Podcasts about Poetry

Man is a storytelling animal, and conveying the experience of the human condition in poetry and prose helps us understand and contend with it. That's true in all times and places, and it is why students of a society and its culture have much to learn from its poets. Contemporary Israel is one of the most interesting societies anywhere on earth, and its poets encompass the depth of its culture—God and man, the inescapability of war, human vices large and small. Today, we take a peek into their work. Making this possible is Michael Weingrad, a scholar of modern Hebrew and Jewish literature who is on the faculty of Hillsdale College, where he is helping to build a new undergraduate program in Judaism and Western Civilization. Weingrad recently founded an online publication, the New Jerusalem Review, where he publishes his translations of contemporary Hebrew verse into English. Today, he sat down with Jonathan Silver, the host of the Tikvah podcast and the editor of Mosaic, to introduce some of the most revealing selections from some of his favorite writers. The subject is important not only because of the intrinsic value of poetry, but also because anglophone literary culture has grown hostile to Israeli and Jewish writers, especially since October 7, and the poems Weingrad translates are not the safe, well-behaved kind of poetry that makes its way into the standard anthologies. They come out of a Hebrew-language literary world that most American readers, Jewish or Gentile, have almost no access to—a world that includes religious and secular, skeptics of multilateral summits and peace processes, and even conservatives. This episode of The Tikvah Podcast is generously sponsored by Dr. Kenneth Weiss in memory of his father, Eliezer Lipa ben Uri. If you are interested in sponsoring an episode of The Tikvah Podcast, we invite you to join the Tikvah Ideas Circle. Visit tikvah.org/circle to learn more and join.

Sanna Wani's debut poetry collection, My Grief, the Sun, won the 2023 Trillium Book Award for Poetry. Now, she's returned with her follow-up, Lantern. Sanna sits down with guest host Garvia Bailey in the Q studio to discuss the new book and read one of its poems.

Things start surprisingly deep when Lern talks about listening to Rafe's appearance on The HoneyDew, where he discussed difficult experiences from childhood and finding comedy in darker moments. He explains the idea of turning life's lowlights into highlights, everybody agrees that nobody escapes childhood completely unscathed, and for one fleeting moment this sounds like a mature conversation between emotionally intelligent adults.Turns out King Scott likes his coffee like he likes his women... According to former Starbucks professionals, black-coffee drinkers might enjoy torturing themselves, caramel macchiato fans barely want coffee at all, vanilla-latte people play it safe, Frappuccino drinkers are basically ordering milkshakes, matcha people might be doing it for the aesthetic, and macchiato drinkers know exactly what they want—and apparently want the barista to know that they know.McDonald's fries enter the conversation. So does the Wendy's Frosty, Taco Bell's spicy potato soft taco, the Frisco Melt, Lion's Choice, Dairy Queen onion rings, Rally's fries, Del Taco, Freddy's and more. Nobody reaches a universal consensus because democracy has failed once again.Things somehow become less appetizing when the crew discovers a Walgreens three-in-one product described as a douche, enema and water-bottle combination system. There are some household products where “multipurpose” is a selling point. This may not be one of them.The show then gets into a study suggesting men have a complicated relationship with dieting, including the idea that some men may respond better to “goals” and “challenges” than the word “diet.” Rafe offers his own theory after seeing wildly confident dudes criticize women online while looking, in his words, like a thumb melting into a suit. Poetry remains alive in St. Louis.And because the current calendar apparently isn't irritating enough, Moon brings up a viral proposal to replace our 12 months with five beautiful 73-day monstrosities: Jebruary, Maple, Jaugust, Soctober and Nissember. Is a 73-day Jaugust horrifying? Absolutely. Are we intrigued by Soctober? Unfortunately, yes.Then Tupac conspiracy content leads into a survey asking whether Americans believe they could successfully fake their own deaths. Younger adults are more confident. Older adults have apparently lived long enough to understand that the IRS, prescription refills and bill collectors are undefeated.Du Quoin, Illinois is having a rough week, and this one hits close to home.Massive downtown fire in Du Quoin. Multiple businesses were destroyed, including Home Lumber Company, BJ's Garden Inn and other properties along the downtown business district. Making an already difficult situation even worse, the fire happened during the Du Quoin State Fair, one of the biggest economic weeks of the year for the small Southern Illinois community.From there, September 3rd's collection of completely necessary national holidays introduces National Welsh Rarebit Day, which briefly causes confusion over whether anyone is eating a rabbit. They're not. It's cheese. That discovery leads directly to Worcestershire sauce, pork-steak marinades and the shocking revelation that Rafe doesn't own a grill.After talking with Tim Virgin, she introduces a potential reality-dating concept called Rock Hard Island. The premise involves eligible bachelors from St. Louis rock radio, women applying to date them and enough trash-TV energy to immediately attract hypothetical sponsors. There isn't actually an island involved, but that's apparently a minor logistical concern. Even more alarming: sales is interested.Then Lern takes over for Crap on Celebrities with a packed entertainment rundown. There's a documentary about late Rush drummer Neil Peart featuring Geddy Lee, Alex Lifeson and fellow drummers including Stewart Copeland, Chad Smith and Danny Carey. Rush is also headed back to St. Louis, giving Moon another chance to see a band he thought he'd never get to experience after Peart's death.The crew runs through villains ranging from Cruella de Vil and Scar to Patrick Bateman, Magneto, John Doe and Dr. Evil, proving once again that this daily comedy show can turn almost any entertainment list into an argument.Finally, Moon breaks down which music genres are supposedly most popular in different states based on search trends, with pop leading the country, metal putting up an impressive fight and Sleep Token emerging as a heavily searched metal act.We ask one of the great questions of our time: why is everybody bringing their dog to the airport now? After seeing dogs everywhere at LAX—and hearing two cats meow their way through an entire flight—the crew falls directly into a pet-themed rabbit hole that somehow gets stranger from there.The crew admits to giving pets updates before leaving the house, whispering compliments to one dog so the other one doesn't hear, telling cats “I love you,” debating which pet is secretly the favorite, asking dogs what they want to watch on TV, and generally treating animals like tiny roommates who contribute absolutely nothing financially.That sends the crew back to 1993's The Three Musketeers, Tim Curry as Cardinal Richelieu, Charlie Sheen, Kiefer Sutherland, Chris O'Donnell, Oliver Platt, and the gloriously over-the-top “All for Love” combination of Bryan Adams, Rod Stewart, and Sting. This funny podcast briefly becomes a 1990s movie-and-music appreciation society nobody asked to join.Finally, a listener asks a dangerous question for people who have spent years working in radio: what song have you heard so many times that you never need to hear it again?In other words, another perfectly normal episode of daily comedy from The Rizzuto Show.Follow The Rizzuto Show → linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → 1057thepoint.com/RizzShow.Hear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO.Baristas Are Revealing The Coffee Orders They Associate With Super Specific StereotypesHigh school's entire football season canceled amid developing criminal investigationFire destroys three downtown Du Quoin businessesKirkwood City Council considers Walmart drone deliverySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Things start surprisingly deep when Lern talks about listening to Rafe's appearance on The HoneyDew, where he discussed difficult experiences from childhood and finding comedy in darker moments. He explains the idea of turning life's lowlights into highlights, everybody agrees that nobody escapes childhood completely unscathed, and for one fleeting moment this sounds like a mature conversation between emotionally intelligent adults.Then Moon asks what everyone puts in their coffee.So much for that.Turns out King Scott likes his coffee like he likes his women... According to former Starbucks professionals, black-coffee drinkers might enjoy torturing themselves, caramel macchiato fans barely want coffee at all, vanilla-latte people play it safe, Frappuccino drinkers are basically ordering milkshakes, matcha people might be doing it for the aesthetic, and macchiato drinkers know exactly what they want—and apparently want the barista to know that they know.Then Rafe introduces the concept of a “bro drive-thru” serving pre-workout instead of coffee, because apparently this funny podcast is also an incubator for business ideas nobody should finance.Speaking of decisions nobody should finance, Shake Shack has a limited-edition Reese's Peanut Butter Cup shake featuring vanilla custard, peanut butter, fudge, a crackable chocolate shell, whipped cream, Reese's cups and Reese's Pieces. The damage? A completely reasonable and emotionally stable 1,900 calories with 158 grams of sugar.That sends the crew spiraling into their own hall of fame of caloric atrocities. Moon remembers casually annihilating an entire package of Double Stuf Oreos during his gaming days—potentially somewhere around 2,700 to 3,500 calories. Lern admits she could take down an entire gooey butter cake. And suddenly everyone is remembering the beautiful years when metabolism was magic and nutritional labels were merely decorative stickers.From there, Domino's new Detroit-style pizza promotion sparks the important question our Founding Fathers were apparently too cowardly to answer: What belongs on the Mount Rushmore of fast food?McDonald's fries enter the conversation. So does the Wendy's Frosty, Taco Bell's spicy potato soft taco, the Frisco Melt, Lion's Choice, Dairy Queen onion rings, Rally's fries, Del Taco, Freddy's and more. Nobody reaches a universal consensus because democracy has failed once again.Things somehow become less appetizing when the crew discovers a Walgreens three-in-one product described as a douche, enema and water-bottle combination system. There are some household products where “multipurpose” is a selling point. This may not be one of them.The show then gets into a study suggesting men have a complicated relationship with dieting, including the idea that some men may respond better to “goals” and “challenges” than the word “diet.” Rafe offers his own theory after seeing wildly confident dudes criticize women online while looking, in his words, like a thumb melting into a suit. Poetry remains alive in St. Louis.And because the current calendar apparently isn't irritating enough, Moon brings up a viral proposal to replace our 12 months with five beautiful 73-day monstrosities: Jebruary, Maple, Jaugust, Socktober and Nissember. Is a 73-day Jaugust horrifying? Absolutely. Are we intrigued by Socktober? Unfortunately, yes.We also discover that plenty of Americans apparently aren't sure what Labor Day celebrates, leading to the much more useful Rizz Show explanation that it exists so all pregnant women can give birth on the same day. Please do not cite us in an academic paper.Then Tupac conspiracy content leads into a survey asking whether Americans believe they could successfully fake their own deaths. Younger adults are more confident. Older adults have apparently lived long enough to understand that the IRS, prescription refills and bill collectors are undefeated.Finally, a high-school football season gets canceled amid an investigation into alleged misconduct at a football camp, leaving Moon to read a phrase from the reports on morning radio enough times that everyone involved should probably receive hazard pay.Coffee psychology. Childhood trauma. Reese's shakes. Oreos. Fast-food Mount Rushmore. Dieting. Socktober. Labor Day. Fake deaths. High-school football chaos.That is Episode 101 of The Rizzuto Show—and somehow the funny podcast survived all of it.Follow The Rizzuto Show → linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → 1057thepoint.com/RizzShow.Hear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

How can speaking to God in a new way invite us into a deeper way of seeing and hearing from Him? What role can poetry play in helping us communicate with our Creator?For pastor and author Tyler Staton, the words penned on a page during his cancer journey were never intended for anyone but himself and the Lord. Yet he discovered that the way he communed with God through scribbles in a tattered notebook offered a powerful invitation for all of us—to notice God's presence in both the ordinary moments and the difficult circumstances of our lives. Paired with Scripture, Tyler's book, After Amen: 50 Days of Poetry and Prayer, explores the beautiful intersection of poetry and prayer, offering a meaningful way to examine our lives while paying closer attention to God's presence within them.In this episode, Davey and Tyler discuss how we can better recognize God in the everyday, why it is so important to grieve our losses, and the role spiritual practices play in carrying us into the presence of God amid our pain.If you've ever struggled to find the words to speak to God, this conversation offers an invitation into the creative and poetic language that can help you feel seen, understood, and accompanied in your suffering. Website: https://www.tylerstaton.com/ Instagram: https://www.instagram.com/tylercstaton/ Episode 362: Spiritual Practices in Wilderness Seasons with Tyler Staton https://www.nothingiswasted.com/podcast1/episode-362 Book: After Amen: 50 Days of Poetry and Prayerhttps://amzn.to/42WUl3P Not living the story you expected? Pain changes us but doesn't have to define us. Discover where you are on your healing journey and get a personalized pathway for your next steps: nothingiswasted.com/starthere Looking for help in navigating the valley of pain and trauma? Our Nothing is Wasted coaches can help: nothingiswasted.com/coaching SEEDS: Download the free SEEDS app (https://tinyurl.com/RONSeedsApp) and take one small step today: plant your first seed and see what God can grow. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us Fan MailWell met friends! In this episode of the Get Piped Podcast, Adam and Nick flex their poetry muscles after a year away from the series.In the segments, Adam and Nick choose between topics in This or That and Adam ranks the best character choices of the 21st century in Blind Rank ListSupport the showBecome a Paid Piper --> Support us on Patreon.Send us stuff! --> PO box: PO Box 61263, Virginia Beach, VA 23466Purchase Tales of Fire and Briar: https://a.co/d/fvgzP0vWatch Battle of the Briar for FREE on YouTube: https://www.youtube.com/watch?v=LhU-qE-ZKmg __________Don't forget to subscribe/follow the GPP so you never miss an episode.We want to hear from you! If you have any further questions, comments, or recommendations, send them to show@getpiped.co.__________Follow Get Piped on Instagram. Follow Producer Guy on Instagram.Check out the Get Piped YouTube for more content.Join the Get Piped community Discord here.Check out the Get Piped merch store.GPP is created by Adam Floyd (Get Piped)GPP is produced by Nick Masella (Producer Guy).

What happens when language reaches beyond what we think we can say? David Whyte—poet, philosopher, and performer—joins Guy Kawasaki for a wide-ranging conversation about poetry, vulnerability, creativity, and the words that shape our lives. Whyte traces his unlikely journey from marine zoology in the Galápagos back to the poetry he began writing as a child, and explains why good poetry isn't something to understand so much as an experience to enter. He also shares the stories behind his poems and the provocative ideas in his new book, Consolations II. Along the way, he offers a powerful reminder that what we struggle to articulate may be exactly where our deepest insight begins.--Guy Kawasaki is on a mission to make you remarkable. His Remarkable People podcast features interviews with remarkable people such as Jane Goodall, Marc Benioff, Woz, Kristi Yamaguchi, and Bob Cialdini. Every episode will make you more remarkable.With his decades of experience in Silicon Valley as a Venture Capitalist and advisor to the top entrepreneurs in the world, Guy's questions come from a place of curiosity and passion for technology, start-ups, entrepreneurship, and marketing. If you love society and culture, documentaries, and business podcasts, take a second to follow Remarkable People.Listeners of the Remarkable People podcast will learn from some of the most successful people in the world with practical tips and inspiring stories that will help you be more remarkable.Episodes of Remarkable People organized by topic: https://bit.ly/rptopologyListen to Remarkable People here: **https://podcasts.apple.com/us/podcast/guy-kawasakis-remarkable-people/id1483081827**Produced by Madisun Nuismer and Jeff Sieh. Research provided by Tessa Nuismer

We're back, Slushies! Did you miss us? We missed being with you. Much of our time this summer was spent reading an array of excellent books and today we share that abundance with you. Our wide-ranging conversation touches on blockbusters, novels, poetry, craft books, and (would you believe), an encyclical from Pope Leo XIV. Kathy gets a gold star, summer-reading-challenge style, for the stack of books she read on the beach. Dagne weighs in on the plus side for audio books. And several editors are fans of book-of-the month style subscriptions, whether from Book of the Month, or indie bookstores like The Lynx and Main Street Books. Joining in on the discussion is special guest, Karen Hildebrand, one of our dedicated PBQ editors.   All this talk of reading has us wondering how or if we ought to keep track of all of our reads. An online platform? A spiral notebook? How do you track your reads, Slushies? Let us know and, while you're at it, share your summer reading faves with us. We'll be back at the Slush Pile for our next episode but we hope you enjoy our reading enthusiasms. Thanks, as always, for listening.   At the table: Dagne Forrest, Karen Hildebrand, Jason Schneiderman, Kathleen Volk Miller, Lisa Zerkle, Derek Grebis (Sound Engineer)   PBQ Staff Reading Recs:   Marion Wrenn Teaching Writing Through Journaling: Journaling as a Tool for Learning and Well-Being  by Kathleen Volk Miller Magnifica Humanitas by Pope Leo XIV Against Breaking: On the Power of Poetry by Ada Limón   Kathleen Volk Miller Hamnet by Maggie O'Farrell Gladiola Girls by Marion Wrenn 11/22/63 by Stephen King   Jason Schneiderman Little Rot by Akwaeke Emezi Final Slash Boy by Stephen S. Mills Bright Lights, Big City by Jay McInerney   Dagne Forrest Endling by Maria Reva PBQ Issue 5 Chandelier by David O'Meara   Samantha Neugebauer The Au Pair by Teddy Wayne The Enlargement of Life by John Kekes Tutelary Tales by Villy Sorensen   Lisa Zerkle Orbital by Samantha Harvey A Poetry Handbook: A Prose Guide to Understanding and Writing Poetry by Mary Oliver A Stranger is an Animal Who Does Not Sing by Brian Teare from Albion Books: A Poetry Micropress   Karen Hildebrand Her Read by Jennifer Sperry Steinorth A Day Like Any Other: The Life of James Schuyler by Nathan Kernan Wrong Norma by Anne Carson (Bonus! See PBQ editor Samantha Neugebauer's review of Wrong Norma here)   Emily Fedon It Will Come Back to You: Collected Stories by Sigrid Nunez Dear Monica Lewinsky by Julia Langbein Sex and Rage by Eve Babitz   Alexa Josaphouitch Yesteryear by Caro Claire Burke Sunrise on the Reaping by Suzanne Collins Most Eligible by Isabelle Engel

Why does Scripture rely so heavily on poetry, metaphor, and song? Join host Kasey Olander as she sits down with singer-songwriter Jimmy Needham and ministry founder Christine Crawford to explore how poetry fosters embodied faith, deepens worship, and helps us process grief and trauma. Discover practical ways Christians can slow down, notice beauty, and engage the artistic heart of God in everyday life. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Notes and Links to Julian Randall's Work     Julian Randall is a Living Queer Black author from Chicago. He has received fellowships from Cave Canem, CantoMundo, Callaloo, and the Watering Hole. Julian is the recipient of a Pushcart Prize and the winner of the 2019 Betty Berzon Emerging Writer Award from the Publishing Triangle.   His writing has been published in New York Times Magazine, Ploughshares, and POETRY, and anthologized in Black Boy Joy (which debuted at #1 on the NYT Best Seller list), Wild Tongues Can't Be Tamed, and Furious Flower. Julian has essays in Vibe Magazine, Los Angeles Review of Books, and other venues. They hold an MFA in poetry from University of Mississippi.    Julian is the author of five books across three genres. For adults: Refuse (Pitt, 2018), winner of the 2017 Cave Canem Poetry Prize and a finalist for a 2019 NAACP Image Award and The Dead Don't Need Reminding: In Search of Fugitives, Mississippi and Black TV Nerd Shit (Bold Type Books, 2024) winner of the Mississippi Institute of Arts and Letters award in Life Writing. For middle grade novel readers, he has written the Pilar Ramirez duology, The Chainbreakers and Shook, a middle grade novel in verse, which was published on August 9th, 2026.    Buy Shook   Julian Randall's Website   Review of Shook at BookPage   Support Flourish Community Hub on the Ground in Gary, Indiana     At about 1:45, Julian lays out the sobering situation in Gary, Indiana-support here At about 3:20, Julian talks about feedback he has received on Shook and tour events At about 4:30, Julian talks about favorite bookstores at which to buy his book, including Call and Response At about 5:30, Julian details his reading journey, especially his father's influence on his reading and his language and literature background  At about 7:00, Julian talks about, among others, Artemis Fowl, Langston Hughes, and Van Helsing-influences on his sensibility At about 9:50, Julian riffs on Shawn of the Dead and his reference in the book At about 11:50, Julian responds to Pete's question about his contemporaries and literary influences, including Jason Reynolds and Leah Johnson At about 14:55, Jason expands on the greatness of Leah Johnson At about 16:50, Pete asks Julian about how he “inhabits” his younger characters so well, and Julian adds information about how his writing has been informed by his own experiences  At about 21:20, Julian responds to Pete's question about his basketball player profile  At about 22:20, Julian reflects on the avoidance of moralizing in his writing, and he expands on his admiration for Suzanne Collins, especially her Gregor the Overlander series At about 30:15, Julian talks about seeds for Shook and connections to the pandemic  At about 33:45, Julian responds to Pete;'s asking about the book's sequencing and use of unique “chapters” At about 37:00, Julian connects his writing style in Shook, featuring “beats,” to DVD “scene selection” At about 38:00, Pete lays out some of the book's exposition  At about 39:00, Julian characterizes and compliments his main character, Malik “Shake” Page At about 40:15, Julian talks Malik, backstory, and “My Story” on NBA 2K At about 42:40, Julian talks about a question for his characters, “What is magic for you?” and connections between the calming factor of basketball and anxiety  At about 44:30, Russell Westbrook Love At about 45:40, The two discuss the protagonist's group chat, and the genesis of the book's title and the titular character  At about 47:45, Julian compares the group chat to a “Greek chorus” At about 48:55, The two discuss the book's semifinal game and the importance of trash talking  At about 53:00, Discussion of a damaging injury to Shake leads to discussion of “Up North,” Chicago redlining history, and economic and racial segregation  At about 55:55, At about 57:00, Dr. Betts and real-life inspirations are discussed-Dr. Tara Betts  At about 59:35, Shake and his “widening gulf” with friends discussed At about 1:00:15, Julian talks about a prominent character, Duke, real-life connections, and how he is a quiet “hero” in the book, instructive for Shake  At about 1:04:00, Pete recounts a crushing comparison made by Kaveh Akbar that speaks to the idea of everyone's expansive stories  At about 1:05:20, Dr. Jason Clopton and his fictional doppelganger, Dr. Kendrick J. Drake are lovingly referenced  At about 1:06:40, Julian talks about the “manifestation of the classic middle-school” fear and “anxiety representation” and therapy discussions in his book At about 1:09:50, Pete cites some profound and moving quotes in the book      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 Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. His conversation with Jeff Pearlman, a recent guest, is up now at Chicago Review.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    This month's Patreon bonus episode is the second episode for Pete's limited podcast series, Rage is a Gift: Evil Empire at 30. Pete reflects on the Importance (and the power of this capital "I") of Rage Against the Machine and their seminal Evil Empire album, which is celebrating 30 years of resistance. The episode focuses on the opening track, “People of the Sun.” The limited podcast series will do a deep exploration of, and reflection on, the lyrics and context of each of the 12 powerful songs on the album.     Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.    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.     Please tune in for Episode 348 with Daniel Dockery, who has been a Senior Writer and Assistant Editor at Crunchyroll, as well as a Columnist and Assistant Editor at Cracked.com. He's also written for WIRED, Vulture, Polygon, SYFY, Paste Magazine, Roger Ebert, Thrillist, and various other outlets. His first book, Monster Kids: How Pokémon Taught a Generation to Catch Them All, was released by Running Press on October 4, 2022. His upcoming book, I AM THE NIGHT: The Ultimate Unauthorized History of Batman: The Animated Series, is out with St. Martin's Press as of September 1, 2026.      The episode airs on September 8.     Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people.    You can also donate at chuffed.org, World Central Kitchen, and so many more, and/or you can contact writer friend Ursula Villarreal-Moura directly or through Pete, as she has direct links with friends in Gaza.  

Today I have the honor and privilege to speak with poet and physician Fady Joudah about his stunning new book-- Exhibit G: Poems, Essays, and Photographs of Gaza. Along with powerful and demanding texts, Exhibit G features a collection of photographs of Gaza presented in collaboration with Hani Almadhoun and the Gaza Soup Kitchen. Together, we are confronted with a demand to witness without translating the experience into what Joudah calls “Palestine in English.” The totality of the experience is at once devastating, horrifying, but also at times beautiful and literally beyond words. Along with reading portions of the essays and poems, Fady Joudah offers his usual probing readings of Palestinian history, culture, literature, and social life. No other document so forcefully and comprehensively expresses this genocide.Fady Joudah is a Palestinian American physician, poet, and translator. He was born in Austin, Texas, and grew up in Libya and Saudi Arabia. He was educated at the University of Georgia, the Medical College of Georgia, and the University of Texas Health Sciences in Houston. In 2002 and 2005 he worked with Doctors Without Borders in Zambia and Sudan, respectively.Joudah's debut collection of poetry, The Earth in the Attic (2008), won the 2007 Yale Series of Younger Poets competition, chosen by Louise Glück. Joudah followed his second book of poetry, Alight (2013) with Textu (2014), a collection of poems written on a cell phone wherein each piece is exactly 160 characters long. His fourth collection is Footnotes in the Order of Disappearance (2018).  In 2014, Joudah was a Guggenheim Fellow in poetry. As critic Charles Bainbridge observed in a 2008 Guardian review of The Earth in the Attic, “Joudah's poetry thrives on dramatic shifts in perspective, on continually challenging received notions.”Joudah translated  several collections of Palestinian poet Mahmoud Darwish's work in The Butterfly's Burden (2006), which won the Banipal prize from the UK and was a finalist for the PEN Award for Poetry in Translation; and in If I Were Another, which won a PEN USA award in 2010. His translation of Ghassan Zaqtan's Like a Straw Bird It Follows Me (2012) won the Griffin International Poetry Prize in 2013. His other translations include Amjad Nasser's Petra: The Concealed Rose and A Map of Signs and Scents.Joudah lives with his family in Houston, where he works as a physician of internal medicine.   

Watch the full episode here: https://renderingunconscious.substack.com/p/ru420-luca-di-gregorio-on-lacan-in Rendering Unconscious is now at Substack: https://renderingunconscious.substack.com RU420: DR LUCA DI GREGORIO ON LACAN IN ITALY: CLINIC, POLITICS, AESTHETICS Rendering Unconscious welcomes Dr. Luca Di Gregorio to the podcast! He's here to talk about his new book Lacan in Italy: Clinic, Politics, Aesthetics (2025). https://link.springer.com/book/10.1007/978-3-031-91528-4 Rendering Unconscious episode 420. On this episode, Luca discusses his book, Lacan in Italy: Clinic, Politics, Aesthetics (2025), which explores the reception and impact of Lacanian psychoanalysis in Italy. Luca elaborates on the ways in which his doctoral project expanded from the aesthetic domain to include clinical, political, and social aspects. He highlights the mainstreaming of psychoanalysis in Italy, its public discourse, and the contributions of Italian Lacanians like Massimo Recalcati. Luca emphasizes the transformative power of psychoanalysis, its integration into medical education, and shares his own personal journey. We also touch upon the potential for psychoanalysis to address contemporary issues and the importance of cross-cultural exchange in psychoanalytic thought. Luca Di Gregorio is Senior Teaching Fellow in Medical Education in the Faculty of Medicine at the University of Southampton, UK, and Deputy Director of the Southampton Centre for Medical and Health Humanities. News & events: Next up at RU Center, The Poetry of Psychoanalysis series with author and astrologer Emmalea Russo continues September 6th on DH Lawrence and his Fantasia of the Unconscious for the Autumn Equinox: https://www.tickettailor.com/events/renderingunconsciouscenterforpsychoanalysis/2315469 September 12th is the final class in my Intro to Psychoanalysis year long course! We'll focus on Frantz Fanon and liberation psychology, and take a look at Thomas Szasz, R.D. Laing and the anti-psychiatry movement, as well as Patricia Gherovici's The Puerto Rican Syndrome. That will set us up nicely for what we're diving into next: a close reading of From the Clinic to the Streets: Psychoanalysis for Revolutionary Futures (2026) by Dr. Lara Sheehi. Paid subscribers at RU Center for Psychoanalysis Substack gain access to these and all RU Center events! https://rucenterforpsychoanalysis.substack.com Rendering Unconscious is also a book: Rendering Unconscious: Psychoanalytic Perspectives, Politics & Poetry vols 1:1 & 1:2 (Trapart Books, 2024): https://amzn.to/4sOqSEu Thank you for being a paid subscriber to Rendering Unconscious Podcast. It makes my work possible. If you are so far a free subscriber, thanks to you too. Please consider becoming a paid subscriber to gain access to all the material on the site, including new, future, and archival podcast episodes. It's so important to maintain independent spaces free from censorship and corporate influence. If you are interested in pursuing psychoanalytic treatment or supervision with me, please feel free to contact me directly: www.drvanessasinclair.net/contact/ As always, huge thanks to Carl Abrahamsson for providing the intro and outro music for Rendering Unconscious Podcast. https://linktr.ee/CarlAbrahamsson The song at the end of this episode is "Transmit" from the album "Dream exploded". https://petemurphy.bandcamp.com/album/dream-exploded-7 Support indie artists and musicians! Visit Pete's Bandcamp: https://petemurphy.bandcamp.com Our music is also available at Spotify and other streaming services. https://open.spotify.com/artist/3xKEE2NPGatImt46OgaemY Links to everything can be found at: https://linktr.ee/renderingunconscious Enjoy! Thank You.

Send us Fan MailDescription: An immersive reading of A Cup of Chai by Grace Ro with reflection on food, artificial nutrition, voice, and proxy decision makers. Website:https://anauscultation.wordpress.comWork:Poem: https://ars-medica.ca/index.php/journal/article/view/2705/546 References:Ro, G. (2026). A Cup of Chai. Ars Medica, 20(1), 2 pp. Retrieved from https://ars-medica.ca/index.php/journal/article/view/2705Doximity profile: https://www.doximity.com/profiles/41f2b871-6817-4978-be66-72fe5825ccb4/viewLinkedin profile: www.linkedin.com/in/gracer128  

Please enjoy this Summer Salon Series episode of Breaking Form Selects: Ai Support Breaking Form by reviewing the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series. BEAUTIFUL PEOPLE is available from Bridwell Press. James's ROMANTIC COMEDY is available from Four Way Books.  Notes:Toi Derricotte was born in Hamtramck, Michigan, on April 12, 1941. She earned her BA in special education from Wayne State University and her MA in English literature from New York University. Derricotte's books of poetry include I: New & Selected Poems (University of Pittsburgh Press, 2019), which was a finalist for the 2019 National Book Award in Poetry; The Undertaker's Daughter (University of Pittsburgh Press, 2011); and Tender (University of Pittsburgh Press, 1997). She is also the author of a literary memoir, The Black Notebooks (W. W. Norton, 1997), which won the 1998 Anisfield-Wolf Book Award for Nonfiction.Together with Cornelius Eady, Derricotte cofounded the Cave Canem Foundation in 1996, a national poetry organization committed to cultivating the artistic and professional growth of African American poets.For more about Derricotte (and her poems) go here and here. Watch Toi Derricotte give a reading here (2015; ~30 min)Watch Toi Derricotte talk about reading and writing long poems here. Read excerpts in Kenyon Review from Derricotte's Black Notebooks here.Read this Bettina Judd essay on Derricotte (from Poetry Northwest).Poems we read include:"Not Forgotten""In Knowledge of Young Boys""Touching/Not Touching: My Mother""The Undertaker's Daughter"

In Episode 316 we play and discuss many of our favorite party games and you can play along with us. Timestamps:00:00 Introduction03:37 Balderdash11:04 Wavelength18:05 Green Team Wins22:59 Skull27:18 Poetry for Neanderthals31:12 Scattergories35:57 Flip 739:57 Hot Streak43:59 Heads Up!48:58 Mad Gab53:48 Scattergories: Categories56:17 Subjective1:01:33 Wits and Wagers1:04:31 Challengers!1:10:41 CodenamesIf you enjoy the show, please consider supporting us at https://www.patreon.com/boardgamehottakesFollow us on BlueSky: https://bsky.app/profile/boardgamehottakes.bsky.socialJoin our Board Game Arena Community: https://boardgamearena.com/group?id=11417205Join our Discord server at: ⁠⁠⁠⁠⁠⁠⁠https://discord.gg/vMtAYQWURd⁠

I first met Seth Wieck in person at the 2024 Festival of Faith and Writing at Calvin University. We had a thirty second encounter where he held a door for me in his red raincoat (Michigan in April can be a little fickle when it comes to the weather) and we exchanged a greeting. That was it.The Festival is one of those places where the sheer volume of interesting people can be overwhelming. The halls are filled with New York Times bestselling authors, literary agents who can change your life, poets and illustrators and journalists. It can be rich and rewarding but it can also be grasping and schmoozy.I'd followed Seth on social media for a bit and loved both his read alouds—poetry delivered by memory in a Texas panhandle accent, usually while driving—and his recommendations. He's the one who first put Chera Hammons, the fabulous poet we had on the show a few weeks back, on my radar.In those few seconds I realized, oh, Seth is exactly who he is online in person, too. One of the good ones. A person who loves language because language is fascinating and transcendent and gritty and strange. Someone who has been married for twenty years and working on his poetry for even longer. A well-read writer eager to encourage other writers, happy to share the literary joy.When I heard he had a new book (his first, I believe) coming out, I could not wait to get my hands on it. These are poems he's been working on for over two decades. I tore through it on its release day, leaving the dishes to soak in the kitchen and I don't regret a moment of it.My friends, Call Out Coyote is a gift. It's a treasure. It will take you through the arid landscapes of Texas, down to each parent's greatest fear, and up to the heights of what it means to buy into a community for decades. There are coyotes and hawks, rattlesnakes and sparrows. There is death and light and love and longing.I'm so excited to share today's conversation with you. Check out Call Out wherever books are sold. (I'm a fan of ordering directly from Wiseblood Books, as they do fabulous work and you might stumble upon another new favorite while you're there.) Get full access to Keep Looking Up at courtneyellis.substack.com/subscribe

Edgar Allan Poe isn't mentioned much anymore and we think that's a shame!  In this episode we look into the mysterious life, death and post death mysteries that surround one of the masters of horror writing, poetry and what we know now as detective novels.Email us at: downtherh@protonmail.com

Welcome back to Artbeat Radio! Listen in to Mike Sonksen and Blair Cohn speak about the beautiful city of Long Beach. Mike shares about his poetry, inspiration, and new book, while Blair shares some behind the scenes information about his experience as executive director of the Bixby Knolls Business Improvement Association. Thank you to Brian Corder for interviewing and producing this episode! Thanks for listening and tune in next time! Follow us on instagram @artbeatradio For more information about our organization, please visit our website www.ableartswork.org

It's time for us to reveal the winners in our rather spontanious poetry competition.Huge thanks to Rowan McCabe for being head judge and helping us choose the winning poems. If you want to see him live on his new tour, check out https://rowanthepoet.com/home/upcoming-gigs/Thanks to everyone who entered - and a MASSIVE thanks to our prize sponsors - in particular Libro.fm and WritersHQ. Please do check out their stuff.Right, without further ado, get listening and find out who's won... 'cos no-one likes all that fake tension build up stuff do they?? Hosted on Acast. See acast.com/privacy for more information.

CAA literary agent Rachel Mann on what makes her say yes to a manuscript, how to navigate the submissions process without losing control of your career, and why cutting is the work that makes prose land. You'll learn Why the recognition an agent needs is physical rather than analytical. What to do when you're not sure your manuscript is ready to send out. How to buy more time after a full manuscript request without killing the momentum. Why telling other agents about your requests works in your favour, even if it feels grubby. The realistic rhythm for chasing an agent who has gone quiet. Whether refusing to use social media can cost a writer representation. A question worth answering before you sign with anyone, and why the answer shapes the edit. The edit most manuscripts need before submission, and why it rarely means adding. How poetry's distillation applies to prose, whatever you write. What still gives an agent hope in a market where people are reading less. Resources & Links Rachel's Website Marianne Dreams by Catherine Storr Waterstones Puffin Jo Unwin Literary Agency Karolina Sutton agent Harriet Poland agent Sarah Harvey agent John Ash agent Boy Parts by Eliza Clark Ottessa Moshfegh author Society of Authors The Arvon Foundation To Query Rachel: Email her at rachel.mann@caa.com. To submit, please send a cover email, one-page synopsis and the first three chapters of your work, or the rough equivalent. About Rachel Mann Rachel Mann is a Literary Agent at CAA and represents a broad range of work – largely fiction, with some non-fiction — from commercial to literary, in adult, young adult, and middle-grade markets. Her clients include Eliza Clark, Caleb Femi, Jade LB and Aisling Rawle, and have won and been listed for major prizes, including the Granta Best Young British Novelist, the Forward Prize for Poetry, the Rathbones Folio Prize, the Jhalak Prize, the Waterstone's Children's Book Prize, the YA Book Prize, The Bookseller Discover Prize, and the Carnegie Medal. She spent ten years editing and commissioning fiction for young people at houses including Penguin Random House and Simon & Schuster, and was global publishing director at the Roald Dahl Story Company. She became an agent in 2018 and joined CAA in 2023. For show notes, transcripts and to attend our live podcasts visit: podcast.londonwriterssalon.com.For free writing sessions, join free Writers' Hours: writershour.com.*FOLLOW LONDON WRITERS' SALONTwitter: twitter.com/​​WritersSalonInstagram: instagram.com/londonwriterssalonFacebook: facebook.com/LondonWritersSalonIf you're enjoying this show, please rate and review this show!

Ellen Bass and Chirstina Daub premiere new poems and discuss a life in poetry.

Ladi Di and Brenda Bunting present new books with the power and glory of black poetry.

Poetry has always played a central role in Judaism. Jewish poetry began in the Tanach (the Hebrew scriptures), which contain the earliest known poetry. Later in the early Middle Ages, Jewish poets developed extensive liturgical poems that became central to our prayers and served as a model copied by Christian and Muslim poets. A fascinating discussion about Piyyut, early Jewish poetry and how it influenced all subsequent poetry. 

"Living a full life, living a beautiful life, means learning how to carry grief."What if grief isn't something we're meant to get over, but something we're meant to learn how to carry?In today's episode, I'm joined by therapist and author Margaret Bryden to explore the intersection of grief, creativity, and the healing power of honest expression. Margaret's upcoming book, How I Understand It: A Bad Poet's Guide to Mental Health and Resilience, offers a refreshing invitation to set aside perfection and discover how writing can help us better understand ourselves and our experiences.In this episode, we talk about:Why grief is an inevitable part of living a full lifeHow "bad poetry" helps quiet perfectionism and self-criticismTurning grief into something tangible we can hold and understandThe role of creativity in restoring agency after lossWhy many people feel pressure to perform griefNarrative authority and reclaiming ownership of your storyThe connection between poetry, self-awareness, and healingWhy resilience is learning how to love differentlyHow creative expression reduces isolation and fosters connectionA simple way to begin writing, even if you've never considered yourself creativeLinks + Resources from this episode:Buy Margaret's bookConnect with Margaret onlineFollow her on InstagramBecome a PatronLearn more about Restorative Grief

From our series titled The Poetry of Wholeness, in which we explore how the Psalms help us to live wholly before God. Guests: Jeannie McCoy and John Blumenstein. Scripture reading: Psalm 130Learn more about Redeemer Church at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠redeemerclt.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

693. Part 2 of our conversation with Patricia Knight Meyer about her adoption. In her gripping memoir, Wonderland: Memoir of a Black Market Adoption, Patricia unravels the complex and harrowing story of her origins within a illegal adoption ring, exploring the deep psychological ripple effects of a childhood built on hidden truths. Raised under the shadow of secrecy, Meyer masterfully weaves personal memory, investigative persistence, and raw emotional vulnerability to illuminate how illicit adoptions break identity apart and how truth can ultimately piece it back together. Her voice brings vital light to the silenced histories of black market adoptees, offering listeners a compelling exploration of belonging, family ties, and the relentless search for self-discovery. Now available: Liberty in Louisiana: A Comedy. The oldest play about Louisiana, author James Workman wrote it as a celebration of the Louisiana Purchase. Now it is back in print for the first time in 222 years. Order your copy today! This week in the Louisiana Anthology. A Scribe Called Quess? “Education.”     As recently as October of 2009, a group of teachers imported from the Philippines pressed charges for being treated like… and paid no more than… indentured servants. My only question… what the hell were they doing here in the first place? I'm here… more than apt and completely capable of teaching children that look just like I did 20 years ago… and now walk a similar path     But in the game of political ponzi that is Post-Katrina, New Orleans… it's bigger than books and study baby… EDUCATION IS BIG BUSINESS! Unions are shut down wholesale… veteran teachers fired before they can cash in on their pensions — God forbid healthcare… Teachers are outsourced… bussed in — flown in — hell! Prison beds are forecasted based on the amount of children at grade level! Does it get more insidious than that…? This week in Louisiana history. August 28, 1956. Lake Ponchartrain Causeway opened. This week in New Orleans history. August 28, 2005: Mayor Ray Nagin issued the first-ever mandatory evacuation order for New Orleans as Hurricane Katrina approached the Gulf Coast. This week in Louisiana. Vermilionville Living History Museum & Folklife Park Year‑Round Attraction 300 Fisher Rd. Lafayette, LA 70508 Website: bayouvermiliondistrict.org Vermilionville is a 23‑acre living‑history village along Bayou Vermilion, interpreting Acadian, Creole, and Native American cultures from 1765 to 1890. The site features restored and recreated historic homes, costumed artisans, live music, and hands‑on demonstrations that bring early Louisiana to life. Historic Structures: Original and replica buildings including Acadian homes, Creole houses, a chapel, a schoolhouse, and craft workshops ' all documented in the village's architectural listings. Costumed Interpreters: Artisans demonstrate traditional crafts, domestic skills, and cultural practices from the 18th and 19th centuries. Live Music & Cultural Events: Regular Cajun jams, dances, and French‑language gatherings appear on the Vermilionville calendar. Hours: Open Tuesday'Sunday, 10 a.m.'4 p.m.; last admission at 3 p.m. because the full tour takes 60'90 minutes. Experience: Visitors can explore the grounds independently or book guided tours (24‑hour notice recommended). Postcards from Louisiana. The Rock Block Band at Felix's Restaurant and Oyster Bar. Listen on Apple Podcasts. Listen on audible. Listen on Spotify. Listen on TuneIn. Listen on iHeartRadio. The Louisiana Anthology Home Page. Like us on Facebook. 

Over twenty years ago, the  Los Angeles Times called our guest "the most despised—some would say most feared—man in American poetry.” We invited Alan Cordle Villegas to talk about Foetry.com—the website he created, initially anonymously, with the tagline: “Exposing fraudulent contests. Tracking the sycophants. Naming names.” Would he do it all again? What does it mean to be transparent in an opaque world?At the Table: Katie Dozier, Timothy Green, and Alan Cordle Villegas.

TheWanderingPaddy Poetry - The Book of Truths. Out Now on Amazon. LOVE AS EXISTENCE, NOT DECORATION available November. Hosted on Acast. See acast.com/privacy for more information.

Host: Steve Macchia, Guest: Abigail Carroll This episode originally aired on May 4, 2023 as Episode 4 of Season 26. "Poetry is the premise and the tool for submitting myself to beauty." - Abigail Carroll In this concluding conversation of our Summer 2026: Rewind series, Steve Macchia welcomes poet and pastor Abigail Carroll to explore the spiritual significance of beauty, creativity, poetry, and wonder. She shares how God met her through beauty as a child, how she rediscovered her poetic identity after years of silence, and how poetry has become a way of praying, grieving, noticing, and naming God. Together, Steve and Abigail consider what it means to slow down and "submit ourselves to beauty," to allow metaphors to deepen our prayers, and to recognize the creative capacity God has placed within each of us. Whether or not you consider yourself an artist, this conversation invites you to pay attention, receive the beauty around you, and release the creativity God has given you as an offering to him. Join the conversation about spiritual discernment as a way of life at www.LeadershipTransformations.org and consider participation in our online and in-person program offerings. Additional LTI spiritual formation resources can be found at www.SpiritualFormationStore.com and www.ruleoflife.com and www.healthychurch.net.  

Chris Tse reviews Poetry Aotearoa Yearbook 2026 edited by Tracey Slaughter, published by Massey University Press. Chris also talks about National Poetry Day, which takes place today, Friday 28 August.

What if the Psalms were not only meant to be read but sung aloud? Dr. Michael Ballam explores the Psalms as ancient Israel's hymnbook, sharing personal stories of music's healing power, from a memory-care patient's return to lucidity to a final blessing for a dying father.YOUTUBEhttps://youtu.be/Zd6Y0_FniQMNOW AVAILABLE INSpanish:  @followHIMespañol  French:  @followHIMFrançais  Portuguese:  @followHIMPortuguês    ALL EPISODES/SHOW NOTESfollowHIM website: https://www.followHIM.coFREE PDF DOWNLOADS OF followHIM QUOTE BOOKSNew Testament: https://tinyurl.com/PodcastNTBookOld Testament: https://tinyurl.com/PodcastOTBookBook of Mormon: https://tinyurl.com/PodcastBMBook WEEKLY NEWSLETTERhttps://tinyurl.com/followHIMnewsletter SOCIAL MEDIAInstagram: https://www.instagram.com/followHIMpodcastFacebook: https://www.facebook.com/followhimpodcastPart 1 - 0:00 - Part 1 - Dr. Michael Ballam1:23 Getting reacquainted with the Psalms2:48 Israel's hymnbook4:00 Elohim and reading the Hebrew text5:32 Introducing Dr. Michael Ballam8:43 Come, Follow Me Manual9:09 Psalm 150 and instruments of praise11:33 Music in Jesus's final hours12:34 Psalm 151 and the Dead Sea Scrolls15:36 A memory care story: music restoring memory16:49 Singing for prophets and apostles20:10 “Sing and pray more, talk less”23:35 Turning to favorite Psalms26:37 Psalm 119 and “Thy word is a lamp unto my feet”30:38 Poetry in Isaiah33:00 The story behind “How Great Thou Art”35:02 Elder Cook's funeral38:02 Psalm 130 “Out of the depths”43:08 The story behind “Lead, Kindly Light”44:38 “Amazing Grace” and a testimony45:38 Humor in the Psalms47:18 “The stone the builders refused”49:09 A film project53:38 A Marine's pilot's hymn-singing story54:14 Amanda Barnes Smith and Haun's Mill55:38 Elder Neal A. Maxwell's final months58:09 Music heals and interesting roles1:00:47 Playing the Apostle Paul1:04:21 End of Part 1 - Dr. Michael BallamThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsAmelia Kabwika: Portuguese TranscriptsHeather Barlow: Communications DirectorSydney Smith: Social Media, Graphic Design "Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com

[REBROADCAST FROM April 24, 2026] From 2019 to 2022, Joy Harjo served as the 23rd Poet Laureate of the United States, the first Native American to serve in that position. Now, Harjo has released a new album, Insomnia and Seven Steps to Grace, which combines her passion for jazz and poetry. The album, out today, is Harjo's debut on the historic Smithsonian Folkways label. To celebrate National Poetry Month, Joy Harjo shares some of her music for an All Of It Listening Party.  Photo by by Melissa Lukenbaugh Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

[REBROADCAST FROM June 26, 2026] The prominent beatnik poet Allen Ginsberg would have turned 100 this past June. To commemorate his birthday during Pride Month, we speak with writer Ira Silverberg, and reflect on his legacy as a pioneering gay, Jewish, and socialist writer and iconoclast. Plus we hear from listeners about their favorite Ginsberg poems.   Photo by Neil Libbert/Getty Images: Allen Ginsberg, Poet, Writer, Greenwich Village, New York City 1964.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Broadcaster and former footballer Karen Carney OBE has been awarded the Professional Footballers' Association's merit award for her contribution to football. She joins Nuala to explain what winning the prestigious award means to her. The Ministry of Justice has announced the introduction of 'restriction zones' for serious sexual and violent offenders that would confine them to areas just a few miles wide after leaving prison. Government ministers say the scheme is designed to give victims greater freedom but some campaigners want more detail about how they will work and be enforced. To discuss further Nuala is joined by advocate on domestic abuse and stalking, Rhianon Bragg.Siobhan Daniels was a guest on Woman's Hour a couple of years ago as part of Listener Week to talk about her alternative lifestyle, getting rid of her possessions and living a nomadic lifestyle by travelling the country in a motorhome. Now she's back with a new book, Retire and Refire, which chronicles her 4,000-mile solo RV adventure from Canada to Alaska along the Alaska Highway. She tells Nuala about her latest adventures. Parliament returns this week and one of the first items on the agenda for the Liberal Democrats is a bill that aims to ban the possession of sex dolls that resemble children. Currently it's illegal to import them but not to own one in the UK. Munira Wilson MP explains why she wants to change the law and close a 'dangerous loophole', and Nuala also hears from Dr Alex Bailey from the Lucy Faithfull Foundation – an organisation that works to prevent child sexual abuse.'Poetry is everywhere' - that's according to spoken word poet Georgie Jones. Her honest takes on the realities of womanhood, friendship, body image, love and self-doubt have struck a chord with audiences and seen her shoot to fame on social media. Georgie joins Nuala to discuss why spoken word poetry is striking such a chord with women online.Presenter: Nuala McGovern Producer: Olivia Skinner

The exciting conclusion to Yuanyang's heroic proto-feminist refusal! Big scissors are wielded. The truth is revealed, and the stakes are nothing short of life, death, and hair most lustrous. Grandmother Jia reemerges to assert her juridical authority, and Faithful reaffirms her fidelity unto death.Support the show

Poet Rosemerry Wahtola Trommer has written and sent out a poem every single day for decades. These are first drafts, no editing, no safety net. In this conversation, she shares what that practice has taught her about creativity, identity, and the wild, disorienting terrain of grief.In this episode, host Elizabeth Mintun sits down with Rosemerry Wahtola Trommer, a poet, writer, and teacher whose daily poetry practice has become both a spiritual discipline and a public offering - poems sent out into the world unpolished, in service of truth rather than perfection. In this conversation, they talk about how a nightly writing ritual, one she began simply because it was the only quiet time she had as a young mother, became a lifeline after the sudden loss of her seventeen-year-old son to suicide in August 2021. This episode is a beautiful conversation about what it means to live in wonderment. Key Takeaways:A daily creative practice is a practice of showing up to presence, and that capacity can become a lifeline in crisis.Grief itself changes shape over time; writing became a way for Rosemerry to track and integrate that change rather than "get through" it.The identities we build - mother, wife, runner, baker - can all be taken away. What remains is a simpler, truer sense of what is.Resources:Preorder The Wonderment and Get a Signed Copy!“You can pre-order the book from my local bookstore, Between the Covers, and I will personalize it for you (there's a comments section at the final checkout for you to say who you want the book signed to). Order before September 12 when I go in to sign the books. The bookstore will ship your book to anywhere in the US the next day.” -Rosemerry Before The Wonderment: A Pre-Launch Party August 29, 6-7:30 p.m. mountain timezoom, recorded, donations accepted“Please join me for a pre-release party hosted on zoom . And if you want to pre-order a book, you can pre-order the book from my local bookstore, Between the Covers, and I will personalize it for you (there's a comments section at the final checkout for you to say who you want the book signed to). Order before September 12 when I go in to sign the books. The bookstore will ship your book to anywhere in the US the next day.” -Rosemerry UK Book Launch Party with The Poetry PharmacySeptember 24, 11 a.m. mountain/6 p.m. UK“European friends—it's a book launch just for you, hosted by The Poetry Pharmacy in the UK. Of course anyone anywhere can join us, but the Poetry Pharmacy is making it possible to order the books in the UK and will send them out before the launch so you can read along. Poetry, conversation, singing, questions … join me! Tickets available with or without a book purchase.” -Rosemerry Rosemerry's earlier poetry collection mentioned in this episode, All the Honey: wordwoman.com/books/all-the-honeyRosemerry's daily poem email list sign-up and website: https://www.wordwoman.com/Finding Your Footing When the Ground Shifts: A 4-Week Practice in Movement, Nature's Archetypes & Nervous System Science: https://thecalmingground.com/finding-your-footingCurious about 1:1 coaching? Questions or guest suggestions? Reach out at elizabethmintun@thecalmingground.comFollow along on Facebook & Instagram @thecalminggroundIf this episode moved you, please subscribe and share it with someone who needs it today.

Host Pat Leach is joined by Dr. Maria Nazos who received her PhD in English at UNL. They'll talk about her new book of poetry “Pulse”, how she and her editors put together 16 years' worth of poems, and working with Ted Kooser.

UFOs were once the stuff of tabloids and conspiracy theories. Today they're the subject of congressional hearings, Pentagon investigations, mainstream news coverage, and a new wave of claims about government cover-ups and alien technology. Adam Kirsch, senior editor at The Atlantic and author of We Want to Believe: How Aliens Went Mainstream and Why It Matters, joins Michael Shermer to ask what changed—and why the idea of extraterrestrial visitors has such a powerful hold on us. They discuss Roswell, UFO "disclosure," eyewitness testimony, government secrecy, alien abductions, Carl Sagan and Contact, the religious impulse behind UFO belief, and the difference between testimony and scientific evidence. The conversation also turns to the serious scientific search for extraterrestrial intelligence: the Fermi paradox, why decades of SETI have found nothing, how rare intelligent life might be, and whether our ideas about aliens ultimately tell us more about ourselves than about anything actually out there. Adam Kirsch is the author of several books of poetry and criticism and a senior editor at The Atlantic. A 2016 Guggenheim Fellow, Kirsch has written for publications including The New Yorker, Slate, The Times Literary Supplement, The New York Times Book Review, Poetry, and Tablet. His new book is We Want to Believe: How Aliens Went Mainstream and Why It Matters.

[REBROADCAST FROM July 2, 2026] The new documentary "Mary Oliver: Saved by the Beauty of the World" reflects on the life and work of the esteemed poet, who published more than 30 collections over the course of her career. Director Sasha Waters discusses the film, and poet Gabrielle Calvocoressi shares what Oliver's poetry means to them. "Mary Oliver: Saved by the Beauty of the World" premiered at the IFC Center on July 2, and will air on PBS on August 25.  Photo by Rachel Giese Brown Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Host Jesse Jackson welcomes writer and musician David Starkey to Set Listing Bruce to discuss Starkey's book On Track: Bruce Springsteen 1973–1987, Every Album, Every Song and his lifelong relationship to Springsteen's recorded work. Starkey shares how growing up between Sacramento and summers in Beaumont shaped his musical tastes, from Johnny Cash and Aerosmith to discovering Springsteen via Greetings and being captivated by Born to Run and Darkness on the Edge of Town. They talk about the current tour, its political tone, Tom Morello's guitar work, ticket prices, and setlist debates. Starkey explains his writing process, what he learned by re-listening (especially the importance of piano), and why 1987 marks an era's end. The conversation also touches on poetry vs. lyrics, Starkey's interview series The Creative Community, upcoming projects, and the “Mary question” from Thunder Road. https://www.simonandschuster.com/books/Bruce-Springsteen-1973-1987/David-Starkey/On-Track/9781789524710 00:00 Podcast Welcome 00:39 Meeting David 02:03 Early Music Obsessions 03:44 Family Sounds and Travel 06:59 Johnny Cash Tangent 09:04 Finding Springsteen 10:03 Live Shows and Politics 13:54 Ticket Prices Debate 14:28 Writing and Poetry 18:08 Why This Bruce Book 20:05 Born in the USA Memories 22:14 Researching the Albums 23:53 Why Stop at 1987 25:43 Concert Banter Debate 26:59 River Tour Pacing 27:55 Writing More Personally 29:33 Hot Takes On Songs 30:51 Family Discovers Nebraska 32:06 Biopic Who Is It For 34:35 Bruce Creative Evolution 36:46 Never Repeating Himself 39:41 His Interview Show Origins 41:09 Next Books And Memoir 44:12 Where To Find The Book 45:54 Final Thanks And Signoff 46:24 Podcast Housekeeping Learn more about your ad choices. Visit megaphone.fm/adchoices

Author and classicist Daniel Mendelsohn was teaching a university class on Homer's The Odyssey, when his elderly father decided to enrol in it.Daniel became fascinated by the stories of the ancient world as a child and grew up to study the classics and then write books and essays to share his knowledge with the wider world.Eventually he began teaching the Ancient Greek epic, The Odyssey, to first year university students at Bard College in New York State.But when his elderly father Jay asked to sit in on the course, it led to a big change in their relationship.This episode was first broadcast in 2020Further informationAn Odyssey: A father, a Son, and an Epic is published by KnopfDaniel's latest book is The Odyssey: A New Translation This episode was first broadcast in 2020.It explores the Ancient World, Homer, The Odyssey, the Classics, translation, poetry, writing, teaching, parents, family, fathers, students, New York State, memoir, Odysseus, hero, storytelling, siblings, Winnie the Pooh, emotions, love, books.

Kirk Pearson - "Theme from Techtonic" [0:00:00] - "Mark's intro" Ben Grosser - "Redaction of "The Future is for Everyone"" [music is "Caprice" by Sees. thx to Jesse Doris] [0:05:43] - "Interview with Ben Grosser" [0:15:20] - "Mark's comments" [0:45:13] Ben Grosser - "Order of Magnitude" [0:55:27] https://www.wfmu.org/playlists/shows/167678

Every year, little old Vermont produces big new names in the writing world. A Booker Prize nominee. A poet published in the New Yorker. A professor with a thrilling new mystery out. On today's Vermont Edition, we talk to Wyn Cooper, Miciah Bay Gault and Makenna Goodman. Broadcast live on Tuesday, August 25, 2026, at noon; rebroadcast at 7 p.m.Have questions, comments or tips? Send us a message or check us out on Instagram.

Matthew Olzmann joins Timothy Green on The Rattlecast for a conversation about contemporary poetry, humor, love poems, imagination, and what makes a poem connect with readers. The author of Mezzanines, Contradictions in the Design, and Constellation Route, Olzmann is an assistant professor of English and Creative Writing at Dartmouth College and the recipient of fellowships from the National Endowment for the Arts, MacDowell, and Kundiman. His fourth collection, An Oral History of the Flat Earth, is forthcoming from Alice James Books in 2027. Olzmann has appeared several times in Rattle, most famously with “Mountain Dew Commercial Disguised as a Love Poem,” one of the most-read poems in Rattle's history and a love poem that has continued to find new audiences online. In this episode, we discuss humor and surprise in poetry, love poems, memorable images, the strange places poems can begin, and how poetry can move between the absurd and the profound. We'll also talk about “Mountain Dew Commercial Disguised as a Love Poem,” Olzmann's other work and books, and the craft of writing poems that readers want to return to and share. As always, we'll open the lines for this week's prompt-based poetry reading. Find more about Matthew Olzmann here: https://matthewolzmann.com/ This Week's Prompt: Write a hot haibun. Next Week's Prompt: Write a poem that's a page or longer, and then edit it down to a maximum of 14 lines. Include both versions of your poem in the submission, with the shorter poem first. Submit your poem through Submittable by midnight Sunday for a chance to be invited on the show: https://rattle.submittable.com/submit/269309/rattlecast-prompt-poems-online The Rattlecast livestreams every Monday on YouTube, Facebook, and X, then becomes available as an audio podcast on Apple Podcasts, Spotify, and wherever you listen.

A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: Welcome to part two of our discussion of the poems of Elizabeth Bishop. We are currently about. Oh, I'm okay. I'm proud of us. We're just about halfway through the Moose. That's not bad compared to our usual record. We're not halfway through stanza one. We're going. You know, it's about a bus trip. It's encouraging us to pick up the pace a little bit and get to our next stop. So we were just going to pick up with the woman in stanza 13 climbing into the bus. 0:41 Wes: Before you say that, I just want to make one little observation. 0:44 Erin: Oh, sure. 0:45 Wes: Just that we get right as soon as the light goes out, it's then that we get the barking of a dog and the smell of salt. First it's the smell of salt hay and then it's the barking of a dog. So smell is introduced. And is that the first time sound is really introduced in any. You know, we get the bus starting and all that, but I think that's right. It's very visual up to that point, I think. And then as soon as we lose the light, we get these new sensory modalities. The collie just supervised this dog, gives us a nice bark, and presumably we can't even see him. We just hear him. So I just love that. I just. I love the transition into darkness. It's so. 1:26 Erin: Yeah. 1:26 Wes: I don't know how else to say it. 1:28 Erin: Yeah. 1:28 Wes: And it's then that we. This really is the midpoint of the poem because now we're going to make this transition into the world of the bus, I guess. As the woman climbs in, we have 1:41 Erin: the ship's port lantern, as you said, being an indication that it's now nearly or fully dark outside. 1:47 Wes: She says red light swims through the dark. 1:50 Erin: Yeah. I'm assuming that at this point a bus would have some form of illumination, at least for when it's stopped and the doors open for people getting on and off the bus. Right. It would. It would light up on the inside interior. Yeah. 2:03 Wes: Yeah. 2:03 Erin: Or at least maybe it would stop, certainly if it were stopping at a station or a little, you know, whatever those things are called. Those little. Yeah, there's a word for it. 2:14 Wes: We need something to see the freckles by. 2:16 Erin: Right. We need something. Exactly. But wherever they would be stopping would have some form of street light illumination or something of that order. Anyway. 2:26 Wes: But it's interesting you say this, because I didn't picture a bus station at any point in this. And I just imagine people along the side of the road. 2:34 Erin: Right. But if it were a course, it 2:38 Wes: couldn't be that way. 2:39 Erin: Well, I don't think it's a station. I think it would be a stop with a. You know, like a lean to. You know, what are those things that just. 2:44 Wes: Yeah, sure. 2:45 Erin: That just protect you from the elements. 2:47 Wes: Yeah. Bust down. 2:48 Erin: Right. 2:48 Wes: Yeah. 2:49 Erin: And that would probably have at least a street light. But anyway, then we get the moonlight. Maybe my favorite. Oh, it's so hard to say, but maybe my favorite image in the poem is the hairy, scratchy, splintery moonlight and mist caught in them like lambswool on bushes in a pasture. Just. There's nothing. There's no image greater than that. That's unbelievable. 3:13 Wes: There's kind of a more wildness to this. Right. The image now, the hairiness and scratchiness and splinteriness. It's a bit less Domesticated, I guess, than the previous part of the poem. 3:27 Erin: That's a really good point. I hadn't thought of that. Even a suggestion of danger, like the lamb running. 3:34 Wes: I just thought, this is where the hobbits are entering Fangorn Forest. 3:39 Erin: Yes. Yeah, yeah, the New Brunswick. 3:41 Wes: But you go a little bit more. It's a little wilder and more primal. I think once you. Even if you're on a bus, once you get into the woods, there's something different about it. 3:52 Erin: That's right. 3:53 Wes: But yeah, you're right. The idea that the moonlight could get caught in that. That's a great image. 3:59 Erin: Something giving chase to the lamb would cause it potentially to get a little ensnared in the chase. 4:06 Wes: It's as if Lambswool has, you know, a lamb is brushed up on the bramble or whatever and left its will so that. So the moonlight, instead of making this cosmic journey and landing on articulating the environment, has been subordinated to the environment. Right. It's become. It's been captured by these hairy woods. It's caught on it and, you know, a piece of it has come off from being caught on something that's scratchy and splintery. So that. That. Yeah, this is the great reversal. And that's the place where you can really get some good sleeping. Yes, right. 4:44 Erin: Yes. And where dreamy things can happen. 4:47 Wes: Divagation. Yeah, wanderings. 4:51 Erin: I looked that up. Wandering, straying or digressing from a main course, path or topic. So like a digression as long as 4:59 Wes: the bus stays on track. 5:00 Erin: Yeah, that's right. 5:01 Wes: You do whatever you want with your mind. 5:02 Erin: That's right. And the night. I just looked on Google Maps while I was writing my little notes in the margins. And if you were to take a bus today from Great Village to Boston, it would take like 10 hours. So it definitely is a, yikes, full course of the night on this night bus. So I love what happens in stanza 16, which begins in the creakings and noises, an old conversation not concerning us, but recognizable somewhere back in the bus. So I really love that it's grandparents voices, she says, uninterrupted talking. This is where the I becomes an us. And this is a characteristic of a bishop. I think she's rather reluctant to use an I, capital I in a poem. She's more likely to use a we or an us. And here it's as if they're all part of the same family now in the bus and the adults. It's almost like everybody on the bus who isn't a grandparent is a child and the adults in the back are talking and we are all, oh, that doesn't concern us. Just go to sleep. It's none of your business. Just stop eavesdropping on us. Right, so there's some community that's been formed already by the people who are not the grandparents talking. Do you get that impression? 6:20 Wes: Yeah, it's a bit confusing. So, yeah, let's try to figure it out. Because it. So it begins. A dreamy navigation begins in the night. She doesn't say, I started dreaming or they started dreaming or we started dreaming. Although it seems almost like it's collective. Right. So that the bus is dreaming or everyone on the bus is dreaming together, which kind of lines up with the not concerning us later on, the gentle auditory slow hallucination. So that's a very interesting idea. Right. The dream is usually associated with subjectivity. Right. The cogito and Descartes. Right. The dream tells us that we might have trouble distinguishing reality from what's in our own minds. And we in our own minds are very potentially cut off from reality. But it's a. It's an alienated individual position here. The dream is. Seems to be collective. And perhaps it's collective because it's partly real. Right. Is that the conversation? I thought, okay, there's a conversation going on in the back of the bus and it is old people talking. But as you're lying back, you could sort of. You can't hear exactly what they're saying. And you might have that kind of half dream, Right. Where you're. The dream is kind of lined up with or intertwined with what's going on in reality. So she's hearing in the conversation of the old people, her grandparents voices. Is that the way you took this? Or. Or they, they're hearing the grandparents voices or. Yeah. How do we, how do we interpret this? 7:54 Erin: I interpreted it as, you know, people of the age of grandparents having a real conversation. But the idea that one could be having an auditory. I mean, we are given the word auditory slow hallucination. So the idea that there could be an auditory hallucination or kind of half dream of one's own grandparents having a conversation, or it may be superimposed on a real conversation kind of inaudible going on on the bus. I never noticed this before. The G in grandparents is capitalized. So it does seem to sit to suggest the speaker's particular grandparents rather than. 8:30 Wes: Oh, I was going to. I thought you were going to say archetypal grandparents. 8:34 Erin: Oh, yeah, I suppose it could be yeah, it could be read that way, too. I think all of these things are true, right? 8:40 Wes: Yeah. 8:40 Erin: I mean, the image works because of the, shall we say, universal particularity of this experience. 8:47 Wes: The ordinary way to write the poem would be to. And a much simpler way would be to put this in her point of view and not try to put it into a collective point of view. But that seems to be what she's doing. 8:59 Erin: Yes. The effectiveness, though, I think is the. And it could just be the speaker's perception of it, but the atmospheric quality, because everyone on the bus is going to share an experience shortly, but already they are sharing an experience and a kind of atmosphere that they're all listening to the hum and having that. You know, when you're in the car and you. Maybe when you're a kid and you put your ear up against, like, the. The car door or the window or something, and you hear orchestral music. I don't know if you ever had that. I used to always hear classical music when I would put my head up. 9:38 Wes: Yeah, I don't think I have that. 9:40 Erin: All kinds of. And I always think, like, I should write this down. But you always have, like, a hallucination of an orchestra playing songs. Different songs. Sometimes like fantastical songs. Yeah. You know, my particular experience maybe doesn't quite get at the. Yeah. The sense that this is shared. 9:57 Wes: Well, you're put into a kind of dreamy state, and yet you're getting at the auditory hallucination part. I mean, for me, I think, as a child, and this, I think, is very evocative of childhood. It's something about being half asleep or falling asleep. You're on a journey and there are adults in the car and there's some. Maybe some sense of safety, I think is very relevant to this poem. But being ensconced in the world of adults and not quite alone when you do this thing, which is potentially very lonely, which is go to sleep. And of course, a lot of kids don't want to go to sleep because that loneliness factor. But it's a much different experience if you're traveling. You're all on the way to something together. And of course, you're with people who are awake and, you know, are going 10:45 Erin: to be awake, maybe because the kids are falling asleep. Their. Their voices are lowered and softer. And maybe that also contributes Right. To the. The way in which. That lulls the children in the back simply because they're aware of not wanting to talk too loudly. Certainly that would be the case on a bus like this, where they're Having a conversation where they're talking in. In lower voices and maybe actually inducing that calm and hum for sleep in the people, the other people in the bus who aren't talking. 11:15 Wes: And the question is, what are the adults doing with their talk? Right. It's not going to work if your parents are just fighting. In this case, it's the grandparents. Voices are clearing things up and I guess bringing certain things to resolution, coming to terms with these losses. But a lot of it does sound a bit gossipy and not necessarily like the most comforting. 11:39 Erin: Yes. Yeah. 11:39 Wes: Sort of talk we could imagine. Yeah. 11:41 Erin: Well, you know, in a situation like this where you might be a child in this car, could be that you're coming back from whatever, like a, like a late night and then the adults in the car are working through whatever has just happened over the course of the night. And. Oh no, she was the one who had that long. Yeah. Who had the criminal record because of that thing, remember where they. Oh, yeah, yeah. That was like 20 years ago. So you sort of get that. But for an entire family history going back ages and ages, talking in eternity. Deaths, deaths and sicknesses. The year he remarried, the year something happened. Oh, yeah, what year was that? Right. Something about the journey afterwards or maybe away from home. If these people are also. If their home is Nova Scotia and they're departing it, you know, then there's that backwards looking quality where something about the idea of the journey and moving away from the place is giving the opportunity to then take stock and look back. So there's this sort of like dual action happening in the poem where the further the bus goes, the further back they're kind of looking from deaths and sicknesses to then remarriage and then childbirth. Son lost when the schooner found her. 12:58 Wes: These are all very blue collar tragedies, right? 13:00 Erin: Yes. 13:01 Wes: He was arrested for insider trading. 13:04 Erin: No, but I mean, you know, there's a reverse order to what's happening, you know, so we get. We have death, then sickness, then remarriage, then dying in childbirth. So there's a rewind is what I mean. Yeah. 13:17 Wes: Well, we come back in the end to death. The way it's all summed up. 13:20 Erin: Insider trading. Sorry. 13:23 Wes: Huh? 13:24 Erin: Sorry, Just insider trading. That really is funny. 13:31 Wes: And he had an affair. No. A sharp indrawn breath. Half grown, half acceptance. That means life's like that. We know it. Also death, you know, and then the question, what does also death mean there? Death knows it, we also know death. But it, you know, it made me wonder at various points I wondered. Well, Is this an element here of a journey to the underworld or to the afterlife? Maybe it's a job not claiming that that's strong thematic part of this, but maybe a hint of that type of thing. Because the journey, I mean, and it does seem like journeys are good places for this or like when I travel, it produces in me a very different state of mind. And I do find it very calming in a way, you know, especially actually being on the train or something like that, because you're in between two different locations and you maybe you're not caught up in the expectations or the constricting qualities of any particular location. If I'm at home, I have to do this and that work, or if I'm at a destination, then I'm dealing with relatives or I have to be a tourist or something like that. But there's something liberating about being in between two locations. So it does seem like a place for this type of dreamy hallucination or this reflection or this clearing of things up. It's almost like therapy. Right? That's what all of this sounds like. People are talking through their problems, but where is it that they get to in the end here? The half grown, half acceptance. So it's not fully acceptance. It sums things up with this, maybe a degree of resignation. So yeah, I don't know. What do you make of the stanza? 15:15 Erin: Well, they're traveling west significantly. Right. I do take a lot of this to be a kind of, say, pre figurement of death, even though at the same time the fact that they're in the woods, the fact that not to jump ahead too much, the fact that the moose will come out of the woods and appear notably in the middle of the road, there is a suggestion of middle age or middleness, or midway in the journey of our life, I found myself within a dark forest. So I think it works both ways, or perhaps it's working in several ways simultaneously for the various passengers. So maybe the speaker is experiencing something more akin to the Dante esque middle of the journey on the bus. And something about the bus journey is also, symbolically speaking, a kind of final bus journey for some of the other passengers. And that intersection seems significant, but I don't know how, just in the sense that there's a retrospective quality happening or maybe even a reversion to childhood that goes on for the speaker and the other people in the bus by virtue of the propinquity to these old people at the end of their life's journey. Because there is very little about middleness Here, come to think of it, other than the moose appearing in the middle of the road. Right. It seems that the other people on the bus are like children and the grandparents are the adults. 16:50 Wes: I mean, I think part of what's comforting when we're children is that feeling that adults know the answers and that adults know how to cope with all the dangers and have experience doing that and therefore can protect us. The reality, of course, as we realize as we get older, is that that's not true. So what they may have is more of this acceptance that's sort of highlighted in this stanza, which is potentially a good thing, but maybe a double edged sword because it does seem to be a form of dying. It does seem to be a form of the very thing that we want to be protected from. 17:30 Erin: There's also, though, that. What I used to call my mom, the external hard drive. I used to say back before she. 17:42 Wes: She liked that. 17:44 Erin: I think now it would make her sad because she'll say, you know, very openly that she. Her memory is gone. But it used to be that she knew all the, you know, you could ask her who said that at that one. You know, there's that kind of. I mean, that's a sort of jokey, gossipy scorekeeping thing that she would keep tabs on. But there's also just the idea of long memory being the history keeper, the record keeper, the, you know, and there's sort of settling accounts over the course of this conversation. Oh, right, it was that year. Okay. And then this happened and then, then that happened. And that's important too, I think, for, you know, it situates children in a context. Not just say this idea of death that you're referring to, but also how to situate oneself in a life. 18:34 Wes: Right. 18:34 Erin: There's a. There's a sort of frame that the grandparents or the elder relatives have that whole history up until you enter the narrative and where you fit within that. We mentioned in part one a little bit about Bishop's family history just to kind of prefigure the types of story that she inserts, I think very significantly into the poem, particularly about poor Amos who just wouldn't stop praying in the store and had to be. Had to be put away. Right. Of course she does a gender swap, but yeah, we all have family stories like this, of this kind of unruly behavior or madness of some kind or other or some sort of family drama. 19:19 Wes: Yeah. So it's universal. But the way she captures it is very clever with this talk that we don't quite know whether it's just the conversation of the people, the old people at the back of the bus, or whether it's her dream or whether it's both or somewhere in between. They're interlaced, those two things. And that. That interlacing gets at this aspect of universality. Although I think by the time we get to the stanza where she's fantasizing about the grandparents and the featherbed, this, it start. Seems to become inescapably personal, which is why I think of the. The point of view is getting more and more focused. Right. With. With time. Yeah. And potentially it's still universal, but it seems almost like a personal memory. Right. So talking the way they talked in the old feather bed. Right. The way they. Her. Her grandparents presumably in the old feather bed, peacefully on and on. Dim lamp light in the hall, down in the kitchen, the dog tucked in her shaw. Shawl. Yeah, get another. And get another dog here. 20:28 Erin: I love this. 20:29 Wes: The collie, the barking dog. And. Yeah, so this, this stanza is wonderful. And it gets at exactly this thing that you've been talking about, which is the, like, comfort of being a kid overhearing adults talking. It really, despite this talk of death. Right. A reconciliation with death. This is the point. Seems to be the point of view of a child who finds this very comforting. And. Right. She'll say in the next stanza, now it's all right now even to fall asleep, just as on all those nights, the way in which the adult world and the safety of protective figures can make sleep okay to do. And then suddenly that's interrupted. 21:07 Erin: But I love too. I mean, yes, it's so particular, but it also just in this one stanza does so many things in miniature that the poem is doing all along, this telescoping in again to a scene which. Which even as a child, if it were her childhood in particular that she's referencing, she couldn't possibly know or see. She wouldn't be able to see the grandparents in their featherbed. She would have to be picturing them in the featherbed and she wouldn't be able to see the dog in the hall. And also I wonder if this. If the stanza in its operation is kind of doing. I mean, this is just occurring to me now, but maybe it's doing that kind of hallucinatory work that has prior been described where we actually get a remix of, you know, this is the third dog in the poem. But it's also the elements in the stanza are a kind of recapitulation of the light, the red light swimming, the port Lantern becomes the lamp light in the hall. We get the dog barking now becomes the dog curled up in the shawl. And then maybe even because we also get kitchen, maybe the shawl is even a kind of transposition of the table, tablecloth shook out. Right. So there's something actually in the stanza which has that hallucinatory quality that she's describing where these three elements swim in the imagination and then become the lamplight and the dog and the shawl in this half asleep kind of dream space. Maybe that's pushing things too far, but it does seem to be. It's the dreamiest stanza perhaps in the whole poem. Maybe the following one. Now it's all right now even to fall asleep. But this gets interrupted that next stanza. So this one, I think is the real depth of the dreamy or borderline dreamy or hallucinatory moment. 23:00 Wes: Yeah, this is great because it really underlines the way deviation creates the capacity for stasis or for comfort. So the deviation of a bus trip or of the dreaming. Right. Which is movement, which is dynamic and has that momentum, forward momentum that we were talking about, sort of underwrites or grounds this ability to. For stasis, for stopping, for going to sleep, for feeling comforted as a child and safe, I think. And I keep repeating that word because of the. What's going to happen. The use of the word that's going to happen in this poem later. But yeah, I'm not sure if you were saying that explicitly, but that's what came to mind my mind as you were talking. This. The way in which this journey, devigation, motion can ground something that's going to be more static or stationary, which is what we're going to get in the moose. Because it interrupts the. It explicitly interrupts the motion of the bus and the external line of the poem in a way that parallels the comfort that's produced by the dreaming. 24:08 Erin: Yeah. In stanza 22 is where we have that break that you're describing. The moose finally appears. Well, the moose doesn't appear until stanza 23 finally appears. 24:21 Wes: We've been waiting for you. 24:22 Erin: We've been waiting for you. The title has promised that you would come and then here you are. It is foretold of your coming. 24:29 Wes: Comes through the curtains, takes his bow. Right. 24:32 Erin: We get nights, just as on all those nights. And then the moose's appearance, the lights turn on. And that rhyme you get, I mean, it's a very basic, simple rhyme. Right. But there's that sort of sudden jolt which is then also visualized where in the middle of night we have this appearance, this bright because of the headlights on it. Appearance of the moose. And it looms and sniffs at the bus's hot hood, which I'm assuming means that it thinks that the bus might be a boy moose. 25:06 Wes: No. Well, it's a very hot bus, I'll say that. 25:10 Erin: Ow. Ow. 25:14 Wes: That enamel. And it's dented and, you know, depends on if you like bad buses. No, just kidding. 25:21 Erin: Dented from its last encounter with a girl bus. 25:25 Wes: Yeah. It's funny because I wrote in my notes, but was just reading it stanza by stanza. And the previous stanza I'd said, okay to sleep, even with death looming. Looming for all of us, you know, all day one. You know, one day we all die. Blooming in that sense. And then suddenly the moose is looming, standing there, looming. And I thought, whoa, that's really interesting 25:45 Erin: that I. Oh, yes, chose. 25:48 Wes: Chose that word before I even got to the next stanza. Not to give some, you know, obvious rote sort of identification of the moose with death or the experience of the moose as having something to do with that. But obviously they're coming into contact here with something quite primal and important. It's not just, oh, look, there's a nice moose, but is he sniffing or she's sniffing the buses hot hood because she thinks it might be another moon. That hadn't actually occurred to me. 26:21 Erin: I must have been infected with that reading at some point that this was a frisky moose, that it otherwise doesn't seem frisky at all. It seems pretty. Like a pretty staid, respectable moose. 26:34 Wes: But frisky and ditzy. 26:39 Erin: That's right. Hello. 26:41 Wes: What? 26:41 Erin: Oh, look, I seem to be in the middle of the road. Pardon me. 26:46 Wes: So, towering, antlerous, high as a church, homely as a house. We're safe as houses, a man's voice assures us. Perfectly harmless. Which you presume, right, that the. The man making that assurance is. Precedes the idea of it being homely as a house and safe as houses. Even though. So. So she interestingly puts the associations before her associative responses before the actual stimulus. Right. I don't think she's the one who is thinking about how they must be safe and. And he's saying something. I mean, as far as I know. I don't know back then. But you were warned about bison and mooses, right? Or is it mooses or moose? I think we're warned because they don't. They. They seem harmless, but they're not. And so I was quite surprised by this stanza. And I thought this idea, okay, safe as houses. Well, yeah, houses ought to be safe, but they're not always safe. The bus, the moving container of the bus turns out to be, in a way safer and more conducive to reverie and dreaming and all of that. 27:59 Erin: No matter how you slice it, whether you see the moose as harmless, truly, or not so harmless, this has got to be just a little bit of a wink, right? A man's voice assures us. 28:09 Wes: I mean, I think we're definitely meant to be skeptical. 28:12 Erin: Yeah. 28:13 Wes: This perfectly harmless line, it's not there for us to nod our heads in agreement. 28:20 Erin: Oh, yeah, he's right, right, right. I think it's more like, oh, here's another mansplainer. 28:26 Wes: He's moose splaining. 28:28 Erin: Mooseplaining this woman moose to moose splaining. Just out for a good time, having her existence commented upon by another man's voice. Probably a podcaster. One of those male podcasters has a manosphere podcast. 28:45 Wes: Girl mooses are. 28:49 Erin: Then we get these childish again. The passengers are like children and having this childlike response to the appearance of the moose, including. It's awful, plain sad. So much judgment of women's bodies. 29:04 Wes: I mean, they're not good looking creatures. Let's just. They're, you know, put that on the table. Come on. They are in an ugly sort of way. 29:11 Erin: Yeah. I mean, okay, I guess they don't follow, you know, classical proportions. They don't represent the golden mean. 29:21 Wes: They're not into beauty society societal beauty standards. All right. 29:28 Erin: They are like cartoon characters. 29:29 Wes: They're miss Positive is what they are. 29:35 Erin: Well, what I love though, about the description, you know, we get several, I suppose. Yeah. Contradictory descriptions of the moose in a way, because we get homely as a house or safe as houses. We get awful plane. But then she looks the bus over grand otherworldly, so she has some gravitas. She's like a great character actress who. Who may not be beautiful in that leading lady way, but she's Kathy Bates. Yes. Yeah, well, that's maybe a bit insulting to Kathy Bates, who I do think is a very attractive woman, but. 30:19 Wes: Sorry, Kathy. 30:20 Erin: I know, I love her. 30:21 Wes: Come on the show sometime, please. 30:24 Erin: Oh my gosh, I would die. I love Kathy Bates anyway. And then we get curious creatures. Well, first we get the idea that it inspires joy and then we get curious creatures. So there's a. The joy is then immediately undercut by a kind of ambivalence. Right. So there's just all of these descriptions of the moose combine to create a kind of ambivalent portrait, such as it is, of the animal. 30:47 Wes: Are we going to be able to answer this question? Why? Why do they feel the sweet sensation of joy? I mean, I think I would probably feel it. 30:57 Erin: Why? Why do we all feel it? I mean, they have. Well, they've successfully done what I couldn't see a moose in real life. So they're like one up on Erin. Can't wait to go back and tell her we saw moose. Yeah, I've seen certain things. I can't think of a specific example of this, but I've had plenty of instances. Whether it is a wild animal or, I don't know, like a sunset or a really spectacular natural event of some kind or other. You do get that feeling of joy, kind of excitement. 31:28 Wes: Yeah. Unfortunately, most of my encounters with large animals are at zoos. I did see a bear once. I was going to the bathroom. My mom had a house in Front Royal, Virginia, at the beginning of the Appalachian Mountains. And it was up high on a. We called it a mountain, but it was, I guess, more of a hill. But so it was out, you know, it was kind of. There was a bear on the mountain, let's just put it that way. And, yeah, I was going to the bathroom one day and looking out the window. There's a window right. You know, above the toilet. And suddenly there's bear's face looking at me. Wow. What the. So, but that, you know, and. And that was majestic. No, just kidding. That it was. I. It was surprising. 32:13 Erin: Yeah. 32:14 Wes: And there's an element of fear that involved. Even if you're, you know, even if, you know, black bears are harmless and there's a wall between you. Some. Something scary about it. I didn't have time to feel like it's majestic. Yeah. You know, like you have had these experiences in. In nature, but I can't think of a encounter like this. But it. I seem sure that if I had an encounter like this, I would feel exactly the same way. So. Yeah. What is otherworldly about it? What is majestic about it? It's a big, dumb beast. And I say that with love, without any criticism in the sense that. Right. It's an encounter with something primal. And I think we have to take into account the size of the animal as well. I mean, it is interesting to run into a fox or something like that, but it's also a matter of scale here. But. Yeah. What is otherworldly about it? I mean, I think the most. The most obvious part of this is that you know, we have lost something in our humanity and becoming language using creatures and becoming self conscious creatures. And sometimes when we're confronted with an animal like this, we're confronted with that loss. We're not as connected to the environment because of the intermediation of something like language, which poetry of course tries to overcome. It tries to put language into a disintermediating. Sorry to use these business terms. I don't know why this is happening. Into a disintermediation. 33:46 Erin: Actualize. Yeah, yeah. 33:49 Wes: When it. Yeah, right. Synergize it's agenda. Often where language might put distance between us and the world. Poetry, I think, can undo that distance. Like I was saying, with the very vivid imagery, I can undo that distance with figurative language. And maybe that distance is also undone to some extent by the dreaming or the half dreaming hallucinatory state that she was in. And the comfort of that, the return to childhood, which is also a simpler time. I don't know. I'm thinking out loud here. But yeah, I wanted to try to get more at this, you know, the otherworldly status of the moose and the joy that comes from encountering it. 34:34 Erin: I was thinking to myself, is the moose's gaze really clearly encapsulated? And then I thought, yes, she regards us amicably. And then I was like, no, no, that's the passenger who gets on the bus. 34:44 Wes: Right. Does the moose have freckles? Yeah, that'd be an interesting twist, right? 34:50 Erin: But yeah, but there is one. 34:51 Wes: Turned her into a moose. 34:53 Erin: Well, I would think that this would be a more garden variety animal encounter and maybe even a more, to use a word, I don't like, problematic poem in terms of its relationship with the animal. If it were to focus on the gaze of the animal. Because I think that is the thing which is often at the core of these interactions with animals in which we project or hope to have a kind of meaningful encounter. You want to meet the gaze of the animal and in so doing understand it. Right. And of course you don't realize that you're just projecting onto it a kind of maybe mutual regard. She regards us amicably. That you are seeing it and it is seeing you. And there's an acknowledgement and there's this, you know, spiritual encounter that you have with this animal. And all of that, of course, is often quite silly. It's often quite reductive and fanciful and unrealistic. But I am thinking of an encounter that springs to mind is in Utah. I hiked the same trail almost every day. And I Would often hike it late in order to escape the full heat of the desert sun. Which is a little dangerous, right? Because sometimes the sun would be setting and then all kinds of things come out. And one time I was trying to get back to my car before it got completely dark. And what I thought was a wolf, but what must have been a coyote. And the coyotes in Utah are huge. They look like wolves and completely white. Came out from over a hill, crossed my path, turned, looked at me in the eyes for a very long time, turned and went over on the other side of the hill. I mean, curiously, then, of course, I got to the car and I actually found out that a beloved family member, an elderly family member of mine, had passed away. And I said, I think I just saw her. You know, I had this feeling of, like. I don't know, the sense of this connection, inherent connection between these two. This woman who was dear to me and this encounter. But, of course, that's all silliness. And the idea that I was having a sort of interaction through the gate. Some sort of reciprocal. Right. Interaction with this animal was also entirely just my own projecting onto the animal. However, I will say that that's an instance in which I felt fear. But then there was also this, like, joy at the encounter, I think fear because it was dark. Because I wasn't actually sure if this was a wolf because it blocked my path. It was far enough away that I didn't feel as threatened as I might have. But it was definitely a mixed perception. 37:28 Wes: You didn't shoot it and then hang it around your neck. No, because I was thinking. I just suddenly thought of the albatross poem. 37:37 Erin: Rime of the Ancient Mariner. 37:38 Wes: Rime of the Ancient Mariner. And that sort of relationship to the natural world where. I mean, I forget what we said about it, but maybe I said something about envy and wanting to kill the albatross for. Because of its freedom or something like that. I don't. I don't know. But I think it's important because, yeah, this is part of something about the encounter with the natural world. Whether it's a big moose or something else. Yes. Is otherworldly. Strangely enough, it's otherworldly to us, even though it's where we come from. It's uncanny, maybe. And Freud actually, in the German, I think uncanny is sort of like unhomelike is what the German sounds like. And Freud made a lot out of this. I think it's home, but it's a home from which we've become alienated. We're animals, we're something more than animals. And so that primal encounter brings us back to that foundation, that natural foundation in us, but we can't fully come to terms with it. And I think the other aspect of this, I think the death. Right. So there is a link to death. Just. And I was thinking about that when you described thinking of it as seeing. As seeing your departed loved one. Because if we could regress to that animal state, it would be a kind of death. I think that the association with the movement to the pre. Linguistic, natural foundation is something like the movement towards dying, but there's something comforting. 39:07 Erin: Yes. 39:07 Wes: Right. And we encounter that when we encounter the gaze. To have a. Have a gaze returned by an animal like that usually like, like our internal. Our entire psychological structure, what makes us self. Self conscious is the internalization of a human gaze. Right. To the extent that we. We get an animal gaze, I think we are returned to that more primal part of ourselves. And it does seem to me to have something to do with being reconciled to mortality. Right. Which is part of what the function of that dialogue between the elderly people is doing. 39:44 Erin: You're leading me into the one, say, reading of the moose that I wanted to get to. And I just want to say that I think the great thing about Bishop and about this poem and all her poems is that the moose is a moose. It's not a symbol. I hesitate to offer any kind of 40:03 Wes: direct reading, but that's her job on this podcast, though. 40:05 Erin: I know, I know. It's. Yeah. In the letters with Robert Lowell when he's writing to her about her poem at the fish houses, he says, alas, all my fish just become symbols. 40:16 Wes: Ah, very good. 40:17 Erin: I hesitate to reduce. I think what you've just said makes me think that it's the maternal, the mother. 40:25 Wes: Which also brings us back to the house. 40:28 Erin: Yes, the house. Yeah. It's something that comes like the clapboard churches, like clamshells seem to arise out of the ground, if you will, or are directly compared to these native creatures. The houses are then in turn used as comparisons for the moose, the maternal. The idea that this is something that returns us to nature, that this is the encounter that we would have presumably upon death. It's the loved one that is somehow comforting, maternal, and is a female moose. It's moose mom. I don't know. I don't know. Something going on there. 41:04 Wes: Moose mom. 41:05 Erin: Natural and strange at the same time, not us. And I guess that's why I. That's why I mentioned that the story of my grandfather at the beginning, because I don't know why I wanted so badly to see a moose right after my grandfather's death. But there was something, like, logical about it to me. And I was familiar with this poem, but I very much did not have. You know, it was not something that was the forefront of my mind at all. But I think there is this inherent connection, and it's silly. You know, I kind of can't believe I'm saying this, but I do. I do think there is this kind of connection between this desire that I felt to see this animal. Like the particular kind of primordial itch that the moose in particular seems to be scratching for me in that moment. For Bishop, in this poem, something that is at once safe and comforting and from another world, natural in that kind of elemental way. 42:00 Wes: Yeah. 42:01 Erin: That all kind of coalesce in that image. 42:04 Wes: Very good. 42:05 Erin: Okay. I think that's it, Wes. All we're left with is the dim smell of moose and an acrid smell of gasoline. 42:12 Wes: Oh, you know, we should have talked about that. Maybe we can start with that on our next Bishop recording. We'll. We'll begin with the smells, the smells and the significance of that image at the end. 42:25 Erin: Nice. 42:25 Wes: That smellage at the end. 42:26 Erin: Smellage. All right. Thank you. 42:29 Wes: Thank you.

Please enjoy this Summer Salon Series episode of Breaking Form Selects: Rigoberto González Support Breaking Form by reviewing the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series. BEAUTIFUL PEOPLE is available from Bridwell Press. James's ROMANTIC COMEDY is available from Four Way Books.  Notes:Rigoberto González was born in Bakersfield, California and raised in Michoacán, Mexico. He earned a BA from the University of California, Riverside and graduate degrees from University of California, Davis and Arizona State University. He is the author of To the Boy Who Was Night: Poems Selected and New (2023), The Book of Ruin (2019), Unpeopled Eden (2013), winner of a Lambda Literary Award, and Black Blossoms (2011), all published by Four Way Books. His other poetry collections include Other Fugitives and Other Strangers (Tupelo Press, 2006) and So Often the Pitcher Goes to Water Until It Breaks (University of Illinois Press, 1999), a National Poetry Series selection. González has also written multiple books in other genres including the novel Crossing Vines (University of Oklahoma Press, 2003), the memoir Butterfly Boy: Memories of a Chicano Mariposa (University of Wisconsin Press, 2006), the critical essay collection Pivotal Voices, Era of Transition: Toward a 21st Century Poetics (University of Michigan Press, 2017), and the book of stories Men without Bliss (University of Oklahoma Press, 2008).Read more about González (and more poems by him) here. Read this essay on González by Darrel Alejandro Holness here. Read this essay penned by González on writing memoir.Watch this short, fabulous interview with Rigoberto González here (~20 min). And watch González read his poem "A Note on Resentment" (~2 min).Poems we read include:"What Smells Dead""Casa""Thinking Stones""Carnivore"

Matt and Eric kick off a 5-week Ethan Hawke run by carpe'ing the f'n diem out of 1989's DEAD POETS SOCIETY - starring Hawke as a shy, insecure lad who's inspired by Robin Williams' zany (kind-of-irresponsible) prep school poetry teacher.

Connect with Chhotaa Packet: https://www.instagram.com/chhotaa_packet/---Disclaimer: This video is intended solely for educational and entertainment purposes, and opinions shared by the guest are her personal views. We do not intend to defame or harm any person/ brand/ product/ country/ profession mentioned in the video.---Follow our WhatsApp channel: https://chat.whatsapp.com/FvNbJGfVnZ8Eht5kMmR3Ug---Stream our Episodes on Spotify:https://open.spotify.com/show/3EZxWAgD1iiONaNUoFbN6n?si=4569d4f6a0a0460c---What happens when poetry, shayari, performance, and an unfiltered conversation come together?In this episode of The Aaditya Mehta Show, I sit down with Shweta Singh for a candid conversation about her journey with poetry and shayari, performing on stage, hosting events, and the experiences that have shaped her.We also talk about her experience on India's Got Latent, including what she actually wanted to say on the show and how her words were misunderstood by the audience.From the role of validation in an artist's journey to performing in front of people with much bigger status, from corporate events and unexpected jokes to her favourite poetry and books, this conversation explores the many different sides of a performer.We explore:✅ Why did she choose poetry and shayari?✅ Her first experience performing on stage✅ Why validation drives performers✅ Dealing with stage fright and nervousness✅ Performing in front of high-profile personalities✅ Her experience performing on India's Got Latent✅ What she actually wanted to say on the show✅ How words can sometimes be misunderstood✅ Her thought process behind choosing words for poems and shayaris✅ A book she recommends everyone should read✅ Corporate events vs cultural events from a host's perspective✅ The funniest jokes that probably shouldn't have been made at corporate events

In this episode, we journey into the profound world of art, storytelling, and connection with the remarkable Joy Harjo, the first Native American poet laureate of the United States. Through her insightful keynote from the 2025 Bioneers Conference, Harjo shares her experiences and wisdom on the importance of listening, creativity, and the interconnectedness of all beings. We also feature a discussion with Cara Romero, Program Director of the Bioneers Indigeneity Program and a Chemehuevi artist and photographer. Join us as we explore the power of art in healing and community, and discover how we can cultivate a deeper relationship with the world around us. Support the Podcast via PayPal https://www.paypal.com/donate/?hosted_button_id=LBGXTRM292TFC&source=url For an extended interview and other benefits, become an EcoJustice Radio patron at https://www.patreon.com/ecojusticeradio Resources/Articles: Joy Harjo keynote at the 2025 Bioneers Conference: https://youtu.be/syx6U3igUE4?si=up6aheCdvGGF5Yiu https://bioneers.org/art-and-healing-a-conversation-with-joy-harjo-and-cara-romero/ Once the World was Perfect by Joy Harjo: https://www.poetryfoundation.org/poems/141846/once-the-world-was-perfect Joy Harjo [http://www.joyharjo.com/] the 23rd U.S. Poet Laureate and member of the Muscogee Nation, is the author of ten books of poetry, several plays, children's books, two memoirs, and seven music albums. The author of eleven books of poetry, including the highly acclaimed, Weaving Sundown in a Scarlet Light: Fifty Poems for Fifty Years, several plays, children's books, and non-fiction works, and two memoirs, Crazy Brave and Poet Warrior. Her many honors include Yale's 2023 Bollingen Prize for American Poetry, National Book Critics Circle Ivan Sandrof Lifetime Achievement Award, the Ruth Lily Prize for Lifetime Achievement from the Poetry Foundation, the Academy of American Poets Wallace Stevens Award, and a Guggenheim Fellowship. Cloud Runner, Harjo's twelfth book of poetry, will be published by W.W. Norton in Fall of 2026. She is a Chancellor of the Academy of American Poets and Chair of the Native Arts & Cultures Foundation, and is the inaugural Artist-in-Residence for the Bob Dylan Center in Tulsa, Oklahoma, where she lives. Cara Romero (Chemehuevi), Program Director of the Bioneers Indigeneity Program, previously served her Mojave-based tribe in several capacities, including as: first Executive Director at the Chemehuevi Cultural Center, a member of the tribal council, and Chair of the Chemehuevi Education Board and Chemeuevi Headstart Policy Council. Cara is also a highly accomplished photographer/artist. Jack Eidt is an environmental journalist, urban theorist and designer, and advocate for the wild, as well as award-winning fiction writer. He is Co-Founder of SoCal 350 Climate Action and Executive Producer of EcoJustice Radio. He writes for a PBS SoCal Artbound project called High & Dry [https://www.pbssocal.org/people/high-dry]. He is also Founder and Publisher of WilderUtopia [https://wilderutopia.com], a website dedicated to the question of Earth sustainability, finding society-level solutions to environmental, community, economic, transportation and energy needs. He also publishes articles and podcasts on Substack [https://jackeidt.substack.com/]. Podcast Website: http://ecojusticeradio.org/ Podcast Blog: https://www.wilderutopia.com/category/ecojustice-radio/ Support the Podcast: Patreon https://www.patreon.com/ecojusticeradio PayPal https://www.paypal.com/donate/?hosted_button_id=LBGXTRM292TFC&source=url Featured Guest: Joy Harjo, Cara Romero Executive Producer and Host: Jack Eidt Engineer: Blake Quake Beats Show music: Jack Eidt and Blake Quake Beats Episode 291 Photo credit: Joy Harjo/Matika

“For me, if a poem doesn't swing, it's really not much of a poem,” says Adrian Matejka, author of the collection Be Easy: New and Selected Poems. His work hums with music, from its references to David Bowie, Miles Davis, and others to its infectious rhythms, repetitions, and rhymes. In this lively conversation recorded in 2024 at the Wick Poetry Center in Ohio, he reads several poems, and he and Pádraig Ó Tuama talk about “the imaginary discotheque” that takes place in Adrian's head when he writes, how metaphor and simile offer a third space for his ideas to reach people, and his intense interest in exploring “masculinities” in all their expressions and emotions.    We invite you to subscribe to Pádraig's weekly Poetry Unbound Substack, read the Poetry Unbound books and his newest work, Kitchen Hymns, or listen to all our Poetry Unbound episodes.   Adrian Matejka is the author of many books of poetry, including most recently Be Easy: New and Selected Poems, which was published by W.W. Norton in 2026. He also serves as the editor of Poetry magazine, and he was poet laureate of the state of Indiana from 2018 to 2019.  Find the transcript for this show at onbeing.org. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.