Podcast appearances and mentions of Natasha Trethewey

The queens boil down the essence of some favorite poems and poets in this game that decides what poetry is *really* about.Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series.James's ROMANTIC COMEDY is available from Four Way Books.NOTES:Read the NY Times review of Michael Schmidt's The Lives of the PoetsListen to James Merrill read his poem "For Proust" and while we're on the subject, here's a madeleine recipe. For an examination of Bishop's sensible sensibility, go here. Watch Anne Carson read from Nox (~24 min).Here is a Galway Kinnell tribute reading from May 2015 which included Marie Howe and Sharon Olds (among others).Watch Dorianne Laux read "Trying to Raise the Dead" published in her book SmokeIn a New Yorker profile interview, Natasha Trethewey discusses Native Guard, and says that we have to remember "the nearly two hundred thousand African American soldiers who fought in the Civil War, who fought for their own freedom, who fought to preserve the Union rather than destroy the Union, to whom there are very few monuments erected. Just think how different the landscape of the South would be, and how differently we would learn about our Southern history, our shared American history, if we had monuments to those soldiers who won the war—who didn't lose the war but won the war to save the Union. Those are the monuments we need to have." Read the whole conversation and profile here.Here's a BBC4 adaptation of Browning's The Ring and the Book (~1 hour)Go here for more about George Meredith's sonnet sequence Modern Love.If you were looking for a free audio full-text version of Tennyson's In Memoriam read by Elizabeth Klatt, today's your lucky day. (~2.5 hours).

We are recording Season 3 of the Resilient Birth podcast. Meanwhile we have selected our favorite episodes for you. In this episode, Justine and Sarah interview Lacey Castilleja Fisher, a licensed professional counselor and registered play therapist. Lacey specializes in working with parents and parents-to-be who have experienced sexual trauma, as well as individuals dealing with a range of mental health issues. Lacey shares two quotes that resonate with her work: one by Natasha Trethewey about the importance of telling a story to heal from trauma, and another by Resmaa Menakem about the discomfort of healing. The conversation explores the power of storytelling, the use of sandtray therapy and expressive arts in therapy, and the personal experiences that led Lacey to her work. In this conversation, Lacey discusses how she creates safety in the sandtray experience. She emphasizes the importance of selecting diverse materials and figures, and speaking to the activating potential of the miniatures. Lacey also explains how she incorporates EMDR into sandtray therapy and adapts the practice for the perinatal population. She shares insights on finding and collecting miniatures, as well as the importance of open curiosity and not assuming the meaning behind a client's tray. The conversation highlights the power of storytelling and the versatility of expressive art therapy. Keywords: therapy, trauma, storytelling, sandtray therapy, expressive arts, perinatal trauma, birth trauma, EMDR, perinatal mental health, storytelling, expressive art therapy Takeaways Telling a story is an important part of healing from trauma. It allows individuals to process and integrate their experiences. But telling a story does not have to be verbal. Sandtray therapy and expressive arts can be powerful tools in therapy, providing a nonverbal and creative way for clients to explore and express their emotions and experiences. The journey of parenthood can bring up feelings of uncertainty and self-doubt, especially for individuals with their own trauma history. EMDR can be incorporated into sandtray therapy. Adapting sandtray therapy for the perinatal population involves gaining expertise in perinatal mental health and being thoughtful about the miniatures that represent the different feelings and experiences during the perinatal period. Open curiosity and not assuming the meaning behind a client's tray are important aspects of facilitating the therapy. Storytelling in sand tray therapy goes beyond verbal expression and includes the selection and creation of scenes in the tray. Sound Bites "No words are off limits. No stories are off limits." "The expressive arts and sandtray therapy allow different parts that are closed off to open up." Chapters 00:00 Introduction and Guest Introduction 01:24 The Power of Storytelling and Quotes 06:21Using Sandtray Therapy and Expressive Arts 10:00 Introduction to Sandtray Therapy 12:09 Working with Non-Verbal Parts and Sensations 17:01 The Process of Building and Creating in Therapy 21:47 Personal Experience and Trauma-Informed Work 27:28 Creating Safety in the Sandtray Experience 30:05 Incorporating EMDR into Sandtray Therapy 33:28 Adapting Sandtray Therapy for the Perinatal Population 36:28 Finding and Collecting Miniatures 39:36 Facilitating Open Curiosity 42:46 The Power of Storytelling in Sandtray Therapy On the Resilient Birth podcast, Justine and Sarah explore the impact of trauma across the perinatal period, from trying-to-conceive to pregnancy, from childbirth to postpartum and parenting. Through an inspirational quote that drives our weekly conversations about trauma and healing, Justine and Sarah explore topics such as birth trauma, parenting as a survivor, and finding healing with vulnerability and compassion that support birthing people and birth professionals. Each week, listeners leave with takeaways to utilize in their lives and/or clients. Justine and Sarah hold the stories they share with honor and respect with the hope to impart knowledge, increase understanding, and bear witness to this challenging topic. Sarah is a licensed mental health counselor, educator, and mom of three. She walks with a story of trauma from before and as a result of her perinatal experience. Justine supports survivors of trauma through perinatal coaching and childbirth education. As well as being a mother of three, she holds a Ph.D. on representations of consent and sexual violence. Learn more about Sarah and Justine's course called Trauma Informed Fundamentals here: https://resilient-birth.mykajabi.com/traumainformedfundamentals Lacey Castilleja Fisher, LPC-S, RPT-S, PMH-C, is a Licensed Professional Counselor-Supervisor, Registered Play Therapist-Supervisor and a Certified Mental Health Professional with a mental health private practice in southwest Austin. Lacey has worked in a variety of settings including in a Children's Advocacy Center to provide counseling to children that experienced sexual abuse and their families, and she decided to take the experience she had there and apply it to private practice. She built her practice around supporting children and adults that had experienced sexual abuse/assault and found a passion working with parents and parents to be when their sexual trauma was activated in the perinatal period. This led to Lacey learning as much as she could about perinatal trauma, pregnancy and infant loss, NICU trauma and fertility struggles. Lacey finds that the parents she works with respond well to EMDR, IFS and sandtray therapy at her counseling practice. Lacey has served as the Clinical Director for the Pregnancy and Postpartum Health Alliance of Texas and now serves on their advisory board. Lacey has shared this article with us about sand tray therapy (https://wjstp-ojs-txstate.tdl.org/wjstp/article/view/25), as well as an upcoming workshop she is hosting called "Storytelling in the Sand: Using Sandtray Therapy to Cope with Perinatal Trauma and Loss: http://www.openheartcounselingatx.com/store/p2/storytellinginthesand.html.

“Being able to be here and to tell this story—to weep about it occasionally—that is uplifting because what the story says is: ‘I'm still here. I have survived it. I have joy in my life because I have known such depths of despair.' That is uplifting.” So says Natasha Tretheway, a Pulitzer Prize winner who has authored several books and served two terms as the Poet Laureate of the United States. Tretheway and Moore discuss their respective familial connections to the state of Mississippi, Hurricane Katrina, and the Gulf Coast. They talk about Tretheway's lifelong desire to write, her experience as a mixed-race person, and her thoughts on belonging, grief, and faith.  Their conversation welcomes all who long for community, creativity, and clarity. Questions addressed during this episode include: Natasha Trethewey Memorial Drive: A Daughter's Memoir by Natasha Tretheway Beyond Katrina: A Meditation on the Mississippi Gulf Coast by Natasha Tretheway Native Guard: Poems by Natasha Trethewey Providence by Natasha Trethewey “Pulitzer Prize Winner Trethewey Discusses Poetry Collection” Elizabeth Sewell Often I Am Permitted to Return to a Meadow by Robert Duncan “The Battle Hymn of the Republic” by Julia Ward Howe The House of Being (Why I Write) by Natasha Tretheway A Grief Observed by C.S. Lewis Michiko Dead by Jack Gilbert Theories of Time and Space by Natasha Trethewey Cosmic Connections: Poetry in the Age of Disenchantment by Charles Taylor Seamus Heaney Toni Morrison The Sea by John Banville Click here for a trial subscription at Christianity Today. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In How We Write Now: Living with Black Feminist Theory (Duke UP, 2024), Jennifer C. Nash examines how Black feminists use beautiful writing to allow writers and readers to stay close to the field's central object and preoccupation: loss. She demonstrates how contemporary Black feminist writers and theorists such as Jesmyn Ward, Elizabeth Alexander, Christina Sharpe, and Natasha Trethewey mobilize their prose to ask readers to feel, undo, and reassemble themselves. These intimate invitations are more than a set of tools for decoding the social world; Black feminist prose becomes a mode of living and feeling, dreaming and being, and a distinctly affective project that treats loss as not only paradigmatic of Black life but also an aesthetic question. Through her own beautiful writing, Nash shows how Black feminism offers itself as a companion to readers to chart their own lives with and in loss, from devastating personal losses to organizing around the movement for Black lives. Charting her own losses, Nash reminds us that even as Black feminist writers get as close to loss as possible, it remains a slippery object that troubles memory and eludes capture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In How We Write Now: Living with Black Feminist Theory (Duke UP, 2024), Jennifer C. Nash examines how Black feminists use beautiful writing to allow writers and readers to stay close to the field's central object and preoccupation: loss. She demonstrates how contemporary Black feminist writers and theorists such as Jesmyn Ward, Elizabeth Alexander, Christina Sharpe, and Natasha Trethewey mobilize their prose to ask readers to feel, undo, and reassemble themselves. These intimate invitations are more than a set of tools for decoding the social world; Black feminist prose becomes a mode of living and feeling, dreaming and being, and a distinctly affective project that treats loss as not only paradigmatic of Black life but also an aesthetic question. Through her own beautiful writing, Nash shows how Black feminism offers itself as a companion to readers to chart their own lives with and in loss, from devastating personal losses to organizing around the movement for Black lives. Charting her own losses, Nash reminds us that even as Black feminist writers get as close to loss as possible, it remains a slippery object that troubles memory and eludes capture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In How We Write Now: Living with Black Feminist Theory (Duke UP, 2024), Jennifer C. Nash examines how Black feminists use beautiful writing to allow writers and readers to stay close to the field's central object and preoccupation: loss. She demonstrates how contemporary Black feminist writers and theorists such as Jesmyn Ward, Elizabeth Alexander, Christina Sharpe, and Natasha Trethewey mobilize their prose to ask readers to feel, undo, and reassemble themselves. These intimate invitations are more than a set of tools for decoding the social world; Black feminist prose becomes a mode of living and feeling, dreaming and being, and a distinctly affective project that treats loss as not only paradigmatic of Black life but also an aesthetic question. Through her own beautiful writing, Nash shows how Black feminism offers itself as a companion to readers to chart their own lives with and in loss, from devastating personal losses to organizing around the movement for Black lives. Charting her own losses, Nash reminds us that even as Black feminist writers get as close to loss as possible, it remains a slippery object that troubles memory and eludes capture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In How We Write Now: Living with Black Feminist Theory (Duke UP, 2024), Jennifer C. Nash examines how Black feminists use beautiful writing to allow writers and readers to stay close to the field's central object and preoccupation: loss. She demonstrates how contemporary Black feminist writers and theorists such as Jesmyn Ward, Elizabeth Alexander, Christina Sharpe, and Natasha Trethewey mobilize their prose to ask readers to feel, undo, and reassemble themselves. These intimate invitations are more than a set of tools for decoding the social world; Black feminist prose becomes a mode of living and feeling, dreaming and being, and a distinctly affective project that treats loss as not only paradigmatic of Black life but also an aesthetic question. Through her own beautiful writing, Nash shows how Black feminism offers itself as a companion to readers to chart their own lives with and in loss, from devastating personal losses to organizing around the movement for Black lives. Charting her own losses, Nash reminds us that even as Black feminist writers get as close to loss as possible, it remains a slippery object that troubles memory and eludes capture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In How We Write Now: Living with Black Feminist Theory (Duke UP, 2024), Jennifer C. Nash examines how Black feminists use beautiful writing to allow writers and readers to stay close to the field's central object and preoccupation: loss. She demonstrates how contemporary Black feminist writers and theorists such as Jesmyn Ward, Elizabeth Alexander, Christina Sharpe, and Natasha Trethewey mobilize their prose to ask readers to feel, undo, and reassemble themselves. These intimate invitations are more than a set of tools for decoding the social world; Black feminist prose becomes a mode of living and feeling, dreaming and being, and a distinctly affective project that treats loss as not only paradigmatic of Black life but also an aesthetic question. Through her own beautiful writing, Nash shows how Black feminism offers itself as a companion to readers to chart their own lives with and in loss, from devastating personal losses to organizing around the movement for Black lives. Charting her own losses, Nash reminds us that even as Black feminist writers get as close to loss as possible, it remains a slippery object that troubles memory and eludes capture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In How We Write Now: Living with Black Feminist Theory (Duke UP, 2024), Jennifer C. Nash examines how Black feminists use beautiful writing to allow writers and readers to stay close to the field's central object and preoccupation: loss. She demonstrates how contemporary Black feminist writers and theorists such as Jesmyn Ward, Elizabeth Alexander, Christina Sharpe, and Natasha Trethewey mobilize their prose to ask readers to feel, undo, and reassemble themselves. These intimate invitations are more than a set of tools for decoding the social world; Black feminist prose becomes a mode of living and feeling, dreaming and being, and a distinctly affective project that treats loss as not only paradigmatic of Black life but also an aesthetic question. Through her own beautiful writing, Nash shows how Black feminism offers itself as a companion to readers to chart their own lives with and in loss, from devastating personal losses to organizing around the movement for Black lives. Charting her own losses, Nash reminds us that even as Black feminist writers get as close to loss as possible, it remains a slippery object that troubles memory and eludes capture. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Justine and Sarah interview Lacey Castilleja Fisher, a licensed professional counselor and registered play therapist. Lacey specializes in working with parents and parents-to-be who have experienced sexual trauma, as well as individuals dealing with a range of mental health issues. Lacey shares two quotes that resonate with her work: one by Natasha Trethewey about the importance of telling a story to heal from trauma, and another by Resmaa Menakem about the discomfort of healing. The conversation explores the power of storytelling, the use of sandtray therapy and expressive arts in therapy, and the personal experiences that led Lacey to her work. In this conversation, Lacey discusses how she creates safety in the sandtray experience. She emphasizes the importance of selecting diverse materials and figures, and speaking to the activating potential of the miniatures. Lacey also explains how she incorporates EMDR into sandtray therapy and adapts the practice for the perinatal population. She shares insights on finding and collecting miniatures, as well as the importance of open curiosity and not assuming the meaning behind a client's tray. The conversation highlights the power of storytelling and the versatility of expressive art therapy. Keywords: therapy, trauma, storytelling, sandtray therapy, expressive arts, perinatal trauma, birth trauma, EMDR, perinatal mental health, storytelling, expressive art therapy Takeaways Telling a story is an important part of healing from trauma. It allows individuals to process and integrate their experiences. But telling a story does not have to be verbal. Sandtray therapy and expressive arts can be powerful tools in therapy, providing a nonverbal and creative way for clients to explore and express their emotions and experiences. The journey of parenthood can bring up feelings of uncertainty and self-doubt, especially for individuals with their own trauma history. EMDR can be incorporated into sandtray therapy. Adapting sandtray therapy for the perinatal population involves gaining expertise in perinatal mental health and being thoughtful about the miniatures that represent the different feelings and experiences during the perinatal period. Open curiosity and not assuming the meaning behind a client's tray are important aspects of facilitating the therapy. Storytelling in sand tray therapy goes beyond verbal expression and includes the selection and creation of scenes in the tray. Sound Bites "No words are off limits. No stories are off limits." "The expressive arts and sandtray therapy allow different parts that are closed off to open up." Chapters 00:00 Introduction and Guest Introduction 01:24 The Power of Storytelling and Quotes 06:21Using Sandtray Therapy and Expressive Arts 10:00 Introduction to Sandtray Therapy 12:09 Working with Non-Verbal Parts and Sensations 17:01 The Process of Building and Creating in Therapy 21:47 Personal Experience and Trauma-Informed Work 27:28 Creating Safety in the Sandtray Experience 30:05 Incorporating EMDR into Sandtray Therapy 33:28 Adapting Sandtray Therapy for the Perinatal Population 36:28 Finding and Collecting Miniatures 39:36 Facilitating Open Curiosity 42:46 The Power of Storytelling in Sandtray Therapy On the Resilient Birth podcast, Justine and Sarah explore the impact of trauma across the perinatal period, from trying-to-conceive to pregnancy, from childbirth to postpartum and parenting. Through an inspirational quote that drives our weekly conversations about trauma and healing, Justine and Sarah explore topics such as birth trauma, parenting as a survivor, and finding healing with vulnerability and compassion that support birthing people and birth professionals. Each week, listeners leave with takeaways to utilize in their lives and/or clients. Justine and Sarah hold the stories they share with honor and respect with the hope to impart knowledge, increase understanding, and bear witness to this challenging topic. Sarah is a licensed mental health counselor, educator, and mom of three. She walks with a story of trauma from before and as a result of her perinatal experience. Justine supports survivors of trauma through perinatal coaching and childbirth education. As well as being a mother of three, she holds a Ph.D. on representations of consent and sexual violence. Learn more about Sarah and Justine's course called Trauma Informed Fundamentals here: https://resilient-birth.mykajabi.com/traumainformedfundamentals Lacey Castilleja Fisher, LPC-S, RPT-S, PMH-C, is a Licensed Professional Counselor-Supervisor, Registered Play Therapist-Supervisor and a Certified Mental Health Professional with a mental health private practice in southwest Austin. Lacey has worked in a variety of settings including in a Children's Advocacy Center to provide counseling to children that experienced sexual abuse and their families, and she decided to take the experience she had there and apply it to private practice. She built her practice around supporting children and adults that had experienced sexual abuse/assault and found a passion working with parents and parents to be when their sexual trauma was activated in the perinatal period. This led to Lacey learning as much as she could about perinatal trauma, pregnancy and infant loss, NICU trauma and fertility struggles. Lacey finds that the parents she works with respond well to EMDR, IFS and sandtray therapy at her counseling practice. Lacey has served as the Clinical Director for the Pregnancy and Postpartum Health Alliance of Texas and now serves on their advisory board. Lacey has shared this article with us about sand tray therapy (https://wjstp-ojs-txstate.tdl.org/wjstp/article/view/25), as well as an upcoming workshop she is hosting called "Storytelling in the Sand: Using Sandtray Therapy to Cope with Perinatal Trauma and Loss: http://www.openheartcounselingatx.com/store/p2/storytellinginthesand.html.

Die preisgekrönte amerikanische Lyrikerin Natasha Trethewey, deren afro-amerikanische Mutter 1985 von ihrem Ex-Mann ermordet wurde, möchte in ihrem autobiografischen Buch „Memorial Drive. Erinnerungen einer Tochter“ der Geschichte ihrer Mutter Bedeutung und Sinn geben. Rezension von Claudia Fuchs

Today's poem is Illumination by Natasha Trethewey. The Slowdown is your daily poetry ritual. In this episode, Major writes… “Today's elegant poem reads like a manifesto for those who rigorously annotate. For those who know that marking a book renders visible silent conversations.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

Planet Poet-Words in Space – NEW PODCAST!  LISTEN to my WIOX show (originally aired May 7th, 2024) featuring teacher, editor, poet and writer, Nancy Merritt Bell.  How do you teach young children to write poetry?  Nancy shares her methods and also reads from works she has edited and written specifically for children.  The show also features Pamela Manché Pearce, Planet Poet's Poet-at-Large, who brings us Natasha Trethewey's Bellocq's Ophelia. Visit: Sharonisraelpoet.com.  Nancy Merritt Bell is the great-great-great- grand-niece of the poet Christopher Smart, and also a writer, book editor and poet.  Nancy grew up in the 60's in Athens, Greece, and Tucson, Arizona and then moved to Toronto, Canada.  Her two beatnik parents didn't allow her to watch TV, so what better to do but read? Everyone had to recite poems by heart on birthdays and special events, and long car rides – which was often as Canada is a big country and all car rides are long. This came in handy when Nancy studied epic poetry at the University of Toronto and did graduate work at New York University. Nancy underwrote her academic career by successfully working in development on a dozen TV series, including the Emmy-winning Anne of Avonlea, The Odyssey and Degrassi, and writing as many plays, such as The Mean Time at the Centre Pompidou, Paris. In 2006, Nancy edited William Loizeaux's prize-winning kids' book WINGS! After moving to Brooklyn, Nancy went on to edit 20 books, including four by her husband, author Michael McKinley, with the most recent one, Diamond Dust, coming out in July. Nancy is currently editing the collected works of the poet Callum Tichenor, and also a collection of children's poetry by Sara Fymme, as well as Sara's chapter book for kids in verse, Invisible Isabel.

Natasha Trethewey ist neunzehn Jahre alt, als sich ihr Leben für immer verändert: ihr ehemaliger Stiefvater erschießt ihre Mutter. Heute stellt sich die Dichterin die Frage, wie diese Erfahrung sie zu der Künstlerin geformt hat, die sie geworden ist. Katharina Döbler stellt das Buch vor.

Steve Almond is the author of twelve books of fiction and nonfiction, including the New York Times bestsellers Candyfreak and Against Football. You can check those out here. His recent books include the novel All the Secrets of the World, which has been optioned for television by 20th Century Fox, and William Stoner and the Battle for the Inner Life. For four years, Steve hosted the New York Times Dear Sugars podcast with his pal Cheryl Strayed. He is the recipient of a 2022 NEA grant in fiction, and his short stories have been anthologized in the Best American Short Stories, The Pushcart Prize, Best American Erotica, and Best American Mysteries series. He also publishes crazy, DIY books. His latest is Truth is the Arrow, Mercy is the Bow: A DIY Manual for the Construction of Stories. He joins Marrie Stone to talk about it, including what this book adds to the conversation of craft. Steve also shares several of the books he's found useful in his own creative endeavors including A Burning by Megha Majumdar, The Wife by Meg Wolitzer, Wild by Cheryl Strayed and Memorial Drive by Natasha Trethewey. They talk about why childhood experiences consistently provide writers their material, and how to recognize when you're being authentically true to your story versus performing for your audience. They also discuss elements of plot, character, managing time in fiction, writers block, and more. For more information on Writers on Writing and extra writing perks, visit our Patreon page. To listen to past interviews, visit our website. Support the show by buying books at our bookstore on bookshop.org. We've stocked it with titles from our guests, as well as some of our personal favorites. You'll support independent bookstores and our show by purchasing through the store. Finally, on Spotify listen to an album's worth of typewriter music like what you hear on the show. Look for the artist, Just My Type. Email the show at writersonwritingpodcast@gmail.com. We love to hear from our listeners. (Recorded on April 1, 2024) Host: Barbara DeMarco-Barrett Host: Marrie Stone Music and sound editing: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

Happy belated New Year! We return fashionably late with a behemoth of an episode to discuss each of our top 10 books of 2023, a few extra superlatives (scariest book, anyone?), and some reading goals for 2024. Tune in for fantasy fiction, gothic literature, romance novels, unexpected favorites, and only a little bit of human sacrifice.    (Also, Lulu would like to mention that she forgot to mention Emily Carroll's works when discussing graphic novels, but they're all very creepy and amazing. Additionally, we ran out of time for her to discuss poetry, but Native Guard by Natasha Trethewey, The Renunciations by Donika Kelly, and Water & Salt by Lena Khalaf Tuffaha were her favorite books of poetry read last year.)   Content warnings: discussions of slavery (27:47-31:05), domestic abuse (31:06-33:08), and depression/suicidal ideation (58:18-1:03:18)

This podcast is sponsored by the California Civil Liberties Public Education Program, a state-funded grant project of the California State Library.Based on Natasha Trethewey's collection of poems, The Alliance Theatre's production of Native Guard is both an elegy to her mother and a journey into Mississippi's Civil War history. Trethewey's work was the winner of the 2007 Pulitzer Prize in Poetry. This recording was produced with the generous support of The Poetry Foundation.Recorded at The Invisible Studios, West Hollywood in July 2018.Directed by Rosalind AyresProducing Director: Susan Albert LoewenbergNeal A. Ghant as The Native GuardJanuary LaVoy as The PoetNicole Banks Long as VocalistTyrone Jackson as Keyboard/Composer/Music DirectorAssociate Artistic Director: Anna Lyse EriksonAssociate Producer, Studio Production Coordinator, and Mixing Engineer: Mark Holden for The Invisible Studios, West HollywoodSenior Radio Producer: Ronn LipkinProduction Assistant: Amanda AllenRecording Engineer: Erick CifuentesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This podcast is sponsored by the California Civil Liberties Public Education Program, a state-funded grant project of the California State Library.Based on Natasha Trethewey's collection of poems, The Alliance Theatre's production of Native Guard is both an elegy to her mother and a journey into Mississippi's Civil War history. Trethewey's work was the winner of the 2007 Pulitzer Prize in Poetry. This recording was produced with the generous support of The Poetry Foundation.Recorded at The Invisible Studios, West Hollywood in July 2018.Directed by Rosalind AyresProducing Director: Susan Albert LoewenbergNeal A. Ghant as The Native GuardJanuary LaVoy as The PoetNicole Banks Long as VocalistTyrone Jackson as Keyboard/Composer/Music DirectorAssociate Artistic Director: Anna Lyse EriksonAssociate Producer, Studio Production Coordinator, and Mixing Engineer: Mark Holden for The Invisible Studios, West HollywoodSenior Radio Producer: Ronn LipkinProduction Assistant: Amanda AllenRecording Engineer: Erick CifuentesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This podcast is sponsored by the California Civil Liberties Public Education Program, a state-funded grant project of the California State Library.Based on Natasha Trethewey's collection of poems, The Alliance Theatre's production of Native Guard is both an elegy to her mother and a journey into Mississippi's Civil War history. Trethewey's work was the winner of the 2007 Pulitzer Prize in Poetry. This recording was produced with the generous support of The Poetry Foundation.Recorded at The Invisible Studios, West Hollywood in July 2018.Directed by Rosalind AyresProducing Director: Susan Albert LoewenbergNeal A. Ghant as The Native GuardJanuary LaVoy as The PoetNicole Banks Long as VocalistTyrone Jackson as Keyboard/Composer/Music DirectorAssociate Artistic Director: Anna Lyse EriksonAssociate Producer, Studio Production Coordinator, and Mixing Engineer: Mark Holden for The Invisible Studios, West HollywoodSenior Radio Producer: Ronn LipkinProduction Assistant: Amanda AllenRecording Engineer: Erick CifuentesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Read the text for this piece on the MQR website. Note about the poem from Melissa Range for MQR's Fall 2023 issue "Transversions": In the decade I've spent working on my poetry collection Printer's Fist, which is about the abolitionist movement in eighteenth and nineteenth century America, I have dug through archives both digital and physical. One of my areas of investigation has been print culture within the movement, and thus I've done a great deal of research on nineteenth century abolitionist newspapers. Enslavers also used newspapers for their own sinister purposes, of course. The sheer number of "Ran Away from the Subscriber" advertisements in eighteenth and nineteenth century newspapers is staggering and sobering. In my research, I looked at many of these advertisements, as well, finding in them important stories of resistance and self-emancipation. There's a great database called Freedom on the Move if you'd like to learn more. I first learned about the girl identified as Juno (most certainly not her real name) from an article by Karen Cook Bell, “Black Women's Fugitivity in Colonial America,” published on the Black Perspectives section of the African American Intellectual History Society. Using the database Newspapers.com, I was able to find the original runaway ad for Juno, published in the South Carolina Gazette, July 28, 1733. All italicized language in the poem is from this advertisement. Again following Bell's lead, I consulted the database Slave Voyages for information on the voyages of the slave ship Speaker, captained by Henry Flower. The “place of purchase” for the Speaker's 1733 voyage is listed in this database as Cabinda, which in the current day is a state in Angola.  I also learned from this same Gazette issue that the Speaker departed, en route to London, two weeks after it had docked in Charleston. The Speaker made additional slaving voyages after this one, according to the Slave Voyages database. While I was working on the poem, it fell somewhat naturally into the form of a mirror poem (I'd been reading a lot of Natasha Trethewey and Adrienne Su, two amazing practitioners of that form). I think the form fits the themes of journeying and reversals that are present in the poem.

As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

"I tried to make something that I would have needed. And because that's what I tried to make, I'm hoping readers read something that they need. You know, that's the joy of books, that you come across something that you needed that you didn't even know you needed.In order to make what you make, you have to use what you have. You have to submerge yourself, immerse yourself in what you know, in your own vernacular, in your own tone, in your own belief, in your own way of doing things and telling stories. And that's how the writing can get done."How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University.www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University."As writers, it's our job to write what will become clichés. Not to write clichés, but to be original enough that we make something that people are still saying for hundreds of years to come. And if that's what you're doing, that's pretty powerful. When I'm writing a poem I'm making a world. And if I can stick to that, then I have to believe that once a poem is out in the world, another world has been made, another way of living, another way of thinking, another way of seeing things."www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Page Turner, an acclaimed artist, recently showed her art at the "Affiliation Show" at the National Arts Club in New York City. Page has worked with Artemis Journal for three years, and her ability to pair art and poetry is phenomenal! In this interview, Jeri Rogers explores how the layout comes into being with her creative skills. "This year's theme is "transformative nature"Change is the only constant, as they say, and to begin envisioning a more equitable, weird, and wonderful future for all, our journal encourages work that moves beyond narrow conceptions of both gender and environment. The Greek Lunar Goddess, Artemis, is our journal's perpetual muse. She protects wild animals, the wilderness, women, and children. This year, allow Artemis' light to illuminate new pathways prioritizing the wild over the well-tread.Artemis Journal has many artists and writers, some first published, and others are well-known in their fields. We are honored to include the work of former US Poet laureate Natasha Trethewey, Virginia Poet Laureates Ron Smith and Carolyn Kreiter-Foronda, and artists Betty Branch, Steven Kenny, Michele Sons, Starroot, Sam Krisch, and Susan Saandholland.         Artemis donates 10% of journal sales earnings to a women's shelter for abused            women in Southwest Virginia.

How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University."I would like for young people to understand just how powerful they are, just how much what they do matters, that they really can make changes that change themselves and change their communities. Change readership, change what a readership can be. Change people's ideas about what a writer might look like, for instance. That we do have agency, that we do have power, that we can make differences."www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I would like for young people to understand just how powerful they are, just how much what they do matters, that they really can make changes that change themselves and change their communities. Change readership, change what a readership can be. Change people's ideas about what a writer might look like, for instance. That we do have agency, that we do have power, that we can make differences."How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University.www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University."I put this craft book together to create an opportunity for that advice, for those role models, for that access. And I think that what I'm grateful for about this book is that it is the book that I would have wanted back when I was a 19-year-old kid telling people I wish I was a writer. So, I think that's the real crux of the book."www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I put this craft book together to create an opportunity for that advice, for those role models, for that access. And I think that what I'm grateful for about this book is that it is the book that I would have wanted back when I was a 19-year-old kid telling people I wish I was a writer. So, I think that's the real crux of the book."How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University.www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"This is a book for anyone who is a student of the craft. More particularly, though, this is a book for younger and newer Black writers in undergraduate and graduate workshops and in absolutely no workshop at all. We hope teachers find these words useful for their students, and we hope students who have yet to find their teachers learn from these thirty-two pieces born out of absolute generosity and hope for the future of Black writing."How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University.www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University."This is a book for anyone who is a student of the craft. More particularly, though, this is a book for younger and newer Black writers in undergraduate and graduate workshops and in absolutely no workshop at all. We hope teachers find these words useful for their students, and we hope students who have yet to find their teachers learn from these thirty-two pieces born out of absolute generosity and hope for the future of Black writing."www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University."And so one of the wonderful things that happen in the book is these writers aren't just writers, they're readers. So when they're talking about the work they love in their essays, they didn't know they were going to be in a book with some of these other people, but they end up discussing the work of other people who are in the book. And because they're doing that, the book ends up creating this web, which I think lets readers know just how intricate the world of influence really is for a writer, and how you get different things from different people along the way."www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"And so one of the wonderful things that happen in the book is these writers aren't just writers, they're readers. So when they're talking about the work they love in their essays, they didn't know they were going to be in a book with some of these other people, but they end up discussing the work of other people who are in the book. And because they're doing that, the book ends up creating this web, which I think lets readers know just how intricate the world of influence really is for a writer, and how you get different things from different people along the way."How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University.www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University."So you're afraid to change cause you don't want people to call you strange. So I sort of get that. But I grew up in a very different situation. I'm actually always surprised that I'm even in communication with my parents at all. I didn't think anybody in my family would want to have anything to do with me cause that was the message I got from the world when I was a kid, that people do not want to have anything to do with queer people other than queer people. That was what I understood, that queer people themselves didn't even want to have anything to do with one another. And so I was putting myself in training, you know, from the age when I figured out that I was into guys, which was very young. When I was in elementary school, I was in training for the day I leave my parents' house, they find out I'm gay and never speak to me again.Now, that's not how things went, but if you have that idea, if you already have the idea that everyone in your life is going to reject you, then that makes it easier to write your trauma because you don't think you have anything to lose. And part of our fear about writing that which is intimate or personal or traumatic has to do with the fact that we are afraid that, yeah, I'll have the good piece of writing, but I lose this really wonderful relationship in my real life, and I don't want to lose my relationships.Moving forward in time, I think it's different for me now. And I think it's easier for me to write into a kind of risk because I have trained myself to a point where I don't think about that risk as I am writing. I put myself in a position where I only have to think about that risk once I am at a point in a draft. And by that time the poem is so good, I don't care about that relationship. But in the beginning, as I was saying to Mia earlier, my goal is lines. Oh, that sounds good! Oh, that sounds good. Oh, this is interesting. Oh, I might be able to use this piece. If you take things down to the word, to the fragment, to the line, in some cases, to the sentence, to the paragraph, and you start putting things together, then you can begin to put them together because they go together, not cause they're about you in any particular way."www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"So you're afraid to change cause you don't want people to call you strange. So I sort of get that. But I grew up in a very different situation. I'm actually always surprised that I'm even in communication with my parents at all. I didn't think anybody in my family would want to have anything to do with me cause that was the message I got from the world when I was a kid, that people do not want to have anything to do with queer people other than queer people. That was what I understood, that queer people themselves didn't even want to have anything to do with one another. And so I was putting myself in training, you know, from the age when I figured out that I was into guys, which was very young. When I was in elementary school, I was in training for the day I leave my parents' house, they find out I'm gay and never speak to me again.Now, that's not how things went, but if you have that idea, if you already have the idea that everyone in your life is going to reject you, then that makes it easier to write your trauma because you don't think you have anything to lose. And part of our fear about writing that which is intimate or personal or traumatic has to do with the fact that we are afraid that, yeah, I'll have the good piece of writing, but I lose this really wonderful relationship in my real life, and I don't want to lose my relationships.Moving forward in time, I think it's different for me now. And I think it's easier for me to write into a kind of risk because I have trained myself to a point where I don't think about that risk as I am writing. I put myself in a position where I only have to think about that risk once I am at a point in a draft. And by that time the poem is so good, I don't care about that relationship. But in the beginning, my goal is lines. Oh, that sounds good! Oh, that sounds good. Oh, this is interesting. Oh, I might be able to use this piece. If you take things down to the word, to the fragment, to the line, in some cases, to the sentence, to the paragraph, and you start putting things together, then you can begin to put them together because they go together, not cause they're about you in any particular way."How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University.www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University."I tried to make something that I would have needed. And because that's what I tried to make, I'm hoping readers read something that they need. You know, that's the joy of books, that you come across something that you needed that you didn't even know you needed.In order to make what you make, you have to use what you have. You have to submerge yourself, immerse yourself in what you know, in your own vernacular, in your own tone, in your own belief, in your own way of doing things and telling stories. And that's how the writing can get done."www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University."This is a book I wish existed 20 years ago. I would have led an easier life if it had. I want you to have what I always wanted. Here is an anthology that gives us modes to try on the way we might wear and change clothing. And these wonderful writers are proof that nothing ever beat a failure but a try.In order to make what you make, you have to use what you have. You have to submerge yourself, immerse yourself in what you know, in your own vernacular, in your own tone, in your own belief, in your own way of doing things and telling stories. And that's how the writing can get done."www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"This is a book I wish existed 20 years ago. I would have led an easier life if it had. I want you to have what I always wanted. Here is an anthology that gives us modes to try on the way we might wear and change clothing. And these wonderful writers are proof that nothing ever beat a failure but a try.In order to make what you make, you have to use what you have. You have to submerge yourself, immerse yourself in what you know, in your own vernacular, in your own tone, in your own belief, in your own way of doing things and telling stories. And that's how the writing can get done."How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown's first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University.www.jerichobrown.comwww.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Polish your crystal balls and buckle up, ladies! We get downright divinatory with Maureen Seaton leading the charge.As always, please consider supporting the poets and writers we mention in the episode and buying indie! Breaking Form recommends Loyalty Booksellers, a Black-owned DC-area indie bookshop. Peruse them here. Taurus poets mentioned in the Fact Check include Phillis Wheatley, Yannis Ritsos, Robert Browning, Joy Harjo, Natasha Trethewey, Randall Jarrell, Carolyn Forche, William Shakespeare, Jayne Cortez, and Aurelia Plath.The archetype card deck we used in the podcast is "The Wild Unknown: Archetypes," deck and guidebook by Kim Krans, inpsired by Carl G. Jung.  Two others that Maureen uses and recommends are "The Goddess Oracle," by Amy Sophia Marashinsky, illustrated by Hrana Janto; and "Daughters of the Moon Tarot," by Fiona Morgan. Sylvia Plath's poem is simply called “Mirror” and it begins, “I am silver and exact. I have no preconceptions./ Whatever I see I swallow immediately ....” Read it here.  Jewelle Gomez is a Virgo, born Sept. 11. Watch her give a reading on her birthday here (~12 min).Kairos is Greek for “right time” or “season” and in modern parlance describes a rhetorical strategy that considers the timeliness of a message and its place in the zeitgeist. Like when we say, “In a patricia? During a panorama? In this economy?” We're employing kairos. With thanks to the viral tik-tok user @hotdaddyissues, who's original video can be found here. The poet Christopher Deweese writes and edits The Weather Channel's very entertaining Morning Brief. To sign up for the newsletter and learn delightful and informative things about weather every day, go here.The Bangels's “Eternal Flame” was co-written by lead singer Susanna Hoffs for their 1988 album Everything. Watch the video here. 

Dig if you will a picture: Rita Dove, Prince, and an infidel poet.Prince released over 39 of his own albums and won seven Grammy Awards, a Golden Globe, and an Academy Award. He was inducted into the Rock & Roll Hall of Fame the first year he was eligible (2004). In 1993, Prince announced his desire to go by "an unpronounceable symbol whose meaning has not been identified. It's all about thinking in new ways, tuning in 2 a new free-quency," he wrote in a statement at the time. He was born June 7, 1958 and died April 21, 2016. Rita Dove was born August 28, 1952. In 1987, she won the Pulitzer in Poetry for Thomas and Beulah (becoming only the 2nd African American to win that award, after Gwendolyn Brooks in 1950). She was US Poet Laureate from 1999-2000. Since 1989, she has taught at the University of Virginia in Charlottesville.Watch Rita Dove on the PBS News Hour here (~7 min).Watch Prince in a 1999 appearance on The Larry King Show here (~40 min)Regarding Judith Butler, here's the full quote from Claudia Rankine's Citizen: “Not long ago you are in a room where someone asks the philosopher Judith Butler what makes language hurtful. Our very being exposes us to the address of another, she answers.”  You can see Prof. Dove discuss her poetry as well as her first novel in an interview here (~25 min).Rita Dove and Natasha Trethewey present their work and are interviewed by Rudolph Byrd at Emory University and you can watch that conversation here (~75 min) About the Prince-Michael Jackson feud, Quincy Jones told GQ magazine that the beef  dated back to 1983, when the two attended a James Brown concert. Brown invited Jackson up on stage — and after Jackson treated the crowd to a few moments of singing and dancing, he asked Brown to bring up Prince. Jones later alleged that Prince felt like he'd been shown up — and accused him of making a half-hearted effort to run over Jackson after the show. Mary Shelley was the daughter of philosophers Mary Wollstonecraft, who died within 2 weeks of giving birth to Mary, and William Godwin. While Percy and Mary met when she was 16 (and she became pregnant by him at that time), she didn't marry him until she was 19. She died of a brain tumor at age 53. She published Frankenstein, or The Modern Prometheus when she was 20. She was, like her husband, a political radical at the time.Percy Bysshe Shelley was born August 4, 1792 and was 21 when he met Mary Godwin. You can read more about their courtship and marriage here. Shelley drowned in the Gulf of Spezia while sailing home from a meeting with Byron, when his boat was overtaken by a storm. During the 19th century, the average age fell for English women, but it didn't drop any lower than 22. Patterns varied depending on social and economic class, of course, with working-class women tending to marry slightly older than their aristocratic counterparts. But the prevailing modern idea that all English ladies wed before leaving their teenage years is well off the mark. While European noblewomen often married early, they were a small minority of the population, and the marriage certificates from Canterbury show that even among nobility it was very rare to marry women off at very early ages.You can listen to Beyonce's “Break My Vogue” [Queens Remix] here (~6 min).

Natasha Trethewey, a 2021 Anisfield-Wolf Book Awards winner for her searing and lyrical memoir about her mother, Gwendolyn Ann Turnbough, joins The Asterisk* to discuss epigraphs and erasure. Trethewey won a Pulitzer Prize in poetry in 2007 for “Native Guard” and served as the nation's 19th poet laureate from 2012-2014. She won the Anisfield-Wolf nonfiction prize for “Memorial Drive.” A-W Juror Simon Schama describes the prose in Trethewey's memoir as “intensely poetic, but with an emotional economy that makes the gathering catastrophe even more overwhelming when it unfolds. I also want to stress her book is a compelling portrait of race in America, from the 1960s on. It's a thrilling addition to American literature that will be read for many, many years to come as a classic not just of the memoir genre but any kind of contemporary writing.” A native of Gulfport, Miss. – although an important part of her backstory resides in Ohio – Trethewey sat down in February of 2022 to explain how she came to record the audiobook herself. She welcomed the Asterisk* into her home in Evanston, Ill., where she is a professor of English at Northwestern University.

An episode of literary games and  gossipAre you even gay if you can't differentiate between Debbie Harry, Deborah Digges, and Debora Greger? Are you even a writer if you don't know which poet won 4 Pulitzers?Loyalty Bookstore, a black-owned bookstore in DC, is a great place to buy books by authors we discussed today.If you need resources to cope with some mental health struggles, we recommend visiting the National Alliance on Mental Illness: https://www.nami.org/help Deborah Greger (Leo) does not have a book with the word "animals" in the title. You can read more about this incredible poet here. James's favorite Greger poem is "Head, Perhaps of an Angel" which you can read in New England Review here.Deborah Digges (Aquarius) wrote poetry and memoir. Read more about her here. Digges's second memoir, The Stardust Lounge, is a portrait of her younger son, who by the time he was 13 was involved in gangs. The book details how Digges decides to "shadow" him to try to understand him better. The book Aaron references overhearing a conversation about might have been The Stardust Lounge. You can read Digges's poem "Rough Music" here.Debbie Harry is the lead singer of the band Blondie. She's a Cancer (July 1). Slash of Guns 'n' Roses has donated his time, energy, and money to animal welfare and children's music education causes. In 2008, he donated to Barack Obama's presidential campaign.Robert Penn Warren's racism and his attempts to educate and enlighten his ignorance remain a topic of conversation. One incredible essay in the discourse is this one by Natasha Trethewey, delivered when she was U.S. Poet Laureate.

James and Aaron recount the top 10 things that got them through 2021. In part one, they share 10-6. As always, please consider buying books from the authors we mention (or any others!) from independent bookstores. If you don't have one, we can recommend Loyalty Bookstores: https://www.loyaltybookstores.comAaron's 10-6:10. Hunter Fashion Magazine: Summer of Love Issue 36 SS 2020You can follow the magazine on Instagram: @hunterfashionmagazine9. Brontez Purnell, 100 Boyfriends. Johnny Would You Love Me If My Dick Were BiggerThe Cruising Diaries: Expanded Edition by Brontez Purnell and Janelle HessigThe recipient of a 2018 Whiting Writers' Award for Fiction, he was named one of the thirty-two Black Male Writers of Our Time by T: The New York Times Style Magazine in 2018. Purnell is also the frontman for the band the Younger Lovers, a cofounder of the experimental dance group the Brontez Purnell Dance Company, the creator of the renowned cult zine Fag School.Follow Purnell on Instagram: @brontezpurnell8. Keat's Odes: A Lover's Discourse by Anahid Nersessian“When I say this book is a love story, I mean it is about things that cannot be gotten over—like this world, and some of the people in it.”https://www.anahidnersessian.com7. Sufjan Stevens's Carrie and Lowellhttps://sufjanstevens.bandcamp.com 6.  ArtMatt Pipes: https://www.mattpipes.com Blake Gildaphish: https://blakegildaphish.com Joshua Benmore: https://www.joshuabenmore.com John Chester Kaine: @johnchesterkaine on Instagram________________________James's 10-6:10. Linda Gregg's New & Selected, called All of It Singing.  James talks about "Part of Me Wanting Everything to Live," "The Problem of Sentences," and "Winter Light." 9. Jean Smart in Hacks and in Mare of Easttown. You can watch Jean Smart accept the Emmy for Lead Actress in a Comedy for her turn in Hacks here.   8. Michelle Orange, Pure Flame: a Legacy. FSG, 2021. Author website: https://michelleorange.com7.    Natasha Trethewey, Memorial Drive. HarperCollins, 2020. In 2007, Trethewey was interviewed on Fresh Air and recounts part of the events that she revisits in Memorial Drive. You can listen to that interview here. 6. Ted Lasso. The eponymous coach has a blue-check Twitter account you can follow @TedLasso 

Carol Ann Carl, narradora de la isla de Pohnpei, en los Estados Federados de Micronesia, habla de cómo utiliza la poesía para apoyar a las comunidades históricamente marginadas; y Natasha Trethewey, dos veces premiada con el US Poet, describe cómo la poesía puede articular actos de compromiso cívico.Explore la obra de Carol Ann Carl y conozca el Why it Matters Poetry Workshop con el que dio clases a través del Consejo Hawaiano para las Humanidades. Obtenga más información sobre Natasha Tretheway en su página webObtenga más información sobre el tema de este episodio y de los invitados en en https://www.statehumanities.org/. 

On Episode 66 of The Chills at Will Podcast, Pete has the pleasure to speak with Gabrielle Bates, poet and podcast host. The two discuss the voracious reading that has characterized her life, allegory and symbolism and “deciphering” poetry. Gabrielle also reads and discusses two of her stunning poems and talks about The Poet Salon, the dynamic podcast she co hosts.    Gabrielle Bates is a writer and visual artist originally from Birmingham, Alabama. Her work has appeared in the New Yorker, Poetry Magazine, Virginia Quarterly Review, New England Review, jubilat, Gulf Coast, Mississippi Review, Black Warrior Review, the Best of the Net anthology, and BAX: Best American Experimental Writing, and her poetry comics have been featured internationally in a variety of exhibitions, festivals, and conferences. Formerly the managing editor of the Seattle Review and a contributing editor for Poetry Northwest, Gabrielle currently serves as the Social Media Manager of Open Books: A Poem Emporium, a contributing editor for Bull City Press, and a University of Washington teaching fellow. She also volunteers as a poetry mentor through the Adroit teen mentorship program and teaches occasionally as a spotlight author through Seattle's Writers in the Schools. With Luther Hughes and Dujie Tahat, she co hosts the podcast The Poet Salon. Show Notes and Links to Gabrielle Bates's Work   Gabrielle Bates's Personal Website   "In the Circus" Poetry Comic from Poetry Foundation   Assorted Poems from Adroit Journal   Subscribe and listen to The Poet Salon Podcast!   You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Spotify and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. I'm excited to share Episode 66 on July 20 with Esther Tseng. Esther is a freelance writer who covers the intersection of food and culture, and food justice. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Talking Points/Authors/Books Mentioned and Allusions Referenced During the Episode: At about 2:20, Gabrielle talks about being a recent finalist for the Bergman Prize, judged by Louise Gluck and Gabrielle's poem being published in The New Yorker   At about 4:10, Gabrielle discusses her childhood and literary influences, including early formative readings of Zora Neale Hurston and being transfixed by poetry starting in college; she explains that her grandparents     At about 6:45, Gabrielle posits on how much her early spiritual reading has influenced her later reading and writing; allegory and symbolism are clear   At about 8:15, Gabrielle focuses on how she was shaped and inspired by Zora Neale Hurston, and Pete brings up an amazing work by Zora about her childhood in Eatonville, Florida-“How it Feels to be Colored Me”   At about 10:35, Gabrielle discusses works and writers that have given her “chills at will,” including Brigit Pegeen Kelly, Linda Gregg (All of It Singing), and Vievee Francis   At about 14:20, Gabrielle talks about the genres she works in, and how she would define herself as an artist   At about 15:25, Gabrielle talks about her reading habits and reading for pleasure and for craft   At about 17:20, Gabrielle outlines her trajectory to professional and acclaimed writer and some “Eureka” moments along the way that convinced her that she was a talented writer; this includes her really exploring poetry for one of the first time in class  through Richard Siken's Crush, introduced by Keetje Kuipers   At about 22:20, Gabrielle responds to questions about her being labeled as a writer, how her two main “homes” of AL/WA complement each other, and who she feels her audience(s) is   At about 26:20, Gabrielle talks about common themes in her work and any tangential or not connections to Southern writers like William Faulkner   At about 28:30, Gabrielle shouts out contemporary Southern writers who are “knocking it out of the park,” including Jericho Brown, Natasha Trethewey, Rickey Laurentiis, Derrick Austin, Tiana Clark   At about 30:40, Gabrielle responds to Pete's question about her thoughts on “deciphering” poetry   At about 35:05, Gabrielle explains the concept of “poetry comics” and the work she does in the genre   At about 38:30, Gabrielle reads her poem “Little Lamb” and discusses the unique formatting   At about 45:35, Gabrielle reads her poem “In the Dream in Which I am a Widow” and discusses its genesis and the idea of “pre-elegy” as done by Natasha Trethewey   At about 56:30, Gabrielle discusses the background, format, incredible guests, etc. of the awesome poetry podcast she hosts with Luther Hughes and Dujie Tahat, The Poet Salon    At about 1:03:35, Gabrielle outlines some future projects

It’s day two of confirmation hearings in the U.S for Amy Coney Barrett, President Trump’s third Supreme Court appointment. Jessica Anderson, executive director of Heritage Action for America, joins Christiane Amanpour to makes the conservative case for the nominee. Senior editor at Slate Dahlia Lithwick explains why she thinks Amy Coney Barrett could find herself "bound by the promises" President Trump and conservatives made on Roe v Wade. Then, Dave Eggers speaks to Amanpour about his novella, “The Captain and the Glory” and his take on the U.S election. Michel Martin talks to Pulitzer prize-winning poet and domestic abuse survivor Natasha Trethewey about her new book, “Memorial Drive: A Daughter’s Memoir.” To learn more about how CNN protects listener privacy, visit cnn.com/privacy