Podcasts about Marianne Moore

A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: A poem about a map opens north and south, the first collection of the great 20th century poet Elizabeth Bishop. And since maps have been associated with her poetic vision, at once telescoping and binocular, and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also handheld, man made intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative and personal. Over the next few episodes, we'll be reading a selection of some of Bishop's most anthologized poems, starting with the moose as expressions of, among other things, her map, like imagination. This is Erin O'Luanaigh. And this is Wes Alwan, and you're listening to Subtext. Wes, have you ever seen a moose in the wild? 1:12 Wes: I have not, but I have seen Instagram videos of them and people getting too close, and I've heard that they actually are quite dangerous. 1:23 Erin: Oh, perfectly harmless. 1:24 Wes: As cute as they look. So not safe as houses. Which is a very surprising line, unless you think that houses maybe aren't as safe as they seem or ought to be. But that's something we'll talk about later. How about you? 1:38 Erin: I have not. And I actually, it's become a running joke among certain friends of mine that I haven't seen a moose because I long to see a moose in the wild. This is my dearest wish. 1:52 Wes: Is that the first time anyone said that in history? I long to see. 1:56 Erin: I don't know. 1:57 Wes: It's a good first line for a poem, actually. Why do you long. Long to see a moose in the wild? 2:03 Erin: Really? Maybe because of the poem. I don't know. I just really want to, but I. Maybe this will become significant without getting too personal or maybe with getting too personal. With apologies to the listeners. Ten years ago now, when my grandfather passed that summer, my grandmother wanted to go up to Maine and revisit certain places that she had been with him. And we ended up going to Acadia. And I was so excited to see. Am just. I got it into my head that I had to go to Acadia and see a moose. And I even bought a sweatshirt. I'm not wearing it right now. I looked down to see if I was wearing it. It's the same size and shape as this one. This is a Yankees, 1996 World Series sweatshirt. 2:42 Wes: It's not a Rocky and Bullwinkle sweatshirt, is it? 2:45 Erin: No, no, no. It's an acadia and it has a. It has a mousse on it. And so I bought it the first day that I was there and I was like, this is my sweatshirt and it has a moose on it. And I'm gonna. I'm gonna see a moose. And I did not see a moose. And then I. I bought a moose sweatshirt in, I think Grand Teton, and I was like, I'm gonna see a moose. And I did not see a moose. And then I lived obviously many years in Utah, and things would happen. Everybody knew I wanted to see a moose. And I would go to these trails where you could see moose. And I would like be going up a trail and someone would be coming down saying, there are moose up there. We just saw a moose. You just saw baby moose. I'd get all upsided and I would. I would run up and it was gone and people would taunt me. 3:32 Wes: So you don't want to see like a magic white heart or something like that? 3:38 Erin: No, no, I just want to see him. Even the garden variety moose? No, no. Just a humble moose will hide itself from me when. When it knows that I am after it. 3:49 Wes: Because they are a goofy, right? Are they majestic? Are they goofy looking? Are they both? 3:55 Erin: I think they're both. And I think that kind of qual quality is really well captured in the poem. No, I mean that quality of if not being then looking safe as houses or being a gargantuan size, and yet having. I know this is a female moose, which I believe is called a cow, as opposed to a bull. Right. But the bulls, even their horns have that hand like quality to them. You know, it looks kind of like an outstretched hand. 4:22 Wes: Interesting. 4:24 Erin: Yeah. They're not majestic. 4:25 Wes: Yeah, I think that's important to the poem. It's not some obviously majestic creature, although it is large and there is majesty in it in the poem, but it's not the typical majesty that you can just get from, oh, look at this beautiful animal. 4:41 Erin: Yeah. And this is kind of why I brought up my grandfather. There was some connection for me as I think there is something quite personal going on with the moose at the end, other than the shared experience of everybody in the bus, all of that. Like there's something bigger than us, more than us, and yet familiar in a way. And it's magical in a sense, because to see it is kind of a rare thing. Yet it also comes out of the landscape that she's that she's grown up in and that she's part of. I think there's a. Yeah. A lot of interesting dualities going on. 5:17 Wes: Okay. So maybe you can read the whole thing and then you could give a little bit. Or we could give a little bit of the biographical background because this is a bus trip she actually took. Right. 5:26 Erin: Yeah. 5:27 Wes: The significance of Nova Scotia, which is where she's departing from in the poem and all of that stuff. But. Yeah. Do you want to start by reading? 5:35 Erin: Sure. The moose from narrow provinces of fish and bread and tea, home of the long tides, where the bay leaves the sea twice a day and takes the herrings long rides where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home, where silted red sometimes the sun sets facing a red sea and others veins the flats. Lavender rich mud and burning rivulets. On red gravelly roads, down rows of sugar maples, past clapboard farmhouses and neat clapboard churches, bleached ridged as clam shells, past twin silver birches through late afternoon a bus journeys west, the windshield flashing pink, pink glancing off of metal, brushing the dented flank of blue beat up enamel, down hollows, uprises and waits patient, while a lone traveler gives kisses and embraces to seven relatives and the collie supervises goodbye to the elms, to the farm, to the dog. The bus starts. The light grows richer. The fog shifting, salty, thin, comes closing in. Its cold round crystals form and slide and settle in the white hen's feathers in gray glazed cabbages on the cabbage roses and lupins like apostles. The sweet peas cling to their wet white string on the whitewashed fences. Bumblebees creep inside the foxgloves and evening commences. One stop at Bass river, then the economies, lower middle, upper five islands. Five houses where a woman shakes a tablecloth out after supper. A pale flickering gone the Tantramar marshes and the smell of salt hay. An iron bridge trembles and a loose plank rattles but doesn't give way. On the left a red light swims through the dark. A ship's port lantern. Two rubber boots show illuminated, solemn. A dog gives one bark. A woman climbs in with two market bags. Brisk, freckled, elderly. A grand night. Yes, sir. All the way to Boston. She regards us amicably. Moonlight as we enter the New Brunswick woods. Hairy, scratchy, splintery moonlight and mist caught in them like lamb's wool. On bushes in a pasture the passengers lie back, snores some long sighs. A dreamy divagation begins in the night, a gentle auditory slow hallucination in the creakings and noises, an old conversation not concerning us but recognizable somewhere back in the bus, grandparents, voices uninterruptedly talking in eternity, names being mentioned. Things cleared up finally. What he said, what she said, who got pensioned. Deaths, deaths and sicknesses. The year he remarried, the year something happened, she died in childbirth. That was the son lost when the schooner foundered. He took to drink. Yes, she went to the bad when Amos began to pray, even in the store and finally the family had to put him away. Yes, that peculiar affirmative. Yes, a sharp indrawn breath, half grown, half acceptance. That means life's like that, we know it. Also death talking the way they talked in the old featherbed, peacefully on and on, dim lamplight in the hall, down in the kitchen, the dog tucked in her shawl. Now it's all right now, even to fall asleep, just as on all those nights. Suddenly the bus driver stops with a jolt, turns off his lights. A moose has come out of the impenetrable wood and stands there, looms rather in the middle of the road. It approaches, it sniffs at the bus's hot hood, towering antlerless, high as a church, homely as a house or safe as houses, a man's voice assures us, perfectly harmless. Some of the passengers exclaim in whispers, childishly, softly, sure are big creatures. It's awful plain. Look, it's a she. Taking her time. She looks the bus over, grand, otherworldly. Why. Why do we feel. We all feel the sweet sensation of joy? Curious creatures, says our quiet driver, rolling his Rs. Look at that, would you? Then he shifts gears for a moment longer by craning backward. The moose can be seen on the moonlit McAdam. Then there's a dim smell of moose, an acrid smell of gasoline. 11:05 Wes: Thank you. Very nice. It's really great to hear it spoken out loud. Spoken is the wrong word. It's the word read, performed. Do you want to say anything about the form of the poem before I ask you about some of the autobiographical background? 11:22 Erin: Yeah. Short lines, six line stanzas, 20, I believe. 28 stanzas in all. Irregularly rhymed, should we say? Kind of like a lot of bishop, you know, we get A, B, C. Then sometimes not rhymed where you might expect. So the rhymes peek their heads out and then. And then recede. Chatty a little bit in places, lots of repetitions of words. But that. That's something we could talk about More. But, yeah, kind of. Kind of mysterious form. One of the best things I've ever heard or read, I guess, about Bishop was by Michael Hoffman, who wrote quite a bit about her. And he said that it seems as though every time Bishop is writing, whether in form or in a kind of nonce form that she's creating, that she seems to be just inventing every form, like from scratch. You know, there's no blueprint. She doesn't have a familiar style in which she writes or particular kind of verse form that she seems to gravitate to. And when she writes, you know, a sistina or a villanelle or a sonnet or something like that, it seems like she's almost inventing the form as she goes along. And in this instance, there's a real. I keep wanting to say homemade after Crusoe in England. But, yeah, I think that's maybe what he was trying to get at, that homemade quality, that sort of bespoke kind of quality. And in the places where the rhyme goes in and out, I think that's really exemplified. 12:53 Wes: Well, it better be bespoke. She took forever to write it. 12:55 Erin: Yeah, that's right. She started this in, I think, 1946. 13:01 Wes: And then she finished it when this 13:04 Erin: was published in Geography 3. So she finished it in the 70s. 13:07 Wes: Okay. 13:08 Erin: Geography 3 came out in 1977. And this must have been published before then, individually, perhaps in the New Yorker, I think. Oh, geography three is 76. I would say maybe 72 is the date that comes to mind. Don't quote me on that. 13:24 Wes: Do we know why it took her so long? Obviously, she put it down for a couple days here and there. 13:29 Erin: It was the July 15th issue, 1972. So close to the day that we're recording. Why did it take her so long? She just worked on things forever and ever and ever. You see it, if you read. I highly recommend to listeners that they Get Words in Air. A very, very thick book of all the letters between Bishop and her friend Robert Lowell. You see her bringing up things or even mentioning in a description that she's writing to Lowell in a letter, a line that will later show up in a poem. Yeah. Low rate of productivity is great to. 14:08 Wes: You know, I can relate to that. 14:11 Erin: I take it as my model, honestly. Like, you know, live. Live Large and die with a slim Collected is kind of a. 14:19 Wes: Kind of a great Monroe Doctrine. But call it. What's another name? Bishpro. 14:28 Erin: That's right. 14:29 Wes: Is it right that she was forced to complete it because she agreed to read it this is something for deadlines. Right. At Harvard's Phi Beta Kappa ceremony. 14:38 Erin: I didn't know that. I know she read it at that ceremony, but I didn't know that that's what. The impetus for completing it. But that doesn't surprise me. 14:45 Wes: Yeah. So deadlines help every once in a while. 14:47 Erin: Absolutely, absolutely. 14:49 Wes: And then biographically. Right. This is based on a trip that she actually took, and she. She'd been to visit relatives in Nova Scotia and then came back on this bus trip. And the. There really was a moose. There really was a collie. Seven relatives for the rest of it. Yeah, yeah. Seven else. 15:11 Erin: Yeah, yeah. The specificity and all of it's. You know, there is a kind of like a photo realism, not just in the style, but in the. You know, we could sort of be certain that these things happened the way that she is recording them somehow, and yet she's spinning it into something more than just reportage. 15:30 Wes: So she was raised partly by her grandparents in Great Village, Nova Scotia. Right. Her. Her father had died in infancy and her mother was institutionalized. 15:41 Erin: That's right, yeah. 15:41 Wes: She aged at. When she was 5. 15:43 Erin: That's right. 15:44 Wes: So it's important just because. Yeah. The bus is leaving Nova Scotia, but go. Go ahead. 15:48 Erin: Yeah, it is important. She was born in 1911 in Worcester, Massachusetts, and she's buried there. I've seen her grave up there. It has a line or two lines from the bite on her tombstone. All the untidy activity continues. Awful but cheerful. Yeah. So she was born in 1911. Her father died, I think, of Bright's disease when she was 8 months old. And then her mother was institutionalized when she was 5, and she never saw her again. She didn't die until the 30s, I think, while Bishop was at Vassar. 16:23 Wes: Do we know what she was institutionalized for? Mental illness in general? 16:28 Erin: Yes. I don't know exactly what. In a short story of Bishop's, she describes as her. A scream coming from her mother. And whatever was wrong was exacerbated by her husband's death. And so then Elizabeth was left to be raised by her grandparents in Nova Scotia who were quite poor. And I guess she was kind of running around barefoot on the farm and stuff like that. And her father's family were very wealthy, and so when they came up to visit Elizabeth, they were, I guess, horrified by the fact that she was just like, you know, running around, hanging out with farm animals. And they took her to. Back with him to Worcester, and she was very unhappy there. Very ill child. She had asthma and eczema. And really, like, I think almost died of both at one time or other, very unhappy. And then eventually she moved to an aunt's house in, I want to say, in Revere, Massachusetts, and she was a little happier there. And then she went to Vassar, and I've been to the Vassar campus to see various buildings associated with Bishop and also to see. They did a really fabulous exhibition of her postcards at the Vassar Library a couple of years ago, which I really loved, seeing her hand and her little. In jokes and asides and really amazing to see. Anyway, at Vassar, the librarian there set up a meeting between Bishop and Marianne Moore, who became a mentor to her. They were very close. And then also over the course of her life, she was very close with and had an important friendship with Lowell. Hence the enormous book of letters. I have it here. It's so heavy I could barely pick it up. But this is a great book. It's kind of like an epistolary novel. Yeah. And she was. I think it's important to say, too, that she was a lesbian who had a very long relationship with a Brazilian architect named Lota de Mecedo Soares, who was her partner in Brazil for 15 years. She lived down there, known for travel. A lot of her collections, whether it's Geography three, which is the most obvious one, or north and south, have. There are a lot of Brazilian pumps. There are a lot of geographical poems. The first poem in her first collection, north and south, was the Map, which is often read as a kind of ars poetica. She's known for these types of, you know, sweeping landscapes that the moose begins with, and an interest in landscape and in this kind of bird's eye view. But then also you get these telescoping details, like a cinematic close up interspersed. Much is made of that in Bishop, of that kind of vision of hers, and specifically of, I don't know, the idea that she creates these. These beautiful miniatures, which is true, but maybe sometimes can be a little. I mean, she's revered, as she should be, and she's one of the most popular poets and she also has a great ear and she has so many other great things going on. So I don't want to exclusively focus on that kind of visual element, though it's there and it's very rich. 19:43 Wes: So from narrow provinces of fish and bread and tea. That's a very good opener. Why are they narrow provinces? And what is the. What are the fish and bread and tea doing? Fish and bread sounds vaguely like it could be a biblical reference, but maybe it's not. But you add tea. Right. There's something mundane here and perhaps restricted, provincial. And that's what she's going to be departing from. I mean, well, begins with the tides, but. 20:12 Erin: Yeah, right. Yeah, that's right. Narrow in a few kinds of ways. Because there's a strange. Because of the Bay of Fundy, there's almost that like U shaped corridor of land around it. So Nova Scotia is kind of narrow. And then up into. Then there's the narrow isthmus. I don't know, I don't know if I'm using that word correctly. Up into New Brunswick. Yeah, so there's something maybe a little, I don't want to say spiritually narrow, maybe somewhat limited or like practical. Practical and, you know, just the necessities and a place we learn that that is. That maybe has to be stalwart in response to the vagaries of the water around it. The Bay of Fundy, I was reading online, the tide, over the course of just one tide, can rise and fall 50ft because the bay is like a giant funnel. When it goes out, it just leaves this vast, open, muddy plain basically behind it. 21:16 Wes: She portrays this very beautifully. We get the image of the tide retreating and then the flats that are being illuminated by the setting sun as burning rivulets. And then there's almost a transition into the bus ride when she says on red gravelly roads, eventually the subject of that is going to be the bus. Although in the beginning, before we get to the bus, it looks like the rivulets have almost become roads. So you almost get the sense like the tides come in and it's going to go further inward, it's going to go all the way to Boston, but it's going to become the inhabitants of the bus who are much like the herrings. Right. In the first stanza. The herrings on the tides take herrings on long rides. So it's almost as if as the tide comes in, she is caught in the tide and brought along with it towards her destination. 22:08 Erin: That's right, yeah. And the bay itself, the water itself is also like a traveler, you know, you might go to visit it and find it's not at home, it's gone out for on a trip or something. So there's also that connection as well. Whereas the roads are part of this more solid and dependable and the water being fickle and not always depended on to be there. 22:31 Wes: Well, I was going to say there's something very poignant about the way she describes the tides and whether they're in or out. And I can't put my finger on it exactly. It's almost. It's this idea of. Right. Where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home. If the tide is in or coming in the river clashes with it in a wall of brown foam. Is that the idea now? And what's the image there? Is it always a wall of brown foam? Well, either way, I just. Something about this idea of. It depends on whether the bay is at home or something like that. It's a poignant image. 23:12 Erin: It is. It's that sense of just. Of disappointment or just missing someone, like a missed opportunity. Seems kind of surprisingly emotionally resonant, considering that she's talking about a tide. 23:25 Wes: And we. You know, it introduces the idea of home and. Which I think will be significant. And later on we'll talk about whether the moose is safe as houses and the reflections of the elderly and all that stuff. But. 23:40 Erin: And boundaries, too, right. You have very slippery boundary between the bay and the. And the sea, between the rivers and the bay that feeds them. And I think that boundary very much plays into the idea of home. And you could say that the bus seems to be a part of that too. Right. Like the bus becomes the home. So there's a little bit of the slippery idea of this transposition of home life into the bus, or the people on the bus all becoming the. We like a family within it. The way that it can literally cross national boundaries. It's going to Boston across the border. 24:18 Wes: Yeah. And then they'll be observing provincial life, I guess, from within the bus. And. And, you know, a woman shaking out an apron, for instance, or home life. But, yeah, I had the same thought to you. The bus. The interior of the bus becomes its own kind of mobile home, I guess. I guess the wall brown foam part. There's that push and pull, or it's a matter of who's doing the pushing. Right. In one case, the brown foam. The wall of brown foam is caused as. As the river pushes on the retreating tide. And the other case, it's the tide pushing back against the river as it comes in. But in either case, there's a clash there. 24:58 Erin: Then there are places, though, where there's blurring of boundaries. Like one of my favorite lines in the whole poem, the idea of the churches as ridged as clamshells. She always takes that. This is much remarked upon among scholars of Bishop. Where you get the thing that's. That's really big, suddenly reduced in size to the handheld, but coming out of the same idiom. You know, both the clamshell and this clapboard church are in a way equally native to Nova Scotia. The brilliance of connecting those two things and fishing being an industry in the area, you know, sort of springing out of the fishing industry. 25:42 Wes: Yeah. And shells are what's left as the tide retreats. Right. As it's as if the houses are just the natural residue of a retreating tide. 25:52 Erin: That's great. 25:52 Wes: From the beginning of the poem, there's a sense of momentum, and almost like you, at least in my case, I felt like I'm on a camera moving over the landscape, and it starts with the tide, and then it moves to the burning rivulets. Right. So now we're hovering over. I don't know what you would call it, a. A tidal plane. Anyway, she calls it the flats. Right. So all the silt, and we're moving along there, and then suddenly we're on a gravelly road. So the sun takes over from the sea. The redness of the sun. And then the bus takes over from the sun. But that's the momentum of the poem is from sea to sun to bus. 26:37 Erin: Yeah. The bus flashes pink. We get lots of pairs of the same word, creating a kind of chime with each other. So we get the windshield flashing pink. Pink glancing off of metal. And we wonder, I suppose, because part of the reason why the roads are red is because of the clay content. Right. Of the road itself. So we get that combination of, like, something red in the road or in the composition of the soil and rock of the area. 27:07 Wes: Laterite, I think, which I only know because of Graham Green, who I've been reading. Oh, and what heart of the matter. He's talking about laterite houses, like. So from the red clay, you can make, you know, homes from as well, and common in Sierra Leone. So he used the word like a hundred times before he finally looked it up. All right. There must be something that's going to not know what he's talking about. I'm like, oh, okay, now I get it. Yeah. 27:41 Erin: So that's the mineral, the. 27:44 Wes: It's reddish. Yeah. Reddish clay type of soil, topsoil or something like that. I should know more about this because I used to write about this, too, when I was writing about transportation and engineering. 27:56 Erin: Right. 27:57 Wes: It's important what kind of soil you're building on. But anyway, I remember nothing about that. But, yeah. So it could be the right word. Who knows? But. But, yeah. So you're getting at the. Yeah. The way the redness of the sun is interacting with the. 28:12 Erin: Yes, it's coming. 28:13 Wes: The redness of the soil. 28:14 Erin: Yeah. And that kind of redness coming from below and above to glint off of the bus. The windshield is flashing pink from the sun and the metal is flashing pink from the road. They're both brushing the dented flank of the blue beat up enamel from one direction or the other, it seems. Yeah. Sort of tunnel of red in which the. In which the bus is traveling. 28:41 Wes: Such a vivid image that she gives us. It made me think, you know, sometimes it's almost better than film. It's more vibrant or more. Don't know how to say it, but I was thinking about this because in some of the philosophy podcasts we do, there are philosophers who deny that we have imagery in our head. Exactly. Or we can never. Which seems true. Right. We can't imagine anything with the vividness that we would have if we actually saw it. But it makes me think when I read a poem like this, but also. And also reading some of the novels I've been reading. Well, there's a special kind of vividness to figurative language that perception can't capture. In some ways it's more. More vivid, definitely. 29:26 Erin: I think the sonic quality of the word, the repeated. Right. It's on the one hand a repeated image, but then it also creates that kind of just the soundscape, makes them feel somehow more synesthetic to say, but somehow more picturable or more tangible or more. I don't know, the pink glancing off metal, the dented flank beat up enamel. You know, there's just. It's like. I think that's contributing to it, to the vividness of the image. And yeah, you talked about momentum, too. I mean, this entire. This whole first sentence is six stanzas long. It ends with. And Akali supervises. So there's also that kind of. Yeah. Locomotive propulsion of the camera work, so to speak, Zooming in and then following the road into the bus. And then the bus arrives to sort of catch again, quite cinematically the scene that's actually happening or the place where the eye, if there is an eye in the poem, actually is the lone traveler embracing these relatives with the collie watching on. So there's a sense in which the I eye of the poem doesn't actually catch up with the speaker until stanza six and the end of this first sentence until we get goodbye to the elms, to the farm, to the dogs. So there's kind of lamination at that moment of the I eye and the capital I. 30:49 Wes: We seem to be gradually getting more of a point of view. Right. It's very omniscient in the beginning, hovering over the landscape. And I think gradually we're going to be getting a her point of view in the bus and then a we. But also just to note, this is one. I think this is the first of three pauses. Right. There's gonna. It's gonna pause here, the bus. The momentum is gonna stop as the bus lets on the lone traveler, which I presume is her. Right. Her saying goodbye. And then there'll be a pause when the amicable freckled woman gets on. She's there because we need everything to be in threes. And then we. Then we're gonna pause for the moose in the very end. I didn't miss anything. Right. There's not other places where we stop? 31:32 Erin: No. I mean, there are, of course, stanzas that end some more definitively than others and stopped with a period. There's a stop at Bass River. Right. So there is a little bit of that kind of start. Stop syntactically. But I think you're right that those are the stops where there's content. 31:49 Wes: Content goes. 31:50 Erin: Yes. And where there's a very particular. Yeah, the content of the bus, except for the moose obviously doesn't get on the bus. But there's a stop that's motivated, let's say, rather than just being described as various stops along the way where we don't know who got on and who got off or whatever. Certainly there's also a movement toward that more personal experience of the speaker. But then there are also things that the speaker couldn't possibly know or you know, because once she's said goodbye to everyone and gets on the bus, then we also get the sort of nature show close ups. The crystals of fog, the lupins like apostles, the sweet peasants clinging. One of my favorite parts, clinging to their wet white string on the whitewashed fences. Again, we get two uses of white right next to each other. Bumblebees creeping in the foxgloves. All things you really can't see from certainly from a moving bus. 32:43 Wes: Yeah, the point of view gets focused very, very gradually, maybe through the whole palm. Maybe it's not fully focused until the very end, but. Yeah. So you're pointing out something important which is at the sort of omniscient point of view is still here in these very. What do you call it when you take a close up with your phone? Macro, ironically. Yeah. These very close up pictures of flora and fauna and very Beautiful. 33:12 Erin: Yeah. They compound and then they get more and more loaded and mysterious. And just when we're about to maybe go over the edge, we get recalled back a little bit. That's at least how I'm reading, for instance, stanza 12, about the ship's port lantern and the boot and the bark of the dog. And then suddenly a woman climbs on the bus. And so we're sort of stopped from going off into some sort of train of thought that you could follow there down a rabbit hole. But I love that stanza on red light swimming through the dark. It reminds me of the last stanza of disillusionment, of 10 o'. Clock. Do you know the old sailor, drunk and asleep in his boots, catches tigers in red weather? I think that's how it goes, the Stevens bomb, because we get the boots and the red light in the ship, so they're probably. No. No real connection there. 34:07 Wes: So all of these little intricate descriptions that she's giving, right. It begins with the light growing richer, which I take it mean, means we're approaching dusk and evening, or we're in dusk and it's evening is approaching and a kind of mini winter, Right. Something. It's a diurnal cycle, but there's a bit of a parallel to something seasonal. Right. So we get crystals forming and the images like sweet peas clinging and the bumblebees inside foxgloves. As evening commences, it's almost like. I don't know if this is true, but it's almost as if we're getting the response of the animals and flora and fauna to the commencement of evening. That's our first indication of it. So I was surprised to see, okay, it's still light out enough for us to see a woman shaking a tablecloth out after supper. And that is beautifully described as a pale flickering. Right. Almost as if that's something like the light reflecting off the enamel bus, or not pink anymore, but just a flickering of pale light and then gone, I suppose. Does that mean that we're now without light? Is that sort of the way nighttime is ushered in by the end of the next stanza? And it's in the next stanza that we see a red light in the dark. Now we have a ship in the dark. So it's almost as if. Yeah, the shaking of the tablecloth is like a magician. Abracadabra. Now it's nighttime, Right? 35:39 Erin: Yeah. I love that. Yeah. You're making me realize how many connections there are to Keats in this poem. Right. There's something Keatsian about it, very. To Autumn, you get the sweet peas clinging on the fence. You get that image of fecundity things on top of other things. You know, the mossed cottage trees and the late flowers for the bees. And then the shaking out of the tablecloth is like the hair lifted by the winnowing wind. Right. Because there's. There's wind, there are flowers and bees. And then there's also, of course, redness and that image of, you know, like the evening. Autumn. Evening redness. And maybe this is. Yeah. Rows of sugar maples. Those could be red as well. If we're in an autumnal landscape, can't be too late because everything is, you know, it's got to be like August, maybe because we have this. Or. No, I guess maybe not. Gray glazed cabbages. I don't know enough about cabbages to know at what point in their development. 36:40 Wes: Yeah. Whatever season it is. I just think that the evening is almost like a mini winter. It gets colder and we see the. 36:46 Erin: Definitely. 36:47 Wes: We see the effects of it. But, yeah, maybe autumn is probably the logical season for. 36:53 Erin: Right. Yeah. And that point. Or that point in the transition from summer to autumn where, I mean, even on a summer night in Nova Scotia, the evening temperature is quite autumnal regardless. And so when the woman climbs on with the market bags, we get. 37:09 Wes: Shall we take a. Shall we? 37:12 Erin: Oh, yes. 37:13 Wes: Let's let the freckled amicable woman on in part two. 37:17 Erin: She'll have to wait. 37:18 Wes: Let's not let her on the bus yet. 37:20 Erin: You have to wait for everyone else to get off before you can get on. It's one of the cardinal rules of public transportation. Okay, we will continue in part two. Thank you. 37:29 Wes: Thank you.

It took me a whileHere i am againDoing what I love the most,Singing the songs of the otherReading poetryWritten by another

by Marianne Moore (read by Melissa Severin) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

"A letter is a joy of Earth — It is denied the Gods —," sez Emily Dickinson (#1672), and THE MAN WHO READ EVERYTHING: The Literary Letters of Harold Bloom (Yale University Press) proves it! Heather Cass White rejoins the show to talk about editing Harold Bloom's letters for the book, her history with him and what she learned about him over the course of the project, and how the letters revealed a less determined Bloom and how she empathized with the struggles he went through in his career. We get into the people whose correspondence she included — Alvin Feinman, Northrop Frye, AR Ammons, John Hollander, John Ashbery, James Merrill, Henri Cole, and Ursula K Le Guin — and all the writers and critics she wishes she could have included, the books and projects Bloom proposed but never completed (or started) over the years, the fun she had writing the footnotes, the one person Bloom was intimidated to meet, Bloom's role in the Canon Wars 30-40 years ago (and my practice of checking off books from The List at the end of The Western Canon), where he fell on Ashbery vs. Ammons, and whether marriage is the true subject of literature. We also discuss how her next book on the correspondence of Elizabeth Bishop and Marianne Moore is the opposite of this one, her go-to books to teach American fiction, why she dropped out of Knausgaard before the finish line, how students have & haven't changed over a quarter century of teaching, her late arrival to Surfjan Stevens' music, how I solved her long-standing question about a moment from Bloom's memorial, and a lot more. Follow Heather on Instagram • More info at our site • Support The Virtual Memories Show via Stripe, Patreon, or Paypal, and subscribe to our e-newsletter

I had worked on setting this 1920 poem by Marianne Moore to music for a few weeks, but it wasn't until a couple of days ago that I had a shock of recognition: the words of this poem could be read as a comment on our own era's confrontation with Artificial Intelligence ("AI"). Listen and see what you think.  The Parlando Project takes various words (mostly literary poetry) and combines them with original music in differing styles. We've done over 900 of these combinations, and you can hear any of them and read about our encounters with the words at our blog and archives located at frankhudson.org  

Today's poem pits art against reality, with the French monarchy as the only clear loser. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Lands of Likeness: For a Poetics of Contemplation (U Chicago Press, 2023), Kevin Hart develops a new hermeneutics of contemplation through a meditation on Christian thought and secular philosophy. Drawing on Kant, Schopenhauer, Coleridge, and Husserl, Hart first charts the emergence of contemplation in and beyond the Romantic era. Next, Hart shows this hermeneutic at work in poetry by Gerard Manley Hopkins, Marianne Moore, Wallace Stevens, and others. Delivered in its original form as the prestigious Gifford Lectures, Lands of Likeness is a revelatory meditation on contemplation for the modern world.Kevin Hart is Jo Rae Wright University Distinguished Professor at the Duke Divinity School.Nathan H. Phillips is an independent scholar working out of South Bend, Indiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

In this next installment of the Favorite Poem Podcast Project hosted by Mississippi Poet Laureate, poet and memoirist Mike Smith brings us Marianne Moore's intriguing poem “The Fish.” Please listen—and enjoy! Hosted on Acast. See acast.com/privacy for more information.

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on November 29, 2025. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.poets.org

Welcome to Episode 16 of the podcast which has had a rebrand! We are now called the Social Justice Salon.In this episode, we are discussing how we can eliminate nuclear weapons. Susi Synder of the International Campaign to Abolish Nuclear Weapons (ICAN) joins hostess Marianne Moore to discuss everything about their campaign and why, 80 years after they were first tested, nuclear weapons finally need to be stopped.Susi is an expert on nuclear weapons, with over two decades experience working at the intersect between nuclear weapons and human rights and is the programme coordinator at the International Campaign to Abolish Nuclear Weapons. She has contributed to a number of recent books, including Forbidden (2023), and A World Free from Nuclear Weapons (2020). Susi previously served as the Secretary General of the Women's International League for Peace and Freedom at their Geneva secretariat and was named Hero of Las Vegas in 2001 for her work with Indigenous populations against US nuclear weapons development and nuclear waste dumping.We discuss the history and impact of nuclear weapons, the mission of ICAN, and efforts to eliminate nuclear weapons globally. Susi shares her journey and gives us amazing insights into the various types of nuclear weapons, their global distribution, and the challenges and successes in the campaign against them.Links and more infoFind out more about ICAN on their website  Follow ICAN on Twitter/X on BlueSky on Facebook and on InstagramFor the most up to date tracking of nuclear weapons see the Federation of American ScientistsFollow the podcast on InstagramFollow Marianne on Instagram and TikTokBecome a member of Marianne's PatreonMusic by Luke Fraser at The Tonic and Artwork was by Marianne

Send us a textTheater #183: Poetry on the Menu Poetry on the Menu​​​ In January 1967, writer/participatory journalist George Plimpton dreamed up a publicity stunt for heavyweight champion Muhammad Ali. He arranged for him to meet Marianne Moore, decorated American poetess – a showman who creates doggerel rhymes, together with one of the finest true poets in the history of the English language. The pair couldn't be more opposite – He a gigantic, athletic man of color, at his physicalpeak, age 25, not formally educated, a Muslim, loud, charismatic, a showman with the burgeoning edge for social causes and advocacy; She, elderly, age 80, pasty white, doggedly Presbyterian, incredibly well educated, shy, frail and a kind of dowager spinster. Ali's poems, so called, which predicted his fights, were little more than expanded limericks. Moore's balletic verses and images won her the Pulitzer Prize, the National Medal in Literature and almost the Nobel Prize. Theirhost that day, Toots Shor, was a rough New York man of Jewish descent, who rubbed elbows, hosted, drank with, and incurred the wrath of entertainment giants of the first two-thirds of the 20th Century: Frank Sinatra, Charlie Chaplin, Ernest Hemingway, Joe DiMaggio, Marilyn Monroe, etc. The meeting only lasted a few minutes and produced a short poem, “On the annihilation of Ernie Terrell,” Ali's next title foe. The playwright has expanded the meeting in a deeper way, as a one-act play, using snippets ofMoore's poetry to frame the time, Ali's immediate and lasting appeal through his pithy quotes uttered over two decades, and foreshadowing his thoughtful future self.Bernadette Armstrong directs a cast that includes Omari Williams as Muhammad Ali,  Anne Cooper as Marianne Moore, Gary Lamb as Toots Shor, and Justice Davis as Kandu.James Anthony Merolla is the playwright. A journalist with a career spanning four decades, he is also a director. His most recent play is Jane Austen Ruptured My Spleen!Support the showFounded by playwright and filmmaker Bernadette Armstrong, Open-Door Playhouse is a Theater Podcast- like the radio dramas of the 1940s and 1950s. The Playhouse launched on September 15, 2020. At the time, Open-Door Playhouse provided Playwrights, Actors and Directors a creative outlet during the shutdown. Since its inception. Open-Door Playhouse has presented Short and One-Act plays from Playwrights across the country and internationally. In 2021 Open-Door Playhouse received a Communicator Award for Content for the Play Custody and in 2023 the play What's Prison Like was nominated for a Webby Award in the Crime & Justice Category.Plays are produced by Bernadette Armstrong, Sound Engineer is David Peters, sound effects are provided by Audio Jungle, and music from Karaoke Version. All plays are recorded at The Oak House Studio in Altadena, CA. There's no paywall at the Open-Door Playhouse site, so you could listen to everything for free. Open-Door Playhouse is a 501c3 non-profit organization, and if you would like to support performances of works by new and emerging playwrights, your donation will be gratefully accepted. Your tax-deductible donations help keep our plays on the Podcast Stage. We strive to bring our listeners thoughtful and surprising one-act plays and ten-minute shorts that showcase insightful and new perspectives of the world we share with others. To listen or to donate (or both), go to https://opend...

Hello! We're back and with a rebrand.!Justice Studio Sessions is now the Social Justice Salon with me, Marianne Moore. And I'm very very excited about Season 2 of this podcast.We've got some really really cool guests and interesting topics. We will have monopoly power with Nicholas Shaxson, public sexuality and how women navigate it, how we can eliminate nuclear weapons, and so much more. I hope you will enjoy the new look Social Justice Salon.

"What is more precise than precision? Illusion." I talked with my friend, the scholar Siobhan Phillips, about Marianne Moore's poem "Armor's Undermining Modesty." Siobhan Phillips is a professor of English at Dickinson College, where she teaches courses on American literature of the twentieth and twenty-first centuries, food studies, and creative writing. She is the author of The Poetics of the Everyday: Creative Repetition in Modern American Verse (Columbia UP, 2010) and the novel Benefit (Bellevue Literary Press, 2022). Her essays have appeared in such journals as Contemporary Liiterature, Journal of Modern Literature, Modernism/modernity, Literary Imagination, Twentieth-Century Literature, and PMLA. Her essay on Marianne Moore and the Carlisle Indian Industrial School was published on the website of the Poetry Foundation. Please follow the podcast, and leave us a rating and review. Share an episode with a friend! And stay tuned for more episodes to come soon.

Marianne Moore, 1887 - 1972.  

Matt previews public hearings for the week of March 10, 2025.LD 369, SP0161An Act to Grant or Extend Conditional Teaching Certificates Under Certain Circumstances - Sen. James Libby of CumberlandLD 470, SP0209An Act to Require School Administrative Units to Adopt Mentoring Programs for Teachers and to Improve Existing Programs - Sen. Joseph Rafferty of YorkLD 696, SP0313An Act to Bolster the Maine Teacher Residency Program - Sen. Teresa Pierce of CumberlandLD 734, HP0476An Act to Promote Voter Registration for Students in Maine's High Schools - Rep. Julie McCabe of LewistonLD 220, HP0143An Act to Establish the Hope and Inclusion Scholarship Program in Order to Provide Funding for Students Attending Certain Private Schools and Students Receiving Home Instruction - Rep. Barbara Bagshaw of WindhamLD 282, HP0182An Act to Raise the Limit on the Total Number of Public Charter Schools - Rep. Gary Drinkwater of MilfordLD 420, HP0274An Act to Fund the Carleton Project to Provide Additional Access to a Nontraditional Secondary School - Rep. Gregg Swallow of HoultonLD 482, HP0311An Act to Expand Educational Opportunities and Broaden Educational Services for Students Enrolled in Equivalent Instruction Programs - Rep. Barbara Bagshaw of WindhamLD 512, SP0230An Act to Provide Educational Opportunities for Students in Secondary Schools with 200 or Fewer Students - Sen. Stacey Guerin of PenobscotLD 21, SP0034An Act to Update the Provision of Law Concerning Student Codes of Conduct in Order to Reflect Best Practices Regarding Behavioral Threat Assessment and Response - Sen. Joseph Rafferty of YorkLD 168, HP0101An Act to Improve Safety in Public Schools by Requiring Silent Electronic Notification Systems in Classrooms - Rep. David Sinclair of BathLD 808, HP0515An Act to Require School Boards and Governing Bodies of Approved Private Schools to Implement Wearable Panic Alert Systems - Rep. Anne-Marie Mastraccio of Sanford1:00 pm Public HearingLD 165, HP0098An Act to Allow School Boards to Expel or Suspend Students Regardless of Grade Level - Rep. Will Tuell of East MachiasLD 513, SP0232An Act to Allow the Spouse of a School Board Member to Serve as a Stipend Employee Within the School Board's Jurisdiction - Sen. Marianne Moore of WashingtonLD 817, HP0524An Act to Remove Restrictions That Prohibit School Administrative Units from Making Purchases Through Cooperatives - Rep. Christina Mitchell of Cumberland

Marianne Moore (1887-1972) achieved something rare in American letters: a modernist poet who was popular with both critics and the public. Famous for her formal innovation, precise diction, and wit - as well as her black tri-corner hat and cloak, which she wore as she dashed around Manhattan - she was lauded by T.S. Eliot (and numerous prize committees) and treated by the public as a true American poet. Muhammad Ali asked her to write the liner notes to his album notes; Ford Motor Company asked her to name their line of cars. In this episode, Jacke talks to Moore scholar Cristanne Miller about Moore's life, Moore's work, and a new digital archive project that unites the two. Additional listening: 564 H.D. (with Lara Vetter) 56 Shelley, H.D., Yeats, Frost, Stevens (with Professor Bill Hogan) 176 William Carlos Williams's "The Use of Force" (with Mike Palindrome) The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Wes & Erin continue their discussion of Marianne Moore's poem, “The Jerboa,” first published in 1932, and whether power and wealth might paradoxically prove less abundant than the strictures of form and necessity.

Today's poem is The Paper Nautilus by Marianne Moore. The Slowdown is your daily poetry ritual. In this episode, Major writes… “Treat poetry like a rollercoaster. You may not know the laws of physics, but it does not prevent you from enjoying the ride. Poetry values ambiguity and it is okay not to know all of its layers.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

Of all the great American Modernists, the poetry of Marianne Moore is perhaps the most idiosyncratic, even the most radical, of them all—no small feat in a group of friends and admirers that included Ezra Pound, T. S. Eliot, Wallace Stevens, William Carlos Williams, e. e. cummings, and HD. Moore's preferred form was a syllabic stanza bespoke to each poetic occasion, like the unique shell of each individual snail or paper nautilus, and often containing rhyme. In these stanzas, Moore hid behind her virtuosic performance of deflection and difficulty and, of course, revealed herself in it, much as one of her pet-subjects, the exotic animal-portrait, contained a self-portrait at its heart. In her poem on the jerboa, Moore contrasts the desert mouse's decorousness with the decadence of empire, and in so doing, distinguishes her ideal of true artistry—a vigorous, humble, and ultimately liberated response to one's natural and formal limitations—with a false art which oppresses the natural in service of the powerful. Wes & Erin discuss Marianne Moore's poem, “The Jerboa,” first published in 1932, and whether power and wealth might paradoxically prove less abundant than the strictures of form and necessity.

In this week's Books podcast, I am joined by Rachel Cooke, who edits the new book The Virago Book of Friendship. Rachel unpacks the intense, often enigmatic dynamics of female friendships in a spry and very dip-in-and-out-able anthology of writing about female friendship in an exhilaratingly wide array of forms, from high culture to low. There are many gems to cackle over, including: an incomparably tender and exact description of Hannah Arendt by Mary McCarthy; a wonderful, worm-turning character assassination of the ghastly Susan Sontag by her former disciple, Terry Castle; and the revelation that Elizabeth Bishop and Marianne Moore were boon companions for two whole years before they stopped calling each other ‘Miss Bishop' and ‘Miss Moore'.

In this week's Books podcast, I am joined by Rachel Cooke, who edits the new book The Virago Book of Friendship. Rachel unpacks the intense, often enigmatic dynamics of female friendships in a spry and very dip-in-and-out-able anthology of writing about female friendship in an exhilaratingly wide array of forms, from high culture to low. There are many gems to cackle over, including: an incomparably tender and exact description of Hannah Arendt by Mary McCarthy; a wonderful, worm-turning character assassination of the ghastly Susan Sontag by her former disciple, Terry Castle; and the revelation that Elizabeth Bishop and Marianne Moore were boon companions for two whole years before they stopped calling each other ‘Miss Bishop' and ‘Miss Moore'.

Welcome to Overdrive, a program about the wonderful world of motoring and transport. I'm David Brown More of our thoughts, ideas and ramblings are covered on our website, podcast or social media – just search for Cars transport culture And once again I am joined by Paul Murrell from seniordriverauz.com Subjects Edsel • What was the context of Brooklyn poet Marianne Moore suggesting car names • The naming of the car • Edsel was a good guy (Henry was not) • Lots of features – could that not save it Swallow Doretti • History of Swallow cars • Why the name • I like the look of it • Only lasted 10 months • A Triumph TR2 looks pretty ordinary Nissan Pathfinder • I really like the car • Sales are a disaster • Large SUV less than $80,000 has changed a lot (Everest is no 1 – Toyotas no longer dominating) Contacts Details Web Site: Driven Media: drivenmedia.com.au Podcasts iTunes: Cars Transport Culture Spotify: Cars Transport Culture Or our social pages Facebook Cars Transport Culture Instagram Cars Transport Culture Or YouTube site Cars Transport Culture Search for Cars transport culture Credits And this has been overdrive Thanks to • Paul Murrell • Mazda Australia • Mark Wesley • Bruce Potter for their help with this program. You can get more of our work including longer versions of the program on our website, through our podcasts, or more visual information on Facebook, Instagram or YouTube. In all cases search for cars transport culture. Overdrive is syndicated across Australia on the Community Radio Network This program was first broadcast on 7 September 2024 I'm David Brown Thanks for listening

Who better to explore syllabic poetry with than the Oxford Professor of Poetry, A.E. Stallings?! In this episode, we edge the perimeter of formal verse and free verse to arrive at this all-too-often dismissed poetic genre. We discuss Fibonacci poems, haiku stanzas, Sylvia Plath, and Marianne Moore. Lucky for us, A.E. Stallings shares some of her latest syllabic verse. At the Table: Katie Dozier Timothy Green A.E. Stallings Joe Barca Brian O'Sullivan Dick Westheimer

Ted Hughes, one of the giants of twentieth-century British poetry, was born in Mytholmroyd, Yorkshire. After serving in the Royal Air Force, Hughes attended Cambridge, where he studied archeology and anthropology and took a special interest in myths and legends. In 1956, he met and married the American poet Sylvia Plath, who encouraged him to submit his manuscript to a first-book contest run by the Poetry Center. Awarded first prize by judges Marianne Moore, W. H. Auden, and Stephen Spender, The Hawk in the Rain (Faber & Faber, 1957) secured Hughes's reputation as a poet of international stature. According to poet and critic Robert B. Shaw, Hughes's poetry signaled a dramatic departure from the prevailing modes of the period. The stereotypical poem of the time was determined not to risk too much: politely domestic in its subject matter, understated and mildly ironic in style. By contrast, Hughes marshaled a language of nearly Shakespearean resonance to explore themes which were mythic and elemental.Hughes remained a controversial figure after Plath's suicide left him as her literary executor and he refused (citing family privacy) to publish many of her papers. Nevertheless, his long career included unprecedented best-selling volumes such as Lupercal (Faber & Faber, 1960), Crow (Faber & Faber, 1970), Selected Poems 1957–1981 (Faber & Faber, 1982), and Birthday Letters (Faber & Faber, 1998), as well as many beloved children's books, including The Iron Man (Faber & Faber, 1968), which was adapted as The Iron Giant (1999). With Seamus Heaney, he edited the popular anthologies The Rattle Bag (Faber & Faber, 1982) and The School Bag (Faber & Faber, 1997). Hughes was named executor of Plath's literary estate and he edited several volumes of her work. Hughes also translated works from classical authors, including Ovid and Aeschylus. Hughes was appointed Britain's Poet Laureate in 1984, a post he held until his death in 1998. Among his many awards, he was appointed to the Order of Merit, one of Britain's highest honors.Hughes married Carol Orchard in 1970, and the couple lived on a small farm in Devon until his death. His forays into translations, essays, and criticism were noted for their intelligence and range. Hughes continued writing and publishing poems until his death from cancer on October 28, 1998. A memorial to Hughes in the famed Poets' Corner of Westminster Abbey was unveiled in 2011.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

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

City Lights & Semiotext(e) celebrate the publication of "Stubble Archipelago" by Wayne Koestenbaum with a conversation between the author & Tausif Noor. Purchase here: https://citylights.com/stubble-archipelago/ Wild new adventures in word-infatuated flânerie from a celebrated literary provocateur. This book of thirty-six poetic bulletins by the humiliation-advice-giver Wayne Koestenbaum will teach you how to cruise, dream, decode a crowded consciousness, find nuggets of satisfaction in unaccustomed corners, & sew a language glove roomy enough to contain materials gathered while meandering. Koestenbaum wrote many of these poems while walking around New York City. He'd jot down phrases in a notebook or dictate them into his phone. At home, he'd incorporate these fragmented gleanings into overflowing quasi sonnets. Thus each poem functions as a coded diary entry, including specific references to sidewalk events & peripatetic perceptions. Flirting, remembering, eavesdropping, gazing, squeezing, sequestering: Koestenbaum invents a novel way to cram dirty liberty into the tight yet commodious space of the sonnet, a fourteen-lined cruise ship that contains ample suites for behavior modification, libidinal experiment, aura-filled memory orgies, psychedelic Bildungsromane, lap dissolves, archival plunges, & other mental saunterings that conjure the unlikely marriage of Kenneth Anger & Marianne Moore. Carnal pudding, anyone? These engorged lyrics don't rhyme; & though each builds on a carapace of fourteen lines, many of the lines spawn additional, indented tributaries, like hoop earrings dangling from the stanzas' lobes. Koestenbaum's poems are comic, ribald, compressed, symphonic. They take liberties with ordinary language, & open up new pockets for sensation in the sorrowing overcoat of the “now.” Stubble—a libidinal detail—matters when you're stranded on the archipelago of your most unsanctioned yet tenaciously harbored impulses. Wayne Koestenbaum—poet, critic, novelist, artist, performer—has published nineteen books, including "The Queen's Throat," a groundbreaking study of sexuality & the human voice which was a National Book Critics Circle Award Finalist. Additional books to his credit include: "Camp Marmalade," "Notes on Glaze," "The Pink Trance Notebooks," "My 1980s & Other Essays," "Hotel Theory," "The Anatomy of Harpo Marx," "Humiliation," "Jackie Under My Skin," & "The Cheerful Scapegoat." His essays & poems have been widely published in periodicals & anthologies, including "The Best American Poetry," "The Best American Essays," The New Yorker, The New York Times, The Paris Review, London Review of Books, The Believer, The Iowa Review, Cabinet, and Artforum. Formerly an Associate Professor of English at Yale & a Visiting Professor in the Yale School of Art's painting department, he is a Distinguished Professor of English, French, & Comparative Literature at the CUNY Graduate Center in New York City. Tausif Noor is a critic, curator, & PhD student in global modern art history at the University of California, Berkeley. His writing & essays have appeared in publications such as Artforum, the Poetry Project Newsletter, the New York Review of Books, & the New Yorker, as well as in various exhibition catalogues, artist books, & edited volumes. He lives in Oakland, CA. Originally broadcast via Zoom on Monday, March 25, 2024. Hosted by Peter Maravelis. Made possible by support from the City Lights Foundation. citylights.com/foundation

Today's poem is lovely, dark, and deep. Loneliness, Americana, Edward Hopper, literary illusions, clams: it has it all. Happy reading!Poet and editor Grace Schulman (b. 1935) was born Grace Waldman in New York City, the only child of a Polish Jewish immigrant father and a seventh-generation American mother. She studied at Bard College and earned her BA from American University and her PhD from New York University. She is Distinguished Professor of English at Baruch College, CUNY, and served as the poetry editor of the Nation from 1972 to 2006. She also directed the 92nd Street Y Poetry Center from 1973 to 1985. She has published nine collections of poetry, including Again, the Dawn: New and Selected Poems, 1976-2022 (Turtle Point Press, 2022) and Days of Wonder: New and Selected Poems (Harper Collins, 2022). Her collection of essays, First Loves and Other Adventures (2010), reflects on her life as a writer and reader.Typically written in a lucid free verse that occasionally reaches vatic heights, Schulman's poems often take on subjects of art, history, and faith. Schulman's history is usually that of her beloved New York City, where she has lived and worked as a dedicated poetry advocate all her life. Earthly moments and details of city life constantly suggest larger spiritual questions. Poet Ron Slate has described Schulman as “not only a poet of praise, but one who addresses the grounding questions of this mode. How and why do we find beauty in adversity?”Schulman names Hopkins, Donne, Shakespeare, Dante, Whitman, and Marianne Moore as her influences. When Schulman was a teenager she was introduced to Moore, who had a profound effect on her poetics. Schulman wrote on the poet in a critical study, Marianne Moore: The Poetry of Engagement (1986), and edited The Poems of Marianne Moore (2004). Schulman has received numerous awards for her work, including the Delmore Schwartz Memorial Award, the Aiken Taylor Award for poetry, and Pushcart prizes. She has received fellowships from the New York Foundation of the Arts and the Guggenheim Foundation. Her work has been published in the Nation, the New Yorker, and numerous other magazines and journals, and appeared in The Best of the Best American Poetry 1988–1998.She lives in New York City and East Hampton.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Marianne Craig Moore (November 15, 1887 – February 5, 1972) was an American modernist poet, critic, translator, and editor. Her poetry is noted for its formal innovation, precise diction, irony, and wit. She was nominated for the 1968 Nobel Prize in Literature.-bio via Wikipedia Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Our short and to the point PRESSURISED version of episode 47. If you don't have time for the full episode and want to get right to the science without any of our waffle, this is the place to be! Read the show notes and find the full episode here: https://www.armatusoceanic.com/podcast/047-baikal   Located in southern Siberia and covered in thick ice for almost half of the year, the colossal Lake Baikal reaches depths of 1600m making it the oldest, and deepest lake in the world. With hydrothermal vents, methane seeps and vast swathes of endemic species, this ancient lake was too tempting not to talk about.   We speak with Professor Marianne Moore, a Limnologist who has been working on the lake for over 2 decades. She guides us through its incredible ecosystems and species such as the world's only freshwater seal, deep water insects and foot-long flatworms!   We're really trying to make this project self-sustaining so we have started looking for ways to support the podcast. Here's a link to our page on how to support us, from the free options to becoming a patron of the show. We want to say a huge thank you to those patrons who have already pledged to support us!   Thanks again for tuning in, we'll deep-see you next time!   Check out our podcast merch here! Which now includes Alan's beloved apron and a much anticipated new design...    Feel free to get in touch with us with questions or your own tales from the high seas on: podcast@armatusoceanic.com We'd love to actually play your voice so feel free to record a short audio note!   We are also on  Twitter: @DeepSeaPod, @ArmatusO Facebook: DeepSeaPodcast, ArmatusOceanic  Instagram: @deepsea_podcast, @armatusoceanic   Keep up with the team on social media Twitter:  Alan - @Hadalbloke (https://twitter.com/Hadalbloke) Thom - @ThomLinley (https://twitter.com/ThomLinley)  Georgia - @geeinthesea (https://twitter.com/geeinthesea)    Instagram:  Georgia - @geeinthesea Thom - @thom.linley    Read the show notes and find out more about us at: www.armatusoceanic.com FURTHER RESOURCES LAKE BAIKAL READING Intro to Lake Baikal and lakes: Mogolov, L.S. 2017. The Soul of Siberia at Risk. Wellesley Magazine. p.16-22. Moore, M.V., S.E. Hampton, L.R. Izmest'eva, E.A. Silow, E.V. Peshkova, and B. Pavlov. 2009. Climate change and the world's ‘Sacred Sea' – Lake Baikal, Siberia. BioScience 59:405-417 Thomson, P. 2007. Sacred Sea: A Journey to Lake Baikal, Oxford University Press. 320 p. Vincent, W.F. 2018. Lakes. A Very Short Introduction, Oxford University Press. 146 p. Vents and seeps: Crane, K., Hecker, B. and Golubev, V., 1991. Hydrothermal vents in Lake Baikal. Nature, 350(6316), pp.281-281. Zemskaya, T.I., Sitnikova, T.Y., Kiyashko, S.I., Kalmychkov, G.V., Pogodaeva, T.V., Mekhanikova, I.V., Naumova, T.V., Shubenkova, O.V., Chernitsina, S.M., Kotsar, O.V. and Chernyaev, E.S., 2012. Faunal communities at sites of gas-and oil- bearing fluids in Lake Baikal. Geo-Marine Letters, 32, pp.437-451. Fish: Sideleva, V.G. 2003. The Endemic Fishes of Lake Baikal. Backhuys Publishers. Sideleva, V.G. 2004. Mysterious Fish of Lake Baikal. Science First Hand 3:N2. (Note: ‘black umber' and ‘white umber', mentioned in this article, are two endemic varieties of the Siberian grayling Thymallus arcticus.) Sideleva, V.G., 2016. Communities of the cottoid fish (Cottoidei) in the areas of hydrothermal vents and cold seeps of the abyssal zone of Baikal Lake. Journal of Ichthyology, 56, pp.694-701. Seal: Nomokonova, T., Losey, R.J., Iakunaeva, V.N., Emelianova, I.A., Baginova, E.A. and Pastukhov, M.V., 2013. People and seals at Siberia's Lake Baikal. Journal of Ethnobiology, 33(2), pp.259-280. Watanabe, Y.Y., Baranov, E.A. and Miyazaki, N., 2020. Ultrahigh foraging rates of Baikal seals make tiny endemic amphipods profitable in Lake Baikal. Proceedings of the National Academy of Sciences, 117(49), pp.31242-31248. Environmental threats: Moore, M.V., S.E. Hampton, L.R. Izmest'eva, E.A. Silow, E.V. Peshkova, and B. Pavlov. 2009. Climate change and the world's ‘Sacred Sea' – Lake Baikal, Siberia. BioScience 59:405-417. Timoshkin, O.A. 2015. Ecological Crisis on Lake Baikal: Diagnosed by Scientists. Science First Hand 41:N2. Timoshkin, O.A., D.P. Samsonov, M. Yamamuro, M.V. Moore, O.I. Belykh, V.V. Malnik, M.V. Sakirko, A.A. Shirokaya, N.A. Bondarenko, V.M. Domysheva, G.A. Fedorova, A.I. Kochetkov, et al. 2016. Rapid ecological change in the coastal zone of Lake Baikal (East Siberia): Is the site of the world's greatest freshwater biodiversity in danger? Journal of Great Lakes Research 42:487-497. doi: 10.1016/j.jglr.2016.02.011   PEOPLE MENTIONED Professor Marianne Moore & Marianne's excellent paper on interdisciplinary work   CREDITS Theme – Hadal Zone Express by Märvel Edited by - Georgia Wells

Located in southern Siberia and covered in thick ice for almost half of the year, the colossal Lake Baikal reaches depths of 1600m making it the oldest, and deepest lake in the world. With hydrothermal vents, methane seeps and vast swathes of endemic species, this ancient lake was too tempting not to talk about.   We speak with Professor Marianne Moore, a Limnologist who has been working on the lake for over 2 decades. She guides us through its incredible ecosystems and species such as the world's only freshwater seal, deep water insects and foot-long flatworms! Plus, we hear about the myths and mysteries of the lake: from scientifically testing whether the mafia can use amphipods to effectively dispose of bodies, to whether there really is 1600 tonnes of gold hiding at the bottom of the lake.    The Professor is back on land after a succession of crazy adventures which includes writing a paper on backwards swimming in deep sea fish, finding the worlds deepest nudibranch (possibly) plus discovering his friends live in the most metal place ever.  There's no Coffee with Andrew segment this month as he is taking a well deserved break (and is possibly touring the country looking for the strangest milks he can find), but we do hear from Kakani Kajita about the recent release of FathomVerse - the mobile game helping to contribute to deep sea citizen science. Kakani tells us about how it's doing in its first month of release, and how it's already making an impact in training deep sea AI models.   We're really trying to make this project self-sustaining so we have started looking for ways to support the podcast. Here's a link to our page on how to support us, from the free options to becoming a patron of the show. We want to say a huge thank you to those patrons who have already pledged to support us: Elinor Wahl | Andrew Stewart | KJ Quintanilla | Thomas Brattheim Thanks again for tuning in, we'll deep-see you next time!   Check out our podcast merch here! Which now includes Alan's beloved apron and a much anticipated new design...    Feel free to get in touch with us with questions or your own tales from the high seas on: podcast@armatusoceanic.com We'd love to actually play your voice so feel free to record a short audio note!   We are also on  Twitter: @DeepSeaPod, @ArmatusO Facebook: DeepSeaPodcast, ArmatusOceanic  Instagram: @deepsea_podcast, @armatusoceanic   Keep up with the team on social media Twitter:  Alan - @Hadalbloke (https://twitter.com/Hadalbloke) Thom - @ThomLinley (https://twitter.com/ThomLinley)  Georgia - @geeinthesea (https://twitter.com/geeinthesea)    Instagram:  Georgia - @geeinthesea Thom - @thom.linley    Read the show notes and find out more about us at: www.armatusoceanic.com FURTHER RESOURCES Triton submarines are building a new submarine to visit the Titanic to show that deep sea exploration is safe Robotic Explorers Uncover Unexpected Ancient Origins of Strange Seafloor Formations  Deep-sea sponge's 'zero-energy' flow control could inspire new energy efficient designs    LAKE BAIKAL READING Intro to Lake Baikal and lakes: Mogolov, L.S. 2017. The Soul of Siberia at Risk. Wellesley Magazine. p.16-22. Moore, M.V., S.E. Hampton, L.R. Izmest'eva, E.A. Silow, E.V. Peshkova, and B. Pavlov. 2009. Climate change and the world's ‘Sacred Sea' – Lake Baikal, Siberia. BioScience 59:405-417 Thomson, P. 2007. Sacred Sea: A Journey to Lake Baikal, Oxford University Press. 320 p. Vincent, W.F. 2018. Lakes. A Very Short Introduction, Oxford University Press. 146 p. Vents and seeps: Crane, K., Hecker, B. and Golubev, V., 1991. Hydrothermal vents in Lake Baikal. Nature, 350(6316), pp.281-281. Zemskaya, T.I., Sitnikova, T.Y., Kiyashko, S.I., Kalmychkov, G.V., Pogodaeva, T.V., Mekhanikova, I.V., Naumova, T.V., Shubenkova, O.V., Chernitsina, S.M., Kotsar, O.V. and Chernyaev, E.S., 2012. Faunal communities at sites of gas-and oil- bearing fluids in Lake Baikal. Geo-Marine Letters, 32, pp.437-451. Fish: Sideleva, V.G. 2003. The Endemic Fishes of Lake Baikal. Backhuys Publishers. Sideleva, V.G. 2004. Mysterious Fish of Lake Baikal. Science First Hand 3:N2. (Note: ‘black umber' and ‘white umber', mentioned in this article, are two endemic varieties of the Siberian grayling Thymallus arcticus.) Sideleva, V.G., 2016. Communities of the cottoid fish (Cottoidei) in the areas of hydrothermal vents and cold seeps of the abyssal zone of Baikal Lake. Journal of Ichthyology, 56, pp.694-701. Seal: Nomokonova, T., Losey, R.J., Iakunaeva, V.N., Emelianova, I.A., Baginova, E.A. and Pastukhov, M.V., 2013. People and seals at Siberia's Lake Baikal. Journal of Ethnobiology, 33(2), pp.259-280. Watanabe, Y.Y., Baranov, E.A. and Miyazaki, N., 2020. Ultrahigh foraging rates of Baikal seals make tiny endemic amphipods profitable in Lake Baikal. Proceedings of the National Academy of Sciences, 117(49), pp.31242-31248. Environmental threats: Moore, M.V., S.E. Hampton, L.R. Izmest'eva, E.A. Silow, E.V. Peshkova, and B. Pavlov. 2009. Climate change and the world's ‘Sacred Sea' – Lake Baikal, Siberia. BioScience 59:405-417. Timoshkin, O.A. 2015. Ecological Crisis on Lake Baikal: Diagnosed by Scientists. Science First Hand 41:N2. Timoshkin, O.A., D.P. Samsonov, M. Yamamuro, M.V. Moore, O.I. Belykh, V.V. Malnik, M.V. Sakirko, A.A. Shirokaya, N.A. Bondarenko, V.M. Domysheva, G.A. Fedorova, A.I. Kochetkov, et al. 2016. Rapid ecological change in the coastal zone of Lake Baikal (East Siberia): Is the site of the world's greatest freshwater biodiversity in danger? Journal of Great Lakes Research 42:487-497. doi: 10.1016/j.jglr.2016.02.011   PEOPLE MENTIONED Professor Marianne Moore & Marianne's excellent paper on interdisciplinary work Kakani Kajita   SOUNDTRACK OF THE MONTH Frightening Fishes CREDITS Theme – Hadal Zone Express by Märvel Logo image - Vereshchagina et al (2021), Sitnikova et al (2018), Teterina et al (2010) Edited by - Georgia Wells  

Today's poem features a failed resurrection and a response that spirals through all the customary stages of grief.Hilda Doolittle was born on September 10, 1886, in Bethlehem, Pennsylvania. She attended Bryn Mawr College, where she was a classmate of Marianne Moore. Doolittle later enrolled at the University of Pennsylvania, where she befriended Ezra Pound and William Carlos Williams.H.D. published numerous books of poetry, including Flowering of the Rod (Oxford University Press, 1946); Red Roses From Bronze (Random House, 1932); Collected Poems of H.D. (Boni and Liveright, 1925); Hymen (H. Holt and Company, 1921); and the posthumously published Helen in Egypt (Grove Press, 1961). She was also the author of several works of prose, including Tribute to Freud (Pantheon, 1956).H.D.'s work is characterized by the intense strength of her images, economy of language, and use of classical mythology. Her poems did not receive widespread appreciation and acclaim during her lifetime, in part because her name was associated with the Imagist movement, even as her voice had outgrown the movement's boundaries, as evidenced by her book-length works, Trilogy and Helen in Egypt. Neglect of H.D. can also be attributed to her time, as many of her poems spoke to an audience which was unready to respond to the strong feminist principles articulated in her work. As Alicia Ostriker said in American Poetry Review, “H.D., by the end of her career, became not only the most gifted woman poet of our century, but one of the most original poets—the more I read her the more I think this—in our language.”H.D. died in Zurich, Switzerland, on September 27, 1961.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on March 30, 2024. www.poets.org

Today's poem from Ezra Pound (a poet with his own colorful history of exile) is after the style of Li Po, featured last week.Ezra Pound was born in Hailey, Idaho, on October 30, 1885. He completed two years of college at the University of Pennsylvania and earned a degree from Hamilton College in 1905. After teaching at Wabash College for two years, he travelled abroad to Spain, Italy, and London, where, as the literary executor of the scholar Ernest Fenellosa, he became interested in Japanese and Chinese poetry. He married Dorothy Shakespear in 1914 and became London editor of the Little Review in 1917.In 1924, Pound moved to Italy. During this period of voluntary exile, Pound became involved in Fascist politics and did not return to the United States until 1945, when he was arrested on charges of treason for broadcasting Fascist propaganda by radio to the United States during World War II. In 1946, he was acquitted, but was declared mentally ill and committed to St. Elizabeths Hospital in Washington, D.C. During his confinement, the jury of the Bollingen Prize for Poetry (which included a number of the most eminent writers of the time), decided to overlook Pound's political career in the interest of recognizing his poetic achievements, and awarded him the prize for the Pisan Cantos (New Directions, 1948). After continuous appeals from writers won his release from the hospital in 1958, Pound returned to Italy and settled in Venice, where he died, a semi-recluse, on November 1, 1972.Ezra Pound is generally considered the poet most responsible for defining and promoting a Modernist aesthetic in poetry. In the early teens of the twentieth century, he opened a seminal exchange of work and ideas between British and American writers, and was famous for the generosity with which he advanced the work of such major contemporaries as W. B. Yeats, Robert Frost, William Carlos Williams, Marianne Moore, H. D., James Joyce, Ernest Hemingway, and especially T. S. Eliot.Pound's own significant contributions to poetry begin with his promulgation of Imagism, a movement in poetry that derived its technique from classical Chinese and Japanese poetry—stressing clarity, precision, and economy of language, and foregoing traditional rhyme and meter in order to, in Pound's words, “compose in the sequence of the musical phrase, not in the sequence of the metronome.” His later work, for nearly fifty years, focused on the encyclopedic epic poem he entitled The Cantos.-bio via American Academy of Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Our celebration of Women's History Month continues with Modernist poet Marianne Moore! Her life was varied and storied as she made her way from the the Midwest to the East Coast and through poetry, prose, and criticism. She surrounded herself with colorful characters as she explored the new landscape of American poetry, mentoring and inspiring the likes of William Carlos Williams, Elizabeth Bishop, and H.D! Also featuring tricorn hats, bathtub dinners, and children's books come to life! 

The ladies are joined by the Queen herself, Diane Seuss, to spread some love for Galentine's Day. Support Breaking Form!Review the show on Apple Podcasts here.Buy our books:      Diane Seuss's MODERN POETRY is available March 5, 2024 from Graywolf Press.      Aaron's STOP LYING is available from the Pitt Poetry Series.      James's ROMANTIC COMEDY is available from Four Way Books.We discuss Aaron Smith's Book of Daniel , and you can check that book out here.Read Marianne Moore's "No Swan So Fine,"  first published in Poetry Magazine in October 1932. Read Moore's famous and oft-anthologized poem "Poetry" and then read Slate's article about her revisions of that poem: "Marianne Moore's 5-decade Struggle with 'Poetry'"If you haven't dipped your toe into the fabulous Marianne Moore pool yet, here's Interesting Literature's "10 of the Best Marianne Moore Poems Everyone Should Read"A great essay on Moore's difficulty was published in Lithub here. George Platt Lynes took an iconic photo of Marianne Moore in her tricorn hat and cape in 1953.  Read more about Lynes and his iconic photos of poets here. Read Sylvia Plath's poem "The Munich Mannequin" (briefly mentioned in the episode) here. And listen to Plath recite it here. Read Plath's poem "Edge" and hear Jane Gilbert recite "Edge" here (~1.5 min)Discover "59 Years of Book Covers for The Bell Jar" (a fascinating read in Lithub). 

In today's poem, Marianne Moore (November 15, 1887 – February 5, 1972) gets candid about poetry itself.One of American literature's foremost poets, Marianne Moore's poetry is characterized by linguistic precision, keen and probing descriptions, and acute observations of people, places, animals, and art. Her poems often reflect her preoccupation with the relationships between the common and the uncommon, advocate discipline in both art and life, and espouse restraint, modesty, and humor. She frequently used animals as a central image to emphasize themes of independence, honesty, and the integration of art and nature. Moore's work is frequently grouped with poets such as H.D., T.S. Eliot, William Carlos Williams, Wallace Stevens, Ezra Pound, and, later, Elizabeth Bishop, to whom she was a friend and mentor. In his introduction to her Selected Poems (1935), Eliot wrote: “Living, the poet is carrying on that struggle for the maintenance of a living language, for the maintenance of its strength, its subtlety, for the preservation of quality of feeling, which must be kept up in every generation … Miss Moore is, I believe, one of those few who have done the language some service in my lifetime.”-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Sean Michaels discusses his compelling, contemporary novel, Do you remember being born?, the time we shared a helicopter ride in the Yukon, the late poet Marianne Moore's life and how it inspired this book, his exploration and use of ChatGPT and A.I. to tell this story, what Nick Cave and Marc Maron might have wrong about such technology, collaboration, his book tour, other future plans, and much more. Supported by you on Patreon, Pizza Trokadero, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts, Support Y.E.S.S. and Black Women United YEG. Follow vish online.Support this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on August 27, 2023. www.poets.org

Surely you didn't think we were going to leave you all completely hanging during our summer hiatus...? Granted, this is only a mini-sode, but we hope it still serves a pleasant tidbit in between are larger installments. On this occasion, we are exploring the (general) World of Darkness supplement, The Bygone Bestiary, full of all your folklore-steeped medieval-and-Renaissance creature needs. The book claims that it can be fairly easily integrated with Werewolf, Mage, or Changeling, but in practice, it's more of a Mage: the Sorcerer's Crusade book. We are nevertheless giving our best effort to talk about how you could use this for Changeling. A system for building chimera, examples of interesting lore for common creatures, ideas for bringing actual mythic beasts into the Autumn World... the possibilities, if not endless, are at the very least intriguing. The book is available on the Storytellers Vault at: https://www.storytellersvault.com/product/50?affiliate_id=3063731 Herewith also a shout-out to our sister podcast, Mage: the Podcast, whose episode on the book can be heard at: https://magethepodcast.com/tomes-of-magick-bygone-bestiary/. And then, share your questions, comments, or screams of terror about your favorite beasts with us at: Discord: https://discord.me/ctp Email: podcast@changelingthepodcast.com Facebook: https://www.facebook.com/profile.php?id=100082973960699 Mastodon: https://dice.camp/@ChangelingPod Patreon: https://www.patreon.com/changelingthepodcast YouTube: https://www.youtube.com/@ChangelingThePodcast/ your hosts Josh Hillerup (any pronoun) has a permanent observership among the College of Sea Cardinals. Pooka G (any pronoun/they) created three perytons yesterday while trying to reheat a Lebanese rice bowl. "O to be a dragon, a symbol of the power of Heaven — of silkworm size or immense; at times invisible. Felicitous phenomenon!" —Marianne Moore, "O To Be a Dragon"

The queens are joined by Randall Mann to discuss discomfort, cage-dancing, and how to deal. Support Breaking Form, if the spirit so moves you:Review Breaking Form on Apple Podcasts here.  Buy our books:Aaron's STOP LYING is available from the Pitt Poetry Series. James's ROMANTIC COMEDY is available from Four Way Books.Randall Mann is the author most recently of DEAL: New & Selected Poems (Copper Canyon, 2023). Read a review of the book published here in On the Seawall. And buy the book from Loyalty Bookstores, a Black-owned indie bookseller, here. Randy mentions his poem "In the Beginning" which has an epigraph from Laura Jensen. You can read that poem, and a few others, online here. Laura Jensen is the author of 3 books. Carnegie Mellon republished her second book, Memory, in 2006. You can read her poem "Heavy Snowfall in a Year Gone Past" here. And check out this reconsideration of Memory in The Rumpus here.Check out this essay on Gwendolyn Brooks's formalism and her literary reputation by A. Van Jordan on the Best American Poetry blog here.Read Elizabeth Bishop's villanelle "One Art" here, or watch John Murillo read the poem here.North of Boston is Robert Frost's second book of poems. It contains 17 poems, including "Mending Wall" and "The Death of the Hired Man.You can read the Marianne Moore poem "Silence" here. Or you can hear the poem read by Robert Pinsky.

Well, the 1st Session was meant to end June 15, but we are in the 1st Special Session that won't end....at least amicably so it seems. Here is where we are this week...and soon we will be in your communities too! LD 1857- Resolve, to Establish a Public Safety Health and Wellness Grant Pilot Program, sponsored by Rep. Lynn Copeland of Saco. Reconsidered, House amendment “A” provided the Department of Public Safety with 10% of the $2 million grant for the administration of the program. The amendment was adopted and engrossed by both House and Senate.  This bill was advanced on behalf of MMA's Legislative Policy Committee (LPC). (See “Silver Linings” in Legislative Bulletin 05-26-2023)LD 1664 -An Act to Increase Reimbursement Under the General Assistance Program, Sen. Marianne Moore of Washington Co. The House amendment “A” removed the emergency preamble and fixing the appropriation accordingly was adopted and engrossed by both House and Senate. This bill was advanced on behalf of MMA's LPC.  (See “GA Funding & Study on The Horizon” in Legislative Bulletin 05-26-2023) LD 1493 – An Act to Increase Affordable Housing by Expanding Tax Increment Financing, sponsored by Rep. Raegan LaRochelle, of Augusta, will come from Taxation Committee with a divided report. The majority report is “Ought to Pass as Amended.”  This bill was advanced on behalf of MMA's LPC. (See “Pine Trees, Chickadees, Workforce Affordable Housing” in Legislative Bulletin June 2, 2023)LD 101 - An Act to Return to the Former Owner Any Excess Funds Remaining After the Sale of Foreclosed Property, sponsored by Rep. Chad Perkins of Dover-Foxcroft, will come from Taxation Committee “Ought to Pass as Amended.” (See “Tax Acquired Property Update” in Legislative Bulletin 6-09-2023)LD 130 -An Act to Eliminate Senior Citizen Property Tax Stabilization and Expand the Homestead Property Tax Exemption, sponsored by Sen. Rick Bennett of Oxford Co., will come from Taxation Committee with two “Ought to Pass as Amended” reports. MMA supports the majority report. (See Clarification-Property Tax Stabilization Act in this Legislative Bulletin 6-09-2023 or 06-02-2023)The Appropriations Committee will have made decisions on all funding issues including the supplemental/Part II budget (LD 258) and all items sitting on the “table” waiting for funding.  Staff encourage you to engage with your legislators when opportunity allows and make phone calls to the members of the Appropriations Committee to encourage them to fund important legisla

When T. S. Eliot published The Waste Land in 1922, it put the thirty-four-year-old author on a path to worldwide fame and the Nobel Prize. "But," as Jed Rasula writes, "The Waste Land is not only a poem: it names an event, like a tornado or an earthquake. Its publication was a watershed, marking a before and after. It was a poem that unequivocally declared that the ancient art of poetry had become modern." In What the Thunder Said: How 'The Waste Land' Made Poetry Modern (Princeton UP, 2022), Rasula tells the story of how The Waste Land changed poetry forever and how this cultural bombshell served as a harbinger of modernist revolution in all the arts, from abstraction in visual art to atonality in music. From its famous opening, "April is the cruellest month, breeding / Lilacs out of the dead land," to its closing Sanskrit mantra, "Shantih shantih shantih," The Waste Land combined singular imagery, experimental technique, and dense allusions, boldly fulfilling Ezra Pound's injunction to "make it new." What the Thunder Said traces the origins, reception, and enduring influence of the poem, from its roots in Wagnerism and French Symbolism to the way its strangely beguiling music continues to inspire readers. Along the way, we learn about Eliot's storied circle, including Wyndham Lewis, Virginia Woolf, and Bertrand Russell, and about poets like Mina Loy and Marianne Moore, whose innovations have proven as consequential as those of the "men of 1914." Filled with fresh insights and unfamiliar anecdotes, What the Thunder Said recovers the explosive force of the twentieth century's most influential poem. 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

When T. S. Eliot published The Waste Land in 1922, it put the thirty-four-year-old author on a path to worldwide fame and the Nobel Prize. "But," as Jed Rasula writes, "The Waste Land is not only a poem: it names an event, like a tornado or an earthquake. Its publication was a watershed, marking a before and after. It was a poem that unequivocally declared that the ancient art of poetry had become modern." In What the Thunder Said: How 'The Waste Land' Made Poetry Modern (Princeton UP, 2022), Rasula tells the story of how The Waste Land changed poetry forever and how this cultural bombshell served as a harbinger of modernist revolution in all the arts, from abstraction in visual art to atonality in music. From its famous opening, "April is the cruellest month, breeding / Lilacs out of the dead land," to its closing Sanskrit mantra, "Shantih shantih shantih," The Waste Land combined singular imagery, experimental technique, and dense allusions, boldly fulfilling Ezra Pound's injunction to "make it new." What the Thunder Said traces the origins, reception, and enduring influence of the poem, from its roots in Wagnerism and French Symbolism to the way its strangely beguiling music continues to inspire readers. Along the way, we learn about Eliot's storied circle, including Wyndham Lewis, Virginia Woolf, and Bertrand Russell, and about poets like Mina Loy and Marianne Moore, whose innovations have proven as consequential as those of the "men of 1914." Filled with fresh insights and unfamiliar anecdotes, What the Thunder Said recovers the explosive force of the twentieth century's most influential poem. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Marianne Craig Moore (November 15, 1887 – February 5, 1972) was an American modernist poet, critic, translator, and editor. Her poetry is noted for formal innovation, precise diction, irony, and wit.Bio via Wikipedia See acast.com/privacy for privacy and opt-out information.