Podcasts about keats

In this episode of Words That Burn, I'm joined by Irish poet Clíodhna Bhreatnach to discuss her debut pamphlet, Pink Roses and Green. Together, we chat about a collection that sits at the intersection of the "nine-to-five grind," Millennial burnout, and a deep, tactile longing for the natural world.Clíodhna breaks down her unique approach to the "Millennial Lyric"; moving away from the pastoral and into the office kitchenette. We discuss how she navigates the Post-Celtic Tiger landscape, using poetry to document the deformation of human time under late-stage capitalism.We cover other topics like:The Romantic Office: Applying the philosophy of Keats and Wordsworth to photocopiers and Excel spreadsheets.Digital Intimacy: Finding beauty in the "randomised screensavers" of Windows desktops.The "Sick Addiction to Soft Things": Why tactile textures (paper, nature) are vital in a digital world.Writers Groups: The importance of community (specifically the Frustrated Writers Group) in banishing impostor syndrome.References & Recommendations:Bandit Country by James Conor PattersonUnstoppable Utopia by Cassandra MossThe Perfect Season by Sean PearsonThe Lover's Discourse by Anahid Nersessian (Criticism on Keats)About the poet: Clíodhna Bhreatnach is from Waterford and lives in Dublin. Her poems have appeared in Poetry Ireland Review, The Stinging Fly, and The Forward Book of Poetry 2023. She has recently been awarded a Dublin City Council Arts Bursary for 2025. She is the former poetry editor of Frustrated Writers Group.Find the book and the poet:https://cliodhnabhreatnach.comhttps://greenbottlepress.com/product/pink-roses-green-by-cliodhna-bhreatnach/Follow the Podcast:Read the Interview on SubstackFollow the Podcast On InstagramFollow the Podcast on X/TwitterFollow the Podcast on TiktokFollow the podcast on Bluesky Hosted on Acast. See acast.com/privacy for more information.

Interview with Chief Executive Officer, Keith BoyleOur previous interview: https://www.cruxinvestor.com/posts/new-found-gold-tsxvnfg-explorer-to-producer-8484Recording date: 3rd December 2025New Found Gold Corporation is executing a capital-efficient development strategy that combines near-term cash flow from the recently acquired Hammerdown mine with advancement of the flagship Queensway Gold Project in Newfoundland, Canada. The November 2025 Maritime Resources acquisition delivered two critical assets: a producing underground mine that poured first gold one day before closing, and the fully permitted Pine Cove mill that eliminates major infrastructure requirements for Queensway's planned 700-ton-per-day operation. Management's appointment of Cutfield Freeman to structure project financing for Queensway's $155 million initial capital requirement signals progress toward a debt-heavy capital structure, with Hammerdown cash flow serving as the equity portion to minimize shareholder dilution. Recent grade control drilling at five-meter spacing confirms exceptional grades at the Keats zone, with only 20% of results released from the 70,000-meter 2025 program. These dense drill patterns reduce estimation uncertainty in nuggety gold deposits and support anticipated resource upgrades in the 2026 technical report. Discovery of high-grade mineralization at Dropkick, located 11 kilometers from existing resources, demonstrates district-scale exploration potential beyond current mine plans. The company targets Q1 2026 permit submission for Queensway with approval expected in H2 2026, enabling development commencement toward late 2027 commercial production. Hammerdown is ramping to steady-state operations during H1 2026, providing cash generation that de-risks Queensway financing while maintaining exploration programs across both properties that could extend mine life and improve project economics.—Learn more: https://cruxinvestor.com/companies/new-found-goldSign up for Crux Investor: https://cruxinvestor.com

Interview with Jeff Swinoga, CEO of Exploits Discovery Corp.Our previous interview: https://www.cruxinvestor.com/posts/exploits-discovery-csenfld-new-found-gold-deal-unlocks-10m-treasury-value-7947Recording date: 5th December 2025Exploits Discovery Corp (CSE:NFLD) is a resource-stage gold exploration company focused on advancing properties with established historic resources in premier Canadian mining jurisdictions including Quebec and Ontario. Today it has completed a transformational deal with New Found Gold, receiving 2.8 million shares now valued at over $11 million plus a 1% royalty on properties along the Appleton fault. CEO Jeff Swinoga discusses how the company has strategically repositioned from grassroots exploration to resource-stage development.Key Highlights:- New Found Gold Transaction: 2.8M shares valued at $11M+ (up from $7M at announcement) with 1% NSR royalty on Bullseye and other properties adjacent to Keats discovery.- Enhanced Treasury: Approximately $3.6M in working capital against $11M market cap - analyst Brian Lundin notes company is "trading at cash value" with investors getting "the gold for free"- Resource Portfolio: Acquired three Quebec properties and one district-scale Ontario asset containing ~700,000 ounces of historic gold resources.- January 2026 Drilling: Fenton property programme targeting high-grade gold along magnetic corridors intersecting diabase dykes, following extensive geophysical work- Strategic Backing: Eric Sprott holds ~14% ownership stakeSwinoga explains: "We wanted our shareholders to benefit from a rising gold price by having resources in the ground."The company is at an inflection point, transitioning from transaction completion to operational execution with immediate drilling catalysts and systematic technical work designed to improve targeting beyond previous operators' efforts.Learn more: https://cruxinvestor.comSign up for Crux Investor: https://cruxinvestor.com

The moment the syllables spilled from my mouth, I knew I'd screwed up. “And a repeat offender...” I said. “Verse a detective dog.” Verse. It was the opening few stanzas of last night's news, the part of the show where we tease a few of the evening's top stories. And as the opening credits played, with my microphone fader pulled down, I called out to my producer in frustration with myself. “Versus!” I said. “VERSUS.” The emails flooded in. I knew they'd be waiting for me. Polite but gently critical messages, kindly informing me that due to myriad inadequacies in the New Zealand education system, I'd used a term more appropriately associated with Shakespeare or Keats than that of the cunning pest control dog starring in the evening bulletin. But hey. Did you notice there how I used myriad? I don't know about you, but it drives me crazy when I hear people talk about a myriad OF something. It shouldn't because apparently a myriad ‘of' is perfectly correct. Myriad started its English language life in noun form. And yet anytime someone opts for ‘myriad of' instead of the adjective usage, the snooty language snob in me can't help but curl his toes. It's the same when people say less instead of fewer. There are not less than thirty days until the new year. There are fewer than thirty days. Duh. And I hate to admit it, but I'm not fussed whether you're a stranger, a colleague, or my long-suffering wife, I'm that miserable sod who can't help but wait fewer than a few split seconds before pretentiously correcting your mistake. The other one that gets my goat (and yes, it gets my goat... it doesn't get up my goat) is when anyone observes that the proof is in the pudding. The proof is not in the pudding. The proof of the pudding is in the eating. Makes sense when you actually think about it. Speaking of mastication, my Dad was recently spun into a state of despair by the repeated insistence of a prominent sportsperson that they were chomping at the bit for an upcoming contest. Chomping at the bit, rather than champing at the bit. I suppose that really would be a remarkable level of excitement. I know that language is alive. I know that language morphs and evolves. But for those of us who care to conserve usage principles and don't mind putting others right from time, there is nothing like erring while reading the news before 700,000 people, for a rude taste of one's own medicine. How quickly the corrector becomes the corrected. Myriad grammar and usage errors might get my goat, but I've learnt the hard way there are plenty of other grammar and usage tyrants champing at the bit to correct every error. Who knows if my cautionary tale will have any impact —the proof of the pudding is in the eating— but if you've learnt anything, maybe you'll make fewer errors rather than less, after listening to this verse. You know... as opposed to versus. See omnystudio.com/listener for privacy information.

This week is all poetry—our first all-poetry week of the Immersive Humanities project! After struggling through young Werther, I decided I needed to step back and understand Romanticism as a movement. I offer a brief review of the history leading up to Romanticism; after all, most movements are reactions against what precedes them. The printing press and Protestant Reformation blew open European thought, leading to centuries of philosophical upheaval. Empiricists like Bacon and Hume insisted that knowledge must be tested; rationalists like Descartes and Spinoza trusted pure reason. Kant eventually tried to unite both. Their world gave rise to the Enlightenment—and then came the Romantics, pushing back with emotion, imagination, and nature.That's the world our poets wrote in. This week I used Pocket Book of Romantic Poetry and read Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats (skipping Novalis and Hölderlin). I loved some poems, disliked others. Blake's mystical, anti-Christian tone left me cold. Wordsworth's childhood wonder won me over. Coleridge's Rime of the Ancient Mariner shocked me--it's gripping, almost epic. Byron was brilliant, scandalous, and endlessly readable. His Prisoner of Chillon might have been my favorite poem of the week. Shelley felt dreamlike and visionary, while Keats, to me, seemed talented but young. What did the world lose when he died?Reading these poets in their historical context changed everything. They're passionate, experimental, and surprisingly radical—not quaint! We are missing out when we resort to tired anthologies to get to know these poets--something that I didn't expect to feel so strongly about! Paired with Beethoven's Pastoral Symphony and Chopin's preludes, this week was a revelation.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)That cool Medieval Science Book The Genesis of Science by James HannamCONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts -

Episode 86 Recalling Brigid by Orna Ross Orna Ross reads ‘Recalling Brigid' and discusses the poem with Mark McGuinness. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/86_Recalling_Brigid_by_Orna_Ross.mp3 This poem is from: Poet Town: The Poetry of Hastings & Thereabouts edited by Richard Newham Sullivan Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Interview transcript Mark: Orna, where did this poem come from? Orna: Hi Mark. Yeah, so it's one of a collection that I'm working on, around Irish women from history and myth. And these are women that I grew up with, as a young person, receiving a sort of a typical Irish education, if you like. Orna: And so some of them are saints, some of them are mythological people. Well, saints are also mythological people! Some of them are historical figures who've been mythologized. And I just wanted to go back in and do my own exploration of each of these women because everybody else had. So I've been gathering these poems over a long time, but it actually started with this one. It started with Brigid. And Brigid is a figure from ancient Irish mythology. And she was Christianized into a Roman Catholic saint. She is the patron saint of Ireland. One of. You've probably heard of the other one. Patrick. You probably haven't heard of this one: Brigid. And, so many things have been projected on her. And it's interesting to read what, what survives of what is written about her because what's written earlier on in time is quite different to what's written later on. And she continues to be an inspiration. Her feast day is the first day of spring in Ireland, which in Ireland is the first day of February. It's much earlier than it is in England. And she's just an interesting, personification of the female virtues as they've been perceived over time. Mark: So you said she was written about differently in earlier times to more recent times, which I think is pertinent to how you're exploring that in the poem. So maybe you could just give us a brief summary of that. Orna: Yes. So I, the poem refers to ‘the takeover'. And by that, I kind of mean the Christian, but hand in hand with Christian goes the patriarchal, takeover of old images of women in general. And Brigid is part of that. So earlier, renditions about her tend to focus on her as a healer, as a wise woman, as a very compassionate person, ‘ale to lepers' is one of the, images in the poem. Whereas later versions tend to emphasize her holiness and her saintliness and, her goodness and I suppose what we would typically think is a good, religious, icon. So it's interesting just to read how that changes and differs as we go. And she also then had her detractors, which is where we get to the ideas, about women generally that are in the poem – the consort, mother, victim, whore, those kinds of ideas. You see them brushing against Brigid over time, but she comes through intact actually, as a woman in her own right. And these don't tend to stick to her as they have stuck to others. Mark: And sometimes when poets use mythological figures like this, there's a kind of a critique of, ‘Well, that's a little bit old fashioned, it's poetry with a capital P'. But reading this and listening to you, it kind of really underlines to me that mythology and religion are really quite present in Ireland. Orna: Oh, gosh, yes! The past is very present in Ireland still, in lots of ways. And. It's interesting. I suppose it's something to do with being a small island on the very edge of, in inverted commas, civilization. Although the Irish like to think they civilized Europe during the dark ages by sending our saints and our scholarship, our images of people like Brigid, the truth is that old ways lingered on a long time, and particularly the part of Ireland where I grew up. So, I grew up in County Wexford down in the small bottom right-hand corner, the very southeast tip of Ireland. Around it, there is a river and a small hill that kind of cuts that area off. And around County Wexford in general, there are larger hills and a big river that cuts Wexford off. So they tended to travel by sea more than road, people from that part of the world. And it was the first part of Ireland to be conquered the Norman conquest and, Old English lingered there right up until, well, there are still words that are used in Wexford that aren't used elsewhere. Carols and songs as well. So other parts of Ireland and, obviously England, had moved on, it but kind of got stuck there. So I'm just kind of pointing up the fact that yes, things stayed, passed on in an oral kind of culture and an oral tradition. And hedge schools and such like, long after such things had faded away in other parts of Europe. Mark: And you say Old English rather than Irish was lingering? Orna: That's right. And, because they had, well, the Normans came to England first Hastings, actually where I live now. One of the reasons I'm here, I think is that I felt a lot of similarities between here and Wexford and I think the Norman invasion in both places, it was part of that. So yeah, a hundred years after the Normans landed in Hastings, they were brought over to Wexford by an Irish chieftain to help him win one of his battles with another Irish chieftain. So English came with the Normans to Ireland. Mark: Right. And this is another amazing thing about Ireland, is the kind of the different layers, like archaeological layers of language. You've got Irish, you've got Old English, you've got Norman French, you've got Latin from the church, you've got Norse from the Vikings and so on. It's incredibly rich. Orna: Yes. More diverse, I think. And again, because of its cut off nature, these things lasted longer, I think, because that's also true of England, but the overlay is stronger and so they don't make their way through. Mark: Right, right. And the ghosts can peep through. So, okay, that's the historical cultural context. What does Brigid mean to you and why did you choose her as the first figure in this sequence? Orna: She chose me, I think. I very much feel this poem, you know, some poems are made and some arrive and this one arrived. I wanted to do something to celebrate her. That was all I knew because it was the first day of spring, which I always loved, that first day of February. You know, when winter is really beginning to bite and you feel, I mean, there is no sign of spring except some crocuses maybe peeking up and, uh, a few spring flowers making a little promise. But usually the weather is awful, but it's the first day of spring and it's, been a really important day for me from that point of view. And then the fact that it does, you know, the fact that Patrick is such a great big deal everywhere and Brigid isn't known at all. So that's kind of where I started and I just knew I'd like to write a poem. And then it was one of those ones that I, if I had set out to write a poem about Brigid, I don't think this is what I would have written. It just arrived. And I found that I was thinking about lots of things and as the first poem of this sequence, I wanted to say some of the things about womanhood in the poem, and I, well, I realised I did, because that's what emerged. So for me, it's very much about that kind of quiet aspect of, so, you know, we've got feminism, which talks very much about women's rights to do whatever it is they want to do in the outer world. But for me, she, in this poem, represents the inner, the quiet virtues, if you like, always there for us. We're not always there for them, but they're always there and active in our lives all the time, and I wanted to celebrate that in the poem. So that's what, you know, I got, the rough draft just came pouring out, and that's what I found myself wanting to bring out. Mark: And the title, ‘Recalling Brigid', you know, I was thinking about that word ‘recalling', because it could mean ‘remembering', but it could also mean ‘calling' or ‘summoning'. Orna: Yes, deliberately chosen for both of those meanings, yes, very well spotted there, poetry reader. Mark: Well, you know, this is a very ancient function of poetry, isn't it? And it's where it kind of shades into charm or spells, to summon, or invoke a spirit or some kind of otherworldly creature or being. Orna: Absolutely. I think you've got the heart of what the poem is trying to do there. It is about calling forth, something, as I say, that's there, that we're all, you know, is there for all of us in our lives, but that we're not always aware of it. And our culture actively stifles it, and makes it seem like it's less important than it is. And so, yes, very much exactly all the words, the beautiful words you've just used there. I was hoping this poem would tap into that. Mark: Very much. And, you know, the beginning, ‘Queen of Queens, they called her'. So presumably this is in the old pre-Christian days, ‘they called her'. So there's that word ‘calling' again, and you give us the kind of the gloss, ‘in the old books, the Irish Mary'. And then you introduce the takeover: ‘such was the sort of woman / preferred as the takeover was made:' And then you get the other version. And then you've got: ‘Brigid said nothing to any of this,' which I think is really wonderful that she keeps – so you've gone from ‘they' in the past, ‘what they called her'. And then Brigid keeping her own counsel about this. She said nothing to any of this, ‘the reverence, or the upbraidings'. And then we get you where you say, ‘I am not as womanly / a woman as she. / So I say: let us see. / Let us say how she is the one. // It is she who conceives, and she who does bear.' Lovely, beautiful repetitions and shifts in there. So you really, you step forward into the poem at that point. Orna: I really wanted to, to place myself in relation to, to her and to all the women in this collection. Which isn't out yet, by the way, it's not finished. So I've got another three to go. No, I really wanted to place myself in relation to the women in the poems. That was an important part of the project for me. And I do that, you know, lots of different ways. But this poem, the first one is very much about, I suppose, calling out, you know, the ‘recalling' that you were talking about there a few moments ago, calling out the qualities. That we tend to overlook and that are attributed to Brigid as a womanly woman. And so, yeah, that's, that's what I was saying. I'm more of a feminist woman who is regarded by some as less womanly. so there is a, that's an interesting debate for me. That's a very interesting, particularly now at this time, I think, it's very interesting to talk about, you know, what is a feminist and what is feminism. And I personally believe in feminisms, lots of different, you know, it's multiple sort of thing. But these poems are born of a, you know, a feminist poet's sensibility without a doubt. So in this first one, I just wanted to call out, you know, the womanly virtues, if you like. Mark: Yeah. So I get a sense of you kind of starting as a tuning fork for different ideas and voices, calling her different things. And then you shift into, ‘Let us see. / Let us say…' I love the description earlier on where you said it's a celebration because by the end of the poem, it really is. It's all her attributes, isn't it? ‘It is she who conceives / and she who does bear.' And so on. Again, how easy was it for you to let go and, and, and step into that? Because it's kind of a thing that it's a little bit, it's not what we associate with modern poetry, is it? Orna: No, not at all. Not at all. But I had to ages ago, give up on modern poetry. If I wanted to write poetry, I had to drop so much, so much that I learned, you know, English Lit. was my original degree. And, you know, I, I was in love with poetry from a very young age. So, I learned everything I could about everything. And then I had to drop it all because I didn't write, I didn't write any poems between the end of my teens and my early forties when I lost a very dear friend. And then when I went on, shortly afterwards to, develop breast cancer. So those two things together unlocked the poetry gates and poems came again. And the kind of poems that came, very often were not, poems that they're not fashionable in that sense. You know, they're not what poetry tends to be. And from that point, in our time, if you like, some are, some, some do come that way, but an awful lot don't. And, for that reason, I'm just so entirely delighted to be able to self-publish because they speak to readers and say they communicate. And to me, that's what matters. And I don't have to worry about being accepted by a poetry establishment at all. I don't spend any time whatsoever thinking about that. I work at the craft, but I, it's for myself and for the poem and for the reader, but not to please anybody that, you know, would be a gatekeeper of any kind. Mark: Well, some listeners will know this – you are very much known as a champion of opportunity and diversity in publishing for writers and self-publishing, independent publishing, however you call it. But I think what I'd like to focus on here is the fact that, you know, by writing a poem like this, you highlight the conventions that we have in modern poetry. And it's easy to see the conventions of the past, but maybe not so much the ones in the present. And I love the fact that you've just sidestepped that or ignored that and written the poem that came to you. Orna: Yes. Yes, very much did and do. And like I said, I don't spend, I did at one time spend time thinking about this, but I spend absolutely no time now thinking about this at all. Mark: That's so refreshing to hear! [Laughter] Orna: No, it's, it's great. It's certainly a liberation. I think very much about the poem and what the poem needs and wants from me. And I make mistakes. I, you know, I don't do well on some poems. I go back, rewrite, sometimes years later, sometimes after they're published. so yeah. It's not that I don't think about form or structure or, you know, all of the things that poets think about but I only think about the master, you know, is the poem itself or the reader possibly or the communication between the bridge between me and the reader, something like that. But yeah, it's liberating for sure. Mark: And how did that play out in this poem? I mean, how close is this to the original draft that came to you? Orna: It's one of the poems that's closest to the original. It kind of arrived and I didn't want to play with it too much at all. So yeah, it, I just left it be. I let it be what I wanted to be because for me there are echoes in this poem as well of Old Irish poetry and ways of writing. you know, that if you, I don't know if you've ever had the pleasure of reading Old Irish poetry in translation? Mark: Yes. Orna: So, you know, that sense of I'm reading something from a completely different mind. It's, it isn't just that the, you know, the structures are different or whatever. It's like the whole mind and sensibility is something else. And that was one of the things I wanted to slightly have to retain in this poem. You know, I felt that it, it carries some of that forward and I wanted to, to leave it there as an echo. Mark: Yeah. Quite a lot of those Old Irish poems have a kind of a litany, a list of attributes of the poet or their beloved or the divine being that they're evoking. And that comes across very strongly here. Orna: Yeah, definitely. That's sort of a list of, which to the modern ear can sound obvious and, you know, just not poetry really. So yeah, I think that's one of the qualities that it carries. Mark: And I love the kind of the incantatory repetitive thing. Like I was saying about the, ‘So I say: let us see. / Let us say', and then ‘It is she… It is she… she who', you know, it just carries you along. It's got a hypnotic quality to it. Orna: Yes. And the she part, you know, the emphasizing the feminine, I suppose, touch of the divine feminine, but very much the physical feminine, and activities as well. So, you know, women held the role of birth and death very much in Irish culture again, up to really quite recently. I remember that, in my own youth and okay, I am getting on a bit, but, it's still, you know, it was quite late in time where, women did the laying out for burial. They did the keening of the, the wake, all of that. I remember very well. so at the beginning and end of life at the thresholds, if you like, that was a woman's job. And, that was lost, I think in the takeover. But I still think all the emotional labour around those thresholds are still very much held by women, you know, silently and quietly. And yeah, Brigid doesn't shout about it, but in this poem, I want to call it. Mark: Yeah. Recall it. Okay. And then let's go back to Hastings, which we touched on earlier, because this, okay. It's, it's going to be in your collection. It's been published in a wonderful anthology poetry from Hastings called Poet Town. Tell us a bit about that book and how you came to be involved. Orna: Yeah. So I heard about it and, Richard [Newham Sullivan] wonderful, poet and, publisher and general literary person. He now lives in New York, but he grew up in Hastings and lived here for many years. And it was a kind of a homesickness project he told me later, for him just. But he carried the idea in his mind for a very long time. He wanted to, he knew that there was an incredible, poetic history in Hastings, which people were not aware of. So Hastings is very well known. Hastings and St. Leonard's, where I live, both are very well known as arty kind of towns. Visual arts are very, very visible here, and all sorts of marvellous things going on, and music as well, there's brilliant Fat Tuesday music festival every year, but there's also, there's classical music, music in the pubs, music coming out your ears, literally. But very little about the literary life that goes on here, and lots of writers living here. And so Richard wanted to just bring forward the poetry side of that. And so he decided it's a passion project for him. He decided to, he worked with the publisher, a small publisher here, in Hastings for it. It's Moth Light Press. And he set out to gather as many living poets into one collection as he could. And this is where I was interested because as, I'm a historical novelist as well, so history is big for me, and I was really interested in the history, you know, the history and the poets who had lived here. There were quite a few. It's not every day you find yourself in an anthology with Lord Byron and Keats, and, two Rossetti's! So that was a joy, discovering all the poets who, had a connection to Hastings back to, I think he went back to the early 1800s with it. So, yeah, it's been a huge success, and, people are loving the book, and it has really brought poetry, brought pride, I think, to the poetry community in the town, which is lovely. Mark: Yeah, I'm really enjoying it, and I love the fact that it's got the old and the new. Because, of course, that's what I do here on A Mouthful of Air. I always think the ghosts of poetry past are always present in the work of the living. I hadn't realized what a deep and rich poetic history Hastings had. So, yeah, Poet Town, a great anthology. Do check that out while you're waiting for Orna's sequence to come to light. And Orna, thank you so much for sharing such a remarkable poem and distinctive take on the poet's craft. And I think this would be a good point to listen to the poem again, and appreciate your praise and celebration once more. Orna: Thanks so much, Mark, for having me. I really enjoyed it. Thank you. Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Poet Town: The Poetry of Hastings & Thereabouts ‘Recalling Brigid' is from Poet Town: The Poetry of Hasting & Thereabouts, published by Moth Light Press. Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Orna Ross Orna Ross is an award-winning poet and novelist. Her poetry, rooted in Irish heritage and mindfulness practice, explores love, loss, creativity, and spiritual renewal through a female lens. As founder-director of the Alliance of Independent Authors (ALLi), she champions creative freedom for poets and writers. Her forthcoming collection, And Then Came the Beginning—Poems of Iconic Irish Women, Ancient and Modern—is available for pre-order at OrnaRoss.com/TheBeginning. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Episode 85 From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Mark McGuinness reads and discusses a passage from ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge.Poet Samuel Taylor ColeridgeReading and commentary by Mark McGuinnessFrom... Alchemy by Gregory Leadbetter Episode 84 Alchemy by Gregory Leadbetter Gregory Leadbetter reads ‘Alchemy' and discusses the poem with Mark McGuinness.This poem is from: The Infernal Garden by Gregory LeadbetterAvailable from: The Infernal Garden is available from: The publisher: Nine Arches...

Blockchain and Smart Contracts in Estate Planning with F. Keats Boyd III Hosts Brad Wright and Michael Connaughton are joined by Attorney F. Keats Boyd III Keats is President of Boyd & Boyd, P.C. in Hyannis, MA, where he concentrates his practice in the areas of Estate, Trust & Retirement Planning. He is also working to streamline estate planning by utilizing Blockchain, Smart Contract and NFT technology. They discuss: -What Blockchain, Smart Contracts, and NFTs are -How they can be used to make estate settlement more efficient -The security and privacy questions surrounding the technology -Whether Keats, who is admitted to argue in front of the Supreme Court, has ever done so F. Keats Boyd III Website: https://www.boydandboydpc.com/

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.

On the 146th episode of What is a Good Life?, I'm delighted to welcome Steven D'Souza. Steven is an award winning author, executive educator, trusted advisor, leadership coach and keynote speaker. He is a Senior Partner in the Leadership & Professional Development Practice at Korn Ferry, a leading global Organisational Consulting firm. His expertise crosses the fields of psychology, organisational development, diversity, group dynamics, contemplation and social capital. He has spoken globally to organisations such as PwC, TikTok, Financial Times and the United Nations. His work has been featured in Harvard Business Review, The Independent and The Sunday Times.In this conversation, Steven reflects on his early pursuit of the priesthood and his lifelong inquiry into meaning, service, and aliveness. Drawing on themes from his latest book, Shadows at Work, he shares how meeting the shadow with curiosity and compassion brings wholeness, and how embracing uncertainty, silence, and kindness can lead to a more grounded, vital way of living.This conversation invites you to see the shadow not as something to fix, but as a hidden source of energy, wisdom, and aliveness.For more of Steven's work:Shadows at Work: Harness Your Dark Side and Unlock Your Leadership PotentialNot Knowing: The Art of Turning Uncertainty into OpportunityNot Doing: The Art of Effortless ActionNot Being: The Art of Self TransformationWebsite: https://stevendsouza.com/Contact me at mark@whatisagood.life if you'd like to explore your own lines of self-inquiry through 1-on-1 coaching, my 5-week group courses, or to discuss team coaching to stimulate greater trust, communication, and connection, amongst your leadership teams.- For the What is a Good Life? podcast's YouTube page: https://www.youtube.com/@whatisagoodlife/videos- My newsletter: https://www.whatisagood.life/- My LinkedIn: https://www.linkedin.com/in/mark-mccartney-14b0161b4/00:00 — Steven's lifelong question + year pursuing priesthood04:24 — Leaving the path & formative books (Kopp, de Mello)07:27 — Stories as truth; practice over tips10:12 — Aliveness; “I grow in my spirituality by growing in my humanity”13:01 — Bringing the vertical into the horizontal (everyday life)13:28 — Why Shadows at Work; prisons, corporate paradox, “dark mode”19:36 — “Know my shadow and my light”: beyond Jung; four lenses23:08 — Defining shadow; biology, culture, spirit lenses in practice31:02 — Personal shadow work37:04 — Paradoxical theory of change; acceptance over improvement40:43 — Negative capability (Keats)46:53 — Via negativa & subtraction; “bring silence with you”52:29 — The edge of the unknown; reactions & catastrophic thinking58:56 — What is a good life? “A kind life.”

Kathy Keats shows why she is a 2 x world champion in this conversation. Her kindness and wisdom shine through this 90 minute conversation on everything dog. We discuss all of the key topics in raising a nice puppy to live with, to getting a top competitive dog. If you do not already listen to Kathy's postcast, you must. It is brilliant. She can be found at https://www.kathykeats.com or where ever you listen to podcasts.

In a world increasingly dominated by visual and electronic noise, Robert Waxler and David Beckman's You Say, I Say: Staying Alive with Literature, Language, and Friendship (Rivertown Books, 2025) captures the enduring power of literature-not to resolve the great questions of human existence, but to help us explore those questions in ways that are eye-opening, life-changing, and profound. In September, 1962, two 18-year-old freshmen at Brown University named Bob Waxler and David Beckman first crossed paths. They quickly discovered they had a lot in common, especially an abiding fascination with language, literature, and the life of art. Four years later, as college seniors, they collaborated on a small book of poems, which brought them a flurry of attention, then faded into memory as the two friends began separate life journeys-Bob becoming a professor of literature at a Massachusetts college, David working as an advertising and promotion writer in New York with sidelines as a poet, playwright, and actor. In 2014, an article in the Brown alumni journal rekindled their connection. It sparked an exchange of emails that gradually blossomed into this book-an extended dialogue between two old friends on poetry, life, the passage of time, and the power of the written word. In You Say, I Say, Waxler and Beckman trade observations, opinions, questions, and arguments about the ways in which literature transforms, challenges, disturbs, and inspires us. Spurred by lifetimes largely dedicated to "deep reading," they debate the meaning and value of works ranging from Dante's Inferno and Shakespeare's King Lear to Tolstoy's Death of Ivan Ilych; the poems of Wordsworth, Blake, Coleridge, and Keats; and the works of T.S. Eliot, Kafka, Beckett and Joyce. They often uncover new and surprising facets of classic works in the glare of post-modern experience. And they even exchange a couple of new poems-their own work-triggering reflections on the creative process and its many unexpected twists. Along the way, Waxler and Beckman delve into questions that have haunted generations of readers and critics. And they reveal, directly and indirectly, how encounters with literature have shaped their intellects and their lives.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In a world increasingly dominated by visual and electronic noise, Robert Waxler and David Beckman's You Say, I Say: Staying Alive with Literature, Language, and Friendship (Rivertown Books, 2025) captures the enduring power of literature-not to resolve the great questions of human existence, but to help us explore those questions in ways that are eye-opening, life-changing, and profound. In September, 1962, two 18-year-old freshmen at Brown University named Bob Waxler and David Beckman first crossed paths. They quickly discovered they had a lot in common, especially an abiding fascination with language, literature, and the life of art. Four years later, as college seniors, they collaborated on a small book of poems, which brought them a flurry of attention, then faded into memory as the two friends began separate life journeys-Bob becoming a professor of literature at a Massachusetts college, David working as an advertising and promotion writer in New York with sidelines as a poet, playwright, and actor. In 2014, an article in the Brown alumni journal rekindled their connection. It sparked an exchange of emails that gradually blossomed into this book-an extended dialogue between two old friends on poetry, life, the passage of time, and the power of the written word. In You Say, I Say, Waxler and Beckman trade observations, opinions, questions, and arguments about the ways in which literature transforms, challenges, disturbs, and inspires us. Spurred by lifetimes largely dedicated to "deep reading," they debate the meaning and value of works ranging from Dante's Inferno and Shakespeare's King Lear to Tolstoy's Death of Ivan Ilych; the poems of Wordsworth, Blake, Coleridge, and Keats; and the works of T.S. Eliot, Kafka, Beckett and Joyce. They often uncover new and surprising facets of classic works in the glare of post-modern experience. And they even exchange a couple of new poems-their own work-triggering reflections on the creative process and its many unexpected twists. Along the way, Waxler and Beckman delve into questions that have haunted generations of readers and critics. And they reveal, directly and indirectly, how encounters with literature have shaped their intellects and their lives.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In a world increasingly dominated by visual and electronic noise, Robert Waxler and David Beckman's You Say, I Say: Staying Alive with Literature, Language, and Friendship (Rivertown Books, 2025) captures the enduring power of literature-not to resolve the great questions of human existence, but to help us explore those questions in ways that are eye-opening, life-changing, and profound. In September, 1962, two 18-year-old freshmen at Brown University named Bob Waxler and David Beckman first crossed paths. They quickly discovered they had a lot in common, especially an abiding fascination with language, literature, and the life of art. Four years later, as college seniors, they collaborated on a small book of poems, which brought them a flurry of attention, then faded into memory as the two friends began separate life journeys-Bob becoming a professor of literature at a Massachusetts college, David working as an advertising and promotion writer in New York with sidelines as a poet, playwright, and actor. In 2014, an article in the Brown alumni journal rekindled their connection. It sparked an exchange of emails that gradually blossomed into this book-an extended dialogue between two old friends on poetry, life, the passage of time, and the power of the written word. In You Say, I Say, Waxler and Beckman trade observations, opinions, questions, and arguments about the ways in which literature transforms, challenges, disturbs, and inspires us. Spurred by lifetimes largely dedicated to "deep reading," they debate the meaning and value of works ranging from Dante's Inferno and Shakespeare's King Lear to Tolstoy's Death of Ivan Ilych; the poems of Wordsworth, Blake, Coleridge, and Keats; and the works of T.S. Eliot, Kafka, Beckett and Joyce. They often uncover new and surprising facets of classic works in the glare of post-modern experience. And they even exchange a couple of new poems-their own work-triggering reflections on the creative process and its many unexpected twists. Along the way, Waxler and Beckman delve into questions that have haunted generations of readers and critics. And they reveal, directly and indirectly, how encounters with literature have shaped their intellects and their lives.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

In a world increasingly dominated by visual and electronic noise, Robert Waxler and David Beckman's You Say, I Say: Staying Alive with Literature, Language, and Friendship (Rivertown Books, 2025) captures the enduring power of literature-not to resolve the great questions of human existence, but to help us explore those questions in ways that are eye-opening, life-changing, and profound. In September, 1962, two 18-year-old freshmen at Brown University named Bob Waxler and David Beckman first crossed paths. They quickly discovered they had a lot in common, especially an abiding fascination with language, literature, and the life of art. Four years later, as college seniors, they collaborated on a small book of poems, which brought them a flurry of attention, then faded into memory as the two friends began separate life journeys-Bob becoming a professor of literature at a Massachusetts college, David working as an advertising and promotion writer in New York with sidelines as a poet, playwright, and actor. In 2014, an article in the Brown alumni journal rekindled their connection. It sparked an exchange of emails that gradually blossomed into this book-an extended dialogue between two old friends on poetry, life, the passage of time, and the power of the written word. In You Say, I Say, Waxler and Beckman trade observations, opinions, questions, and arguments about the ways in which literature transforms, challenges, disturbs, and inspires us. Spurred by lifetimes largely dedicated to "deep reading," they debate the meaning and value of works ranging from Dante's Inferno and Shakespeare's King Lear to Tolstoy's Death of Ivan Ilych; the poems of Wordsworth, Blake, Coleridge, and Keats; and the works of T.S. Eliot, Kafka, Beckett and Joyce. They often uncover new and surprising facets of classic works in the glare of post-modern experience. And they even exchange a couple of new poems-their own work-triggering reflections on the creative process and its many unexpected twists. Along the way, Waxler and Beckman delve into questions that have haunted generations of readers and critics. And they reveal, directly and indirectly, how encounters with literature have shaped their intellects and their lives.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Join Pastor Colleen and Pastor Keats for one last Technicolor Together episode. They explore the fruit of patience and how God's work in the world often takes way longer than we would like. They reflect on how God is patient with us, and how we can be patient with ourselves and others. Bonus: APT member JoAnn shares about the impact that the community has had on her. 

What is a nerdfighter? How do scabs work? How do I make my house feel like my home? Did John soft launch Keats & Co.? How much does the surface of the moon change over time? Do snakes take more time to digest their food if they're bigger? How long is an era? …Hank and John Green have answers!If you're in need of dubious advice, email us at hankandjohn@gmail.com.Join us for monthly livestreams at patreon.com/dearhankandjohn.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this inaugural episode of The Cosmic Codex, I sit with philosopher and cultural historian Richard Tarnas to explore the mysteries of time, the power of archetypes, and the hidden architecture of reality.We begin with the concept of Kairos, the charged and transformative moment in time, contrasted with Kronos, the measured sequence of historical duration. Drawing on Jung and Greek myth, Rick illuminates how these two modes of temporality shape both individual lives and collective history, and why our present era can be understood as a Kairos of metamorphosis and crisis.Our discussion then turns to the archetypal dimension and its role in evolution. Rick shares insights from archetypal astrology and depth psychology, reflecting on the integration of opposites, the alchemical process of soul-making, and the necessity of suffering for transformation. We speak of Keats's phrase the “veil of soul-making” and Hillman's image of the acorn and the oak, considering how temporal life forges identity and destiny through revision, humility, and creative experiment.We also address the collective crisis of our age as an initiatory passage of death and rebirth, a planetary ordeal calling for deeper community, spiritual trust, and a renewed relationship to nature and cosmos. Beauty emerges as a central theme, not as surface ornament but as an archetypal force that calls the soul toward transformation and inspires creativity, truth, and meaning.Books by Richard Tarnas:The Passion of the Western MindCosmos and Psyche: Intimations of a New World ViewPrometheus the Awakener: An Essay on the Archetypal Meaning of the Planet UranusBooks & Authors Mentioned:C.G. Jung — The Undiscovered Self, Answer to JobJames Hillman — The Soul's CodeCharles Taylor — A Secular AgeWilliam Blake — Songs of Innocence and of ExperienceMarie-Louise von Franz — Number and TimeJohn Keats — LettersFriedrich Nietzsche — Thus Spoke ZarathustraTerrence McKenna — The Archaic RevivalPlato, Aristotle, and references to the Axial AgeTimestamps for Key Moments:[Welcome & Vision for Cosmic Codex](0:27)[Kairos, Kronos, and Jung](6:53)[Archetypes & Depth Psychology](22:08)[Soul-Making & Suffering](38:07)[Collective Crisis & Initiation](47:59)[Beauty, Aesthetics, and Transformation](55:18)

Rhiannon has been fully immersed in the nudity at Wilderness, listening to Dan Wye's brilliant comedy, whilst Alex has been bobbing on the sea, reading Zadie Smith's On Beauty. What a book, exploring the mysteries of academic language, affirmative action and destructive middle aged men. Meanwhile, Rhiannon has been reading about the conflict between freedom on the internet and yet limited physical freedoms that modern children experience. Are they more anxious than ever and why? Alex has followed John Green down his turberculosis tunnel, exploring the history - from Keats to Cowboys, why it connects to everything, and why it is a disease that reveals injustice wherever it goes. An exciting, sun-filled episode!Show notesDan Wye Am I Sam Smith? at Wilderness Festival Late to the Party, Grace CampbellFootball, Feminism and Everything In BetweenOn Beauty by Zadie Smith Intimations by Zadie Smith North-West by Zadie Smith The Anxious Generation by Jonathan HaidtThe Fault in Our Stars by John GreenEverything is Turberculosis by John GreenThe Happiness Lab podcastTraitors, Destination X, Race Across the WorldMade in ChelseaGreat Company - Jamie Laing's podcast

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

The Rural Riley County Community Foundation unites three small towns—Keats, Leonardville, and Riley, creating meaningful community impact through local philanthropy and robust fundraising initiatives.• Foundation manages 26 funds, with 23 participating in their upcoming Match Day• Raised over $97,000 in their first Match Day with $23,000 in matching funds• Community Food Basket program addresses food insecurity with a central pantry and blessing boxes throughout the region• Board includes representatives from all three communities plus dedicated ambassadors• Second annual Match Day scheduled for August 28-29 at Riley County High School• Already secured $32,000 in matching funds for this year's event• Satellite locations will be available in all three communities during Match Day• Online donations accepted at ruralrileycountycf.org• Support extends to churches, schools, wellness programs, and mental health servicesJoin us for Match Day on August 28-29 at Riley County High School or visit ruralrileycountycf.org to donate online and support our rural communities.GMCFCFAs

Grab the popcorn—this Mailbag goes well beyond beach talk. A listener uses Rule Breaker tactics, keeps adding as the stock climbs, and lands their first spiffy-pop. David retells the term's origin and brings back analyst Yasser El-Shimy, whose original pick sparks a rocket-themed chat. Another listener feeds Keats's “On First Looking into Chapman's Homer” to AI for a Rule-Breaker remix full of wild surmise. Those nuggets—plus the new Authors in August lineup—power this week's breezy, idea-packed summer episode. Companies mentioned: RKLB, SBUX Sign up for The Motley Fool's Breakfast Newshere: www.fool.com/breakfastnews Pre-order David's upcoming Rule Breaker Investing bookhere: https://www.amazon.com/gp/product/1804091219/ Host: David Gardner Guest: Yasser El-Shimy Producer: Bart Shannon Learn more about your ad choices. Visit megaphone.fm/adchoices

Offended is back with a new co-host as Tricky, Keats, & GRG draft their favorite video games of all time! Plus, KT KT Naked Ladyy joins the show to review Superman with the gang!

What if the beauty you're searching for is already all around you—and within you? In this inspiring conversation, award-winning poet Tory Tomberlin takes us deep into Beauty in the Branches, her evocative poetry collection that brings nature, memory, and emotion vividly to life. Whether you're a poetry enthusiast or simply craving a fresh perspective, this episode will awaken your senses and reconnect you with the wonder of the everyday.==========================================

What if knowing less could actually make you more? In this riveting conversation, Ben Owden sits down with Dr. Stuart Firestein, former Chair of Columbia University's Biological Sciences, neuroscientist extraordinaire, and author of Ignorance: How It Drives Science and Failure: Why Science Is Successful. Far from being gloomy topics, Stuart shows us how ignorance and failure are the secret engines of creativity and innovation, both in the lab and in life.In This Episode, We Explore:Why “Not Knowing” Is Your Greatest Superpower – Stuart argues that curiosity lives between what we know and what we don't. Learn how “negative capability” (a willingness to tolerate uncertainty) is the birthplace of every major discovery.How Failure Uncovers Hidden Possibilities – From Marie Curie to Richard Feynman, see why a “failed experiment” can be more valuable than hitting a bull's-eye. (Hint: Nature's top predators in nature only succeed 25% of the time!)The Art of Asking Better Questions – Forget “hypothesis‐driven” experiments: discover why wandering in the dark sometimes, not just under the lamp post, is where the real magic happens.Living with Revision — Why “Total Truth” Doesn't Exist – What Newton, Einstein, and Keats taught Stuart about refining knowledge instead of clinging to “one final answer.”Practical Tips for Embracing Ignorance & Failure Today – From “failing better” to scheduling a daily “dark-room” hour, Stuart shares concrete ways to rewire your mindset—whether you're a scientist, a middle manager, or just someone who wants to do more creative work.Get a copy of Failure: Why Science Is So SuccessfulImportant Links*Join Thrive in the Middle Today!*Book WhyLead to Train Your Teams*Explore Our ServicesSocial Media*Ben Owden's LinkedIn*Ben Owden's Twitter 

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

If you like a little more romance in your romantasy, this book might appeal to you despite the page count, awkward turns of phrase, and overplayed-out genre tropes. Katie made it to 90 percent, enjoyed the journey, and was sucked in by a particular scene in which the MMC turns invisible so he can secretly dance with the heroine.https://www.goodreads.com/book/show/203579027-the-courting-of-bristol-keatsSimilar Books:The Cruel Prince by Holly Blackhttps://www.goodreads.com/book/show/26032825-the-cruel-princeThe Selection by Kiera Casshttps://www.goodreads.com/book/show/10507293-the-selectionA Deal with the Elf King by Elisa Kovahttps://www.goodreads.com/book/show/55285911-a-deal-with-the-elf-kingAn Enchantment of Ravens by Margaret Rogersonhttps://www.goodreads.com/book/show/30969741-an-enchantment-of-ravensLove what we do and want to support the pod? Join us on Patreon! https://patreon.com/notanotherheroine

Today in 1940, Life Magazine published a series of photos of a little boy in Liberty County, Georgia - photos that, two decades later, would inspire one of the most famous picture books ever published. Plus: this Saturday in South Bend, Indiana, it's the Donut & Beer Festival. The Enduring Footprints of Peter, Ezra Jack Keats, and The Snowy Day (The Horn Book)Donut & Beer Festival Help inspire our future stories as a backer on Patreon

From Restaurant Owner to Tea Entrepreneur with Nicole KeatsJoin hosts Phil and Kenny as they sit down with Nicole Keating, founder of The Newfoundland Tea Company. In this candid and energetic conversation, Nicole shares her remarkable journey from running a fine-dining bistro in Gander to building a premium organic tea brand that's rapidly expanding beyond Newfoundland's shores.Nicole opens up about weathering personal and professional challenges—including a divorce, health struggles, and the devastating impact of the pandemic on her restaurant business—before finding unexpected success in the tea industry. Learn how her distinctive moose logo came to be, why premium tea is finding its market in a coffee-dominated world, and the creative ways she's incorporated tea into everything from cocktails to merchandise.This episode showcases an entrepreneur whose resilience, gut instincts, and commitment to quality have helped her navigate career transitions while staying true to her roots. Whether you're a tea lover, an aspiring entrepreneur, or simply enjoy stories of reinvention, Nicole's authentic and spirited take on building a business from the heart offers inspiration and practical insights for the commerce life. check out Nicole's product here: https://www.thenewfoundlandteaco.com/Find Nicole here: https://www.linkedin.com/in/nicole-keats-084444266/Thank you to Field Agent Canada for sponsoring the podcast https://www.fieldagentcanada.com/ 

Nathan Keates is a lecturer, improvisation teacher and performer. Like many of us, Nathan became addicted to improv studying in diverse forms and even clowning. He found that his interests drew him to teaching improv. Nathan Keats has delved into researching improv, one major project being with autistic people. He is an expert on autistic people, and we discussed the terms that have been use for autistic people that does not honor their individuality. We spoke several years ago, and I was delighted to connect with him again. He is a Lecturer in Health and Social Care at the University of Sunderland in London. Nathan is involved in research in Applied Social Sciences, Critical Autism Studies, Social and Positive Psychology, Organizational Culture and Improvisation. He has many research articles on neurodiversity including his recent "Inclusive Improv Pedagogy" https://keatesresearchblog.wordpress.com/2025/04/25/inclusive-improv-pedagogy/ “The Experience of Participating in Improv Comedy for Autistic Adults” https://journals.sagepub.com/doi/full/10.1177/27546330251323154 And his 2017 book is especially worthwhile! "University Improv Comedy Society Manual" https://www.amazon.co.uk/University-Improv-Comedy-Society-Manual/dp/1549662694 You can contact Nathan at: Nathan.keates@sunderland.ac.uk

Philosophical inquiry and scientific absurdism meet in the conceptual precision and ice dry wit of Jonathon Keats. In his talk at The Interval, Keats discussed his forays into very long-term photography and other deep time projects. He also announced a site-speciific collaboration with The Long Now Foundation that will create a long-term art work on our Mt. Washington property in Eastern Nevada. As an experimental philosopher and conceptual artist, Jonathon Keats has applied general relativity to time management, personalized the metric system, sold real estate in the higher dimensions of spacetime, and epigenetically resurrected historical figures including George Washington and Jesus Christ. Those are some of the projects he touches on in this talk. Currently Keats is [building pinhole cameras](http://www.slate.com/articles/technology/future_tense/2015/03/experimental_philosopher_jonathon_keats_millennium_camera_experiment.html) of his own design with exposure times of 100 and 1,000 years to document long-term change in cities from San Francisco to Berlin. The Berlin century cameras debuted in 02014. Each person who secretly installed one will eventually inform a child of its location. In 02114 that child is responsible for retrieving the finished photo and returning the camera to the gallery. Where they can get their deposit back. [The first millennium camera](https://asunow.asu.edu/content/asu-art-museum-document-tempe-historys-slowest-photograph) was installed recently at the Arizona State University Art Museum. But his next time art project is five times as ambitious. Keats reveals for the first time in this talk a project to turn bristlecone pines into calendars--living calendars. Bristlecones live up to 5000 years, so they are unique in the duraton they track time through dendrochronology. The artist needed to find a place where these ancient trees are already growing that would work with him to create this project. And happily we at Long Now could do just that. The story of the Centuries of Bristlecone will be a long time in telling. But stay tuned.

Welcome to Episode 199 of Good Humans Podcast!In this inspiring episode, I'm joined by Cory Keats—founder of Ampd Bros Electric Bikes, a rapidly growing Aussie brand leading the way in innovation, quality, and customer care.Cory's journey is one of grit, risk-taking, and resilience. From the fear of not being able to cover rent to now owning multiple warehouses and building one of Australia's most exciting electric mobility brands, this conversation is a raw and honest look into the rollercoaster of entrepreneurship.We unpack the sacrifices, the wins, and the mindset shifts that helped Cory turn his passion into a thriving business. Whether you're building a brand, chasing a dream, or just love hearing about what's possible when you go all-in—this one is for you.What We Cover in This Episode:✅ Cory's journey from struggling to pay rent to building Ampd Bros✅ The early sacrifices and lessons of starting a business✅ How to build a brand with community and customer care at its core✅ The mindset required to navigate uncertainty and growth✅ What's next for Cory and Ampd BrosConnect with Cory & Ampd Bros:

Welcome to Episode 199 of Good Humans Podcast!In this inspiring episode, I'm joined by Cory Keats—founder of Ampd Bros Electric Bikes, a rapidly growing Aussie brand leading the way in innovation, quality, and customer care.Cory's journey is one of grit, risk-taking, and resilience. From the fear of not being able to cover rent to now owning multiple warehouses and building one of Australia's most exciting electric mobility brands, this conversation is a raw and honest look into the rollercoaster of entrepreneurship.We unpack the sacrifices, the wins, and the mindset shifts that helped Cory turn his passion into a thriving business. Whether you're building a brand, chasing a dream, or just love hearing about what's possible when you go all-in—this one is for you.What We Cover in This Episode:✅ Cory's journey from struggling to pay rent to building Ampd Bros✅ The early sacrifices and lessons of starting a business✅ How to build a brand with community and customer care at its core✅ The mindset required to navigate uncertainty and growth✅ What's next for Cory and Ampd BrosConnect with Cory & Ampd Bros:

Rev. Dr. Carl Gregg (April 13, 2025)

It's the final countdown for the Detroit Red Wings. Tune in as we open by discussing their two most recent wins, including a victory over Jamie Benn and the Dallas Stars that included Dylan Larkin organizing an honorary stick-lift for John Keating, Albert Johansson, Alex DeBrincat, Jonatan Berggren, Lucas Raymond, Moritz Seider, and Vladimir Tarasenko contributing, & more. Also, their win in New Jersey, including Marco Kasper reaching 19 goals, Lucas Raymond reaching the 80 point mark (first Red Wings player since Henrik Zetterberg to do it), Dylan Larkin reaching 30 goals for the 4th straight year, Simon Edvinsson using his body, Compher's snipe, a chat about the draft lottery standings & more (3:45). Next, we're joined by Prashanth Iyer to discuss Steve Yzerman's options for the Hockeytown team this offseason, Todd McLellan's impact & their underlying numbers, whether bringing back Patrick Kane, adding Mitch Marner, Gavrikov, or other free agents would be a boost, and how far away they are from the Wild Card playoff spots (15:00). Next, our 2025 NHL Stanley Cup Playoff predictions for every series: Toronto Maple Leafs vs. Ottawa Senators, Tampa Bay Lightning vs. Florida Panthers, Washington Capitals vs. Montreal Canadiens, Carolina Hurricanes vs. New Jersey Devils, Winnipeg Jets vs. St. Louis Blues, Dallas Stars vs. Colorado Avalanche, Vegas Golden Knights vs. Minnesota Wild, and Los Angeles Kings vs. Edmonton Oilers. (46:05) After that, our NHL Draft Prospect Profile on Caleb Desnoyers and how he compares to Marco Kasper and Nico Hischier (1:10:05) & more before we take your questions and comments in our Overtime segment (1:18:30) - enjoy! Head over to wingedwheelpodcast.com to find all the ways to listen, how to support the show, and so much more! Go to TempoMeals.com/WINGEDWHEEL for 60% off your first box! #ad Go to KoffeeKult.com and use code WWP for 10% off your order! #ad Support the Jame Daniels Foundation through Wings Money on the Board: https://www.wingedwheelpodcast.com/wingsmotb Buy PLAY F*****G HOCKEY Merch: https://www.wingedwheelpodcast.com/shop

From begging to play the trumpet to becoming first chair; from older cousins putting him on to Toonami, to making rap videos in Tokyo... Keats has built himself from the ground up, to become one of the most well known rappers and creators in the blerd community. Hear about his journey with music, anime, and his creativity on this latest episode of Life With Anime Podcast!RECORDED: 2/17/2025Join this channel to get access to perks:https://www.youtube.com/channel/UCgQkn1FWODdRULH_F-BTYUQ/joinMERCH: https://sakugaapparel.com/collections/life-with-anime-podcast/BLACK FOLK IN TOKYO: https://www.youtube.com/watch?v=TGOw3OKgV4g------------------------------------------------------------------------------------------------------------------------------------------------------------

Send us a textJoin Rachel Hill and Liz Wilson on Two Babes and a Book! Today we discuss the book The Courting of Bristol Keats by Mary E. Pearson. Chapters to skip if you want to skip the spice: (sorry if I missed one!)Chapter 68Chapter 87 (pages 436-438)End of last chapter of book-----------Want to check other episodes out about Mary E. Pearson's books?Episode 60: Dance of ThievesEpisode 64: Vow of ThievesEpisode 72: The Remnant ChroniclesEpisode 76: Interview with Mary E. Pearson Follow us on instagram @twobabesandabook. Make a comment there and tell us if you read this book. Make sure to leave us a review!  Thanks to those friends who have already shared the podcast!! It means the WORLD to us! As Holbrook Jackson said, "Never put off till tomorrow the book you can read today."Now go stick your nose in a book!

Find the 9 Points Rating System here: https://www.alostplot.com/9-points/ In this episode of 'A Lost Plot', hosts Maverick and Avalon review the Netflix film 'The Electric State', directed by the Russo brothers. They discuss their initial impressions, ratings, and the film's plot, which follows a girl named Michelle on a journey to find her brother in a dystopian world. The hosts analyze the character development, particularly of Michelle and the supporting cast, and critique the motivations and depth of the characters. Overall, they express disappointment in the film's execution despite its high production value.  They explore the themes of sentience and reality, discussing the moral dilemmas faced by the characters. ----------Highlights:0:00 ‘The Electric State' Introduction5:57 Opening Scene8:30 Michelle Greene13:10 Keats, Herman, and Mr Peanut17:35 Christopher and the Cosmo Bot20:51 The Villains: Bradbury and Ethan Skate25:59 The Climax30:27 Themes on Sentience and Reality32:23 Lasting Impact of The Electric State#theelectricstate #netflixorignal #milliebobbybrown #chrispratt #alostplot #filmthoughts #netflix #electricstate #simonstalenhag #stalenhag #technology #dystopian #themes #film 

Send us a textIn "The Electric State," Netflix's visually stunning but narratively bewildering $300 million sci-fi adventure, we're transported to an alternate 1990s America recovering from a robot war that never quite makes sense. What begins as a promising exploration of technology addiction and human-robot relations quickly devolves into a confusing rescue mission with emotional stakes that never land.The Russo Brothers clearly poured resources into creating a visually distinctive world based on Simon Stålenhag's artwork, but neglected to fill this beautiful shell with meaningful substance. Millie Bobby Brown portrays Michelle, a young woman searching for her brother in this post-war landscape, yet her performance lacks the emotional range needed to carry such a high-concept story. Chris Pratt as her reluctant companion Keats similarly struggles to bring depth to his character, with their on-screen chemistry noticeably absent throughout.What makes "The Electric State" particularly frustrating is its squandered potential. The premise—humans splitting their consciousness between robot bodies and virtual fantasies—raises fascinating questions about identity, addiction, and reality that remain largely unexplored. Instead, we're treated to a third act that collapses under its own illogic, culminating in an ending that contradicts the very world the film has established. The robot characters, ironically, demonstrate more personality than most of their human counterparts.For all its flaws, the film does deliver impressive visual spectacle and some standout voice performances from its supporting cast. However, these elements only highlight what might have been had the same care been applied to the screenplay. "The Electric State" ultimately stands as a cautionary tale about prioritizing aesthetics over substance—a beautiful but hollow experience that, like its virtual reality users, remains disconnected from anything meaningful.Written Lovingly by AIBe our friend!Dan: @shakybaconTony: @tonydczechAnd follow the podcast on IG: @hatewatchingDAT

Analizamos sin spoilers Estado Eléctrico, la adaptación del libro de Simon Stålenhag que nos lleva a una versión alternativa de los años 90, donde una joven y un robot cruzan un país devastado en busca de respuestas. Dirigida por los hermanos Russo. Millie Bobby Brown (Stranger Things, Enola Holmes, Damsel) interpreta a Michelle, una adolescente huérfana que sobrevive como puede en una sociedad en la que un conjunto de robots con aspecto de dibujos y mascotas, que en su día sirvieron a los seres humanos, viven ahora en el exilio tras un alzamiento fallido. Todo lo que Michelle cree saber sobre el mundo cambia repentinamente una noche cuando recibe la visita de Cosmo, un robot dulce y misterioso aparentemente controlado por Christopher, el hermano pequeño de Michelle quien ella creía muerto. Decidida a encontrar al hermano que supuestamente había perdido, Michelle recorre el suroeste de Estados Unidos junto a Cosmo y acaba uniendo fuerzas de mala gana con Keats (Chris Pratt, Guardianes de la Galaxia, Jurassic World), un contrabandista de poca monta, y con Herman (con el doblaje en su versión original de Anthony Mackie), el ocurrente robot que lo acompaña. Cuando se adentran en la Zona de Exclusión, una región amurallada en el desierto donde los robots campan a sus anchas, Michelle y Keats se topan con un extraño grupo de aliados animatrónicos y descubren que las fuerzas que se ocultan tras la desaparición de Christopher son más siniestras de lo que esperaban. Learn more about your ad choices. Visit megaphone.fm/adchoices

"I have no rituals when it comes to writing. I don't want to think something can go wrong if things aren't set up the right way," says James McGovern of The Murder Capital. Indeed, that's the downside of a ritual: a fixed routine can limit your productivity when that routine isn't available. But McGovern does have one tiny "ritual" that I wholeheartedly endorse: writing the bad stuff before he gets to the good stuff.And as an aside, any songwriter who references Yeats, Keats, and Heaney in one podcast is forever my hero.The Murder Capital's latest album is BlindnessSend us a text

Talking points: masculinity, culture, gratitude, anger, poetryI don't typically get starstruck or awed in interviews, even though I've talked to many incredible people. But David? Well, he's had an immense impact on my life, and so much of my work and way of thinking lives inspired by him. He joined me in Seattle and shared so much wisdom, beauty, and of course, poetry. Dig into this one.(00:00:00) - What is the “conversational nature of reality”, why the unknown is so uncomfortable, and the fear of “descent”(00:18:44) - How the need for control kills off meaning and purpose, and how real poetry and philosophy come from NOT knowing what to say(00:25:53) - David reads “Blessing of the Morning Light”(00:32:42) - How does a man start building a relationship to the unknown parts of himself, and David's relationship with his father(00:44:24) - The role of anger and the power of poetry(00:56:16) - On forgiveness and male friendship(01:31:57) - How do you properly thank someone who's had a profound impact on you?David Whyte is an internationally renowned poet and author, and a scintillating and moving speaker. Behind these talents lies a very physical attempt to give voice to the wellsprings of human identity, human striving and, most difficult of all, the possibilities for human happiness. He draws from hundreds of memorized poems, his own and those of other beloved poets such as Wordsworth, Emily Dickinson, Keats, Pablo Neruda, Fleur Adcock and the sonnets of Shakespeare. He is the author of ten books of poetry, three books of prose on the transformative nature of work; a widely-acclaimed, best-selling book of essays, and an extensive audio collection.Connect with David-Website: https://davidwhyte.com/-Instagram: https://www.instagram.com/davidjwhyte/-Facebook: https://www.facebook.com/PoetDavidWhyte/-YouTube: https://www.youtube.com/@poetdavidwhyte-SubStack: https://davidwhyte.substack.com/***Pick up my book, Men's Work: A Practical Guide To Face Your Darkness, End Self-Sabotage, And Find Freedom: https://mantalks.com/mens-work-book/Heard about attachment but don't know where to start? Try the FREE Ultimate Guide To AttachmentCheck out some other free resources: How To Quit Porn | Anger Meditation | How To Lead In Your RelationshipBuild brotherhood with a powerful group of like-minded men from around the world. Check out The Alliance. Enjoy the podcast? If so, please leave a review on Apple Podcasts, Stitcher, or

durée : 00:55:18 - Very Good Trip - par : Michka Assayas - Au menu de ce Very Good Trip, la voix d'une femme qui ne ressemblait à aucune autre. Michka Assayas consacrait cette émission à Marianne Faithfull à l'occasion de la sortie d'un album ou elle ne chantait pas mais récitait ses poèmes anglais préférés, Tennyson, Wordsworth, Keats et Byron.

"Paws of War: Heroes in the Wake of LA's Wildfires" When disaster strikes, it doesn't just affect people—it impacts our beloved pets and the wildlife around us. The devastating LA fires left a trail of destruction, displacing families, destroying habitats, and endangering countless animals. But amidst the chaos, incredible organizations like Paws of War step in to bring hope and healing. In this episode, Robin Keats shares the inspiring work of Paws of War, an organization making a real difference for animals affected by these wildfires. Imagine this: your home is in the fire's path, and you have only moments to escape. In the rush to save your family, you realize your pet is missing, and you're forced to leave them behind. Heartbreaking, right? Or consider the wildlife in LA's hills—habitats destroyed, food and water scarce. Enter Paws of War, which has installed over 50 temporary food and water stations for displaced wildlife in the affected areas. But they didn't stop there. Recognizing the devastating effects of smoke inhalation, they've also equipped first responders with animal-specific oxygen masks to save pets and wildlife in critical condition. This is a story of compassion, resilience, and the extraordinary lengths people will go to in order to save lives—both human and animal. Don't miss this heartwarming episode about how Paws of War is making a profound impact in the face of tragedy. www.furrealpodcast.com             www.pawsofwar.org fb The Fur Real Podcast             fb Paws of War ig @thefurrealpodcast               ig @pawsofwar tik tok @thefurrealpodcast        tik tok @pawsofwar Speical thanks to J Jig Cicero @jjigcicero for our music intro and outro..you rock!!! Special thanks to Jake Olson  jfolson.music@gmail.com for awesome sound editing  and to our supporters: www.prepvet.com  Stem cells for pets

In his final Sophia Lecture, “Finitude and the Infinite,” Dr Iain McGilchrist grapples with the vital role that the imagination plays in the perception of reality, and what this power can disclose about reality itself. He shows that imagination has the capacity to make contact with an illimitable, irreducible, and inexhaustible world, one that presents itself to us under the aspects of finitude and infinitude. Beginning with the English Romantic poets, McGilchrist shows how these artists resisted the habits of perception that can be associated with the brain's left hemisphere. This part of the brain is adept at rendering, representing, and modeling, but it does so at the cost of simplifying whatever it constructs. Poets like Wordsworth, Keats, Shelley, and Blake strove to remove the film of familiarity from their vision. For them, imagination was the power that made intuitive connections and integrative “leaps,” giving access to a richer, unbounded reality not subject to the strictures of reductive categories. In dialogue with physicists, philosophers, and mathematicians, McGilchrist ultimately shows how the vision of the world offered by the Romantic poets lays claim to the infinite and the eternal. For these artists, eternity is “adverbial”: it is a way of being, a manner, and a modality. McGilchrist convincingly shows us that we, too, can decline to see the world through categories that are measurable, predictable, and countable—but finally lifeless; like the poets whom he takes as his main interlocutors in this lecture, we can, instead, open ourselves to reality's boundless, vital, and infinite character. Authors and Works Mentioned in this Episode: William Wordsworth - Preface to the Lyrical Ballads Samuel Taylor Coleridge - Biographia Literaria Percy Bysshe Shelley - A Defence of Poetry Max Scheler William Blake Richard Feynman James A. Shapiro Denis Diderot Barbara McClintock William James Albert Einstein Leonhard Euler William Wilson Morgan Richard Feynman The Ancient of Days (William Blake, 1794, watercolor etching) Nicholas of Cusa - De Docta Ignorantia Jason Padgett Gottfried Wilhelm Leibniz Galileo Galilei David Hilbert Henri Bergson Richard Wagner Isaac Luria - Lurianic Kabbalah Edward Nelson Alfred North Whitehead Eugène Minkowski Heraclitus Jordan Peterson Zeno of Elea John Milton John Keats Jorge Luis Borges Martin Heidegger Tao-te Ching William Blake - “The Tyger” Emily Dickinson Marianne Moore Robert Browning - “Two in the Campagna” Bhagavad Gita Peter Cook John Polkinghorne Mary Midgley René Descartes Friedrich Wilhelm Joseph von Schelling J. B. S. Haldane Lee Smolin Eugene Koonin Hildegard of Bingen - The Choirs of Angels Christ Pantocrator and Signs of the Zodiac C. S. Lewis Johannes Kepler Jesus

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

Hi, so we're Mary E. Pearson fangirls. We have been for such a longgggg time. This is Mary's THIRD time on our podcast because we are, respectfully, in love with her and her personality. Oh... and her writing. We loved the imagery, the faerie lore, the tension and the prose of The Courting of Bristol Keats, and we did everything in our power to get Mary to spill all of her secrets. We love her! --- Support this podcast: https://podcasters.spotify.com/pod/show/novelboundpodcast/support

Welcome to Episode 212 of The Thinklings Podcast! In this episode, we have our Books & Business, Thinkling Little discusses “one flesh” throughout Scripture, and Thinkling Carter ends the podcast with a final meditation in John 15. Books & Business: New Testament Nuptial Imagery - Richard Baty - Thinkling Little Selected Poems of Byron, Keats, Shelley - Byron, Keats, Shelley - Thinkling Stearns Hillbilly Elegy - J.D. Vance - Thinkling Carter Main Content: Thinkling Little leads a discussion on the “One Flesh” phrase in Scripture. Final Meditation: Thinkling Carter shares a final meditation from John 15.

Today's poem is a particularly novel example of an ancient writerly tradition: writing about how hard it is to write. Happy reading.On February 9, 1874, Amy Lowell was born at Sevenels, a ten-acre family estate in Brookline, Massachusetts. Her family was Episcopalian, of old New England stock, and at the top of Boston society. Lowell was the youngest of five children. Her elder brother Abbott Lawrence, a freshman at Harvard at the time of her birth, went on to become president of Harvard College. As a young girl she was first tutored at home, then attended private schools in Boston, during which time she made several trips to Europe with her family. At seventeen, she secluded herself in the 7,000-book library at Sevenels to study literature. Lowell was encouraged to write from an early age.In 1887 Lowell, with her mother and sister, wrote Dream Drops or Stories From Fairy Land by a Dreamer, printed privately by the Boston firm Cupples and Hurd. Her poem “Fixed Idea” was published in 1910 by the Atlantic Monthly, after which Lowell published individual poems in various journals. In October of 1912, Houghton Mifflin published her first collection, A Dome of Many-Coloured Glass.Lowell, a vivacious and outspoken businesswoman, tended to excite controversy. She was deeply interested in and influenced by the Imagist movement, led by Ezra Pound. The primary Imagists were Pound, Richard Aldington, H.D. (Hilda Doolittle), and Ford Madox Ford. This Anglo-American movement believed, in Lowell's words, that “concentration is of the very essence of poetry” and strove to “produce poetry that is hard and clear, never blurred nor indefinite.” Lowell campaigned for the success of Imagist poetry in America and embraced its principles in her own work. She acted as a publicity agent for the movement, editing and contributing to an anthology of Imagist poets in 1915.Lowell's enthusiastic involvement and influence contributed to Pound's separation from the movement. As Lowell continued to explore the Imagist style she pioneered the use of “polyphonic prose” in English, mixing formal verse and free forms. Later she was drawn to and influenced by Chinese and Japanese poetry. This interest led her to collaborate with translator Florence Ayscough on Fir-Flower Tablets in 1921. Lowell had a lifelong love for the poet John Keats, whose letters she collected and whose influence can be seen in her poems. She believed him to be the forbearer of Imagism. Her biography of Keats was published in 1925, the same year she won the Pulitzer Prize for her collection What's O'Clock (Houghton Mifflin Company, 1925).A dedicated poet, publicity agent, collector, critic, and lecturer, Amy Lowell died on May 12, 1925, at Sevenels.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Cullen's exact birthplace is unknown, but in 1918, at the age of 15, Countee LeRoy was adopted by Reverend Frederick A. Cullen, the minster to the largest church congregation in Harlem.Cullen kept his finger on the pulse of Harlem during the 1920s while he attended New York University and then a graduate program at Harvard. His poetry became popular during his student years, especially his prize-winning poem “The Ballad of a Brown Girl.” In 1925, he published his first volume of poetry entitled Color. Within the next few years, Cullen became well-known, publishing several books and winning a Guggenheim Fellowship in 1928 (to write poetry in France).At first, Cullen was critical of Langston Hughes' poetry, writing that, in using jazz rhythms in his poetry, Hughes was erecting barriers between race instead of removing them. In his own poetry, Cullen sought to erase these boundaries and took traditionalist poets, such as Keats and A.E. Housman, as models for his own poetry. However, despite his criticisms of other black poets, the majority of Cullen's own verses confront racial issues.By the 1930s, Cullen's influence had waned, though he continued to publish prolifically, including novels, a collection of poems for children, the autobiography of his cat, and an adaption of his novel God Sends Sunday into a Broadway musical.-bio via Song of America Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

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