Podcasts about Joseph Brodsky

Abraham Gragera nos presenta La domesticación (Ed. Pre-Textos), su nuevo poemario, un libro con gran conciencia histórica y vocación colectiva que se pregunta -desde la perspectiva que ofrece la paternidad- cuánto margen existe para la insubordinación y que se publica veinte años después de su debut en la poesía con Adiós a la época de los grandes caracteres, libro muy influyente que también sale a relucir en la charla.Luego, Ignacio Elguero nos recuerda que aún está abierta la convocatoria para participar en el XVII Premio de Poesía Joven de RNE, además de proponernos otras lecturas: Los detectives salvajes, el clásico contemporáneo de Roberto Bolaño en la nueva edición de Alfaguara con ilustraciones de Luis Scafati y Guardé el anochecer en el cajón, poemario de la Premio Nobel surcoreana Han Kang que podemos leer en una traducción de Sunme Yoon para Lumen.Además, Sergio C. Fanjul nos habla de Proust, novela familiar (Ed. Anagrama) libro en el que la académica progresista Laure Murat entreteje la descripción de la peripecia vital y del ambiente en el que se movió el autor francés con su propia experiencia, muy vinculada a él, puesto que sus ancestros son mencionados en En busca del tiempo perdido. Terminamos Desmontando el poema con la ayuda de Mariano Peyrou, que en esta nueva entrega se recrea en uno de los Poemas escogidos que la editorial Siruela acaba de publicar en un volumen que recoge parte de la obra que el Nobel Joseph Brodsky produjo entre 1962 y 1996.Escuchar audio

It's a small world. The great David Rieff came to my San Francisco studio today for in person interview about his new anti-woke polemic Desire and Fate. And half way through our conversation, he brought up Daniel Bessner's This Is America piece which Bessner discussed on yesterday's show. I'm not sure what that tells us about wokeness, a subject which Rieff and I aren't in agreement. For him, it's the thing-in-itself which make sense of our current cultural malaise. Thus Desire and Fate, his attempt (with a great intro from John Banville) to wake us up from Wokeness. For me, it's a distraction. I've included the full transcript below. Lots of good stuff to chew on. Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. 5 KEY TAKEAWAYS * Rieff views "woke" ideology as primarily American and post-Protestant in nature, rather than stemming solely from French philosophy, emphasizing its connections to self-invention and subjective identity.* He argues that woke culture threatens high culture but not capitalism, noting that corporations have readily embraced a "baudlerized" version of identity politics that avoids class discussions.* Rieff sees woke culture as connected to the wellness movement, with both sharing a preoccupation with "psychic safety" and the metaphorical transformation of experience in which "words” become a form of “violence."* He suggests young people's material insecurity contributes to their focus on identity, as those facing bleak economic prospects turn inward when they "can't make their way in the world."* Rieff characterizes woke ideology as "apocalyptic but not pessimistic," contrasting it with his own genuine pessimism which he considers more realistic about human nature and more cheerful in its acceptance of life's limitations. FULL TRANSCRIPTAndrew Keen: Hello everybody, as we digest Trump 2.0, we don't talk that much these days about woke and woke ideology. There was a civil war amongst progressives, I think, on the woke front in 2023 and 2024, but with Donald Trump 2.0 and his various escapades, let's just talk these days about woke. We have a new book, however, on the threat of woke by my guest, David Rieff. It's called Desire and Fate. He wrote it in 2023, came out in late 2024. David's visiting the Bay Area. He's an itinerant man traveling from the East Coast to Latin America and Europe. David, welcome to Keen on America. Do you regret writing this book given what's happened in the last few months in the United States?David Rieff: No, not at all, because I think that the road to moral and intellectual hell is trying to censor yourself according to what you think is useful. There's a famous story of Jean Paul Sartre that he said to the stupefaction of a journalist late in his life that he'd always known about the gulag, and the journalist pretty surprised said, well, why didn't you say anything? And Sartre said so as not to demoralize the French working class. And my own view is, you know, you say what you have to say about this and if I give some aid and comfort to people I don't like, well, so be it. Having said that, I also think a lot of these woke ideas have their, for all of Trump's and Trump's people's fierce opposition to woke, some of the identity politics, particularly around Jewish identity seems to me not that very different from woke. Strangely they seem to have taken, for example, there's a lot of the talk about anti-semitism on college campuses involves student safety which is a great woke trope that you feel unsafe and what people mean by that is not literally they're going to get shot or beaten up, they mean that they feel psychically unsafe. It's part of the kind of metaphorization of experience that unfortunately the United States is now completely in the grips of. But the same thing on the other side, people like Barry Weiss, for example, at the Free Press there, they talk in the same language of psychic safety. So I'm not sure there's, I think there are more similarities than either side is comfortable with.Andrew Keen: You describe Woke, David, as a cultural revolution and you associated in the beginning of the book with something called Lumpen-Rousseauism. As we joked before we went live, I'm not sure if there's anything in Rousseau which isn't Lumpen. But what exactly is this cultural revolution? And can we blame it on bad French philosophy or Swiss French?David Rieff: Well, Swiss-French philosophy, you know exactly. There is a funny anecdote, as I'm sure you know, that Rousseau made a visit to Edinburgh to see Hume and there's something in Hume's diaries where he talks about Rousseau pacing up and down in front of the fire and suddenly exclaiming, but David Hume is not a bad man. And Hume notes in his acerbic way, Rousseau was like walking around without his skin on. And I think some of the woke sensitivity stuff is very much people walking around without their skin on. They can't stand the idea of being offended. I don't see it as much - of course, the influence of that version of cultural relativism that the French like Deleuze and Guattari and other people put forward is part of the story, but I actually see it as much more of a post-Protestant thing. This idea, in that sense, some kind of strange combination of maybe some French philosophy, but also of the wellness movement, of this notion that health, including psychic health, was the ultimate good in a secular society. And then the other part, which again, it seems to be more American than French, which is this idea, and this is particularly true in the trans movement, that you can be anything you want to be. And so that if you feel yourself to be a different gender, well, that's who you are. And what matters is your own subjective sense of these things, and it's up to you. The outside world has no say in it, it's what you feel. And that in a sense, what I mean by post-Protestant is that, I mean, what's the difference between Protestantism and Catholicism? The fundamental difference is, it seems to me, that in Roman Catholic tradition, you need the priest to intercede with God, whereas in Protestant tradition, it is, except for the Anglicans, but for most of Protestantism, it's you and God. And in that sense it seems to me there are more of what I see in woke than this notion that some of the right-wing people like Chris Rufo and others have that this is cultural French cultural Marxism making its insidious way through the institutions.Andrew Keen: It's interesting you talk about the Protestant ethic and you mentioned Hume's remark about Rousseau not having his skin on. Do you think that Protestantism enabled people to grow thick skins?David Rieff: I mean, the Calvinist idea certainly did. In fact, there were all these ideas in Protestant culture, at least that's the classical interpretation of deferred gratification. Capitalism was supposed to be the work ethic, all of that stuff that Weber talks about. But I think it got in the modern version. It became something else. It stopped being about those forms of disciplines and started to be about self-invention. And in a sense, there's something very American about that because after all you know it's the Great Gatsby. It's what's the famous sentence of F. Scott Fitzgerald's: there are no second acts in American lives.Andrew Keen: This is the most incorrect thing anyone's ever said about America. I'm not sure if he meant it to be incorrect, did he? I don't know.David Rieff: I think what's true is that you get the American idea, you get to reinvent yourself. And this notion of the dream, the dream become reality. And many years ago when I was spending a lot of time in LA in the late 80s, early 90s, at LAX, there was a sign from the then mayor, Tom Bradley, about how, you know, if you can dream it, it can be true. And I think there's a lot in identitarian woke idea which is that we can - we're not constricted by history or reality. In fact, it's all the present and the future. And so to me again, woke seems to me much more recognizable as something American and by extension post-Protestant in the sense that you see the places where woke is most powerful are in the other, what the encampment kids would call settler colonies, Australia and Canada. And now in the UK of course, where it seems to me by DI or EDI as they call it over there is in many ways stronger in Britain even than it was in the US before Trump.Andrew Keen: Does it really matter though, David? I mean, that's my question. Does it matter? I mean it might matter if you have the good or the bad fortune to teach at a small, expensive liberal arts college. It might matter with some of your dinner parties in Tribeca or here in San Francisco, but for most people, who cares?David Rieff: It doesn't matter. I think it matters to culture and so what you think culture is worth, because a lot of the point of this book was to say there's nothing about woke that threatens capitalism, that threatens the neo-liberal order. I mean it's turning out that Donald Trump is a great deal bigger threat to the neoliberal order. Woke was to the contrary - woke is about talking about everything but class. And so a kind of baudlerized, de-radicalized version of woke became perfectly fine with corporate America. That's why this wonderful old line hard lefty Adolph Reed Jr. says somewhere that woke is about diversifying the ruling class. But I do think it's a threat to high culture because it's about equity. It's about representation. And so elite culture, which I have no shame in proclaiming my loyalty to, can't survive the woke onslaught. And it hasn't, in my view. If you look at just the kinds of books that are being written, the kinds of plays that are been put on, even the opera, the new operas that are being commissioned, they're all about representing the marginalized. They're about speaking for your group, whatever that group is, and doing away with various forms of cultural hierarchy. And I'm with Schoenberg: if it's for everybody, if it's art, Schoenberg said it's not for everybody, and if it's for everybody it's not art. And I think woke destroys that. Woke can live with schlock. I'm sorry, high culture can live with schlock, it always has, it always will. What it can't live with is kitsch. And by which I mean kitsch in Milan Kundera's definition, which is to have opinions that you feel better about yourself for holding. And that I think is inimical to culture. And I think woke is very destructive of those traditions. I mean, in the most obvious sense, it's destructive of the Western tradition, but you know, the high arts in places like Japan or Bengal, I don't think it's any more sympathetic to those things than it is to Shakespeare or John Donne or whatever. So yeah, I think it's a danger in that sense. Is it a danger to the peace of the world? No, of course not.Andrew Keen: Even in cultural terms, as you explain, it is an orthodoxy. If you want to work with the dominant cultural institutions, the newspapers, the universities, the publishing houses, you have to play by those rules, but the great artists, poets, filmmakers, musicians have never done that, so all it provides, I mean you brought up Kundera, all it provides is something that independent artists, creative people will sneer at, will make fun of, as you have in this new book.David Rieff: Well, I hope they'll make fun of it. But on the other hand, I'm an old guy who has the means to sneer. I don't have to please an editor. Someone will publish my books one way or another, whatever ones I have left to write. But if you're 25 years old, maybe you're going to sneer with your pals in the pub, but you're gonna have to toe the line if you want to be published in whatever the obvious mainstream place is and you're going to be attacked on social media. I think a lot of people who are very, young people who are skeptical of this are just so afraid of being attacked by their peers on various social media that they keep quiet. I don't know that it's true that, I'd sort of push back on that. I think non-conformists will out. I hope it's true. But I wonder, I mean, these traditions, once they die, they're very hard to rebuild. And, without going full T.S. Eliot on you, once you don't think you're part of the past, once the idea is that basically, pretty much anything that came before our modern contemporary sense of morality and fairness and right opinion is to be rejected and that, for example, the moral character of the artist should determine whether or not the art should be paid attention to - I don't know how you come back from that or if you come back from that. I'm not convinced you do. No, other arts will be around. And I mean, if I were writing a critical review of my own book, I'd say, look, this culture, this high culture that you, David Rieff, are writing an elegy for, eulogizing or memorializing was going to die anyway, and we're at the beginning of another Gutenbergian epoch, just as Gutenberg, we're sort of 20 years into Marshall McLuhan's Gutenberg galaxy, and these other art forms will come, and they won't be like anything else. And that may be true.Andrew Keen: True, it may be true. In a sense then, to extend that critique, are you going full T.S. Eliot in this book?David Rieff: Yeah, I think Eliot was right. But it's not just Eliot, there are people who would be for the wokesters more acceptable like Mandelstam, for example, who said you're part of a conversation that's been going on long before you were born, that's going to be going on after you are, and I think that's what art is. I think the idea that we make some completely new thing is a childish fantasy. I think you belong to a tradition. There are periods - look, this is, I don't find much writing in English in prose fiction very interesting. I have to say I read the books that people talk about because I'm trying to understand what's going on but it doesn't interest me very much, but again, there have been periods of great mediocrity. Think of a period in the late 17th century in England when probably the best poet was this completely, rightly, justifiably forgotten figure, Colley Cibber. You had the great restoration period and then it all collapsed, so maybe it'll be that way. And also, as I say, maybe it's just as with the print revolution, that this new culture of social media will produce completely different forms. I mean, everything is mortal, not just us, but cultures and civilizations and all the rest of it. So I can imagine that, but this is the time I live in and the tradition I come from and I'm sorry it's gone, and I think what's replacing it is for the most part worse.Andrew Keen: You're critical in the book of what you, I'm quoting here, you talk about going from the grand inquisitor to the grand therapist. But you're very critical of the broader American therapeutic culture of acute sensitivity, the thin skin nature of, I guess, the Rousseau in this, whatever, it's lumpen Rousseauanism. So how do you interpret that without psychologizing, or are you psychologizing in the book? How are you making sense of our condition? In other words, can one critique criticize therapeutic culture without becoming oneself therapeutic?David Rieff: You mean the sort of Pogo line, we've met the enemy and it is us. Well, I suppose there's some truth to that. I don't know how much. I think that woke is in some important sense a subset of the wellness movement. And the wellness movement after all has tens and tens of millions of people who are in one sense or another influenced by it. And I think health, including psychic health, and we've moved from wellness as corporal health to wellness as being both soma and psyche. So, I mean, if that's psychologizing, I certainly think it's drawing the parallel or seeing woke in some ways as one of the children of the god of wellness. And that to me, I don't know how therapeutic that is. I think it's just that once you feel, I'm interested in what people feel. I'm not necessarily so interested in, I mean, I've got lots of opinions, but what I think I'm better at than having opinions is trying to understand why people think what they think. And I do think that once health becomes the ultimate good in a secular society and once death becomes the absolutely unacceptable other, and once you have the idea that there's no real distinction of any great validity between psychic and physical wellness, well then of course sensitivity to everything becomes almost an inevitable reaction.Andrew Keen: I was reading the book and I've been thinking about a lot of movements in America which are trying to bring people together, dealing with America, this divided America, as if it's a marriage in crisis. So some of the most effective or interesting, I think, thinkers on this, like Arlie Hochschild in Berkeley, use the language of therapy to bring or to try to bring America back together, even groups like the Braver Angels. Can therapy have any value or that therapeutic culture in a place like America where people are so bitterly divided, so hateful towards one another?David Rieff: Well, it's always been a country where, on the one hand, people have been, as you say, incredibly good at hatred and also a country of people who often construe themselves as misfits and heretics from the Puritans forward. And on the other hand, you have that small-town American idea, which sometimes I think is as important to woke and DI as as anything else which is that famous saying of small town America of all those years ago which was if you don't have something nice to say don't say anything at all. And to some extent that is, I think, a very powerful ancestor of these movements. Whether they're making any headway - of course I hope they are, but Hochschild is a very interesting figure, but I don't, it seems to me it's going all the other way, that people are increasingly only talking to each other.Andrew Keen: What this movement seems to want to do is get beyond - I use this word carefully, I'm not sure if they use it but I'm going to use it - ideology and that we're all prisoners of ideology. Is woke ideology or is it a kind of post-ideology?David Rieff: Well, it's a redemptive idea, a restorative idea. It's an idea that in that sense, there's a notion that it's time for the victims, for the first to be last and the last to be first. I mean, on some level, it is as simple as that. On another level, as I say, I do think it has a lot to do with metaphorization of experience, that people say silence is violence and words are violence and at that point what's violence? I mean there is a kind of level to me where people have gotten trapped in the kind of web of their own metaphors and now are living by them or living shackled to them or whatever image you're hoping for. But I don't know what it means to get beyond ideology. What, all men will be brothers, as in the Beethoven-Schiller symphony? I mean, it doesn't seem like that's the way things are going.Andrew Keen: Is the problem then, and I'm thinking out loud here, is the problem politics or not enough politics?David Rieff: Oh, I think the problem is that now we don't know, we've decided that everything is part, the personal is the political, as the feminists said, 50, 60 years ago. So the personal's political, so the political is the personal. So you have to live the exemplary moral life, or at least the life that doesn't offend anybody or that conforms to whatever the dominant views of what good opinions are, right opinions are. I think what we're in right now is much more the realm of kind of a new set of moral codes, much more than ideology in the kind of discrete sense of politics.Andrew Keen: Now let's come back to this idea of being thin-skinned. Why are people so thin-skinned?David Rieff: Because, I mean, there are lots of things to say about that. One thing, of course, that might be worth saying, is that the young generations, people who are between, let's say, 15 and 30, they're in real material trouble. It's gonna be very hard for them to own a house. It's hard for them to be independent and unless the baby boomers like myself will just transfer every penny to them, which doesn't seem very likely frankly, they're going to live considerably worse than generations before. So if you can't make your way in the world then maybe you make your way yourself or you work on yourself in that sort of therapeutic sense. You worry about your own identity because the only place you have in the world in some way is yourself, is that work, that obsession. I do think some of these material questions are important. There's a guy you may know who's not at all woke, a guy who teaches at the University of Washington called Danny Bessner. And I just did a show with him this morning. He's a smart guy and we have a kind of ironic correspondence over email and DM. And I once said to him, why are you so bitter about everything? And he said, you want to know why? Because I have two children and the likelihood is I'll never get a teaching job that won't require a three hour commute in order for me to live anywhere that I can afford to live. And I thought, and he couldn't be further from woke, he's a kind of Jacobin guy, Jacobin Magazine guy, and if he's left at all, it's kind of old left, but I think a lot of people feel that, that they feel their practical future, it looks pretty grim.Andrew Keen: But David, coming back to the idea of art, they're all suited to the world of art. They don't have to buy a big house and live in the suburbs. They can become poets. They can become filmmakers. They can put their stuff up on YouTube. They can record their music online. There are so many possibilities.David Rieff: It's hard to monetize that. Maybe now you're beginning to sound like the people you don't like. Now you're getting to sound like a capitalist.Andrew Keen: So what? Well, I don't care if I sound like a capitalist. You're not going to starve to death.David Rieff: Well, you might not like, I mean, it's fine to be a barista at 24. It's not so fine at 44. And are these people going to ever get out of this thing? I don't know. I wonder. Look, when I was starting as a writer, as long as you were incredibly diligent, and worked really hard, you could cobble together at least a basic living by accepting every assignment and people paid you bits and bobs of money, but put together, you could make a living. Now, the only way to make money, unless you're lucky enough to be on staff of a few remaining media outlets that remain, is you have to become an impresario, you have become an entrepreneur of your own stuff. And again, sure, do lots of people manage that? Yeah, but not as many as could have worked in that other system, and look at the fate of most newspapers, all folding. Look at the universities. We can talk about woke and how woke destroyed, in my view anyway, a lot of the humanities. But there's also a level in which people didn't want to study these things. So we're looking at the last generation in a lot places of a lot of these humanities departments and not just the ones that are associated with, I don't know, white supremacy or the white male past or whatever, but just the humanities full stop. So I know if that sounds like, maybe it sounds like a capitalist, but maybe it also sounds like you know there was a time when the poets - you know very well, poets never made a living, poets taught in universities. That's the way American poets made their money, including pretty famous poets like Eric Wolcott or Joseph Brodsky or writers, Toni Morrison taught at Princeton all those years, Joyce Carol Oates still alive, she still does. Most of these people couldn't make a living of their work and so the university provided that living.Andrew Keen: You mentioned Barry Weiss earlier. She's making a fortune as an anti-woke journalist. And Free Press seems to be thriving. Yascha Mounk's Persuasion is doing pretty well. Andrew Sullivan, another good example, making a fortune off of Substack. It seems as if the people willing to take risks, Barry Weiss leaving the New York Times, Andrew Sullivan leaving everything he's ever joined - that's...David Rieff: Look, are there going to be people who thrive in this new environment? Sure. And Barry Weiss turns out to be this kind of genius entrepreneur. She deserves full credit for that. Although even Barry Weiss, the paradox for me of Barry Weiss is, a lot of her early activism was saying that she felt unsafe with these anti-Israeli teachers at Columbia. So in a sense, she was using some of the same language as the woke use, psychic safety, because she didn't mean Joseph Massad was gonna come out from the blackboard and shoot her in the eye. She meant that she was offended and used the language of safety to describe that. And so in that sense, again, as I was saying to you earlier, I think there are more similarities here. And Trump, I think this is a genuine counterrevolution that Trump is trying to mount. I'm not very interested in the fascism, non-fascism debate. I'm rather skeptical of it.Andrew Keen: As Danny Bessner is. Yeah, I thought Danny's piece about that was brilliant.David Rieff: We just did a show about it today, that piece about why that's all rubbish. I was tempted, I wrote to a friend that guy you may know David Bell teaches French history -Andrew Keen: He's coming on the show next week. Well, you see, it's just a little community of like-minded people.David Rieff: There you go. Well, I wrote to David.Andrew Keen: And you mentioned his father in the book, Daniel.David Rieff: Yeah, well, his father is sort of one of the tutelary idols of the book. I had his father and I read his father and I learned an enormous amount. I think that book about the cultural contradictions of capitalism is one of the great prescient books about our times. But I wrote to David, I said, I actually sent him the Bessner piece which he was quite ambivalent about. But I said well, I'm not really convinced by the fascism of Trump, maybe just because Hitler read books, unlike Donald Trump. But it's a genuine counterrevolution. And what element will change the landscape in terms of DI and woke and identitarianism is not clear. These people are incredibly ambitious. They really mean to change this country, transform it.Andrew Keen: But from the book, David, Trump's attempts to cleanse, if that's the right word, the university, I would have thought you'd have rather admired that, all these-David Rieff: I agree with some of it.Andrew Keen: All these idiots writing the same article for 30 years about something that no one has any interest in.David Rieff: I look, my problem with Trump is that I do support a lot of that. I think some of the stuff that Christopher Rufo, one of the leading ideologues of this administration has uncovered about university programs and all of this crap, I think it's great that they're not paying for it anymore. The trouble is - you asked me before, is it that important? Is culture important compared to destroying the NATO alliance, blowing up the global trade regime? No. I don't think. So yeah, I like a lot of what they're doing about the university, I don't like, and I am very fiercely opposed to this crackdown on speech. That seems to be grotesque and revolting, but are they canceling supporting transgender theater in Galway? Yeah, I think it's great that they're canceling all that stuff. And so I'm not, that's my problem with Trump, is that some of that stuff I'm quite unashamedly happy about, but it's not nearly worth all the damage he's doing to this country and the world.Andrew Keen: Being very generous with your time, David. Finally, in the book you describe woke as, and I thought this was a very sharp way of describing it, describe it as being apocalyptic but not pessimistic. What did you mean by that? And then what is the opposite of woke? Would it be not apocalyptic, but cheerful?David Rieff: Well, I think genuine pessimists are cheerful, I would put myself among those. The model is Samuel Beckett, who just thinks things are so horrible that why not be cheerful about them, and even express one's pessimism in a relatively cheerful way. You remember the famous story that Thomas McCarthy used to tell about walking in the Luxembourg Gardens with Beckett and McCarthy says to him, great day, it's such a beautiful day, Sam. Beckett says, yeah, beautiful day. McCarthy says, makes you glad to be alive. And Beckett said, oh, I wouldn't go that far. And so, the genuine pessimist is quite cheerful. But coming back to woke, it's apocalyptic in the sense that everything is always at stake. But somehow it's also got this reformist idea that cultural revolution will cleanse away the sins of the supremacist patriarchal past and we'll head for the sunny uplands. I think I'm much too much of a pessimist to think that's possible in any regime, let alone this rather primitive cultural revolution called woke.Andrew Keen: But what would the opposite be?David Rieff: The opposite would be probably some sense that the best we're going to do is make our peace with the trash nature of existence, that life is finite in contrast with the wellness people who probably have a tendency towards the apocalyptic because death is an insult to them. So everything is staving off the bad news and that's where you get this idea that you can, like a lot of revolutions, you can change the nature of people. Look, the communist, Che Guevara talked about the new man. Well, I wonder if he thought it was so new when he was in Bolivia. I think these are - people need utopias, this is one of them, MAGA is another utopia by the way, and people don't seem to be able to do without them and that's - I wish it were otherwise but it isn't.Andrew Keen: I'm guessing the woke people would be offended by the idea of death, are they?David Rieff: Well, I think the woke people, in this synchronicity, people and a lot of people, they're insulted - how can this happen to me, wonderful me? And this is those jokes in the old days when the British could still be savage before they had to have, you know, Henry the Fifth be played by a black actor - why me? Well, why not you? That's just so alien to and it's probably alien to the American idea. You're supposed to - it's supposed to work out and the truth is it doesn't work out. But La Rochefoucauld says somewhere no one can stare for too long at death or the sun and maybe I'm asking too much.Andrew Keen: Maybe only Americans can find death unacceptable to use one of your words.David Rieff: Yes, perhaps.Andrew Keen: Well, David Rieff, congratulations on the new book. Fascinating, troubling, controversial as always. Desire and Fate. I know you're writing a book about Oppenheimer, very different kind of subject. We'll get you back on the show to talk Oppenheimer, where I guess there's not going to be a lot of Lumpen-Rousseauism.David Rieff: Very little, very little love and Rousseau in the quantum mechanics world, but thanks for having me.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Hoy empezamos con Teresa Valero nos presenta Contrapaso. Mayores con reparo (Norma Editorial), la esperada segunda parte de su aclamado cómic, un retrato de la España franquista donde emoción, denuncia social y suspense van de la mano.En Verso Suelto, Abraham Boba nos trae Poemas escogidos 1962-1996 (Ediciones Siruela), una selección esencial de la poesía de Joseph Brodsky.Nos adentramos en Mariem, el cortometraje documental de Javier Corcuera, que cuenta la historia de un pueblo expulsado de su tierra a través de la música.Y en Rosa por el mundo, visitamos el espacio Obliquo para conocer más sobre Pacifier, la pieza audiovisual de Gary Hill, junto a su comisario Mario Gutiérrez Cru.Escuchar audio

Llega el turno de Abraham Boba y su 'Verso Suelto'. Hoy nos recita algunos de los poemas de ‘Poemas escogidos 1962-1996’ de Joseph Brodsky editado por Ediciones Siruela.Una antología que recoge una muestra esencial de la poesía de Brodsky.Escuchar audio

https://disk.yandex.ru/d/bMlPrko2bnZImAhttps://vk.com/interculturalruen?w=wall-8630238_3417https://omdarutv.blogspot.com/2025/01/christmas-poems-by-joseph-brodsky-rus.html

Hey there, hero!Putting your creations out there for the world to see can feel like an act of bravery, and some people get ready for a bit of criticism.And they might be looking for a way to deal with that criticism.I say, be like Joe.Joseph Brodsky the writer/poet, that is.After a recent video I released was posted about creating my Narrate Your Own Book course, I got an odd response from a listener about how everything I teach...can be found, for free, on YouTube.How I reacted (or didn't react) to that was pure Joe. And I thought maybe it would be useful to you, too.How do you react to criticism of your work from friends, family, casting, unknown audience members, readers, editors etc? Is it painful or easy? Or something in-between? Let me know in the comments below.REQUEST: Please join this video's conversation on VOHeroes, where the comments are moderated and civil:LINK TO FULL PODCAST EPISODE: https://voheroes.com/deal-with-criticism-just-like-joe/#Acting #Voice #VoiceOver #Performance #Productivity #Tips #Art #Commerce #Science #Mindset #Success #Process #Options #BestPractices #MarketingWant to be a better VO talent, actor or author? Here's how I can help you......become a VO talent (or a more successful one): https://voheroes.com/start ...become an audiobook narrator on ACX (if you're an actor or VO talent): https://acxmasterclass.com/ ...narrate your own book (if you're an author): https://narrateyourownbook.com/ ...have the most effective pop filter (especially for VO talent): https://mikesock.com/ ...be off-book faster for on-camera auditions and work (memorize your lines): https://rehearsal.pro/...master beautiful audiobook and podcast audio in one drag and drop move on your Mac: https://audiocupcake.com/ The VOHeroes Podcast is heroically built with: BuddyBoss (site platform and theme) LearnDash (learning management) DreamHost (website hosting) SamCart (ecommerce and affiliate platform) ...

Gast: Bettie van Haaster, schilder. Toen Bettie van Haaster eens, lang geleden, dichter Joseph Brodsky na een lezing vroeg hoe hij aan een gedicht begint, antwoordde hij: ”To and fro. To and fro”. Voor de gespitste, sensibele geest van de jonge kunstenaar speelt de begrenzing van een discipline geen rol. Het eenvoudige, wat cryptische antwoord van de dichter was voor Van Haaster helder en direct. Het gaf haar een leidend inzicht in haar eigen werkwijze, een inzicht dat ook vandaag nog de orde bepaalt in haar studio. Robert van Altena bezoekt voor deze uitzending* Bettie van Haaster in haar studio voor een gesprek over een serie werken op papier en over 'Vlinder' een gedicht van Joseph Brodsky. In het voorjaar van 2020 toonde galerie Albada Jelgersma onder de titel 7 x 7 over een periode van 7 weken iedere week het werk van van een andere kunstenaar. Bettie van Haaster liet daarin een serie van veertien werken op papier zien. Alle werken hingen in één lijn, te lezen van links naar rechts. Daartegenover op de lange wand een enkel schilderij. Afhangend van het plafond en zich voor de werken langs uitstrekkend over de vloer een lange en tamelijk brede strook doorschijnend Chinees papier met daarop het door de kunstenaar met een rietpen en Oost-Indische inkt geschreven gedicht van Joseph Brodsky. Een Nederlandse vertaling van het gedicht is te vinden op de voortreffelijke website Digitale Bibliotheek voor de Nederlandse Letteren: https://www.dbnl.org/tekst/_rev002198801_01/_rev002198801_01_0077.php *Dit gesprek werd eerder uitgezonden op 2 maart 2020 Afbeelding (detail): Bettie van Haaster, 'Vlinder' (2020), Oost-Indische inkt op papier, 21 x 29cm SPRINGVOSSEN
 redactie + presentatie: Robert van Altena
 contact: springvossen[at]gmail.com
 
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Écrivain et journaliste, Thierry Clermont est l'auteur entre autres de «San Michele» (Le Seuil, 2014), prix Méditerranée essai, de «Barroco Bordello» (Le Seuil, 2020) et de «Long Island, Baby» (Stock, 2022). À l'occasion de la publication de son nouveau livre «Vilna Tango» (Stock) qui parait en même temps que la saison de la Lituanie en France, je vous propose une rencontre sur place à Vilnius avec l'auteur à la découverte de la capitale balte. « Mais pourquoi donc la Lituanie ? Et pas, que sais-je, Terre-Neuve, Java ou bien l'Islande ? » « Peut-être tout simplement me rapprocher du coeur de l'Europe... Du coeur battant de son histoire. »En bouclant son tour des pays baltes, le narrateur découvre Vilnius, capitale baroque de la Lituanie, et tombe amoureux de ce pays marqué au fer rouge par la Shoah et un demi-siècle d'occupation soviétique. Au fil des pages et de ses pérégrinations, dans les rues blanchies par la neige de celle qu'on a appelée Vilna ou Wilno, le lecteur croise le courageux fantôme du « Rossignol du ghetto », une chanteuse juive exterminée par les SS, Romain Gary, le poète russe Joseph Brodsky, Leonard Cohen, une jeune artiste de street art ou encore des réfugiées ukrainiennes, et des souvenirs de lecture ainsi que des airs yiddish ravivent la mémoire de la « Jérusalem du Nord ».Thierry Clermont livre un récit de voyage empreint de poésie et lève le voile sur l'histoire d'un pays méconnu, alors que la menace russe se fait de plus en plus pressante à sa frontière. (Présentation des éditions Stock)

POST FACE – Caroline Gutmann Elle reçoit Thierry Clermont pour "Vilna Tango" chez Stock À propos du livre : « Vilna Tango » paru aux éditions Stock « Mais pourquoi donc la Lituanie ? Et pas, que sais-je, Terre-Neuve, Java ou bien l'Islande ? » « Peut-être tout simplement me rapprocher du cœur de l'Europe... Du cœur battant de son histoire. » En bouclant son tour des pays Baltes, le narrateur découvre Vilnius, capitale baroque de la Lituanie, et tombe amoureux de ce pays marqué au fer rouge par la Shoah et un demi-siècle d'occupation soviétique. Au fil des pages et de ses pérégrinations, dans les rues blanchies par la neige de celle qu'on a appelée Vilna ou Wilno, le lecteur croise le courageux fantôme du « Rossignol du ghetto », une chanteuse juive exterminée par les SS, Romain Gary, le poète russe Joseph Brodsky, Leonard Cohen, une jeune artiste de street art ou encore des réfugiées ukrainiennes, et des souvenirs de lecture ainsi que des airs yiddish ravivent la mémoire de la « Jérusalem du Nord ». Thierry Clermont livre un récit de voyage empreint de poésie et lève le voile sur l'histoire d'un pays méconnu, alors que la menace russe se fait de plus en plus pressante à sa frontière. Écrivain et journaliste, Thierry Clermont est l'auteur entre autres de San Michele (Le Seuil, 2014), prix Méditerranée essai, de Barroco Bordello (Le Seuil, 2020) et de Long Island, Baby (Stock, 2022).

Cosa succede se si ha la fortuna di tradurre i versi tanto amati di un poeta apprezzato in tutto il mondo? Ne parliamo con Matteo Campagnoli, traduttore di Derek Walcott, a partire dall'ultima raccolta del poeta caraibico, Egrette bianche. In questo libro dai toni elegiaci si affollano ricordi, descrizioni di luoghi e figure amiche, come il poeta russo Joseph Brodsky, “anima serafica”, e prezioso interlocutore.  L'amicizia, dono della vita, diventa un tema centrale nella riflessione di un poeta anziano, che ha un acuto presentimento di avvicinarsi alla fine, eppure non smette di sorprendere con la forza delle immagini e del ritmo.Mahogany © 2024 by Giovanni Cascavilla is licensed under Creative Commons Attribution-NoDerivatives 4.0 International. To view a copy of this license, visit https://creativecommons.org/licenses/by-nd/4.0/

  Adriaan en Simon bespreken onder meer: (g)een medisch bulletin / een uitgebreid verslag van de Biënnale van Venetië / met de lola-borstel het graf van Tine, de weduwe van Multatuli, schoonmaken / het poëtisch intermezzo met Joseph Brodsky en Ezra Pound / luisteraars bieden hulp aan / Simon ontmoette een engel / Adriaan schrijft aan een essay over koffers   Schrijvers van dienst: Multatuli / Nelleke Noordervliet / Harry Mulisch / Ernest Hemingway   Storytel sponsort deze aflevering. Maak gebruik van het aanbod voor luisteraars van de podcast om Storytel 30 dagen gratis te proberen. Ga naar: www.story.tel/vandis   Simon interviewt de Duitse schrijver Bernard Schlink in boekhandel Donner te Rotterdam op 26 september: https://www.donner.nl/interview-bernhard-schlink-over-zijn-roman-het-late-leven   Wil je een vraag stellen of reageren? Mail het aan: vandis@atlascontact.nl   Een optreden van Adriaan bijwonen? Data, tijden, kaartverkoop: https://www.adriaanvandis.nl/agenda/   Van Dis Ongefilterd wordt gemaakt door Adriaan van Dis, Simon Dikker Hupkes en Bart Jeroen Kiers.  Montage: Sten Govers (van Thinium Audioboekproducties).    Volg de uitgeverij op Instagram: @atlascontact Website: www.atlascontact.nl © 2024 Atlas Contact | Adriaan van DisSee omnystudio.com/listener for privacy information.

Richard Wilbur was born in New York City on March 1, 1921 and studied at Amherst College before serving in the U.S. Army during World War II. He later attended Harvard University.Wilbur's first book of poems, The Beautiful Changes and Other Poems (Reynal & Hitchcock) was published in 1947. Since then, he has published several books of poems, including Anterooms: New Poems and Translations (Houghton Mifflin Harcourt, 2010); Collected Poems, 1943–2004 (Harvest Books, 2004); Mayflies: New Poems and Translations (Houghton Mifflin Harcourt, 2000); New and Collected Poems (Harcourt Brace Jovanovich, 1988), which won the Pulitzer Prize; The Mind-Reader: New Poems (Harcourt Brace Jovanovich, 1976); Walking to Sleep: New Poems and Translations (Harcourt, Brace & World, 1969); Advice to a Prophet and Other Poems (Harcourt, Brace & World, 1961); Things of This World (Harcourt, Brace & World, 1956), for which he received the Pulitzer Prize and the National Book Award; and Ceremony and Other Poems (Harcourt, Brace & World, 1950).Wilbur also published numerous translations of French plays—specifically those of the seventeenth century French dramatists Molière and Jean Racine—as well as poetry by Paul Valéry, François Villon, Charles Baudelaire, Anna Akhmatova, Joseph Brodsky, and others. Wilbur is also the author of several books for children and a few collections of prose pieces, and has edited such books as Poems of Shakespeare (Penguin Books, 1966) and The Complete Poems of Poe (Dell Publishing Company, 1959).About Wilbur's poems, one reviewer for the Washington Post said, “Throughout his career Wilbur has shown, within the compass of his classicism, enviable variety. His poems describe fountains and fire trucks, grasshoppers and toads, European cities and country pleasures. All of them are easy to read, while being suffused with an astonishing verbal music and a compacted thoughtfulness that invite sustained reflection.”Among Wilbur's honors are the Wallace Stevens Award, the Aiken Taylor Award for Modern American Poetry, the Frost Medal, the Gold Medal for Poetry from the American Academy of Arts and Letters, two Bollingen Prizes, the T. S. Eliot Award, the Ruth Lilly Poetry Prize, a Ford Foundation Award, two Guggenheim Fellowships, the Edna St. Vincent Millay Memorial Award, the Harriet Monroe Poetry Award, the National Arts Club medal of honor for literature, two PEN translation awards, the Prix de Rome Fellowship, and the Shelley Memorial Award. He was elected a chevalier of the Ordre des Palmes Académiques and is a former poet laureate of the United States.Wilbur served as a Chancellor of the Academy of American Poets from 1961 to 1995. He died on October 15, 2017 in Belmont, Massachusetts.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

ESSENTIEL, les rendez-vous du jeudi – Un monde de livres présenté par Josyane Savigneau. Elle reçoit Thierry Clermont pour son livre "Vilna Tango" paru aux éditions Stock et Gilles Rozier qui a traduit et publié aux éditions de l'Antilope des livres sur le sujet. À propos du livre : « Vilna Tango » paru aux éditions Stock « Mais pourquoi donc la Lituanie ? Et pas, que sais-je, Terre-Neuve, Java ou bien l'Islande ? » « Peut-être tout simplement me rapprocher du cœur de l'Europe... Du cœur battant de son histoire. » En bouclant son tour des pays Baltes, le narrateur découvre Vilnius, capitale baroque de la Lituanie, et tombe amoureux de ce pays marqué au fer rouge par la Shoah et un demi-siècle d'occupation soviétique. Au fil des pages et de ses pérégrinations, dans les rues blanchies par la neige de celle qu'on a appelée Vilna ou Wilno, le lecteur croise le courageux fantôme du « Rossignol du ghetto », une chanteuse juive exterminée par les SS, Romain Gary, le poète russe Joseph Brodsky, Leonard Cohen, une jeune artiste de street art ou encore des réfugiées ukrainiennes, et des souvenirs de lecture ainsi que des airs yiddish ravivent la mémoire de la « Jérusalem du Nord ». Thierry Clermont livre un récit de voyage empreint de poésie et lève le voile sur l'histoire d'un pays méconnu, alors que la menace russe se fait de plus en plus pressante à sa frontière. Écrivain et journaliste, Thierry Clermont est l'auteur entre autres de San Michele (Le Seuil, 2014), prix Méditerranée essai, de Barroco Bordello (Le Seuil, 2020) et de Long Island, Baby (Stock, 2022).

"Schoonheid kun je niet najagen, het is altijd een bijproduct van andere, vaak gewone ondernemingen"- Stine vertelt over deze levenswijsheid van de Russische dichter Joseph Brodsky.

Em cada dia, Luís Caetano propõe um poema na voz de quem o escreveu.

Episode 29: Join me as I chat with Rita Ispayeva, an Astrologer based in Brooklyn, who I connected with via @sighwoon's Discord community. Rita brings a fascinating family background rooted in centuries of Russian history, richly intertwined with Russian arts, culture, and politics.Topics include: Russian poetry, gulags, Romani culture, fortune telling, witchery, generational legacies, immigration, Brooklyn mafia, studying astrology, Russian Orthodoxy, performance art, rebellion, Joseph Brodsky, and much more. Listen to full episodes at patreon.com/ineedgod Hosted on Acast. See acast.com/privacy for more information.

Ann Kjellberg founded Book Post, a newsletter-based book review, in 2018. Book Post publishes short book reviews by distinguished figures in literature, history, science, social sciences, and the arts. Kjellberg also reports for Book Post on the book industry, journalism, and the state of writing and ideas. Her essays have appeared in The New York Review of Books, The Observer, The Browser, and LitHub. She was on the editorial staff of the New York Review of Books from 1988 to 2017, and from 1985 to 1987 she was an editor at Farrar, Straus & Giroux. She is the literary executor of the poet Joseph Brodsky and editor of several editions of his work. She  founded the literary magazine Little Star and has taught literary journalism at Bryn Mawr College. The Short Fuse Podcast  hosted and produced by Elizabeth Howard, are conversations with artists, writers, musicians, and others who have a lens on contemporary thought and stir us to seek change. With their art, their music, their performances, and their vision they lead us through the social and environmental transformations sweeping across the globe.“Artists are here to disturb the peace.” James Baldwin.The Short Fuse is distributed through the Arts Fuse, a journal of arts criticism and commentary.Alex Waters is the technical producer, audio editor and engineer for the Short Fuse Podcast. He is a music producer and a student at Berklee College of Music. He has written and produced music and edited for podcasts including The Faith and Chai Podcast and Con Confianza. He writes, produces and records music for independent artists, including The Living.  He lives in Brooklyn can can be reached at alexwatersmusic12@gmail.com with inquiries. 

Que bom que foi receber a Laurinda, uma mulher interessante, interessada, genuína, escrevedora e excelente leitora. Quando gosta de um autor, tem de ler tudo. Esta a outras curiosidades para ouvirem nesta conversa maravilhosa. Os livros que escolheu mas, se desse, seriam tantos mais: Entretiens avec Anna Akhmatova, Lydia Tchoukovskaïa; Loin De Byzance (em inglês: “Less than one”), Joseph Brodsky; Tudo que Existe Louvará, Antologia de Adélia Prado; Os Romances de Machado de Assis (Antologia); As Memórias de Adriano, Marguerite Yourcenar; A Poesia de Sophia. Outros textos de Brodsky que referiu: A Arte da Distância; Uma assoalhada e meia. Outros autores/obras referidos: O quarteto de Alexandria, Lawrence Durrell; O silêncio na era do ruído, Erling Kagge; Mia Couto; Novalis. Frase de Sophia: “Quando eu morrer voltarei para buscar todos os instantes que não vivi junto ao mar.” Alguns dos que escreveu: Quero acreditar; Juntos estamos melhor; Nunca estamos sós; Eu tu e os outros; Xis ideias para pensar. Recomendei: Balada para Sophie, Filipe Melo e Juan Cavia; O que ofereci: Poesia, Luiza Neto Jorge.

MÅNADENS DIKTARE (JULI) ÖVERSÄTTNING: Annika Bäckström UPPLÄSNING: Sofia Berg-Böhm Marina Tsvetajeva (1892-1941) debuterade i en värld och skrev en stor del av sina dikter i en helt annan. Född i Moskva som dotter till en professor i konsthistoria och en konsertpianist kunde hon studera och lära sig språk i Schweiz och Frankrike, och hon var bara 18 år när hennes första diktsamling ”Kvällsalbum” publicerades 1910. Den väckte genast uppmärksamhet. I en tid då det vimlade av olika litterära grupperingar, som symbolister, futurister och akmeister, var hennes poesi något alldeles för sig: djärv, kompromisslös, både högstämt romantisk och experimentell. ”Poeten har inget modersmål”, menade Tsvetajeva, och ”Det spelar ingen roll på vilket språk jag inte blir förstådd”.Hennes vuxna liv präglades av fattigdom och tragedier. Under stora umbäranden genomlevde hon ryska revolutionen i Moskva. Hennes treåriga dotter Irina dog av svält 1920. Efter närmare två decenniers exil i Europa återvände Tsvetajeva till Sovjetunionen 1939, där hennes dotter Ariadna skulle komma att arresteras och hennes make Sergej Efron avrättas. Själv begick hon självmord i Tatarstan 1941. På 60-talet började hennes författarskap återupptäckas och idag räknas hon till de största ryska modernisterna. För Joseph Brodsky var hon den allra främsta – det ryska 1900-talets mest passionerade röst.DIKT: "För mina dikter..." av Marina Tsvetajeva (1913)DIKTSAMLING: Med gröna ögon (Akvilon 2010)MUSIK:Theodor Leschetizky: BerceuseEXEKUTÖR: Peter Ritzen, piano

MÅNADENS DIKTARE (JULI) ÖVERSÄTTNING: Annika Bäckström UPPLÄSNING: Sofia Berg-Böhm Marina Tsvetajeva (1892-1941) debuterade i en värld och skrev en stor del av sina dikter i en helt annan. Född i Moskva som dotter till en professor i konsthistoria och en konsertpianist kunde hon studera och lära sig språk i Schweiz och Frankrike, och hon var bara 18 år när hennes första diktsamling ”Kvällsalbum” publicerades 1910. Den väckte genast uppmärksamhet. I en tid då det vimlade av olika litterära grupperingar, som symbolister, futurister och akmeister, var hennes poesi något alldeles för sig: djärv, kompromisslös, både högstämt romantisk och experimentell. ”Poeten har inget modersmål”, menade Tsvetajeva, och ”Det spelar ingen roll på vilket språk jag inte blir förstådd”.Hennes vuxna liv präglades av fattigdom och tragedier. Under stora umbäranden genomlevde hon ryska revolutionen i Moskva. Hennes treåriga dotter Irina dog av svält 1920. Efter närmare två decenniers exil i Europa återvände Tsvetajeva till Sovjetunionen 1939, där hennes dotter Ariadna skulle komma att arresteras och hennes make Sergej Efron avrättas. Själv begick hon självmord i Tatarstan 1941. På 60-talet började hennes författarskap återupptäckas och idag räknas hon till de största ryska modernisterna. För Joseph Brodsky var hon den allra främsta – det ryska 1900-talets mest passionerade röst.DIKT: "En trädgård" av Marina Tsvetajeva (1934)DIKTSAMLING: Med gröna ögon (Akvilon 2010)MUSIK: Gabriel Fauré: Aprês un rêveEXEKUTÖR: Yo-Yo Ma, cello, Kathryn Stott, piano

MÅNADENS DIKTARE (JULI) ÖVERSÄTTNING: Tora Lane UPPLÄSNING: Sofia Berg-Böhm Marina Tsvetajeva (1892-1941) debuterade i en värld och skrev en stor del av sina dikter i en helt annan. Född i Moskva som dotter till en professor i konsthistoria och en konsertpianist kunde hon studera och lära sig språk i Schweiz och Frankrike, och hon var bara 18 år när hennes första diktsamling ”Kvällsalbum” publicerades 1910. Den väckte genast uppmärksamhet. I en tid då det vimlade av olika litterära grupperingar, som symbolister, futurister och akmeister, var hennes poesi något alldeles för sig: djärv, kompromisslös, både högstämt romantisk och experimentell. ”Poeten har inget modersmål”, menade Tsvetajeva, och ”Det spelar ingen roll på vilket språk jag inte blir förstådd”.Hennes vuxna liv präglades av fattigdom och tragedier. Under stora umbäranden genomlevde hon ryska revolutionen i Moskva. Hennes treåriga dotter Irina dog av svält 1920. Efter närmare två decenniers exil i Europa återvände Tsvetajeva till Sovjetunionen 1939, där hennes dotter Ariadna skulle komma att arresteras och hennes make Sergej Efron avrättas. Själv begick hon självmord i Tatarstan 1941. På 60-talet började hennes författarskap återupptäckas och idag räknas hon till de största ryska modernisterna. För Joseph Brodsky var hon den allra främsta – det ryska 1900-talets mest passionerade röst.DIKT: Ur "Trappdikt" av Marina Tsvetajeva (1926)DIKTSAMLING: Trappdikt (Ellerströms 2023)MUSIK: Fikret Amirov: NocturneEXEKUTÖR: Jeanne Baxtresser, flöjt, Pedja Muzijevic, piano

MÅNADENS DIKTARE (JULI) ÖVERSÄTTNING: Tora Lane UPPLÄSNING: Sofia Berg-Böhm Marina Tsvetajeva (1892-1941) debuterade i en värld och skrev en stor del av sina dikter i en helt annan. Född i Moskva som dotter till en professor i konsthistoria och en konsertpianist kunde hon studera och lära sig språk i Schweiz och Frankrike, och hon var bara 18 år när hennes första diktsamling ”Kvällsalbum” publicerades 1910. Den väckte genast uppmärksamhet. I en tid då det vimlade av olika litterära grupperingar, som symbolister, futurister och akmeister, var hennes poesi något alldeles för sig: djärv, kompromisslös, både högstämt romantisk och experimentell. ”Poeten har inget modersmål”, menade Tsvetajeva, och ”Det spelar ingen roll på vilket språk jag inte blir förstådd”.Hennes vuxna liv präglades av fattigdom och tragedier. Under stora umbäranden genomlevde hon ryska revolutionen i Moskva. Hennes treåriga dotter Irina dog av svält 1920. Efter närmare två decenniers exil i Europa återvände Tsvetajeva till Sovjetunionen 1939, där hennes dotter Ariadna skulle komma att arresteras och hennes make Sergej Efron avrättas. Själv begick hon självmord i Tatarstan 1941. På 60-talet började hennes författarskap återupptäckas och idag räknas hon till de största ryska modernisterna. För Joseph Brodsky var hon den allra främsta – det ryska 1900-talets mest passionerade röst.DIKT: Ur "Bergsdikt" av Marina Tsvetajeva (1924)DIKTSAMLING: Bergsdikt (Ellerströms 2023)MUSIK: Christoph Willibald Gluck: Melodi ur andra akten av Orfeus och EurydikeEXEKUTÖR: Vilde Frang, violin, José Gallardo, piano

MÅNADENS DIKTARE (JULI) ÖVERSÄTTNING: Annika Bäckström UPPLÄSNING: Sofia Berg-Böhm Marina Tsvetajeva (1892-1941) debuterade i en värld och skrev en stor del av sina dikter i en helt annan. Född i Moskva som dotter till en professor i konsthistoria och en konsertpianist kunde hon studera och lära sig språk i Schweiz och Frankrike, och hon var bara 18 år när hennes första diktsamling ”Kvällsalbum” publicerades 1910. Den väckte genast uppmärksamhet. I en tid då det vimlade av olika litterära grupperingar, som symbolister, futurister och akmeister, var hennes poesi något alldeles för sig: djärv, kompromisslös, både högstämt romantisk och experimentell. ”Poeten har inget modersmål”, menade Tsvetajeva, och ”Det spelar ingen roll på vilket språk jag inte blir förstådd”.Hennes vuxna liv präglades av fattigdom och tragedier. Under stora umbäranden genomlevde hon ryska revolutionen i Moskva. Hennes treåriga dotter Irina dog av svält 1920. Efter närmare två decenniers exil i Europa återvände Tsvetajeva till Sovjetunionen 1939, där hennes dotter Ariadna skulle komma att arresteras och hennes make Sergej Efron avrättas. Själv begick hon självmord i Tatarstan 1941. På 60-talet började hennes författarskap återupptäckas och idag räknas hon till de största ryska modernisterna. För Joseph Brodsky var hon den allra främsta – det ryska 1900-talets mest passionerade röst.DIKT: "Hej! Varken pilspets..." av Marina Tsvetajeva (1922)DIKTSAMLING: Med gröna ögon (Akvilon, 2010)MUSIK: Lars-Erik Larsson: Siciliana ur En vintersagaEXEKUTÖR: Helsingborgs symfoniorkester, Hannu Lintu, dirigent

MÅNADENS DIKTARE (JULI) ÖVERSÄTTNING: Hans Björkegren UPPLÄSNING: Sofia Berg-Böhm Marina Tsvetajeva (1892-1941) debuterade i en värld och skrev en stor del av sina dikter i en helt annan. Född i Moskva som dotter till en professor i konsthistoria och en konsertpianist kunde hon studera och lära sig språk i Schweiz och Frankrike, och hon var bara 18 år när hennes första diktsamling ”Kvällsalbum” publicerades 1910. Den väckte genast uppmärksamhet. I en tid då det vimlade av olika litterära grupperingar, som symbolister, futurister och akmeister, var hennes poesi något alldeles för sig: djärv, kompromisslös, både högstämt romantisk och experimentell. ”Poeten har inget modersmål”, menade Tsvetajeva, och ”Det spelar ingen roll på vilket språk jag inte blir förstådd”.Hennes vuxna liv präglades av fattigdom och tragedier. Under stora umbäranden genomlevde hon ryska revolutionen i Moskva. Hennes treåriga dotter Irina dog av svält 1920. Efter närmare två decenniers exil i Europa återvände Tsvetajeva till Sovjetunionen 1939, där hennes dotter Ariadna skulle komma att arresteras och hennes make Sergej Efron avrättas. Själv begick hon självmord i Tatarstan 1941. På 60-talet började hennes författarskap återupptäckas och idag räknas hon till de största ryska modernisterna. För Joseph Brodsky var hon den allra främsta – det ryska 1900-talets mest passionerade röst.DIKT: "Till dig om hundra år" av Marina Tsvetajeva (1919)DIKTSAMLING: Rysk dikt från Derzjavin till Brodsky (Albert Bonniers förlag, 1989)MUSIK: Joseph Achron: Sats 2 ur KindersuiteEXEKUTÖR: Jascha Nemtsov, piano

Encuentra este y otros artículos en http://revistalengua.comEn septiembre de 2022, el gobierno nicaragüense de Daniel Ortega decretó una orden de captura sobre Sergio Ramírez. El escritor, ensayista, periodista, Premio Cervantes 1997 y Alfaguara 1998, miembro de la Revolución Sandinista y exvicepresidente del propio Ortega recibió un respaldo internacional tan unánime como contundente. Sin embargo, la situación se agravó cuando, en febrero de 2023, el ejecutivo de Ortega decidió retirarle la nacionalidad a él y a otros 93 opositores. Exiliado ahora en España, Ramírez aprovechó su presencia en el IX Congreso Internacional de la Lengua Española, celebrado en Cádiz a finales de marzo, para leer este discurso en el que homenajea a los escritores sometidos por las tiranías. Por el texto, el cual está dedicado a la memoria de Jorge Edwards, quien falleció apenas unos días antes del acto, asoman varios de esos autores cuya patria late en lo profundo del corazón y se refleja en la palabra y en la lengua, la cual no entiende de exilios, cárceles o destierros: desde Ovidio hasta Cervantes pasando por Joseph Roth, Stefan Zweig, Czesław Miłosz, Joseph Brodsky, Juan Gelman y Luis Cernuda.Narrado por Antonio Martínez AsensioImagen ilustrativa: Imagen tomada en junio de 1980, en un momento de cambios profundos en Nicaragua: tras el triunfo de la Revolución Sandinista el 19 de julio de 1979 se creó la Junta de Gobierno de Reconstrucción Nacional, la cual fue presidida por Daniel Ortega, con Sergio Ramírez como vicepresidente. Esta fotografía registra una iniciativa pública para eliminar el analfabetismo en San Rafael, donde una niña de 12 años enseña a leer y escribir a otros niños y adolescentes frente a la casa de un campesino. Crédito: Getty Images. Hosted on Acast. See acast.com/privacy for more information.

Gwyneth Lewis speaks with John Greening about the unpredictable inspiration of a self-described ‘odd mind', the attraction of sequences and the importance of fun as a motivator, writing about her astronaut cousin and the influence of Joseph Brodsky.

给年轻人的六条忠告文丨布罗茨基作者：约瑟夫·布罗茨基（Joseph Brodsky，1940-1996），俄裔美国诗人，散文家，诺贝尔文学奖获得者。1940年5月24日，布罗茨基生于苏联列宁格勒，1955年开始创作诗歌，1972年被剥夺苏联国籍，驱逐出境，后移居美国，曾任密歇根大学驻校诗人，后在其他大学任访问教授，1977年加入美国籍，1987年获得诺贝尔文学奖。”主要著作有诗集《诗选》、《言论之一部分》、《二十世纪史》、《致乌拉尼亚》、以及散文集《小于一》等01 保持语言的精准，像对待银行账户那样尝试创建和对待你的词汇，时刻专注并增加你的积蓄。这样做的目的不是促进卧室口才、职业成功或成为交际场合的雄辩家，而是为了尽可能充分、精准地表达自己，保持自身的平衡。每一天人们的心理都会发生很多变化，表达方式却一如既往。表达能力落后于体验会对心理产生不好的影响。而即便最贵的字典，价钱也远低于看一次心理医生的花费。02无论此刻还是将来，善待父母，尽力不要去反叛他们。因为他们极有可能死在你之前，你至少可以不使自己背负这一罪责。如果需要反叛，就去反叛那些不容易受到伤害的人。父母是一个近在眼前的靶子，距离小到无法躲闪。03不要太在意政治家。在最好的情况下，他们的作为也仅限于降低而不是根除社会之恶。无论一项改进多么重大，从伦理学的观点来看永远微不足道，因为永远有人无法自这项改进获益。无论那个人如何许诺让大家来分蛋糕，地球并不会变大。要自己去把握世界，至少把握活动半径之内的世界。扪心自问你们有能力持续不断地提供这些蛋糕吗，还是更愿意指望一位政治家？04要谦逊，不要显眼。我们人数已经太多，出人头地的前提就是其他人的难以出人头地。你可以去触犯他人，但这不意味着要踩在他们肩膀上。你们从自己的有利位置所看到的不过是一片人海，外加那些和你们一样的人。成功的峰顶上已经人满为患。如果你想成为富人或者名人或是名利双收，那就尽力去做，但也不要过分投入。去渴求他人拥有的东西，就是在丧失自己的独特性。生命只有一次，唯一明智的做法是尝试摆脱那些最明显不过的陈词滥调，包括那些限量出版的印刷品。05不要把自己放到牺牲者的位置上去。在身体的各个部位中，最需要警惕的是食指，因为它渴望谴责。象征指责的手指是牺牲品的标识，投降的同义词。无论处境多恶劣，要努力不去怪罪任何事或任何人。在发出某种指责的时候，就是在消解改变事物的决心。把自己视为牺牲者是扩大无责任感的真空，魔鬼非常喜欢填充这样的真空。06这不是一个好地方，但却是我们唯一能落脚的世界，没有其他选项，即便存在选项，也难以保证它就比这个世界好得多。罗伯特·弗罗斯特说“最好的走出方式永远是穿过。”尽量不去关注那些试图让你的生活不幸的人。如果无法逃避他们，就忍受他们；一旦脱离了他们，则要尽快地忘记他们。尽量不要谈论你们遭受的不公正对待，无论听众多么喜欢，因为此类故事将延长敌人的存在时间，很有可能他们就指望着你们滔滔不绝，把体验转告他人。没有任何一个个体值得他们实践非正义（或者正义），重要的是反应和回响。因此请赶紧从他们中间或他们身边走过，当他们还是黄灯，还没有变成红灯。要在意识中或言语中忘掉他们，但不要因为自己原谅了或者忘掉了而自豪，首要的事情是忘掉。这个决定未必能让天使们高兴，但它一定能刺痛恶魔们，这在如今十分重要。

DIKT: "Envoi" ÖVERSÄTTNING: Lars Gustaf Andersson UPPLÄSNING: Robert Fux Efter Rysslands fullskaliga invasion av Ukraina i februari 2022 började dikter ur Ilya Kaminskys andra diktsamling ”De dövas republik” cirkulera flitigt. Det var dikter om krig, våld och motstånd som tycktes tala direkt om dagens situation. Boken, som utgavs i original 2019 och kom på svenska 2021, berättar om en ockuperad stad, där hela befolkningen väljer att sluta höra sedan en döv pojke skjutits till döds av soldaterna. Som i ett drama möter vi ett antal personer som drabbas av förtrycket men vägrar ge upp.Ilya Kaminsky föddes 1977 i Odessa i Ukraina, i dåvarande Sovjetunionen. Vid fyra års ålder förlorade han hörseln, vilket han själv uppger som en förklaring till rikedomen av bilder i hans poesi. Hans familj var judisk och flyttade från Ukraina till USA 1993 på grund av antisemitiska trakasserier. Den mycket uppmärksammade debuten ”Dansa i Odessa” från 2004 (i svensk översättning 2023) skildrar såväl barndomsstaden som exilen och anknyter till ryskspråkiga poeter som Joseph Brodsky och Marina Tsvetajeva. Kaminsky är också verksam som översättare och har 2023 tillsammans med kollegan Carolyn Forché publicerat en antologi med ukrainsk poesi, ”In the Hour of War”.DIKTSAMLING: Dansa i Odessa (Rámus, 2023)MUSIK: Harald Haugaard: MorgenEXEKUTÖR: Harald Haugaard, fiol

DIKT: "Författarens bön" ÖVERSÄTTNING: Lars Gustaf Andersson UPPLÄSNING: Robert Fux Efter Rysslands fullskaliga invasion av Ukraina i februari 2022 började dikter ur Ilya Kaminskys andra diktsamling ”De dövas republik” cirkulera flitigt. Det var dikter om krig, våld och motstånd som tycktes tala direkt om dagens situation. Boken, som utgavs i original 2019 och kom på svenska 2021, berättar om en ockuperad stad, där hela befolkningen väljer att sluta höra sedan en döv pojke skjutits till döds av soldaterna. Som i ett drama möter vi ett antal personer som drabbas av förtrycket men vägrar ge upp.Ilya Kaminsky föddes 1977 i Odessa i Ukraina, i dåvarande Sovjetunionen. Vid fyra års ålder förlorade han hörseln, vilket han själv uppger som en förklaring till rikedomen av bilder i hans poesi. Hans familj var judisk och flyttade från Ukraina till USA 1993 på grund av antisemitiska trakasserier. Den mycket uppmärksammade debuten ”Dansa i Odessa” från 2004 (i svensk översättning 2023) skildrar såväl barndomsstaden som exilen och anknyter till ryskspråkiga poeter som Joseph Brodsky och Marina Tsvetajeva. Kaminsky är också verksam som översättare och har 2023 tillsammans med kollegan Carolyn Forché publicerat en antologi med ukrainsk poesi, ”In the Hour of War”.DIKTSAMLING: Dansa i Odessa (Rámus, 2023)MUSIK: Johannes Brahms: FeldeinsamkeitEXEKUTÖR: Zuill Beiley, cello och Awadagin Pratt, piano

DIKT: Ur "Lovsång" ÖVERSÄTTNING: Lars Gustaf Andersson UPPLÄSNING: Robert Fux Efter Rysslands fullskaliga invasion av Ukraina i februari 2022 började dikter ur Ilya Kaminskys andra diktsamling ”De dövas republik” cirkulera flitigt. Det var dikter om krig, våld och motstånd som tycktes tala direkt om dagens situation. Boken, som utgavs i original 2019 och kom på svenska 2021, berättar om en ockuperad stad, där hela befolkningen väljer att sluta höra sedan en döv pojke skjutits till döds av soldaterna. Som i ett drama möter vi ett antal personer som drabbas av förtrycket men vägrar ge upp.Ilya Kaminsky föddes 1977 i Odessa i Ukraina, i dåvarande Sovjetunionen. Vid fyra års ålder förlorade han hörseln, vilket han själv uppger som en förklaring till rikedomen av bilder i hans poesi. Hans familj var judisk och flyttade från Ukraina till USA 1993 på grund av antisemitiska trakasserier. Den mycket uppmärksammade debuten ”Dansa i Odessa” från 2004 (i svensk översättning 2023) skildrar såväl barndomsstaden som exilen och anknyter till ryskspråkiga poeter som Joseph Brodsky och Marina Tsvetajeva. Kaminsky är också verksam som översättare och har 2023 tillsammans med kollegan Carolyn Forché publicerat en antologi med ukrainsk poesi, ”In the Hour of War”.DIKTSAMLING: Dansa i Odessa (Rámus, 2023)MUSIK: Thomas Tracy: Lifting spiritsEXEKUTÖR: Julia Gaines, marimba

DIKT: "I fredstid" ÖVERSÄTTNING: Lars Gustaf Andersson UPPLÄSNING: Robert Fux Efter Rysslands fullskaliga invasion av Ukraina i februari 2022 började dikter ur Ilya Kaminskys andra diktsamling ”De dövas republik” cirkulera flitigt. Det var dikter om krig, våld och motstånd som tycktes tala direkt om dagens situation. Boken, som utgavs i original 2019 och kom på svenska 2021, berättar om en ockuperad stad, där hela befolkningen väljer att sluta höra sedan en döv pojke skjutits till döds av soldaterna. Som i ett drama möter vi ett antal personer som drabbas av förtrycket men vägrar ge upp.Ilya Kaminsky föddes 1977 i Odessa i Ukraina, i dåvarande Sovjetunionen. Vid fyra års ålder förlorade han hörseln, vilket han själv uppger som en förklaring till rikedomen av bilder i hans poesi. Hans familj var judisk och flyttade från Ukraina till USA 1993 på grund av antisemitiska trakasserier. Den mycket uppmärksammade debuten ”Dansa i Odessa” från 2004 (i svensk översättning 2023) skildrar såväl barndomsstaden som exilen och anknyter till ryskspråkiga poeter som Joseph Brodsky och Marina Tsvetajeva. Kaminsky är också verksam som översättare och har 2023 tillsammans med kollegan Carolyn Forché publicerat en antologi med ukrainsk poesi, ”In the Hour of War”.DIKTSAMLING: De dövas republik (Rámus, 2021)MUSIK: Anthony Baird: SolitudeEXEKUTÖR: Exist strategy

DIKT: "Soldater siktar på oss" ÖVERSÄTTNING: Lars Gustaf Andersson UPPLÄSNING: Robert Fux Efter Rysslands fullskaliga invasion av Ukraina i februari 2022 började dikter ur Ilya Kaminskys andra diktsamling ”De dövas republik” cirkulera flitigt. Det var dikter om krig, våld och motstånd som tycktes tala direkt om dagens situation. Boken, som utgavs i original 2019 och kom på svenska 2021, berättar om en ockuperad stad, där hela befolkningen väljer att sluta höra sedan en döv pojke skjutits till döds av soldaterna. Som i ett drama möter vi ett antal personer som drabbas av förtrycket men vägrar ge upp.Ilya Kaminsky föddes 1977 i Odessa i Ukraina, i dåvarande Sovjetunionen. Vid fyra års ålder förlorade han hörseln, vilket han själv uppger som en förklaring till rikedomen av bilder i hans poesi. Hans familj var judisk och flyttade från Ukraina till USA 1993 på grund av antisemitiska trakasserier. Den mycket uppmärksammade debuten ”Dansa i Odessa” från 2004 (i svensk översättning 2023) skildrar såväl barndomsstaden som exilen och anknyter till ryskspråkiga poeter som Joseph Brodsky och Marina Tsvetajeva. Kaminsky är också verksam som översättare och har 2023 tillsammans med kollegan Carolyn Forché publicerat en antologi med ukrainsk poesi, ”In the Hour of War”.DIKTSAMLING: De dövas republik (Rámus, 2021)MUSIK: Anders Jormin: NäraEXEKUTÖR: Entra

DIKT: "Dansa i Odessa" ÖVERSÄTTNING: Lars Gustaf Andersson UPPLÄSNING: Robert Fux Efter Rysslands fullskaliga invasion av Ukraina i februari 2022 började dikter ur Ilya Kaminskys andra diktsamling ”De dövas republik” cirkulera flitigt. Det var dikter om krig, våld och motstånd som tycktes tala direkt om dagens situation. Boken, som utgavs i original 2019 och kom på svenska 2021, berättar om en ockuperad stad, där hela befolkningen väljer att sluta höra sedan en döv pojke skjutits till döds av soldaterna. Som i ett drama möter vi ett antal personer som drabbas av förtrycket men vägrar ge upp.Ilya Kaminsky föddes 1977 i Odessa i Ukraina, i dåvarande Sovjetunionen. Vid fyra års ålder förlorade han hörseln, vilket han själv uppger som en förklaring till rikedomen av bilder i hans poesi. Hans familj var judisk och flyttade från Ukraina till USA 1993 på grund av antisemitiska trakasserier. Den mycket uppmärksammade debuten ”Dansa i Odessa” från 2004 (i svensk översättning 2023) skildrar såväl barndomsstaden som exilen och anknyter till ryskspråkiga poeter som Joseph Brodsky och Marina Tsvetajeva. Kaminsky är också verksam som översättare och har 2023 tillsammans med kollegan Carolyn Forché publicerat en antologi med ukrainsk poesi, ”In the Hour of War”.DIKTSAMLING: Dansa i Odessa (Rámus, 2023)MUSIK: Rebekka Karijord: Waltz for NormaEXEKUTÖR: Exekutör Rebekka Karijord, röst och diverse instrument

The service on Epiphany Sunday was filled with poetry and singing. Featured in this recording: The Starlight Night, by Gerard Manley Hopkins, read by Brenda H. A sermonette and reading of Alfred Lord Tennyson's In Memoriam, by Melissa Star of the Nativity by Joseph Brodsky, read by Jackie Roman Brevity at Lauds liturgy lead by Hans One King's Epiphany by Madeline L'Engle, read by Andrew B. Matthew 2:12 read in English by Nina and in Chinese by Shuting Solemn Stillness sung by the RMC Vocal Ensemble

In 1982, the Institute held a multi day discussion of censorship. In this session from the Vault, sociologist Richard Sennett talks about Jean Jacques Rousseau's ideas about censorship in the arts. The discussion is moderated by Aryeh Neier, and includes Sidney Morgenbesser, Susan Sontag, Joseph Brodsky, Richard Gillman, Frances Fitzgerald, Karen Kennerly, Hans Magnus Enzensberger, and Michael Scammell. Learn more about your ad choices. Visit megaphone.fm/adchoices

Read Terry Casburn Production and Sound Design by Kevin Seaman

Margi invites Joseph to tell the story of how he built his coffee empire. He shares his story, including the love has has for nature, people, and his coffee.

As a little girl, Cynthia Haven loved reading classic works of literature. At sixteen, she began her career as a reporter. And years later, those two interests converged as they led her to interview and write books about three writers and thinkers whom she also came to call mentors: René Girard, Czeslaw Milosz, and Joseph Brodsky.  Cynthia joined Tyler to discuss what she's gleaned from each of the three, including what traits they have in common, why her biography of Girard had to come from outside academia, Milosz's reaction to the Berkley Free Speech Movement, Girard's greatest talent—and flaw—as a thinker, whether Brodsky will fall down the memory hole, why he was so terrible on Ukraine, why Cynthia's early career was much like The Devil Wears Prada, the failings of Twitter, and more. Read a full transcript enhanced with helpful links. Recorded May 18th, 2022 Other ways to connect Follow us on Twitter and Instagram Follow Tyler on Twitter  Follow Cynthia on Twitter Email us: cowenconvos@mercatus.gmu.edu Subscribe at our newsletter page to have the latest Conversations with Tyler news sent straight to your inbox. 

“There are worse crimes than burning books. One of them is not reading them.” – Joseph Brodsky, poet, born on this day in 1940.

- Men kan ett språk vara skyldigt? Språk är som jordmån, som växtlighet, finns till, gör sitt, tar inte ansvar för hur och varför människor använder det som de gör. Ändå är allt förstört. Om Inga-Lina Lindqvist:  Inga-Lina Lindqvist är författare och litteraturkritiker på Aftonbladet Kultur. En judisk flicka från Sovjet som landade i Sverige sommaren före gymnasiet, blev upptäckt av Joseph Brodsky och erbjuden att ge ut dikter på stort fint svenskt förlag. En flicka som växte upp och blev kvinna, fick barn, blev vuxendöpt in i Svenska kyrkan, började skriva kulturjournalistik och barnböcker och romaner huller om buller. Bor gör hon i Stockholm. Och på Facebook.Producent: Mette Göthberg tankar@sverigesradio.se

- Min faster Lidias lägenhet i belarusiska Mahilou var belamrad med tavlor och minnessaker från ett långt liv, ett liv i skuggan av andra världskriget. Om Inga-Lina Lindqvist:  Inga-Lina Lindqvist är författare och litteraturkritiker på Aftonbladet Kultur. En judisk flicka från Sovjet som landade i Sverige sommaren före gymnasiet, blev upptäckt av Joseph Brodsky och erbjuden att ge ut dikter på stort fint svenskt förlag. En flicka som växte upp och blev kvinna, fick barn, blev vuxendöpt in i Svenska kyrkan, började skriva kulturjournalistik och barnböcker och romaner huller om buller. Bor gör hon i Stockholm. Och på Facebook.Producent: Mette Göthberg tankar@sverigesradio.se

Mercedes Monmany, escritora, crítica literaria, traductora y editora española conversará en Centro Sefarad-Israel con la periodista Karina Sainz Borgo sobre su obra Sin tiempo para el adiós editado por Galaxia Gutemberg (2021). El siglo XX está atravesado por éxodos continuos y dramáticos que se dan la mano, sin cesar. Escritores, artistas e intelectuales, de las más diversas nacionalidades y procedencias, escapan de los totalitarismos, de las persecuciones raciales y políticas, de las guerras, de las deportaciones e internamientos en campos de concentración y, en general, de la barbarie y de gigantescos «océanos de odio», como los llamaría Robert Musil. «Decir adiós es un arte difícil y amargo» dirá por su parte Stefan Zweig en el funeral de su amigo igualmente exiliado Joseph Roth. «El exiliado es el devorado por la Historia», añadirá la filósofa española María Zambrano. En “Sin tiempo para el adiós” Mercedes Monmany dirige su vista a algunos de los más grandes creadores europeos del pasado siglo que se vieron obligados a emprender el doloroso camino del exilio. Ahí estarían antinazis alemanes como Thomas y Klaus Mann, Alfred Döblin y Hannah Arendt, austriacos como Robert Musil, Joseph Roth y Franz Werfel, rusos que huían de la tiranía soviética como Nabokov y Joseph Brodsky, confinados de la época musoliniana como Pavese y Natalia Ginzburg, españoles exiliados tras la Guerra Civil como María Zambrano, Luis Cernuda o Chaves Nogales, polacos como Witold Gombrowicz y el Premio Nobel de Literatura Czesław Miłosz o escapados hacia Estados Unidos a causa de las incesantes olas de antisemitismo y la catástrofe del Holocausto como Isaac Bashevis Singer y Henry Roth. Sus historias serán las protagonistas de esta conversación.

País Rusia Dirección Alexey German Jr. Guion Alexey German Jr. Fotografía Lukasz Zal Reparto Milan Maric, Danila Kozlovsky, Elena Lyadova, Svetlana Khodchenkova, Anton Shagin, Artur Beschastny, Helena Sujecka Sinopsis 'Dovlatov' sigue durante seis días al brillante e irónico escritor que vio más allá de los rígidos límites de la Unión Soviética de los 70. Sergei Dovlatov luchó para conservar su propio talento y su decencia con el poeta y escritor Joseph Brodsky, mientras veía cómo sus amigos artistas sufrían ante la maquinaria del estado.

Lauren W. will be co-hosting this non-fiction quarter of Reading Envy Russia. We share books we have already read and freely recommend, and also chat about the piles and shelves of books we are considering. Let us know your recommendations and where you hope to start in the comments, or join the conversation in Goodreads.Download or listen via this link: Reading Envy 244: 2nd Quarter - Russian Non-Fiction Subscribe to the podcast via this link: FeedburnerOr subscribe via Apple Podcasts by clicking: SubscribeOr listen through TuneIn Or listen on Google Play Or listen via StitcherOr listen through Spotify Or listen through Google Podcasts Books we can recommend: Memories from Moscow to the Black Sea by Teffi Tolstoy, Rasputin, Others, and Me: The Best of Teffi by TeffiSecondhand Timeby Svetlana AlexievichThe Unwomanly Face of Warby Svetlana AlexievichLast Witnesses by Svetlana Alexievich, translated by Pevear & VolokhonskyZinky Boysby Svetlana AlexievichVoices of Chernobyl (also titled Chernobyl Prayer) by Svetlana Alexievich, translated by Keith GessenOther Russias by Victoria Lomasko, translated by Thomas CampbellThe Future is History by Masha Gessen Never Rememberby Masha Gessen, photography by Misha FriedmanWhere the Jews Aren't by Masha Gessen Pushkin's Children by Tatyana Tolstaya The Slynx by Tatyana TolstayaImperium by Ryszard Kapucinski, translated by Klara GlowczewskaA Very Dangerous Woman: The Lives, Loves and Lies of Russia's Most Seductive Spy by Deborah McDonald and Jeremy DronfieldPutin Country by Anne GarrelsLetters: Summer 1926 by Boris Pasternak, Marina Tsvetaeva, and Rainer Maria Rilke Sovietistan by Erika Fatland The Commissar Vanishes by David King Gulag by Anne Applebaum The Iron Curtain by Anne Applebaum The Magical Chorus by Solomon Volkov, translated by Antonina Bouis  Shostaskovich and Stalin by Solomon Volkov The Tiger by John Vaillant Owls of the Eastern Ice by Jonathan Slaght How to Tame a Fox (and Build a Dog): Visionary Scientists and a Siberian Tale of Jump-Started Evolution by Lee Alan Dugatkin and Lyudmila Trut Please to the Table by Anya von Bremzen Mastering the Art of Soviet Cooking by Anya von Bremzen Books we are considering: All Lara's Wars by Wojchiech Jagielski, translated by Antonia Lloyd-JonesGulag Archipelago by Aleksandr Solzhenitsyn, translated by Eric Ericson (there is a unabridged 1800+ pg, and an author approved abridged version, 400-some pages) Journey into the Whirlwind by Eugenia Ginzburg, translated by Paul Stevenson, Max Hayward Kolyma Tales by Varlam Shalamov, translated by John GladRiot Days by Maria AlyokhinaSpeak, Memory by Vladimir Nabokov The Life Written by Himself by Avvakum Petrov My Childhood by Maxim Gorky Teffi: A Life of Letters and Laughter by Edythe Haber Hope Against Hope by Nadezhda Mandelstam, tr. Max Hayward The Genius Under the Table: Growing Up Behind the Iron Curtain by Eugene Yelchin Putin's Russia: life in a failing democracy by Anna Politkovskaya ; translated by Arch Tait. A Russian diary: a journalist's final account of life, corruption, and death in Putin's Russia by Anna Politkovskaya Notes on Russian Literature by F.M. DostoevskyThe Sinner and the Saint: Dostoevsky and the Gentleman Murderer Who Inspired a Masterpiece by Kevin Birmingham The Most Dangerous Book: The Battle for James Joyce's Ulysses by Kevin BirminghamLess than One: Selected Essays by Joseph Brodsky Tolstoy Together by Yiyun Li The Border by Erika Fatland Symphony for the City of the Dead: Dmitri Shostakovich and the Siege of Leningrad by M.T. Anderson Red Plenty by Francis Spufford Lenin's Tomb: The Last Days of the Soviet Empire by David Remnick Bloodlands: Europe Between Hitler and Stalin by Timothy Snyder The Last Empire: Final Days of the Soviet Union by Serhii PlokhyThe Gates of Europe: A History of Ukraine by Serhii PlokhyChernobyl: The History of a Nuclear Catastrophe by Serhii PlokhyNuclear Folly: A History of the Cuban Missile Crisis by Serhii PlokhyMan with the Poison Gun: a Cold War Spy Story by Serhii PlokhyBabi Yar: A Document in the Form of a Novel by Anatoly Kuznetsov, tr. David Floyd Manual for Survival: An Environmental History of the Chernobyl Disaster by Kate Brown Plutopia: Nuclear Families, Atomic Cities, and the Great Soviet and American Plutonium Disasters by Kate BrownA Biography of No Place: From Ethnic Borderland to Soviet Heartland by Kate BrownOctober: The Story of the Russian Revolution by China Mieville Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia by Peter Pomerantsev Across the Ussuri Kray by Vladimir Arsenyev, translated by Slaght An Armenian Sketchbook by Vasily Grossman, translated by Robert and Elizabeth Chandler A Writer at War: Vasily Grossman with the Red Army by Vasily GrossmanThe Road by Vasily GrossmanStalking the Atomic City: Life Among the Decadent and Depraved of Chernobyl by Markiyan Kamysh Midnight in Siberia: A Train Journey into the Heart of Russia by David Greene Mamushka: Recipes from Ukraine & beyond by Olia HerculesRed Sands by Caroline EdenBlack Sea by Caroline Eden Tasting Georgia by Carla Capalbo  Other mentions:PEN list of writers against PutinNew Yorker article about Gessen siblings Thanksgivukkah 2013  League of Kitchens - Uzbek lessonLeague of Kitchens - Russian lessonMasha Gessen on Ezra Klein podcast, March 2022Related episodes:Episode 067 - Rain and Readability with Ruth(iella) Episode 084 - A Worthy Tangent with Bryan Alexander Episode 138 - Shared Landscape with Lauren Weinhold Episode 237 - Reading Goals 2022Episode 243 - Russian Novel Speed Date Stalk us online:Reading Envy Readers on Goodreads (home of Reading Envy Russia)Lauren at GoodreadsLauren is @end.notes on InstagramJenny at GoodreadsJenny on TwitterJenny is @readingenvy on Instagram and Litsy All links to books are through Bookshop.org, where I am an affiliate. I wanted more money to go to the actual publishers and authors. You can see the full collection for Reading Envy Russia 2022 on Bookshop.org.

Sorgligt är att du blev förföljare som alla andra. Om Inga-Lina Lindqvist:  Inga-Lina Lindqvist är författare och litteraturkritiker på Aftonbladet Kultur. En judisk flicka från Sovjet som landade i Sverige sommaren före gymnasiet, blev upptäckt av Joseph Brodsky och erbjuden att ge ut dikter på stort fint svenskt förlag. En flicka som växte upp och blev kvinna, fick barn, blev vuxendöpt in i Svenska kyrkan, började skriva kulturjournalistik och barnböcker och romaner huller om buller. Bor gör hon i Stockholm. Och på Facebook.Producent: Dmitri Plax tankar@sverigesradio.se

Var finns det livet någonstans som aldrig fick bli en berättelse? Om Inga-Lina Lindqvist:  Inga-Lina Lindqvist är författare och litteraturkritiker på Aftonbladet Kultur. En judisk flicka från Sovjet som landade i Sverige sommaren före gymnasiet, blev upptäckt av Joseph Brodsky och erbjuden att ge ut dikter på stort fint svenskt förlag. En flicka som växte upp och blev kvinna, fick barn, blev vuxendöpt in i Svenska kyrkan, började skriva kulturjournalistik och barnböcker och romaner huller om buller. Bor gör hon i Stockholm. Och på Facebook.Producent: Dmitri Plax tankar@sverigesradio.se

This Week on Enter The Muse: Poet, Author and Counter Terrorist, Mike Tucker talks with Nick Hail about what is an artist's role to society, reflects on the legacy of Joseph Brodsky, explains what it was like being betrayed in war, tracking Al Qaeda, and why he feels that the best way to counter Islamic Terrorists is to work alongside Muslims who don't share the same views as the T-Ban or other organizations.

En este tercer episodio conversé con Franz Zeimetz, cervecero artesanal en Casa Bruja, apasionado de la fermentación y producción del café y otros frutos tropicales. Me impactó muchísimo su visión de ser parte del futuro del café, una industria hasta el momento muy tradicional pero que podría expandirse de forma increible para llegar al nivel de sofitiscación que el vino y la cerveza tienen a nivel global. Conversamos sobre: El surgimiento del movimiento de la cerveza artesanal en Panamá con Jonathan Pragnell y Casa Bruja. Crianza de animales en ambientes controlados. Agricultura urbana y cultivo de plantas con ambiente semicontrolado, mediante hidroponía (NFT: nutrient film technique) Uso de las azoteas para agricultura urbana. El cultivo del cacao en Panamá. Incursión en el mundo del cultivo y producción de café. La llegada del café geisha a Panamá. El concepto de terroir aplicado a la producción del café. Productos de café ready to drink fermentados y con lúpulos como Dark Matter Coffee. La produccion tradicional de café en los beneficios con lavado mecánico que produce el café oro, el grano verde de café que se vende como commodity internacionalmente. La introducción de los métodos de producción africanos que resultaron en los procesos honey y natural, por parte de Joseph Brodsky de Ninety Plus Coffee Estates. La descomposición controlada o fermentación de la cereza del café. La falta de palabras aplicables al proceso de producción de café que resulta en el uso de términos de la producción de vino o cerveza que pueden no aplicar perfectamente (e.g. fermentación anaeróbica, maceración carbónica) El encuentro con Alex Brooks de Scott Labs que lo inspiró a explorar la investigación existente en el tema de uso de levaduras en la producción de café. Proceso de identificación de levaduras salvajes usando cultivos y PCR. Los fenoles producidos por levaduras como subproducto de su acción sobre el azúcar presente en el producto. La ley seca y la pandemia resultado en tiempo para que Franz conceptualizara una propuesta de ready to drink coffee para Casa Bruja. La cadena de valor en la producción del café y la captura de valor por parte de los tostadores. El cambio de paradigma que le da más importancia al productor del café. Las dos tencencias en la producciónd el café: los tradicionalistas o naturales como Lamastus Family Estates y los experimentales como Santos Café. Ver lista completa de temas aquí. Canción de inicio y fin: Curación por LamatUuc, músico y criptoartista mexicano. Usada con su permiso expreso. Pueden ver sus NFTs aquí.

The opening session of the NYIH 1980 conference on Censorship and Writing, moderated by NYRB editor Robert Silvers, with a presentation by Aryeh Neier, and comments by Joseph Brodsky and Susan Sontag. Learn more about your ad choices. Visit megaphone.fm/adchoices