Podcast appearances and mentions of Kenneth Koch

Get out your UV lights & swabs--the queens play a game that fuses poems, then guess the poetic DNA samples. Then we spark up a fusion of a different strain!Please Support Breaking Form!Review the show on Apple Podcasts here.Pretty Please.....Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.     James's ROMANTIC COMEDY is available from Four Way Books.SHOW NOTES:Watch Jools Lebron get mindful and demure here, divaDon't soak tampons in vodka. Poems we discuss in the episode include:Philip Levine's "Bitterness"Laura Kasischke's "Champagne"Kay Ryan's "Shark's Teeth"Kenneth Koch's "One Train May Hide Another"Annie Finch's "Wild Yeasts"Dorothea Lasky's "Toast to my friend or why Friendship is the best kind of Love"Danusha Laméris's "Bonfire Opera"Marie Ponsot's "Among Women"Tina Chang's "God Country"Campbell McGrath's "Sunset, Route 90, Brewster County, Texas"Elizabeth Bishop's "The Fish"W.B. Yeats's "Leda and the Swan"Gerard Manley Hopkins's "The Windhover"Anne Sexton's "Jesus Awake" & "Wanting to Die" Langston Hughes's "The Negro Speaks of Rivers" & "I, Too"Philip Larkin's "Sad Steps" And Beyonce's "You Won't Break My Soul [Queens Remix]," in which she sampled Madonna's song "Vogue," returning it to the culture where it rightly belongs.

Lords: * Tyriq * Alex Topics: * Trying to superficially familiarize myself with every country * The log burner fan * https://ae01.alicdn.com/kf/S68d58689db54401f9a434456881cbdfcf/4-Blade-Heat-Powered-Stove-Fan-Log-Wood-Burner-Eco-Friendly-Quiet-Fireplace-Fan-WinterWarm.jpg * Drilling this chair for ancient water * Variations on a Theme by William Carlos Williams, by Kenneth Koch * https://allpoetry.com/Variations-On-A-Theme-By-William-Carlos-Williams * Boichik bagels * Boxfish skeletons are wilder than seahorse skeletons Microtopics: * Saya Gray. * Least-favorite UFO 50 games. * Treating the city you live in as if you're a tourist. * Going to obscure corners of parking lots. * A way to have an adventure in real life. * The tiny squishy seal that's no longer in your back pocket. * Web sites that are nothing but quizzes. * Trying to name every country. * This Sporcle quiz's opinion about which disputed territories count as countries. * Feeling more worldly after you memorize the names of every country. * Learning katakana and then being annoyed when signs do katakana wrong. * The curse of perfect-pitch. * Corrupted Pitch. * Tuning your whole band to the same out of tune guitar. * Hearing sounds in your head but only the sounds you're also hearing with your ears. * Statw.gov hosting PDF reports of the US government's opinion of every country. * Dear diary, today I did a cool fishing trade with Norway. * The Four Guineas. * The Place Across the Woods. * A giant CPU heat sink in gunmetal black sitting on top of your wood burning stove. * Devices powered by ambient temperature differentials. * The spinning thing on the roof that looks like a macaroon. * Putting googly eyes on your turbine roof vents. * Whether Stirling Engines are useful for anything other than a demonstration of the principles of the Stirling Engine. * Fluids moving through spaces of different sizes. * Injection molded hollow chunky boys. * Extremely mundane time capsules. * A Chair for Scientists. * A giant plastic-encased garbage ravioli. * Entire ecosystems that have existed without light for thousands of years. * Your FEMA-approved disaster preparedness chair. * Sorting all the water molecules on earth from newest to oldest. * Artists' depictions of the Hadean Earth. * The biggest wettest comet in the universe. * Don Quixote, the sopping wet comet. * Free sharps, only used once! * Writing a piece for prepared guitar after your kid fills the guitar with crayons. * Unprepared Pianos. * Juicy cold March wind. * A fair-use parody. * AI analysis of poetry that completely misses the point. * Editing Wikipedia to say that Lil Jon went to Harvard. * List of Rivers in Togo. * What a Specific Guy! * Registering an account to vandalize Wikipedia every few months for years. * Supermarket bagels. * Boiling round bread in water with crustaceans from the Bronx. * Making your own water to make coffee with. * Where to get food-grade lye. * Pastrami lox. * Seahorse skeletons. * Every Platonic Solid Has a Fish. * Where babies breathe from. * Fish without ribcages. * Caltrops arranged into a fish. * Using a pufferfish skeleton as a fidget toy. * The pufferfish at the center of our solar system. * The kind of decoration you see in a lobster joint. * Tropes of the open ocean. * The guy preventing you from being able to find search results for the Atari game Toobin'. * The loudest drinks in the world. * The Toobin' zone in LEGO Dimensions. * Chucking whole unopened cans of beer from your inner tube.

Welcome to Dev Game Club, where this week we continue our series on The Sims. We talk about a dark spiral, read some poetry, the problem of having enough time, and other topics. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: A few more hours Issues covered: alien life, Windows snippet tool vs print screen, not saving, random seeds, introducing a chaos event, theorizing about end games for careers, Tim's persistent chip bag, forums and forever games, games you can play daily, free-to-play mobile games, appointment-based gaming, min/maxing psychology, selling the kids' doll house for food, Dianne being negative, "I'm too depressed to even look at myself," lack of weekends, two Sims having a day off, a podcast first, multiple burners, having to closely manage Bob's fun, the Sims for therapy, externalizing developer feelings of 21st century life, using the room meter to understand what needs to be done, the ultimate plate-spinning game, "did you know that love could be lucrative?," falling in love to increase your net worth, 3D characters and a 2D environment, modding goals and having 3D characters, dimetric vs isometric, revisiting gender normativity, liking problematic things, listening to their audience, how you might approach things the second time around, remastering Final Fantasy VI, a party of side characters, two automated characters healing each other. Games, people, and influences mentioned or discussed: SimCity, Dianne Feinstein, Apple ][, Farmville, Diner Dash, Bejeweled, Animal Crossing, Sims Online, Maxis, Firaxis, Ensemble Studios, Terry Pratchett, Mia Goth, Halo, Kenneth Koch, David Sedaris, Diablo, Quake, Tomb Raider, Super Mario 64, Michael, EA, Wing Commander, Anita Sarkeesian, Northern Exposure, Starfighter, Kirk Hamilton, Aaron Evers, Mark Garcia, Final Fantasy VI, BioStats, Kaeon, Unity, Final Fantasy Tactics, Cloud Strife, Apocalypse Now.  Next time: A few more hours and maybe finish with The Sims Links: Here's an audio recording of the poet Kenneth Koch reading his poem Twitch: timlongojr, Twitter/Threads/Insta: @devgameclub Discord DevGameClub@gmail.com

How should we deal with the fact that we have to read the lines of a poem in order, one after another—or, for that matter, that we have to live our days one after the other? That's some of what comes up in my conversation with Evan Kindley about Kenneth Koch and his funny, didactic, and haunting poem "One Train May Hide Another."Evan is an associate editor at the Chronicle Review. He is the author of two books: Questionnaire (Bloomsbury, 2016) and Poet-Critics and the Administration of Culture (Harvard UP, 2017). With Kara Wittman, he is the co-editor of The Cambridge Companion to the Essay (Cambridge UP, 2022). He is currently writing a "group biography" of the New York School Poets (of which Koch, along with previous podcast subjects Frank O'Hara, James Schuyler, and John Ashbery, is a crucial member), which is under contract with Knopf, and his essays can be found in such publications as The New Republic, The Nation, The New York Review of Books, and n+1. You can follow Evan on Twitter.Please follow, rate, and review the podcast if you like what you hear—and share an episode with a friend. Finally, subscribe to my Substack to stay up to date on our plans.

Stephen Massimilla is a poet, professor, painter, and author, most recently of the poetry collection Frank Dark (Barrow Street Press, 2022) and the 2022 co-edited social justice poetry anthology, Stronger Than Fear. His multi-genre, co-authored Cooking with the Muse (Tupelo Press, 2016) won the Eric Hoffer Award and many others. Previous books and honors include The Plague Doctor in His Hull-Shaped Hat (SFASU Press Prize); Forty Floors from Yesterday (Bordighera Prize, CUNY); The Grolier Poetry Prize; the Van Rensselaer Prize, selected by Kenneth Koch; a study of myth in poetry; award-winning translations; etc. His work has been featured recently in hundreds of publications ranging from AGNI to Denver Quarterly to Huffpost to Poetry Daily. Massimilla holds an MFA and a PhD from Columbia University and has taught there and at many other schools, currently The New School. He is also a prolific artist. --- Support this podcast: https://podcasters.spotify.com/pod/show/viewlesswings/support

One Train May Hide Another by Kenneth Koch

April 13, 2023 - "You Want A Social Life With Friends" By Kenneth Koch, Read By Davis McCallum by The Desmond-Fish Public Library & The Highlands Current, hosted by Ryan Biracree

Read by Kenneth Koch Production and Sound Design by Kevin Seaman

Estrenamos 2023 en compañía de la voz encargada de retransmitir en nuestro país el famoso Concierto de Año Nuevo de la Filarmónica de Viena, nuestro compañero Martín Llade, que nos presenta El horizonte quimérico (Ed. Antonio Machado), una colección de relatos delirantes sobre música clásica. Continuamos escribiendo la carta a los Reyes Magos con la ayuda de Ignacio Elguero y Javier Lostalé, que suman a su lista de peticiones los siguientes títulos: Lo que dijo el trueno (Ed. Vaso Roto), novela de Fernando Díaz San Miguel sobre el proceso de escritura de La tierra baldía de T.S. Eliot, los Sonetos de Feng Zhi (Ed. Hiperión) en una edición bilingüe de uno de los poetas chinos más importantes del siglo XX, el ensayo Las campanas del viejo Tokio (Ed. Capitán Swing), peculiarísima obra de Anna Sherman sobre la concepción del tiempo en la cultura nipona, Antología íntima (Ed. Sonámbulos), un volumen con poemas del desaparecido Rafael Juárez, Mentes vegetales, ensayo de corte filosófico de Chauncey Maher publicado por la recién nacida editorial Bauplan, y dos nuevos poemarios, Cazador de islas (Ed. Centro editor), de la poeta madrileña Almudena Urbina, y Desde que el mundo es mundo (Ed. Visor), de Luis Bagué Quílez. Terminamos el programa con Mariano Peyrou, que nos recomienda un libro para disfrutar en familia: Una hormiga es el principio de un nuevo universo. Leer y escribir poesía con niños, volumen en el que el poeta Kenneth Koch ofrece valiosísimos consejos para iniciarse en este género basándose en sus experiencias como profesor de poesía en una escuela de primaria neoyorquina. Escuchar audio

Read by Kenneth Koch Production and Sound Design by Kevin Seaman

In this episode, Tyler & his galpal Beth chat about the concept of wintering, cheese curds, Kenneth Koch, & more!

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Kenneth Koch was born in Cincinnati, Ohio, on February 27, 1925. He studied at Harvard University, where he received his Bachelor of Arts degree, and attended Columbia University for his PhD. As a young poet, Koch was known for his association with the New York School of poetry. Originating at Harvard, where Koch met fellow students Frank O'Hara and John Ashbery, the New York School derived much of its inspiration from the works of action painters Jackson Pollock, Willem de Kooning, and Larry Rivers, whom the poets met in the 1950s after settling in New York City. The poetry of the New York School represented a shift away from the Confessional poets, a popular form of soul-baring poetry that the New York School found distasteful. Instead, their poems were cosmopolitan in spirit and displayed not only the influence of action painting, but of French Surrealism and European avant-gardism in general. In 1970 Ron Padgett and David Shapiro edited and published the first major collection of New York School poetry, An Anthology of New York Poets, which included seven poems by Koch.Koch's association with the New York School worked, in effect, as an apprenticeship. Many critics found Koch's early work obscure, such as Poems (1953), and the epic Ko, or A Season on Earth (1959), yet remarked upon his subsequent writing for its clarity, lyricism, and humor, such as in The Art of Love (1975), which was praised as a graceful, humorous book. His other collections of poetry include New Addresses (Alfred A. Knopf, 2000), winner of the Phi Beta Kappa Poetry Award and a finalist for the National Book Award; Straits (1998); One Train and On the Great Atlantic Rainway, Selected Poems 1950-1988 (both published in 1994), which together earned him the Bollingen Prize in 1995; Seasons of the Earth (1987); On the Edge (1986); Days and Nights (1982); The Burning Mystery of Anna in 1951 (1979); The Duplications (1977); The Pleasures of Peace(1969); When the Sun Tries to Go On (1969); Thank You (1962); and Seasons on Earth(1960).Koch's short plays, many of them produced off- and off-off-Broadway, are collected in The Gold Standard: A Book of Plays. He has also published Making Your Own Days: The Pleasures of Reading and Writing Poetry (Scribners, 1998); The Red Robins (1975), a novel; Hotel Lambosa and Other Stories (1993); and several books on teaching children to write poetry, including Wishes, Lies and Dreams and Rose, Where Did You Get That Red? Koch wrote the libretto for composer Marcello Panni's The Banquet, which premiered in Bremen in June 1998, and his collaborations with painters have been the subject of exhibitions at the Ipswich Museum in England and the De Nagy Gallery in New York. His numerous honors include the Rebekah Johnson Bobbitt National Prize for Poetry, awarded by the Library of Congress in 1996, as well as awards from the American Academy of Arts and Letters and the Fulbright, Guggenheim, and Ingram-Merrill foundations. In 1996 he was inducted as a member of the American Academy of Arts and Letters. Kenneth Koch lived in New York City, where he was professor of English at Columbia University. Koch died on July 6, 2002, from leukemia.From https://poets.org/poet/kenneth-koch. For more information about Kenneth Koch:“Kenneth Koch”: https://www.poetryfoundation.org/poets/kenneth-kochThe Collected Poems of Kenneth Koch: https://www.penguinrandomhouse.com/books/94568/the-collected-poems-of-kenneth-koch-by-kenneth-koch/“An Interview with Kenneth Koch”: https://writing.upenn.edu/~afilreis/88/koch.html

On March 27, 1926, Frank (Francis Russell) O'Hara was born in Maryland. He grew up in Massachusetts, and later studied piano at the New England Conservatory in Boston from 1941 to 1944. O'Hara then served in the South Pacific and Japan as a sonarman on the destroyer USS Nicholas during World War II.Following the war, O'Hara studied at Harvard College, where he majored in music and worked on compositions and was deeply influenced by contemporary music, his first love, as well as visual art. He also wrote poetry at that time and read the work of Arthur Rimbaud, Stéphane Mallarmé, Boris Pasternak, and Vladimir Mayakovsky. While at Harvard, O'Hara met John Ashbery and soon began publishing poems in the Harvard Advocate. Despite his love for music, O'Hara changed his major and left Harvard in 1950 with a degree in English. He then attended graduate school at the University of Michigan, Ann Arbor, and received his MA in 1951. That autumn, O'Hara moved into an apartment in New York. He was soon employed at the front desk of the Museum of Modern Art and continued to write seriously.O'Hara's early work was considered both provocative and provoking. In 1952, his first volume of poetry, A City Winter, and Other Poems, attracted favorable attention; his essays on painting and sculpture and his reviews for ArtNews were considered brilliant. O'Hara became one of the most distinguished members of the New York School of poets, which also included Ashbery, James Schuyler, and Kenneth Koch. O'Hara's association with painters Larry Rivers, Jackson Pollock, and Jasper Johns, also leaders of the New York School, became a source of inspiration for his highly original poetry. He attempted to produce with words the effects these artists had created on canvas. In certain instances, he collaborated with the painters to make “poem-paintings,” paintings with word texts.O'Hara's most original volumes of verse, Meditations in an Emergency (1956) and Lunch Poems (1964), are impromptu lyrics, a jumble of witty talk, journalistic parodies, and surrealist imagery. O'Hara continued working at the Museum of Modern Art throughout his life, curating exhibitions and writing introductions and catalogs for exhibits and tours. On July 25, 1966, while vacationing on Fire Island, Frank O'Hara was killed in a sand buggy accident. He was forty years old.From https://poets.org/poet/frank-ohara. For more information about Frank O'Hara:“Frank O'Hara”: https://www.poetryfoundation.org/poets/frank-ohara“To the Film Industry in Crisis”: https://poets.org/poem/film-industry-crisis“The Ongoing Influence of Frank O'Hara, the Art World's Favorite Poet”: https://www.artsy.net/article/artsy-editorial-ongoing-influence-frank-ohara-art-worlds-favorite-poetMeditations in An Emergency: https://groveatlantic.com/book/meditations-in-an-emergency/

durée : 00:40:00 - Les Nuits de France Culture - Par Pierre Andreu - Avec Robert Pinget et Kenneth Koch

In this podcast, Drs Brian Lacy and David Cangemi of the Mayo Clinic in Jacksonville, and Dr Kenneth Koch of Wake Forest Medical School, discuss the intricacies of diagnosing and differentiating functional dyspepsia and gastroparesis.

In this podcast, gastroenterologists Brian Lacy, MD, and David Cangemi, MD, from the Mayo Clinic in Jacksonville, Florida, and Kenneth Koch, MD, from Wake Forest University Medical School in Winston-Salem, North Carolina, begin their in-depth discussion of how functional dyspepsia and gastroparesis differ, and whether they are different conditions on belong on a spectrum.

enjoy the poem ... --- Send in a voice message: https://anchor.fm/wileyfoxes/message Support this podcast: https://anchor.fm/wileyfoxes/support

Subscribe to the podcast here! Karen Rile2:05 - Karen's childhood growing up in an "arts friendly" family.3:53 - Nathalie Hinderas, an African American pianist who faced career challenges due to racism and how Karen's mother, Joanne Rile, became her manager and pivoted towards a career in arts management, championing African American classical musicians.5:58 - Why Karen found music lessons very stressful and anxiety producing.6:56 - How Karen grew up surrounded by musicians and learned to revere them and how this led to a lifelong fascination with musicians.8:00 - How Karen found her literary path.11:04 - How Karen's children started music lessons despite her reservations.12:25 - How Suzuki and Montessori pedagogies "collided" for one of Karen's daughters.13:56 - How "small amounts of deliberate practice yields huge results" for Karen's children.From the Top18:16 - How the classical music culture of daily practice informs Karen's creative writing pedagogy: "focusing on technique some of the time (in writing) helps a lot."20:18 - How creative writing culture can also inform classical music culture and why taking a break can be very necessary and helpful for classical musicians.22:21 - How classical music gave Karen's children "an incredible work ethic."22:50 - How Karen learned about homeschooling: "radical unschooling" and the flexibility Karen gained from this experience.24:16 - Karen's obsession with the lives of musicians and how this informs her writing. Karen's novel, Winter Music, about a child prodigy musician.27:03 - Karen's experience of Juilliard Pre-College as a parent. "It was more stressful for my daughter."32:23 - How Karen started her literary magazine, Cleaver, with her daughter. How Cleaver became successful by combining flexibility with diligent practice.Cleaver Workshops' online writing classes 38:56 - How classical music training is so consuming, making it difficult to develop other skills. "The professionalism starts so young and there is hardly any time for anything else."40:47 - "Everyone comes to writing because they've experienced ecstasy as a reader." Why college students and classical musicians seem to have very little time to read for pleasure.43:03 - "A lot of classical musicians aren't comfortable writing because they haven't been allowed to just lie around and read a book."43:43 - "Professional and academic writing is unclear and filled with jargon....creative writing helps develop the ability to write clearly and communicate well." Why creative writing and cultivating a writing practice are important.47:06 - How color theory and psychology college courses continue to influence Karen's like and pedagogy.Martin Seligman49:34 - How arts entrepreneurship and day jobs can enable artists to pivot more quickly, especially in the COVID pandemic. Also, the flaws of a culture that wants the arts to be available but doesn't want to pay for it: how this makes it extremely difficult for artists to make a living wage.1:03:54 - How Karen learned about creative courage from her daughter's experience with a tragedy. "The world keeps changing but you can change with it."1:10:16 - "One Train May Hide Another," a poem by Kenneth Koch. How unexpected change can bring new opportunities.1:11:55 - "Be flexible and know that a small amount of work every day yields more than the sum of the work. And one train may hide another....be open because you have no idea what may happen to you."   

Production and Sound Design By Kevin Seaman

Tonight I take a break from doing my night moves to read you three poems from my very very very favorite book of poetry. Kenneth Koch mined some of the most interesting/unsettling poems ever written. All from elementary students at P.S. 61 in Manhattan. I read you "A Colorful Dream" by Thomas Rogaski (3rd grade), "That's Odd" by Joel London, (5th grade), and "My Only Lover Boy" by Concepcion Dipini (4th grade). Here are some links: Buy this book here: https://www.harpercollins.com/9780060955090/wishes-lies-and-dreams/ Register to watch/listen to my conversation on Zoom with Inman Gallery here: https://us02web.zoom.us/webinar/register/WN_sCn0FU1ZR1igSFVZJ8LfRQ Visit NADA's FAIR: https://www.thisisfair.org Western Exhibitions in Chicago: http://westernexhibitions.com Inman Gallery in Houston: https://inmangallery.com/index.html Yoga with Adriene: https://yogawithadriene.com/free-yoga-videos/ Me on Twitter: https://twitter.com/Robyn_ONeil Me on Instagram: https://www.instagram.com/robyn_oneil/?hl=en and my handwritten notes project: https://www.instagram.com/handwrittennotesontv/

Is peace the absence of conflict or a state that can exist within conflict? How can writing cultivate, reveal, practice, and advance personal and shared forms of peaceable assembly? What's the relationship between peace and protest, politics and private experience? This lecture will consider diverse poems that help us think about these questions, including work by poets such as Ghayath Almadhoun, Yehuda Amichai, Gwendolyn Brooks, Kenneth Koch, Hayan Charara, Jane Hirshfield, and others. We'll consider how literature can help us make peace, again and again, and what can be made from that.

In our on-going inquiry into the nature of the Great Pause, this third QUARANTINE session trains itself on John Ashbery’s much ballyhooed poem “Self-Portrait in a Convex Mirror,” an ekphrasis composition taking its frame and flame from the painting of the same name by Italian Renaissance artist Francesco Parmigianino (1503-1540). Without wandering too far from the work, we cite and sometimes linger on Raymond Roussel, Lisa Jarnot, Charles North, Kenneth Koch, the soul and its shapes, the appearance of “sequestered,” Walt Whitman, Jonathan Swift, W.B. Yeats, “The Rhyme of the Ancient Mariner,” the word “speculum,” Wallace Stevens, Jorie Graham and, once more with feeling, The Tetragammaton.

In this edition of This is Just To Say: The Closet Recordings, poet and novelist, Carrie Fountain channels the poetry and wisdom of poet Kenneth Koch and asks us all to write one sentence that begins with, “I wish…”   Email your wishes to Carrie here.

In this edition of This is Just To Say: The Closet Recordings, poet and novelist, Carrie Fountain channels the poetry and wisdom of poet Kenneth Koch and asks us all to write one sentence that begins with, “I wish…”   Email your wishes to Carrie here.

In this edition of This is Just To Say: The Closet Recordings, poet and novelist, Carrie Fountain channels the poetry and wisdom of poet Kenneth Koch and asks us all to write one sentence that begins with, “I wish…”   Email your wishes to Carrie here.

My program today is the ninth in a series of programs that present poems written by poets living in various geographic regions of the country. Today's program is the third program focusing on New York. I read poems by poets who are part of the New York School of poetry, whose home was Manhattan: Frank O'Hara, Barbara Guest, Kenneth Koch, Bill Zavatsky, and Bernadette Mayer.

Fellow poet Naomi Shihab Nye says that Bob Holman's "life gusto and poetry voice keep the world turning." In this episode of The History of Literature, we tap into that voice, as Bob Holman joins us for a rollicking conversation about the poetic life he's led, from his birth in a small town in Kentucky to his decades living in New York City, where - in the words of Henry Louis Gates Jr. - he's "done more to bring poetry to cafes and bars than anyone since Ferlinghetti." Holman's latest works (Life Poem and The Unspoken, published recently by Bowery Books, were written fifty years apart. We'll ask Bob how he's changed as a poet and person in those years, and to give us his sense of where poetry has been, where it is now, and where it's headed. Poets and writers discussed or mentioned include ee cummings, William Blake, Gregory Corso, Lawrence Ferlinghetti, Mayakovsky, the Russian futurists, Kenneth Koch, Ezra Pound, William Carlos Williams, Philip Roth, Donald Lev, Jackie Sheeler, Alan Ginsberg, Amiri Baraka, Jayne Cortez, Papa Susso, Pablo Neruda, Homer, Sappho, and Sekou Sundiata. Help support the show at patreon.com/literature or historyofliterature.com/shop. (We appreciate it!) Find out more at historyofliterature.com, jackewilson.com, or by following Jacke and Mike on Twitter at @thejackewilson and @literatureSC. Or send an email to jackewilsonauthor@gmail.com. Music Credits: “Bass Walker” and "Bluesy Vibes Sting" by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Sounds like a lot o- HOOPLAHHHHhhhhthis week Jacquie tackles Kenneth Koch and Chrissy tries her hand at Peter Pereira and something WILDLY outside her area of expertise. Be forgiving. It's a lot o- HOOPLAHHHh

  7 grudnia 2018 roku w Muzeum Sztuki Nowoczesnej w Warszawie odbyło się spotkanie poświęcone nowemu, poszerzonemu wydaniu książki Piotra Sommera O krok od nich. Przekłady z poetów amerykańskich.   Tomik zawiera obszerny wybór wierszy każdego poetów (wśród nich: Charles Reznikoff, e.e. cummings, John Berryman, Robert Lowell, Allen Ginsberg, John Cage, Frank O'Hara, John Ashbery, Kenneth Koch, a także nieobecni w pierwszym wydaniu: William Carlos Williams, David Schubert i James Schuyler), a także reprodukcje obrazów Jane Freilicher oraz posłowie tłumacza i autora wyboru, Piotra Sommera.   Spotkanie zorganizowało nagrodzone Lwem Hieronima wydawnictwo Karakter, a poprowadził je dr Mikołaj Wiśniewski (literaturoznawca, anglista, filozof, autor monografii Nowy Jork i okolice poświęconej twórczości Jamesa Schuylera).   Za książkę O krok od nich: Przekłady z poetów amerykańskich autorstwa Piotra Sommera w opracowaniu graficznym Przemysława Dębowskiego Wydawnictwo Karakter zostało nagrodzone w ogólnopolskim konkursie edytorskim na Najlepszą Książkę Roku: "Pióro Fredry" 2018. Nagrodę przyznaje się za wartości literackie i edukacyjne, a także wysoki poziom edytorski oraz typograficzno-artystyczny.

Frank O'Hara foi um #poeta, crítico e dramaturgo dos Estados Unidos, que formou o grupo fundador da chamada Escola de Nova Iorque, juntamente com John Ashbery e Kenneth Koch. Foi curador do Museu de Arte Moderna de Nova York, escreveu crítica de #arte e um imenso volume de #poesia. Sua relação com a #pintura e os #pintores é complexa e já foi interpretada pela crítica de diversas maneiras.

John Ashbery (19372017) ansågs av många vara USA:s främste poet. Han ville demokratisera alla uttryck. Trots det är hans dikter inte helt enkla att få grepp om. Mikael Timm gör ett försök. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. När Bob Dylan fick Nobelpriset 2016 tyckte många amerikanska kritiker att priset borde ha gått till John Ashbery, enligt dem den då störste levande poeten i USA. Ashbery själv sade inget, åtminstone inte offentligt. Så var han också känd som en vänlig man, till skillnad från många andra författare tycktes Ashbery inte söka strid utan samförstånd. Möjligen var Ashbery en av litteraturhistoriens få lyckliga poeter. När han gick bort skrevs otaliga artiklar om hans livsverk, ändå är det svårt att beskriva hans diktning. Prosa räcker inte till. Hans poesi är tydlig och undflyende, teoretisk och vimsig. Själv var han inte alls skygg. Han hade inget emot att ge intervjuer. Och eftersom han skrev litteraturkritik vet man vad han gillade. Dessutom har många av hans före detta studenter vittnat om vad han sagt om sin egen dikt och poesins roll. I en intervju gjord i början av 80-talet, sade Ashbery att han ville göra dikten så representativ som möjligt. Alltså inte så personlig, centrallyrisk. Jag hittar citatet i John Shoptaws bok On the outside looking out vilket är en smått genial titel. På utsidan, tittande utåt. Ingen självcentrerad diktare alltså, utan en iakttagare. Men en iakttagare som bar sin egen värld med sig i kikaren. Möjligen var Ashbery en av litteraturhistoriens få lyckliga poeter. Inte strålande lycklig, men munter, glad över att det fanns så mycket att se. Så minns jag honom från vårt enda möte, en lång dag i Paris då vi pratade, åt, pratade, såg konst och pratade igen. En mycket nyfiken man, sin fysiska bräcklighet till trots. Så här skrev han i dikten En våg, översatt av Ragnar Strömberg: En idé räcker för att organisera och projektera ett liv I ovanliga men livsdugliga former, men många tankar Leder en endast neder till deras egna goda avsikters gungfly Tänk så många en vanlig människa får under loppet av en dag, eller natt, Ashbery betonade att hans poesi skulle vara tillgänglig. Och han var verkligen läst och citerad, hans dikter visades till och med på ungdomskanalen MTV.  Han sade också att han strävade efter att demokratisera alla uttrycksformer. Det låter som något en kulturpolitiker hade kunnat säga. Men vad betyder det? Kanske att för Ashbery var det låga och det höga lika mycket värt. Hans dikter anspelar på amerikanska seriefigurer som Karl-Alfred men kopplar lika gärna till italienska renässanskonstnärer, Andy Warhol och sofistisk filosofi. Inte undra på att Ashbery inte instämde i kritikernas förtvivlan över att Dylan fått Nobelpriset. Demokratiseringen tycker jag också märks i att många av Ashberys dikter har ett resonerande drag som jag associerar till en amerikansk tradition av att försöka få med sig läsaren, som i ett samtal. När jag nickar tyst över boksidorna i den svenska urvalsvolymen från 2018 tror jag gärna att Ashbery hör mig. Eller som det sägs senare i dikten, En våg Det krävs bara en minutiös granskning och se tinget Finns där i all sin nyfikna brokighet, Med utsiktsplatser och gångstigar som slingrar sig bort för att aldrig följas En civiliserad omtanke, att aldrig vara ensam Allt detta låter nästan misstänkt läsarvänligt för att vara formulerat av författaren till så vindlande dikter. Men John Ashbery hade en hel rävlya bakom öronen. Hans poesi är fylld av referenser till konst, musik, arkitektur och ibland film. Hans tankebanor kan vara krångliga att följa och ibland ville han nog mest reta läsaren en smula få oss att tänka till och inte ta orden för givna. Ofta är dikterna ett slags metapoesi men samtidigt utåtriktad. En poetisk splitvision som när en hockeyspelare samtidigt både håller koll på pucken och de andra spelarna. Och som proffsiga hockeyspelare förflyttar sig Ashberys dikter snabbt medan man läser dem. Det gäller i synnerhet några av de tidiga verken. Den berömda Skridskoåkarna  börjar en februaridag då färgerna och ljuden från den frusna sjön är tydliga som en stillbild. Sedan löper dikten iväg och jag efter. Färger undflyr oss och förebrår oss. Människan kan inte fasthålla något utom på sin höjd ett dystert två-tons tema som är uttryck för drucken deppighet eller klagosång. (översättning Göran Printz-Påhlson) heter det i början av den närmare 40 sidor långa dikten. En maratonlång snitslad ordstig alltså, som viker av åt olika håll men vet vart den vill komma i mål. Eller är stroferna poetiska kontrollstationer i en litterär orientering? Ibland kommer dikten oväntat ut ur ett buskage och pekar på ett öppet landskap, gränslöst, sig själv nog som landskap plägar vara. det finns ett tilltal i hans dikter, en entusiasm som inte dör. Ashbery tvivlar inte på diktens makt. När jag fick tag på Ashbery på 80-talet var han i Paris han hade bott i slutet av 50-talet då strukturalismen slog igenom och den kom att prägla hans tänkande. Strukturalismen gav en teoretisk grund för Ashberys medfödda intresse för andra konstformer. Kunskapen om fransk kultur hade han gemensamt med Frank OHara och Kenneth Koch i den så kallade New York School of Poets där poeterna egentligen var en klass i en större estetisk rörelse där bildkonstnärer som Jackson Pollock och Willem de Kooning var skolkamrater. New York-skolan var en amerikansk uppföljare av europeisk modernism och surrealism. Och kanske var Ashbery med sin optimism, sin produktivitet och sin till synes lite obekymrade framtoning den mest amerikanske av dem alla, hur mycket han än knöt an till europeisk kultur. Det finns något av präriens frihet i hans poesi. En vidd och en vidsynthet. Under sitt långa liv hann naturligtvis Ashbery prova olika teman och förändra sitt språk. Men det finns ett tilltal i hans dikter, en entusiasm som inte dör. Ashbery tvivlar inte på diktens makt. Så slog han också igenom som underbarn, redan i tidiga skolåren fick han en dikt publicerad i en poesitidskrift och han fortsatte skriva äta till sin död, 90 år gammal, in i det sista lekfull. Vad är då det speciella med en dikt av John Ashbery? Kanske just att den öppnar sig utåt: är vacker, oblygt skönhetslängtande, överraskande i tankegången  och gärna lite lekfull. Mellan lek och allvar alltså. Ashbery famnar världen: få av hans samtida poeter använde ett så stort ordförråd, få var så bevandrade inom olika konstarter. Han är en bildskapande poet, komplicerad som anstår en konstkritiker men samtidigt direkt i tilltalet han hade inte bara lärt sig av att studera Audens poesi utan också av att skriva reklam för en byrå New York. Och han översatte franska deckare till engelska. Han var vän med Andy Warhol och deltog i olika engagemang på dennes Factory. Allt detta och mycket till glimrar förbi i hans dikter. När jag ser tillbaka på Ashberys verk över 20 diktsamlingar så förefaller mig hans poetiska metod ha vissa likheter med Dylans: bägge är observatörer av hela USA, ingen av dem avgränsar sitt uttryck. Det som dyker upp framför dem åker vips in i dikten. Allt skall vara med. Alla former kan användas. Han hade smak för det barocka, skruvade, självmedvetet lekfulla. Kanske är det den bästa sammanfattningen av Ashberys mål. En oavvislig vilja, eller ska vi tala om behov, av att omformulera världen. I den ironiska dikten The Invisible Avant-Garde säger Ashbery att poeten bör vara likgiltig både inför beundran och kritik, poeten skall vara oberoende. Det lyckades han verkligen leva upp till. I dikten Honestly som först publicerades på nätet 2015 heter det: We bathed in moonshine. Now, experts disagree. Were we unhappy or sublime? Mellan det olyckliga och det sublima. Och så lite lekfullhet. Den här dikten rymmer för övrigt en referens till Bob Dylan. You cant say it that way any more står det i dikten And ut Pictura poesis is her name. Kanske är det den bästa sammanfattningen av Ashberys mål. En oavvislig vilja, eller ska vi tala om behov, av att omformulera världen. Samtidigt driver han med tanken på självförståelse. Så klart. Allt ändras i Ashberys poesi medan vi läser orden. Hans dikter fortsätter att skriva sig medan vi betraktar sidan och kanske efter att vi slagit igen boken. Mikael Timm, kritiker och författare Litteratur John Ashbery: Dikter. Översättning: Göran Printz-Påhlson, Ragnar Strömberg, Tommy Olofsson och Vasilis Papageorgiou. Natur & kultur, 2018.

'Sonnet', by Dante Alighieri, translated by Kenneth Koch, read by Carol Rhodes using Eye Gaze technology. A transcript of this translation can be found at https://books.google.co.uk/books?id=bPOcuGbgGYYC&lpg=PA89&ots=l5tboFZSoK&dq=guido%20I%20wish%20that%20you%20kenneth%20koch&pg=PA89#v=onepage&q=guido%20I%20wish%20that%20you%20kenneth%20koch&f=false More from Carol Rhodes can be found at https://artuk.org/discover/artworks/search/actor:rhodes-carol-b-1959

This week we talk about teaching children poetry and share some recordings from a children's poetry reading that was held at the Children's Resource Center Public Library in New Orleans. Check out the links to Kenneth Koch's books on teaching poetry in the show notes.

Rachel Zucker speaks with writer Sabrina Orah Mark (author of The Babies and Tsim Tsum) right before the first night of Passover. They talk about Judaism, surrealism, Claudia Rankine and Kenneth Koch, the Iowa Writers’ Workshop, being good at being pummeled, the prose poem, the kabbalistic concept of tsim tsum, the Holocaust, Jewish identification, what makes a Nazi a Nazi, empathy, Trump, slavery, living in Georgia, the commodification of trauma, teaching outside the academy, “the crying room,” writing fiction, using “I” again, raising an interracial Jewish family in the South, privilege, safety, fear, and believing and not believing in healing.

LINKS: Buy Kenneth Koch's Collected Poems here: http://www.penguinrandomhouse.com/books/94568/the-collected-poems-of-kenneth-koch-by-kenneth-koch/9780375711190/ Buy one of my favorite books of all time, Vasko Popa's Complete Poems here: https://www.abebooks.com/9780856464348/Vasko-Popa-Complete-Poems-1953-1987-0856464341/plp Come see my solo exhibition in NYC next week here: https://mailings.artlogic.net/readonline/99be6bd218024a08819063192317e531 Me on Twitter: https://twitter.com/Robyn_ONeil Me on Instagram: https://www.instagram.com/robyn_oneil/?hl=en

Since the early 2000s, Joshua Beckman has experimented with nature of performing poetry. He has traveled with gangs of poets around the country in a bus, reading in far-flung and unusual venues. He has written live improvisational collaborative poems and recently has given many one-on-one poetry readings. In this episode of The Organist, Ross Simonini speaks to Beckman about the way he reads and writes his poetry aloud, his favorite poetry recordings, and the many poets—Lew Welch, Frank O'Hara, Robert Creeley—whose verbal and performative antics have inspired him. Joshua Beckman's Poetry Mixtape For The Organist, Joshua Beckman selected eight of his favorite audio recordings of poets performing their work aloud. John Cage - Mushroom Haiku John Wieners - from Memories in a Small Apartment Lorenzo Thomas - Anuresis Eileen Myles - April 5th Bernadette Mayer - 1979 Kenneth Koch and Allen Ginsberg - Improvisation Helen Adam - Cheerless Junkie's Song Yoko Ono - Let's Go Flying Banner image of Lew Welch appears via the Poetry Foundation.

Kenneth Koch, Richard Howard, David Lehman, and Susan Schultz introduce John Ashbery in readings spanning five decades.

[Renaissance Poetry] Nashe's litany, brightness falls from the air.  Excursus on the poetic purity of the out-of-context: Browning; Kenneth Koch's "Songs from the Plays."  Daniel's La Corona anticipations, and his graceful bow to Sidney and Spenser in "Musophilus" [3/6/12]

Recordings of poet Kenneth Koch, with an introduction to his life and work. Recorded in 1960 and 1976, Library of Congress, Washington, DC.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Piotr Sommer is a poet, essayist, and translator of Anglo-American poetry into Polish. He has published seven collections of his poems, two books of essays, and has translated John Ashbery, John Berryman, D. J. Enright, Seamus Heaney, Kenneth Koch, Robert Lowell, Derek Mahon, Frank O'Hara, and Charles Reznikoff. Sommer's most recent book of poems in translation is Continued (Wesleyan University Press, 2005). He is editor for Literatura na Swiecie, a magazine of international writing. He lives outside Warsaw.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Piotr Sommer is a poet, essayist, and translator of Anglo-American poetry into Polish. He has published seven collections of his poems, two books of essays, and has translated John Ashbery, John Berryman, D. J. Enright, Seamus Heaney, Kenneth Koch, Robert Lowell, Derek Mahon, Frank O'Hara, and Charles Reznikoff. Sommer's most recent book of poems in translation is Continued (Wesleyan University Press, 2005). He is editor for Literatura na Swiecie, a magazine of international writing. He lives outside Warsaw.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. David Shapiro has written over twenty volumes of poetry and prose, including the first book on John Ashbery, the first book on Jim Dine's painting, the first book on Jasper Johns' drawings (the last two from Abrams) and the first study of Piet Mondrian's much tabooed flower studies. He has translated books from French and Spanish and recently edited a book on aesthetics: Uncontrollable Beauty. Born in l947, David received his degrees from Columbia and Cambridge Universities, but before he was fifteen he had put together many privately printed volumes of poetry. At fifteen he met Frank O'Hara, corresponded with John Ashbery, and was collaborating with Kenneth Koch and many painters of the so-called New York School. A tenured art historian at William Paterson University, Shapiro has won National Endowment for the Humanities and National Endowment for the Arts fellowships, been nominated for a National Book Award, and been the recipient of numerous grants for his work.Recent books of poetry include A Burning Interior (Overlook Press, 2002) andNew and Selected Poems (1965-2006) (Overlook Press, 2007).

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. David Shapiro has written over twenty volumes of poetry and prose, including the first book on John Ashbery, the first book on Jim Dine's painting, the first book on Jasper Johns' drawings (the last two from Abrams) and the first study of Piet Mondrian's much tabooed flower studies. He has translated books from French and Spanish and recently edited a book on aesthetics: Uncontrollable Beauty. Born in l947, David received his degrees from Columbia and Cambridge Universities, but before he was fifteen he had put together many privately printed volumes of poetry. At fifteen he met Frank O'Hara, corresponded with John Ashbery, and was collaborating with Kenneth Koch and many painters of the so-called New York School. A tenured art historian at William Paterson University, Shapiro has won National Endowment for the Humanities and National Endowment for the Arts fellowships, been nominated for a National Book Award, and been the recipient of numerous grants for his work.Recent books of poetry include A Burning Interior (Overlook Press, 2002) andNew and Selected Poems (1965-2006) (Overlook Press, 2007).

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Piotr Sommer is a poet, essayist, and translator of Anglo-American poetry into Polish. He has published seven collections of his poems, two books of essays, and has translated John Ashbery, John Berryman, D. J. Enright, Seamus Heaney, Kenneth Koch, Robert Lowell, Derek Mahon, Frank O'Hara, and Charles Reznikoff. Sommer's most recent book of poems in translation is Continued (Wesleyan University Press, 2005). He is editor for Literatura na Swiecie, a magazine of international writing. He lives outside Warsaw.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Piotr Sommer is a poet, essayist, and translator of Anglo-American poetry into Polish. He has published seven collections of his poems, two books of essays, and has translated John Ashbery, John Berryman, D. J. Enright, Seamus Heaney, Kenneth Koch, Robert Lowell, Derek Mahon, Frank O'Hara, and Charles Reznikoff. Sommer's most recent book of poems in translation is Continued (Wesleyan University Press, 2005). He is editor for Literatura na Swiecie, a magazine of international writing. He lives outside Warsaw.