme: on the day of the King's Speech to Parliament setting out the next legislative programme, speculation mounts that a senior minister will challenge Britain's Prime Minister Keir Starmer for the leadership; and the stricken love letters of the English romantic poet John Keats, now up for auction.

Bestselling author Steven Pressfield on what it means to have a creative calling, battling resistance, the role of faith in writing, and his memoir Govt Cheese. A remastered version of episode #058. You'll learn: Why a typewriter sat untouched in the back of a van for seven years before becoming a career. How self-sabotage shows up at the finish line, not just at the start. A rule of thumb for telling resistance apart from legitimate doubt. Why the more important a project is, the more terrifying it should feel. When you can finally write about pain, and why distance matters more than rawness. How an idea for a book might arrive as a single sentence and refuse to leave. A one-page method for outlining a novel, and why one page is enough. What John Keats's concept of negative capability can teach a writer in the dark middle of a draft. The metaphor that reframes writers as delivery drivers rather than creators. Why faith in the muse matters most when the writing feels too good to be your own. Resources & Links

In this episode, Carl explores the idea of “negative capability,” a term coined by John Keats to describe the ability to remain in uncertainty without rushing to easy answers. In a world that constantly pressures us to predict, forecast, and sound confident, Carl suggests that real wisdom may lie in something different: the capacity to sit with ambiguity long enough to make thoughtful decisions. Good decisions, he argues, don't require certainty. They require clarity about what matters and the courage to take the next small step—even when the future is unknown.Want more from Carl? Get the shortest, most impactful weekly email on the web! Sign up for the Weekly Letter from Certified Financial Planner™ and New York Times columnist Carl Richards here: https://behaviorgap.com/ 

In his book Why Poetry, the poet Matthew Zapruder issued "an impassioned call for a return to reading poetry and an incisive argument for its accessibility to all readers." The poet Robert Hass said, "Zapruder on poetry is pure pleasure. His prose is so direct that you have the impression, sentence by sentence, that you are being told simple things about a simple subject and by the end of each essay you come to understand that you've been on a very rich, very subtle tour of what's aesthetically and psychologically amazing about the art of poetry."  In this episode, Matthew Zapruder joins Jacke for a discussion on why poetry is often misunderstood, and how readers can clear away the misconceptions and return to an appreciation for the charms and power of poetry. Along the way, they discuss poems by W.H. Auden, Brenda Hillman, and John Keats, and the views of critics like Harold Bloom, Giambattista Vico, Ludwig Wittgenstein, and Paul Valery. [This episode was originally released on April 9, 2018.] Help support the show at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/literature⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Anthony and Harrison discuss that Lakers winning streak after it's come to its end and try to decipher how real it was, using one of Anthony's favorite poems. The guys talk about LeBron's approach to that run and whether it might impact his future with the Lakers. Then, they look ahead to the final 10 games of the season and wrap with questions from the live audience. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Misha Glenny and guests discuss the short life and lasting works of Keats (1795-1821), who in one year wrote some of the most loved poems in English. Among these are Ode to a Nightingale, Ode on a Grecian Urn and Ode on Melancholy. That most productive year began in autumn 1818, when Keats had been stung by some reviews labelling him an uncouth Cockney who should go back to his former work as an apothecary, work he had left for poetry only two years before with the encouragement of enthusiastic friends. Just over two years later, Keats was dead in Rome from tuberculosis, before his work found fame, though some who knew him, including Shelley, believed his true killer was the critics.WithFiona Stafford Professor of English Language and Literature and Tutorial Fellow at Somerville College, University of OxfordNicholas Roe Wardlaw Professor of English Literature at the University of St AndrewsAndMeiko O'Halloran, Senior Lecturer in Romantic Literature at Newcastle UniversityProducer: Simon TillotsonReading list:John Barnard, John Keats (Cambridge University Press, 1987)Katie Garner and Nicholas Roe (eds), John Keats and Romantic Scotland (Oxford University Press, 2022)Ian Jack, Keats and the Mirror of Art (Oxford University Press, 1967) John Keats (ed. John Barnard), John Keats: Selected Writings (Oxford University Press, 2020)John Keats (ed. John Barnard), John Keats: Oxford 21st-Century Authors (University Press, 2017)John Keats (ed. John Barnard), Selected Poems (Penguin, 2007)John Keats (ed. John Barnard), The Complete Poems (Penguin, 2nd edition, 1977)John Keats (ed. Jeffrey N. Cox), Keats's Poetry and Prose: A Norton Critical Edition (W. W. Norton & Company, 2008)Carol Kyros Walker, Walking North with Keats (Edinburgh University Press, 2021)Richard Marggraf Turley (ed.), Keats's Places (Palgrave Macmillan, 2018)Lucasta Miller, Keats: A Brief Life in Nine Poems and One Epitaph (Jonathan Cape, 2021) Michael O'Neill (ed.), John Keats in Context (Cambridge University Press, 2017)Christopher Ricks, Keats and Embarrassment (Oxford University Press, 1974) Nicholas Roe, John Keats: A New Life (Yale University Press, 2012) Helen Vendler, The Odes of Keats (Belknap Press, 2004)Susan J. Wolfson, Reading John Keats (Cambridge University Press, 2015)Susan J. Wolfson (ed.), The Cambridge Companion to Keats (Cambridge University Press, 2001)In Our Time is a BBC Studios ProductionSpanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Misha Glenny and expert guests explore the characters, events and discoveries that have shaped our world.

Commemorating John Keats with odes by John Philip Drury, Myra Shapiro, and Mark Elber. Support the show

Celebrate National Banana Bread Day with a trip back to 1956 entertainment, major historical milestones, and a packed birthday list. Today we remember the Battle of the Alamo, the first mass polio vaccinations, and the moment U.S. Marines raised the flag on Mt. Suribachi in WWII.We're also celebrating birthdays for Peter Fonda, Johnny Winter, Patricia Richardson, Howard Jones, Kristin Davis, Steve Holy, Emily Blunt, and Dakota Fanning. Plus, we note the passing of poet John Keats.tro  - God did good - Dianna Corcoran  https://www.diannacorcoran.com/The banana bread song - The Hungry Food BandRock & Roll Waltz - Kay StarrI forgot to remember to forget - Elvis PresleyLords Prayer - Sister Janet MeadBirthdays - In da club - 50 Cent  https://www.50cent.com/ Highway 61 - Johnny WinterLife in one day - Howard JonesBrand new girlfriend - Steve HolyExit - 98 Proof - Clay Rigdon   https://www.clayrigdon.com/History & Factoids about today webpagecountryundergroundradio.comcooolmedia.com

Els arxius del cometa #3 - Els cants d'hyperion i la poesia de l'space operaDurada: 142 minuts.Benvinguts i benvingudes al tercer episodi d'Els arxius del cometa, un projecte d'Esperant el cometa!Els arxius del cometa és un spin-off creat per Pablo Mallorquí, Miquel Codony i Edgar Cotes per fer programes centrats en un sol llibre —un llibre que hàgim llegit els tres integrants del podcast i que considerem rellevant dins de la literatura, tant clàssica com contemporània.En aquest segon episodi parlarem de dos llibres dels que ens heu sentit parlar abans: Hyperion i The Fall of Hyperion, de Dan Simmons. Són dos de les obres més conegudes de la ciència-ficció i, possiblement, representen un punt d'inflexió en el tractament de la space opera i amb la relació del gènere amb la literatura.Per analitzar en profunditat l'obra, hem convidat a dos persones que en saben un niu: en Víctor Garcia Tur (escriptor) i la Laia Rúbio (membre de Narranacion). Esperem que gaudiu de l'episodi!Inici de la tertúlia d'Hyperion: 6 minuts i 4 segons.Inici de la tertúlia de La Caiguda d'Hyperion: 1 hora , 27 minuts i 51 segonsSintonia inici: Coniferous Forest d'OrangeryFragments del llibre 1 de “Hyperion”, de John Keats, llegits al canal “Performing Poetry” ( https://www.youtube.com/watch?v=h82o7o9rWSc )

We read and discuss "Ode on a Grecian Urn" by John Keats and poems from her newest book Burn, published in 2025 by Pitt Press.Barbara Hamby was born in New Orleans and raised in Honolulu. Her poems have appeared in The New Yorker, Poetry, American Poetry Review, Ploughshares, Yale Review, and The New York Times. She is the author of seven poetry collections including Holoholo (2021), Bird Odyssey (2018), On the Street of Divine Love: New and Selected Poems (2014), All-Night Lingo Tango (2009), and Babel (2004). Her second book, The Alphabet of Desire (1999) won the New York University Press Prize for Poetry. Her first book, Delirium (1995), won the Vassar Miller Prize, The Kate Tufts Award, and the Poetry Society of America's Norma Farber First Book Award.The John Simon Guggenheim Memorial Foundation honored Barbara as a 2010 Guggenheim Fellow in Poetry. Her short story collection Lester Higata's 20th Century won the 2010 Iowa Short Fiction Award.Barbara edited an anthology of poems, Seriously Funny (Georgia, 2009), with her husband David Kirby. She teaches at Florida State University where she is a Distinguished University Scholar.

Testament, beatboxer, rapper and writer - presents a festive Adverb (complete with a yuletide salad battle), with his guests the former Scottish Makar Jackie Kay, poetic legend John Hegley, Mercury prize nominated folk singer Sam Lee, as well as satirical supremo Brian Bilston.They bring iconic robins, soul stirring music, poetic Christmas questions, and quirky Yule traditions to an audience in the BBC Philharmonic Orchestra Hall in Salford.Brian Bilston's very funny books include 'You Took the Last Bus Home', and 'Alexa, what is there to know about love'? His latest book is called ‘A Poem for Every Question'. He shares new poems and poems from his book ‘And so this is Christmas':John Hegley brings surreal festive interaction and poignantly playful poems to the Adverb. He also celebrates a playful December celery battle recorded in the letters of Romantic poet John Keats.Sam Lee's album is ‘Songdreaming' – he's joined by pianist James Keay to perform songs that sing us deep into this time of year. Sam organises 'Singing with Nightingale' events, so we find out where nightingales go for Christmas.Jackie Kay's latest book is 'May Day' - she shares a poem by one of her favourite poets Norman McCaig - which stars a robin - and tender winter poems from her collections.

Today's poem speaks of speaking the unspeakable, and feeling the un-feelable. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Diane Seuss is the author of the poetry collections Frank: Sonnets, winner of the Pulitzer Prize and the National Book Critics Circle Award; Still Life with Two Dead Peacocks and a Girl; Four-Legged Girl, finalist for the Pulitzer Prize; Wolf Lake, White Gown Blown Open; and It Blows You Hollow. Her work has appeared in Poetry, the Georgia Review, Brevity, Able Muse, Valparaiso Poetry Review, and the Missouri Review, as well as The Best American Poetry 2014. She was the MacLean Distinguished Visiting Professor in the Department of English at Colorado College in 2012, and she has taught at Kalamazoo College since 1988. Her new poetry collection is Modern Poetry. We talked about aging, John Keats, dogs,  romance, music, objectivity, grief, coldness, and the snarling, flaming bitch of poetry. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's poem comes from a young man (he died at 25) whose Spring and Autumn were the same. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

For Halloween 2025, Words That Burn resurrects one of the most chilling poems in English literature: "This Living Hand" by John Keats. This short, macabre poem wasn't published until 77 years after Keats's death, making it feel like a genuine message from beyond the grave.In this special episode, we explore the poem's dark, gothic imagery and the terrifying "strange bargain" it offers the reader. We dissect its uncanny duality, its sense of dread, and the horrifying biographical context of Keats's final days; a "posthumous existence" of body horror that forged this masterpiece.I look at the poem's vampiric mechanism and Keats's desperate plea, not only for a transfusion of life, but for the artistic immortality he feared he'd never achieve.This episode covers:The dark history of Keats's "This Living Hand."How Keats's embrace of darkness ("the burden of mystery") set him apart from other Romantic poets.A close reading of the poem's body horror, from "earnest grasping" to the "icy silence of the tomb."The link between Keats's final, agonising days and the poem's "vampiric" plea for life.Why this poem is a perfect, terrifying read for the Halloween season.Follow the Podcast:Read the Script on SubstackFollow the Podcast On InstagramFollow the Podcast on X/TwitterFollow the Podcast on TiktokFollow the podcast on BlueskyThe Music In This Week's Episode:'Soul Searcher' by Scott Buckley - released under CC-BY 4.0. www.scottbuckley.com.au Hosted on Acast. See acast.com/privacy for more information.

QUOTES FOR REFLECTION The madman jumped into their midst and pierced them with his eyes.“Whither is God?” he cried; “I will tell you.We have killed him—you and I. All of us are his murderers.But how did we do this? How could we drink up the sea?Who gave us the sponge to wipe away the entire horizon?What were we doing when we unchained this earth from its sun?Whither is it moving now? Whither are we moving? Away from all suns?Are we not plunging continually?Backward, sideward, forward, in all directions? Is there still any up or down?Are we not straying, as through an infinite nothing? Do we not feel the breath of empty space?Has it not become colder? Is not night continually closing in on us?”~“The Parable of the Madman” by Friedrich Nietzsche (1844-1900) “How much larger your life would be, if your self could become smaller in it.”~G.K. Chesterton (1874-1936), author and literary critic in Orthodoxy “For even creation reveals Him who formed it, and the very work made suggests Him who made it, and the world manifests Him who ordered it.”~Irenaeus (c.125-c.202), early church leader, in Against Heresies (II.9.1) “Beauty is truth, truth beauty,—that is allYe know on earth, and all ye need to know.” “A thing of beauty is a joy forever:Its loveliness increases; it will neverPass into nothingness; but still will keepA bower quiet for us, and a sleep…An endless fountain of immortal drink,Pouring unto us from the heaven's brink.”~John Keats (1795-1821) from “Ode to a Grecian Urn” and Endymion “Because the face of God is so lovely, my brothers and sisters, so beautiful, once you have seen it, nothing else can give you pleasure. It will give insatiable satisfaction of which we will never tire. We shall always be hungry and always have our fill.”~Augustine (354-430 A.D.), North African church leader and theologian “Glory is the beauty of God unveiled! Glory is the resplendent radiance of His power and His personality…. Glory is the external elegance of the internal excellencies of God. Glory is what you see and experience and feel when God goes public with His beauty!”~C. Samuel Storms (1951-present), theologian and authorSERMON PASSAGEPsalm 191 The heavens declare the glory of God, and the sky above proclaims his handiwork.2 Day to day pours out speech, and night to night reveals knowledge. Isaiah 6 1 In the year that King Uzziah died I saw the Lord sitting upon a throne, high and lifted up; and the train of his robe filled the temple. 2 Above him stood the seraphim. Each had six wings: with two he covered his face, and with two he covered his feet, and with two he flew. 3 And one called to another and said:“Holy, holy, holy is the Lord of hosts;the whole earth is full of his glory!” John 1 1 In the beginning was the Word, and the Word was with God, and the Word was God…. 14 And the Word became flesh and dwelt among us, and we have seen his glory, glory as of the only Son from the Father, full of grace and truth. John 12 41 Isaiah said these things because he saw [Jesus's] glory and spoke of him. 42 Nevertheless, many even of the authorities believed in him, but for fear of the Pharisees they did not confess it, so that they would not be put out of the synagogue; 43 for they loved the glory that comes from man more than the glory that comes from God. John 17 5 And now, Father, glorify me in your own presence with the glory that I had with you before the world existed….24 Father, I desire that they also, whom you have given me, may be with me where I am, to see my glory that you have given me because you loved me before the foundation of the world.Leviticus 10 1 Now Nadab and Abihu, the sons of Aaron, each took his censer and put fire in it and laid incense on it and offered unauthorized fire before the Lord, which he had not commanded them. 2 And fire came out from before the Lord and consumed them, and they died before the Lord. 3 Then Moses said to Aaron, “This is what the Lord has said: ‘Among those who are near me I will be sanctified, and before all the people I will be glorified.'” And Aaron held his peace. 1 Corinthians 3 16 Do you not know that you are God's temple and that God's Spirit dwells in you? 17 If anyone destroys God's temple, God will destroy him. For God's temple is holy, and you are that temple. Romans 118 For the wrath of God is revealed from heaven against all ungodliness and unrighteousness of men, who by their unrighteousness suppress the truth. 19 For what can be known about God is plain to them, because God has shown it to them. 20 For his invisible attributes, namely, his eternal power and divine nature, have been clearly perceived, ever since the creation of the world, in the things that have been made. So they are without excuse. 21 For although they knew God, they did not honor him as God or give thanks to him, but they became futile in their thinking, and their foolish hearts were darkened. 22 Claiming to be wise, they became fools, 23 and exchanged the glory of the immortal God for images resembling mortal man and birds and animals and creeping things.

Welcome, my devilish fiends!Join me as we trace the roots of the vampire back to the women who came before her: Lamia, Lilith, and the succubi.These "monstrous" figures haunted ancient myth and medieval imagination, embodying male fears of female power, pleasure, and autonomy. Long before Dracula, they turned desire into danger and defiance into sin. Their stories reveal how myth and theology worked together to make women's power appear monstrous and how those same fears still shape the vampire we know today. So, close your doors and windows, turn off the lights, get cozy, and join me... ***Listener Discretion is Strongly Advised*******************Sources & References:Epic of Gilgamesh – references to lilītu demons.The Alphabet of Ben Sira.The Zohar (Book of Splendor).Philostratus, Life of Apollonius of Tyana.Heinrich Kramer and Jacob Sprenger, Malleus Maleficarum.King James VI of Scotland, Daemonologie.John Keats, Lamia.Sarah Iles Johnston, Restless Dead: Encounters Between the Living and the Dead in Ancient Greece (University of California Press, 1999).Daniel Ogden, Drakōn: Dragon Myth and Serpent Cult in the Greek and Roman Worlds (Oxford University Press, 2013).Judith Plaskow, The Coming of Lilith: Essays on Feminism, Judaism, and Sexual Ethics, 1972–2003 (Beacon Press, 2005).Gershom Scholem, Kabbalah (Quadrangle/New York Times Book Co., 1974).Raphael Patai, The Hebrew Goddess (Wayne State University Press, 1990).Jeffrey Burton Russell, Witchcraft in the Middle Ages (Cornell University Press, 1972).Deborah Lyons, Dangerous Gifts: Gender and Exchange in Ancient Greece (Princeton University Press, 1997).Diane Apostolos-Cappadona, Dictionary of Women in Religious Art (Oxford University Press, 1996).Nina Auerbach, Our Vampires, Ourselves (University of Chicago Press, 1995).Paul Barber, Vampires, Burial, and Death: Folklore and Reality (Yale University Press, 1988).Barbara Creed, The Monstrous-Feminine: Film, Feminism, Psychoanalysis (Routledge, 1993).Marina Warner, From the Beast to the Blonde: On Fairy Tales and Their Tellers (Farrar, Straus and Giroux, 1995).****************Leave Us a 5* Rating, it really helps the show!Apple Podcast:https://podcasts.apple.com/us/podcast/beauty-unlocked-the-podcast/id1522636282Spotify Podcast:https://open.spotify.com/show/37MLxC8eRob1D0ZcgcCorA****************Follow Us on Social Media & Subscribe to our YouTube Channel!YouTube:@beautyunlockedspodcasthourTikTok:tiktok.com/@beautyunlockedthepod****************MUSIC & SOUND FX:"Beast by Beast" by Edward Karl Hanson"An Obsession" by DayonEpidemic SoundFind the perfect track on Epidemic Sound for your content and take it to the next level! See what the hype is all about!

In this edition of Three Good Things, Scott Jagow reflects on what an incredible football catch can teach us about human behavior. From NFL players dropping the ball before crossing the goal line — as seen in the Rams-Colts and Cardinals-Titans games — to the psychology behind those mistakes, Michigan professor Daniel Weisman explains how our brains can short-circuit under excitement. Jagow ties these sports moments to insights from George Carlin, Robert Greene, and poet John Keats, showing how embracing uncertainty and humility can lead to deeper understanding, curiosity, and compassion.

The 'season of mists and mellow fruitfulness,' as John Keats put it, is well and truly with us. Have you noticed the vast amounts of fruits, seeds and berries around this year? That's because it's a mast year. Terry Flanagan went to meet Dr. Matthew Jebb, Director of the gardens at the National Botanic Gardens, to find out all about mast years.

Nick Hennegan is in a pub in Wales, celebrating national poetry of TWO countries. With contributions from T. Lew Jones, Dylan Thomas and John Keats. www.BohemianBritain.com

Jacke looks forward to a new season by exploring the language and imagery of John Keats's famous ode to autumn. Then he talks to Graham Watson about his new book The Invention of Charlotte Brontë: A New Life, which tells the story of how how Charlotte reinvented herself as an acclaimed author, a mysterious celebrity, and a passionate lover. PLUS Sara Charles (The Medieval Scriptorium: Making Books in the Middle Ages) stops by to discuss her choice for the last book she will ever read. Join Jacke on a trip through literary England (signup open through the end of September)! The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠John Shors Travel⁠. Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠historyofliterature.com⁠. Or visit the ⁠History of Literature Podcast Tour itinerary⁠ at ⁠John Shors Travel⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠gabrielruizbernal.com. Help support the show at ⁠patreon.com/literature ⁠or ⁠historyofliterature.com/donate ⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

“To die, to sleep.” Sometimes the space between the two seems as slight as that intervening comma. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

What if we told you that the most successful higher education leaders don't avoid chaos—they harness it?While others are paralyzed by uncertainty, these "chaos pilots" are transforming disruption into opportunity, setbacks into sidesteps, and ambiguity into innovation.In today's release—the fifth installment of Dr. Melissa Morriss-Olson's IngenioUs Leadership blog series—she dives deep into Chapter 8: Chaos as Catalyst, exploring how exceptional leaders navigate our rapidly changing landscape with what poet John Keats called "negative capability": the ability to thrive in uncertainty without frantically reaching for certainty.Read: Two Essential Habits of Chaos Pilots Read the full blog post here: "Chaos as Catalyst: Piloting Through Challenges and Opportunities"Discover how leaders like:E. Gordon Gee turned a $45 million budget deficit into a catalyst for transformationMichael Sorrell made a bold accreditation pivot that saved Paul Quinn CollegeNicholas Covino is revolutionizing mental health on campus by questioning fundamental assumptionsBen Nelson completely reimagined higher education with Minerva University's radical modelYou'll learn the two core habits that separate leaders who merely manage change from those who design it—and practical ways to implement these strategies immediately.But here's what makes this release extra special... Watch the companion video featuring voices from Dr. Morriss-Olson's latest podcast seasonCheck out our  powerful 15-minute video that brings these concepts to life through the authentic voices of remarkable women leaders, including:Dr. Annette Parker (South Central College) on strategic thinking during industry disruptionDr. Stephanie Herseth Sandlin (Augustana University) on the art of strategic risk-takingDr. Barbara Mistick (NAICU) on cross-industry innovation strategiesDr. Sandra Harper  (McMurry University) on resilience for the long-termDr. Marcheta Evans (St. Catherine University) on radical transparency as transformationDr. Tuajuanda Jordan (St. Mary's College of Maryland) on systematic self-renewalWhere am I trying to control what cannot be controlled?How might my current "crisis" actually be an opportunity in disguise?What experiment could I start today that might fail—but could also transform everything?How am I modeling resilience and growth for my community?The future of higher education won't be built by leaders who avoid chaos—it will be shaped by those who learn to pilot through it.Navigate with purpose. Lead through uncertainty. Pilot with courage.Best,The CHELIP TeamP.S. After you read and watch, we'd love to hear which insight resonated most with you. Simply reply to this email and share your thoughts—we read every response personally.These leaders don't just talk about thriving in chaos—they demonstrate it through their lived experiences and hard-won wisdom.Your Chaos Navigation QuestionsAs you engage with both the blog and video, consider these reflection questions:What's Next?This is the fifth of six installments in Dr. Morriss-Olson's IngenioUs Leadership blog series, each lifting up core themes from her book that emerged through interviews with higher education leaders across the country.Haven't caught up on the previous posts? You can find the complete series here.Want to dive deeper? Her book IngenioUs Leadership: Creating Solutions to Wicked Problems in Higher Education provides the complete framework and additional insights from all her research.

Tonight, we'll read poems by John Keats starting with one titled “Sleep and Poetry.” John Keats' work is a cornerstone of English Romantic poetry, rich with symbolism, sensual detail, and allusions to Greek and Roman myth as well as romanticised tales of chivalry. His verse overflows with vivid imagery—nightingales, Grecian urns, moonlit fields—while also contemplating beauty, truth, and life's transience. Born in London in 1795, Keats trained as a surgeon before devoting himself entirely to poetry. In just four years, he produced the works that would secure his place in literary history, though in his lifetime his books sold barely two hundred copies. Today, his name is among the most revered in English literature. — read by 'V' — Sign up for Snoozecast+ to get expanded, ad-free access by going to snoozecast.com/plus! Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tonight, we'll read poems by John Keats starting with one titled “Sleep and Poetry.” John Keats' work is a cornerstone of English Romantic poetry, rich with symbolism, sensual detail, and allusions to Greek and Roman myth as well as romanticised tales of chivalry. His verse overflows with vivid imagery—nightingales, Grecian urns, moonlit fields—while also contemplating beauty, truth, and life's transience. Born in London in 1795, Keats trained as a surgeon before devoting himself entirely to poetry. In just four years, he produced the works that would secure his place in literary history, though in his lifetime his books sold barely two hundred copies. Today, his name is among the most revered in English literature. — read by 'V' — Sign up for Snoozecast+ to get expanded, ad-free access by going to snoozecast.com/plus! Learn more about your ad choices. Visit megaphone.fm/adchoices

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Sweet is the home you leave. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Hilary Gridley is the Head of Core Product at WHOOP and a passionate thought leader in leveraging AI to elevate product teams and management practices. With extensive experience tackling challenging problems in regulated industries and high-stakes environments, Hilary emphasizes the importance of building resilience and adaptability within teams. Previously, she was a senior director of product at Big Health and a senior product marketing manager at Dropbox.In this episode, you'll learn:• How to teach your team to be able to “take a punch”• Specific tactics to counter negative perceptions and reframe setbacks productively• Powerful behavioral strategies to form positive habits• Practical approaches for creating space in your workday to encourage creativity and deep thinking• The underestimated potential of AI in accelerating your personal and professional growth• Why you're not the protagonist at your company (and why that's liberating)• How WHOOP uses reward loops to drive real behavior change—Brought to you by:WorkOS—Modern identity platform for B2B SaaS, free up to 1 million MAUsPersona—A global leader in digital identity verificationAttio—The powerful, flexible CRM for fast-growing startups—Where to find Hilary Gridley:• X: https://x.com/yourgirlhils• LinkedIn: https://www.linkedin.com/in/hilarygridley/• Newsletter: https://hils.substack.com/• Maven course: https://maven.com/hilary-gridley/ai-powered-people-management—Where to find Lenny:• Newsletter: https://www.lennysnewsletter.com• X: https://twitter.com/lennysan• LinkedIn: https://www.linkedin.com/in/lennyrachitsky/—In this episode, we cover:(00:00) Hilary's background(04:31) Teaching teams to handle criticism and setbacks(17:57) Behavioral activation and mental health in the workplace(22:59) The importance of putting yourself out there(27:51) Transparency and communication in leadership(38:10) How to respectfully disagree with your manager(41:49) How to use “magic questions” to decode how people think(49:54) Why you're not the protagonist at your company(52:48) Aligning with the CEO's vision(01:01:02) Building effective habits(01:11:14) Promoting team well-being(01:14:28) Creating space for creativity(01:20:45) AI's role in accelerating learning(01:30:35) Pivotal career moments(01:37:21) Lessons from failure(01:39:49) Exciting new features of WHOOP 5.0(01:44:19) Lightning round and final thoughts—Referenced:• How to become a supermanager with AI: https://www.lennysnewsletter.com/p/how-to-become-a-supermanager-with• How custom GPTs can make you a better manager | Hilary Gridley (Head of Core Product at Whoop): https://www.lennysnewsletter.com/p/how-custom-gpts-can-make-you-a-better-manager• WHOOP: https://www.whoop.com/• Big Health: https://www.bighealth.com/• What is behavioral activation?: https://www.medicalnewstoday.com/articles/behavioral-activation• Will Ahmed on LinkedIn: https://www.linkedin.com/in/willahmed/• Joe Gebbia on LinkedIn: https://www.linkedin.com/in/jgebbia/• Zach Abrams on LinkedIn: https://www.linkedin.com/in/zacharyabrams/• Coinbase: https://www.coinbase.com/• Bridge: https://www.bridge.xyz/• Stripe: https://stripe.com/• The paths to power: How to grow your influence and advance your career | Jeffrey Pfeffer (author of 7 Rules of Power, professor at Stanford GSB): https://www.lennysnewsletter.com/p/the-paths-to-power-jeffrey-pfeffer• Paths to Power course: https://jeffreypfeffer.com/wp-content/uploads/2019/10/Pfeffer-OB377-Course-Outline-2018.pdf• VO₂ max: https://en.wikipedia.org/wiki/VO2_max• Peter Attia on X: https://x.com/PeterAttiaMD• Hilary Gridley's 30 days of GPT: https://docs.google.com/spreadsheets/d/1zJ4rbi9YcQuGqGxc6-AQD0-44oT9l4Eyono0AdpgJbA/edit?gid=0#gid=0• The Handle Bar in Boston: https://www.thehandlebarstudios.com/ourstudios/charlestown• From chalkboards to chatbots: Transforming learning in Nigeria, one prompt at a time: https://blogs.worldbank.org/en/education/From-chalkboards-to-chatbots-Transforming-learning-in-Nigeria• Product Management Logic Coach GPT: https://chatgpt.com/g/g-673290301700819084afa36bdbcdfa3b-product-management-logic-coach• Dropbox: https://www.dropbox.com/• WHOOP Advanced Labs: https://www.whoop.com/us/en/waitlist/?srsltid=AfmBOor2pP5qC3n7I23Z0ZIrYE99CjAKT9xSHQxbuyxmz_wFUBGH3e-n• Negative capability: https://en.wikipedia.org/wiki/Negative_capability• John Keats: https://en.wikipedia.org/wiki/John_Keats• The Rehearsal: https://www.hbo.com/the-rehearsal• Zwift: https://www.zwift.com/• Beavis and Butthead Do ‘Creep': https://www.youtube.com/watch?v=zv_gSmH0Ieg• “Sea Grapes” by Derek Walcott: https://www.poetryfoundation.org/poems/57111/sea-grapes• Free month of WHOOP: https://join.whoop.com/us/en/hilary/—Recommended books:• 7 Rules of Power: https://jeffreypfeffer.com/books/7-rules-of-power/• Outlive: The Science and Art of Longevity: https://www.amazon.com/Outlive-Longevity-Peter-Attia-MD/dp/0593236599• East of Eden: https://www.amazon.com/East-Eden-John-Steinbeck-Centennial/dp/0142004235• The Sun Also Rises: https://www.amazon.com/Sun-Also-Rises-Hemingway-Library/dp/1501121960/• Anna Karenina: https://www.amazon.com/Anna-Karenina-Leo-Tolstoy/dp/0143035002—Production and marketing by https://penname.co/. For inquiries about sponsoring the podcast, email podcast@lennyrachitsky.com.—Lenny may be an investor in the companies discussed. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.lennysnewsletter.com/subscribe

Poetry, butterflies, and original music oh my! With some help from poets Emily Dickinson, Robert Frost, William Wordsworth, and John Keats, along with original music by composer Gabriel Ruiz-Bernal, Jacke tackles the topic of butterflies. Yes, yes, we all know that butterflies are symbols of beauty and transformation - but can great poets get beyond the clichés? Why did Keats imagine himself as a butterfly in his love letters? Did Robert Frost mansplain poetry to Emily Dickinson (and do we agree)? In this episode, we flit and float and fleetly flee and fly through literature, life, music, and poetry - like a butterfly, maybe? (Maybe so!) Additional listening: John Keats  More John Keats 700 Butterflies at Rest The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com . "Two Butterflies" performed by Gabriel Ruiz-Bernal and Allison Hughes. Help support the show at patreon.com/literature or historyofliterature.com/donate . The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature . Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's poem has a way of reaching out and grabbing you. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Episode: 3310 Nature, Romanticism, and the Poetry of John Clare.  Today, we look closely at Romantic nature.

Today's poem features a simple but satisfying sleight of hand. Happy reading.Richard Henry Horne (1802-1884), poet, was born on 31 December 1802 at Edmonton, near London, the eldest of three sons of James Horne (d.1810), quarter-master in the 61st Regiment; his grandfather was Richard Horne, secretary to Earl St Vincent. Richard was brought up at the home of his rich paternal grandmother and attended John Clarke's School where John Keats was also a pupil. In April 1819 Horne entered Sandhurst Military College but left in December 1820. In 1823 after reading Shelley's Queen Mab, he decided to become a poet.In 1825 Horne sailed as midshipman in the Libertad to fight for Mexican independence. After two years in America he returned to London, where in 1833 he published his first book Exposition of the False Medium and Barriers Excluding Men of Genius from the Public. In the next decade he published three poetic dramas, contributed prolifically to literary magazines, edited the Monthly Repository in 1836-37 and served on the royal commission on child employment in factories in 1841. His most famous year was 1843 when he published his epic Orion at a farthing a copy to show his contempt for public taste. It ran to six editions in a year and made him a celebrity. During the Irish famine he was correspondent for the Daily News. In 1847 he married Catherine, daughter of David Foggo.In 1852 Horne faced a crisis: his marriage was failing; he was impoverished; he was discontented in his work on Charles Dickens's Household Words; and he was torn between the practical and poetic sides of his nature. Tempted by dreams of fortune on the Australian goldfields and a chance to escape, Horne arrived at Melbourne in September. He soon became commander of the private gold escort and in 1853 assistant gold commissioner at Heathcote and Waranga. He was erratic in both posts and was dismissed in November 1854. By 1855 his English ties were severed, his wife having requested a formal separation. In Melbourne he became clerk to (Sir) Archibald Michie, and lived with a Scottish girl; their son, born in 1857, died after seven months. In September 1856 as a radical Horne contested Rodney in the Legislative Assembly but lost. As a commissioner of sewerage and water supply in 1857 when Melbourne's new reservoir was under public attack, he did little to appease the critics. By 1860 he was again unemployed and living at St Kilda with a female companion. He was well known at Captain Kenney's swimming baths, lectured at Mechanics' Institutes on 'The Causes of Success in Life' and failed to win the Belfast (Port Fairy) seat. He helped to found the Tahbilk vineyard on the Goulburn River. In 1862-63 the Royal Literary Fund assisted him.In June 1863 Horne was made warden of the Victorian Blue Mountain goldfield near Trentham: 'my Siberia'. Again he began to write seriously and found tranquillity. On visits to Melbourne he held court at Henry Dwight's bookshop, and became friendly with George Gordon McCrae and Marcus Clarke. In 1864 he published a lyrical drama, Prometheus the Fire-Bringer, and in 1866 for the Melbourne Intercolonial Exhibition a masque, The South Sea Sisters; it contained a rhythmic representation of an Aboriginal corroboree which brought acclaim. In 1867 he celebrated the arrival of the Duke of Edinburgh with a cantata, Galatea Secunda, signing himself Richard Hengist Horne, the name by which he was henceforth known. In Australia he produced no significant poetry but some good prose: Australian Facts and Prospects(London, 1859), and an essay, 'An Election Contest in Australia' in Cornhill, 5 (1862). Disillusioned, he sailed in June 1869 for England where he became a literary doyen, producing many new works all artistically worthless. His poverty was relieved in 1874 by a government pension, and he died at Margate on 13 March 1884.-bio via Australian Dictionary of Biography This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

As William Shakespeare was putting the final touchers on Hamlet, George Chapman was beginning (arguably) an even more momentous undertaking: introducing the English-speaking world to Homer's epics. In a turn of historical irony, the fame of Chapman's translation continues almost solely in and through today's poem–but there are worse ways to be remembered. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Melvyn Bragg and guests discuss eighteenth century 'vase-mania'. In the second half of the century, inspired by archaeological discoveries, the Grand Tour and the founding of the British Museum, parts of the British public developed a huge enthusiasm for vases modelled on the ancient versions recently dug up in Greece. This enthusiasm amounted to a kind of ‘vase-mania'. Initially acquired by the aristocracy, Josiah Wedgwood made these vases commercially available to an emerging aspiring middle class eager to display a piece of the Classical past in their drawing rooms. In the midst of a rapidly changing Britain, these vases came to symbolise the birth of European Civilisation, the epitome of good taste and the timelessness that would later be celebrated by John Keats in his Ode on a Grecian Urn.WithJenny Uglow Writer and Biographer Rosemary Sweet Professor of Urban History at the University of LeicesterAndCaroline McCaffrey-Howarth Lecturer in the History of Art at the University of EdinburghProducer: Eliane GlaserReading list:Viccy Coltman, Fabricating the Antique: Neoclassicism in Britain 1760–1800 (University of Chicago Press, 2006)David Constantine, Fields of Fire: A Life of Sir William Hamilton (Phoenix, 2002)Tristram Hunt, The Radical Potter: Josiah Wedgwood and the Transformation of Britain (Allen Lane, 2021)Ian Jenkins and Kim Sloan (eds), Vases and Volcanoes: Sir William Hamilton and his Collection (British Museum Press, 1996)Berg Maxine, Luxury and Pleasure in Eighteenth-Century Britain (Oxford University Press, 2005)Iris Moon, Melancholy Wedgwood (MIT Press, 2024)Rosemary Sweet, Grand Tour: The British in Italy, c.1690–1820 (Cambridge University Press, 2012)Jenny Uglow, The Lunar Men: The Friends who Made the Future (Faber and Faber, 2003)In Our Time is a BBC Studios Audio production

In 1819, John Keats quit his job as an assistant surgeon, abandoned an epic poem he was writing, and focused his poetic energies on shorter works. What followed was one of the most fertile periods in the history of poetry, as in a few months' time Keats completed six masterpieces, including such celebrated classics as "To Autumn," "Ode to a Nightingale," and "Ode on a Grecian Urn." Now, two hundred years later, an American scholar has written an exciting new book called Keats's Odes: A Lover's Discourse, in which she gathers and revisits the Great Odes, viewing them through a personal prism. Anahid Nersessian was born and grew up in New York City. She received her Ph.D. from the University of Chicago, and has taught at Columbia University and UCLA. Her first book, Utopia, Limited: Romanticism and Adjustment was published by Harvard University Press in 2015, and her second book, The Calamity Form: On Poetry and Social Life, by the University of Chicago in 2020. She lives in Los Angeles, CA. [This episode, presented without commercial interruption, was originally released on February 8, 2021.] Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's poem is, in may ways, the ode of odes. It has inspired volumes upon volumes of poetry and scholarship alike. And yet, it remains nothing more and nothing less than a humble and impassioned conversation with a work of beauty. Happy reading. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe