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A Chinese American poet, appointed the 25th U.S. Poet Laureate, reads his poems inspired by Zen practices.
Katie Lehman brings Emily Dickingon to readers in a new light with her poems: "Emily Dickinson's Lexicon."
After Dark with Hosts Rob & Andrew – During the holiday season, poet Dr. Warren Jean Rouse shares a message of hope for those facing loneliness and grief. Drawing from personal loss and lifelong service, she invites listeners to reach out and connect. Her poetry inspires healing, faith, and compassion, reminding families and communities that love, memory, and purpose still guide hearts through difficult seasons during meaningful...
Poet and essayist Carol Ann Davis (Fairfield University) joins Evan Rosa for a searching conversation on violence, childhood, and the moral discipline of attention in the aftermath of Sandy Hook. Reflecting on trauma, parenting, childhood, poetry, and faith, Davis resists tidy narratives and invites listeners to dwell with grief, healing, beauty, and pain without resolution.“I don't believe life feels like beginnings, middles, and ends.”In this episode, Davis reflects on how lived trauma narrows attention, reshapes language, and unsettles conventional storytelling. Together they discuss poetry as dwelling rather than explanation, childhood and formation amid violence, image versus narrative, moral imagination, and the challenge of staying present to suffering.Episode Highlights“Nothing has happened at Hawley School. Please hear me. I have opened every door and seen your children.”“And that was what it is not to suffer. This is the not-suffering, happy-ending story.”“I'm always narrowing focus.”“I think stories lie to us sometimes.”“I think of the shooting as a nail driven into the tree.”“I'm capable of anything. I'm afraid I'm capable of anything.”“I tried to love and out of me came poison.”About Carol Ann DavisCarol Ann Davis is a poet, essayist, and professor of English at Fairfield University. She is the author of the poetry collections Psalm and Atlas Hour, and the essay collection The Nail in the Tree: Essays on Art, Violence, and Childhood. A former longtime editor of the literary journal Crazyhorse, she directs Fairfield University's Low-Residency MFA and founded Poetry in Communities, an initiative bringing poetry to communities affected by violence. An NEA Fellow in Poetry, Davis's work has appeared in The Atlantic, The American Poetry Review, Image, Agni, The Georgia Review, and elsewhere. Learn more and follow at https://www.carolanndavis.orgHelpful Links and ResourcesThe Nail in the Tree: Essays on Art, Violence, and Childhood https://www.tupelopress.org/bookstore/p/the-nail-in-the-tree-essays-on-art-violence-and-childhoodSongbird https://www.weslpress.org/9780819502223/songbird/Psalm https://www.tupelopress.org/bookstore/p/psalmAtlas Hour https://www.amazon.com/Atlas-Hour-Carol-Ann-Davis/dp/1936797003Carol Ann Davis official website https://www.carolanndavis.orgShow NotesCarol Ann Davis recounts moving to Newtown, Connecticut just months before Sandy Hook, teaching a course at Fairfield University when news of the shooting first breaksHer young children attended a local elementary schoolConfusion, delay, and the unbearable seconds of not knowing which school was attackedA colleague's embrace as the reality of the shooting becomes clearParenting under threat and the visceral fear of losing one's children“Nothing has happened at Hawley School. Please hear me. I have opened every door and seen your children.” (Hawley School's Principal sends this message to parents, including Carol Ann)Living inside the tension where nothing happened and everything changedWriters allowing mystery, unknowing, and time to remain unresolvedNaming “directly affected families” and later “families of loss”Ethical care for proximity without flattening grief into universalityThe moral value of being useful within an affected communityNarrowing attention as survival, parenting, and poetic disciplineChoosing writing, presence, and community over national policy debatesChildhood formation under the long shadow of gun violence“I think of the shooting as a nail driven into the tree. And I'm the tree.” (Carol Ann quotes her older son, then in 4th grade)Growth as accommodation rather than healing or resolutionIntegration without erasure as a model for living with traumaRefusing happy-ending narratives after mass violence“I don't believe life feels like beginnings, middles, and ends.”Poetry as dwelling inside experience rather than extracting meaningResisting stories that turn suffering into takeawaysCrucifixion imagery, nails, trees, and the violence of embodiment“I'm capable of anything. I'm afraid I'm capable of anything.”Violence as elemental, human, animal, and morally unsettlingDistinguishing intellectual mastery from dwelling in lived experienceA poem's turn toward fear: loving children and fearing harm“I tried to love and out of me came poison.”Childhood memory, danger, sweetness, and oceanic smallnessBeing comforted by smallness inside something vast and terrifyingEnding without closure, choosing remembrance over resolution#CarolAnnDavis#PoetryAndViolence#TraumaAndAttention#SandyHook#SandyHookPromise#FaithAndWriting#Poetry#ChildhoodAndMemoryProduction NotesThis podcast featured Carol Ann DavisEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Macie Bridge, Alexa Rollow, Zoë Halaban, Kacie Barrett & Emily BrookfieldA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give
How do writers develop their voice, showing us what is important in life?ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) explains that her poetry begins with a bodily sensation or curiosity, not an idea. She values the space and breath poetry offers for unknowing and mystery, finding solace in the making and the mess, not in answers. She discusses being free on the page to be her whole, authentic, complicated self.JAY PARINI (Author, Filmmaker, Borges and Me) calls poetry the prince of literary arts—language refined to its apex of memorability. He recounts how his road trip with Borges around Scotland restored him from depression and anxiety following the Vietnam War death of his friend.JERICHO BROWN (Pulitzer Prize-winning Poet, The Tradition, How We Do It: Black Writers on Craft, Practice, and Skill) discusses the rhythm of black vernacular and capturing "symphonic complexity of black life". He shares how he's found a way not to think about personal risk as he's writing.ADAM MOSS (Fmr. Editor, New York Magazine; Author, The Work of Art) relates David Simon's concept of the bounce, in which creativity gains momentum as it is passed between people.VIET THANH NGUYEN (Pulitzer Prize-winning Author, The Sympathizer; To Save and to Destroy) discusses his path to expansive solidarity and capacious grief and how it works against the state's power to divide and conquer. He emphasizes that literature is crucial because authoritarian regimes abuse language; a commitment to the beauty of language is a commitment to truth, and fear is often an indicator of a truth that needs to be spoken.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
How do writers develop their voice, showing us what is important in life?ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) explains that her poetry begins with a bodily sensation or curiosity, not an idea. She values the space and breath poetry offers for unknowing and mystery, finding solace in the making and the mess, not in answers. She discusses being free on the page to be her whole, authentic, complicated self.JAY PARINI (Author, Filmmaker, Borges and Me) calls poetry the prince of literary arts—language refined to its apex of memorability. He recounts how his road trip with Borges around Scotland restored him from depression and anxiety following the Vietnam War death of his friend.JERICHO BROWN (Pulitzer Prize-winning Poet, The Tradition, How We Do It: Black Writers on Craft, Practice, and Skill) discusses the rhythm of black vernacular and capturing "symphonic complexity of black life". He shares how he's found a way not to think about personal risk as he's writing.ADAM MOSS (Fmr. Editor, New York Magazine; Author, The Work of Art) relates David Simon's concept of the bounce, in which creativity gains momentum as it is passed between people.VIET THANH NGUYEN (Pulitzer Prize-winning Author, The Sympathizer; To Save and to Destroy) discusses his path to expansive solidarity and capacious grief and how it works against the state's power to divide and conquer. He emphasizes that literature is crucial because authoritarian regimes abuse language; a commitment to the beauty of language is a commitment to truth, and fear is often an indicator of a truth that needs to be spoken.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
How do writers develop their voice, showing us what is important in life?ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) explains that her poetry begins with a bodily sensation or curiosity, not an idea. She values the space and breath poetry offers for unknowing and mystery, finding solace in the making and the mess, not in answers. She discusses being free on the page to be her whole, authentic, complicated self.JAY PARINI (Author, Filmmaker, Borges and Me) calls poetry the prince of literary arts—language refined to its apex of memorability. He recounts how his road trip with Borges around Scotland restored him from depression and anxiety following the Vietnam War death of his friend.JERICHO BROWN (Pulitzer Prize-winning Poet, The Tradition, How We Do It: Black Writers on Craft, Practice, and Skill) discusses the rhythm of black vernacular and capturing "symphonic complexity of black life". He shares how he's found a way not to think about personal risk as he's writing.ADAM MOSS (Fmr. Editor, New York Magazine; Author, The Work of Art) relates David Simon's concept of the bounce, in which creativity gains momentum as it is passed between people.VIET THANH NGUYEN (Pulitzer Prize-winning Author, The Sympathizer; To Save and to Destroy) discusses his path to expansive solidarity and capacious grief and how it works against the state's power to divide and conquer. He emphasizes that literature is crucial because authoritarian regimes abuse language; a commitment to the beauty of language is a commitment to truth, and fear is often an indicator of a truth that needs to be spoken.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
How do writers develop their voice, showing us what is important in life?ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) explains that her poetry begins with a bodily sensation or curiosity, not an idea. She values the space and breath poetry offers for unknowing and mystery, finding solace in the making and the mess, not in answers. She discusses being free on the page to be her whole, authentic, complicated self.JAY PARINI (Author, Filmmaker, Borges and Me) calls poetry the prince of literary arts—language refined to its apex of memorability. He recounts how his road trip with Borges around Scotland restored him from depression and anxiety following the Vietnam War death of his friend.JERICHO BROWN (Pulitzer Prize-winning Poet, The Tradition, How We Do It: Black Writers on Craft, Practice, and Skill) discusses the rhythm of black vernacular and capturing "symphonic complexity of black life". He shares how he's found a way not to think about personal risk as he's writing.ADAM MOSS (Fmr. Editor, New York Magazine; Author, The Work of Art) relates David Simon's concept of the bounce, in which creativity gains momentum as it is passed between people.VIET THANH NGUYEN (Pulitzer Prize-winning Author, The Sympathizer; To Save and to Destroy) discusses his path to expansive solidarity and capacious grief and how it works against the state's power to divide and conquer. He emphasizes that literature is crucial because authoritarian regimes abuse language; a commitment to the beauty of language is a commitment to truth, and fear is often an indicator of a truth that needs to be spoken.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
The Creative Process in 10 minutes or less · Arts, Culture & Society
How do writers develop their voice, showing us what is important in life?ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) explains that her poetry begins with a bodily sensation or curiosity, not an idea. She values the space and breath poetry offers for unknowing and mystery, finding solace in the making and the mess, not in answers. She discusses being free on the page to be her whole, authentic, complicated self.JAY PARINI (Author, Filmmaker, Borges and Me) calls poetry the prince of literary arts—language refined to its apex of memorability. He recounts how his road trip with Borges around Scotland restored him from depression and anxiety following the Vietnam War death of his friend.JERICHO BROWN (Pulitzer Prize-winning Poet, The Tradition, How We Do It: Black Writers on Craft, Practice, and Skill) discusses the rhythm of black vernacular and capturing "symphonic complexity of black life". He shares how he's found a way not to think about personal risk as he's writing.ADAM MOSS (Fmr. Editor, New York Magazine; Author, The Work of Art) relates David Simon's concept of the bounce, in which creativity gains momentum as it is passed between people.VIET THANH NGUYEN (Pulitzer Prize-winning Author, The Sympathizer; To Save and to Destroy) discusses his path to expansive solidarity and capacious grief and how it works against the state's power to divide and conquer. He emphasizes that literature is crucial because authoritarian regimes abuse language; a commitment to the beauty of language is a commitment to truth, and fear is often an indicator of a truth that needs to be spoken.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
Does poetic constraint empower creativity? Known for her received forms like sonnets and sestinas, American poet A.E. Stallings joins us in the studio to discuss her book of selected poems, This Afterlife.
The Seattle Athenaeum and Town Hall Seattle welcomes Dr. Audrey Whitty, Director of the National Library of Ireland and Hibsen as they launch the inaugural Irish Arts & Literature Showcase. Dr. Whitty is in conversation with UW Teaching Professor and poet Frances McCue. Dr. Audrey Whitty is an Irish archaeologist, librarian and curator. As Director of the National Library of Ireland, she oversees the work of the library in collecting, protecting and making accessible the recorded memory of Ireland. Whitty previously worked for the National Museum of Ireland (NMI) where she was curator of the ceramics, glass and Asian collections, in the Art and Industrial Division of the museum. While working with the museum, she was awarded a doctorate in the History of Art by Trinity College Dublin. Frances McCue is an arts instigator who has spent her career connecting literature to community life. Known for her literary start-ups, she is the co-founder of Pulley Press, a new publishing imprint that celebrates poets and poetry from rural places, and she was the Founding Director of Richard Hugo House for its first decade. She also instigated the Poetry Brigade at the University of Washington. Currently, she is a Teaching Professor at the University of Washington where she has been the winner of the UW Distinguished Teaching Award. A poet and prose writer she has published six books—four of poetry and two of prose, including a book of essays about Richard Hugo. Her forthcoming book is Spark and Whistle: Thinking Like a Poet in Leadership and Life from Columbia University Press. The National Library of Ireland collects, protects and makes accessible the recorded memory of Ireland. We collect, protect and provide access to over 12 million items and will continue to do so for decades to come. We provide access to the collections free of charge, at four sites and online to exhibitions and events and to our reference and research reading rooms. Folio: The Seattle Athenaeum connects a dynamic literary community through a curated book collection, diverse programming, and opportunities for engaging conversations and transformative ideas. The Irish Arts & Literature Showcase, organized and curated by Caroline Cumming and Paula Stokes, welcomes visiting Irish writers, publishers and artists in presenting a curated selection of lectures, conversations and workshops. More at https://www.folioseattle.org/irisharts Presented by Town Hall Seattle and Folio: The Seattle Athenaeum.
How can we use negative spaces in fiction to engage with readers' imaginations? How are memory and trauma passed onto us through language? How do we become more than the stories we tell ourselves?KATIE KITAMURA (Author, Audition, Intimacies) emphasizes that a book is created in collaboration with the reader, using negative spaces in the narrative structure to allow for reader interpretation, paralleling the space between audience and actor in performance.PAUL LYNCH (Booker Prize-winning Novelist, Prophet Song) discusses the richness and slipperiness of the English language in Ireland, shaped by the overlay of English onto Irish grammatical constructions, resulting in unique phrasing and a capacity to create new constructions.DANIEL PEARLE (Screenwriter, Playwright, The Beast in Me) shares that audiences are fascinated by the unfettered, uncensored ID in characters, reflecting the universal fantasy of acting without consequences. He advises writers to put people who deeply irritate them into a play, as those characters often become the audience's favorites.HALA ALYAN (Novelist, Poet, I'll Tell You When I'm Home: A Memoir) describes her work as an excavation of the darkest hours and intergenerational trauma carried by her lineage, which has endured repeated exile. She links exile from the body to the larger patterns of not having a place in the world.T.C. BOYLE(Novelist, Short Story Writer, Environmentalist) shares that the creative process involves a magic in reaching for the unconscious and the surprise of the creative process. He emphasizes that art and nature are our salvations, over money. He advocates for solitude in nature—alone on a beach or in the woods—to connect with the natural world.ADAM ALTER (Author of Anatomy of a Breakthrough) discusses the axioms of creativity, noting that being around more people, even those who are "deeply incompetent," is generally beneficial for creativity by providing diversity of opinion and information, preceding the necessary time for solitary focus.SHEHAN KARUNATILAKA (Booker Prize-winning Author of The Seven Moons of Maali Almeida) explains his decision to write in the second person as a way of exploring the spiritual dimension of the internal voice. He posits that the "you" could be a spirit whispering thoughts, leading people (and nations) astray.DANIEL HANDLER A.K.A LEMONY SNICKET (Author, A Series of Unfortunate Events) argues that his books for children and adults are not fundamentally different and says everyone's childhood is full of powerful emotions derived from ordinary injustices, noting that we cry hardest over hurt feelings, not global catastrophes.ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) talks about her responsibility as a writer to honor her ancestors, specifically her grandfather, who had to sublimate his creative spirit for safety and belonging, leading her to prioritize grace and freedom in her own writing.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
How can we use negative spaces in fiction to engage with readers' imaginations? How are memory and trauma passed onto us through language? How do we become more than the stories we tell ourselves?KATIE KITAMURA (Author, Audition, Intimacies) emphasizes that a book is created in collaboration with the reader, using negative spaces in the narrative structure to allow for reader interpretation, paralleling the space between audience and actor in performance.PAUL LYNCH (Booker Prize-winning Novelist, Prophet Song) discusses the richness and slipperiness of the English language in Ireland, shaped by the overlay of English onto Irish grammatical constructions, resulting in unique phrasing and a capacity to create new constructions.DANIEL PEARLE (Screenwriter, Playwright, The Beast in Me) shares that audiences are fascinated by the unfettered, uncensored ID in characters, reflecting the universal fantasy of acting without consequences. He advises writers to put people who deeply irritate them into a play, as those characters often become the audience's favorites.HALA ALYAN (Novelist, Poet, I'll Tell You When I'm Home: A Memoir) describes her work as an excavation of the darkest hours and intergenerational trauma carried by her lineage, which has endured repeated exile. She links exile from the body to the larger patterns of not having a place in the world.T.C. BOYLE(Novelist, Short Story Writer, Environmentalist) shares that the creative process involves a magic in reaching for the unconscious and the surprise of the creative process. He emphasizes that art and nature are our salvations, over money. He advocates for solitude in nature—alone on a beach or in the woods—to connect with the natural world.ADAM ALTER (Author of Anatomy of a Breakthrough) discusses the axioms of creativity, noting that being around more people, even those who are "deeply incompetent," is generally beneficial for creativity by providing diversity of opinion and information, preceding the necessary time for solitary focus.SHEHAN KARUNATILAKA (Booker Prize-winning Author of The Seven Moons of Maali Almeida) explains his decision to write in the second person as a way of exploring the spiritual dimension of the internal voice. He posits that the "you" could be a spirit whispering thoughts, leading people (and nations) astray.DANIEL HANDLER A.K.A LEMONY SNICKET (Author, A Series of Unfortunate Events) argues that his books for children and adults are not fundamentally different and says everyone's childhood is full of powerful emotions derived from ordinary injustices, noting that we cry hardest over hurt feelings, not global catastrophes.ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) talks about her responsibility as a writer to honor her ancestors, specifically her grandfather, who had to sublimate his creative spirit for safety and belonging, leading her to prioritize grace and freedom in her own writing.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
How can we use negative spaces in fiction to engage with readers' imaginations? How are memory and trauma passed onto us through language? How do we become more than the stories we tell ourselves?KATIE KITAMURA (Author, Audition, Intimacies) emphasizes that a book is created in collaboration with the reader, using negative spaces in the narrative structure to allow for reader interpretation, paralleling the space between audience and actor in performance.PAUL LYNCH (Booker Prize-winning Novelist, Prophet Song) discusses the richness and slipperiness of the English language in Ireland, shaped by the overlay of English onto Irish grammatical constructions, resulting in unique phrasing and a capacity to create new constructions.DANIEL PEARLE (Screenwriter, Playwright, The Beast in Me) shares that audiences are fascinated by the unfettered, uncensored ID in characters, reflecting the universal fantasy of acting without consequences. He advises writers to put people who deeply irritate them into a play, as those characters often become the audience's favorites.HALA ALYAN (Novelist, Poet, I'll Tell You When I'm Home: A Memoir) describes her work as an excavation of the darkest hours and intergenerational trauma carried by her lineage, which has endured repeated exile. She links exile from the body to the larger patterns of not having a place in the world.T.C. BOYLE(Novelist, Short Story Writer, Environmentalist) shares that the creative process involves a magic in reaching for the unconscious and the surprise of the creative process. He emphasizes that art and nature are our salvations, over money. He advocates for solitude in nature—alone on a beach or in the woods—to connect with the natural world.ADAM ALTER (Author of Anatomy of a Breakthrough) discusses the axioms of creativity, noting that being around more people, even those who are "deeply incompetent," is generally beneficial for creativity by providing diversity of opinion and information, preceding the necessary time for solitary focus.SHEHAN KARUNATILAKA (Booker Prize-winning Author of The Seven Moons of Maali Almeida) explains his decision to write in the second person as a way of exploring the spiritual dimension of the internal voice. He posits that the "you" could be a spirit whispering thoughts, leading people (and nations) astray.DANIEL HANDLER A.K.A LEMONY SNICKET (Author, A Series of Unfortunate Events) argues that his books for children and adults are not fundamentally different and says everyone's childhood is full of powerful emotions derived from ordinary injustices, noting that we cry hardest over hurt feelings, not global catastrophes.ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) talks about her responsibility as a writer to honor her ancestors, specifically her grandfather, who had to sublimate his creative spirit for safety and belonging, leading her to prioritize grace and freedom in her own writing.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
How can we use negative spaces in fiction to engage with readers' imaginations? How are memory and trauma passed onto us through language? How do we become more than the stories we tell ourselves?KATIE KITAMURA (Author, Audition, Intimacies) emphasizes that a book is created in collaboration with the reader, using negative spaces in the narrative structure to allow for reader interpretation, paralleling the space between audience and actor in performance.PAUL LYNCH (Booker Prize-winning Novelist, Prophet Song) discusses the richness and slipperiness of the English language in Ireland, shaped by the overlay of English onto Irish grammatical constructions, resulting in unique phrasing and a capacity to create new constructions.DANIEL PEARLE (Screenwriter, Playwright, The Beast in Me) shares that audiences are fascinated by the unfettered, uncensored ID in characters, reflecting the universal fantasy of acting without consequences. He advises writers to put people who deeply irritate them into a play, as those characters often become the audience's favorites.HALA ALYAN (Novelist, Poet, I'll Tell You When I'm Home: A Memoir) describes her work as an excavation of the darkest hours and intergenerational trauma carried by her lineage, which has endured repeated exile. She links exile from the body to the larger patterns of not having a place in the world.T.C. BOYLE(Novelist, Short Story Writer, Environmentalist) shares that the creative process involves a magic in reaching for the unconscious and the surprise of the creative process. He emphasizes that art and nature are our salvations, over money. He advocates for solitude in nature—alone on a beach or in the woods—to connect with the natural world.ADAM ALTER (Author of Anatomy of a Breakthrough) discusses the axioms of creativity, noting that being around more people, even those who are "deeply incompetent," is generally beneficial for creativity by providing diversity of opinion and information, preceding the necessary time for solitary focus.SHEHAN KARUNATILAKA (Booker Prize-winning Author of The Seven Moons of Maali Almeida) explains his decision to write in the second person as a way of exploring the spiritual dimension of the internal voice. He posits that the "you" could be a spirit whispering thoughts, leading people (and nations) astray.DANIEL HANDLER A.K.A LEMONY SNICKET (Author, A Series of Unfortunate Events) argues that his books for children and adults are not fundamentally different and says everyone's childhood is full of powerful emotions derived from ordinary injustices, noting that we cry hardest over hurt feelings, not global catastrophes.ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) talks about her responsibility as a writer to honor her ancestors, specifically her grandfather, who had to sublimate his creative spirit for safety and belonging, leading her to prioritize grace and freedom in her own writing.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
How can we use negative spaces in fiction to engage with readers' imaginations? How are memory and trauma passed onto us through language? How do we become more than the stories we tell ourselves?KATIE KITAMURA (Author, Audition, Intimacies) emphasizes that a book is created in collaboration with the reader, using negative spaces in the narrative structure to allow for reader interpretation, paralleling the space between audience and actor in performance.PAUL LYNCH (Booker Prize-winning Novelist, Prophet Song) discusses the richness and slipperiness of the English language in Ireland, shaped by the overlay of English onto Irish grammatical constructions, resulting in unique phrasing and a capacity to create new constructions.DANIEL PEARLE (Screenwriter, Playwright, The Beast in Me) shares that audiences are fascinated by the unfettered, uncensored ID in characters, reflecting the universal fantasy of acting without consequences. He advises writers to put people who deeply irritate them into a play, as those characters often become the audience's favorites.HALA ALYAN (Novelist, Poet, I'll Tell You When I'm Home: A Memoir) describes her work as an excavation of the darkest hours and intergenerational trauma carried by her lineage, which has endured repeated exile. She links exile from the body to the larger patterns of not having a place in the world.T.C. BOYLE(Novelist, Short Story Writer, Environmentalist) shares that the creative process involves a magic in reaching for the unconscious and the surprise of the creative process. He emphasizes that art and nature are our salvations, over money. He advocates for solitude in nature—alone on a beach or in the woods—to connect with the natural world.ADAM ALTER (Author of Anatomy of a Breakthrough) discusses the axioms of creativity, noting that being around more people, even those who are "deeply incompetent," is generally beneficial for creativity by providing diversity of opinion and information, preceding the necessary time for solitary focus.SHEHAN KARUNATILAKA (Booker Prize-winning Author of The Seven Moons of Maali Almeida) explains his decision to write in the second person as a way of exploring the spiritual dimension of the internal voice. He posits that the "you" could be a spirit whispering thoughts, leading people (and nations) astray.DANIEL HANDLER A.K.A LEMONY SNICKET (Author, A Series of Unfortunate Events) argues that his books for children and adults are not fundamentally different and says everyone's childhood is full of powerful emotions derived from ordinary injustices, noting that we cry hardest over hurt feelings, not global catastrophes.ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) talks about her responsibility as a writer to honor her ancestors, specifically her grandfather, who had to sublimate his creative spirit for safety and belonging, leading her to prioritize grace and freedom in her own writing.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
The Creative Process in 10 minutes or less · Arts, Culture & Society
How can we use negative spaces in fiction to engage with readers' imaginations? How are memory and trauma passed onto us through language? How do we become more than the stories we tell ourselves?KATIE KITAMURA (Author, Audition, Intimacies) emphasizes that a book is created in collaboration with the reader, using negative spaces in the narrative structure to allow for reader interpretation, paralleling the space between audience and actor in performance.PAUL LYNCH (Booker Prize-winning Novelist, Prophet Song) discusses the richness and slipperiness of the English language in Ireland, shaped by the overlay of English onto Irish grammatical constructions, resulting in unique phrasing and a capacity to create new constructions.DANIEL PEARLE (Screenwriter, Playwright, The Beast in Me) shares that audiences are fascinated by the unfettered, uncensored ID in characters, reflecting the universal fantasy of acting without consequences. He advises writers to put people who deeply irritate them into a play, as those characters often become the audience's favorites.HALA ALYAN (Novelist, Poet, I'll Tell You When I'm Home: A Memoir) describes her work as an excavation of the darkest hours and intergenerational trauma carried by her lineage, which has endured repeated exile. She links exile from the body to the larger patterns of not having a place in the world.T.C. BOYLE(Novelist, Short Story Writer, Environmentalist) shares that the creative process involves a magic in reaching for the unconscious and the surprise of the creative process. He emphasizes that art and nature are our salvations, over money. He advocates for solitude in nature—alone on a beach or in the woods—to connect with the natural world.ADAM ALTER (Author of Anatomy of a Breakthrough) discusses the axioms of creativity, noting that being around more people, even those who are "deeply incompetent," is generally beneficial for creativity by providing diversity of opinion and information, preceding the necessary time for solitary focus.SHEHAN KARUNATILAKA (Booker Prize-winning Author of The Seven Moons of Maali Almeida) explains his decision to write in the second person as a way of exploring the spiritual dimension of the internal voice. He posits that the "you" could be a spirit whispering thoughts, leading people (and nations) astray.DANIEL HANDLER A.K.A LEMONY SNICKET (Author, A Series of Unfortunate Events) argues that his books for children and adults are not fundamentally different and says everyone's childhood is full of powerful emotions derived from ordinary injustices, noting that we cry hardest over hurt feelings, not global catastrophes.ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) talks about her responsibility as a writer to honor her ancestors, specifically her grandfather, who had to sublimate his creative spirit for safety and belonging, leading her to prioritize grace and freedom in her own writing.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
12/12/25: MTA Pres Max Page & Berkshire Comm Coll Pres Ellen Kennedy: big threats to higher ed but reasons for optimism Free Press Co-Pres Craig Aaron: Trumps' EO prohibiting regul AI regulation, media mergers' threat to 1st Am. Holyoke Mayor Joshua Garcia: Trump's DOE killing Sublime Systems' low-carbon cement production facility. Political Gold w/ Josh Silver: Trump's vulnerabilities, SCOTUS to kill the Voting Rights Act? redistricting & 2026. Donnabelle Casis w/ poet Matt Dunovan & artist Ligia Bouton on Emily Dickinson & “A Something Overtakes the Mind.”
If you want to understand the future of learning and equip yourself with the best possible tools for operating at the top of your game, I believe becoming polymathic is your best bet. And to succeed in mastering multiple skills and tying together multiple domains of knowledge, it’s helpful to have contemporary examples. Especially from people operating way out on the margins of the possible. That’s why today we’re looking at what happens when a poet decides to stop writing on easily destroyed paper. Ebooks and the computers that store information have a shelf life too. No, we’re talking about what happens when a poet starts “writing” into the potentially infinite cellular matter of a seemingly unkillable bacterium. This is the story of The Xenotext. How it came to be, how it relates to memory and the lessons you can learn from the years Christian Bök spent teaching himself the skills needed to potentially save humanity's most important art from the death of our sun. Poetry. But more importantly, this post is a blueprint for you. The story of The Xenotext is a masterclass in why the era of the specialist is over, and why the future belongs to the polymaths who dare to learn the “impossible” by bringing together multiple fields. What on earth could be impossible, you ask? And what does any of this have to do with memory? Simple: Writing in a way that is highly likely to survive the death of the sun changes the definition of what memory is right now. And it should change what we predict memory will be like in both the near and distant future. https://www.youtube.com/watch?v=HwQiW1XDAvI Encoding Literature Into Life: The Xenotext Christian Bök, often described as a conceptual poet, has run experiments with words for decades. For example, Eunoia is a univocal lipogram. That means, in each chapter, Bök used only words containing one of the vowels. This is a constraint, and it leads to lines like, “Awkward grammar appals a craftsman.” And “Writing is inhibiting.” There are other “programs” or constraints Bök used to construct the poem. As a result, you hear and feel the textures of your own mother tongue in a completely new way as you read the poem. But for The Xenotext project, Bök wondered if it would be possible to discover the rules and constraints that would enable himself, and conceivably other poets and writers, to encode poetry into a living organism. That leads to a fascinating question about memory that many mnemonists have tackled, even if they’re not fully aware of it. Can a poem outlive the civilization that produced it? If so, and humans are no longer around, how would that work? The Science of How Biology Becomes Poetry As far as I can understand, one of the first steps involved imagining the project itself, followed by learning how it could be possible for a poem to live inside of a cell. And which kind of cell would do the job of protecting the poetry? It turns out that there’s an “extremophile” called Deinococcus radiodurans. It was listed in the Guinness Book of World Records as the most radiation resistant bacterium on planet Earth. As a life form, its DNA was sequenced and published in 1999. According to the Wikipedia page on The Xenotext, Bök started conceiving of encoding poetry into DNA and then inserting it into the bacterium circa 2002. But the project is about more than having poetry persist within a cell so it can transmit the work without errors later. It’s a kind of combinatory puzzle in which the bacterium acts as a kind of co-author. In order to pull this project off, Bök needed to enlist the help of scientists while mastering multiple skills many people would not normally consider “writing.” But as we head into the future, we definitely should. Radical Autodidacticism: Reaching New Heights Through Deep Discipline To this day, many educators talk about the importance of being a specialist. But The Xenotext project and the work Bök put into it forces us to redefine what it means to be a self-directed learner in the 21st century. When Bök decided to encode a poem into the DNA of an extremophile bacterium, he didn’t just “dabble” in science or explore various interests as a multipotentialite. Nor did he read a few pop-sci books and expect an organism to write a poem in return. No, he spent many years studying genomic and proteomic engineering. He coded his own computer program to help him “unearth” the poetry, all while writing grants and collaborating with multiple experts. The Skill Stack If you’re a lifelong learner with big dreams, it’s useful to examine how people with autodidactic and polymathic personality traits operate. One of the first skills is to allow yourself to dream big. Giving oneself permission like this might not seem like a skill. But since we can model any polymath or other person who inspires us, you probably won’t be surprised that many of the most inspiring polymaths regularly daydream. Picking a dream and pursuing it despite any obstacles is also a skill. And once you’ve got a project, the next step is to take a cue from a polymath like Elon Musk and break your goal down into the most basic principles. No matter how unusual or unlikely your dream, it’s a useful exercise. When it comes to analytical thinking and breaking a goal down so you can start pursuing it, it’s often useful to look at your existing competence. In Bök’s case, I believe he wrote Eunoia by culling words manually from dictionaries over many years. But he couldn’t brute force The Xenotext in that way due to all the biological chemistry involved, so he had to become what you might think of as a computational linguist. My point is not to diminish the originality of this project in any way. But I think it’s helpful to recognize that The Xenotext is not wildly divorced from the skills Bök already had. It’s an evolution that draws from them. There’s also the skill of what Waqas Ahmed calls synesthetic thinking in his book, The Polymath. Not to be mistaken with synesthesia, synesthetic thinking involves imagining an outcome through at least one other sense. In Bök’s case, The Xenotext involves imagining the use of living beings other than human as being part of art. And he has described the possibility that his work could reach “a sufficiently intelligent civilization that has fast computers and smart cryptographers.” This is the skill of sensing beyond our own species and taking the risk of trying to reach them. Even if we’re long gone. We Need Deathless Memory Now, I have a confession to make. One of the many reasons I’m so fascinated by The Xenotext is that my memory is incredibly weak. That’s why I use mnemonics with such passion, including for memorizing poetry. Recently, I had the chance to interview Christian Bök, who you can probably tell by now, I consider to be one of the most rigorous intellects alive. And right in the middle of the interview, I started reciting one of his books from Book I of The Xenotext. For all the mnemonics in the world, I choked. Now, sometimes, this happens just because I have mouth problems and things get a bit sticky. Other times, it’s exhaustion and yet other times, I manage to recite poems with no problem at all. I’m mentioning this human moment in my career as a mnemonist not because I have a deep need to confess. No, this fragile, ephemeral human moment while talking about encoding and retrieving information perfectly from its placement within a living cell suggests the possibility that life really can be the most durable storage device in the universe. And to see this project come to fruition after all the years Bök pushed through multiple struggles inspires me in countless ways. For one thing, Bök’s project strikes me as the ultimate memory strategy. Was Poetry the Original Hard Drive? As Bök reminded me during our discussion, poetry was a memory technology long before writing existed. Rhythm, rhyme, and meter were engineering tools used to ensure information survived the “game of telephone” across generations. In Bök’s words: “We certainly owe every great epic story of the sort like the Epic of Gilgamesh or the Iliad… stories that were intended, of course, to transmit important cultural information over long periods of time. We need poets to be able to create that work and make it memorable enough… to persist over time.” And it is in this context that Christian Bök realized something terrifying: “There’s nothing that we’ve built so far on the planet Earth that would probably last more than a few tens of billions of years at most.” Until his work on The Xenotext succeeded, we have had nothing to rely on apart from our brains assisted by techniques like the Memory Palace, or silicon prostheses. But the computers and servers we now use to store our collective memory are just as subject to rot as paper. Even our homes would be ground into “an almost undetectable layer of geological dust” in just a few million years. So Bök’s selection of a deathless bacterium isn’t just a petri dish stunt. By choosing a specific bacterium that is “widely regarded as one of the most unkillable things ever to have evolved on the planet Earth,” Bök has created a memory inside a “message in a bottle thrown into an enormous ocean” that might actually survive the death of our sun. How to Develop Your Own Polymathic Persistence Reading this, you might be thinking, “I’m just a student,” or “I’m just a writer.” Bök could have thought that too. As he told me: “My assumption was that I’ve got training in English literature… Obviously, in order to embark upon such a project, I had to acquire a whole set of new skills, familiarize myself with a lot of very difficult discourses.” And so he made the decision to step outside of his lane, joining other innovators who have done the same. But how do you engage in a project that takes decades without burning out? Bök gave me three specific clues you can apply to your own learning journey. One: Embrace the Unknown Bök told me that if he had known how hard the project would be, he might not have started. He called this his “saving grace,” yet how many times do we turn away from our dreams because we don’t know the size of the mountain. Nelson Dellis told me something similar once about memory training. He’s a memory champion, but also a climber who has summited Everest. He said you don’t have to worry about whether the top of the mountain is there or not. Just focus on where you’re going to place your hands next. Two: Focus on Incremental Achievement Even as Bök’s project threw new obstacles at him, he told me: “I gave myself accomplishments or achievements that were incremental, that I knew I could probably fulfill, and would embark upon those doable tasks in an effort to acquire the required skill set in order to accomplish the remainder of these tasks.” In other words, he stacked small, doable wins on top of each other. And kept stacking until he had built a ladder to the impossible. Three: Tunnel Through the Noise Bök was candid about some of the loneliness on the path of the polymath. Sadly, he noted: This project, especially, has been beleaguered with all kinds of obstruction and difficulty that were added to the already difficult task at hand and the improbable kinds of risks that I had to adopt in order to be able to accomplish it. His advice having pushed through and made it to the other side? “If you’re going through hell, keep going. Don’t stop, because otherwise, you’re in hell… Just keep going, try to tunnel through.” Bök's work definitely makes a big statement when it comes to 21st century poetry. But for me, it's also a statement about memory and human potential. The Xenotext challenges us to stop thinking of computers as something that has eclipsed the human brain as the ultimate storage and retrieval device. It places our attention squarely back on the relationship between poetry and life, and the aspects of language that were in so many ways already a technology “infecting” our cells. If you want to become a polymath and enjoy a legacy that lasts, you must be willing to endure what Bök described as “36 different side quests” of complex projects, you must be willing to look at subjects and skills that seem “impossible” and learn them anyway. Ready to start your own “impossible” learning project? I have a guide that will help you develop your own curriculum: This Self-Education Blueprint will help you transform scattered curiosity into tightly interwoven levels of expertise. That way, the knowledge you accumulate gets put to use, and above all, helps others too.
Composer Samuel Andreyev and poet Anthony Etherin discuss Anthony's work, transcending extreme literary constraints to produce exceptionally beautiful poems.Support the show
Alejandro Jodorowsky's The Holy Mountain This week we continue our love for Midnight and Cult Movies. For this episode we return to the great Chilean-French filmmaker, Alejandro Jodorowsky. A Visionary Artist and Poet of the Cinema, Jodorowsky has created some of the most beautiful and challenging images and concepts ever conceived. Problematic, Polarizing, Poetic, and Personal, Jodorowsky's films exist as islands of beauty in a world of Cinema too often overwhelmed by commerce - established, continuinuing, and obvious proven projects, as well as "safe" childrens' fair. Jodorowsky digs deep into the humanity, history, and struggles of the species. The Holy Mountain is a powerful film that is not easily digested or - even - understood, but the poetry of the images in this film continue to haunt audiences since its release over a half century ago. Take a listen and make the decision if you wanto to make the dive into this beautiful and rewarding film. As always, we can be reached at gondoramos@yahoo.com - Many, Many Thanks. For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.
Christian hip hop artist and author Propaganda talks with Brian Doak & Jason Fileta about what really matters for Christians in this moment: human dignity. Is Gen X the last generation with street smarts? Why are men struggling so hard in our culture? And how can we think about passing on what really matters from one generation to the next?Propaganda is a rapper, poet, and author born and raised in Los Angeles. Check out his book Terraform: https://www.prophiphop.com/bookListen to a tune from Prop's latest album: https://www.youtube.com/watch?v=7U593BIvGa4Jason Fileta is a Christian activist and Associate Vice President of Inclusive Excellence at George Fox University: https://www.bread.org/bio/jason-fileta/Dr. Brian Doak is an Old Testament scholar and professor: https://www.georgefox.edu/academics/undergrad/departments/religion/faculty/doak.htmlIf you enjoy listening to the George Fox Talks podcast and would like to watch, too, check out our channel on YouTube! We also have a web page that features all of our podcasts, a sign-up for our weekly email update, and publications from the George Fox University community.
Four sonnets from 2025 Poetry Contest winner Angie Minkin.Support the show
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This week on Blocked and Reported, Jesse and Katie discuss the politics of poetry and a controversy surrounding an indie lit magazine. Plus, a Chuck Johnson update. Katie's Duke eventJesse's Austin eventInvestor sues Chuck Johnson for “falsely presenting ... as intelligence agent” | SemaforWhere Wokeness Went Wrong | Susan Neiman | The New York Review of BooksA MeToo Mob Tried to Destroy My Life as a Poet. This Is How I SurvivedOpen Letter to Open-Minded ProgressivesInside the New Right, Where Peter Thiel Is Placing His Biggest BetsCurtis Yarvin's Plot Against America‘The Interview': Curtis Yarvin Says Democracy is Done - The New York TimesSpectra PoetsGroup ThinkFor William and KristineA Close Reading of Curtis Yarvin This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.blockedandreported.org/subscribe
Poet of the Week, December 8–14, 2025. Full text of the poem & interview: brooklynpoets.org/community/poet/vasvi-kejriwal
Diana Norma Szokolyai is a writer, interdisciplinary artist, educator and healer. Her books include Disobedient Futures, CREDO: An Anthology of Manifestos & Sourcebook for Creative Writing, Parallel Sparrows, and Roses in the Snow. Her poetry and prose appear in Chariot Press Literary Journal, Critical Romani Studies, and more. A finalist for the inaugural Poet Laureate of Salem, MA, she was also shortlisted for the Bridport Prize in poetry. Working with composers from around the world, her poetry & music collaborations have hit the Creative Commons Hot 100 list and featured on WFMU-FM. Her poetry has been translated into German for the international anthology of Romani poets Die Morgendämmerung der Worte, Moderner Poesie–Atlas der Roma und Sinti. She has performed her poetry with music in many venues including Spoken Word Paris, Outpost 186, Sidewalk Café, Lowell Celebrates Kerouac, and Salem Arts Festival poetry. Her poetry has been supported by grants from the City of Salem Public Art Commission and the Center for Arts and Social Justice at Vermont College of Fine Arts, where she served as an inaugural fellow. She is Co-Founder/Co-Director of Chagall Performance Art Collaborative and serves as Co-Founder/Co-Director of Cambridge Writers' Workshop. She is on faculty at Salem State University and Harborlight Montessori. Passionate about energy healing, she founded Sacred Swan Healing Arts, based in Salem, MA.Follow @sacredswanhealingarts and @diananormasRomani crushes in this episode are Cecilia Woloch, Margit Bangó, and Roby Lakatos SANTA JEZ ABUNDANCE RITUAL FUNDRAISERjezminavonthiele.comromaniholistic.com @romanistanpodcast. Join our Patreon or donate to Ko-fi.com/romanistan, and please rate, review, and subscribe. @jezmina.vonthiele @romaniholistic. Secrets of Romani Fortune Telling https://romanistanpodcast.com Email us at romanistanpodcast@gmail.comRomanistan is hosted by Jezmina Von Thiele and Paulina StevensConceived of by Paulina StevensEdited by Viktor PachasWith Music by Viktor PachasAnd Artwork by Elijah VardoSupport the show
Planet Poet-Words in Space – NEW PODCAST! LISTEN to my WIOX show (originally aired November 18th, 2025) featuring renowned, groundbreaking poet Molly Peacock. Molly will read from her acclaimed books and discuss her life as a poet, biographer and arts activist. Molly Peacock is the author of eight collections of poetry, including The Widow's Crayon Box. Her poems appear in leading literary journals such as Poetry and American Poetry Review and are anthologized in A Century of Poetry in The New Yorker. She is the cofounder of Poetry in Motion on New York's subways and buses. After her husband of 28 years died, she began The Widow's Crayon Box, realizing that the variety of feelings after a beloved partner dies comprise far more than an 8-color crayon box—it's the whole 152. A former Leon Levy Biography Fellow, Peacock is also the author of two biographies about the lives of women artists, The Paper Garden and Flower Diary. PRAISE FOR MOLLY PEACOCK “Peacock has a luxuriantly sensual imagination—and an equally sensual feel for the language. In mood her poems range from high-spirited whimsy ... to bemused reflection. ... Whatever the subject, rich music follows the tap of her baton.” - David Lehman writing in Washington Post Book World “Ms. Peacock uses rhyme and meter as a way to cut reality into sizeable chunks, the sense of the poem spilling from line to line, breathlessly.”- The New York Times Book Review [The Widow's Crayon Box] bears ample witness to [Molly Peacock's] wit and gusto, her sensuousness and curiosity, and her courage . . . Her poetic artistry, honed over the course of her distinguished career, enables her to find beauty and zest even in the most forbidding places—and having found them, to offer them to us.— Rachel Hadas, author of Ghost Guest
Ann talks with poet, author, and performer Preston Kirk. Then she sits down with Rebecca Knoll to talk all things Mayborn Museum Complex. We get a throwback to traveling Texas, and a new Act Locally Waco with Elizabeth Riley. Learn more about your ad choices. Visit megaphone.fm/adchoices
Poet, novelist, and broadcaster Salena Godden on turning love, grief, and fury into books and poems, surviving years in the wilderness before publication, and sustaining a boundaryless creative life through performance, early-morning writing, and community.You'll learn:Why you don't have to be a “starving artist” and how to make powerful work while loving yourself and looking after your health.How to treat your story as uniquely yours, with material that no one else can reproduce.How Salena's “rule of three” can help you balance meaning, generosity, and income in a creative career.Ways to draft poems and prose from an image or phrase and reshape darker early drafts into a final piece.How to write for “tomorrow you” first, using self-doubt and a critical future self as fuel for deeper revision.What it looks like to carry a memoir from years of rejection to publication without letting the work disappear.How to “compose on the lips” by walking, speaking drafts into your phone, and writing in the space between sleep and waking.Ways to ground yourself after writing emotionally charged work, including nature, slow rituals, and leaning on trusted loved ones.Resources and Links:
Mit seinen Zaubertricks enthüllt er, wie trügerisch unsere Wahrnehmung ist: Was wir sehen, entspricht oft nicht der Wirklichkeit. Seit fast vierzig Jahren steht der Luzerner Alex Porter als Zauberer, Poet und Theatermacher auf der Bühne. Er verbindet Magie mit Geschichten, Gesang und Musik. Was auf der Bühne mühelos wirkt, ist das Ergebnis jahrelanger Hingabe. Doch Porter sagt: «Ich übe nicht, ich quäle meine Hände nicht, ich lasse sie spielen.» Wie der Sohn des berühmten Fotografen Allan Porter seine Vorgesetzten in der Rekrutenschule zur Verzweiflung brachte, warum er als Jugendlicher mit einer stinkenden Socke um den Hals in einem Luxusrestaurant für Aufsehen sorgte und weshalb seine beiden Töchter zuerst «öpis Rächts» lernen mussten, erzählt Alex Porter in «Musik für einen Gast» bei Simon Leu. Die Musiktitel: Der Einspieler: Alex Porter improvisiert 1. David Popper - Suite für 2 Violoncelli: 3. Scherzo Thomas Demenga / Patrick Demenga 2. Steely Dan (Ensemble) - Do it Again (Song von Walter Becker) 3. Hazel O'Connor – Writing On Wall (Film Braking Glass) 4. Boléro Magique – Alex Porter / Orchester Santa Maria / Droujelub Yanakiew, Leitung Arrangements 5. Albin Brun's Nah Quartet – Valsakana 6. Oona Porter – Memory Lane
Original Air Date: November 13, 1953Host: Andrew RhynesShow: Adventures of Wild Bill HickokPhone: (707) 98 OTRDW (6-8739) Stars:• Guy Madison (Hickok)• Andy Devine (Jingles) Special Guests:• Harry Bartell• Frank Gerstle• Hal Gerard• Dusty Walker Producer:• Paul Pierce Music:• Dick Aurandt Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK
A birthday bash that's yet another chapter in the Literary London Saga.
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-good-morning-portugal-podcast-with-carl-munson--2903992/support.Need help in Portugal? Contact Carl by phone/WhatsApp on (00 351) 913 590 303, email carl@carlmunson.com or join the Portugal Club community here - www.theportugalclub.com
The lady across the stream continues her answer to the pilgrim Dante's question about the breeze and the water. In this case, she explains the ecology of Eden, offers an understanding of global botany, and finally layers the meaning thick over the rivers of Eden, one of which is the poet's utter invention.The landscape itself is becoming allegorical, moral, theological, even anagogical, all while remaining true to its pastoral form (and roots).Join me, Mark Scarbrough, as we delve deeper into the lady's capacious answers and the poet's ever-widening imagination.If you'd like the help defray the many costs and fees associated with this website, please consider a one-time donation or a small monthly stipend through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:31] My English translation of PURGATORIO, Canto XXVIII, lines 109 - 133. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[04:09] The botany of both Eden and our own world.[07:28] The ecology of Eden: abundance.[11:05] The hydrology of Eden.[14:03] The strange placement of Lethe in Dante's afterlife.[17:15] The poet's reimagination of Eden, including an unprecedented river.[20:23] The vertical layering of meaning onto the pastoral form.[23:09] The inevitable logical faults of an imagined landscape.[25:48] Rereading the passage: PURGATORIO, Canto XXVIII, lines 109 - 133.
Hometown Radio 12/02/25 4p: Remembering local poet Deborah Tobola
Beginning in the late 1970s, Ruth Finley was terrorized by a mysterious stalker known as 'The Poet'. At that time, Wichita, Kansas, was on the hunt to find another monster: the BTK serial killer. Over time, Ruth's encounters with The Poet grew more violent, leading investigators to ask a chilling question: was Ruth yet another victim on BTK's list, or did Wichita have another serial predator on the loose? Associate Professor of English at Baruch College, CUNY, Corey Mead discusses the many twists and turns in the case, as well as the shocking conclusion, as detailed in his new book, The Pursued. Follow Emily on Instagram: @realemilycompagno If you have a story or topic we should feature on the FOX True Crime Podcast, send us an email at: truecrimepodcast@fox.com Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week on Excelsior Journeys: The Road to Creativity, host & producer George Sirois sits down with acclaimed author, poet, and speaker Margaret Philbrick. Starting out in the literary world as a children's book author, she has extended her reach into fiction, non-fiction, and poetry. This brought about a great milestone in 2024 when her novel "House of Honor -The Heist of Caravaggio's Nativity" was named one of the Top 100 Indie Books of 2024. Learn more about Margaret by clicking HERE.Excelsior Journeys: The Road to Creativity exists primarily as a platform for creatives of all kinds (authors, filmmakers, stand-up comics, musicians, voice artists, painters, podcasters, etc) to share their journeys to personal success. It is very important to celebrate those voices as much as possible to not only provide encouragement to up-and-coming talent, but to say thank you to the established men & women for inspiring the current generation of artists.If you agree that the Excelsior Journeys podcast serves a positive purpose and would like to show your appreciation, you can give back to the show by clicking HERE.Excelsior Journeys: The Road to Creativity is now a proud member of the Podmatch Podcast Network, and you can access all shows in the network by clicking HERE.
Chanell Burnette is a newly returning citizen to Roanoke after serving 19 years in an Appalachian Virginia prison. She is a mother to two, and a grandmother to three. She is an author and her mission is to bring awareness to the suffering endured behind bars in hopes that people will remember our shared humanity. This episode of Appalachian Vibes was recorded in front of a live audience at 3rd Street Coffee House in Roanoke, November 1 2025. You can learn more about Chanell at https://prisonjournalismproject.org/author/chanell-burnette/ or https://www.themarshallproject.org/2023/04/28/i-raised-my-kids-from-prison-im-coming-home-to-a-grandsonAppalachian Vibes Radio Show from WNCW is listener nominated, you can nominate an artist by emailing Amanda at appalachianvibes@gmail.com. Appalachian Vibes Radio Show is created and produced by Amanda Bocchi, a neo soul singer-songwriter, multi instrumentalist and journalist hailing from the Appalachian Mountains of Virginia.
12/2: Sen Paul Mark: legislators dress code! book bans & food insecurity. Sci-Tech Cafe w/ MHC Profs Kerstin Nordstrom & Ted Gilliland: birds. Harvard prof James Hankins, co-author of “The Golden Thread: A History of the Western Tradition.” Rich Michaelson w/ local poet Aiyana Masla: “The Underdream.”
Galahad and the Grail is Book 1 of Merlin’s Isle, Malcolm Guite’s retelling of the King Arthur legends in ballad form. It releases in March of 2026. In the prelude to Galahad and the Grail, a voice shimmering in the morning air says: Poet, take up the tale–Take up the tale the land still keeps,In earth and water magic sleeps,The dryad sighs, the naiad weeps,But you can lift the veil. Malcolm has taken up a very old tale and lifted the veil on stories that have lingered in the traditions of the British Isles longer than the English language itself. Scholar and teacher Junius Johnson is taking up the tale in another way. Starting in January 2026, Junius is teaching a 20-week online class on the King Arthur legend. He describes the class as a chance to see for yourself why this story has fascinated the imagination for so many centuries. In this episode, Malcolm, Junius talk with Jonathan Rogers about how King Arthur rode into their lives, and what these stories have meant to them. This episode is sponsored by The Habit Writer Development Cohorts. Join "Cohort Week Zero," a free mini-class, at TheHabit.co/Development.Support the show: https://therabbitroom.givingfuel.com/memberSee omnystudio.com/listener for privacy information.
A list of the December freebies you do not want to miss. Also, Reba McEntire discusses her engagement and the Rockefeller Center Christmas Tree Lighting. Plus, poet Amanda Gorman is live in Studio 1A with a special announcement. And, Jessie Buckley discusses her new film, "Hamnet," where she plays Agnes, the free-spirited wife of William Shakespeare. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Poet of the Week, December 1–7, 2025. Full text of the poem & interview: brooklynpoets.org/community/poet/andres-cordoba. Audio recording mixed by Gabe Carbonara.
Episode 81 - Poet, exile, freedom fighter - Dr. Behnaz Amani survived political imprisonment, now writes powerful verse and advocates for human rights in exile. She is a scholarship holder of PEN-Zentrum Germany. Disclaimer: Please note that all information and content on the UK Health Radio Network, all its radio broadcasts and podcasts are provided by the authors, producers, presenters and companies themselves and is only intended as additional information to your general knowledge. As a service to our listeners/readers our programs/content are for general information and entertainment only. The UK Health Radio Network does not recommend, endorse, or object to the views, products or topics expressed or discussed by show hosts or their guests, authors and interviewees. We suggest you always consult with your own professional – personal, medical, financial or legal advisor. So please do not delay or disregard any professional – personal, medical, financial or legal advice received due to something you have heard or read on the UK Health Radio Network.
The Aeneid stands as a towering work of Classical Roman literature and a gripping dramatization of the best and worst of human nature. In the process of creating this epic poem, Vergil (70–19 BCE) became a living legend. But the real Vergil is a shadowy figure; we know that he was born into a modest rural family, that he led a private and solitary life, and that, in spite of poor health and unusual emotional vulnerabilities, he worked tirelessly to achieve exquisite new effects in verse. Vergil's most famous work, the Aeneid, was commissioned by the emperor Augustus, who published the epic despite Vergil's dying wish that it be destroyed. In Vergil: The Poet's Life (Yale UP, 2023), Sarah Ruden, widely praised for her translation of the Aeneid, uses evidence from Roman life and history alongside Vergil's own writings in an endeavor to reconstruct his life and personality. Through her intimate knowledge of Vergil's work, she evokes the image of a poet who was committed to creating something astonishingly new and memorable, even at great personal cost. Benjamin Phillips is an MA student in History at Ohio University. His primary field is Late Antique Cultural and Intellectual History. 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
Hello to you listening in Brittany, France!Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Story Prompt Friday and your host, Diane Wyzga.As a storyteller for some 30 years now I can say this: when life is upside down and backward we call on the old stories. The old stories of who we are and where we came from ground us in the truth of the origins we might forget when distracted by shiny things, especially at this time of year.Shopping [by Faith Shearin]"My husband and I stood together in the new mallwhich was clean and white and full of possibility.We were poor so we liked to walk through the storessince this was like walking through our dreams.In one we admired coffee makers, blue potterybowls, toaster ovens as big as televisions. In another, we eased into a leather couch and imaginedcocktails in a room overlooking the sea. When wesniffed scented candles we saw our future faces,softly lit, over a dinner of pasta and wine. Whenwe touched thick bathrobes we saw midnight swims and bathtubs so vast they might bemistaken for lakes. My husband's glasses hurthis face and his shoes were full of holes.There was a space in our living room wherea couch should have been. We longed for fancy shower curtains, flannel sheets,shiny silverware, expensive winter coats.Sometimes, at night, we sat up and made lists.We pressed our heads together and wroteour wants all over torn notebook pages.Nearly everyone we loved was alive and we were in love but we liked wanting. Nothingwas ever as nice when we brought it home.The objects in stores looked best in stores.The stores were possible futures and, youngand poor, we went shopping. It was nicethen: we didn't know we already had everything.""Shopping" by Faith Shearin, from The Owl Question. © Utah State University Press, 2002.My mother always told us that we were rich we just didn't have a lot of money. When money was even tighter we weren't poor; we were just broke. Mom was right. The shiny things have come and gone but the richness of the stories - who I am, where I came from - those remain close to heart.“We Ain't Buying It!” is a nationwide movement to pause shopping from Thanksgiving through Cyber Monday with major corporations that are enabling the administration's lawlessness: Target, Home Depot & Amazon. Click HERE to learn more.Story Prompt: If you had one wish, what story would you most like to hear again; what would it say to you; what remarkable bit of contentment would it provide? Write that story and tell it out loud! You're always welcome: "Come for the stories - Stay for the magic!" Speaking of magic, I hope you'll subscribe, share a 5-star rating and nice review on your social media or podcast channel of choice, bring your friends and rellies, and join us! You will have wonderful company as we continue to walk our lives together. Be sure to stop by my Quarter Moon Story Arts website, check out the Services, arrange a no-obligation Discovery Call, and stay current with me as "Wyzga on Words" on Substack.Stories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicALL content and image © 2019 to Present Quarter Moon Story Arts. All rights reserved. If you found this podcast episode helpful, please consider sharing and attributing it to Diane Wyzga of Stories From Women Who Walk podcast with a link back to the original source.
The Aeneid stands as a towering work of Classical Roman literature and a gripping dramatization of the best and worst of human nature. In the process of creating this epic poem, Vergil (70–19 BCE) became a living legend. But the real Vergil is a shadowy figure; we know that he was born into a modest rural family, that he led a private and solitary life, and that, in spite of poor health and unusual emotional vulnerabilities, he worked tirelessly to achieve exquisite new effects in verse. Vergil's most famous work, the Aeneid, was commissioned by the emperor Augustus, who published the epic despite Vergil's dying wish that it be destroyed. In Vergil: The Poet's Life (Yale UP, 2023), Sarah Ruden, widely praised for her translation of the Aeneid, uses evidence from Roman life and history alongside Vergil's own writings in an endeavor to reconstruct his life and personality. Through her intimate knowledge of Vergil's work, she evokes the image of a poet who was committed to creating something astonishingly new and memorable, even at great personal cost. Benjamin Phillips is an MA student in History at Ohio University. His primary field is Late Antique Cultural and Intellectual History. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
This story originally appeared in Punktown (2000).Jeffrey Thomas's books include Punktown, Deadstock, Blue War, The American, and The Unnamed Country. He has been a finalist for the Bram Stoker Award and John W. Campbell Award, and his stories have been reprinted in The Year's Best Horror Stories 2022, The Year's Best Fantasy and Horror #14 (editors, Ellen Datlow and Terri Windling), and Year's Best Weird Fiction #1 (editors, Laird Barron and Michael Kelly). Thomas lives in Massachusetts.Narration by: Christina RauChristina M. Rau, The Yoga Poet, leads Meditate, Move, & Create workshops for various organizations in person and online. Her collections include How We Make Amends, What We Do To Make Us Whole, and the Elgin Award-winning Liberating The Astronauts. She moderates the Women's Poetry Listserv and has served as Poet in Residence for Oceanside Library (NY) since 2020. Her poetry airs on Destinies radio show (WUSB) and appears in various literary journals like FillingStation and The Disappointed Housewife while her prose has appeared in Punk Monk Magazine and Reader's Digest. During her downtime, she watches the Game Show Network. http://www.christinamrau.comFact: Looking Back At Genre History by Amy H SturgisSupport this show http://supporter.acast.com/starshipsofa. Hosted on Acast. See acast.com/privacy for more information.
Traci Brimhall joins Kevin Young to read “Refrigerator, 1957,” by Thomas Lux, and her own poem “Love Poem Without a Drop of Hyperbole in It.” Brimhall is the author of five poetry collections, including “Love Prodigal” and “Our Lady of the Ruins,” which won the Barnard Women Poets Prize. She has also received fellowships from the National Endowment for the Arts and the National Park Service—and she is the poet laureate of Kansas and the 2025 Poet-in-Residence at the Guggenheim Museum in New York. Learn about your ad choices: dovetail.prx.org/ad-choices
What happens when childhood teaches you more about survival than safety? Poet and author Nikki Grimes joins Kate to talk about growing up with profound instability—and still choosing to see beauty, feel joy, and offer forgiveness. In this moving conversation, they explore memory, trauma, faith, and the small pockets of belonging that shape a life. SHOW NOTES: Books by Nikki Grimes: Ordinary Hazards – A memoir in verse chronicling Nikki’s traumatic childhood; Glory in the Margins – A collection of Sunday poems exploring faith and resilience; A Cup of Quiet – A children’s book about the sweet bond between a grandmother and granddaughter; The Road to Paris – A semi-autobiographical novel inspired by Nikki’s experience in foster care. Poems read in this episode: Holy Architecture – from Glory in the Margins, Habitation – from Glory in the Margins Support guides: When You’ve Been Hurt as a Child, When Your Family is Complicated Subscribe to Kate’s Substack for blessings, essays, and reflections that hold what’s hard and beautiful. Join us for Advent over on Substack! See omnystudio.com/listener for privacy information.
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