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

Die russische Autorin Nadeschda Mandelstam rettete auf einzigartige Weise viele Gedichte ihres verstorbenen Mannes Ossip Mandelstam vor dem Vergessen und vor der Beschlagnahmung: Sie lernte sie auswendig. Ein akustisches Denkmal. Lou Brouwers www.deutschlandfunkkultur.de, Feature

Die russische Autorin Nadeschda Mandelstam rettete auf einzigartige Weise viele Gedichte ihres verstorbenen Mannes Ossip Mandelstam vor dem Vergessen und vor der Beschlagnahmung: Sie lernte sie auswendig. Ein akustisches Denkmal. Lou Brouwers www.deutschlandfunkkultur.de, Feature

Die russische Autorin Nadeschda Mandelstam rettete auf einzigartige Weise viele Gedichte ihres verstorbenen Mannes Ossip Mandelstam vor dem Vergessen und vor der Beschlagnahmung: Sie lernte sie auswendig. Ein akustisches Denkmal. Lou Brouwers www.deutschlandfunkkultur.de, Feature

durée : 00:06:42 - L'Instant poésie - L'actrice, réalisatrice et scénariste française Sophie Marceau présente le célèbre "Épigramme contre Staline" d'Ossip Mandelstam, un poème résistant qui illustre comment l'écriture poétique peut parfois être un acte mortel.. - invités : Sophie Marceau Comédienne et réalisatrice

durée : 00:05:53 - L'Instant poésie - Le comédien Denis Lavant a choisi de nous faire écouter "Peut-être est-ce le point de démence…" du poète russe Ossip Mandelstam, en français mais aussi en russe.

After reciting an unflattering poem about Stalin to a small group of friends, Osip Mandelstam was betrayed to the police and endured five years in exile before dying in transit to the gulag. His wife, Nadezhda, spent the rest of her life dodging arrest, advocating for Osip's work and writing what came to be known as Hope against Hope.Hope against Hope is a testimony of life under Stalin, and of the ways in which ordinary people challenge and capitulate to power. It's also a compendium of gossip, an account of psychological torture, a description of the poet's craft and a love story.Pankaj Mishra joins Adam to discuss his final selection for Human Conditions. They explore the qualities that make Hope against Hope so compelling: Nadezhda Mandelstam's uncompromising honesty, perceptiveness and irrepressible humour.Subscribe to Close Readings:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsPankaj Mishra is a writer, critic and reporter who regularly contributes to the LRB. His books include Age of Anger: A History of the Present, From the Ruins of Empire: The Intellectuals Who Remade Asia and two novels, most recently Run and Hide.Get in touch: podcasts@lrb.co.uk Hosted on Acast. See acast.com/privacy for more information.

Kerstin Ekmans Rätten att häda från 1994 är ett rykande försvar för yttrandefriheten och det klara förnuftet. Ulrika Knutson läser en text som samtidigt är högaktuell och en produkt av sin tid. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Publicerad 2020-08-17.Sverige har världens äldsta tryckfrihetslagar, från 1766. Vi kan tacka Peter Forsskål för dem. Hans pamflett Tankar om Borgerliga Friheten inspirerade några år tidigare. Högst av alla friheter satte han skriv-friheten.Hans text blev genast indragen av censuren och Forsskål fick gå i landsflykt. Det passade honom inte så illa. Han var en av Linnés lärjungar. Tyvärr dog han i Jemen, bara 31 år gammal. Linné döpte en liten nässla efter honom, till Forsskalea Tennacissima - "kärv, stickig, hårdnackad och envis".Som Linnélärjunge strävade Forsskål efter nytta. Skrivfriheten hade ganska lite med jagets romantiska uttrycksbehov att göra. Snarare handlade det om jagets behov av kunskap.Alla medborgare måste få bli bekanta med "samhällets tillstånd", ansåg Forsskål. Det var en djärv åsikt på hans tid, när de flesta svenskar slet ont i jordbruket och inte begärde mer än en sup eller två när arbetsdagen var slut. Samhällets tillstånd orkade ingen bry sig om.Men Forsskål var optimist. Han trodde på folkbildning. Friheten krävde inte bara fri press utan ett "upplyst publikum".Idag lever vi i det fria ordets paradox. Ordet är friare än någonsin - hos oss i Sverige - men Forsskål hade nog tyckt att "den upplysta publiken" beter sig konstigt. Konspirationer och fakta-resistens skulle han inte ha gillat. Han hade väntat mer av det klara förnuft som också Kerstin Ekman hyllar i sitt tal Rätten att häda. Hållet den 15 oktober 1994.När hon talade hade krutröken ännu inte lagt sig. Bara fem år tidigare hade Ekman och Lars Gyllensten lämnat Svenska Akademien, i protest mot att den vägrat ge sitt stöd åt Salman Rushdie. Hans roman Satansverserna hade de iranska ayatollornas fatwa över sig. Rushdie hade gått under jorden. Bara året innan hade hans norske förläggare William Nygaard nätt och jämnt överlevt ett mordattentat. Faran är inte över. Det finns fortfarande ett pris på Salman Rushdies huvud.Texten var länge ur tryck, men återpublicerades våren 2020 i tidskriften Essä, tillsammans med sex kommenterande texter. Kerstin Ekmans tal är dubbelt läsvärt, både som appell för yttrandefriheten och som kulturhistorisk produkt av sin tid. 1994 är länge sedan.Talet speglar tiden före den stora mediala revolutionen. Webb och sociala medier var knappt påtänkta. Mobiler låg inte i var mans ficka. Det var bara fem år efter murens fall. Svenska Akademiens uppfattning vägde tungt. Dess kapital var ännu stort.Kerstin Ekmans tal handlar inte så mycket om Salman Rushdie och islam, utan mer om upplysningen och försvaret av den "skeptiska humanismen" i Hjalmar Söderbergs anda. Här ser man hur mycket Söderberg betytt för Ekman. Hon börjar med en chockeffekt, beskriver en barnpornografisk bild, där två män urinerar på en liten flicka. Hon äcklas, ändå vill hon försvara rätten att publicera den. Hon hyllar de gamla grundlagarna och Forsskåls tryckfrihet. Några år senare svängde det - idag är det förbjudet att inneha, till och med att betrakta en sådan bild. Och märk väl, en av de få som fällts för detta brott är ingen vanekriminell, utan serieöversättaren Simon Lundström, som i sin dator hade japanska mangateckningar. "Döma teckningar, är svenskarna inte riktigt kloka"? undrade den amerikanska fotografen Sally Mann.Kerstin Ekmans text är kärv, stickig och envis, som Forsskåls nässla. Riktigt giftig när hon skildrar den svenska aningslösa välviljan, de "rosiga kindernas cynism" - till exempel i form av ekosocialister som drömmer om ett paradis bortom demokratin. Detta fenomen försvann inte med nittiotalet. "De rosiga kindernas cynism" - vilket uttryck - blossar upp då och då, både i klimatdebatten och i identitetspolitiken. Eller vad ska man säga om Uppsala universitet som glömde allt de visste om akademisk frihet och källkritik, och mästrade kulturantropologen Ingalill Arvidsson för att hon på ett seminarium, uppmanad att svara på en fråga om uppslagsord i gamla arkiv, använt n-ordet, som var det konkreta uppslagsordet. Detta inte menat som stöd för de frihetskämpar som bryr sig mindre om samhällets tillstånd än rätten att köpa n-ordsbollar i närbutiken så fort suget slår till.Kerstin Ekman talar också om "den vämjeliga bönhustraditionen" i Sverige, med dess drag av botgöring och underkastelse. Detta förstod nog den bildade borgerligheten för 25 år sedan, särskilt om de legat i Uppsala och lyssnat på när Ingmar Hedenius läste lusen av biskoparna. Men idag i världens modernaste land - vem ska ta åt sig? 68-vänstern eller P O Enquist och arvet från Hjoggböle. Lite bönhus ska väl den sekulariserade svensken tåla?Kerstin Ekmans text kommenteras hövligt av sex olika författare. Det är bara Agneta Pleijel som törs ta henne på allvar, och svara på Ekmans skarpa kritik av religion, och av Birgitta Trotzig. Pleijel menar att Kerstin Ekman gick för långt när hon skrev att intresset för plågade sovjetiska öden, som poeterna Mandelstam, Tsvetajeva och Achmatova, ibland fått karaktären av dödsfascination - "en på mycket långt håll ljuv svindel inför deras undergång".Detta är inget huvudspår i Kerstin Ekmans text, men det är starka ord. Kerstin Ekman själv, liksom Hjalmar Söderberg, uppehåller sig ofta vid nazisternas illgärningar, utan svindel vid avgrunden. Detta måste ha med tiden att göra. Det var ju 1994, de sovjetiska arkiven hade just blivit tillgängliga och alla fynden gav många rubriker. Det var först då som man fick veta att Osip Mandelstam verkligen dog i ett uppsamlingsläger på väg till Vladivostok. Det kan förresten vara på sin plats att påminna om att de ryska arkiven inte längre är öppna. Putin sitter på nycklarna sedan många år. Men då hade fakta just börjat röra sig. Kunde detta förväxlas med dödsfascination?Ett uppriktigt tack får Kerstin Ekman från Mohammad Fazlhashemi, nu professor i islamsk teologi och filosofi i Uppsala. Han ger bakgrunden till fatwan mot Rushdie, hur den shiamuslimske ayatollan Khomeini hittade ett utrymme för att framstå som den sanne försvararen av islam, också i sunniters ögon. Det var ett politiskt mästardrag. Mycket tragiskt däremot, att inte de diplomatiska ansträngningarna förmådde efterträdaren Khamenei att lätta på fatwan. Ett tag såg det så ut.Vad Mohammad Fazlhashemi tackar Kerstin Ekman för är att hennes klara förnuft vägrade skuldbelägga alla muslimer för brottet mot Rushdie, något som sker då och då, i vår upplysta tid. Professor Fazlhashemi bidrar med en personlig anekdot. När debatten rasade som värst skulle han själv lämna in bilen till reparation hemma i Umeå. Mekanikern tog nycklarna, spände ögonen i professorn och ville ha besked, inte om kardanknutar eller bromsar. Han ville veta om kunden var villig att verkställa den dödliga fatwan mot Rushdie och hans svenska förläggare. Fazlhashemi skakade av sig alla känslor frågan väckte, och gav ett kort och koncist svar: Nej!Ett kvarts sekel går fort. Mycket hinner hända, eller händer inte alls. Ungefär vid samma tid då tidskriften Essä tryckte om Kerstin Ekmans text ombads Svenska Akademien att lägga ett ord för den fängslade svenske medborgaren Gui minhai. Men Akademien tyckte inte att det var deras uppgift att försvara Guis yttrandefrihet. Det finns andra organisationer som sköter sådana saker betydligt bättre än Akademien, enligt ständige sekreteraren. Och det är ju tur.Ulrika Knutson, journalist och författareKällorEmi-Simone Zawall (red): Tidskriften Essä, nummer 5: Rätten att häda, 2020. Först publicerad 1994 av svenska Rushdiekommittén i samarbete med Studiekamraten.Peter Forsskål: Tankar, om Borgerliga Friheten. på Litteraturbanken.se, Atalntis 2017, red Gunilla Jonsson. Originalet publicerat 1759.

durée : 00:57:29 - Avec philosophie - par : Géraldine Muhlmann - Jan Patočka (1907-1977), Léone Ginzburg (1909-1944) et Ossip Mandelstam (1891-1938) ont pour point commun d'avoir résisté, et ce, jusqu'à la mort. Dans quelle mesure cette résistance se retrouve-t-elle dans leurs œuvres respectives ? - invités : Martin Rueff Professeur de littérature française à l'Université de Genève; Nathalie Frogneux Philosophe, professeure à l'UCLouvain (Belgique); Marc Crépon Directeur de recherche à l'Université Paris Sorbonne et directeur du département de philosophie à l'École normale supérieure

Osip Mandelstam (1891-1938) is widely regarded as one of the twentieth century's most influential poets. This collection, compiled, translated, and edited by poet and scholar Ian Probstein, provides Anglophone audiences with a powerful selection of Mandelstam's most beloved and haunting poems. Both scholars and general readers will gain a deeper understanding of his poetics, as Probstein situates each poem in its historical and literary context.  The English translations presented in Centuries Encircle Me with Fire: Selected Poems of Osip Mandelstam (Academic Studies Press, 2022) are so deeply immersed in the Russian sources and language through the ear of a Russian-born Probstein who has spent most of his adult life in the US, that they provide reader's with a Mandelstam unseen any translations that precede it. 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

Osip Mandelstam (1891-1938) is widely regarded as one of the twentieth century's most influential poets. This collection, compiled, translated, and edited by poet and scholar Ian Probstein, provides Anglophone audiences with a powerful selection of Mandelstam's most beloved and haunting poems. Both scholars and general readers will gain a deeper understanding of his poetics, as Probstein situates each poem in its historical and literary context.  The English translations presented in Centuries Encircle Me with Fire: Selected Poems of Osip Mandelstam (Academic Studies Press, 2022) are so deeply immersed in the Russian sources and language through the ear of a Russian-born Probstein who has spent most of his adult life in the US, that they provide reader's with a Mandelstam unseen any translations that precede it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Osip Mandelstam (1891-1938) is widely regarded as one of the twentieth century's most influential poets. This collection, compiled, translated, and edited by poet and scholar Ian Probstein, provides Anglophone audiences with a powerful selection of Mandelstam's most beloved and haunting poems. Both scholars and general readers will gain a deeper understanding of his poetics, as Probstein situates each poem in its historical and literary context.  The English translations presented in Centuries Encircle Me with Fire: Selected Poems of Osip Mandelstam (Academic Studies Press, 2022) are so deeply immersed in the Russian sources and language through the ear of a Russian-born Probstein who has spent most of his adult life in the US, that they provide reader's with a Mandelstam unseen any translations that precede it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Osip Mandelstam (1891-1938) is widely regarded as one of the twentieth century's most influential poets. This collection, compiled, translated, and edited by poet and scholar Ian Probstein, provides Anglophone audiences with a powerful selection of Mandelstam's most beloved and haunting poems. Both scholars and general readers will gain a deeper understanding of his poetics, as Probstein situates each poem in its historical and literary context.  The English translations presented in Centuries Encircle Me with Fire: Selected Poems of Osip Mandelstam (Academic Studies Press, 2022) are so deeply immersed in the Russian sources and language through the ear of a Russian-born Probstein who has spent most of his adult life in the US, that they provide reader's with a Mandelstam unseen any translations that precede it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Osip Mandelstam (1891-1938) is widely regarded as one of the twentieth century's most influential poets. This collection, compiled, translated, and edited by poet and scholar Ian Probstein, provides Anglophone audiences with a powerful selection of Mandelstam's most beloved and haunting poems. Both scholars and general readers will gain a deeper understanding of his poetics, as Probstein situates each poem in its historical and literary context.  The English translations presented in Centuries Encircle Me with Fire: Selected Poems of Osip Mandelstam (Academic Studies Press, 2022) are so deeply immersed in the Russian sources and language through the ear of a Russian-born Probstein who has spent most of his adult life in the US, that they provide reader's with a Mandelstam unseen any translations that precede it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

Osip Mandelstam (1891-1938) is widely regarded as one of the twentieth century's most influential poets. This collection, compiled, translated, and edited by poet and scholar Ian Probstein, provides Anglophone audiences with a powerful selection of Mandelstam's most beloved and haunting poems. Both scholars and general readers will gain a deeper understanding of his poetics, as Probstein situates each poem in its historical and literary context.  The English translations presented in Centuries Encircle Me with Fire: Selected Poems of Osip Mandelstam (Academic Studies Press, 2022) are so deeply immersed in the Russian sources and language through the ear of a Russian-born Probstein who has spent most of his adult life in the US, that they provide reader's with a Mandelstam unseen any translations that precede it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

durée : 00:57:04 - Avec philosophie - par : Géraldine Muhlmann - Jan Patočka (1907-1977), Léone Ginzburg (1909-1944) et Ossip Mandelstam (1891-1938) ont pour point commun d'avoir résisté et ce, jusqu'à la mort. Dans quelle mesure cette résistance se retrouve-t-elle dans leurs œuvres respectives ? - invités : Martin Rueff Professeur de littérature française à l'Université de Genève, traducteur de l'italien, poète, philosophe; Nathalie Frogneux Philosophe, professeure à l'UCLouvain (Belgique); Marc Crépon Directeur de recherche à l'Université Paris Sorbonne et directeur du département de philosophie à l'École normale supérieure

Die russische Autorin Nadeschda Mandelstam rettete auf einzigartige Weise viele Gedichte ihres verstorbenen Mannes Ossip Mandelstam vor dem Vergessen und vor der Beschlagnahmung: Sie lernte sie auswendig. Ein akustisches Denkmal.Von Lou Brouwerswww.deutschlandfunkkultur.de, FeatureDirekter Link zur Audiodatei

Duas reedições de textos já consagrados preenchem metade da estante desta semana. A cidade fantasma de “Pedro Páramo” e o modo como encaramos a doenças, analisado pela inteligência fulgurante de Susan Sontag, são leituras ou releitura sempre oportunas. A descoberta dos ensaios gráfico de um expatriado, dividido entre Portugal e a Inglaterra vai surpreender muita gente. E a desesperançada autobiografia de Nadejda Mandelstam, viúva do grande poeta russo Osip Mandelstam, é a prova de que mesmo a mais feroz ditadura nada pode contra a conjugação da memória com a coragem.See omnystudio.com/listener for privacy information.

Die russische Autorin Nadeschda Mandelstam rettete auf einzigartige Weise viele Gedichte ihres verstorbenen Mannes Ossip Mandelstam vor dem Vergessen und vor der Beschlagnahmung: Sie lernte sie auswendig. Ein akustisches Denkmal.Von Lou Brouwerswww.deutschlandfunkkultur.de, FeatureDirekter Link zur Audiodatei

Die russische Autorin Nadeschda Mandelstam rettete auf einzigartige Weise viele Gedichte ihres verstorbenen Mannes Ossip Mandelstam vor dem Vergessen und vor der Beschlagnahmung: Sie lernte sie auswendig. Ein akustisches Denkmal.Von Lou Brouwerswww.deutschlandfunkkultur.de, FeatureDirekter Link zur Audiodatei

Carlos Vaz Marques traz um livro que é uma coletânea de artigos encontrados no computador de Anna Politkovskaia, a escritora e jornalista russa assassinada à porta de casa, em Moscovo. "Um livro que é uma espécie de libelo póstumo contra Vladimir Putin", diz o moderador do Programa Cujo Nome Estamos Legalmente Impedidos de Dizer. João Miguel Tavares traz o Árabe do Futuro, uma novela gráfica de Riad Sattouf, Pedro Mexia aconselha Uma Família em Bruxelas e Ricardo Araújo Pereira andou a ler Osip Mandelstam. See omnystudio.com/listener for privacy information.

Die russische Autorin Nadeschda Mandelstam rettete auf einzigartige Weise viele Gedichte ihres verstorbenen Mannes Ossip Mandelstam vor dem Vergessen und vor der Beschlagnahmung: Sie lernte sie auswendig. Ein akustisches Denkmal.Von Lou Brouwerswww.deutschlandfunkkultur.de, FeatureDirekter Link zur Audiodatei

ÖVERSÄTTNING: Hans Björkegren UPPLÄSNING: Etienne Glaser Första rad: Mitt lånta stoft ska jag återlämna Önskad av Johan Ahlin DIKT: Ur "Rosen fryser i snön" av Osip MandelstamDIKTSAMLING: Rosen fryser i snön (Wahlström & Widstrand 1976)MUSIK: Einojuhani Rautavaara: Sats 3, Come un sogno, ur Symfoni nr 7, Angel of lightEXEKUTÖR: Helsingfors stadsorkester, Leif Segerstam, dirigent

Allen Diktaturen gleich ist die Angst des Diktators vor dem „Wort“, dem geschriebenen oder dem gesprochenen. Warum sonst sollten Männer, die über waffenstarrende Heere verfügen, Schriftsteller und Oppositionelle verfolgen?

The gentle music and quiet nostalgia of some of the most exquisitely beautiful poetry ever written flows through Hélène Grimaud's latest album. Valentin Silvestrov's Silent Songs includes contemplative settings of verse by Golden and Silver Age Russian poets Pushkin, Lermontov, Tyutchev, Baratynsky, Zhukovsky, Yesenin, and Mandelstam, Ukrainian lyrics by Taras Shevchenko, and Russian translations of poetry by Keats and Shelley. Grimaud presents a dozen pieces from this haunting tribute to the innate music of poetic words. She is joined by the young baritone Konstantin Krimmel, winner of the 2018 International Helmut Deutsch Lied Competition. Track Listing:1 Song can heal the ailing spirit2 There were storms and tempests3 La Belle Dame sans Merci4 O melancholy time! Delight for eyes!5 Farewell, O world, farewell, O earth6 I will tell you with complete directness7 Here's a health to thee, Mary8 Winter Journey9 The Isle10 Autumn Song11 Swamps and marshes12 Winter EveningHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Three poems by Osip Mandelstam - translated by Andrey Kneller- ru-eng parallel text - mp3 podcast https://disk.yandex.ru/d/dA82eVgADHr9Swhttps://omdarutv.blogspot.com/2023/01/three-poems-by-osip-mandelstam.html https://sites.google.com/site/poetryandtranslations/osip-mandelstam/leningradhttps://sites.google.com/site/poetryandtranslations/osip-mandelstam/-we-live-with-no-sense-of-the-country https://sites.google.com/site/poetryandtranslations/osip-mandelstam/-for-the-thundering-valor

This song is a meditation on a podcast conversation with poet and professor, Joshua Weiner. The lyrics are a version of a Osip Mandelstam poem, translated by Weiner. It features Marty Kondziolka on drums, Mark Kondziolka on sax, and is produced by Brian Trahan. ★ Support this podcast on Patreon ★

I 1933 skrev digteren, Osip Mandelstam et digt, der skulle ende med at blive hans dødsdom. Han beskrev Joseph Stalin som en bjergbo med fede fingre og kakerlakøjne. Phd. i russisk litteratur, Jon Kyst har netop oversat en række digte af Mandelstam i samlingen, 'Kun min fælle kan slå mig ihjel'. Sammen med forfatter, journalist og ruslandsekspert, Samuel Rachlin fortæller han historien om den russiske digter, der blev sendt i straffelejr, hvor han døde i 1938. Sammen med vært, Nanna Mogensen trækker de to linjer fra Stalin-tidens politiske klima til nutidens spændte situation. Vært: Nanna Mogensen. (Sendt første gang 23. februar).

Today we will take a look at the poem, "15" from The Feeling Sonnets published in Volume 51 of The American Poetry Review. American Poetry Review – Home (aprweb.org) Eugene Ostashevsky Eugene Ostashevsky was born in Leningrad in 1968 and immigrated with his family to New York in 1979. He is the author of the poetry collections Iterature and The Life and Opinions of DJ Spinoza, both of which are published by Ugly Duckling Presse, and a scholar and translator of Russian avant-garde and contemporary poetry, especially by the 1930s underground writers Alexander Vvedensky and Daniil Kharms. He currently lives in Berlin and New York and teaches literature in the Liberal Studies program at New York University. His contributions to New York Review Books include translating Vvedensky's An Invitation for Me to Think and The Fire Horse: Children's Poems by Mayakovsky, Mandelstam, and Kharms.  --- Support this podcast: https://anchor.fm/bppod/support

Thanks for dropping by the Three Things podcast.

Paul Celan var askans diktare, men skrev också dikter fulla av färg. Författaren Eva Ström ger en inblick i arbetet med att översätta dem till svenska. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Denna essä sändes första gången i november 2020. När coronapandemin bröt ut 2020 isolerade jag mig. Jag kunde inte längre umgås nära med människor, men under sommaren började jag närma mig träden. Jag vandrade bland dem, fotograferade dem. Bara några hundra meter från mitt hem i Kristianstad upptäckte jag ett jättelikt mullbärsträd som övervakar barnens lekplats, ett träd som jag inte tidigare lagt märke till. Och kanske hade jag inte lagt märke till det om det inte vore för att jag samma sommar också vandrat omkring i den tyskspråkige judiske poeten Paul Celans poetiska universum. Tillsammans med Björn Sandmark arbetade jag med att ge hans tidiga poesi en svensk språkdräkt. Det var som att träda in i mörk kristall, en svart diamant, men efter hand kunde jag urskilja fler och fler kolörer. Celan, askans och mörkrets diktare har skrivit dikter som skimrar av färger. I hans dikter förekommer ord som stenblått och mögelgrönt, flaggrött och kungsblått, lergult  och oljegrönt. Här lyser också mängder av blommor, blommor som vallmo och fingerborgsblomma, syrener och maskros, ögontröst och krusmynta. I ett brev skickat från Paris till väninnan Erica Lillegg i Wien skriver Celan: Jag är bara ett blad, som man varje dag på nytt måste påminna att det finns träd Och i dikterna hittar man även mandelträd och plataner, popplar och cypresser, aspar och karelska björkar och så mullbärsträdet. Det återfinns i en senare samling, Andningsvändning; en bok som jag inte översatte ändå gick jag och grubblade över dikten hela sommaren: Du kan med förtröstan bjuda mig snö Var gång jag skred genom sommaren skuldra vid skuldra med mullbärsträdet skrek dess yngsta blad. Jag läste dikten om och om igen. Varför utövade den en sådan magi över mig, från dess första inledande förtröstan, till skriket i dess yngsta blad?  Var det silkesmaskarna som angrep bladet, för att skapa den vackraste av vävar ? En väv lika skimrande som en dikt? Hade det någon betydelse att Celan på sitt sommarställe i Moisville hade planterat tre stycken mullbärsträd med vita bär i stället för röda? Kanske var det just de där vita mullbären som var den snö han talade om i dikten? Jag läste sägnen om Pyramus och Thisbe, att blodet från deras genom missförstånd åstadkomna dubbla självmord färgade de från början vita bären röda. Samma natt hade jag en dröm. Paul Celan hade kommit till Skåne! Han satt på ett brunnslock i en trädgård och lutade sig framåt, han stödde underarmarna mot benen, han såg glad och avslappnad ut. Så fantastiskt att han tagit sig hit, så underbart att han såg så lycklig ut! Och vilket tillfälle jag hade nu att fråga honom direkt om hans dikt! Jag störtade mig fram i största förväntan. Men just innan jag skulle öppna munnen hejdade jag mig. Paul Celan dog redan i sitt femtionde år, då han dränkte sig i Seine i april 1970. Hans dikt fortsätter att fascinera genom sin gåtfulla utstrålning, med sin kristalliska, nästan skulpturala struktur. Men hur ta sig in i denna svarta diamant? Många som likt mig blivit fångade av hans dikt vill läsa så mycket som möjligt om hans verk och också om hans liv, eftersom de var så djupt förbundna. Meine Gedichte sind meine Vita, sa Paul Celan själv,  Mina dikter är mitt liv. Kanske kan man få några ingångar genom att läsa brevsamlingen  etwas ganz und gar Persöhnliches, (något helt och hållet personligt)  som innehåller 691 brev, där Paul Celan många gånger får anledning att berätta om sig själv och sitt liv. Även om han ofta nämner sin diktning ger han inga tolkningar, men han berättar sin livshistoria som flykting från det forna Östblocket, som tyskspråkig jude från Czernowitz i Rumänien, hans föräldrar dödades av nazisterna. Celan beskriver sin kamp som tyskspråkig diktare i exil, men också lyckliga stunder, i brev riktade till sin älskarinna Ingeborg Bachmann eller till hustrun Gisèle Lestrange. Men trots allt som har skrivits om Celan är det  dikterna man känner hans unika, gåtfulla särprägel, den som man aldrig  riktigt kan utröna, även om man känner förutsättningarna för hans dikt: Förintelsen och det judiska ödet. En av dikterna jag översatte bär den för 2020 så ödesdigra titeln Corona. Det är en kärleksdikt till Ingeborg Bachmann och här ingår de vackra orden som gett diktsamlingen Mohn und Gedächtnis dess titel: Vi älskar varandra som vallmo och minne.  Corona, är latin för krona, men det är också en musikalisk term för en fermat, alltså ett ställe i musiken där man håller ut tonen i en tonsatt vila, kärlekens vila. Under ett år präglat av pandemi gav mig läsningen av Paul Celans dikter just en sådan tonsatt vila, jag upplevde glädjen att få vistas i hans dikter och umgås nära och varsamt med dem, för översättning är framför allt noggrann och uppmärksam läsning. Det menade Celan själv som när människor fann hans dikter svårförståeliga, skrev i ett brev, att man skulle ägna dem uppmärksamhet, likt den uppmärksamhet en blind flicka ägnar den gata hon tar sig över med sin blindkäpp. Celan var själv översättare av ryska poeter som Mandelstam och Jesenin, och han förstod vilket mödosamt och svårt arbete det kunde vara. I ett annat brev säger han att en översättning var som att skeppa något över en flod: man ska därvid beakta inte bara antalet rader utan också roddartagen. I drömmen frågade jag aldrig Paul Celan om vad han menade med sin dikt. För det är inte så man gör. Man läser dikten, man tar den till sig, men man frågar inte. Och med denna insikt vaknade jag. Dikten behöll sina underjordiska flöden intakta, och poeten vaktade leende dess källor. Jag vet inte om de tre mullbärsträden med vita bär i Moisville i Frankrike ännu står kvar, men jag vet att det står ett mullbärsträd i hans dikt och ett i Tivoliparken i Kristianstad. Jag vet inte vet om det har hjälpt mig att förstå dikten bättre, men vill gärna tro det. Och när jag upptäckte det, med sina ännu ljusa mullbär, blev jag lycklig; lika lycklig som Paul Celan såg ut att vara i min dröm när han satt på ett brunnslock i en skånsk trädgård på Österlen. Jag är bara ett blad som man varje dag måste påminna om att det finns träd skrev han i sitt brev, ett utryck fylld av oändlig ensamhet. Jag tänker att alla vi som läser hans dikt är sådana träd, och att också vi är blad på dessa stora träd, och jag hoppas Paul Celan skulle glädja sig åt att förstå hur många vi är som läser hans dikt och finner den livsnödvändig. Eva Ström, författare Litteratur Paul Celan: Etwas ganz und gar Persönliches. Die Briefe 193470. Redaktörer Barbara Wiedemann och Bertrand Badiou. Suhrkamp Verlag AG, 2020. Petra Rychlo (redaktör): Mit den Augen von Zeitgenossen. Erinnerungen an Paul Celan. Suhrkamp Verlag AG, 2020.

"Är det fult att vara någons tröst? Är det vackrare att vara någons svala intellektuella utbyte? Skönlitteraturen skiter i vilket." Kulturredaktionens Marie Lundström funderar på litteratur som tröst. Den som bygger fängelser formulerar sämre än den som bygger frihet. Det är en rad av tröst för mig, skriven av samma författare som också skrev den ofta citerade raden: Människans behov av tröst är omättligt. Stig Dagerman. Som i november 1954, 31 år gammal, tog sitt liv. Sådan är skönlitteraturen. Någon som själv inte orkar mer, kan ge oss andra som ännu lever, kraft och mod. Är det fult att vara någons tröst? Är det vackrare att vara någons svala intellektuella utbyte? Skönlitteraturen skiter i vilket. Den är. Det som är skrivet är skrivet och det blir upp till mig, till oss, att läsa. Jag tycker själv att det är svårt med tjocka romaner när jag är ledsen. Det blir för många ord. Man brukar tala om att man flyr in i en berättelse. Mer sällan talar vi om vad som krävs för att kunna ge oss hän, ge oss in i den värld som en fullvärdig roman bygger upp. I mitt fall krävs det att jag tror på tillvaron, på en fortsättning, på att jag strax själv ska få skriva, att livet är värt besväret. Då kan jag ge romanen den uppmärksamhet den ska ha. Är jag riktigt genomledsen tror jag mer på en varm famn. Rätt människa är bättre än rätt bok. Det enda som alltid funkar är lyrik. Göran Greider kallar poesin för sitt medicinskåp, jag ser den som skafferiets havregryn. Det ska alltid finnas hemma. Det går alltid att koka gröt på Mandelstam. Och överleva. Lyrik var det enda jag kunde läsa efter min pappas död. Men akut sorg och akut tröst är en sak. För det mesta går vi gudskelov runt i en annan grundkänsla. För min egen välbekanta nästan trygga melankoli, är läsandet perfekt. Melankolin skapar ett milt sökande ljus över sidorna. Ett överseende med det som inte blir. En oproportionerligt vild glädje över en formulering som är exakt och därmed adekvat, stark och frisk när den bländar med sin stråle. Att kunna läsa är i sig en tröst. Det är författaren Kerstin Norborg som skriver de förlösande orden på min facebooksida sent en kväll: Att kunna läsa är en tröst. Att hitta in i orden, bli insläppta av dem. Att det finns något annat och levande alldeles i närheten och att jag ibland men inte alltid lyckas sträcka ut handen och röra vid det. Allt om Litteraturveckan i P1

In this week's episode we explore the amazing life of revolutionary writer Nadezhda Mandelstam and her time under Stalin's rule.Insta: @papergirlFB: The A-Z of Marvellous Women/Papergirl PodcastEnquiries: papergirlpodcast@gmail.comSources: https://www.centreforwelfarereform.org/library/hope-against-hope.html https://www.forbes.com/sites/alicebroster/2020/05/28/period-poverty-is-getting-worse-during-coronavirus-warns-charity/?sh=6eff2b343f73https://www.nytimes.com/2020/11/24/world/europe/scotland-free-period-products.html 

The boys sit down to discuss the Sex Offender Registration, its development, and the current impact it has on sex offenders in the community. You won't want to miss this one! References for this Podcast:Ackerman, A.R. (2009). Registration and community notifcation laws: Do the consequences outweigh the benefts? Sex Offender Law Report, 10(6), 81–95. Adkins, G., Huff, D. and Stageberg, P. (2000). The Iowa Sex Offender Registry and Recidivism. Des Moines, IA: Iowa Department of Human Rights. Ahlmeyer, S., Heil, P., McKee, B. & English, K. (2000). The impact of polygraphy on admissions of victims and offenses in adult sexual offenders. Sexual Abuse: A Journal of Research and Treatment, 12(2), 123–138. Anderson, A.L. & Sample, L.L. (2008). Public awareness and action resulting from sex offender community notifcation laws. Criminal Justice Policy Review, 19(4), 371–396. Aos, S., Miller, M. & Drake, E. (2006). Evidence-Based Adult Corrections Programs: What Works and What Does Not. Olympia, WA: Washington State Institute for Public Policy. Retrieved from: www.wsipp.wa.gov/ rptfles/06-01-1201.pdf. Aos, S., Phipps, P., Barnoski, R. & Lieb, R. (2001). The Comparative Costs and Benefts of Programs to Reduce Crime. Olympia, WA: Washington State Institute for Public Policy, Document 01-05-1201. Retrieved from: www.wsipp.wa.gov/ReportFile/756. Aytes, K.E., Olsen, S.S., Zakrajsek, T., Murray, P. & Ireson, R. (2001). Cognitive/behavioral treatment for sexual offenders: An examination of recidivism. Sexual Abuse: A Journal of Research and Treatment, 13(4), 223–231. Baerga-Buffer, M. & Johnson, J.L. (2006). Sex offender management in the federal probation and pretrial service system. Federal Probation, 70(1), 13–17. Barnes, J.C., Dukes, T., Tewksbury, R. & De Troye, T.M. (2009). Analyzing the impact of statewide residence restriction law on South Carolina sex offenders. Criminal Justice Policy Review, 20(1), 21–43. Bates, A., Macrae, R., Williams, D., Wilson, C. & Wilson, R.J. (2014). Circles South East: The First 10 Years 2002–2012. International Journal of Offender Therapy and Comparative Criminology, 58(7), 861–855. Blood, P., Watson, L. & Stageberg, P. (2008). State Legislation Monitoring Report. Des Moines, IA: Criminal and Juvenile Justice Planning. Boccaccini, M.T., Murrie, D.C., Caperton, J.D. & Hawes, S.W. (2009). Field Validity of the Static-99 and MnSOST-R Among Sex Offenders Evaluated for Civil Commitment as Sexually Violent Predators. Psychology, Public Policy and Law, 15(I), 278–314. Bonta, J., Wallace-Capretta, S. and Rooney, J. (2000) Can electronic monitoring make a difference? An evaluation of three Canadian programs. Crime and Delinquency, 46(1), 61–75. Boone, D.L., O’Boyle, E., Stone, A. & Schnabel, D. (2006). Preliminary Evaluation of Virginia’s Sex Offender Containment Programs. Richmond, VA: Virginia Department of Corrections, Research, Evaluation and Forecasting Unit. Brannon, Y.N., Levenson, J.S., Fortney, T. & Baker, J.N. (2007). Attitudes about community notifcation: A comparison of sexual offenders and the non-offending public. Sexual Abuse, 19, 369–379. Buschman, J., Bogaerts, S., Fougler, S., Wilcox, D., Sosnowski, D. & Cushman, B. (2010). Sexual history disclosure polygraph examinations with cybercrime offences: A frst Dutch explorative study. International Journal of Offender Therapy and Comparative Criminology, 54(3), 395–411. Button, D.M., DeMichele, M. & Payne, B.K. (2009). Using electronic monitoring to supervise sex offenders: Legislative patterns and implications for community corrections offcers. Criminal Justice Policy Review, 20(4), 414–436. Calkins Mercado, C., Jeglic, E., Markus, K., Hanson, R.K. & Levenson, J. (2013). Sex Offender Management, Treatment and Civil Commitment: An Evidence Based Analysis Aimed at Reducing Sexual Violence. Grant number 2007-IJ-CX-0037. Retrieved from: https://www.ncjrs.gov/pdffles1/nij/grants/243551.pdf. Carr, C., Schlank, A. & Parker, K.C. (2013). Review of Florida’s Sexually Violent Predator Program Offce. The Florida Department of Children and Families, Substance Abuse and Mental Health (SAMH) Program Offce. Retrieved from: http://media.cmgdigital.com/shared/news/documents/2013/09/23/09.23_SVPP_Report.pdf. Center for Sex Offender Management (CSOM). (1999). Sex Offender Registration: Policy Overview and Comprehensive Practices. Silver Spring, MD: Center for Sex Offender Management. Retrieved from: www.csom.org/pubs/sexreg.pdf. Center for Sex Offender Management (CSOM). (2001). Community Notifcation and Education. Silver Spring, MD: Center for Sex Offender Management. Retrieved from: www.csom.org/pubs/notedu.pdf. Center for Sex Offender Management (CSOM). (2007). Enhancing the Management of Adult and Juvenile Sex Offenders: A Handbook for Policymakers and Practitioners. Silver Spring, MD: Center for Sex Offender Management. Retrieved from: www.csom.org/pubs/CSOM_handbook.pdf. Center for Sex Offender Management (CSOM). (2008). Legislative Trends in Sex Offender Management. Silver Spring, MD: Center for Sex Offender Management. Retrieved from: www.csom.org/pubs/legislative_trends.pdf. Chajewski, M. & Mercado, C.C. (2008). An evaluation of sex offender residence restrictions functioning in town, county and city-wide jurisdictions. Criminal Justice Policy Review, 20(1), 44–61. Clarke, M., Brown, S. & Vollm, B. (2015). Circles of Support and Accountability for Sex Offenders: A Systematic Review of Outcomes. Sexual Abuse: A Journal of Research and Treatment. Published online before print September 14, 2015, doi: 10.1177/1079063215603691. Colombino, N., Mercado, C.C. & Jeglic, E.L. (2009). Situational aspects of sexual offending: Implications for residence restriction laws. Justice Research and Policy, 11, 27–43. Colorado Department of Public Safety (2004) Report on Safety Issues Raised by Living Arrangements for and Location of Sex Offenders in the Community. Denver, CO: Colorado Sex Offender Management Board. Retrieved from: http://dcj.state.co.us/odvsom/sex_offender/SO_Pdfs/FullSLAFinal.pdf. Cooley-Towell, S., Pasini-Hill, D. & Patrick, D. (2000). The value of post-conviction polygraph: The importance of sanctions. Polygraph, 29(1), 6–19. Council on Sex Offender Treatment. (2014). Biennial Report Regarding the Council on Sex Offender Treatment: December 1, 2012 – November 30, 2014. Report prepared for the Offce of the Governor, Lieutenant Governor, and the Speaker of the House of Representatives. Retrieved from: http://www.ovsom.texas.gov/docs/ OVSOMBiennialReport12012014.pdf. Council of State Governments (CSG) (2008). Zoned Out: States Consider Residency Restrictions for Sex Offenders. Public Safety Brief. Lexington, KY: Council of State Governments. Retrieved from: www.csg.org/ knowledgecenter/docs/pubsafety/ZonedOut.pdf. Council of State Governments (CSG) (2010). Legislating Sex Offender Management: Trends in State Legislation 2007 and 2008. Lexington, KY: Council of State Governments. Retrieved from: www.csg.org/policy/documents/ SOMLegislativeReport-FINAL.pdf. Council of State Governments (CSG) (2015). The Reentry of Adults Convicted of Sexual Offenses: A National Survey of Reentry Professionals. Retrieved from: https://csgjusticecenter.org/wp-content/uploads/2015/02/ NSRv.8.pdf Craun, S.W. & Simmons, C.A. (2012). Taking a Seat at the Table: Sexual Assault Survivors’ Views of Sex Offender Registries. Victims and Offenders, 7, 312–326. Daly, R. (2008). Treatment and Reentry Practices for Sex Offenders: An Overview of States. New York: Vera Institute of Justice. Retrieved from:www.vera.org/sites/default/fles/resources/downloads/Sex_offender_ treatment_with_appendices_fnal.pdf. Dierenfeldt, R. & Varriale Carson, J. (2014). Examining the Infuence of Jessica’s Law on Reported Forcible Rape: A Time-Series Analysis. Criminal Justice Policy Review, Published online before print on December 17, 2014. DOI: 10.1177/0887403414563139. Duwe, G. (2012). Can Circles of Support and Accountability (COSA) work in the United States? Preliminary Results from A Randomized Experiment in Minnesota. Sexual Abuse: A Journal of Research and Treatment, 25(2), 143–165. Duwe, G. (2013). To what extent does civil commitment reduce sexual recidivism? Estimating the selective incapacitation effects in Minnesota. Journal of Criminal Justice, 42(2), 193–202. Duwe, G., Donnay, W. & Tewksbury, R. (2008). Does residential proximity matter? A geographic analysis of sex offense recidivism. Criminal Justice and Behavior, 35(4), 484–504. Duwe, G. & Donnay, W. (2008). The impact of Megan’s Law on sex offender recidivism: The Minnesota experience. Criminology, 46(2), 411–446. Duwe, G. & Donnay, W. (2010). The effects of failure to register on sex offender recidivism. Criminal Justice and Behavior, 37(5), 520–536. Elliott, I.A. & Beech, A.R. (2012). A U.K. Cost-Beneft Analysis of Circles of Support and Accountability Interventions. Sexual Abuse: A Journal of Research and Treatment, 25(3), 211–229. English, K., Jones, L., Pasini-Hill, D., Patrick, D. & Cooley-Towell, S. (2000) The Value of Polygraph Testing in Sex Offender Management. Washington, DC: U.S. Department of Justice, Offce of Justice Programs, National Institute of Justice. English, K., Jones, L., Patrick, D. & Pasini-Hill, D. (2003). Sex offender containment laws: Use of postconviction polygraph. Annals of the New York Academy of Sciences, 989, 411–427. English, K., Pullen, S. & Jones, L. (Eds.). (1996). Managing Adult Sex Offenders: A Containment Approach. Lexington, KY: American Probation and Parole Association. Freeman, N.J. (2012). The public safety impact of community notifcation. Crime and Delinquency, 58, 539. Gannon, T.A., Wood, J.L., Pina, A., Tyler, N., Barnoux, M.F.L. & Vasquez, E.A. (2014). An Evaluation of Mandatory Polygraph Testing for Sexual Offenders in the United Kingdom. Sexual Abuse: A Journal of Research and Treatment, 26(2), 178–203. Gies, S.V., Gainey, R., Cohen, M.I., Healy, E., Yeide, M., Bekelman, A., Bobnis, A. & Hopps, M. (2012). Monitoring High Risk Sex Offenders with GPS Technology: An Evaluation of the California Supervision Program. Washington, DC: U.S. Department of Justice, Offce of Justice Programs, National Institute of Justice. Retrieved from:www.ncjrs.gov/pdffles1/nij/grants/238481.pdf. Grubin, D., Madsen, L., Parsons, S., Sosnowski, D. & Warberg, B. (2004). A prospective study of the impact of polygraphy on high risk behaviors in adult sex offenders. Sexual Abuse: A Journal in Research and Treatment, 16(3), 209–222. Guerino, P., Harrison, P.M. & Sabol, W.J. (2011). Prisoners in 2010. Washington, DC: U.S. Department of Justice, Offce of Justice Programs, Bureau of Justice Statistics. Harris, A.J. and Lobanov-Rostovsky, C. (2010). Implementing the Adam Walsh Act’s sex offender registration and notifcation provisions: A survey of the states. Criminal Justice Policy Review, 21(2), 202–222. Harris, A.J., Lobanov-Rostovsky, C. & Levenson, J.S. (2010). Widening the net: The effects of transitioning to the Adam Walsh Act classifcation system. Criminal Justice and Behavior, 37(5), 503–519. Harris, A.J., Lobanov-Rostovsky, C. & Levenson, J.S. (2015). Law Enforcement Perspectives on Sex Offender Registration and Notifcation Preliminary Survey Results. Grant Number 2013-IJ-CX-0028. Retrieved from: https://www.ncjrs.gov/pdffles1/nij/grants/249189.pdf. Heil, P., Ahlmeyer, S. & Simons, D. (2003). Crossover sexual offenses. Sexual Abuse: A Journal in Research and Treatment, 15(4), 221–236. Hindman, J. & Peters, J.M. (2001). Polygraph testing leads to better understanding adult and juvenile sex offenders. Federal Probation, 65(3). Hoing, M., Bogaerts, S. & Vogelvang, B. (2014). Volunteers in Circles of Support and Accountability Job Demands, Job Resources, and Outcomes. Sexual Abuse: A Journal of Research and Treatment. Published online before print October 21, 2015, doi: 10.1177/1079063215612441. Holmes, S. (2009). An Empirical Analysis of Registration and Notifcation Laws for Juvenile Sex Offenders. Working Paper Series. Retrieved from: http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1710745. Huebner, B.M., Kras, K.R., Rydberg, J., Bynum, T.S., Grommon, E. & Pleggenkuhle, B. (2014). Effect and Implications of Sex Offender Residence Restrictions: Evidence from a Two-State Evaluation. Criminology & Public Policy, 13(1), 139–168. Hughes, L.A. & Burchfeld, K.B. (2008). Sex offender residence restrictions in Chicago: An environmental injustice? Justice Quarterly, 25(4), 647–673. Hughes, L.A. & Kadleck, C. (2008). Sex offender community notifcation and community stratifcation. Justice Quarterly, 25(3), 469–495. Human Rights Watch. (2007). No Easy Answers. New York: Human Rights Watch. Retrieved from: www.hrw.org/ en/reports/2007/09/11/no-easy-answers. Jackson, R.L., Travia, T. & Schneider, J. (2010). Annual survey of sex offender civil commitment programs. Paper presented at the Sex Offender Civil Commitment Programs Network Annual Meeting, Phoenix, AZ. Joint Legislative Audit and Review Committee. (2013). Review of the Civil Commitment of Sexually Violent Predators. Retrieved from: http://jlarc.virginia.gov/pdfs/reports/Rpt423.pdf. Kokish, R., Levenson, J.S. & Blasingame, G.D. (2005). Post-conviction sex offender polygraph examination: Client perceptions of utility and accuracy. Sexual Abuse: Journal of Research & Treatment, 17(2), 211–221. Lasher, M. & McGrath, R. J. (2012). The impact of community notifcation on sex offender reintegration: A quantitative review of the research literature. International Journal of Offender Therapy and Comparative Criminology, 56(1), 6–28. Letourneau, E.J., Bandyopadhyay, D., Sinha, D. & Armstrong, K.S. (2010). The infuence of sex offender registration on juvenile sexual recidivism. Criminal Justice Policy Review, 21(4), 435–458. Letourneau, E.J., Levenson, J.S., Bandyopadhyay, D., Armstrong, K.S. & Sinha, D. (2010). Effects of South Carolina’s sex offender registration and notifcation policy on deterrence of adult sex crimes. Criminal Justice and Behavior, 37(5), 537–552. Letourneau, E.J., Levenson, J.S., Bandyopadhyay, D., Sinha, D. & Armstrong, K.S. (2010). Effects of South Carolina’s sex offender registration and notifcation policy on adult recidivism. Criminal Justice Policy Review, 21(4), 435–458. Levenson, J.S. (2008). Collateral consequences of sex offender residence restrictions. Criminal Justice Studies, 21(2), 153–166. Levenson, J., Ackerman, A.R., Socia, K.M., & Harris, A.J. (2015). Where for Art Thou? Transient Sex Offender and Residence Restrictions. Criminal Justice Policy Review, 26(4), 319–344. Levenson, J.S. & Cotter, L.P. (2005a). The impact of Megan’s Law on sex offender reintegration. Journal of Contemporary Criminal Justice, 21(1), 49–66. Levenson, J.S. & Cotter, L.P. (2005b). The impact of sex offender residence restrictions: 1,000 feet from danger or one step from absurd? International Journal of Offender Therapy and Comparative Criminology, 49(2), 168–178. Levenson, J.S. & D’Amora, D.A. (2007). Social policies designed to prevent sexual violence: The emperor’s new clothes? Criminal Justice Policy Review, 18(2), 168–199. Levenson, J.S, D’Amora, D. & Hern, A. (2007). Megan’s Law and its impact on community re-entry for sex offenders. Behavioral Sciences and the Law, (25), 587–602. Levenson, J., Letourneau, E., Armstrong, K. & Zgoba, K. (2009). Failure to Register: An Empirical Analysis of Sex Offense Recidivism. Self-published. Retrieved from: www.ccoso.org/library%20articles/FTR%20SC%20short%20report.pdf. Lieb, R. & Gookin, K. (2005). Involuntary Commitment of Sexually Violent Predators: Comparing State Laws. Olympia, WA: Washington State Institute for Public Policy. Retrieved from: www.wsipp.wa.gov/pub. asp?docid=05-03-1101. Lieb, R. & Nunlist, C. (2008). Community Notifcation as Viewed by Washington’s Citizens: A 10-Year Follow-Up. Olympia, WA: Washington State Institute for Public Policy. Retrieved from: www.wsipp.wa.gov/ rptfles/08-03-1101.pdf. Lowden, K., Hetz, N., Harrison, L., Patrick, D., English, K. & Pasini-Hill, D. (2003). Evaluation of Colorado’s Prison Therapeutic Community for Sex Offenders: A Report of Findings. Washington, DC: U.S. Department of Justice, Offce of Justice Programs, Bureau of Justice Assistance and Denver, CO: Colorado Division of Criminal Justice, Drug Control and System Improvement Program. Retrieved from: http://dcj.state.co.us/ors/pdf/docs/WebTC.pdf. Lussier, P., Gress, C., Deslauriers-Varin, N. & Amirault, J. (2014). Community Risk Management of High-Risk Sex Offenders in Canada: Findings From a Quasi-Experimental Study. Justice Quarterly, 31(2), 287–314. Mandelstam, J. & Mulford, C. (2008). Unintended consequences of sex offender residency laws: Can GIS mapping help? Corrections Today, August. McGrath, R.J., Cumming, G.F., Burchard, B.L., Zeoli, S. & Ellerby, L. (2010). Current Practices and Emerging Trends in Sexual Abuser Management: The Safer Society 2009 North American Survey. Brandon, VT: Safer Society Press. Retrieved from: www.safersociety.org/uploads/WP141-Current_Practices_Emerging_Trends.pdf. McGrath, R.J., Cumming, G.F., Hoke, S.E. & Bonn-Miller, M.O. (2007). Outcomes in a community sex offender treatment program: A comparison between polygraphed and matched non-polygraphed offenders. Sexual Abuse: A Journal of Research and Treatment, 19(4), 381–393. McGrath, R.J., Cumming, G.F. & Holt, J. (2002). Collaboration among sex offender treatment providers and probation and parole offcers: The beliefs and behaviors of treatment providers. Sexual Abuse: A Journal of Research and Treatment, 14(1), 49–65. McGrath, R.J., Cumming, G., Livingston, J.A. & Hoke, S.E. (2003). Outcome of a treatment program for adult sex offenders: From prison to community. Journal of Interpersonal Violence, 18(1), 3–17. Meloy, M.L., Miller, S.L. & Curtis, K.M. (2008). Making sense out of nonsense: The deconstruction of state-level sex offender residence restrictions. American Journal of Criminal Justice, 33, 209–222. Milloy, C. (2007). Six-year follow-up of released sex offenders recommended for commitment under Washington’s sexually violent predator law, where no petition was fled. Olympia: Washington State Institute for Public Policy, Document No. 03-12-1101. Retrieved from: http://www.defenseforsvp.com/Resources/Age/ Milloy_2007_SVP_WSIPP.pdf. Minnesota Department of Corrections. (2003). Level Three Sex Offenders Residential Placement Issues. St. Paul, MN: Minnesota Department of Corrections. Retrieved from: www.leg.state.mn.us/docs/2003/mandated/030175.pdf. Mustaine, E.E., Tewksbury, R., Connor, D.P. & Payne, B.K. (2015). Criminal Justice Offcials’ View of Sex Offenders, Sex Offender Registration, Community Notifcation and Residency Restrictions. Justice System Journal, 36(1), 63–85.

Ein Klassiker der Erinnerungsliteratur, ein Klassiker über das dunkle 20. Jahrhundert, neu übersetzt und mit einem reichhaltigen Anhang versehen: Die Andere Bibliothek macht Nadeschda Mandelstams Memoiren wieder verfügbar. Eine Großtat. Eine Rezension von Tobias Lehmkuhl.

durée : 01:34:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Dans "Perspectives contemporaines" le traducteur André Markowicz partageait l'univers des poètes russes d'après la révolution : Vladimir Maïakovski, Alexandre Bloch, Ossip Mandelstam et Anna Akhmatova, (1ère diffusion : 10/01/2006). - réalisation : Virginie Mourthé - invités : André Markowicz poète, traducteur

Kerstin Ekmans "Rätten att häda" från 1994 är ett rykande försvar för yttrandefriheten och det klara förnuftet. Ulrika Knutson läser en text som samtidigt är högaktuell och en produkt av sin tid. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Sverige har världens äldsta tryckfrihetslagar, från 1766. Vi kan tacka Peter Forsskål för dem. Hans pamflett Tankar om Borgerliga Friheten inspirerade några år tidigare. Högst av alla friheter satte han skriv-friheten. Hans text blev genast indragen av censuren och Forsskål fick gå i landsflykt. Det passade honom inte så illa. Han var en av Linnés lärjungar. Tyvärr dog han i Jemen, bara 31 år gammal. Linné döpte en liten nässla efter honom, till Forsskalea Tennacissima - "kärv, stickig, hårdnackad och envis". Som Linnélärjunge strävade Forsskål efter nytta. Skrivfriheten hade ganska lite med jagets romantiska  uttrycksbehov att göra. Snarare handlade det om jagets behov av kunskap. Alla medborgare måste få bli bekanta med "samhällets tillstånd", ansåg Forsskål. Det var en djärv åsikt på hans tid, när de flesta svenskar slet ont i jordbruket och inte begärde mer än en sup eller två när arbetsdagen var slut. Samhällets tillstånd orkade ingen bry sig om. Men Forsskål var optimist. Han trodde på folkbildning. Friheten krävde inte bara fri press utan ett "upplyst publikum". Idag lever vi i det fria ordets paradox. Ordet är friare än någonsin - hos oss i Sverige - men Forsskål hade nog tyckt att "den upplysta publiken" beter sig konstigt. Konspirationer och fakta-resistens skulle han inte ha gillat. Han hade väntat mer av det klara förnuft som också Kerstin Ekman hyllar i sitt tal Rätten att häda. Hållet den 15 oktober 1994. När hon talade hade krutröken ännu inte lagt sig. Bara fem år tidigare hade Ekman och Lars Gyllensten lämnat Svenska Akademien, i protest mot att den vägrat ge sitt stöd åt Salman Rushdie. Hans roman Satansverserna hade de iranska ayatollornas fatwa över sig. Rushdie hade gått under jorden. Bara året innan hade hans norske förläggare William Nygaard nätt och jämnt överlevt ett mordattentat. Faran är inte över. Det finns fortfarande ett pris på Salman Rushdies huvud. Texten var länge ur tryck, men återpublicerades våren 2020 i tidskriften Essä, tillsammans med sex kommenterande texter. Kerstin Ekmans tal är dubbelt läsvärt, både som appell för yttrandefriheten och som kulturhistorisk produkt av sin tid. 1994 är länge sedan. Talet speglar tiden före den stora mediala revolutionen. Webb och sociala medier var knappt påtänkta. Mobiler låg inte i var mans ficka. Det var bara fem år efter murens fall. Svenska Akademiens uppfattning vägde tungt. Dess kapital var ännu stort. Kerstin Ekmans tal handlar inte så mycket om Salman Rushdie och islam, utan mer om upplysningen och försvaret av den "skeptiska humanismen" i Hjalmar Söderbergs anda. Här ser man hur mycket Söderberg betytt för Ekman. Hon börjar med en chockeffekt, beskriver en barnpornografisk bild, där två män urinerar på en liten flicka. Hon äcklas, ändå vill hon försvara rätten att publicera den. Hon hyllar de gamla grundlagarna och Forsskåls tryckfrihet. Några år senare svängde det - idag är det förbjudet att inneha, till och med att betrakta en sådan bild. Och märk väl, en av de få som fällts för detta brott är ingen vanekriminell, utan serieöversättaren Simon Lundström, som i sin dator hade japanska mangateckningar. "Döma teckningar, är svenskarna inte riktigt kloka"? undrade den amerikanska fotografen Sally Mann. Kerstin Ekmans text är kärv, stickig och envis, som Forsskåls nässla. Riktigt giftig när hon skildrar den svenska aningslösa välviljan, de "rosiga kindernas cynism" - till exempel i form av ekosocialister som drömmer om ett paradis bortom demokratin. Detta fenomen försvann inte med nittiotalet. "De rosiga kindernas cynism" - vilket uttryck - blossar upp då och då, både i klimatdebatten och i identitetspolitiken. Eller vad ska man säga om Uppsala universitet som glömde allt de visste om akademisk frihet och källkritik, och mästrade kulturantropologen Ingalill Arvidsson för att hon på ett seminarium, uppmanad att svara på en fråga om uppslagsord i gamla arkiv, använt n-ordet, som var det konkreta uppslagsordet. Detta inte menat som stöd för de frihetskämpar som bryr sig mindre om samhällets tillstånd än rätten att köpa n-ordsbollar i närbutiken så fort suget slår till. Kerstin Ekman talar också om "den vämjeliga bönhustraditionen" i Sverige, med dess drag av botgöring och underkastelse. Detta förstod nog den bildade borgerligheten för 25 år sedan, särskilt om de legat i Uppsala och lyssnat på när Ingmar Hedenius läste lusen av biskoparna. Men idag i världens modernaste land  - vem ska ta åt sig? 68-vänstern eller P O Enquist och arvet från Hjoggböle. Lite bönhus ska väl den sekulariserade svensken tåla? Kerstin Ekmans text kommenteras hövligt av sex olika författare. Det är bara Agneta Pleijel som törs ta henne på allvar, och svara på Ekmans skarpa kritik av religion, och av Birgitta Trotzig. Pleijel menar att Kerstin Ekman gick för långt när hon skrev att intresset för plågade sovjetiska öden, som poeterna Mandelstam, Tsvetajeva och Achmatova, ibland fått karaktären av dödsfascination - "en på mycket långt håll ljuv svindel inför deras undergång". Detta är inget huvudspår i Kerstin Ekmans text, men det är starka ord. Kerstin Ekman själv, liksom Hjalmar Söderberg, uppehåller sig ofta vid nazisternas illgärningar, utan svindel vid avgrunden. Detta måste ha med tiden att göra. Det var ju 1994, de sovjetiska arkiven hade just blivit tillgängliga och alla fynden gav många  rubriker. Det var först då som man fick veta att Osip Mandelstam verkligen dog i ett uppsamlingsläger på väg till Vladivostok. Det kan förresten vara på sin plats att påminna om att de ryska arkiven inte längre är öppna. Putin sitter på nycklarna sedan många år. Men då hade fakta just börjat röra sig. Kunde detta förväxlas med dödsfascination? Ett uppriktigt tack får Kerstin Ekman från Mohammad Fazlhashemi, nu professor i islamsk teologi och  filosofi i Uppsala. Han ger bakgrunden till fatwan mot Rushdie, hur den shiamuslimske ayatollan Khomeini hittade ett utrymme för att framstå som den sanne försvararen av islam, också i sunniters ögon. Det var ett politiskt mästardrag. Mycket tragiskt däremot, att inte de diplomatiska ansträngningarna förmådde efterträdaren Khamenei att lätta på fatwan. Ett tag såg det så ut. Vad Mohammad Fazlhashemi tackar Kerstin Ekman för är att hennes klara förnuft vägrade skuldbelägga alla muslimer för brottet mot Rushdie, något som sker då och då, i vår upplysta tid. Professor Fazlhashemi bidrar med en personlig anekdot. När debatten rasade som värst skulle han själv lämna in bilen till reparation hemma i Umeå. Mekanikern tog nycklarna, spände ögonen i professorn och ville ha besked, inte om kardanknutar eller bromsar. Han ville veta om kunden var villig att verkställa den dödliga fatwan mot Rushdie och hans svenska förläggare. Fazlhashemi skakade av sig alla känslor frågan väckte, och gav ett kort och koncist svar: Nej! Ett kvarts sekel går fort. Mycket hinner hända, eller händer inte alls. Ungefär vid samma tid då tidskriften Essä tryckte om Kerstin Ekmans text ombads Svenska Akademien att lägga ett ord för den fängslade svenske medborgaren Gui minhai. Men Akademien tyckte inte att det var deras uppgift att försvara Guis yttrandefrihet. Det finns andra organisationer som sköter sådana saker betydligt bättre än Akademien, enligt ständige sekreteraren. Och det är ju tur. Ulrika Knutson, journalist och författare Källor Emi-Simone Zawall (red): Tidskriften Essä, nummer 5: Rätten att häda, 2020. Först publicerad 1994 av svenska Rushdiekommittén i samarbete med Studiekamraten. Peter Forsskål: Tankar, om Borgerliga Friheten. på Litteraturbanken.se, Atalntis 2017, red Gunilla Jonsson. Originalet publicerat 1759.

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.07.29.227827v1?rss=1 Authors: Morcom, L., Edwards, T. J., Rider, E., Jones-Davis, D., Lim, J. W., Chen, K.-S., Dean, R., Bunt, J., Ye, Y., Gobius, I., Suarez, R., Mandelstam, S., Sherr, E. H., Richards, L. J. Abstract: Corpus callosum dysgenesis (CCD) is a congenital disorder that incorporates either partial or complete absence of the largest cerebral commissure. Remodelling of the interhemispheric fissure (IHF) provides a substrate for callosal axons to cross between hemispheres, and its failure is the main cause of complete CCD. However, it is unclear whether defects in this process could give rise to the heterogeneity of expressivity and phenotypes seen in human cases of CCD. We identify incomplete IHF remodelling as the key structural correlate for the range of callosal abnormalities in inbred and outcrossed BTBR mouse strains, as well as in humans with partial CCD. We identify an eight base pair deletion in Draxin and misregulated astroglial and leptomeningeal proliferation as genetic and cellular factors for variable IHF remodelling and CCD in BTBR acallosal strains. These findings support a model where genetic events determine corpus callosum structure by influencing leptomeningeal-astroglial interactions at the IHF. Copy rights belong to original authors. Visit the link for more info

durée : 00:58:19 - Fictions / Théâtre et Cie - "Un témoignage exceptionnel sur les années les plus fécondes du grand poète russe et sur l'asphyxie de la culture qui a accompagné la prise de pouvoir par Staline"

durée : 00:58:19 - Fictions / Théâtre et Cie - "Un témoignage exceptionnel sur les années les plus fécondes du grand poète russe et sur l'asphyxie de la culture qui a accompagné la prise de pouvoir par Staline"

Paul talks with Peter Mandelstam, Chief Operating Officer, of Enchant Energy about the company’s plans to add carbon capture technology to San Juan Generating Station.  Enchant Energy is working with the City of Farmington to acquire a 95% interest in the plant which is currently operated by PNM. Paul visits with Peter about the progress Enchant Energy has made to date, as well as the challenges ahead that must be overcome if the project is to raise the capital to add the carbon capture technology that would allow San Juan Generating Station to continue to operate past the 2022 date that PNM is seeking for closure.  Issues discussed include the jobs and tax revenue that would be maintained by keeping the plant open, the federal tax credits that will be used in financing the carbon capture technology, and how the retrofitted plant would comply with New Mexico’s Energy Transition Act.

How many people can you get into Radio City Music Hall? Where was the UK's worst avalanche? What on earth is wrong with the people of Hastings? Jake Yapp & Natt Tapley find out, and maybe outline exactly how awful they both are. 

Connor and Jack reach back to 1937 and discuss this unsettling, icy gem from Russian poet and essayist Osip Mandelstam. They talk embedded metaphors (embedaphors), possible political readings, and the value of treating a poem like this one as an experience rather than a puzzle. Learn more about Mandelstam, here: https://www.poets.org/poetsorg/poet/osip-mandelstam Read John High's translators' notes, here: https://www.poetryfoundation.org/poetrymagazine/articles/145574/translators39-note-alone-i-stare-into-the-frosts-white-face-by-osip-mandelstam Find us on Facebook at: facebook.com/closetalking 
Find us on Twitter at: twitter.com/closetalking
 Find us on Instagram: @closetalkingpoetry You can always send us an e-mail with thoughts on this or any of our previous podcasts, as well as suggestions for future shows, at closetalkingpoetry@gmail.com. Alone I stare into the frost's white face By: Osip Mandelstam Translated by: John High Alone I stare into the frost's white face. It's going nowhere, and I — from nowhere Everything ironed flat, pleated without wrinkle: Miraculous, the breathing plain. Meanwhile the sun squints at this starched poverty— the squint itself, at east... The ten-fold forest almost the same... And snow crunches in the eyes, innocent, like clean bread.

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Till skogs bland Sovjetunionens lägersystem: GULAG. Utanför Perm ligger det enda av Rysslands gamla GULAG-läger som gjorts om till museum. Resan går tillsammans med Mandelstam, Aleksijevitj, Solzjenitsyn, och tiotals miljoner till. "Stalins mirakel" kallade Osip Mandelstams fru det straff som poeten fick för sin dikt 'Bergsbon i Kreml': bara några år. Men då hade inte terrorn börjat på allvar. Om lägren skrev sedan Solzjenitsyn, som liksom tiotals miljoner andra, slussades genom Sovjetunionens lägersystem där miljontals dog, inte sällan efter ur luften gripna anklagelser och falska angivelser.

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George Szirtes was born in Budapest in 1948, and came to England with his family after the 1956 Hungarian Uprising. He was educated in England, training as a painter, and has always written in English. In recent years he has worked as a translator of Hungarian literature, producing editions of such writers as Ottó Orbán, Zsuzsa Rakovszky and Ágnes Nemes Nagy. He co-edited Bloodaxe’s Hungarian anthology The Colonnade of Teeth. His Bloodaxe poetry books are The Budapest File (2000); An English Apocalypse (2001); Reel (2004), winner of the T.S. Eliot Prize; New & Collected Poems (2008) and The Burning of the Books and other poems (2009), shortlisted for the T.S. Eliot Prize 2009. Bloodaxe has also published John Sears’ critical study Reading George Szirtes (2008).

First and foremost, I'd like to apologize for all the "ummmms" in recent episodes. I'm mortified by my horrendous speaking patterns these days. My dear friend (artist) Matthew Sontheimer sent me two really commanding poems via email today. That email & these poems fortified my insides. And I needed reinforcement. So how could I not share with you, my dear sweet friends? Warning though, I'm a little weird today. For that, and for many other things, I am sorry, Robyn

A measurement of the total pp cross section at the LHC at root s = 7 TeV is presented. In a special run with high-beta* beam optics, an integrated luminosity of 80 mu b(-1) was accumulated in order to measure the differential elastic cross section as a function of the Mandelstam momentum transfer variable t. The measurement is performed with the ALFA sub-detector of ATLAS. Using a fit to the differential elastic cross section in the vertical bar t vertical bar range from 0.01 GeV2 to 0.1 GeV2 to extrapolate to vertical bar t vertical bar —textgreater 0, the total cross section, sigma(tot)(pp —textgreater X), is measured via the optical theorem to be: σtot(pp→X)=95.35±0.38(stat.)±1.25(exp.)±0.37(extr.)mb, where the first error is statistical, the second accounts for all experimental systematic uncertainties and the last is related to uncertainties in the extrapolation to |t|→0|t|→0. In addition, the slope of the elastic cross section at small |t||t| is determined to be View the MathML sourceB=19.73±0.14(stat.)±0.26(syst.) GeV−2.