Podcasts about Marianne Moore

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

Em cada dia, Luís Caetano propõe um poema na voz de quem o escreveu.

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

Welcome to episode 15 of Justice Studio Sessions. In this concluding episode of series one, we have a frank discussion about what it means to run a consultancy focused on social justice. In this episode we discuss the challenges of running a small values based business in an industry that favours the big boys.For this episode Marianne Moore, foundress of Justice Studio, is joined by Dr Irum Ali a social scientist and consultant who runs the organisation Inclusive Growth with her co-founder. Irum has nearly two decades of experience in both the academic and charity fields, working on a range of projects across research, policy and evaluation areas. Her current areas of interest lie in diversity, equity and inclusion in the charity sector, the impact of poor public service provision on marginalised communities and race equality policy.In this no holds barred episode, Irum and Marianne talk about their personal experiences and frustrations running a consultancy committed to social justice and equity in a capitalist world. We hope the topics raised will resonate with other consultants and small business owners and can be a force for more community rather than competition amongst us.Links for this episode:Follow Irum on Linkedin: Irum AliVisit her website: www.inclusivegrowth.coJustice Studio's website: www.justicestudio.orgFollow Justice Studio on Instagram: @justicestudioFollow Justice Studio on Twitter: @justicestudioFollow Marianne on Instagram @creatrix.london

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! 

In February 1952, Barbara (Cohen) Holdridge and Marianne (Roney) Mantell, two recent graduates of Hunter college, founded Caedmon records, the first label devoted to recording spoken word. In this episode, producers Michelle Levy and Maya Schwartz revisit the early history of Caedmon records. They pay tribute to Holdridge and Mantell by re-listening to two poems from the Caedmon Treasury of Modern Poets Reading, first released in 1957 from and now held in SFU's Special Collections. Michelle discusses Robert Frost's recording of “After Apple Picking” with Professor Susan Wolfson, of Princeton University, and Maya chats with Professor Stephen Collis, of SFU's English department, about William Carlos Williams' reading of “The Seafarer.” As they listen to the poems together, they debate what it means to listen to as opposed to read these poems, with the recordings providing what Holdridge described as a “third-dimensional depth, that a two-dimensional book lacked.”Featured graphic credit: photographs by Phillip A. Harrington, courtesy of Evan HarringtonWorks CitedOnion, Charlie. “Caedmon Spoken-Word Recordings go Digital.” Wag: a magazine for decadent readers, June 2002, http://www.thewag.net/books/caedmon.htm. Accessed 14 Nov. 2023.“Caedmon: Recreating the Moment of Inspiration.” NPR, December 2002, https://www.npr.org/2002/12/05/866406/caedmon-recreating-the-moment-of-inspiration. Accessed 14 Nov. 2023.“Caedmon.” HarperCollins.com. https://www.harpercollins.com/pages/caedmon. Accessed 14 Nov. 2023.“Caedmon Treasury of Modern Poets Reading: Gertrude Stein, Archibald MacLeish, E.E. Cummings, Marianne Moore, William Empson, Stephen Spender, Conrad Aiken, Robert Frost, William Carlos Williams, Richard Eberhart, Ezra Pound, and Richard Wilbur reading #604.” n.d. Sound recording. MSC199 #604.. Simon Fraser University Sound Recordings Collection, Simon Fraser University Archives, Burnaby, B.C. November, 2023.“Mattiwilda Dobbs – Bizet: FAIR MAIDEN OF PERTH, HIgh F, 1956 ” Youtube, uploaded by Songbirdwatcher, June 14, 2020, https://www.youtube.com/clip/UgkxZZtxM8ykam-Rml9Q7ij4J2OIWLrx3lUB. Etude 8 Dimitri by Blue Dot SessionsFrost, Robert. “After Apple-Picking.” Poetry Foundation, https://www.poetryfoundation.org/poems/44259/after-apple-picking. Accessed 30 January 2024.“File:Mattiwilda Dobbs 1957.JPEG.” Wikipedia, https://en.m.wikipedia.org/wiki/File:Mattiwilda_Dobbs_1957.JPG. Accessed 14 February 2024.Harrington, Philip A. “[Marianne Roney and Barbara Cohen of Caedmon Publishing Company pushing a wheelbarrow full of boxes of their recordings of modern literature in New York City]”. December, 1953.“How two young women captured the voices of literary greats and became audiobook pioneers.” Writers and Company. CBC, July, 2023. https://www.cbc.ca/radio/writersandcompany/how-two-young-women-captured-the-voices-of-literary-greats-1.6912133. Accessed 14 Nov. 2023.“January 20, 1961 - Poet Robert Frost Reads Poem at John F. Kennedy's Inauguration.” Youtube, uploaded by Helmer Reenberg, January 15, 2021, https://www.youtube.com/watch?v=AILGO3gVlTU.“Oread.” H.D. Poetry Foundation, https://www.poetryfoundation.org/poems/48186/oread. Accessed 30, January 2024.“The Caedmon Treasury of Modern Poets Reading 2LP Caedmon TC 2006 Vinyl Record.” Boundless Goodz, https://www.ebay.com/itm/374791681072?itmmeta=01HPJMRA2M8G311HNSS83Q5Z2G&hash=item5743533430:g:ESgAAOSwdLVkomcL&itmprp=enc%3AAQAIAAAA8OcrOX8GrjGcCKd73gETrLCg9HgtTomQcdBFQsfuKIbZJCerwOPQAP8v95zLuLDTLfzKCEpHr6ciRZXXlKA1iJKJQIZBNBP68Ru6LBfSoa%2FfPEP7%2Fa%2BIRslUZ5i2RDM4SZwOC2l6XlwBx5qb9ihywjJIDK71WKdGDo8mhOnddK0NPBgnn26N5JH6N9DSuSkFkjy7BoQeE7hzXcLV76vAmN2Q6IKkpjLN5l%2B4M36eDSYpXhiFfxsmyok%2Bn1aYfEds46k8%2FfPX0doDJv7qXPKwVi5g99nrSnyZ95AdrCWpR3Tj3%2FkxYp0wlrb2dQ%2F%2FuEaktQ%3D%3D%7Ctkp%3ABFBMwHh1LRj. Accessed 14 February 2024.Williams, Williams Carlos. “The Seafarer.” University of Washington, http://www.visions05.washington.edu/poetry/details.jsp?id=18. Accessed 30 January, 2024.

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

For a vast number of book writers, artificial intelligence is a threat to their livelihood and the very idea of creativity. More than 10,000 of them endorsed an open letter from the Authors Guild this summer, urging AI companies not to use copyrighted work without permission or compensation. At the same time, AI is a story to tell, and no longer just in science fiction. As present in the imagination as politics, the pandemic, or climate change, AI has become part of the narrative for a growing number of novelists and short story writers who only need to follow the news to imagine a world upended. “I'm frightened by artificial intelligence, but also fascinated by it. There's a hope for divine understanding, for the accumulation of all knowledge, but at the same time there's an inherent terror in being replaced by non-human intelligence,” said Helen Phillips, whose upcoming novel “Hum” tells of a wife and mother who loses her job to AI. “We've been seeing more and more about AI in book proposals,” said Ryan Doherty, vice president, and editorial director at Celadon Books. “It's the zeitgeist right now. And whatever is in the cultural zeitgeist seeps into fiction.” Other AI-themed novels expected in the next two years include Bryan Van Dyke's “In Our Likeness,” about a bureaucrat and a fact-checking program with the power to change facts; and  Sean Michaels' “Do You Remember Being Born?", in which a poet agrees to collaborate with an AI poetry company. Some authors aren't just writing about AI, but openly working with it. Sean Michaels centers his new novel “Do You Remember Being Born?” on a poet named Marian, in homage to poet Marianne Moore, and an AI program called Charlotte. He said the novel is about parenthood, labor, community, and also “this technology's implications for art, language, and our sense of identity.” Believing the spirit of the novel called for the presence of actual AI text, he devised a program that would generate prose and poetry and used an alternate format in the novel so readers know when he was using AI. This article was provided by The Associated Press.

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

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/literary-studies

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/intellectual-history

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/american-studies

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.

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/poetry

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Wallace Stevens was born in Reading, Pennsylvania on October 2, 1879. He attended Harvard University as an undergraduate from 1897 to 1900. He planned to travel to Paris and work as a writer, but, after working briefly as a reporter for the New York Herald Times, he decided to study law. Stevens graduated with a degree from New York Law School in 1903 and was admitted to the bar the following year. He practiced law in New York City until 1916.Though Stevens was focused on his legal career, he was also part of New York's literary community. He had several friends among the writers and painters in Greenwich Village, including William Carlos Williams, Marianne Moore, and E. E. Cummings. In 1914, under the pseudonym “Peter Parasol,” he sent a group of poems under the title “Phases” to Harriet Monroe as entries for a war poem competition hosted by Poetry magazine. Stevens did not win the prize, but Monroe published his work in November of that year.Stevens moved to Connecticut in 1916, having found employment at the Hartford Accident and Indemnity Co., where he became vice president in 1934. He had also begun to establish an identity for himself outside the worlds of law and business. His first book of poems, Harmonium (Alfred A. Knopf), published in 1923, exhibited the influences of both the English Romantics and the French Symbolists, and demonstrated a wholly original style and sensibility: exotic, whimsical, and infused with the light and color of an Impressionist painting.For the next several years, Stevens focused on his business career. He began to publish new poems in 1930, however. In the following year, Knopf released a second edition of Harmonium, which included fourteen new poems, but excluded three of the decidedly weaker ones. More than any other modern poet, Stevens was concerned with the transformative power of the imagination. Composing poems on his way to and from the office and in the evenings, Stevens spent his days behind a desk at his office, and led a quiet, relatively uneventful life.Though now considered one of the major American poets of the twentieth century, Stevens did not receive widespread recognition until the publication of The Collected Poems of Wallace Stevens (Knopf, 1954), just a year before his death. His other major works include The Necessary Angel (Alfred A. Knopf, 1951), a collection of essays on poetry; Notes Towards a Supreme Fiction (The Cummington Press, 1942); The Man With the Blue Guitar (Alfred A. Knopf, 1937); and Ideas of Order (The Alcestis Press, 1935). Stevens died in Hartford, Connecticut on August 2, 1955.From https://poets.org/poet/wallace-stevens. For more information about Wallace Stevens:“The Plain Sense of Things”: https://www.poetryfoundation.org/poems/49420/the-plain-sense-of-things“Wallace Stevens”: https://www.poetryfoundation.org/poets/wallace-stevens“The Thrilling Mind of Wallace Stevens”: https://www.newyorker.com/magazine/2016/05/02/the-thrilling-mind-of-wallace-stevensThe Collected Poems of Wallace Stevens: https://www.penguinrandomhouse.com/books/251420/the-collected-poems-of-wallace-stevens-by-wallace-stevens-edited-by-john-n-serio-and-chris-beyers-edited-by-john-n-serio-and-chris-beyers/“The Listening Booth: Wallace Stevens”: https://library.harvard.edu/sites/default/files/static/poetry/listeningbooth/poets/stevens.html“On Wallace Stevens”: https://www.nybooks.com/articles/1964/06/25/on-wallace-stevens/

Our hysterical homosexuals pit quotes by Julianne and Marianne Moore, then play a game of fuck, marry, kill: the poetic form edition. You can read the Marianne Moore poems we reference by clicking on the links below:"Roses Only""Nevertheless""In Distrust of Merits" "Poetry""Silence" Read a small essay by Annie Finch on (as well as Ms. Moore's poem) "What Are Years?" here.One correction: James gets a word wrong when he quotes Marianne Moore saying, "I have no sympathy for people who find unpopularity embittering," but she says she has "no sympathy with people." The quote is from her Selected Letters. We reference Michael Cunningham's The Hours, which won the 1999 Pulitzer Prize for Fiction. Cunningham is a Scorpio and was the first out gay man to win the Pulitzer for Fiction (though many queer writers before him won, they had not publicly acknowledged their queerness).For readers and writers looking for books on form and craft:A great resource about the ghazal is Ravishing DisUnities: Real Ghazals in English, edited by Agha Shahid Ali. Another anthology about craft is Of Color: Poets' Ways of Making: An Anthology of Essays on Transformative Poetics (The Operating System, 2019; much of the anthology is available for download on TOS's website).We also recommend Lewis Turco's The New Book of Forms, as well as Annie Finch's and Kathrine Lore Varnes's An Exaltation of Forms:  Contemporary Poets Celebrate the Diversity of Their Art.  And David Lehman's edited collection called Ecstatic Occasions, Expedient Forms.Please support the poets and writers we mention, and support indie bookstores. If you need a good one, we recommend Loyalty Bookstores, a black-owned bookstore in Washington, DC.  

Amelia Martens is the author of four chapbooks and the full-length collection The Spoons in the Grass are There to Dig a Moat. Her work has appeared in The Indianapolis Review, Cream City Review, Diode, Southern Humanities Review, Plume, Southern Indiana Review, and many others. She serves as the Associate Literary Editor for Exit 7: A Journal of Literature and Art and she co-curates the Rivertown Reading Series in Paducah, Kentucky. Marianne Moore (1887-1972) was born near St. Louis, Missouri, raised in Carlisle, Pennsylvania, and she graduated from Bryn Mawr College. Early on, she worked as a schoolteacher and as an assistant at The New York Public Library. From 1925 to 1929, she was the editor of The Dial, an influential literary magazine. Her Collected Poems, published in 1951, won the Bollingen Prize, the National Book Award, and the Pulitzer Prize. Links: https://files.captivate.fm/library/eb120c7e-5463-485f-86af-1bc371e50ad1/Ameila-Martens-Poems-2.pdf (Read "The Apology" and "The Secret Lives of Cows") https://poets.org/poem/jelly-fish (Read "A Jelly-Fish") Amelia Martens https://ameliamartens.com/ (Amelia Martens' website) https://www.wkms.org/arts-culture/2018-01-03/something-from-nothing-amelia-martens-a-natural-born-poet (“Amelia Martens, a Natural Born Poet,” Something from Nothing podcast at WKMS )  http://www.theamericanjournalofpoetry.com/v7-martens.html (Four poems at The American Journal of Poetry) https://plumepoetry.com/author/martens-amelia/ (Two poems at Plume) http://diodepoetry.com/martens_amelia/ (Two poems at Diode) https://tinderboxpoetry.com/three-poems-2 (Three poems at Tenderbox) Marianne Moore https://www.poetryfoundation.org/poets/marianne-moore (Poems and bio at the Poetry Foundation's website ) https://poets.org/poet/marianne-moore (Poems and bio at Poets.org) https://lithub.com/in-praise-of-the-difficult-on-marianne-moore-defiant-poet-of-complexity/ (“In Praise of the Difficult: On Marianne Moore, Defiant Poet of Complexity” at LitHub) https://www.nypl.org/blog/2021/03/22/nypls-marianne-moore-writing-her-way-onto-the-shelves ("NYPL's Marianne Moore: Writing Her Way Onto the Shelves" at NYPL.org) https://www.youtube.com/watch?v=EHw-9EEMowU (Marianne Moore documentary from the Voices and Visions series (on YouTube)) Music is by https://freemusicarchive.org/music/Chad_Crouch/ (Chad Crouch). Mentioned in this episode: KnoxCountyLibrary.org Thank you for listening and sharing this podcast. Explore life-changing resources and events, sign up for newsletters, follow us on social media, and more through our website, www.knoxcountylibrary.org. https://the-beat.captivate.fm/rate (Rate & review on Podchaser)

Today on Boston Public Radio: Art Caplan discusses Former President Donald Trump's White House Coronavirus Response Coordinator Deborah Birx and her new book, “Silent Invasion: The Untold Story of the Trump Administration.” Caplan is the Drs. William F. and Virginia Connolly Mitty Professor and founding head of the Division of Medical Ethics at NYU School of Medicine in New York City. Then, we ask listeners their thoughts on news that nearly 60 percent of Americans have had COVID-19. Shirley Leung talks about Harvard's announcement that the University will spend $100 million to research and redress its past ties to slavery, and towns citing “community character” in efforts to prevent affordable housing. Leung is a business columnist for the Boston Globe. Juliette Kayyem weighs in on the latest from the Jan. 6 Committee, including Rep. Marjorie Taylor Greene's testimony and the leaked audio of Minority Leader Kevin McCarthy. Kayyem is former assistant secretary for homeland security under President Barack Obama, and the faculty chair of the homeland-security program at Harvard's Kennedy School of Government. Sameer Sabir and Nada Siddiqui tell the story of their daughter Rehma, who died shortly after her first birthday, and their advocacy for legislation that would require more oversight for medical examiners in cases with children under 2-years-old. Sabir and Siddiqui are a Boston-area based couple advocating for medical examiner oversight. Richard Blanco reads self-reflective poems in honor of National Poetry Month, including “Poetry” by Marianne Moore and “The End of Poetry” by Ada Limón. Blanco is the fifth presidential inaugural poet in U.S. history. His latest book, “How to Love a Country,” deals with various socio-political issues that shadow the United States. We end the show by telling bad neighbor stories, after a family won $5 million in a lawsuit against a country club following a barrage of golf balls.

Amanda Holmes reads Marianne Moore's poem “Nevertheless.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman. This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. See acast.com/privacy for privacy and opt-out information.

In A Vertical Art: On Poetry (Princeton UP, 2022), acclaimed poet Simon Armitage takes a refreshingly common-sense approach to an art form that can easily lend itself to grand statements and hollow gestures. Questioning both the facile and obscure ends of the poetry spectrum, he offers sparkling new insights about poetry and an array of favorite poets. Based on Armitage's public lectures as Oxford Professor of Poetry, A Vertical Art illuminates poets as varied as Emily Dickinson, Walt Whitman, Marianne Moore, W. H. Auden, Ted Hughes, Thom Gunn, A. R. Ammons, and Claudia Rankine. The chapters are often delightfully sassy in their treatment, as in “Like, Elizabeth Bishop,” in which Armitage dissects—and tallies—the poet's predilection for similes. He discusses Bob Dylan's Nobel Prize, poetic lists, poetry and the underworld, and the dilemmas of translating Sir Gawain and the Green Knight. Armitage also pulls back the curtain on the unromantic realities of making a living as a contemporary poet, and ends the book with his own list of “Ninety-Five Theses” on the principles and practice of poetry. An appealingly personal book that explores the volatile and disputed definitions of poetry from the viewpoint of a practicing writer and dedicated reader, A Vertical Art makes an insightful and entertaining case for the power and potential of poetry today. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In A Vertical Art: On Poetry (Princeton UP, 2022), acclaimed poet Simon Armitage takes a refreshingly common-sense approach to an art form that can easily lend itself to grand statements and hollow gestures. Questioning both the facile and obscure ends of the poetry spectrum, he offers sparkling new insights about poetry and an array of favorite poets. Based on Armitage's public lectures as Oxford Professor of Poetry, A Vertical Art illuminates poets as varied as Emily Dickinson, Walt Whitman, Marianne Moore, W. H. Auden, Ted Hughes, Thom Gunn, A. R. Ammons, and Claudia Rankine. The chapters are often delightfully sassy in their treatment, as in “Like, Elizabeth Bishop,” in which Armitage dissects—and tallies—the poet's predilection for similes. He discusses Bob Dylan's Nobel Prize, poetic lists, poetry and the underworld, and the dilemmas of translating Sir Gawain and the Green Knight. Armitage also pulls back the curtain on the unromantic realities of making a living as a contemporary poet, and ends the book with his own list of “Ninety-Five Theses” on the principles and practice of poetry. An appealingly personal book that explores the volatile and disputed definitions of poetry from the viewpoint of a practicing writer and dedicated reader, A Vertical Art makes an insightful and entertaining case for the power and potential of poetry today. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

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.

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on March 6, 2022. www.poets.org

Today, I'm joined by the incredible Marianne Moore. Marianne is an entrepreneur and strategy consultant specializing in human rights. She founded the social justice consultancy, Justice Studio in 2011. Marianne has worked extensively in the UK and in over 30 countries on criminal, child, and gender justice issuesMarianne shares her wisdom around leading a team with compassionate confidence, managing the double bottom line (profit + purpose) and the importance of modeling emotional intelligence in the workplace. -------------------------------------------Interested in learning more about Michelle including how she can support you as a Coach, Workshop Facilitator or Speaker? Click HERE. -------------------------------------------Learn More about Justice Studio by clicking HERE. Learn more about our incredible guest, Marianne Moore, by visiting her website. You can also connect with her on LinkedInor Instagram.

It's time for sexy lit crit, darlings!As always, buy from indies! We recommend Loyalty Bookstores, a Black-owned DC bookstore. Shop here!Tina Turner (born Nov. 26, 1939—Sagittarius) has sold over 100 MM records, received 12 Grammys, and been inducted into the Rock n Roll Hall of Fame twice. She is the 1st Black artist and 1st woman to grace Rolling Stone's cover. Watch her 2005 Kennedy Center Honors (with Oprah, Queen Latifah, Melissa Etheridge, and Beyonce) here. (~20 min)Ann Peebles wrote and sang the original version of "I Can't Stand the Rain." Listen here. Watch Camille Rankine read Shepherd's poem "Paradise" here. (-3 min) Rae Armantrout is an Aries (April 13). Read 11 of her poems here on Granta. Read Dorianne Laux's "Fast Gas" here. Watch Eula Biss read from and discuss No Man's Land here (~60 min).James L. White (b. March 26--Aries) wroteThe Salt Ecstasies (Graywolf, 1982). Read four of White's poems (including "Making Love to Myself," which we reference) here.Watch Tim Dlugos read his heartwrenching poem, "G-9" (~15 min) about the AIDS ward at Roosevelt Hospital. You can also read the poem here. If you haven't read TERFy Adrienne Rich's essay on Dickinson, "Vesuvius at Home," it's  here. The Williams we quote is from "Asphodel, That Greeny Flower"; an excerpt is  here. You can hear Robert Frost read "The Road Not Taken" here (with music by Chris Coleman, ~ 2 min.)Listen to Marianne Moore read her poem "Bird-Witted" here. (~2 min.)Percy Bysse Shelley (b. Aug 4—Leo) was married to Mary Wollstonecraft Shelley, the author of Frankenstein. He wrote things too, including "Adonais," which you can watch Mick Jagger read  here.  You can listen to Plath (Scorpio) read her poems here (about an hour).William Wordsworth (b. April 17, 1770—Aries)  wrote that "Poetry is the spontaneous overflow of powerful feelings…." You can watch J'Kobe Wallace, 2015 North Dakota State Poetry Out Loud champ, recite "Daffodils" here. Watch Allen Ginsberg interviewed on Letterman here (~11 min).Horace (b. December 8, 65 BCE—Sagittarius) coined the term "carpe diem." Watch a really hot guy recite that ode in Latin here (with Spanish subtitles, ~1 min).Watch this iconic performance of Auden's poem "Funeral Blues" in Four Weddings and a Funeral (~2 min).Brenda Hillman, "Male Nipples" hereDucking