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2 episodes with lisa olstein
3 episodes with lisa olstein
In this pilot episode of Return the Key, Jason and Julie interview each other about our friendship, the origins of the podcast, and our Jewish upbringings. We list our “Jewish themes,” read a bit from our recent writing, and ask each other to talk about the vexing ideas of “oneness” and “the chosen.” Julie Carr is the author of 12 books of poetry and prose, including Climate, co-written with Lisa Olstein, Real Life: An Installation, Objects from a Borrowed Confession, and Someone Shot my Book. Earlier books include 100 Notes on Violence, RAG, and Think Tank. Mud, Blood, and Ghosts: Populism, Eugenics, and Spiritualism in the American West was published by the University of Nebraska Press in 2023. The Underscore, a book of poems, is forthcoming from Omnidawn in 2024. Overflow, a trilogy, will be published sequentially over subsequent years. Carr was a 2011-12 NEA fellow, is a Professor at the University of Colorado in Boulder in English and Creative Writing, and is chair of the Women and Gender Studies department. She has collaborated with dance artists K.J. Holmes and Gesel Mason. With Tim Roberts she is the co-founder of Counterpath Press, Counterpath Gallery, and Counterpath Community Garden in Denver. www.reallifeaninstallation.com; www.juliecarrpoet.com; www.counterpathpress.org. Jason Lipeles (he/him) is a writer, video artist, and human-being-with-feelings. He co-founded the ee!, a space for loving responses to zines and artbooks, with Marcella Green. He is an alumnus of Image Text Ithaca MFA; Reciprocity Artist Retreat; and Institute for Jewish Creativity. His book, Letters to M., a finalist for the Chautauqua Janus Prize, was published by Pilot Press in 2021. Currently, he is a PhD candidate in Creative Writing and Literature at the University of Denver. Jasonlipeles.com
Today's poem is Great Question by Lisa Olstein. The Slowdown is your daily poetry ritual. In this episode, Major writes… “Why do we lean on love so much for sustenance? When passion dwindles to a set of burned twigs, where once there was a raging fire; it's as though a theft has occurred, the result of which makes us homesick for ourselves.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp
Recorded by Lisa Olstein for Poem-a-Day, a series produced by the Academy of American Poets. Published on March 29, 2023. www.poets.org
Liebeskummer und Weltschmerz sind seit Jahrhunderten Gegenstand von Literatur, aber Poesie über Kopfschmerz? Die US-amerikanische Lyrikerin Lisa Olstein zeigt in ihrem Essay, dass jeder Schmerz erzählenswert sein kann und auch Migräne grundlegende Einblicke in die menschliche Wahrnehmung liefert. Lisa Olstein im Gespräch mit Miriam Zeh www.deutschlandfunk.de, Büchermarkt Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei
In this Americana genre episode, Brent talks about one of his favorite song writers, Patterson Hood, and his band The Drive-By Truckers. Aaron brings up one of his favorite singer/songwriters, Jeffrey Foucault, as well as his band Cold Satellite's collaboration with poet Lisa Olstein. This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy
Pain - a reality that all of the world's population experiences. Emotional and physical, this universal truth is something we don't spend enough time examining. Justin and Lance are joined by Lisa Olstein, an author of four poetry collections and recent book Pain Studies, to discuss how this universal feeling couldn't be more different for everyone. tags: tsou, pain studies, pain, emotional, physical, poet, poetry, lisa olstein, justin weller, lance jackson, perception, empathy, feeling, literature
On our season finale, we help guide our new friend Dylan as she struggles with fertility issues. Gale shares her own personal story of how she hopes to one day be a mother. Caroline leads us in an important conversation about Tig Notaro (because every conversation about Tig Notaro is important) and Anne asks (with the help of Neko Case), "Is a lioness not a lion motherfucker?" Enjoy our last episode of season 1! We'll be back soon! What Dylan should expect if she's not expecting: “Vessel for purpose” by Leora Fridman (poem) Caro "The Carrying" by Ada Limón (book) Anne "The Vulture And The Body" By Ada Limón (poem) Anne "Tyring" by Ada Limón “The Untelling” by Alicia Rebecca Myers (poem) Gale “Becoming” by Michelle Obama (book) Anne Tig (documentary) Caro Two Dope Queens with Tig Notaro (podcast) Caro Do You Need A Ride? With Tig Notaro (podcast) Gale This American Life “Plan B” (radio show/ podcast episode) Anne Mrs. Weasley in Harry Potter (character) Gale Nora and Pete in Pete’s Dragon (character) Gale "Little Men" by Louisa May Alcott (book)Mr. and Mrs. Bhaer (characters) Gale Hamilton finale (song) Caro Les Miserables (play) Jean Valjean’s relationship with Cosette (character) Anne “An American Marriage” by Tayari Jones (book) Caro “The Misfortune of Marion Palm” by Emily Culliton (book) Caro Buffy the Vampire Slayer, Star Trek Voyager, Star Trek Next Generation, X Files, Charmed, Russian Doll (tv episodes with Groundhog Day plots) Gale Neko Case (musician) “Man” (song) Hell-On (album) Anne “The Amazons: Lives and Legends of Warrior Women across the Ancient World” by Adrienne Mayor (book) Anne Dixie Chicks (musicians) “Heartbreak Town” “Top of the World” “Sin Wagon” “Wide Open Spaces” (songs) Caro “In The Meantime” by Lisa Olstein (poem) Gale
Season 2, Episode 1 Jeffrey Foucault is an American songwriter and record producer from Whitewater, Wisconsin, United States, whose work marries the influence of American country, blues, rock 'n' roll, and folk music. He has released six full-length solo albums under his own name and two full-band lyrical collaborations with poet Lisa Olstein, under the moniker Cold Satellite. Foucault has toured extensively in the United States, Canada, the United Kingdom and Europe since 2001, in both full-band and solo appearances. Filmed on February 6th, 2019 at the legendary Steve's Guitar in Carbondale, Colorado.
Poet and novelist Carrie Fountain talks with poet Lisa Olstein about trusting her writing process, her roots as a poet, and about her haunting and beautiful poem “This Is Our American America Here Is Our Son.”
Poet and novelist Carrie Fountain talks with poet Lisa Olstein about trusting her writing process, her roots as a poet, and about her haunting and beautiful poem “This Is Our American America Here Is Our Son.”
Poet and novelist Carrie Fountain talks with poet Lisa Olstein about trusting her writing process, her roots as a poet, and about her haunting and beautiful poem “This Is Our American America Here Is Our Son.”
Singer-songwriter Jeffrey Foucault talks about being simple and clear in your writing in order to find your own voice. Jeffrey Foucault is an American songwriter and record producer whose work marries the influence of American country, blues, rock 'n' roll, and folk music. He has released four full-length solo albums under his own name and two full-band lyrical collaborations with poet Lisa Olstein, under the moniker Cold Satellite. Foucault has toured extensively in the United States, Canada, the United Kingdom and Europe since 2001, in both full-band and solo appearances. Foucault's 2015 release, Salt As Wolves, debuted at number 7 in the Billboard Top Blues Album Chart for the week of November 7, 2015. Foucault lives in New England with his wife, fellow songwriter Kris Delmhorst.How Do You Write Podcast: Explore the processes of working writers with bestselling author Rachael Herron. Want tips on how to write the book you long to finish? Here you'll gain insight from other writers on how to get in the chair, tricks to stay in it, and inspiration to get your own words flowing. See acast.com/privacy for privacy and opt-out information.
Okay. Here we are with "Dream in Which I Love a Third Baseman" by Lisa Olstein. Things get weird. Graphically weird. Like 'when-you-saw-that-sex-scene-between-Sylvester-Stallone-and-Sharon-Stone-in-The-Specialst-as-a-kid" weird. Executively produced, although she'd never admit to it, by Casstown, Population: Moore Reid.Support Cold Dog Soup by donating to the tip jar: https://tips.pinecast.com/jar/cold-dog-soupCheck out our podcasting host, Pinecast. Start your own podcast for free, no credit card required, forever. If you decide to upgrade, use coupon code r-1b6d07 for 40% off for 4 months, and support Cold Dog Soup.
In Little Stranger (Copper Canyon Press, 2013), Lisa Olstein‘s poems are concerned with the tension between the public and the personal and how the former bullies its way into the latter. Olstein’s book is both provoked into existence and inspired by our contemporary moment. Its urgency makes sense when one sees Little Stranger as a book that is responding to the twilight of privacy, in which delivery systems of information are networks networking with other networks. Information ricochets into individual lives in a stream of binary extremes: on the one hand we have unprecedented access to knowledge, while on the other hand we sense the great proximity between ourselves and the authentic. At times, one can feel trapped into making one of two extreme decisions: to retreat into social fantasy or devote one’s life to resisting a world that seeks to know our every move as if to empower us, when actually it often does the opposite. But the poems in Little Stranger reflect a more realistic picture of the reader. Olstein’s humility is her greatest quality because apathy, wherever it multiplies hopes to quiet us, and her poems simply do the hard work to make sense of those pressures, but on a personal level, with a voice we recognize as genuine. One of the most provocative features of contemporary life might be the dissolution of all boundaries, where formerly held categories of the physical now blur and lose their singular expression, making personal experience a hybrid of the personal and the political, a hybrid of the domestic and the civic, and a hybrid of the commercial and the familial. Olstein’s poetry seems particularly sensitive to the new remixes of daily life and her language reconciles this almost seamlessly (but also fights it at times with naturalistic vocabulary) by not so much accepting the new reality, but tolerating it long enough to integrate into her poetry a still recognizable language so that she may communicate with us, human to human, which gives her poems their moral force. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Little Stranger (Copper Canyon Press, 2013), Lisa Olstein‘s poems are concerned with the tension between the public and the personal and how the former bullies its way into the latter. Olstein’s book is both provoked into existence and inspired by our contemporary moment. Its urgency makes sense when one sees Little Stranger as a book that is responding to the twilight of privacy, in which delivery systems of information are networks networking with other networks. Information ricochets into individual lives in a stream of binary extremes: on the one hand we have unprecedented access to knowledge, while on the other hand we sense the great proximity between ourselves and the authentic. At times, one can feel trapped into making one of two extreme decisions: to retreat into social fantasy or devote one’s life to resisting a world that seeks to know our every move as if to empower us, when actually it often does the opposite. But the poems in Little Stranger reflect a more realistic picture of the reader. Olstein’s humility is her greatest quality because apathy, wherever it multiplies hopes to quiet us, and her poems simply do the hard work to make sense of those pressures, but on a personal level, with a voice we recognize as genuine. One of the most provocative features of contemporary life might be the dissolution of all boundaries, where formerly held categories of the physical now blur and lose their singular expression, making personal experience a hybrid of the personal and the political, a hybrid of the domestic and the civic, and a hybrid of the commercial and the familial. Olstein’s poetry seems particularly sensitive to the new remixes of daily life and her language reconciles this almost seamlessly (but also fights it at times with naturalistic vocabulary) by not so much accepting the new reality, but tolerating it long enough to integrate into her poetry a still recognizable language so that she may communicate with us, human to human, which gives her poems their moral force. Learn more about your ad choices. Visit megaphone.fm/adchoices
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