Podcasts about Muriel Rukeyser

Amanda Holmes reads Muriel Rukeyser's “Käthe Kollwitz.” 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. Hosted on Acast. See acast.com/privacy for more information.

Renée Green talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work.Green was born in 1959, in Cleveland, Ohio, and lives today between Somerville, Massachusetts, and New York. She brings together a wealth of cultural forms in complex and layered works that manifest as installations, video pieces and texts, among other media. Through what has been described as a “methodology of citation”, in which she overtly names and synthesises the language and forms of the disparate individuals she references, Renée reflects on the nature of ideas, on subjectivity and perception, on fiction and reality, and on memory—personal and collective. Just as she is generous in her allusions, so her art is an invitation to the viewer, to witness the connections she assembles, and help shape the works' meaning. She discusses how her work is concerned with “perception and sensation” and how drawing is a daily activity alongside reading and research. She reflects on her ongoing fascination with On Kawara and how her interest in particular artists “has to do with their physical location, the material aspects of what their existences might have been like, and then what kinds of questions emerge from those conditions”. She discusses the references in her work to the writing of Muriel Rukeyser and Laura Riding, and the friendship and dialogue she had with the film-maker Harun Farocki. Plus, she gives insight into life in the studio, and answers our usual questions, including the ultimate, “What is art for?”Renée Green: The Equator Has Moved, Dia Beacon, from 7 March and will be on long term view. Hosted on Acast. See acast.com/privacy for more information.

The poet Muriel Rukeyser once said, “The universe is made of stories, not of atoms.” Stories are how we make sense of the world and our place in it. So, here's the big question... Is there a story that is big enough to build your life on - a story that gives your life ultimate meaning and purpose?

In this electrifying episode of Connecting the Dots, I sat down with Jon Jeter—two-time Pulitzer Prize finalist, former Washington Post bureau chief, and Knight Fellowship recipient—who pulled no punches as we unraveled the hidden dynamics of America's class war. Drawing from his explosive book Class War in America, Jeter revealed how the elite have masterfully weaponized race to keep the working class fractured and powerless, ensuring they stay on top. He delves into the ways education is rigged to widen inequality, while elite interests tighten their grip on public policy. With gripping personal stories and razor-sharp historical insight, Jeter paints a vivid picture of the struggle between race and class in America and leaves us with a tantalizing vision of a united working-class revolution on the horizon. This is an episode that will shake your understanding of power—and inspire you to see the potential for change.   Find me and the show on social media. Click the following links or search @DrWilmerLeon on X/Twitter, Instagram, Facebook, Patreon and YouTube!   Hey everyone, Dr. Wilmer here! If you've been enjoying my deep dives into the real stories behind the headlines and appreciate the balanced perspective I bring, I'd love your support on my Patreon channel. Your contribution helps me keep "Connecting the Dots" alive, revealing the truth behind the news. Join our community, and together, let's keep uncovering the hidden truths and making sense of the world. Thank you for being a part of this journey!   Wilmer Leon (00:00:00): I'm going to quote my guest here. We've been watching for a while now via various social media platforms and mainstream news outlets, the genocide of the Palestinian people, what do the images of a broad swath of Americans, whites and blacks, Latinos, Arabs and Asians, Jews and Catholics and Muslims, and Buddhists shedding their tribal identities and laying it all out on the line to do battle with the aristocrats who are financing the occupation. Slaughter and siege mean to my guest. Let's find out Announcer (00:00:40): Connecting the dots with Dr. Wilmer Leon, where the analysis of politics, culture, and history Wilmer Leon (00:00:46): Converge. Welcome to the Connecting the Dots podcast with Dr. Wilmer Leon, and I am Wilmer Leon. Here's the point. We have a tendency to view current events as though they happen in a vacuum, failing to understand the broader historical context in which many of these events take place. During each episode, my guests and I have probing, provocative, and in-depth discussions that connect the dots between these events and the broader historic context in which they occur, thus enabling you to better understand and analyze the events that impact the global village in which we live. On today's episode, the issue before us is again, quoting my guest. When the 99% come together to fight for one another rather than against each other is the revolution. Na, my guest is a former foreign correspondent for the Washington Post. His work can be found on Patreon as well as Black Republic Media, and his new book is entitled Class War in America. How The Elite Divide the Nation by asking, are you a worker or are you white? Phenomenal, phenomenal work. John Jeter is my guest, as always, my brother. Welcome back to the show. Jon Jeter (00:02:07): It's a pleasure to be here. Wilmer. Wilmer Leon (00:02:10): So class war in America, how the elites divide the nation by asking, are you a worker or are you white? You open the book with two quotes. One is from the late George Jackson, settle Your Quarrels, come together, understand the reality of our situation. Understand that fascism is already here, that people are already dying, who could be saved that generations more will live. Poor butchered half lives. If you fail to act, do what must be done. Discover your humanity and love your revolution. Why that quote? And then we'll get to the second one. Why that quote, John? Jon Jeter (00:02:50): That quote, really that very succinct quote by the revolutionary, the assassinated revolutionary. George Jackson really explains in probably a hundred words, but it takes me 450 pages to explain, which is that the ruling class, the oligarchs, we call 'em what you want. Somewhere around the Haymarket massacre of 1886, I believe they figured out that the way that the few can defeat the many is to divide the many to pit it against itself, the working class against itself. And so since then, they have a embark on a strategy of pitting the working class against itself largely along, mostly along racial or tribal lines, mostly white versus black. And it has enveloped, the ruling class has enveloped more and more people into whiteness. First it was Italians and Germans and Jews, or Jews really starting after World War II and the Holocaust. And then it was gays and women, and now even blacks themselves have been enveloped in this sort of adjacency to whiteness where everyone sort of gets ahead by beating up, by punching down on black people. And so George Jackson's quote really sort of encapsulates the success that we, the people can have by working together. And I want to be very clear about the enemy is not white people. The enemy is a white identity. (00:04:48): Hungarians and Czech and the Brits and the French and the Italians are not our enemy. They are glorious people who have done glorious things, but the formation of a white identity is really the kryptonite for working class movements in this country. Wilmer Leon (00:05:07): In fact, I'm glad you make that point because I wanted to call attention to the fact that a lot of people listening to this and hear you talk about the Irish or the Poles or the Italians, that in Europe, those were nationalisms, those were not racial constructs. Those were not racial identities. And that it really wasn't until many of them came to America and or post World War ii, that this construct of whiteness really began to take hold as the elite in America understood, particularly post-slavery. That if the poor and the working class whites formed an alliance with the newly freed, formerly enslaved, that that would be a social condition that they would not be able to control. Jon Jeter (00:06:11): It was almost, it was as close to invincible as you could ever see. This coalition, which particularly after slavery, very tenuously, (00:06:24): But many, many whites, particularly those who were newer to the country, Germans and Italians and Irish, who had not formed a white identity, formed a white identity here. As you said in Europe, they were Irish Italians. Germans. One story I think tells the tale, it was a dock workers strike in New Orleans in 1894. I read about this in the book, and the dock workers were segregated, black unions and white unions, but they worked together, they worked in concert, they went on strike for higher wages, and I think a closed shop, meaning that if you worked on the docks, you had to belong to the union and they largely won. And the reason for that is because the bosses, the ship owners tried to separate the two. They would tell the white dock workers, we'll work with you, but we won't work with those N words. (00:07:22): And many of the dock workers at that time had just come over from Europe. So they were like, what are you talking about? He's a worker just like me. I worked right next to him, or he works the doc over from me or the platform over from me. He's working there. So what do you mean you're not going to work with, you're going to deal with all of us? And that ethos, that governing ethos of interracial solidarity was one that really held the day until 20 years later, 20 years later, by which time Jim Crow, which was really an economic and political strategy, had really taken hold. And many of the dock workers, their children had begun to think of themselves as white. Wilmer Leon (00:08:06): In fact, I'm glad you referred to the children because another parallel to this is segregated education. As the framers, and I don't mean of the constitution, but of this culture, wanted to impose this racial caste system, they realized you can't have little Jimmy and little Johnny playing together sitting next to each other in classrooms and then try to impose a system of hierarchy based on phenotype as these children get older. What do you mean I can't play with him? What do you mean I can't play with her? She's my friend. No, not anymore. And so that's one of the things that contributed to this phenotypical ethos separating white children from black children. Jon Jeter (00:09:01): Education has been such a pivotal instrument for the elites, for the oligarchs, for the investor class in fighting this class war. It's not just been an instrument, a tool to divide education in the United States. It's largely intended to reproduce inequality, and it always has been, although obviously many of us, many people in the working class see, there's a tool to get ahead. That's not how the stock class sees it. (00:09:35): But beyond that even it is the investment in education. This is a theme throughout the book from the first chapter to the last basically where education, because it is seen as a tool for uplift by the working class, but by the investment class, it's seen as a tool to divide. And increasingly really since about really the turn of the century, this century, the 21st century, it's been seen as an investment opportunity. So that's why we have all of these school closures and the school privatization effort. It's an investment opportunity. So the problem is that we're fighting a class war. We've always been fighting a class war, but it's something that is seldom mentioned in public discussions in the media, the news or entertainment media, it's seldom mentioned, but schools education, you could make an argument that it is the holy grail of the class war, whoever can capture the educational system because it can become a tool both by keeping it public or I guess making it public now, returning it to public. And so much of it is in private hands by maintaining its public nature, and at the same time using it to reduce inequality as opposed to reproducing inequality Wilmer Leon (00:11:08): And public education and access to those public education dollars is also an element of redistribution of wealth because as access to finance is becoming more challenging, particularly through the neocolonialist idea using public dollars for private sector interest, giving access to those public education dollars to the private sector is another one of the mechanisms that the elite used to redistribute public dollars into private hands. Jon Jeter (00:11:49): One of the things that I discovered and researching this book was the extent to which bonds sold by municipalities, by the government, those bonds are sold to investors. That is more and more since really the Reagan era, because we've shipped manufacturing offshore. So how do you make money if you are invested, if you've got surplus money laying around, how do you make money? You invest it, speculate. Loan tracking essentially is what it is. One of the ways that you can make money. One of the things that you can invest money in is the public sector. So schools become an instrument for finance. And so what we see around the country are schools education becoming an investment vehicle for the rich and they can invest in it and they're paying higher and higher returns. Taxpayers. (00:12:57): You and I, Wilmer, are paying more and more to satisfy our creditors. For as one example, I believe it was in San Diego or a school district near or right outside San Diego, this was about 20 years ago, but they took out a loan to finance public education there, I believe just their elementary schools in that district. And it was something like a hundred million dollars loan just for the daily operations of that school district. And that had a balance due or the money, the interest rate was such that it was going to cost the taxpayers in that district a billion dollars to repay that loan, right? So that is an extreme example. But increasingly what we've seen is public education bonds that are used to pay for the daily operations of our municipalities are the two of the class war are an instrument of combat in the class war because the more that cities practice what we call austerity, what economists call austerity, cutting the budget to the very bare minimum, the more investment opportunities it creates for the rich who then reap that money back. (00:14:15): So they've got a tax cut because they're not paying for the schools upfront, and it becomes an investment opportunity because they're paying for the schools as loans, which they give back exorbitant interest rates, sometimes resembling the interest rates on our credit card. So a lot of this is unseen by the public, but it really is how the class war being waged in the 21st century speculation because our manufacturing sector has been shipped offshore, and that's how we made the elites made their money for more than a century after World War ii, after the agrarian period. So yeah, it's really invisible to the naked eye, but it is where it's the primary battlefield for the class war. Wilmer Leon (00:15:00): The second quote you have is Muriel Rukeyser. The universe is made of stories, not of atoms. And I know that that resonates with you particularly because as a journalist, one who tells stories, why is that quote so significant and relevant to this book? Jon Jeter (00:15:26): This book is really, it took me almost a quarter of my life to write this book from the time that the idea first occurred to me, to the time I finished almost 15 years. And it's evolved over time. But one of the biggest setbacks was just trying to find a publisher. And many publishers, I think, although they did not say this, they objected to the subject matter. And my characterization, I have one quote again from George Jackson where he says, the biggest barrier to the advancement of the working class in America is white racism. So I think they objected to that. But I also faced issues with a few black publishers, one of whom said that after reading the manuscript that it didn't have enough theory. I would say to anyone, any publisher who thinks that theory is better than story probably shouldn't be a publisher. But I also think it's sort of symptomatic of today's, the media today where we don't understand that stories are what connects us to each other, Right? The suffering, the struggle, the triumphs of other people of our ancestors, Wilmer Leon (00:16:48): The reality Of the story Jon Jeter (00:16:51): reality, yes, Wilmer Leon (00:16:52): Juxtaposed to the theoretical. Jon Jeter (00:16:56): That's exactly right. Wilmer Leon (00:16:57): In Fact, Jon Jeter (00:16:59): The application of the theory, Wilmer Leon (00:17:01): I tell my students and when I was teaching public policy that you have to understand the difference between the theoretical and the practical, and that there are a lot of things in policy that in theory make a whole lot of sense until you then have to operationalize that on a daily basis and then have it make real sense. Big difference between the theoretical and the practical. Jon Jeter (00:17:26): No question about it. And you see this over and over again throughout the book, you see examples of, for instance, the application of communist theory. And I'm not advocating for anyone to be a communist, just that there was a very real push by communists in the United States encouraged by communists and the Soviet Union in the 1930s to try to start a worldwide proletarian revolution, the stronghold of which was here in the United States. And so the Scotts Corps boys, nine teenage boys, black boys who were falsely accused of rape, became the testing ground for communism right now, communism. It was something that sparked the imagination of a lot of black people. Very few joined the party, but it sparked the imagination. So you found a lot of blacks who were sympathetic to communism in the thirties and the forties. Wilmer Leon (00:18:21):  Rosa Parks's husband Rosa. Jon Jeter (00:18:23): That's correct. Wilmer Leon (00:18:24): Rosa. Rosa Parks's husband, Rosa Parks, the patron saint of protest politics. Jon Jeter (00:18:31): Yes. Coleman Young, the first black mayor of Detroit. I write about very specifically. It was a thing, right? But it was the application of it. And ultimately, I think most of the blacks, many of the blacks certainly who tried to implement communism would argue not only that they failed, but that communism failed them as well. So I don't, again, not an advocacy for communism, but that idea really did move the needle forward. And I think our future is not in our past. So going forward, we might sort of learn from what happened in the past, and there might be some things we can learn from communism, but I think ultimately it is, as the communist say, dialectical materialism. You can't dip your toe in the same river twice. So it is moving like it's gathering steam and it's not going to be what it was. Although we can take some lessons from the past, from the Scottsboro boys from the 1930s and the 1940s. Wilmer Leon (00:19:29): You write in your prologue quote, I cannot predict with any certainty the quality of that revolution, the one we were talking about in the open, or even it's outcome only that it is imminent for the historical record clearly asserts that the nationwide uprisings on college campuses' prophecy the resumption of hostilities between America's workers and their bosses. I'm going to try and connect the dot here, which may not make any sense, or you may say, Wilmer, that was utterly brilliant. I prefer the latter. Just over the past few days, former President Trump has been suggesting using the military to handle what he calls the enemy from within, because he is saying on election day, if he doesn't win, there will be chaos. And he says, not from foreign actors, but from the radical left lunatics, he says, I think the bigger problem are the people from within. And he says, you may need to use the National Guard, you may need to use the military, because this is going to happen. Now, I know you and Trump aren't talking. You're about two different things. I realize that different with different agendas, but this discussion about nationwide uprisings, and so your thoughts on how you looking at the college protests and what that symbolizes in terms of the discontent within the country and what Trump is, the fear that Trump is trying to sow in the minds relative to the election. Does that make any sense? Jon Jeter (00:21:18): It makes perfect sense. You don't say that about warmer Leon, all that all. Wilmer Leon (00:21:21): Oh, thank you. You're right. Jon Jeter (00:21:22): It makes perfect sense. But no, and actually I would draw a pretty straight line from Trump to what I'm writing about in the book. For instance, Nixon, who was a very smart man, and Trump was not a very smart man, it's just that he used his intelligence for evil. But Richard Nixon was faced with an uprising, a nationwide uprising on college campuses, and he resorted to violence, as we saw with Kent State. Wilmer Leon (00:21:52): Kent State, yes. Jon Jeter (00:21:53): Very intentional. Wilmer Leon (00:21:54): Jackson State, Jon Jeter (00:21:55): Yes, it was Wilmer Leon (00:21:56): Southern University in Louisiana. Jon Jeter (00:21:58): Yes, yes, yes. But Kent State was a little bit of an outlier because it was meant white kids as a shot across the bow to show white kids that if you continue to collaborate with blacks, with the Vietnamese, continue to sympathize with them and rally on their behalf, then you might get exactly what the blacks get and the Vietnamese are getting right. And honestly, in the long term, that strategy probably worked. It did help to divide this insurgency that was particularly activated on college campuses. So what Trump, I think is faced with what he will be faced with if he is reelected, which I think he very well may be, what he's going to be faced with is another insurgency that is centered on college campuses. This time. It's not the Vietnamese, it's the Palestinians, and increasingly every day the Lebanese. But it's the very same dynamic at work, which is this, you have white people on college campuses, particularly when you talk about the college campuses in the Ivy League. (00:23:13): These are kids who are mostly to the manner born. If you think about it, what they're doing is they are protesting their future employer. They're putting it all on the line to say, no, no, no, no, there's something bigger than my career than me working for you. And that is the fate of the Palestinian people. That's very much what happened in the late sixties, early seventies with the Vietnamese. And so Mark Twain is I think perhaps the greatest white man in American history, but one thing he got wrong. I don't think history rhymes. I think it does indeed repeat itself, but I think that's what we're seeing now with these kids on college campuses, that people thought that they dismantled these campus, these encampments all across the nation during the summer, the spring semester, and that when they came back that it would be over squash. (00:24:07): That's not what's happening. They're coming back loaded for bear. These college students, that does not all go well for the establishment, particularly in tandem with other things are going on, which is these nationwide, very likely a very serious economic crisis. Financial crisis is imminent, very likely. And these other barometers of social unrest, police killings of blacks, the cop cities that are being built around the country, environmental issues, what's happening in Gaza that can very much intersect. We're already seeing it. It's intersected with other issues. So there is a very real chance that we're going to see a regrouping of this progressive working class movement. How far it goes, we can't say we don't know. I mean, just because you protest doesn't mean that the oligarch just say, okay, well, you got it, you want, it doesn't happen that way. But what's the saying? You might not win every fight, but you're going to lose every fight that you don't fight. So we have a chance that we got a punch a chance like Michael Spinx with Mike Tyson made, but we got a shot. Wilmer Leon (00:25:26): And to that point, what did Mike Tyson say? Everybody can fight till they get punched in the face. Yeah, Jon Jeter (00:25:32): Everybody's got to plan until they get punched in the nose right Wilmer Leon (00:25:35): Now. So to your point about kids putting everything on the line and the children of the elite, putting it on the line, there was a university, a Bolt Hall, which is the law school at University of California, Berkeley, Steven David Solomon. He wrote an op-ed in the Wall Street Journal that the law firm of Winston and Strawn did the right thing when it revoked the job offer of an NYU law student who publicly condemned Israel for the Hamas terrorist attacks. Legal employers in the recruiting process should do what Winston and Strawn did treat these students like the adults they are, if a student endorses hate dehumanization or antisemitism, don't hire 'em. So he was sending a very clear message, protest if you want to, there's going to be a price to pay. Jon Jeter (00:26:30): Yeah, I think those measures actually are counterproductive for the elites. It really sort of rallies and galvanizes. What we saw at Cornell, I'm not sure what happened with this, but a few weeks ago, they were talking about a student activist who was from West Africa, I believe, and the school Cornell was trying to basically repatriate, have them deported. But I think actions like that tend to work against the elite institutions. I hate to say this because I'm not an advocate of it, although I realize it's sometimes necessary violence seems to work best both for the elites and for the working class. And I'm not advocating that, but I'm just saying that historically it has occurred and it has been used by both sides when any student of France, Nan knows that when social movements allow the state to monopolize violence, you're probably going to lose that fight. And I think honestly speaking, that the state understands that violences can be as most effective weapon. People don't want to die, particularly young people. So it becomes sort of a clash between an irresistible force and an immovable object. Again, that's why I say I can't predict what will happen, but I do think we're on the verge of a very real, some very real social upheaval Wilmer Leon (00:27:54): Folks. This is the brilliance of John Jeter, journalist two time Pulitzer Prize finalists. We're talking about his book Class War in America, how the Elites Divide the Nation by asking, are you a worker or are you white? As you can see, I have the book, I've read the book, phenomenal, phenomenal, phenomenal writer. Writer. You write in chapter one, declarations of War. And I love the fact you quote, Sun Tzu, all warfare is based on deception. Jon Jeter (00:28:24): That's Right. Wilmer Leon (00:28:25): You write on the last day of the first leg of his final trip abroad, his president with Donald Trump waiting in the wings, a subdued Barack Obama waxed poetic on the essence of democracy as he toured the Acropolis in Greece. It's here in Athens that so many of our ideas about democracy, our notions of citizenship, our notions of rule of law began to develop. And then you continue. What was left unsaid in Obama's August soliloquy is that while Greece is typically acknowledged by Western scholars as the cradle of democracy, the country could in fact learn a thing or two about governance from its protege across the pond. What types of things do you see that we still could learn from them since we're being told in this election, democracy is on the ballot and all of those rhetorical tactics? Yeah, a minute, a minute, a minute. Especially in the most recent context of Barack Obama helping to set the stage of a Kamala Harris loss and blaming it on black men. Jon Jeter (00:29:43): Yeah, that's exactly what he's doing. He's setting us up to be the scapegoats, Wilmer Leon (00:29:48): One of the does my connecting the dots there. Does that make sense? Jon Jeter (00:29:52): It makes perfect sense. And one of the themes of this book that I guess I didn't want to hammer home too much because it makes me sound too patriotic, but in one sense, what I'm writing about when I talk about the class war, what I'm writing about is this system of racial capitalism, right? Capitalism. Capitalism is exploited. Racial capitalism pits the workers against each other by creating a super exploited class that would be African-Americans and turning one half of the working class against the other half, or actually in the case of the United States, probably 70% against 30% or something like that. Anyway, but the antidote to racial capitalism is racial solidarity, which is a system of governance in which black men are fit to participate in, because we tend to be black men and black women tend to be the most progressive actors, political actors in the United States, the vanguard of the revolution, really, when we've had revolution in this country, we've been leaders of that revolution. And so what I was really trying to lay out with that first chapter where I talk about this interracial coalition in Virginia in the late 1870s, early 1880s, is that this was a century before South Africa created the Rainbow Nation, right? Nelson Mandela's Rainbow Nation, which didn't produce the results that the United States. Wilmer Leon (00:31:32): There was no pot of gold. There was no pot of gold. Jon Jeter (00:31:34): Yeah, not so far, we've seen no sight of it. And Brazil hadn't even freed its slaves when this readjust party emerged in Virginia. And so what I'm saying is that this interracial coalition that we saw most prominently in Virginia, but really all across the nation, we saw these interracial coalitions, political coalitions, were all across the Confederacy after the Civil War, and they had varying degrees of success in redistributing wealth from rich to poor, rich to working class. But the point is that no country has really seen such a dynamic interracial rainbow coalition or racial democracy, such as we've seen here in the United States, both in that period after the Civil War, and also in the period between, say, I would say FDRs election as president in 1930, was that 31, 33? 33. (00:32:36): So roughly about the time of Ronald Reagan, we saw, of course there was racism. We didn't end racism, but there was this tenuous collaboration between white and black workers that redistributed wealth. So that by 1973, at the height of it, the working class wages accounted for more than half of GDP. Now it's about 58%, I'm sorry, 42% that the workers' wages accountant for GDP. So the point I'm making really is that this racial democracy, this racial democracy has served the working class very well in the United States, and by dissipating that racial democracy, it has served the elites very well. So Barack Obama's plea to black men, which is really quite frankly aimed at white men, telling them, showing them, Hey, I've got the money control. His job is to sort of quell this uprising by black men, and he's trying to tell plea with black men to vote for Kamala Harris, knowing that the Democratic Party, particularly since 1992 when Bill Clinton was elected, has not only done nothing for black men, but in fact has sought to compete for white suburban voters, IE, many of them racist has sought to compete with the GOP for white suburban voters (00:34:04): By showing they can be just as hard on black people as the GOP. People think that the 1995, was it 1994, omnibus crime Bill 94, racial 94, the racial disparities were unintended consequences. They weren't unintended at all. They weren't in fact, the point they wanted to show white people, the Democratic Party, bill Clinton, our current president, Joe Biden, and many other whites in Democratic party want to show whites, no, no, no, no. We got these Negroes in check. We can keep them in control just like the GOP can. And that continues to be the unofficial unstated policy today, which is why Kamala Harris says, I'm not going to do anything, especially for black people. It's why, for instance, nothing has changed legislatively since George Floyd was lynched before our eyes four years ago. Absolutely nothing has changed. That's an accent that is by design. So there's some very real connections that could be made. There's a straight line that can be made from the read adjuster party in Virginia in the 1880s, which had some real successes in redistributing wealth from rich to the workers and to the poor. And it was an interracial collaboration to Barack Obama appearing, pleading with black men to come vote for Kamala Harris, despite the fact she's done nothing for black men or for black people. Wilmer Leon (00:35:31): And to your earlier point, offering nothing but rhetoric and the opportunity economy where everybody, what in the world is, how does that feed the bulldog? So we've gone from, at least in terms of what they're, I believe, trying to do with black politics. We've gone from a politics of demand. We've gone from a politics of accountability to just a politics of promises and very vague. And this isn't in any way, shape or form trying to convince people that Donald Trump is any better. No, that's not what this conversation is about. But it's about former President Obama coming to a podium and telling black men how admonishing black men, how dare you consider this. But my question is, well, what are the specific policies that Vice President Harris is offering that she can also pass and pay for that are going to benefit the community? Because that's what this is supposed to be about, policy output. Jon Jeter (00:36:55): And that's the one thing that's not going to happen until the working class, we, the people decide, and I don't know what the answer's going to be, if it's going to be a third party, if it's going to be us taking control of the Democratic Party at the grassroots level, I don't know what it's going to be. But the philosophical underpinnings of both political parties is black suffering, right? Black suffering is what greases the wheel, the wheel, the political wheel, the economic wheel of the United States, the idea that you can isolate blacks and our suffering. What Reagan did, what Reagan began was a system of punishing blacks in the workplace, shipping those jobs overseas, which Reagan began, and very slowly, Clinton is the one who really picked up the pace, Wilmer Leon (00:37:44): The de-industrialization of America. Jon Jeter (00:37:47): The de-industrialization of America was based on black suffering. We were the first, was it last hired? First fired. And so we were the ones who lost those jobs initially, and it just snowballed, right? We lost those jobs. And think about when we saw the crack epidemic. Crack is a reflection of crises, (00:38:12): Right? Social crises. So we saw this thing snowball, really, right? But you, in their mind, you can isolate the suffering until you can't. What do I mean by that? Well, if you have just a very basic understanding of the economy, you understand that if you rob 13% of your population buying power, you robbed everybody of buying power, right? I mean, who's going to buy your goods and services if we no longer have buying power? We don't have jobs that pay good wages, we have loans that we can't repay. How does that sustain a workable economy? And maybe no one will remember this, but you've probably heard of Henry Ford's policy of $5 a day that was intended to sustain the economy with buying one thing, the one thing Wilmer Leon (00:39:07):  wait a minute, so that his workers, his assembly line automobile workers could afford to buy the product they were making. There are those who will argue that one of the motivations for ending slavery was the elite looked at the industrialists, looked at this entire population of people and said, these can be consumers. These people are a drag on the economy. If we free them, they can become consumers. Jon Jeter (00:39:45): You don't have to be a communist to understand that capitalism at its best. It can work for a long time, for a sustained period of time. It can work very well for a majority of the people. If the consumers have buying power. We don't have that anymore. We're a nation of borrowers. Wilmer Leon (00:40:07): It's the greed of the capitalists that makes capitalism consumptive, and there's another, the leviathan, all of that stuff. Jon Jeter (00:40:19): Yes. And again, black suffering is at the root of this nation's failure. We have plunged into this dark hole because they sought first to short circuit our income, our resources, but it's affected the entire economy. And the only way to rebuild it, if you want to rebuild a capitalist economy, and that's fine with me, the only way you can rebuild is to restore buying power for a majority of the Americans. As we saw during the forties, the fifties, particularly after the war, we saw this surge in buying power, which created, by the way, the greatest achievement of the industrial age, which was the American middle class. And that was predicated again on racial democracy. Blacks participating in the democracy. Wilmer Leon (00:41:10): You mentioned black men and women tended to be incredibly progressive, and that black men and women were the vanguard of the revolution. What then is the problem with so many of our black institutions that, particularly when you look at our HBCUs that make so many of them, anything but progressive, Jon Jeter (00:41:42): That's a real theme of the book. This thing called racial capitalism has survived by peeling off more and more people. At first, it was the people who came through Ellis Island, European Central Europeans, Hungarians checks, and I have someone in the book I'm quoting, I think David Roediger, the labor historian, famous labor historian, where he quoted a Serbian immigrant, I think in the early 1900's , saying, the first thing you learn is you don't wanna be, that the blacks don't get a fair chance, meaning that you don't want to be anything like them. You don't want to associate with them. And that was a very powerful thing. That's indoctrination. But they do. They peel off one layer after another. One of the most important chapters in the book, I think was the one that begins with the execution of the Rosenbergs, who were the Rosenbergs. Ethel and Julius Rosenbergs were communists, or at least former communists who probably did, certainly, Julius probably did help to pass nuclear technology to the Soviet Union in the late forties, early fifties. (00:42:52): At best. It probably sped up the Russians. Soviet Union's ability to develop the bomb sped up by a year, basically. That's the best that it did. So they had this technology already. Ethel Rosenberg may have typed up the notes. That's all she probably did. And anyway, the state, the government, the US government wanted to make an example out of them. And so they executed them and they executed Ethel Rosenberg. They wanted her to turn against her husband, which would've been turning against her country, her countryman, right? She realized that she wouldn't do it. I can tell you, Ethel Rosenberg was every bit as hard as Tupac. She was a bad woman. Wilmer Leon (00:43:40): But was she as hard as biggie? Jon Jeter (00:43:41): I dunno, that whole east coast, west coast thing, I dunno. But that was a turning point in the class where, because what it was intended to do, or among the things it was intended to do, was the Jews were coming out the Holocaust. The Jews were probably, no, not probably. They certainly were the greatest ally blacks. Many of the communists who helped the Scotsboro boys in the 1930s, and they were communists. Many of them were Jews, right? It was no question about, because the Jews didn't see themselves as white. Remember, Hitler attacked them because they were non-white because they were communists. That's why he attacked them. And that was certainly true here, where there was a very real collusion between Jewish communists and blacks, and it was meant execution of the Rosenbergs was meant to send a signal to the working class, to the Jewish community, especially. You can continue to eff around with these people if you want right, Wilmer Leon (00:44:43): but you'll wind up like em. Jon Jeter (00:44:44): Yeah. Yeah. And at the same time, you think right after the Rosenbergs execution, this figure emerged named Milton Friedman, right? Milton Friedman who said, Hey, wait a minute. This whole brown versus Board of Education, you don't have to succumb to that white people. You can send your kids to their own schools or private schools and make the state pay for it. So very calculated move where the Jews became white, basically, not all of them. You still have, and you still have today, as we see with the protest against Israel, the Jewish community is still very progressive as a very progressive wing and are still our allies in a lot of ways. But many of them chose to be white. The same thing has happened ironically, with black people, right? There is a segment of the population that's represented by a former president, Barack Obama, by Kamala Harris, by the entire Congressional black office that has been offered, that has been extended, this sort of olive branch of prosperity. (00:45:40): If you help us keep these Negroes down, you can have some of this too. Like the scene in Trading Places where Eddie Murphy is released from jail. He's sitting in the backseat with these two doctors and they're like, well, you can go home if you want to. He's got the cigar and the snifter of cognac, no believe I can hang out with you. Fell a little bit longer, right? That's what you see happening now with a lot of black people, particularly the black elite, where they say, no, I think I can hang out with you a little bit longer. So they've turned against us. Wilmer Leon (00:46:13): Port Tom Porter calls that the NER position. Jon Jeter (00:46:17): Yes. Yes. Wilmer Leon (00:46:19): And for those that may not hear the NER, the near position that Mortimer and what was the other brother's name? i Jon Jeter (00:46:28): I Can't remember. I can see their faces, Wilmer Leon (00:46:30): Right? That they have been induced and they have been brought into this sense of entitlement because they are near positions of power. And I think a perfect example of that is the latest election in New York and in St. Louis where you've had, where APAC bragged publicly, we're going to invest $100 million into these Democratic primary elections, and we are going to unseat those who we believe to be two progressive anti-Israel and Cori Bush in St. Louis and Bowman, Jamal Bowman in New York were two of the most notable victims of that. And in fact, I was just having this conversation with Tom earlier today, and that is that nobody seemed to complain. I don't remember the Black caucus, anybody in the black caucus coming out. That article came out, I want to say in April of this year, and they did not say a mumbling word about, what do you mean you're about to interfere in our election? But after Cori Bush lost, now she's out there talking about APAC, I'm coming after your village. Hey, home, girl. That's a little bit of aggression, a whole lot too late. You just got knocked out. (00:48:19): Just got knocked the F out. You are laying, you are laying on the canvas, the crowd's headed to the exits, and you're looking around screaming, who hit me? Who hit me? Who hit me? That anger should have been on the front end talking about, oh, you all going to put in a hundred million? Well, we going to get a hundred million and one votes. And it should have been exposed. Had it been exposed for what it was, they'd still be in office. Jon Jeter (00:48:50): And to that point, and this is very interesting. Now, Jamal Bowman, I talked to some black activists in New York in his district, and they would tell you we never saw, right? We had these press conferences where we're protesting police violence under Mayor Eric Adams, another black (00:49:11): Politician, and we never saw him. He didn't anticipate. In fact, one of them says she's with Black Lives Matter, I believe she says, we called him when it was announced that APAC was backing this candidate. He said, what can we do? Said they never heard back. Right? Cori Bush, to her credit, is more from the movement. She was a product of Michael Brown. My guess is she will be back, right? That's my guess. Because she has a lot of support from the grassroots. She probably, if anyone can defeat APAC money as Cori Bush, although she's not perfect either. Wilmer Leon (00:49:44): But my point is still, I think she fell into the trap. Jon Jeter (00:49:51): No question. No question. No question. No, I don't disagree at all. And that again, is that peeling off another layer to turn them against this radical black? That's what it really is. It's a radical black political tradition that survived slavery. It's still here, right? It's just that they're constantly trying to suppress that. Wilmer Leon (00:50:10): And another element of this, and I'm trying to remember the sister that they did this to in Georgia, Congresswoman, wait a minute, hang on. Time out. Cynthia McKinney. The value of having a library, Cynthia McKinney. (00:50:31): Most definitely! (00:50:33): They did the same thing. How the US creates S*hole countries. Cynthia McKinney, they did the same thing to her. So it's not as though they had developed a new strategy. It's that it worked against Cynthia and they played it again, and we let it happen. Jon Jeter (00:50:57): Real democracy can immunize these politicians though, from that kind of strategy. Wilmer Leon (00:51:01): Absolutely. Absolutely. In chapter six, the Battle on the Bay, you talk about 1927, you talk about this 47-year-old ironworker, John Norris, who buys this flat, and then the depression hits and he loses everything. You talk about Rose Majeski, Jon Jeter (00:51:24): I think I Wilmer Leon (00:51:26): Managed to raise her five children. You talk about the Depression. The Harlem Renaissance writer, Langston Hughes wrote, brought everybody down a peg or two, and the Negro had but few pegs to fall. Travis Dempsey lost his job selling to the Chicago defender. Then you talk about a gorgeous summer day, Theodore Goodlow driving a truck and a hayride black people on a hayride, and someone falls victim to a white man running into the hayride. And his name was John Jeter. John with an H. Yours has no H Jon Jeter (00:52:13): Legally it does. Wilmer Leon (00:52:14): Oh, okay. Okay, okay. All right. Anyway, so you make a personal familiar connection to some of this. Elaborate, Jon Jeter (00:52:26): My uncle, who was a teenager at the time, I can't remember exactly how old he played in the Negro Leagues, actually, Negro baseball leagues was on this hayride. And I know the street. I'm very familiar with. The street. Two trucks can't pass one another. It's just too narrow, and it's like an aqueduct. So it's got walls there to keep you. Oh, (00:52:52): Viaduct. I'm sorry. Yeah. Not an auc. Yeah, thank you. Public education. So basically what happened is my uncle had his legs sort of out the hayride, like he's a teenager, and this car came along, another truck came along and it sheared his legs off, killed him. I don't think my father ever knew the story. I think my father went to his grave not knowing the story, but we did some research after his death, me and my sister and my brother, my younger brother. And there was almost a riot at the hospital when my uncle died, because the belief, I believe they couldn't quite say it in the black newspaper at the time, but the belief was that this white man had done it intentionally, right? He wasn't charged, and black people were very upset. So it was an act of aggression, very much, very similar to what we see now happening all over the country with these acts of white, of aggression by white men, basically young white men who are angry about feeling they're losing their racial privileges or racial entitlement. (00:53:52): So anyway, to make the story short, I was named after my uncle, my father, my mother named me after my uncle, but I think it was 1972. I would've been seven years old. And me and my father were at a farmer's market in Indianapolis where I grew up. And this old man at this time, old man, I mean doting in a brown suit, I'll never forget this in a brown suit. He comes up to us and he just comes up to my father and he holds his hand, shakes his hand, and I'm so sorry. I'm so sorry. And my father's said, no, it's okay. You didn't know. It wasn't your fault. Nobody blamed you. And come to find out that he was the driver of that hay ride, right? I think a dentist at the time, he was the driver of that hayride in which my uncle was killed. (00:54:38): And he had felt bad about it, I guess, the rest of his days. So yeah, it's really interesting how my life, or at least the lives of my parents and my grandparents, how it intersects with this story of the class war. And it does in many, many aspects. It does. And I suspect that's true of most people, I hope, who will read the book, that they will find their own lives and their own history intersecting with this class war. Because this class war is comprehensive. It's hard to escape from it. It is all about the class war to paraphrase Fred Hampton. And yeah, that story really kind of moved me in a lot of ways because I had personal history, personal connection. Wilmer Leon (00:55:25): You mentioned when you just said that there was almost this riot at the hospital. What a lot of people now today don't realize is how many of those incidents occurred during those times. And we know very little, if anything about 'em, we were raising hell. So for example, you listened to some kids today was, man, if I had to been back there, I wouldn't have been no slaves. I'd have been out there kicking ass and taking names. Well, but implicit in that is a lack of understanding that folks were raising hell, 1898 in Greenwood, South Carolina, one of my great uncles was lynched in the Phoenix Riot. Black people tried to vote, fight breaks out, white guy gets shot, they round up the usual suspects, Jon Jeter (00:56:23): Right Wilmer Leon (00:56:23): Of whom was my great uncle. Some were lynched, some were shot at the Rehoboth Church in the parking lot of the Rehoboth Church, nonetheless. And that was the week before the more famous Wilmington riot. It was one week before the Wilmington Riot. And you've got the dcom lunch counters. And I mean, all of these history is replete with all of these stories of our resistance. And somehow now we've lost the near position. We've lost. We've lost that fight. Jon Jeter (00:57:02): We don't understand, and I mean this about all of us, but particularly African Americans, we don't understand. We once were warriors. And so one of the things I talk about in the book I write about in the book is the red summer of 1919. Many people are familiar with 1919, the purges that were going on. Basically this industrial upheaval. And the white elites were afraid that blacks were going to sort of lead this union labor organizing movement. And so there were these riots all across the country of whites attacking blacks. But what people don't understand is that the brothers, back then, many of them who had participated in World War, they were like Fred Hampton, it takes two to tango, right? And they were shooting back. And in fact, to end that thought, some of these riots, which weren't really riots, they were meant to be massacre, some of these, they had scouts who went into the black community to see almost to see their vulnerability. And a few times the White Scouts came back and said, no, we don't wanna go in there. We better leave them alone. Wilmer Leon (00:58:12): I was looking over here on my bookcase, got, oh, here we go. Here we go. Here we go. Red summer, the summer of 1919, and the Awakening of Black America. Yeah, yeah. Jon Jeter (00:58:24): I've got that book. I've got that same book. Yep. Wilmer Leon (00:58:26): Okay, so I've got a couple others here. Death in the Promised Land, the Tulsa Race Riot in 1921, and see what a lot of people don't know about Tulsa is after the alleged encounter in the elevator Jon Jeter (00:58:44): Elevator, right! Wilmer Leon (00:58:45): Right? That young man went home, went to the community, went back to, and when the folks came in, the community, they didn't just sit idly by and let this deal go down. That's why, one of the reasons why I believe, I think I have this right, that it got to the tension that it did because it just came an all out fight. Jon Jeter (00:59:12): Oh yeah, Oh yeah! Wilmer Leon (00:59:12): We fought back Jon Jeter (00:59:14): tooth and nail. Wilmer Leon (00:59:16): We fought back, Jon Jeter (00:59:16): Tooth and nail. Yeah, no, definitely. Wilmer Leon (00:59:18): We fought back. So Brother John Jeter, when someone is done reading class War in America, how the elites divided the nation by asking, are you a worker or are you white? And I'm reading it backwards anyway, what are the three major points that you want someone to take away from reading? And folks I've read it, it's a phenomenal, phenomenal. In fact, before you answer that question, let me give this plug. I suggest that usually when I recommend a book, I try to recommend a compliment to it. And I would suggest that people get John Jeter class war in America and then get Dr. Ronald Walters "White Nationalism, Black Interests." Jon Jeter (01:00:13): Oh yeah. Wilmer Leon (01:00:14): And read those two, I Think. Jon Jeter (01:00:18): Oh, I love that. I love being compared to Ron Walters, the great Ron Walters, Wilmer Leon (01:00:23): And I would not be where I am and who I am. He played a tremendous role in Dr. Wilmer Leon. I have a PhD because of him. Jon Jeter (01:00:33): He is a great man. I interviewed him a few times. Wilmer Leon (01:00:36): Yeah, few. So while you're answering that question, I'm going to, so what are the two or three things that you want the reader to walk away from this book having a better understanding of? Jon Jeter (01:00:47): Well, we almost end where we begin. The first thing is Fred Hampton. It is a class war gda is what he said, right? It's a class war. But that does not mean that you can put class above race if you really want to understand the battle, the fight, Wilmer Leon (01:01:09): Oh, wait a minute. Wait a minute. Lemme interrupt you. There was a question I wanted to ask you, and I forgot. Thomas Sowell, the economist Thomas Sowell. And just quickly, because to your point about putting class above race, I wanted to get to the Thomas Sowell point, and I almost forgot it. So in your exposition here, work Thomas, Sowell into your answer. Jon Jeter (01:01:30): Yeah, Thomas. Sowell, and I think a lot of people, particularly now you see with these young, mostly white liberals, although some blacks like Adolf Reed, the political scientists, Adolf Reed posit that it's class above race, that the issues racial and antagonisms should be subordinate to the class issue. Overall, universal ideas and programs, I would argue you can't parse one from the other, that they are connected in a way that you can't separate them. That yes, it is a class issue, but they've used race to weaken the working class to pit it against the itself. So you can't really parse the two and understand the battle that we have in front of us. The other thing I would say too, because like the Panthers would say, I hate the oppressor. I don't hate white people. And it really is a white identity. But as George Jackson said, and I quote him in the book, white racism is the biggest barrier to a united left in United States. That which is true when he wrote it more than 50 years ago, (01:02:43): It was true 50 years before that is true today. It is white racism. That is the problem. And once whites can, as we see happening, we do see it happening with these young, many of them Jewish, but really whites of all from all walks of life are forfeiting their racial privileges to rally, to advocate for the Palestinians. So that's a very good sign that something is stirring within our community. And the third thing I would say is, I'm not optimistic, right? Because optimism is dangerous. Something Barack Obama should have learned talking about the audacity of hope, he meant optimism and optimism is not what you need. But I do think there's reason for hope, these young students on the college campuses who are rallying the, I think the very real existential threat posed to the duopoly by the Democratic Party, by Kamala Harris and Joe Biden's complicity in this genocide. I think there's a very real possibility that the duopoly is facing an existential threat. People are understanding that the enemy is, our political class, is our elite political class that is responsible for this genocide that we are seeing in real time. (01:04:03): That's Never happened before. So I would say the three things, it is a class for white racism is the biggest barrier to a united left or a united working class in this country. And third, there is reason to hope that we might be able to reorganize. And in fact, history suggests that we will organize very soon, reorganize very soon. There might be a dark period in between that, but that we will reorganize. And that this time, I hope we understand that we need to fight against this white racism, which unfortunately, whites give up that privilege. History has shown whites give up that privilege of being white, work with us, collaborate with us. But they return, as we saw beginning with Ronald Reagan, they return to this idea of a white identity, which is really a scab. Wilmer Leon (01:04:50): Well, in fact, Dr. King told us in where we go from here, chaos or community, he said, be wary of the white liberal. He said, because they are opposed to the brutality of the lash, but they do not support equality. That was from where we go from here, folks. John Jeter class War in America, how the elites divide the nation by asking, are you a worker or are you white? After you read that, then get white nationalism, black interests, conservative public policy in the black community by my mentor, Dr. The late great Dr. Ronald Walters, and I mentioned the Dockum drugstore protests. He was Dr. Ron Walters was considered to be the grandfather of, Jon Jeter (01:05:40): I didn't know that Wilmer Leon (01:05:41): of the sit-in movement. Jon Jeter (01:05:42): Did not know (01:05:43): The Dockum lunch counter protests in Wichita, Kansas. He helped to organize before the folks in North Carolina took their lead from the lunch counter protest that he helped. (01:06:01): I did not know that. Wilmer Leon (01:06:02): Yes, yes, yes, yes. Jon Jeter (01:06:03): I did not know that. Wilmer Leon (01:06:04): Alright, so now even I taught John Jeter something today. Now. Now that's a day. That's a day for you. John Jeter, my dear brother. I got to thank you as always for joining me today. Jon Jeter (01:06:16): Thank you, brother. It's been a pleasure. It's been a pleasure. Wilmer Leon (01:06:19): Folks, thank you all so much for listening to the Connecting the Dots podcast with me, Dr. Wimer Leon, and stay tuned for new episodes every week. Also, please follow and subscribe, lie a review, share the show, follow us on social media. You'll find all the links to the show below in the description. And remember that this is where the analysis of politics, culture, and history converge. Because talk without analysis is just chatter. And we don't chatter here on connecting the dots. And folks, get this book. Get this book for the holidays. Get this book. Did I say get the book? Because you need to get the book. We don't chatter here on connecting the dots. See you all again next time. Until then, I'm Dr. Woman Leon. Y'all have a great one. Peace. I'm out Announcer (01:07:15): Connecting the dots with Dr. Wilmer Leon, where the analysis of politics, culture, and history converge.  

Work, Resistance and HipHop; 9a to midnight on WPFW 89.3 FM Today's labor history: WV mineowners bomb strikers by plane Today's labor quote: Muriel Rukeyser @wpfwdc @AFLCIO #1u #UnionStrong #LaborRadioPod Proud founding member of the Labor Radio Podcast Network

Work, Resistance and HipHop; 9a to midnight on WPFW 89.3 FM Today's labor history: WV mineowners bomb strikers by plane Today's labor quote: Muriel Rukeyser @wpfwdc @AFLCIO #1u #UnionStrong #LaborRadioPod Proud founding member of the Labor Radio Podcast Network

Jak działa poezja, która jest śledztwem? Weronika Stencel wraz z Zuzanną Salą zastanawiają się nad znaczeniem wierszy nowojorskiej pisarki, Muriel Rukeyser. W książce „U.S.1” z 1938 roku poetka komponuje wiersze z dokumentów, relacji ustnych, listów czy stenogramów, dokumentując katastrofę przemysłową w Gauley Bridge w Wirginii Zachodniej. Zatrudnieni do drążenia tunelu robotnicy ze względu na złe warunki pracy zaczęli chorować na pylicę krzemową. Muriel Rukeyser odnosi się za pomocą poezji do niesprawiedliwości społecznych.

I hope you'll listen to Muriel Rukeyser read her own poem! It's weird, funny, scary, true.  https://www.youtube.com/watch?v=UN-NaxSRN4E    

Cześć! Po dłuższej przerwie wracamy, oczywiście z dobrymi książkami. Zaczniemy od poezji: mamy nadzieję, że to Was nie odstraszy, bo Paya w ostatnim czasie znalazła aż dwie perełki. Pierwsza to „Postkolonialny wiersz miłosny” autorstwa Natalie Diaz w tłumaczeniu Joanny Mąkowskiej. To zbiór pełen queerowych i wywrotowych wierszy o współczesnych Stanach, koszykówce i, oczywiście, rzekach. W drugim zbiorze również pojawia się rzeka. Tym razem przygląda jej się Muriel Rukeyser swoim zarówno poetyckim, jak i reporterskim wzrokiem, by opowiedzieć wierszem o pewnej katastrofie z lat 30. XX wieku. Od poezji przejdziemy do prozy. Zanurzymy się razem w świat wyjątkowych bohaterek książki „Walentynka” Elizabeth Wetmore. Pogadamy o kreacji postaci, o burzach piaskowych i o sprawczości. A na koniec, dzięki książce Megan Nolan „Zwykłe ludzie ułomności”, skupimy się na rodzinie, pewnej tragedii i na potrzebach sensacyjnych historii. Czy jest tak, jak mówił klasyk, że „każda nieszczęśliwa rodzina jest nieszczęśliwa na swój sposób”, czy też zupełnie inaczej? Posłuchajcie odcinka, by się dowiedzieć! Książki, o których mówimy w podkaście: Natalie Diaz, „Postkolonialny wiersz miłosny”, tłum. Joanna Mąkowska; Wydawnictwo Współbycie; Muriel Rukeyser, „U.S. 1” tłum. Marta Koronkiewicz, Ossolineum; Elizabeth Wetmore, „Walentynka”, tłum. Hanna Pasierska, Wydawnictwo Czarne; Megan Nolan, „Zwykłe ludzkie ułomności”, tłum. Katarzyna Makaruk; Filtry. Dziękujemy wydawnictwom Współbycie, Czarne i Filtry za książki. [współpraca barterowa] Tu posłuchacie Podkastu Zamorskiego o Natalie Diaz: https://open.spotify.com/episode/3VfZ9dc4QlJWAdLG1giOgh?si=750f6c6b51124012 Jeśli spodobał Ci się ten odcinek, możesz nam podziękować na Suppi https://suppi.pl/juztlumacze Zapłacisz bezpiecznie i bez prowizji Blikiem, przelewem czy kartą. A jeśli chcesz zostać z nami na dłużej: wejdź na nasz profil Patronite! Jeżeli chcesz dołączyć do naszego grona Matronek i Patronów, będziemy zaszczycone! Dla tych, którzy zdecydują się nas wspierać, mamy spersonalizowane książkowe rekomendacje, newslettery głosowe, podziękowania na stronie i wiele więcej. Szczegóły tutaj: https://patronite.pl/juztlumacze Zachęcamy do odwiedzin na naszym profilu na Instagramie: https://www.instagram.com/juz_tlumacze i na Facebooku https://www.facebook.com/juz.tlumacze oraz na naszej stronie internetowej https://juztlumacze.pl/ Intro: http://bit.ly/jennush

In this episode, Linda chats with Dr. Katherine McLeod about her role in the SpokenWeb Podcast, particularly Short Cuts. The conversation covers so much ground in such a short period! We discuss the following: The Short Cuts podcast (6.20, 9:21, 14.05, 18:47)Women poets, such as Gwendolyn MacEwan, Phyllis Webb (15:27), Muriel Rukeyser, Maxine Gadd, Margaret Atwood (8.22; 8.54; 10:03), Daphne Marlatt (18:55), Dionne Brand (11:23), and Brand with Lee Maracle (a member of the Stó:lō Nation; 12.05; 15:25)Feminist practices of listening (9:20)Holding the sound (11:00) CBC Radio, the history of; women writers and (15:49) and the radio program “Anthology” (16:28) The federal funding body, called SSHRC (4.32; 6.05)Smaro Kamboureli and the TransCanada Institute (16:07)The Director of SpokenWeb, Jason Camlot (2:45, 17:33; 22.03) (see Linda's previous episode with Camlot, who is also a poet, here)CanLit Across Media (17:40)The Women and Words Conference (20:54)We talked about SpokenWeb's beginnings, but here is another example. And, if you're curious, here is a sample of McLeod talking about “holding the sound” in a ShortCuts episode. And if you want to hear the recording of Dionne Brand speaking with Lee Maracle, try going here. Hosted on Acast. See acast.com/privacy for more information.

Learn about the new book here (and use promo code 09POD to save 30%): https://www.cornellpress.cornell.edu/book/9781501771750/the-muriel-rukeyser-era/#bookTabs=1 Read the transcript here: https://otter.ai/u/XqLGFhSLcHCvbI8HZPT3omPq7w8?utm_source=copy_url Eric Keenaghan is Associate Professor and Chair in the Department of English at the University at Albany, SUNY. He is the author of Queering Cold War Poetry. Rowena Kennedy-Epstein is Associate Professor of gender studies and twentieth- and twenty-first-century women's writing at the University of Bristol. She is the author of Unfinished Spirit and editor of Rukeyser's Savage Coast. We spoke to Eric and Rowena about Muriel Rukeyser's life and legacy, why much of her writing was actively suppressed during her time, and how reading Rukeyser's prose helps us better understand her ideas, her career, and her poetry.

What happens when you tell and live your truth? You are in fact disrupting the status quo. And it's scary as hell. In this solo episode, Dina reflects on what she has been reflecting on the hard truth of being a disrupter and what it takes to tell your truth. She talks about why so many women who are disrupters - within their careers, to their families, to even in front of the mirror disrupting their own toxic thought patterns - can relate to how hard it can feel. Because to be a disrupter requires you to live by your truth. She shares one of her favorite quotes by Muriel Rukeyser: "What would happen if one woman told the truth about her life? The world would split open." Our work as women is to name our fears of the world splitting open if we hsare our truth and help others and outselves to do it anyway. To see the ways in which we are silenced NOT as character flaws but as learned behaviors in a world that wants us quiet, compliant, and endlessly serving others' needs before and instead of our own. It is understandable, even to be expected — your fear of what might happen when/if you tell your truth. Still and always, it deserves to be spoken and lived — no matter what, all the time, endlessly, and in every single context and conversation possible.    In this episode, Dina shares three reminders to be aware of when you are leaning into the discomfort of telling your truth and disrupting the status quo. Because knowing/anticipating the “havoc” that will potentially result when you DO tell your truth is all the data you need to know this is EXACTLY what is required for you to be fully yourself. What you fear serves you. It's a powerful form of discernment AND it's the evidence that you can trust yourself and your truth enough to speak and live it. *************** What if the only person standing in your way was YOU? Join The Unlearning Lab Community! A signature group coaching membership program that will help you unlearn the toxic stories that you have had on repeat for far too long and have been holding you back. Seats are open here: https://keap.page/jvg567/june-2023-the-unlearning-lab.html

Tracy talks about how Muriel Rukeyser being the entry point for the Hawk's Tunnel Disaster episode. Holly talks about Billie Burke's writing about her husband, Flo Ziegfeld, Jr., and unfair comparisons to other performers. See omnystudio.com/listener for privacy information.

Amanda Holmes reads Muriel Rukeyser's poem “Waiting for Icarus.” 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. Hosted on Acast. See acast.com/privacy for more information.

Rachel Mennies reads a poem by Muriel Rukeyser and "Feburary 26, 2017" from Rachel's book The Naomi Letters. Queer Poem-a-Day Lineage Edition is our new format for year three! Featuring contemporary LGBTQIA+ poets reading a poem by an LGBTQIA+ writer of the past, followed by an original poem of their own.  Rachel Mennies is the author, most recently, of THE NAOMI LETTERS (BOA Editions, 2021). Her poetry has appeared, or will soon, at Poetry, American Poetry Review, The Believer, and elsewhere. An editor for AGNI, she lives in Chicago. Text of today's original poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language.  Find books from participating poets in our library's catalog.  Queer Poem-a-Day is directed by poet and teacher Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Deerfield Public Library. Music for this third year of our series is AIDS Ward Scherzo by Robert Savage, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by generous donations from the Friends of the Deerfield Public Library and the Deerfield Fine Arts Commission. 

This week, Holly Amos speaks with Joanna Klink, who joins us from Austin, Texas. Klink is the author of five books of poetry, most recently The Nightfields, and she shares some new poems that appear in the February 2023 issue of Poetry. If described directly, the poems feature the mundane, yet they carry a deep sense of unease. Amos states, “The unease is gorgeous, and the gorgeous is uneasy.” Speaking toward that uneasiness, Amos and Klink get into psychic longing, time and aging, attention and attunement, death, and their very different childhood dinner tables. We also hear Muriel Rukeyser, an important influence for Klink's poem “Called,” speaking in 1959 about the role of the poet in society.

Read by Catherine Martin Production and Sound Design by Kevin Seaman

by Muriel Rukeyser

Robin devotes the final episode of the year to poets, from the first known writer in history Enheduanna (Ancient Sumer) through Mary Coleridge, Elizabeth Barrett Browning, Gwendolyn Brooks, Edna St. Vincent Millay, and Muriel Rukeyser.

"The universe is made up of stories, not of atoms," Muriel Rukeyser. In this episode we will continue to explore the importance of storytelling for our brand.The mechanics of storytelling can come easy to us in social situations. You can share a funny anecdote using the right speed and the right emotion in the right places. You can get your audience going.The issue is translating that to a business setting.In this podcast, we will break down effective mechanisms for storytelling.Please go to UpSkillCommunity.com to review show notes and join a community of leaders devoted to UpSkilling.

The queens get stately in this episode devoted to poetic queries and statements.Please consider supporting the poets we mention by buying their books at an indie bookstore. We can recommend Loyalty Books, a black-owned DC-area bookseller.The Poet's Companion: A Guide to the Pleasures of Writing Poetry is edited by Kim Addonizio and Dorianne Laux. It's essential reading.You can read the entire  Linda McCarriston poem, “Healing the Mare” here.Read Chen Chen's “for i will do/undo what was done/undone to me” (first published in Pank) here. Chen's book When I Grow Up I Want to Be a List of Further Possibilities (BOA Editions), won the A. Poulin, Jr. Poetry Prize (selected by Jericho Brown) and was longlisted for the National Book Award for Poetry. Follow him on Twitter @chenchenwrites and visit his official website.Read “Effort at Speech Between Two People” by Muriel Rukeyser here.Watch Erika Meitner, Victoria Redel, and Patricia Smith here (~90 min)Cortney Lamar Charleston's book Dopplegangbangers is his second book, published by Haymarket Books in 2021. His first book is Telepathologies, winner of the 2016 Saturnalia Books Poetry Prize. Visit his website here.Read  Larry Levis's poem “In the City of Light"  here.Read Jennifer L. Knox's poem “Old Women Talking About Death” here. Another of her great poems: “how to manage your adult adhd” appears here in American Poetry Review. Visit Knox's website here. Brenda Hillman's website can be visited here.  You can read “First Thought” (from the book Bright Existence)  here.  And watch her read from multiple books in this 2013 reading here (~17 min).Mark Doty writes about the class he shared with Brenda Hillman on his blog here. 

by Muriel Rukeyser

“The universe is made of stories, not atoms.” So said poet and activist Muriel Rukeyser. And despite the science, despite the particle physics, despite the mathematical equations and the philosophy and the religion and the spirituality – or maybe inspite of all these things – I challenge anyone to prove her wrong. That's because we can only see the universe from a human perspective – our unique and individual human perspective. And that itself, is a story. From our past to our future, to the way we interact with the world, to the way we identify as ourselves, everything about our human experience is made up of stories. But all too often, we give up authorship of these stories – our stories – to things outside of us. People. Circumstances. Fears and doubts. Cultural norms. Expectations. Trends. Fashions. Opinion. Tribes. Rather than becoming the heroes in our stories, we become 2-dimensional supporting characters, to our past, to our baggage, to other people's stories, and stories of our own creation which don't support or serve us, but instead keep us limited, our worlds small, and our lives out of alignment with who we really are. So what, then, if we start to become aware of our stories, and the impact they have on our reality. What f we start to take ownership of them, rewrite them in a way that serves us much better. And what do we see when we peer beneath them, at our story-less selves. Today I'm speaking with Krish Shrikumar, a games developer and return guest on the podcast. Krish is the brains behind the meditation-based video game Playne, and the new game Inward, both of which ask us to slow down, get quiet, and connect to a version of ourselves – a story of ourselves – that is less caught up in the constant hustle, bustle of modern life, in worries about the future or the past, and instead be more present and able to connect to the benefits that brings. Krish's is developing games that build habits which result in positive impacts on our lives. This is a really great conversation, that explores how powerful and important stories are in our lives, what it means to take ownership of them, and what lies beneath them. You can find out about Playne and Inward by visiting playne.co, or you can just Google meditation game.

Having ingested a hearty dose of psychoactive magic mushrooms, Adam Kleinman roams through the streets of a nocturnal New York. The City That Never Sleeps is hauntingly silent during the early months of the pandemic and, gazing out of his taxi cab window, Adam envisions the ghosts of its past zooming by. Summers of love and hurricanes; long gone poets, activists, clubs and storefronts, all now part of its enduring urban mythology. High on New Yorkian folklore, we encounter a fantastical vision of the metropolis known as The Capital of the World or, perhaps more aptly, The City of Dreams.With great thanks to Timothy “Speed” Levitch and Annika Svendsen Finne for their narrative contributions. Extra Extra is also grateful to Concordia University, Fonds 10086 – Department of English fonds, SpokenWeb and Spokane Public Radio's Poetry Moment for the Muriel Rukeyser readings. With additional appreciation to the New York Public Library and Marc Dingman of Neuroscientifically Challenged. Soundscape by The God in Hackney. Editing and sound design by Tobias Withers. Introduction and outro voiced by Johnny Vivash. Produced by the Extra Extra team. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

ShortCuts is back! Season Three of ShortCuts begins with a listening exercise. We attune our ears to what it sounds like and feels like to hear archival clips ‘cut' out of context. Join ShortCuts producer Katherine McLeod in this exploration of the sonic and affective place-making of ShortCuts as podcast. What kind of creative and critical work can these archival sounds do? On their own, or together as an archival remix? A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith BurrAudio ExcerptedVoices heard in this episode: Katherine McLeod, Tanya Davis, Ali Barillaro, Muriel Rukeyser, Margaret Avison, Stephanie Bolster, Barbara Nickel, Mathieu Aubin, Dionne Brand, Alexei Perry Cox and Isla, and Phyllis Webb.  All audio has been played on previous ShortCuts on The SpokenWeb Podcast. Try listening to this episode first without knowing whose voices you are hearing. Afterwards, explore the audio that caught your attention. Use the transcript to find the ShortCuts episode that the audio is clipped from, and there you will find the original audio sources listed in the show notes. For a full transcript of this episode, check out the link above.

Today, we are welcoming you to Season 3 by reintroducing and replaying an episode that exemplifies what our podcast is all about. In January 2020, we released the episode “The Agony and the Ecstasy of Elizabeth Smart” created by researcher and producer Myra Bloom. To kick off this season, Hannah and Myra sat down for a new introductory conversation that puts Myra's past episode in the context of the SpokenWeb project's values and Myra's forthcoming podcast series. Then, we invite you to listen to the voice of Elizabeth Smart again, or for the first time, and consider what caring for and sharing the sounds of literary archives means to you. Over the years, Elizabeth Smart's 1945 novel By Grand Central Station I Sat Down and Wept has risen from obscurity to cult classic. The book, which details an ill-fated love affair between an unnamed narrator and her married lover, is celebrated for its lyricism, passionate intensity, and its basis in Elizabeth's real-life relationship with the poet George Barker. After publishing By Grand Central Station, Smart lapsed into a thirty-year creative silence during which time she worked as an advertising copywriter and single-parented four children. In this poetic reflection, Myra Bloom weaves together archival audio with first-person narration and interviews to examine both the great passion that fueled By Grand Central Station and the obstacles that prevented Elizabeth from recreating its brilliance.Featured in this episode are Sina Queyras, a poet and teacher currently working on an academic project about Elizabeth; Maya Gallus, a celebrated documentarian whose first film, On the Side of the Angels, was about Elizabeth; Kim Echlin, author of Elizabeth Smart: A Fugue Essay on Women and Creativity; and Rosemary Sullivan, Elizabeth's biographer. This episode also features archival audio of Elizabeth in conversation at Memorial University (1983) and reading at Warwick University in England (1982).SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Producer Bio:Myra Bloom is Assistant Professor of Canadian literature at York University-Glendon campus. She is currently writing a book called Evasive Maneuvers about Canadian women's confessional writing, including Elizabeth Smart, and is preparing a SSHRC-funded podcast on the same topic.Guest BiosKim Echlin is a novelist. Her novel, The Disappeared, was short-listed for the Giller Prize. She has written a biography of Elizabeth Smart titled Elizabeth Smart: A Fugue Essay on Women and Creativity in which she discussed the work and life of Elizabeth Smart in the context of writing, motherhood, and earning a living. Her new novel will appear next year.Maya Gallus is an award winning documentary filmmaker whose work screens at numerous international film festivals. Most recently, The Heat: A Kitchen (R)evolution, was the opening night film at the 2017 Hot Docs Film Festival and the 2018 Berlinale Culinary Cinema programme. She is also recognized for her critically acclaimed literary biographies, The Mystery of Mazo de la Roche and Elizabeth Smart: On the Side of the Angels. Sina Queyras is a Canadian writer, editor, and creative writing professor at Concordia University. They have published seven collections of poetry, a novel and an essay collection. Their third collection of poetry, Lemon Hound, received the Pat Lowther Award and Lambda Literary Award for Lesbian Poetry, and their fourth, Expressway, was shortlisted for the 2009 Governor General's Award for poetry. They are currently researching Elizabeth Smart for an academic project.Rosemary Sullivan is Professor Emeritus at the University of Toronto and the author of By Heart: Elizabeth Smart, A Life. She has published fourteen books in the multiple genres of biography, memoir, poetry, travelogue, and short fiction. Her biography Shadow Maker: The Life of Gwendolyn MacEwen won numerous prizes including the Governor General's Non-Fiction Award. Her latest book, Stalin's Daughter: The Extraordinary and Tumultuous Life of Svetlana Alliluyeva, published in 23 countries, won the Hilary Weston Writers' Trust Prize, the BC National Non-Fiction Award, the RBC Charles Taylor prize, the Plutarch Biographers International Award and was a finalist for American PEN /Bograd Weld Prize and the U.S. National Books Critics Circle Award. In 2012 she was made an Officer of the Order of Canada.Special thanks to Vineeta Patel for transcription help. Donna Downey at the MUN archives. The Glendon Media Lab. Aisha Jamal, Ali Weinstein, Heather White, Lauren Neefe, Sarah O'Brien, Lynn Bloom, Leonard Bloom, Lana Swartz for feedback.Credits:Warwick Archive (2019, Nov). Elizabeth Smart – English Writers at Warwick Archive. https://warwick.ac.uk/fac/arts/english/writingprog/archive/writers/smartelizabeth/280182.MUN Archive Video Collection. (pre 1994). Elizabeth Smart: Canadian Writer. http://collections.mun.ca/cdm/ref/collection/extension/id/2981.All the music in this episode is by Blue Dot Sessions.Clips Featured in Introduction:The voices of Michael O'Driscoll, Annie Murray, and Jason Camlot from Stories of SpokenWebA clip of Mavis Gallant from Mavis Gallant Reads “Grippes and Poche” at SFUThe voices of Kate Moffat, Kandice Sharren, and Michelle Levy from Mavis Gallant, Part 2: The ‘Paratexts' of “Grippes and Poche” at SFUA clip of Muriel Rukeyser and the voice of Katherine McLeod from ShortCuts minisode You Are HereMusic in the introduction is Lick Stick by Nursery from Blue Dot Sessions.Tape noise sound effects from FreeSound.org.

This episode is also available as a blog post: http://quiteaquote.in/2020/12/15/muriel-rukeyser-made-of-stories/ --- Send in a voice message: https://anchor.fm/quiteaquote/message

Recently, a listener requested a longer work by the poet Muriel Rukeyser, whose poetry is not as widely known 40 years after her death as it should be. Amanda Holmes joined our sister podcast Smarty Pants recently to discuss why Rukeyser's work speaks to her and then to read the long poem cycle “Letter to the Front,” written in 1944.Go beyond the episode:Listen to our sister podcast, Smarty PantsRead “Letter to the Front” by Muriel RukeyserTry not to chuckle as Rukeyser reads her poem “Waiting for Icarus,” written from the perspective of the ill-fated man's wifeThe Book of the Dead (1938), reissued in 2018 by West Virginia University Press, was written in response to the 1931 Hawks Nest Tunnel Disaster, in which hundreds of miners, mostly Black, died of silicosis. Rukeyser combined her own observations with trial testimony from the surviving miners' lawsuit against their employer.“In moments of desperation, a favorite poem has resurfaced lately, sometimes on Twitter and sometimes in memory,” writes Sam Huber in The Paris Review, of Rukeyser's “Poem” from 1968 that begins “I lived in the first century of world wars”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.

Each week on our sister podcast, Read Me a Poem, Amanda Holmes reads suggestions from listeners around the world. Recently, a listener requested a longer work by the poet Muriel Rukeyser, whose poetry is not as widely known 40 years after her death as it should be. Holmes joins us this week to discuss why Rukeyser’s work speaks to her and then to read the long poem cycle “Letter to the Front,” written in 1944.Go beyond the episode:Listen to Amanda Holmes each week on the Read Me a Poem podcastRead “Letter to the Front” by Muriel RukeyserTry not to chuckle as Rukeyser reads her poem “Waiting for Icarus,” written from the perspective of the ill-fated man’s wifeThe Book of the Dead (1938), reissued in 2018 by West Virginia University Press, was written in response to the 1931 Hawks Nest Tunnel Disaster, in which hundreds of miners, mostly Black, died of silicosis. Rukeyser combined her own observations with trial testimony from the surviving miners’ lawsuit against their employer.“In moments of desperation, a favorite poem has resurfaced lately, sometimes on Twitter and sometimes in memory,” writes Sam Huber in The Paris Review, of Rukeyser’s “Poem” from 1968 that begins “I lived in the first century of world wars”Tune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! Our theme music was composed by Nathan Prillaman. See acast.com/privacy for privacy and opt-out information.

Each week on our sister podcast, Read Me a Poem, Amanda Holmes reads suggestions from listeners around the world. Recently, a listener requested a longer work by the poet Muriel Rukeyser, whose poetry is not as widely known 40 years after her death as it should be. Holmes joins us this week to discuss why Rukeyser’s work speaks to her and then to read the long poem cycle “Letter to the Front,” written in 1944.Go beyond the episode:Listen to Amanda Holmes each week on the Read Me a Poem podcastRead “Letter to the Front” by Muriel RukeyserTry not to chuckle as Rukeyser reads her poem “Waiting for Icarus,” written from the perspective of the ill-fated man’s wifeThe Book of the Dead (1938), reissued in 2018 by West Virginia University Press, was written in response to the 1931 Hawks Nest Tunnel Disaster, in which hundreds of miners, mostly Black, died of silicosis. Rukeyser combined her own observations with trial testimony from the surviving miners’ lawsuit against their employer.“In moments of desperation, a favorite poem has resurfaced lately, sometimes on Twitter and sometimes in memory,” writes Sam Huber in The Paris Review, of Rukeyser’s “Poem” from 1968 that begins “I lived in the first century of world wars”Tune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! Our theme music was composed by Nathan Prillaman. See acast.com/privacy for privacy and opt-out information.

Production and Sound Design by Kevin Seaman

In this season of ShortCuts we've spent some time in a 1969 recording of poet Muriel Rukeyser, and we're going to stay in that recording for this minisode, partly due to the depth of material within this single recording and partly as an opportunity to reflect upon what a minisode can do – through archival listening – to make connections. A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Stacey CopelandAUDIO SOURCEAudio clips for this ShortCuts minisode are cut from this recording of Muriel Rukeyser's reading in Montreal on January 24, 1969.RESOURCESKeenaghan, Eric. “Interchange – How to Be Anti-Fascist: Muriel Rukeyser and The Life of Poetry.” Interchange, https://beta.prx.org/stories/355960.Malcolm, Jane. “The Poem Among Us, Between Us, There: Muriel Rukeyser's Meta-Poetics and the Communal Soundscape.” Amodern 4: The Poetry Series (March 2015), http://amodern.net/article/poem-among-us/Muriel Rukeyser: A Living Archive, http://murielrukeyser.emuenglish.org/. Rukeyser, Muriel. “Elegy in Joy.” Waterlily Fire: Poems, 1935-1962. Macmillan, 1963.---. “Käthe Kollwitz.” The Collected Poems of Muriel Rukeyser. U of Pittsburgh P, 2006. ---. The Life of Poetry. Current Books, 1949.---. “Muriel Rukeyser at SGWU, 1969” [audio recording from the Sir George Williams Poetry Series]. SpokenWeb, 24 January 1969, https://montreal.spokenweb.ca/sgw-poetry-readings/muriel-rukeyser-at-sgwu-1969Music and Sound Effectsbay_area_bob. "Sound FX for a notification." Freesound.org, Nov 2020.original music by Jason Camlot, 2019.scissors audio (original by K. McLeod), 2020. 

If you know that it’s time to actually DO something about the burnout cycle you’ve been in for too long - book your free consult today: bit.ly/callcait   Episode summary: In this episode, guest Elizabeth Lott, a pastor at a progressive Baptist Congregation in New Orleans starts out with a story - one that you might not expect from a pastor - one of Mardi Gras, sequined shoes, and a fall that lead to broken teeth and concussions. From there we journeyed on together through allowing yourself to be called to a vocation and yet leaving space to be called further when it is time to move forward. It is a story full of expansion, support, and hope for what we can all create in the ‘new’ post covid world that we hope is coming real soon.   Topics discussed in this episode:    - The Love of Mardi Gras: A Story of Change [3:00]- Being convinced that alone is the way [17:39]- The power, pressure, and magical thinking of a Calling [21:24]- Leaving curiosity and taking on ‘traditional’ expectations [24:21]- Disappointing people on the scale of the internet [29:15]- “What would happen if one woman told the truth about her life” Muriel Rukeyser [36:28]- Being vulnerable as a leader [42:16]- Sharing struggles within your relationship [48:18]- Leaving a container when you’ve outgrown it [54:52]   Find Elizabeth: https://www.elizabethlott.com IG: https://www.instagram.com/elizabethmlott Resources Mentioned in the Show:Muriel Rukeyser My fave CBD is Incann and as a FRIED listener, you get 20% off!* Check out their Bio Soothe CBD Salve - it’s my fave for sore muscles and neck tension! *Use the code FRIED for 20% off! When you do that, I get a small percentage of the sale. All proceeds are used to keep FRIED up and running!

Today we feature the radical work of Muriel Rukeyser, whose poetics treatise, The Life of Poetry, first published in 1949, can be called an anti-Fascist manifesto. We struggle at times to place Rukeyser inside our understanding of politics and poetry as she herself struggled to not be placed – like Thoreau, she did not wish …

A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Stacey CopelandResourcesMalcolm, Jane. “The Poem Among Us, Between Us, There: Muriel Rukeyser's Meta-Poetics and the Communal Soundscape.” Amodern 4: The Poetry Series (March 2015), http://amodern.net/article/poem-among-us/Robinsong, Erin. “Anemone.” Watch Your Head: Writers and Artists Respond to the Climate Crisis. Coach House Books, 2020. Find out more about Watch Your Head as a book and online project here.Rukeyser, Muriel. “Muriel Rukeyser at SGWU, 1969” [audio recording from the Sir George Williams Poetry Series]. SpokenWeb, 24 January 1969, https://montreal.spokenweb.ca/sgw-poetry-readings/muriel-rukeyser-at-sgwu-1969Find out more about poet Muriel Rukeyser by visiting Muriel Rukeyser: A Living Archive.

Introduction  "Reports convey information. Stories create experience. Reports transfer knowledge. Stories transport the reader, crossing boundaries of time, space, and imagination. The report points us there. The story puts us there." Roy Peter Clark Stories are fundamental to the human condition. Muriel Rukeyser said, "The universe is made of stories, not atoms." In his book, "The storyteller's secret",  Carmine Gallo said,  Show me an inspiring leader and I'll show you a storyteller who influenced the way that leader sees the world. What does storytellers do? According to Walt Disney, they "Instil hope again, and again, and again." Storytellers give us hope, and hope is a universal desire." Was Jesus a storyteller? Was he anything else?   “Jesus spoke all these things to the crowd in parables; he did not say anything to them without using a parable.” (Matthew 13:34 NIV11) Rob gives us three brief tips for using stories affectively. --- 1. Detail Relevant detail is the watchword here. Not detail for its own sake. But detail which helps us connect. When Jesus mentioned that the runaway son ate the food of the pigs, it would've resonated with his Jewish audience in a way that shocked them. That detail in the story was significant. When including your stories, check to see that there is enough detail to make the story three-dimensional, but not so much that it catches up in the wind with all helpful information. --- 2. Empathy When telling a story remember that its success largely depends upon creating empathy. The film critic, [Roger Ebert](https://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&cad=rja&uact=8&ved=2ahUKEwiA4I2-4oLuAhVQZxUIHeDNAWYQFjABegQIBxAC&url=https%3A%2F%2Fwww.rogerebert.com%2Froger-ebert%2Feberts-walk-of-fame-remarks&usg=AOvVaw2k9qOfahSoesO6Z5SbjIIL) said,  Movies are the most powerful empathy machine in all the arts. We have all watched films which had decent acting, a reasonable script, and competent photography and yet, found them boring. Films in which we fail to feel any connection with the actors are seldom successful. I challenge you to read the story of Lazarus in Luke 16 and not feel empathy. Perhaps you will struggle to do so now because you've read it many times. But if you were to hear it afresh, I suggest you would empathise with Lazarus. When preparing your stories, ask yourself whether any of the characters are empathetic? --- 3. Application Some stories need an application. Others are so powerful that you can leave the Holy Spirit to have his affect on the hearts of those present. When considering the stories to add to your presentation, ask yourself whether that particular story needs applying to your audience. Jesus varied his approach. He did not immediately apply the parable of the weeds in Matthew 13. His disciples had to ask him later to explain it. “His disciples came to him and said, “Explain to us the parable of the weeds in the field.”” (Matthew 13:36 NIV11) On the other hand, after the parable of the merciful servant in Matthew 18 he said this, ““This is how my heavenly Father will treat each of you unless you forgive your brother or sister from your heart.”” (Matthew 18:35 NIV11) --- Conclusion How do you feel about using stories? Are you comfortable or confused? In your next lessonWhy not include at least one story and put it through the filters of the three practical is above: Detail, empathy, application.  Questions: Do you have a method for storing your stories? You never know when you might need them next. I have recorded previously on stories. Here are some links: Tuesday Teaching Tips, Episode 96: "How to re-enact a story" [Tuesday Teaching Tips, Episode 96: "How to re-enact a story"](https://youtu.be/W9kO12QUlXM) Tuesday Teaching Tips, Episode 90: "What is the difference between an anecdote and a story?" [Tuesday Teaching Tips, Episode 90: "What is the difference between an anecdote and a story?"](https://youtu.be/MvPvTx3rv0k) Tuesday Teaching Tips, Episode 165: "Why You Need Keynote Stories", Malcolm Cox [Tuesday Teaching Tips, Episode 165: "Why You Need Keynote Stories", Malcolm Cox](https://youtu.be/zr_tE4qirEM) --- Please add your comments on this week’s topic. We learn best when we learn in community. Do you have a question about teaching the Bible? Is it theological, technical, practical? Send me your questions or suggestions. Here’s the email: [malcolm@malcolmcox.org](mailto:malcolm@malcolmcox.org). If you’d like a copy of my free eBook on spiritual disciplines, “How God grows His people”, sign up at my website: http://[www.malcolmcox.org](http://www.malcolmcox.org/). Please pass the link on, subscribe, leave a review. “Worship the LORD with gladness; come before him with joyful songs.” (Psalms 100:2 NIV11) God bless, Malcolm

A fresh take on our past minisode series – “ShortCuts” is an extension of the 'ShortCuts' blog posts on SpokenWebBlog, this series brings Katherine's favorite audio clips each month to the SpokenWeb Podcast feed. Stay tuned for monthly episodes of 'ShortCuts' on alternate fortnights (that's every second week) following the monthly spokenweb podcast episode.The audio for this ShortCuts minisode is cut from the introductory remarks made by Muriel Rukeyser at her reading in Montreal on January 24, 1969: https://montreal.spokenweb.ca/sgw-poetry-readings/muriel-rukeyser-at-sgwu-1969Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Stacey CopelandResourcesMalcolm, Jane. “The Poem Among Us, Between Us, There: Muriel Rukeyser's Meta-Poetics and the Communal Soundscape.” Amodern 4: The Poetry Series (March 2015), http://amodern.net/article/poem-among-us/

In 1936, twenty-two-year-old Muriel Rukeyser, who had just won the Yale Younger Poets Award for her first book Theory of Flight, was suddenly (almost accidentally) in Spain as a journalist to cover the Olimpiada Popular, or People’s Olympiad, a protest event against the 1936 Berlin Olympics presided over by Hitler and the Nazi Party. Intended …

by Muriel Rukeyser

by Muriel Rukeyser

Raymond Thompson Jr. is a photographer whose work focuses on race, identity and contested histories. He currently works as a Multimedia Producer at West Virginia University where is is also pursuing his MFA in photography. He received his MA in journalism from the University of Texas at Austin and a BA in American studies from the University of Mary Washington. His freelance clients include The New York Times, ProPublica, Google, Buzzfeed News, Merrell, NBC News, and the Associated Press. In the 1930s, migrant laborers came from all over the region to work on the construction of a 3-mile tunnel to divert the New River near Fayetteville, WV. During the process, workers were exposed to pure silica dust due to improper drilling techniques. Many developed a lung disease known as silicosis, which is estimated to have caused the death of nearly 800 workers. Up to two-thirds of those workers were African American. Besides a small plaque at the Hawks Nest State Park, which lists a significantly lower number than the actual number killed, there is very little to mark the site. There is also sparse visual documentation available about the event. There has been an effort to erase this tragic moment in history from the memory of West Virginia.In Appalachian Ghosts, I explore visual possibilities of what that time and place looked like, using primary-source materials to recreate the workers’ experiences in photographs. I have also recontextualized and re-presented archive photographs, originally made to document the construction of the Hawks Nest Tunnel dam and powerhouse. The few people caught in the photographic archive were often nameless and voiceless workers. Specifically, I’m looking at what has been left out of African-American visual history, which to date has mainly been documented with a colonial gaze. From this standpoint, I have sought to re/create work that has been informed by and made from historical documents and photographs.My research also focused on working with non-visual resources that inspired the creation of new works. I researched news clips, letters, poetry and other cultural resources looking for information that described the experience of working in the tunnel. I was particularly struck by a poem from Muriel Rukeyser’s book The Book of the Dead called “George Robinson: Blues:”As dark as I am. when I came out at morning after the tunnel at nightwith a white man, nobody could have told which man was white.The dust had covered us both, and the dust was white.-Muriel Rukeyser “The Book of the Dead”Rukeyser’s book, along with other primary-source documents, inspired a series of images that focuses on the silica dust that covered everything at the work site.http://www.raymondthompsonjr.com/https://www.rustbeltbiennial.com/#winnershttp://lenscratch.com/2020/07/raymond-thompson-jr-the-the-2020-lenscratch-student-prize-1st-place-winner/https://vimeo.com/376951187https://www.epistemmag.com/reclaiming-the-black-image-in-nature-and-in-photography/https://www.photographersofcolor.org/https://www.instagram.com/photogsofcolor/https://twitter.com/photogsofcolor  

by Muriel Rukeyser

In which I read poems by William Carlos Williams, Sarah Teasdale, e.e. cummings, and Muriel Rukeyser. Watch the YouTube version. — This show is only possible because of people like you. Visit A Brief Chat‘s Patreon page and become a supporting member today. Members get a weekly bonus episode on Saturdays and more. Thank you....

Not one, not two, but three Cool Dead Women! We explore the stories of two revolutionary American poets and one South African exile musician. All fought hard for they believed in, and we hope they inspire you do the same. 

by Muriel Rukeyser

'The universe is made of stories, not of atoms', Muriel Rukeyser once wrote. As podcasters, we couldn't agree more. Episode 11 is here and in it we welcome Chaya Maheshwari Gupta, a 2013 graduate from IIT Madras who also turns out to be a wonderful storyteller. In this 40 minute episode, she'll take you through her journey, right from starting out as a bright-eyed student in Narayana to being the only woman in a 600 strong factory, to her MBA at INSEAD and her current role at Amazon. It's inspirational, funny, and enrapturing, all at the same time. And as always, there are some subtle life lessons along the way for the keen listener to pick up on. We're sure you'll enjoy this one.

The poet Muriel Rukeyser wrote, “The universe is made of stories, not of atoms.” I think, actually, it’s likely made of both … and while I can’t really claim any deep expertise in physics, I do know a little bit about the power of story-telling. A little bit. But not as much as Bernadette Jiwa who amongst other things has teamed up with Seth Godin to create a fantastic workshop on storytelling as part of his Akimbo series. Storytelling is the fabric that creates relationship and community and history. In creating history, it allows you to navigate where you are in the present, and also lay a path out to where you might be going in the future. But it’s plenty easy to tell a story poorly. A boring start, a soggy middle, an end that trails off … we’ve all been on the receiving end of that non-epic. To get beyond that, to save your story, you need a Story Scaffold, which is just what Bernadette shares in this episode. Bernadette helps people, organizations, and communities practice everyday storytelling to build resilience, trust, and connection … all critical skills to help us get through this.  You can meet Bernadette at her website www.thestoryoftelling.com This show is brought to you by The Advice Trap, Michael Bungay Stanier’s latest book. You can access a wide range of tools to help #TameYourAdviceMonster at www.TheAdviceTrap.com If you’d like to spend more time with Michael and people he admires, sign up for The Year of Living Brilliantly. 52 teachers over 52 weeks, each teaching one brilliant insight. Absolutely free.

November 1 – December 16, 2016Kathleen O. Ellis GalleryGallery Talk: Thursday, November 10, 6pmReception: Thursday, November 10, 5-7pmStanley Wolukau-Wanambwa’s One Wall a Web is an exhibition that gathers together work from two discrete photographic series that he made in the United States: Our Present Invention (2012–2014) and All My Gone Life (2014–2016). Both the series and the exhibition draw their titles from the poetry of Muriel Rukeyser.One Wall a Web not only explores the mutability of archival images, but the ongoing presence of history in the present day. According to Wolukau-Wanambwa, the exhibition attempts to address “the normalcy of fear, separateness and violence in a moment suffused by them, but also in a culture riven by the habitually limited prescriptions of images.” The exhibition comprises two distinct strands of photographs: the first, a series of appropriated archival 4 × 5 inch negatives; the second, a series of original photographs.lg.ht/OneWallaWeb—Stanley Wolukau-Wanambwa is a photographer, writer, and editor of The Great Leap Sideways. He has contributed essays to catalogues and monographs by Vanessa Winship, George Georgiou, and Paul Graham, written for Aperture magazine, and is a faculty member in the photography department at Purchase College, SUNY. Wolukau-Wanambwa participated in Light Work’s Artist-in-Residence Program in May 2015.thegreatleapsideways.com—Special thanks to Marcia Dupratmarciaduprat.comSpecial thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: Brethren Arise by Chris ZabriskieMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.

by Muriel Rukeyser

@YouKnowFargo returns to talk about his show My Father, My Martyr, and Me and Solmaz Sharif's LOOK. We also talked at length about Lake Michigan by Daniel Borzutzky, The Life of Poetry by Muriel Rukeyser, A Theory of Birds by Zaina Alsous, All This Burning Earth by Sean Bonney, White Blight by Athena Farrokhzad, and Excess - The Factory by Leslie Kaplan in the context of discussing LOOK. Book Fargo to perform in your town!

In this questions and answers session Professor Thurman and Sharon Salzberg discuss the interconnected nature of emptiness, compassion, and loving-kindness and the use of mandalas in meditation. Opening with an in-depth exploration of the entomology of the Sanskrit term sunyata, Robert A.F. Thurman gives a teaching on the relationality of emptiness and it’s connections to the agricultural language and culture of the Buddha’s time. Podcast includes discussions of : the symbolism and use of sand mandalas, the history of the Kalachakra “Wheel of Time” Tantra, the Buddhist perspective on bliss, space, time and the role of evolutionary inner yogas in reducing suffering for self and others. Episode concludes with a reading of the work of Muriel Rukeyser by Gary Gach. Emptiness & Mandalas : Questioning Buddhism – Ep. 227 of the Bob Thurman Podcast Photo by Manuel Bauer via www.dalailama.com Gary Gregory Gach is an author, translator, and editor living in San Francisco. A dynamic speaker and teacher in the tradition of Thich Nhat Hanh’s Plum Village Community of Engaged Buddhism his works include the anthology “What Book!? Buddha Poems from Beat to Hiphop” and the forthcoming “Pause Breathe Smile – Awakening Mindfulness When Meditation is Not Enough”. This week’s episode’s of the Bob Thurman Podcast was brought to you in part through the monthly support of the Tibet House US Membership Community and Menla Retreat and Dewa Spa in Phoenicia, New York. Emptiness & Mandalas : Questioning Buddhism – Ep. 227 of the Bob Thurman Podcast was recorded at the annual New Year’s Retreat at Menla in Phoenicia, New York in 2015. This podcast is apart of the on going series “Questioning Buddhism” in which Robert A.F. Thurman answers questions from those looking to learn more about the Buddha, his teachings and the history of those people, countries and cultures influenced by his ideas. To submit your questions to be answered in future podcasts please visit: www.bobthurman.com. Listen to more archive recordings from from past Robert A.F. Thurman teachings + public events please consider becoming a Tibet House US member. To learn about the benefits of Tibet House US Membership please visit: www.tibethouse.us. The songs “Trance Tibet” & ‘Dancing Ling’ by Tenzin Choegyal from the album ‘Heart Sutra‘ (2004) by Ethno Super Lounge is used on the Bob Thurman Podcast with artist’s permission, all rights reserved.

In this questions and answers session Professor Thurman and Sharon Salzberg discuss the interconnected nature of emptiness, compassion, and loving-kindness and the use of mandalas in meditation. Opening with an in-depth exploration of the etymology of the Sanskrit term sunyata, Robert A.F. Thurman gives a teaching on the relationality of emptiness and it’s connections to the agricultural language and culture of the Buddha’s time. Podcast includes discussions of : the symbolism and use of sand mandalas, the history of the Kalachakra “Wheel of Time” Tantra, the Buddhist perspective on bliss, space, time and the role of evolutionary inner yogas in reducing suffering for self and others. Episode concludes with a reading of the work of Muriel Rukeyser by Gary Gach. Emptiness & Mandalas : Questioning Buddhism – Ep. 227 of the Bob Thurman Podcast Photo by Manuel Bauer via www.dalailama.com Gary Gregory Gach is an author, translator, and editor living in San Francisco. A dynamic speaker and teacher in the tradition of Thich Nhat Hanh’s Plum Village Community of Engaged Buddhism his works include the anthology “What Book!? Buddha Poems from Beat to Hiphop” and the forthcoming “Pause Breathe Smile – Awakening Mindfulness When Meditation is Not Enough”. This week’s episode’s of the Bob Thurman Podcast was brought to you in part through the monthly support of the Tibet House US Membership Community and Menla Retreat and Dewa Spa in Phoenicia, New York. Emptiness & Mandalas : Questioning Buddhism – Ep. 227 of the Bob Thurman Podcast was recorded at the annual New Year’s Retreat at

Mark interviews Talena Winters about her multi-genre fiction, and the numerous other creative tasks and entrepreneurial endeavors she is involved in. Prior to the interview, Mark plays an audiobook marketing tip from an interview with Will Dages in place of the regular Ad read for this episode's sponsor.   You can learn more about how you can get your work distributed to retailers and library systems around the world at starkreflections.ca/Findaway. Mark then shares a few comments and tweets and then a personal update which includes: Completing NaNoWriMo while clocking in over 60,000 words An article featuring Mark entitled "Mark Leslie Lefebvre" Finds His Voice" His guest spot on the 6 Figure Authors podcast The completion and pre-order push of his new book An Author's Guide to Working with Libraries and Bookstores In their conversation, Mark and Talena talk about: The multiple creative pursuits that Talena is engaged in, and how she defines herself Talena's background as a musician and the creative evolution of her upbringing that eventually led to writing Getting married on the same day that both Talena and her husband had graduated from university The full length-full scale musical that Talena and a good friend dreamed up and created and which has remained on the back-burner for many years How inspiration strikes and keeps growing when Talena latches on to an idea The course that Talena took from Holly Lisle while she was still home-schooling her children and how much she valued things she learned in that class The legacy of the "story in the drawer" that Talena wrote and then tucked away The tragic family loss which threw their lives for a loop, the public way that Talena shared that experience, and the outpouring of community support The empty home, the overwhelming grief, and the surrounding environmental changes that led to a serious move into writing The "creatives for hire" ad for a new magazine that caught Talena's eye the led to journalistic writing Applying that journalistic experience to Talena's inspirational blog How Talena divides up and prioritizes her time The value and importance of learning how to say no to certain projects The app Timely that helps Talena track the things she does (so you can stop lying to yourself) The quote that Talena has on her website: "The universe is made of stories, not of atoms." by Muriel Rukeyser   After the interview, Mark reflects on the importance of saying NO and in prioritizing the many tasks that often either fall onto a writer's plate, or come within a writer's horizon.   Links of Interest: Talena Winters - Website Talena's Blog article: Mark Leslie Lefebvre Finds His Voice An Author's Guide to Working with Libraries & Bookstores NaNoWriMo Episode 106 - Hybrid Publishing with Arthur Slade Episode 105 - Location Based Storytelling with VoiceMap Findaway Voices Patreon for Stark Reflections     Talena Winters is addicted to stories, tea, chocolate, yarn, and silver linings. She writes page-turning fiction for teens and adults in multiple genres, coaches other writers, has written several award-winning songs, designs knitting patterns under her label My Secret Wish, and is lead writer for Move Up magazine. She currently resides on an acreage in the Peace Country of northern Alberta, Canada, with her husband, three surviving boys, two dogs, and an assortment of farm cats. She would love to be a mermaid when she grows up.   The music for this podcast (“Laser Groove”) was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0

“To celebrate the waking, wake” Muriel Rukeyser

Robert A.F. Thurman is joined in this two part podcast by the Living/ Dying Project's Dale Borglum for a lively discussion of the miss titled "Tibetan Book of the Dead" and the place of gurus and fierce deities within the Buddhist perspective on the death process. Opening this week's podcast with a recommendation of the classic "Zen Flesh, Zen Bones: A Collection of Zen and Pre-Zen Writings" by Paul Reps and Nyogen Senzaki Professor Thurman elaborates the value of the creative imagination within Buddhism and all spiritual traditions. Second half of podcast includes a traditional guided Bardo meditation on the fierce and peaceful Bardo deities depicted in the "Tibetan Book of the Dead" led by Robert A.F. Thurman which includes: a discussion of the eight stages of dissolution, Buddhism's perspective on heaven, hell and fantastical realms of the afterlife, Dream Yoga, Lucid Dreaming and call to action for digital animators and film makers to engage in creative projects depicting the journey of life, death and beyond found in all spiritual traditions. This week's poetry segment podcast Gary Gach reads the poetry of Muriel Rukeyser. "Tibetan Book of the Dead : Fierce Deities, Friends & Gurus - Ep. 188 of the Bob Thurman Podcast photo by Mathew Schwartz on Unsplash. Dale Borglum founded and directed the Hanuman Foundation Dying Center in Santa Fe, New Mexico, the first residential facility in the United States to support conscious dying. Executive Director of the Living/Dying Project in Santa Fe & in the San Francisco Bay Area, Dale is the co-author with Ram Dass, Daniel Goleman and Dwarka Bonner of Journey of Awakening: A Meditator’s Guidebook, and has taught meditation since 1974. Dale lectures and gives workshops on the topics of meditation, healing, spiritual support for those with life-threatening illness, and on caregiving as spiritual practice. He has a doctorate degree from Stanford University. Gary Gregory Gach is an author, translator, and editor living in San Francisco. A dynamic speaker and teacher in the tradition of Thich Nhat Hanh’s Plum Village Community of Engaged Buddhism his works include the anthology “What Book!? Buddha Poems from Beat to Hiphop” and the forthcoming “Pause Breathe Smile – Awakening Mindfulness When Meditation is Not Enough”. "Tibetan Book of the Dead : Fierce Deities, Friends & Gurus" was recorded at Menla‘s Nalanda Conference Center in Phoenicia, New York during the Oct 31st 2015 Halloween Evening Discussion of the 2015 “Death & Deathlessness: Buddhist Insights and Practices for Life, Death & the In-Between Retreat” with Dale Borglum & Robert A.F. Thurman. To listen to more archive recordings from from past Robert A.F. Thurman teachings + public events please consider becoming a Tibet House US member. To learn about the benefits of Tibet House US Membership please visit: www.tibethouse.us. The song ‘Dancing Ling’ by Tenzin Choegyal from the album ‘Heart Sutra‘ (2004) by Ethno Super Lounge is used on the Bob Thurman Podcast with artist’s permission, all rights reserved.

Robert A.F. Thurman is joined in this two part podcast by the Living/ Dying Project’s Dale Borglum for a lively discussion of the miss titled “Tibetan Book of the Dead” and the place of gurus and fierce deities within the Buddhist perspective on the death process. Opening this week’s podcast with a recommendation of the classic “Zen Flesh, Zen Bones: A Collection of Zen and Pre-Zen Writings” by Paul Reps and Nyogen Senzaki Professor Thurman elaborates the value of the creative imagination within Buddhism and all spiritual traditions. Second half of podcast includes a traditional guided Bardo meditation on the fierce and peaceful Bardo deities depicted in the “Tibetan Book of the Dead” led by Robert A.F. Thurman which includes: a discussion of the eight stages of dissolution, Buddhism’s perspective on heaven, hell and fantastical realms of the afterlife, Dream Yoga, Lucid Dreaming and call to action for digital animators and film makers to engage in creative projects depicting the journey of life, death and beyond found in all spiritual traditions. This week’s poetry segment podcast Gary Gach reads the poetry of Muriel Rukeyser. “Tibetan Book of the Dead : Fierce Deities, Friends & Gurus – Ep. 188 of the Bob Thurman Podcast photo by Mathew Schwartz on Unsplash. Dale Borglum founded and directed the Hanuman Foundation Dying Center in Santa Fe, New Mexico, the first residential facility in the United States to support conscious dying. Executive Director of the Living/Dying Project in Santa Fe & in the San Francisco Bay Area, Dale is the co-author with Ram Dass, Daniel Goleman and Dwarka Bonner of Journey of Awakening: A Meditator’s Guidebook, and has taught meditation since 1974. Dale lecture

Mark Nepo is a poet and philosopher who, for over three decades, has been teaching in the fields of poetry and spirituality. As a cancer survivor, Mark remains committed to the usefulness of daily inner life. He devotes his writing and teaching to the journey of inner transformation and the life of relationship. He is the author of many books including Reduced To Joy (Cleis Press 2013), Seven Thousand Ways To Listen: Staying Close To What Is Sacred (Free Press 2012) and The One Life We're Given: Finding the Wisdom That Waits in Your heart (Atria Books 2016). His many audio learning courses include: Staying Awake (Sounds True 2012), Holding Nothing Back (Sounds True 2012), More Together Than Alone: Discovering the Power and Spirit of Community in Our Lives and in the World (Atria Books 2018)Tags: Mark Nepo, fear, divisiveness, courage, isolation, authenticity, scarcity, abundance, the Great Depression, storytelling, Muriel Rukeyser, Oprah Winfrey, Truth and Reconciliation Commission, Nelson Mandela, Archbishop Tutu, social aneurysms, optimism, Parkland Florida, compassion, Psychology, Philosophy, community, Personal Transformation, Buddhism, Social Change/Politics, Peace/Nonviolence

Wonders Still The World Shall Witness The world does not lack for wonders, said poet Muriel Rukeyser, only for a sense of wonder. John’s spiritual mentor, Dr. Jacob Trapp, wrote a hymn with the same title as his sermon. In the face of life’s inevitable changes, disappointments, and losses, how do we revive a sense of wonder? His text will come from a question the disciples of John posed to Jesus: Are you the one who is to come, or shall we wait for another? wondering, In what sense must each of us answer that question? Rev. John Buehrens, Senior Minister Rev. JD Benson, Assistant Minister Susan Anthony, Worship Associate Kathleen Quenneville, Moderator Mark Sumner, Music Director Reiko Oda Lane, Organist Jonathan Silk, OOS, Sound, Worship Archives/Podcast

Wonders Still The World Shall Witness The world does not lack for wonders, said poet Muriel Rukeyser, only for a sense of wonder. John’s spiritual mentor, Dr. Jacob Trapp, wrote a hymn with the same title as his sermon. In the face of life’s inevitable changes, disappointments, and losses, how do we revive a sense of wonder? His text will come from a question the disciples of John posed to Jesus: Are you the one who is to come, or shall we wait for another? wondering, In what sense must each of us answer that question? Rev. John Buehrens, Senior Minister Rev. JD Benson, Assistant Minister Susan Anthony, Worship Associate Kathleen Quenneville, Moderator Mark Sumner, Music Director Reiko Oda Lane, Organist Jonathan Silk, OOS, Sound, Worship Archives/Podcast

The poet Muriel Rukeyser once wrote that the Universe is made of stories, not of atoms. The American Masters Podcast brings you previously unreleased long-form interviews from the series' 30+ years of award-winning documentary films. Listen to host and series executive producer Michael Kantor preview just a few of the many enduring voices from our archive that have left an indelible impression on our cultural landscape. Come back soon to hear our first full episode and subscribe now!

All day I think about it, then at night I say it.
Where did I come from, and what am I supposed to be doing?
I have no idea.
My soul is from elsewhere, I’m sure of that,
and I intend to end up … Continue reading → The post THIS POEM: POETS SLOW DOWN TO CONSIDER THE QUESTIONS THAT MAKE US THANKFULLY HUMAN; THEY HAVE “NO IDEA” BUT THEY WRITE THE POEM ANYWAY AND THAT IS THE POINT, by Rumi, Randall Mann, Archibald MacLeish, Robert Frost, Billy Collins, Muriel Rukeyser, Emily Dickinson, Baudelaire, Pablo Neruda, Walt Whitman, and Professor Higgins, and more first appeared on Dr. Barbara Mossberg » Poetry Slowdown.

Award winning poet and translator Marilyn Hacker talks to Ryan about her love of and fascination for formal verse and how it can often be a stimulus for creativity. She chats about Muriel Rukeyser, how poets change over the years and how she believes poetry is a dialogue between other readers and writers. We also get the chance to hear her reading a few of her poems. Presented by Ryan Van Winkle. Produced by Colin Fraser of Anon Poetry Magazine http://www.anonpoetry.co.uk and @anonpoetry. Email: splpodcast@gmail.com

Archival recordings of poet Muriel Rukeyser, with an introduction to her life and work. Recorded in 1962 at the Library of Congress, Washington, DC.