Podcasts about poetry magazine

Ep. 56 DuEwa interviewed poet, writer, publisher, and professor, Roberto Carlos Garcia. Roberto Carlos discussed his latest book, a collection of essays, Traveling Freely (Curbstone Books / Northwestern University Press 2024).Visit www.Roberto Carlos Garcia.comVisit www.duewafrazier.com Follow Nerdacity on IG @nerdacityartsTweet us at X @nerdacitypod1Listen and subscribe to previous episodes at Spotify, iHeartRadio, Apple Podcasts and more!BioRoberto Carlos Garcia is associate professor of English at Union College of Union County NJ. He writes poetry and prose about the Afro-Latinx and Afro-Diasporic experience. His work has been published widely in places like Poetry Magazine, NACLA, Poets & Writers, The Root, and others. Garcia is a 2023 New Jersey State Council of the Arts Poetry Fellow and the author of five books. Four poetry collections: Melancolía (Cervena Barva Press, 2016), black / Maybe: An Afro Lyric (Willow Books, 2018), [Elegies] (Flower Song Press, 2020), What Can I Tell You: Selected Poems (Flower Song Press, 2022), and one essay collection, Traveling Freely, (Curbstone Books / Northwestern University Press 2024). Garcia is the founder of Get Fresh Books Publishing, a literary nonprofit.

On today's episode, I talk to cartoonist Anders Nilsen. Growing up between Minneapolis and the mountains of Northern New Hampshire, Anders is the artist and author of ten books including Big Questions, The End, and Poetry is Useless. His work has been featured in the New York Times, Poetry Magazine, Kramer's Ergot, Pitchfork, The New Yorker and elsewhere. His comics have been translated widely overseas and his painting and drawing have been exhibited internationally. Anders' work has received three Ignatz awards as well as the Lynd Ward Prize for the Graphic Novel and Big Questions was listed as a New York Times Notable Book in 2011. His most recent work Tongues vol. 1 was just published by Pantheon and like everything else he does, it is wonderful! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here! Theme song by the fantastic Savoir Adore! Second theme by the brilliant Mike Pace! Closing theme by the delightful Gregory Brothers! Podcast art by the inimitable Beano Gee!  

TWR Monday | Pulp History w/ Frank TheodatIn this Monday edition of The Whitfield Report, Sam is joined by Frank Theodat, Editor At Large for Pulp, Pipe, and Poetry Magazine on Substack and a talented pulp fiction writer in his own right. Together, they dive deep into the gritty, action-packed world of pulp literature—from its explosive beginnings in early 20th century America to its decline and surprising resurgence in the modern era.Frank shares his insights on what made classic pulp so compelling, how it's evolved over time, and why it's experiencing a creative revival among indie writers and readers alike. Whether you're a fan of two-fisted tales, noir detectives, or cosmic horror, this conversation is packed with rich history and fresh perspective.Grab a coffee, light your pipe (if that's your thing), and get ready for a high-octane literary discussion.

Inner Moonlight is the monthly poetry reading series for the Wild Detectives in Dallas. The in-person show is the second Wednesday of every month in the Wild Detectives backyard. We love our podcast fans, so we release recordings of the live performances every month for y'all! On Friday 2/21/25, we featured poet Rachel Richardson to launch her newest collection, Smother (W. W. Norton, 2025), joined by Dallas poets Nomi Stone and Tarfia Faizullah.Rachel Richardson is the author of Smother, just out from W. W. Norton, and two previous books of poems, Copperhead and Hundred-Year Wave, from the Carnegie Mellon Poetry Series. She has been a Wallace Stegner Fellow at Stanford and an NEA Fellow, and her poems have appeared in the New York Times, APR, The Yale Review, and elsewhere. She lives in the Bay Area and teaches in the MFA program at St. Mary's College of California. She is also currently in training as a wildland firefighter.Poet and anthropologist Nomi Stone is the author of three books, most recently the poetry collection Kill Class (Tupelo, 2019), finalist for the Julie Suk Award, and the ethnography Pinelandia: An Anthropology and Field Poetics of War and Empire, first prize in the Middle East Studies Award from the American Anthropological Association and three other national prizes. Winner of a Pushcart Prize, Stone's poems recently appear in The Atlantic, The Nation, Best American Poetry, POETRY Magazine, and American Poetry Review. Stone was most recently a Postdoctoral Researcher in Anthropology at Princeton and she is currently an Assistant Professor of Poetry at the University of Texas, Dallas.Tarfia Faizullah writes books and teaches poetry at UNT.⁠www.innermoonlightpoetry.com

Send us a textThis episode navigates the intricate relationship between poetry and politics, featuring insights from poet Bianca Stone. We discuss the nuances of non-didactic poetry, the historical implications of literary voices, and how poetry serves as a vessel for personal and collective experiences. Bianca Stone is a Vermont-based poet. Stone's newest book is What is Otherwise Infinite, (Tim House 2022). She is the host of Ode and Psyche podcast. Stone's poems, art, book reviews, and essays have appeared in a variety of magazines including The New Yorker, Poetry Magazine, American Poetry Review, The Brooklyn Rail, and many others. She returned to Vermont in 2016. Bianca houses the Ode & Psyche Podcast.• Examining the tension between political and poetic expression• The impact of didacticism on modern poetry• The philosophical discourse surrounding poetry through Plato's lens• Individual voices in poetry reflecting collective narratives • Analyzing Larry Levis's poem on Lorca• The importance of ambiguity and interpretation in poetry Explore this thought-provoking dive into the complex world of poetic expression and its implications for understanding our human experience. Musis by Bitterlake, Used with Permission, all rights to BitterlakeThe Obvious PodcastA podcast presented by the Associated Builders and Contractors Florida East-Coast...Listen on: Apple Podcasts SpotifySupport the showCrew:Host: C. Derick VarnIntro and Outro Music by Bitter Lake.Intro Video Design: Jason MylesArt Design: Corn and C. Derick VarnLinks and Social Media:twitter: @varnvlogblue sky: @varnvlog.bsky.socialYou can find the additional streams on YoutubeCurrent Patreon at the Sponsor Tier: Jordan Sheldon, Mark J. Matthews, Lindsay Kimbrough, RedWolf

Welcome to Twice 5 Miles Radio, I'm your host, James Navé. Today, I'm thrilled to be in conversation with my longtime friend, the one and only Regie Cabico—a poet, performer, and spoken word legend whose impact on the literary world is undeniable. Regie and I first crossed paths in 1994 at the National Poetry Slam in Asheville. He was a rising star out of New York City, and even then, his performances were electric—raw, fearless, and full of life. Over the years, he's become one of the most dynamic figures in performance poetry, winning the Nuyorican Poets Café Grand Slam and taking top honors at multiple National Poetry Slams. He's appeared on HBO's Def Poetry Jam, NPR's Snap Judgment, and MTV's Free Your Mind, not to mention being published in Poetry Magazine, The Outlaw Bible of American Poetry, and The Academy of American Poets platform. Now based in Washington, D.C., Regie continues to shape the literary landscape, mentoring young poets, teaching performance techniques, and bringing poetry into classrooms, theaters, and communities nationwide. His long-awaited debut full-length collection, A Rabbit in Search of a Rolex, just hit the shelves, blending humor, surrealism, and sharp cultural critique. In this episode, Regie and I reminisce about our early days in spoken word, explore the evolution of poetry from stage to page, and dig into the deeper truths that poetry reveals—sometimes through hyperbole, sometimes through raw honesty. Whether we're talking about teaching middle schoolers the art of exaggeration or reflecting on the shifting role of poetry in our lives, one thing is clear: Regie has never stopped pushing the boundaries of what poetry can be. Join us for this lively, heartfelt conversation with a true poetic force.

The queens go in (and out) on poetry trends for 2025, all while doing their Kegel exercises. Please Support Breaking Form!Review the show on Apple Podcasts here.Pretty Please.....Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.     James's ROMANTIC COMEDY is available from Four Way Books.SHOW NOTES:Watch Marie Howe in conversation with poet and friend of the show, Nicole Tallman (18 mins), for South Florida Poetry Journal. You can catch a reading of some poets included in Invisible Strings: 113 Poets Respond to the Songs of Taylor Swift here. Read Carol Frost's poem "Gross Clinic" from her book I Will Say Beauty (mentioned in the show).When we mention "the Sharon Olds stanza," here's a representative of what we mean: "After Making Love in Winter" (Poetry Magazine, May 1987)A bit more about The Vivienne, a drag superstar and winner of Season 1 of Drag Race UK, can be found here. More about Ada Limon's historic appointment as Poet Laureate can be accessed here.A few Game Shows poems:Jennifer L. Knox, “The New Let's Make a Deal” Julie Marie Wade, "From the Jeopardy! Category Spoiler Alerts"

Wonder and strangeness commingle with the commonplace and universal in Danielle Chapman's “Trespassing with Tweens.” In a not-quite mirroring, a human mother and her children stand and watch together in awe as a great blue heron flaps in and feeds its two offspring. The pleasures found here are profound and multiple – the joys in seeing, in sharing an experience of seeing, in seeing with fresh eyes, and in being seen.Danielle Chapman is a poet, essayist, and lecturer in English at Yale University. Her most recent collection of poetry, Boxed Juice, was published in 2024 by Unbounded Edition Press. Her previous collection of poems, Delinquent Palaces, was published by Northwestern University Press in 2015, and her memoir, Holler: A Poet Among Patriots, was released by Unbound Edition Press in 2023. For several years, Chapman served as the Director of Literary Arts and Events for the City of Chicago, and she was also an editor at Poetry Magazine. She currently teaches Shakespeare and creative writing and lives in Hamden, Connecticut, with her family.Find the transcript for this show at onbeing.org.We're pleased to offer Danielle Chapman's poem and invite you to subscribe to Pádraig's weekly Poetry Unbound Substack newsletter, read the Poetry Unbound book, or listen to past episodes of the podcast. We also have two books coming out in early 2025 — Kitchen Hymns (new poems from Pádraig) and 44 Poems on Being with Each Other (new essays by Pádraig). You can pre-order them wherever you buy books.

In Kinsale Drake's poem “Put on that KTNN,” she writes about driving to a hometown as a familiar station crackles to life on the car radio. From this corner of America, she creates her own country music — of Navajo voices alongside Johnny Cash and Loretta Lynn, of drumbeats and guitar licks, of things wrought by nature and things made by humans, all of them rooted in the desert sand.Kinsale Drake (Diné) is a poet, playwright, and performer based out of the Southwest U.S. She is a winner of the 2023 National Poetry Series Competition. Her poetry collection, The Sky Was Once a Dark Blanket, was published by The University of Georgia Press in 2024. Drake's work has appeared in Poetry Magazine, Poets.org, Best New Poets, Black Warrior Review, Nylon, MTV, Teen Vogue, Time, and elsewhere. She recently graduated from Yale University, where she received the J. Edgar Meeker Prize, Academy of American Poets College Prize, Young Native Playwrights Award, and the 2022 Joy Harjo Poetry Prize. She is the founder of NDN Girls Book Club.Find the transcript for this show at onbeing.org.We're pleased to offer Kinsale Drake's poem and invite you to read Pádraig's weekly Poetry Unbound Substack, read the Poetry Unbound book, or listen back to all our episodes.

Sam Sax is a queer, jewish, writer and educator. They're the author of Yr Dead (McSweeney's Books, 2024), longlisted for The National Book Award and PIG named one of the best books of 2023 by New York Magazine and Electric Lit. They're also the author of Madness, winner of The National Poetry Series and Bury It winner of the James Laughlin Award from the Academy of American Poets. They're the two time Bay Area Grand Slam Champion with poems published in The New York Times, The Atlantic, Poetry Magazine, Granta and elsewhere. Sam's received fellowships from The National Endowment for the Arts, The Poetry Foundation, Yaddo, Lambda Lit, MacDowell, and is currently serving as an ITALIC Lecturer at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sam Sax is a queer, jewish, writer and educator. They're the author of Yr Dead (McSweeney's Books, 2024), longlisted for The National Book Award and PIG named one of the best books of 2023 by New York Magazine and Electric Lit. They're also the author of Madness, winner of The National Poetry Series and Bury It winner of the James Laughlin Award from the Academy of American Poets. They're the two time Bay Area Grand Slam Champion with poems published in The New York Times, The Atlantic, Poetry Magazine, Granta and elsewhere. Sam's received fellowships from The National Endowment for the Arts, The Poetry Foundation, Yaddo, Lambda Lit, MacDowell, and is currently serving as an ITALIC Lecturer at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Sam Sax is a queer, jewish, writer and educator. They're the author of Yr Dead (McSweeney's Books, 2024), longlisted for The National Book Award and PIG named one of the best books of 2023 by New York Magazine and Electric Lit. They're also the author of Madness, winner of The National Poetry Series and Bury It winner of the James Laughlin Award from the Academy of American Poets. They're the two time Bay Area Grand Slam Champion with poems published in The New York Times, The Atlantic, Poetry Magazine, Granta and elsewhere. Sam's received fellowships from The National Endowment for the Arts, The Poetry Foundation, Yaddo, Lambda Lit, MacDowell, and is currently serving as an ITALIC Lecturer at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Sam Sax is a queer, jewish, writer and educator. They're the author of Yr Dead (McSweeney's Books, 2024), longlisted for The National Book Award and PIG named one of the best books of 2023 by New York Magazine and Electric Lit. They're also the author of Madness, winner of The National Poetry Series and Bury It winner of the James Laughlin Award from the Academy of American Poets. They're the two time Bay Area Grand Slam Champion with poems published in The New York Times, The Atlantic, Poetry Magazine, Granta and elsewhere. Sam's received fellowships from The National Endowment for the Arts, The Poetry Foundation, Yaddo, Lambda Lit, MacDowell, and is currently serving as an ITALIC Lecturer at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In this episode of Words on a Wire, host Tim Z. Hernandez speaks with poet Yaccaira Salvatierra. Yaccaira's poems have appeared in POETRY Magazine, The Nation, Prairie Schooner, and Rattle among others. Her collection, Sons of Salt, was published with BOA Editions September 2024. She has been an organizer for the San Francisco International Flor y Canto Literary Festival and is currently translating Estancias de Emilia Tangoa, a poetry collection by Peruvian poet Ana Varela Tafur. Some of her translations can be found in About Place Journal and Plume. She lives in Oakland, California, where she is a dedicated educator.

SLEERICKETS is a podcast about poetry and other intractable problems. NB: Oops, forgot to mention all the non-voting/protest voting listeners out there. I see you, too.My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, check out the SECRET SHOW and join the group chatLeave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!SLEERICKETS is now on YouTube!Some of the topics mentioned in this episode:– Leila's recommendations:- "Dedication" by Fady Joudah, who is also American but with a personal connection to Gaza, many of whose family members have indeed been killed there: 2024 Jackson Poetry Prize Reading: Fady Joudah in Conversation With Pádraig Ó Tuama (recorded here beginning at minute 50)- "Not Just Passing" and "I Grant You Refuge" by Heba Abu Nada, who was killed in Gaza: Not Just Passing: In Honor of Heba Abu Nada - Mizna; I Grant You Refuge • Protean Magazine- "My mother once said" and "The land fights, too" by Nour Khalil Abu Shammala, writing from Gaza: My mother once said | The Electronic Intifada; The land fights, too | The Electronic Intifada- "A Request," "Right or Left," and others contained in this interview with Mosab Abu Toha, who is from Gaza and some of whose experience is also recounted here: “Forest of Noise”: Palestinian Poet Mosab Abu Toha on New Book, Relatives Killed in Gaza & More | Democracy Now!- "It Always Starts with Words" and "Four Poems" by Olivia Elias, born in Palestine and writing from the diaspora: It Always Starts with Words - Mizna; FOUR POEMS by Olivia Elias, trans. Jérémy Victor Robert – FOUR WAY REVIEW- "Gazan Despair" and "When a Missile Lands" by Yahya Ashour, who is outside of Gaza and unable to return: Gazan Despair - Mizna; New Poetry in Translation: Yahya Ashour's ‘When a Missile Lands' – ARABLIT & ARABLIT QUARTERLY- Poems from "Ash and Air" by Nadine Murtaja, writing from Gaza: Ash and Air: a Poetry Folio from Gaza - Mizna– Padraig O Tuama– Julie Steiner– Ep 167: Poetry Magazine, October 2024– Ceasefire Haiku by Faisal Mohyuddin– The Tea and Sage Poem by Fady Joudah– Mimesis by Fady Joudah– Forest of Noise by Mosab Abu Toha– Brian Cox's rendition of If I Must Die by Refaat Alareer– If I Must Die by Refaat Alareer– Sunlight on the Garden by Louis MacNeiceFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna PearsonOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal MotamedAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

SLEERICKETS is a podcast about poetry and other intractable problems. My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, check out the SECRET SHOW and join the group chatLeave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!SLEERICKETS is now on YouTube!Some of the topics mentioned in this episode:– James Haverty Smith– Toward an Architecture by Le Corbusier– Kanye West Bought an Architectural Treasure—Then Gave It a Violent Remix by Ian Parker– Ep 167: Poetry Magazine, October 2024– My appearance on Drunk as Poet on Payday– Jason Gray– Tadao Ando– Frank Gehry– Zaha Hadid– Santiago Calatrava– Colin Rowe– Tesla Cybertruck (and the phony DeLorean logo on the one we saw)– Boston Dynamics Dogs– Paradise Lost by John Milton– Manuel Cadrecha– Cloister of Santa Maria della Pace (the perfect courtyard)– Jorge Silvetti (the professor who assigned the analysis of the Villa La Rotonda)– Villa La Rotonda (the most famous building in the world)– Donato Bramante– Andrea Palladio– Civilization and Its Discontents by Sigmund Freud– Notre-Dame du Haut (Le Corbusier's chapel in Ronchamp)– Bauhaus– Collage City by Fred Koetter and Colin Rowe– Philip Johnson– Guggenheim Museum Bilbao (Frank Gehry's building inspired by the shipyards)– Heydar Aliyev Centre (Zaha Hadid's building dedicated to a tyrant but beloved by skateboarders)– Santa Maria de la Tourette– Villa Savoye– The Paideia School (my weird high school)– A Worn Path by Eudora Welty– Margaret Pepperdene (my mentor Jane)– The Canterbury Tales by Geoffrey Chaucer– John's Mountie Boots by Marilyn Levine– Chuck Close– Louis Kahn (not Thomas Kuhn)– Thomas Kuhn (the paradigm shift guy)– John Barth (not Roland Barthes)– The Death of the Author by Roland Barthes– Donald Barthelme– The Rites & Wrongs of Janice Wills by Joanna Pearson (my wife's YA novel)– The Daily: How Air-Conditioning Conquered the World– One Hundred Years of Solitude by Gabriel Garcia Marquez– Dear Derrida by David Kirby – Mozart's Requiem– The Andromeda Strain by Michael Crichton– Westworld (1973) by Michael Crichton– Jurassic Park by Michael Crichton– Timeline by Michael Crichton– CivilWarLand in Bad Decline by George SaundersFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna PearsonOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal MotamedAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

SLEERICKETS is a podcast about poetry and other intractable problems. My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, check out the SECRET SHOW and join the group chatLeave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!SLEERICKETS is now on YouTube!Some of the topics mentioned in this episode:– Poetry Magazine, October 2024 (all of the poems discussed appear herein)– Allegory by Morri Creech– The 400-Pound CEO by George Saunders– My Brilliant Friend by Elena Ferrante– The Razor's Edge by W. Somerset Maugham– Trust by Hernan Diaz– Madame Bovary by Gustave FlaubertFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna PearsonOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal MotamedAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

The panel discusses the American Poet Laureate Robert Penn Warren—the only person to win the Pulitzer prize both for Poetry and for Fiction—reading two of his poems from the November 1979 Poetry Magazine volume issued in honour of Allen Tate.Continue reading

This week I am talking with Justice Ameer, whom. Boston public radio station WBUR called “one of the most recognized trans poets of color on the local and national poetry scene.” Justice is a Feminine Empowerment Movement Slam Champion, and two -time Providence Grand Slam Champion,l. Justice describes xyr work as a practice in becoming unapologetic and unafraid, and has been published in Glass Poetry Press, Poetry Magazine, and the Breakbeat Poets, Volume 2, Black Girl Magic Anthology. We covered: How poetry is like therapy. How xe writes to imagine a better world and process what's upsetting about this world Tips for finding a riding community—-both in person and online. How to use that community to get useful feedback The value of having a day per week blocked off for writing Finding a consistent artist practice with ADHD. How to decide on what to work on when you do sit down to write Letting an idea take you where it's meant to go Visit Justice at justiceameerpoetry.com For full show notes with links to everything we discuss, plus bonus photos!, visit katehanley.substack.com. Thanks to this week's sponsor, Air Doctor Pro. Visit airdoctorpro.com and use code KATE to save 30% off an amazing indoor air filter *and* receive a free three-year warranty (an $84 value). Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, my guest on the show is the incredibly talented, Safia Elhillo. Safia's work always leaves me mesmerised and craving for more. In her beautiful poetry, she explores themes of belonging, identity, home, friendship, love, pain, suffering, and so much more.  Safia Elhillo is the author of The January Children (University of Nebraska Press, 2017), which received the the Sillerman First Book Prize for African Poets and an Arab American Book Award, Girls That Never Die (One World/Random House, 2022), and the novel in verse Home Is Not A Country (Make Me A World/Random House, 2021), which was longlisted for the National Book Award and received a Coretta Scott King Book Award Author Honor. Sudanese by way of Washington, DC, Safia received the 2015 Brunel International African Poetry Prize, and was listed in Forbes Africa's 2018 “30 Under 30.” Her work appears in POETRY Magazine, Callaloo, and The Academy of American Poets' Poem-a-day series, among othersSupport the Show.

In the final PRIDE installment of Upcoming/Up & Coming, Jason and Brett talk to debut* authors Kimberly King Parsons (We Were the Universe), KB Brookins (Pretty), and Santiago Jose Sanchez (Hombrecito). They talk about the theatre of parenthood, queer representation in books and media, and using writing to better understand your own story. *Debut-ish! Kimberly's debut novel and KB's debut memoir.Kimberly King Parsons is the author of Black Light, a collection of stories that was long-listed for the National Book Award and the Story Prize. In 2020, she received the National Magazine Award for fiction. Born in Lubbock, Texas, she lives in Portland, Oregon, with her partner and children. We Were the Universe is her first novel.KB Brookins is a Black, queer, and trans writer and cultural worker from Texas. They are the author of Freedom House and How to Identify Yourself with a Wound. Brookins has poems, essays, and installation art published in Academy of American Poets, Teen Vogue, Poetry Magazine, Prizer Arts & Letters, Okayplayer, Poetry Society of America, Autostraddle, and other venues. They have earned fellowships from the National Endowment for the Arts, PEN America, Equality Texas, and others.Santiago Jose Sanchez (they/them), a Grinnell College assistant professor of English and a graduate of the Iowa Writers' Workshop, is a queer Colombian American writer. Santiago's writing has appeared in McSweeney's, ZYZZYVA, Subtropics, and Joyland and been distinguished in Best American Short Stories. They are the recipient of a Truman Capote Fellowship from the University of Iowa and an Emerging LGBTQ Voices Fellowship from Lambda Literary.Gays Reading is sponsored by Audible. Get a FREE 30-day trial by visiting audibletrial.com/gaysreading**BOOKS!** Check out the list of books discussed on each episode on our Bookshop page:https://bookshop.org/shop/gaysreading | By purchasing books through this Bookshop link, you can support both Gays Reading and an independent bookstore of your choice!Join our Patreon for exclusive bonus content! Purchase your Gays Reading podcast Merch! Follow us on Instagram @gaysreading | @bretts.book.stack | @jasonblitmanWhat are you reading? Send us an email or a voice memo at gaysreading@gmail.com

Day 6: Angel Nafis reads her poem “Why R&B First Thing in the Morning, Why R&B Above All,” originally published on The Rumpus in 2015.  Born in Chicago, Illinois and raised in Ann Arbor, Michigan, Angel Nafis is a writer and the author of BlackGirl Mansion (Red Beard Press/ New School Poetics, 2012). She earned her BA at Hunter College and her MFA in poetry at Warren Wilson College. Her work has appeared in The Academy of American Poets' Poem-a-day, BLACK FUTURES, The Rumpus, Poetry Magazine, Buzzfeed Reader and elsewhere. Text of today's poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Find books from participating poets in our library's catalog.  Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language.  Queer Poem-a-Day is directed by poet and professor Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Deerfield Public Library. Music for this fourth year of our series is from the second movement of the “Geistinger Sonata,” Piano Sonata No. 2 in C sharp minor, by Ethel Smyth, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by generous donations from the Friends of the Deerfield Public Library and the Deerfield Fine Arts Commission.   

We welcome the poet laureate of Vermont, Bianca Stone to the show for a conversation on poetry and psychoanalysis. In recent years, Bianca has turned to psychoanalysis as a way to teach poetry and as a method to better understand the process of writing poetry. In this wide-ranging conversation, we discuss how poetry relates to philosophy and politics, how to interpret poems, what the process of writing a poem is for Bianca, and much more! John Ashbery has said that Bianca Stone is "a brilliant transcriber of her generation's emerging pathology and sensibility" and her work has been featured in numerous publications, from the New Yorker to Poetry Magazine, and her poems have been featured in numerous literary magazines. She is the Director of the Ruth Stone House up in Vermont, check it out: https://ruthstonehouse.org.

If you bring along to Breaking Form Book Club an extra bottle of chardonnay,  we'll read some poems from books you may have missed....If you'd like to support Breaking Form:Review the show on Apple Podcasts here.Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.     James's ROMANTIC COMEDY is available from Four Way Books.Read more about Zando and Sarah Jessica Parker's SJP Lit: https://zandoprojects.com/imprints/sjp-lit/ Read the entirety of Marilyn Chin's poem "How I Got that Name" Read the title poem of Denis Johnson's collection The Incognito Lounge. You can read more about the poet 'Annah Sobelman here, including a few poems.Randall Jarrell's poem "Losses" appeared in August 1944 issue of Poetry Magazine. It is the title poem of his 1948 book (Harcourt). You can read Jarrell's NY Times obit here.

Dear Slushies, we have a confession. The first draft of these show notes included references to Wawa, Jason's sweet tooth, the relative repulsiveness of hot milk shakes, and professional wrestling. But then we realized that approach eclipsed what this episode illuminates: the poetic trend of self-reflexive gestures like the one we just made, confessing that this isn't the first draft! Listen in as we discuss Krysten Hill's poem "Are We Still Good?" The poem challenges us to think about analogy, metaphor, and narrativity. How poets can stage the occasion for a speaker's confessional reflection via the spark of a story plucked from our information dense mediascape -- revealing what it means to feel terror when that terror might otherwise be dismissed. How does she do this? Manatees and memes, silence, and a meta-textual turn. Enjoy!   PS Samantha also references this great essay by John Shoptaw on eco poetry. Dig in!   At the table: Kathleen Volk Miller, Marion Wrenn, Dagne Forrest, Jason Schneiderman, Samanatha Neugebauer   Krysten Hill is the author of How Her Spirit Got Out (Aforementioned Productions, 2016), which received the 2017 Jean Pedrick Chapbook Prize. Her work has recently appeared in or is forthcoming from The Academy of American Poets' Poem-a-Day Series, Poetry Magazine, PANK, Up the Staircase Quarterly, Winter Tangerine Review,Rust + Moth and elsewhere. She is a recipient of the 2020 Mass Cultural Council Poetry Fellowship, 2023 Vermont Studio Center Residency, and 2024 SWWIM Residency. Author website   Are We Still Good?   According to officials, the animal does not appear to be seriously injured. Someone adds in the comments that, Obviously, it was just a joke.  Calm down, Liberals. Highlights the part in the article where  the man's name was scraped onto algae growing on its skin. From what they could see, nothing was truly threatened.  The sea cow was probably too dumb and fat to feel anything.  I think of all the ways cruelty begins as a joke until  it chooses to finish what it started. The friend I'd known for years didn't stop when I asked and asked again. I thought maybe he didn't hear me. Later, he told our mutual friend that, Things just got out of hand. I thought she knew I was just playing. I remember when I was sure he heard me,  I recognized  it was my fear that made him smile so loud. Still, I attempt  to explain the surprise. At least I didn't die there, I tell myself. Even here,  I wrote that as the first line of this poem and buried it. Anyways, he had work in the morning, offered to drive me home. I didn't have to walk back to my dorm in the snow. I laughed  at everything he said on the way and tried not to let him see  my hands shake when I took the gum he offered me. He asked,  Are we still good? I chewed my tongue, relieved that I could do something else with my mouth until he parked, unlocked  the door to let me out. I thanked him. I was so scared that I didn't run.

In this week's episode of the Get Lit Minute, your weekly poetry podcast, we spotlight the life and work of poet, filmmaker, educator and performer, Fatimah Asghar. Their work has appeared in many journals, including  POETRY Magazine, Gulf Coast, BuzzFeed Reader, The Margins, The Offing, Academy of American Poets and many others.  Their work has been featured on new outlets like PBS, NPR, Time, Teen Vogue, Huffington Post, and others. In 2011, they created a spoken word poetry group in Bosnia and Herzegovina called REFLEKS while on a Fulbright studying theater in post-genocidal countries. They are a member of the Dark Noise Collective and a Kundiman Fellow. They are the writer and co-creator of Brown Girls, an Emmy-Nominated web series that highlights friendships between women of color.  Their debut book of poems, If They Come For Us, was released One World/ Random House, August 2018. Along with Safia Elhillo, they are the editor of Halal If You Hear Me, an anthology that celebrates Muslim writers who are also women, queer, gender nonconforming and/or trans. SourceThis episode includes a reading of their poem, “If They Come for Us”  featured in our 2023 Get Lit Anthology.“If They Come for Us”these are my people & I findthem on the street & shadowthrough any wild all wildmy people my peoplea dance of strangers in my bloodthe old woman's sari dissolving to windbindi a new moon on her foreheadI claim her my kin & sewthe star of her to my breastthe toddler dangling from strollerhair a fountain of dandelion seedat the bakery I claim them toothe Sikh uncle at the airportwho apologizes for the patdown the Muslim man who abandonshis car at the traffic light dropsto his knees at the call of the Azan& the Muslim man who drinksgood whiskey at the start of maghribthe lone khala at the parkpairing her kurta with crocsmy people my people I can't be lostwhen I see you my compassis brown & gold & bloodmy compass a Muslim teenagersnapback & high-tops gracingthe subway platformMashallah I claim them allmy country is madein my people's imageif they come for you theycome for me too in the deadof winter a flock ofaunties step out on the sandtheir dupattas turn to oceana colony of uncles grind their palms& a thousand jasmines bell the airmy people I follow you like constellationswe hear glass smashing the street& the nights opening darkour names this country's woodfor the fire my people my peoplethe long years we've survived the longyears yet to come I see you mapmy sky the light your lantern longahead & I follow I followSupport the showSupport the show

Dave and Aaron find themselves in the presence of the 2023 Omnidawn 1st/2nd Book Prize winner, jason b. crawford! That being said the poems they share on the show aren't ones that made the cut for Yeet! or Year of the Unicorn Kidz, or really anything... and that is probably a good thing. Hear jason's undergrad and recent grad work that were found in an old folder on an old email that they were gracious enough to dig out for all to hear. My Bad Poetry Episode 5.12 "Playground & Have you ever seen a guilty man's hanging? (w/ jason b. crawford) End Poem From a Read Poet: "Untitled 1975-86" by jason b. crawford published in July/August 23 Poetry Magazine. jason b. crawford is a prize winning poet with works in Barren Magazine, Frontier Poetry, Glassworks Magazine, Kissing Dynamite, Poetry Magazine, Frontier Poetry, and so many more. Their chapbooks good boi,Twerkable Moments, and full book Year of the Unicorn Kidz can be found and purchased online. You can follow their work on their website here: https://www.jasonbcrawford.com/ Podcast Email: mybadpoetry.thepodcast@gmail.com Bluesky: @mybadpoetrythepod.bsky.social Instagram & Threads: @MyBadPoetry_ThePod Website: ⁠⁠⁠⁠⁠⁠https://www.podpage.com/my-bad-poetry/⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mybadpoetry-thepodcast/message

The ladies are joined by the Queen herself, Diane Seuss, to spread some love for Galentine's Day. Support Breaking Form!Review the show on Apple Podcasts here.Buy our books:      Diane Seuss's MODERN POETRY is available March 5, 2024 from Graywolf Press.      Aaron's STOP LYING is available from the Pitt Poetry Series.      James's ROMANTIC COMEDY is available from Four Way Books.We discuss Aaron Smith's Book of Daniel , and you can check that book out here.Read Marianne Moore's "No Swan So Fine,"  first published in Poetry Magazine in October 1932. Read Moore's famous and oft-anthologized poem "Poetry" and then read Slate's article about her revisions of that poem: "Marianne Moore's 5-decade Struggle with 'Poetry'"If you haven't dipped your toe into the fabulous Marianne Moore pool yet, here's Interesting Literature's "10 of the Best Marianne Moore Poems Everyone Should Read"A great essay on Moore's difficulty was published in Lithub here. George Platt Lynes took an iconic photo of Marianne Moore in her tricorn hat and cape in 1953.  Read more about Lynes and his iconic photos of poets here. Read Sylvia Plath's poem "The Munich Mannequin" (briefly mentioned in the episode) here. And listen to Plath recite it here. Read Plath's poem "Edge" and hear Jane Gilbert recite "Edge" here (~1.5 min)Discover "59 Years of Book Covers for The Bell Jar" (a fascinating read in Lithub). 

Happy 2024! We're kicking off this new year with Chicago poet and the Defender of the American poet and the art form: Harriet Monroe! Monroe used her power and position to secure the value of poetry in American culture, while also supporting the careers of dozens of iconic poets. Establishing what we now know as Poetry Magazine, Monroe's efforts have changed the way we understand and experience poetry! We also celebrate Public Domain Day and the new works that entered the Public Domain on Jan 1st! 

In their latest collection of poems, Cave Canem Poetry Prize winner Brionne Janae dives into the deep, unsettled waters of intimate partner violence, queerness, grief, and survival. This event took place on July 6, 2023. “I've decided I can't trust anyone who uses darkness as a metaphor for what they fear,” poet Brionne Janae writes in this stunning new collection, in which the speaker navigates past and present traumas and interrogates familial and artistic lineages, queer relationships, positions of power, and community. Because You Were Mine is an intimate look at love, loneliness, and what it costs to survive abuse at the hands of those meant to be “protectors.” In raw, confessional, image-heavy poems, Janae explores the aftershocks of the dangerous entanglement of love and possession in parent-child relationships. Through this difficult but necessary examination, the collection speaks on behalf of children who were left or harmed as a result of the failures of their parents, their states, and their gods. Survivors, queer folks, and readers of poetry will find recognition and solace in these hard-wrought poems—poems that honor survivorship, queer love, parent wounds, trauma, and the complexities of familial blood. Get Because You Were Mine from Haymarket: https://www.haymarketbooks.org/books/... Speakers: Brionne Janae is a poet and teaching artist living in Brooklyn. They are the author of Blessed are the Peacemakers (2021), which won the 2020 Cave Canem Northwestern University Press Poetry Prize, and After Jubilee (2017). Janae is the recipient of the St. Botoloph Emerging Artist award, a Hedgebrook Alum, a proud Cave Canem Fellow, and a 2023 National Endowment of the Arts Creative Writing Fellow. Their poetry has been published in Best American Poetry (2022), Ploughshares, the American Poetry Review, the Academy of American Poets Poem-a-Day, the Sun Magazine, jubilat, and Waxwing among others. Janae is the co-host of the podcast The Slave is Gone. Off the page they go by Breezy. Amber Flame is an interdisciplinary artist whose work garnered residencies with Hedgebrook, Vermont Studio Center, and more. Her first poetry collection, Ordinary Cruelty, was published through Write Bloody Press. Flame is a recipient of Seattle Office of Arts and Culture's CityArtist grant and served as Hugo House's 2017-2019 Writer-in-Residence for Poetry. Krysten Hill is the author of How Her Spirit Got Out (Aforementioned Productions, 2016), which received the 2017 Jean Pedrick Chapbook Prize. Her work has been featured in The Academy of American Poets' Poem-a-Day Series, Poetry Magazine, PANK, Up the Staircase Quarterly, Winter Tangerine Review, and elsewhere. She is recipient of the 2016 St. Botolph Club Foundation Emerging Artist Award, 2020 Mass Cultural Council Poetry Fellowship, and 2023 Vermont Studio Center Residency. JR Mahung is a Belizean-American poet from the South Side of Chicago and one half of the Poetry duo Black Plantains with Malcolm Friend. They teach, write, and study in Amherst, MA. JR is a 2016 Pushcart Prize nominee, a 2017 Emerging Poet's Incubator Fellow, and the 2018 Individual World Poetry Slam representative for the Boston Poetry Slam. Tweet them about rice and beans @jr_mahung. Cynthia Manick is the author of No Sweet Without Brine, editor of The Future of Black: Afrofuturism, Black Comics, and Superhero Poetry, winner of the Lascaux Prize in Collected Poetry, and author of Blue Hallelujahs. She has received fellowships from Cave Canem, Hedgebrook, MacDowell Colony, and Château de la Napoule among other foundations. Watch the live event recording: https://youtube.com/live/oQzdrRc6y7k Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

Welcome to a special episode of Divorce and Beyond!! Airing right after Thanksgiving and just before Giving Tuesday 2023 on November 28th, we're revisiting a powerful episode titled "Sharing is Caring: How Philanthropy Can Help You Heal." In this replay, Susan Guthrie speaks with Caren Yanis, a philanthropy Sherpa, and former Oprah Winfrey Foundation Executive Director. Together, they explore the transformative power of giving, delving into how it can guide us through challenging times, including the complexities of divorce. This is a heartfelt conversation about how philanthropy intersects with divorce, families, the future, and beyond. Caren, now the principal of Croland Consulting, shares insights on building a culture of purpose and legacy for families, athletes, and celebrities.  Let this episode inspire you to embrace the spirit of generosity on Giving Tuesday.   Topics and Golden Nuggets include Divorce is a prime time to do something outward-focused with your children, such as giving. Philanthropy can help you heal from the trauma of a difficult divorce Engaging in the arts and using the arts to help other people is a fabulous way to elevate everybody **************************************** About this week's special guest: Caren Yanis Caren is the principal of Croland Consulting, a philanthropic advisory group that guides families, athletes, and celebrities in building a culture of purpose and legacy. She was Executive Director of the Oprah Winfrey Foundation and Oprah's Angel Network, (2000-2009) the height of the Oprah Winfrey Show.  She went on to become President of Crown Family Philanthropies in Chicago.  Caren's focus is on deepening intergenerational engagement and social impact using a variety of assets and strategies. Keynotes, podcasts, and panel discussions have included Family Business Magazine's Legacy and Wealth Conference, Yale's Philanthropy Conference, and the Society for Trust and Estate Planners annual and regional conferences. She has been a guest on podcasts including The Heart of Giving (Better Business Bureau), Denton's, Alliance Bernstein, and Family Business Magazine's Legacy and Wealth Conference.  She is an adjunct professor at Tulane University, the University of Chicago Booth School in their Private Wealth Management program, and at the Spertus Institute where she also mentors graduate students. University speaking engagements include Northwestern Law, NYU, Duke and Johns Hopkins. Caren chairs the board of The Poetry Foundation (which received a significant bequest from Ruth Lilly in 2002) and has guided it through meaningful organizational and governance change. She is an advisor to the Aubrey and Marla Dan Foundation, and to the (Deepak) Chopra Foundation, is a member of the Board of Visitors at the Lilly Family School of Philanthropy at Indiana University, and the Women's Philanthropy Institute, a research organization focused on trends in giving. In her spare time, Caren hosts salons that bring bold thinkers together for meaningful conversations. She has a passion for listening deeply, navigating challenges, and guiding people who have the potential to make the world a better place.  Caren Croland Yanis | Philanthropic Advising: caren@crolandconsulting.com  Caren's website: CrolandConsulting.com  Caren on Linkedin: http://linkedin.com/in/carenyanis ***************************************** Episodes and Resources mentioned in this episode: The Divorce & Beyond website is a great place to visit if you want more support and information as you move through your divorce and beyond.  We have links to all the latest episodes, show notes, and the most recent episode. Plus, you can sign up for the weekly newsletter, freebies, and downloadable resources.  Visit DivorceandBeyondPod.com today!  Singing ”Single Bells” This Holiday? Surviving the Solitary Season with Special Guest, Jenny Stevens  PoetryMagazine.org/EventsOffer:1 year of Poetry Magazine for $20. Regular price is $35.   Generosity Project: https://www.ted.com/talks/sasha_dichter_the_generosity_experiment  Women's Philanthropy Institute – The Women's and Girls Index: https://scholarworks.iupui.edu/bitstream/handle/1805/21010/wgi-infographic.pdf  Women's Philanthropy Institute -Women as Change Agents:  https://scholarworks.iupui.edu/bitstream/handle/1805/21440/change-agents-infographic.pdf  Women Moving Millions: https://womenmovingmillions.org/  Thresholds  - mental health and breaking the cycle of poverty: https://www.thresholds.org/  Friends of the Children – mentoring high risk children: https://friendschicago.org/about  Multiple Myeloma Research Foundation: theMMRF.org  ***************************************** THANK YOU TO OUR SPONSOR: SOBERLINK Thriving in divorce and beyond means not having to worry about the safety of your children when it comes to co-parenting. With alcohol abuse on the rise, many co-parents are turning to the system committed to providing proof, protection, and peace of mind. Soberlink's alcohol monitoring system is the most convenient, reliable, and reasonable way for a parent to provide evidence that they are not drinking during parenting time. Soberlink's real-time alerts, facial recognition, and tamper detection ensure the integrity of each test, so you can be confident your kids are with a sober parent. With Soberlink, judges rest assured that your child is safe, attorneys get court-admissible evidence of sobriety, and both parents have empowerment and peace of mind.  Pull back the curtain on the mysteries of parenting time and trust The Experts in Remote Alcohol Monitoring Technology™ to keep you informed and your kids safe and secure. To download the addiction and children resource page that I developed with Soberlink, visit www.Soberlink.com/Susan  ********************************************************************* SPONSORSHIP OPPORTUNITIES ARE AVAILABLE!  https://divorcebeyond.com/Sponsorship-Info ******************************************************************* MEET OUR CREATOR AND HOST: SUSAN GUTHRIE®, ESQ., the creator and host of The Divorce and Beyond® Podcast, is nationally recognized as one of the top family law and divorce mediation attorneys in the country.  Susan is the Vice Chair of the American Bar Association Section of Dispute Resolution and is a sought-after keynote speaker, business and practice consultant, coach and trainer. You can find out more about Susan and her services here:  https://neon.page/susanguthrie Internationally renowned as one of the leading experts in online mediation, Susan created her Learn to Mediate Online® program and has trained more than 25,000 professionals in how to transition their practice online.  Susan recently partnered with legal and mediation legend, Forrest "Woody" Mosten to create the Mosten Guthrie Academy which provides gold-standard, fully online training for mediation and collaborative professionals at all stages of their careers.   Follow Susan Guthrie and THE DIVORCE AND BEYOND PODCAST on social media for updates and inside tips and information: Susan on LinkedIn: https://www.linkedin.com/in/susaneguthrie/ Susan on Instagram @susanguthrieesq ********************************************************************* We'd really appreciate it if you would give us a 5 Star Rating and tell us what you like about the show in a review - your feedback really matters to us!  You can get in touch with Susan at divorceandbeyondpod@gmail.com.  Don't forget to visit the webpage www.divorceandbeyondpod.com and sign up for the free NEWSLETTER to receive a special welcome video from Susan and more!! ********************************************************************* DISCLAIMER:  THE COMMENTARY AND OPINIONS AVAILABLE ON THIS PODCAST ARE FOR INFORMATIONAL AND ENTERTAINMENT PURPOSES ONLY AND NOT FOR THE PURPOSE OF PROVIDING LEGAL ADVICE.  YOU SHOULD CONTACT AN ATTORNEY IN YOUR STATE TO OBTAIN LEGAL ADVICE WITH RESPECT TO ANY PARTICULAR ISSUE OR PROBLEM.

Growing up, Rebecca Clarren only knew the major plot points of her tenacious immigrant family's origins. Her great-great-grandparents, the Sinykins, and their six children fled antisemitism in Russia and arrived in the United States at the turn of the 20th century, ultimately settling on a 160-acre homestead in South Dakota. Over the next few decades, despite tough years on a merciless prairie and multiple setbacks, the Sinykins became an American immigrant success story. What none of Clarren's ancestors ever mentioned was that their land, the foundation for much of their wealth, had been cruelly taken from the Lakota by the United States government. By the time the Sinykins moved to South Dakota, America had broken hundreds of treaties with hundreds of Indigenous nations across the continent, and the land that had once been reserved for the seven bands of the Lakota had been diminished, splintered, and handed for free, or practically free, to white settlers. In The Cost of Free Land, Clarren melds investigative reporting with personal family history to reveal the intertwined stories of her family and the Lakota, and the devastating cycle of loss of Indigenous land, culture, and resources that continues today. Clarren grapples with the personal and national consequences of this legacy of violence and dispossession. What does it mean to survive oppression only to perpetuate and benefit from the oppression of others? By shining a light on the people and families tangled up in this country's difficult history, The Cost of Free Land invites readers to consider their own culpability and what, now, can be done. Rebecca Clarren has been writing about the rural West for more than twenty years. Her journalism, for which she has won the Hillman Prize, an Alicia Patterson Foundation Fellowship, and 10 grants from the Fund for Investigative Journalism, has appeared in such publications as MotherJones, High Country News, The Nation, and Salon.com. Her debut novel, Kickdown (Sky Horse Press, 2018), was shortlisted for the PEN/Bellwether Prize. Rena Priest is an enrolled member of the Lhaq'temish (Lummi) Nation. She served as the 6th Washington State Poet Laureate (2021-2023) and was named the 2022 Maxine Cushing Gray Distinguished Writing Fellow. Priest is also the recipient of an American Book Award, an Allied Arts Foundation Professional Poets Award, and fellowships from the Academy of American Poets and Indigenous Nations Poets. She is the author of three books and editor of two anthologies. Her work appears in print and online at Poetry Magazine, Poets.org, Yellow Medicine Review, High Country News, and elsewhere. She holds an MFA from Sarah Lawrence College.  The Cost of Free Land: Jews, Lakota, and an American Inheritance Third Place Books

In this edition of Madison Book Beat, host Andrew Thomas speaks with Tacey M. Atsitty about her poetry collection (At) Wrist, (2023, The University of Wisconsin Press Press).In a fever dream of metaphor and image, Atsitty explores themes of loss, romantic love, and faith. Drawing on the familiar poetic form of the sonnet, Atsitty demonstrates how vulnerability, nakedness, and risk are an essential part of the connections we build with others across time. Delicate and visceral, (At) Wrist is a collection which "amplifies silence, so you can hear/ every crunch or offering of self."Tacey M. Atsitty is of the Diné tribe and her clans are as follows: she is Tsénahabiłnii (Sleep Rock People) and born for Ta'neeszahnii (Tangle People). Her maternal grandfather is Tábąąhí (Water Edge People) and her paternal grandfather is Hashk'áánhadzóhí (Yucca Fruit Strung-Out-In-A-Line People) from Cove, AZ.She is the winner of the Wisconsin Brittingham Prize for Poetry and is a recipient of the Louis Owens Award, Truman Capote Creative Writing Fellowship, the Corson-Browning Poetry Prize, Morning Star Creative Writing Award, and the Philip Freund Prize. She holds bachelor's degrees from Brigham Young University and the Institute of American Indian Arts, and an MFA in Creative Writing from Cornell University. Her work has appeared or is forthcoming in EPOCH, POETRY Magazine, Kenyon Review Online, Prairie Schooner, swamp pink, Literary Hub, New Poets of Native Nations, Leavings, and other publications. Her first book is Rain Scald (University of New Mexico Press, 2018). Her second book (At) Wrist is forthcoming (University of Wisconsin Press, 2023).She is the director of the Navajo Film Festival, a member of the Board of Directors for Lightscatter Press, a member of the Advisory Council for Brigham Young University's Charles Redd Center for Western Studies, and the founding member of the Advisory Board for the Intermountain All-Women Hoop Dance Competition.She is a PhD candidate in the Creative Writing Program at Florida State University, where she lives with her husband.Photo courtesy of University of Wisconsin Press

Sam Sax is a queer Jewish poet, writer, and educator. Their debut poetry collection, madness, won the National Poetry Series Competition when it came out, and their second collection, bury it, won the 2017 James Laughlin Award from the Academy of American Poets. They are the two time Bay Area Grand Slam Champion with poems published in The New York Times, The Atlantic, Poetry Magazine, and Granta, to give just a few highlights. Sam has received fellowships from The National Endowment for the Arts, The Poetry Foundation, Yaddo, Lambda Literary, and MacDowell, and they are currently serving as an ITALIC Lecturer at Stanford University. In this conversation, Clara talks to Sam about the purpose of filth in their poetry, their use of histories and etymologies as poetic techniques, and how to write a pandemic poem that doesn't feel dated. Special Guest: Sam Sax.

Quyen Nguyen-Hoang is a writer, translator and art curator born in Vietnam. Her poems and translations have appeared in Poetry Magazine, Jacket 2, the Margins, and various literary anthologies. She is a Stanford University graduate, a 2020 PEN/Heim Translation grant recipient and a winner of the Winter/Spring 2022 Gabo Prize for Literature in Translation. She is pursuing a PhD at Stanford University.Chronicles of a Village is set in an anonymous Vietnamese village based on the author's personal memories. Written in vibrant fragments that resemble prose poems, the novel combines the author's melodious style of oral storytelling with historical micro-narratives and mythological elements. The book takes the reader through ancient legends, love stories, marvellous nature, war tragedies and modern alienation, which constitute the beauty and ‘the fatal historical disabilities of a land.Quyen spoke about her rendition of 'Chronicles of a Village' Translated from a Vietnamese novel written by one of the prominent writers from Vietnam, Nguyen Thanh Hien, in this episode. You can give feedback on this episode using the link given in the show notes or through the Spotify app.* For your Valuable feedback on this Episode - Please click the below linkhttps://bit.ly/3NmJ31YHarshaneeyam on Spotify App –http://bit.ly/harshaneeyam Harshaneeyam on Apple App –http://apple.co/3qmhis5 *Contact us - harshaneeyam@gmail.com ***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrpChartable - https://chartable.com/privacy

Gabriel Dozal discusses his debut collection, The Border Simulator, where the U.S.-Mexico border is redefined as a place of invention; crossing it becomes a matter of simulation. The poems accompany Primitivo, who attempts to cross the border, an imaginary boundary that becomes more real and challenging as his journey progresses; and his sister, Primitiva, who lives an alternate, static life as an exploited migrant worker in la fabrica. He chats with Taylor about the experience of writing and living the borderlands, and shares the process of translating the work, completed by Natasha Tiniacos. Gabriel is a writer and educator from El Paso, Texas. He received his MFA in Creative Writing from The University of Arizona and he is a poetry editor for DIAGRAM. His work appears in Poetry Magazine, The Iowa Review, Guernica, The Brooklyn Rail, The Literary Review, The Volta, and elsewhere.

“It's like all of the pressures of everything happening build up inside you, and if you don't write it down or put it somewhere— I just couldn't even handle it. I had no other coping mechanisms left. I came to poetry when I was younger as a coping mechanism, and I think I still do sometimes.Some poets like to pretend that it's a totally intellectual practice and that there's no therapeutic benefit for them. But for me, it did start out as a therapeutic practice, and I think I still turn to it in that way. In some ways, the pandemic helped me access that primal relationship I have with poetry where I went back to the original reason I go to poems.It's because I needed a place where I could tell the truth. I needed a place where I could process the most impossible things.”~ Eugenia LeighIn this episode, Kaitlin speaks with Eugenia Leigh. Eugenia is a Korean-American poet and the author of two poetry collections, Bianca from Four-Way Books released this year in March, and Blood, Sparrows, and Sparrows from Four-Way Books in 2014.Eugenia's poetry received Poetry Magazine's Bess Hokin Prize and has appeared in numerous publications including The Atlantic, The Nation, Poetry, Ploughshares, and the Best of the Net anthology.Eugenia and Kaitlin talked about:Eugenia's latest book, Bianca, and the whirlwind of launching and promoting it while balancing her roles as a mother and a wife.How she carves out spaces to write and nourish herself alongside all the other roles she juggles.Eugenia's poetry writing processHow she came to find writing as a child…plus some beautiful excerpts read by Eugenia herself.More about Eugenia Leigh:Website: https://www.eugenialeigh.com/Instagram: https://www.instagram.com/eugenialeigh/Twitter: https://twitter.com/eugenialeighLinktr.ee: https://linktr.ee/eugenialeighPlease subscribe wherever you get your podcasts and give us a rating. This will help us reach more listeners like you who are navigating the joys and pitfalls of artistic and parenting identities.For regular updates:Visit our website: postpartumproduction.comFollow us on Instagram: @postpartumproductionpodcastSubscribe to our podcast newsletter on Substack: https://postpartumproduction.substack.com

Rachel Mennies embraces the public/private duality of writing letters in her latest collection of poems. Told through a time-honored epistolary narrative, The Naomi Letters (BOA Editions, 2021) chronicles the relationship between a woman speaker and Naomi, the woman she loves. Set mostly over the span of a single year encompassing the 2016 presidential election and its aftermath, their love story unfolds via correspondence, capturing the letters the speaker sends to Naomi—and occasionally Naomi's responses, as filtered through the speaker's retelling. These letter-poems form a braid, first from the use of found texts, next from the speaker's personal observations about her bisexuality, Judaism, and mental illness, and lastly from her testimonies of past experiences. As the speaker discovers she has fallen in love with Naomi, her letters reveal the struggles, joys, and erasures she endures as she becomes reacquainted with her own body following a long period of anxiety and suicidal ideation, working to recover both physically and emotionally as she grows to understand this long-distance love and its stakes—a love held by a woman for a woman, forever at a short, but precarious distance. Rachel Mennies is the author of the poetry collections The Naomi Letters (BOA Editions, 2021) and The Glad Hand of God Points Backwards, winner of the Walt McDonald First-Book Prize in Poetry at Texas Tech University Press and finalist for a 2015 National Jewish Book Award. Her poetry has appeared, or will soon, at Poetry Magazine, Kenyon Review, American Poetry Review, the Believer, and elsewhere. She is the series editor, since 2016, of the Walt McDonald First-Book Prize in Poetry and serves as assistant poetry editor and reviews editor for AGNI. With Ruth Awad, she edited the anthology The Familiar Wild: On Dogs and Poetry for Sundress Publications. Anna Zumbahlen lives in Albuquerque and works in book marketing and publicity at the University of Chicago Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Rachel Mennies embraces the public/private duality of writing letters in her latest collection of poems. Told through a time-honored epistolary narrative, The Naomi Letters (BOA Editions, 2021) chronicles the relationship between a woman speaker and Naomi, the woman she loves. Set mostly over the span of a single year encompassing the 2016 presidential election and its aftermath, their love story unfolds via correspondence, capturing the letters the speaker sends to Naomi—and occasionally Naomi's responses, as filtered through the speaker's retelling. These letter-poems form a braid, first from the use of found texts, next from the speaker's personal observations about her bisexuality, Judaism, and mental illness, and lastly from her testimonies of past experiences. As the speaker discovers she has fallen in love with Naomi, her letters reveal the struggles, joys, and erasures she endures as she becomes reacquainted with her own body following a long period of anxiety and suicidal ideation, working to recover both physically and emotionally as she grows to understand this long-distance love and its stakes—a love held by a woman for a woman, forever at a short, but precarious distance. Rachel Mennies is the author of the poetry collections The Naomi Letters (BOA Editions, 2021) and The Glad Hand of God Points Backwards, winner of the Walt McDonald First-Book Prize in Poetry at Texas Tech University Press and finalist for a 2015 National Jewish Book Award. Her poetry has appeared, or will soon, at Poetry Magazine, Kenyon Review, American Poetry Review, the Believer, and elsewhere. She is the series editor, since 2016, of the Walt McDonald First-Book Prize in Poetry and serves as assistant poetry editor and reviews editor for AGNI. With Ruth Awad, she edited the anthology The Familiar Wild: On Dogs and Poetry for Sundress Publications. Anna Zumbahlen lives in Albuquerque and works in book marketing and publicity at the University of Chicago Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

Old stories — of mythology or religion — have sometimes been depicted as having one narrative and one interpretation. Here, J. Estanislao Lopez takes on the voice of a character whose story ended in violence, inviting listeners to claim their agency as this character claims hers.J. Estanislao Lopez is the author of We Borrowed Gentleness (Alice James Books, 2022). His poetry has appeared in The New Yorker, Ploughshares, The Rumpus, and Poetry Magazine, as well as the anthology The BreakBeat Poets Vol. 4: LatiNext. Lopez received his MFA from the Warren Wilson Program for Writers.Find the transcript for this show at onbeing.org.We're pleased to offer J. Estanislao Lopez's poem, and invite you to connect with Poetry Unbound throughout this season.

A memory from childhood is viewed through the lens of the Malaysian poetic form of pantoum. New things emerge when lines break and reform with new associations.Kay Ulanday Barrett is a poet, essayist, cultural strategist, and A+ napper. They are the winner of the 2022 Foundation for Contemporary Arts Cy Twombly Award for Poetry, a 2022 recipient of a Tin House Next Book residency, and a recipient of a 2020 James Baldwin Fellowship Award at MacDowell. Their second book, More Than Organs (Sibling Rivalry Press, 2020), received a 2021 Stonewall Honor Book Award and is a 2021 Lambda Literary Award Finalist. Their contributions are found in The New York Times, Academy of American Poets, Poetry Magazine, Literary Hub, them, The Advocate, Al Jazeera, NYLON, Vogue, The Rumpus, The Lily, The Maine Review, The Massachusetts Review, and elsewhere. For more information, visit kaybarrett.net or find them on social media at @brownroundboi.Find the transcript for this show at onbeing.org.We're pleased to offer Kay Ulanday Barrett's poem, and invite you to connect with Poetry Unbound throughout this season.

As book bans become fashionable and favorable vs just outright discrimination, one of our own Librotraficantes has been deemed too controversial for K-12. Lupe Mendez, 2022 Texas Poet laureate and award winning author, has had his book "Why I Am Like Tequila?" banned at a Texas Panhandle school along with other BIPOC and LGBTQi+ books. Tony Diaz speaks with our hermano about why this happened, what this means, and what the next move is in the Librotraficante movement. Originally from Galveston, TX, Lupe Mendez (Writer // Educator // Activist) is the author WHY I AM LIKE TEQUILA (Willow Books, 2019), winner of the 2019 John A. Robertson Award for Best First Book of Poetry from the Texas Institute of Letters. He is the founder of Tintero Projects which works with emerging Latinx writers and other writers of color within the Texas Gulf Coast Region, with Houston as its hub. Lupe earned his Masters of Fine Arts from the University of Texas @ El Paso. Mendez's work can been seen in print and online formats including the Kenyon Review, Gulf Coast Journal, the Texas Review, the L.A. Review of Books, Split This Rock, Poetry Magazine and Poem-A-Day from the Academy of American Poets. Mendez is the 2022 Texas Poet Laureate. Follow Lupe on Twitter, at @thepoetmendez and on Instagram, at @ellupis. Tony Diaz Writer and activist Tony Diaz, El Librotraficante, is a Cultural Accelerator. He was the first Chicano to earn a Master of Fine Arts degree from the University of Houston Creative Writing Program. In 1998, he founded Nuestra Palabra: Latino Writers Having Their Say (NP), Houston's first reading series for Latino authors. The group galvanized Houston's Community Cultural Capital to become a movement for civil rights, education, and representation. When Arizona officials banned Mexican American Studies, Diaz and four veteran members of NP organized the 2012 Librotraficante Caravan to smuggle books from the banned curriculum back into Arizona. He is the author of The Aztec Love God. His book, The Tip of the Pyramid: Cultivating Community Cultural Capital, is the first in his series on Community Organizing. * This is part of a Nuestra Palabra Multiplatform broadcast. * Video airs on www.Fox26Houston.com. * Audio airs on 90.1 FM Houston, KPFT, Houston's Community Station, where our show began. * Live events. Thanks to Roxana Guzman, Multiplatform Producer Rodrigo Bravo, Jr., Audio Producer Radame Ortiez, SEO Director Marc-Antony Piñón, Graphics Designer Leti Lopez, Music Director Bryan Parras, co-host and producer emeritus Liana Lopez, co-host and producer emeritus Lupe Mendez, Texas Poet Laureate, co-host, and producer emeritus Writer and activist Tony Diaz, El Librotraficante, hosts Latino Politics and News and the Nuestra Palabra Radio Show on 90.1 FM, KPFT, Houston's Community Station. He is also a political analyst on “What's Your Point?” on Fox 26 Houston. He is the author of the forthcoming book: The Tip of the Pyramid: Cultivating Community Cultural Capital. www.Librotraficante.com www.NuestraPalabra.org www.TonyDiaz.net Nuestra Palabra is funded in part by the BIPOC Arts Network Fund. Instrumental Music produced / courtesy of Bayden Records Website | baydenrecords.beatstars.com

Adrian Matejka, editor of Poetry Magazine and author, joins Rick Kogan to talk about Poetry Magazine and his book “Last On His Feet: Jack Johnson and the Battle of the Century.”

I'm continually amazed by the immensity of the world that a small poem can conjure. In just a few lines or words, or even just a line break, a poem can travel across time and space. It can jump from the minuscule to the incomprehensible vastness of the universe. And in these inventive leaps, it can create, in our minds, new ideas and images. It can help us see connections that were, before, invisible.John Shoptaw has conjured such magic with his poem, “Near-Earth Object,” combining the gravity of mass extinction on Earth with the quotidian evanescence of his sprint to catch the bus.John Shoptaw grew up in the Missouri Bootheel. He picked cotton; he was baptized in a drainage ditch; and he worked in a lumber mill. He now lives a long way from home in Berkeley, California, where I was lucky enough to visit him last summer. John is the author of the poetry collection, Times Beach, which won the Notre Dame Review Book Prize and the Northern California Book Award in poetry. He is also the author of On The Outside Looking Out, a critical study of John Ashbery's poetry. He teaches at the University of California, Berkeley.John has a new poetry collection coming out soon, also called Near-Earth Object.This episode of Chrysalis is part of the Chrysalis Poets series, which focuses on a single poems from poets who confront ecological issues in their work.You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!John ShoptawJohn Shoptaw is a poet, poetry reader, teacher, and environmentalist. He was raised on the Missouri River bluffs of Omaha, Nebraska and in the Mississippi floodplain of “swampeast” Missouri. He began his education at Southeast Missouri State University and graduated from the University of Missouri at Columbia with BAs in Physics and later in Comparative Literature and English, earned a PhD in English at Harvard University, and taught for some years at Princeton and Yale.  He now lives, bikes, gardens, and writes in the Bay Area and teaches poetry and environmental poetry & poetics at UC Berkeley, where he is a member of the Environmental Arts & Humanities Initiative. Shoptaw's first poetry collection, Times Beach (Notre Dame Press, 2015), won the Notre Dame Review Book Prize and subsequently also the 2016 Northern California Book Award in Poetry; his new collection, Near-Earth Object, is forthcoming in March 2024 at Unbound Edition Press, with a foreword by Jenny Odell.Both collections embody what Shoptaw calls “a poetics of impurity,” tampering with inherited forms (haiku, masque, sestina, poulter's measure, the sonnet) while always bringing in the world beyond the poem. But where Times Beach was oriented toward the past (the 1811 New Madrid earthquake, the 1927 Mississippi River flood, the 1983 destruction of Times Beach), in Near-Earth Object Shoptaw focuses on contemporary experience: on what it means to live and write among other creatures in a world deranged by human-caused climate change. These questions are also at the center of his essays “Why Ecopoetry?” (published in 2016 at Poetry Magazine, where a number of his poems, including “Near-Earth Object,” have also appeared) and “The Poetry of Our Climate” (forthcoming at American Poetry Review).Shoptaw is also the author of a critical study, On the Outside Looking Out: John Ashbery's Poetry (Harvard University Press); a libretto on the Lincoln assassination for Eric Sawyer's opera Our American Cousin (recorded by the Boston Modern Orchestra Project); and several essays on poetry and poetics, including “Lyric Cryptography,” “Listening to Dickinson” and an essay, “A Globally Warmed Metamorphoses,” on his Ovidian sequence “Whoa!” (both forthcoming in Ovid's Metamorphoses and the Environmental Imagination at Bloomsbury Press in July 2023).“Near-Earth Object”Unlike the monarch, though the asteroid also slipped quietly from its colony on its annular migration between Jupiter and Mars, enticed maybe by our planetary pollen as the monarch by my neighbor's slender-leaved milkweed. Unlike it even when the fragrant Cretaceous atmosphere meteorized the airborne rock, flaring it into what might have looked to the horrid triceratops like a monarch ovipositing (had the butterfly begun before the period broke off). Not much like the monarch I met when I rushed out the door for the 79, though the sulfurous dust from the meteoric impact off the Yucatán took flight for all corners of the heavens much the way the next generation of monarchs took wing from the milkweed for their annual migration to the west of the Yucatán, and their unburdened mother took her final flit up my flagstone walkway, froze and, hurtling downward, impacted my stunned peninsular left foot. Less like the monarch for all this, the globe-clogging asteroid, than like me, one of my kind, bolting for the bus.Recommended Readings & MediaJohn Shoptaw reading from his collection Times Beach at the University of California, Berkeley.TranscriptionIntroJohn FiegeI'm continually amazed by the immensity of the world that a small poem can conjure. In just a few lines or words, or even just a line break, a poem can travel across time and space. It can jump from the minuscule to the incomprehensible vastness of the universe. And in these inventive leaps, it can create, in our minds, new ideas and images. It can help us see connections that were, before, invisible.John Shoptaw has conjured such magic with his poem, “Near-Earth Object,” combining the gravity of mass extinction on Earth with the quotidian evanescence of his sprint to catch the bus.I'm John Fiege, and this episode of Chrysalis is part of the Chrysalis Poets series.John Shoptaw grew up in the Missouri Bootheel. He picked cotton; he was baptized in a drainage ditch; and he worked in a lumber mill. He now lives a long way from home in Berkeley, California, where I was lucky enough to visit him last summer. You can see some of my photos from that visit at ChrysalisPodcast.org, alongside the poem we discuss on this episode.John is the author of the poetry collection, Times Beach, which won the Notre Dame Review Book Prize and the Northern California Book Award in poetry. He is also the author of On The Outside Looking Out, a critical study of John Ashbery's poetry. He teaches at the University of California, Berkeley.John has a new poetry collection coming out soon, also called Near-Earth Object.Here is John Shoptaw reading his poem, “Near-Earth Object.”---PoemJohn Shoptaw “Near-Earth Object”Unlike the monarch, thoughthe asteroid also slippedquietly from its colonyon its annular migrationbetween Jupiter and Mars,enticed maybe byour planetary pollenas the monarch by my neighbor'sslender-leaved milkweed.Unlike it even whenthe fragrant Cretaceousatmosphere meteorizedthe airborne rock,flaring it into what mighthave looked to the horridtriceratops like a monarchovipositing (had the butterflybegun before the periodbroke off). Not much likethe monarch I met when Irushed out the door for the 79,though the sulfurous dustfrom the meteoric impactoff the Yucatán took flightfor all corners of the heavensmuch the way the nextgeneration of monarchstook wing from the milkweedfor their annual migrationto the west of the Yucatán,and their unburdened mothertook her final flitup my flagstone walkway,froze and, hurtlingdownward, impactedmy stunned peninsularleft foot. Less likethe monarch for all this,the globe-clogging asteroid,than like me, one of my kind,bolting for the bus.---ConversationJohn Fiege Thank you so much. Well, let's start by talking about this fragrant Cretaceous atmosphere that metorizes the airborne rock, which is is really the most beautiful way I've ever heard of describing the moment when a massive asteroid became a meteor, and impacted the earth 66 million years ago, on the Yucatan Peninsula. And that led to the extinction of about 75% of all species on Earth, including all the dinosaurs. This, of course, is known as the fifth mass extinction event on earth now, now we're in the sixth mass extinction. But but this time, the difference is that the asteroid is us. And, and we're causing species extinctions at even a much faster rate than the asteroid impact did, including the devastation of the monarch butterfly, which migrates between the US and Mexico not far from the Yucatan where the asteroid hit. And in your poem, these analogies metaphors parallels, they all bounce off one another. parallels between extinction events between humans and asteroids between planets and pollen, between monarch eggs and meteors between the one I absolutely love is the annular migration of asteroids in the annual migration of monarchs. But in some ways, the poem puts forward an anti analogy a refutation of these parallels you know, you say multiple times things like unlike the, monarch unlike it, not much like the monarch less like the monarch. So So what's going what's going on here? You're you're giving us these analogies and then and then you're taking them away.John Shoptaw The ending of Near Earth Object is a culmination of fanciful comparisons. In this regard it resembles Shakespeare's Sonnet 130. And you probably know this, John, And that poem proceeds—Shakespeare's—through a series of negative similarities, which I call dis-similes. And at the end, the poem turns on a dime in the final couplet, which is, “and yet, by heaven, I think my love as rare as any she belied with false compare.” Now, I didn't have Shakespeare's poem in mind—probably good—when I wrote Near Earth Object, but I was certainly familiar with it. And my poem goes through a series of far-fetched similarities between a monarch butterfly and the Chicxulub asteroid, we follow the lifecycles of these two and then a third character, the first person I enters the poem comes out the door, and then gets, you know, hit by the asteroid monarch on penisular left foot. That turn at the end, to comparing the asteroid to me, one of my kind, would seem equally farfetched. What can I have to do with the globe-clogging asteroid? Before climate change, the answer would have been nothing. This poem couldn't have been understood, wouldn't have made sense. Now, we're caught out by the unlikely similarity that, you know, humankind has the geologically destructive potential of the life-altering asteroid.John Fiege I love that the idea of that turn partially because it's so much pulls out the power of poetry, and the power of poetic thinking, where, you know, so much environmental discourse is around rationality, of making rational, reasonable arguments about this is how things are, this is how things ought to be. But when you have this kind of turn, you're you're kind of highlighting the complexity, and the complicated nature of understanding these things, which are really complex. And it really, you know, in such a short poem, you can encapsulate so much of that complexity, which I think benefits our ultimate understanding of, of what we're grappling with, with these environmental questions.John Shoptaw Yeah, that's very well put. I think that this poem is a kind of psychological poem as well, and that I'm playing on the readers expectations. And I think the reader probably has less and less faith in this persona, who keeps keeps being lured into these weird comparisons between the asteroid and and the and the monarch butterfly. And then at the end, we're thinking, well, this, too, is absurd. And then we're caught up, like I say, and that's the psychological turn, you know, early on, when people and people still many people doubt. The existence of climate change. It's just  because of a matter of scale. How can we affect Mother Nature, right? It's so big, it's so overwhelming. It does what it wants. We're just little features on this big, big planet. So that it's so counterintuitive. So that's why yes, we grapple and this poem is meant to take you through that kind of experience. That without saying that explicitly, and I think that's something that, yeah, it sets this apart from both the psychological essay and an environmental essay,John Fiege Right the other line I want to pull out of this is slender leaved milkweed. Which I love. and there is a musicality to it. How do you about that? sonorous aspect of the poem and the musicality and the rhythm of it.John Shoptaw Yeah, Thank you for that question. Its one of the ways I beleive that poetry is like music. We do have a musicality and one of the wonderful things about poetry and music is that it it works below the level of meaning. A way a song often does. You know you often will before you even know all the words will get the song. And understand what the song is comunicating and sometimes I am communicating delicacy in slender leaved milkweed. Not only by the image, but by the sound. Its a quiet line. Whereas when I say airborne rock, that's very tight. And very definitive, like globe clogging asteroid or bolting for the bus. These are dynamics that I can play with, and I can accentuate them by changing the rhythms making to very hard plosive as an explosion, you know, b sounds far from each other. And this is something that poetry can do, that prose can't. So well. And that, you know, it's one reason why you have soundtracks and film to help bring things across.John Fiege Yeah, and then in the midst of, of some of these grand images that you have in the poem of like monarch colonies and asteroid colonies, there's also your presence, and the glimpse of them of what seems like a moment in your life, potentially, you run out the door and catch the 79 bus, which goes through Berkeley where you live. And and you encounter a monarch butterfly, which also has a California migration route. The monarch impacts your, as you say, stunned, peninsular left foot. And so now you're shifting the metaphor from human as asteroid to human as Yucatan peninsula, which is the site the site of the impact. And the way you you play with scale. In this poem, I find quite remarkable moving from the asteroid belt between Jupiter and Mars to your foot. And in your peninsular foot makes me feel as if humans are both the perpetrators of the sixth mass extinction, but also one of its victims. And so I was curious, was this moment with the butterfly is something that actually happened? And how do you understand it? In relation to that, you know, this small moment with the butterfly? How do you understand that in relation with the broader context of the poem?John Shoptaw Yeah, thank you. I, I think, one way I proceed. And in poetry, which is something like chance operations that John Cage and poets following John Cage would use as I become very receptive to things happening around me. And if something happens around me while I'm writing a poem, then it gets to come in the poem, at least I am receptive to that possibility. And as I was going for the bus one day, on the walkway, I came across a dead monarch butterfly was very startled to see it. And I thought, Oh, my God, that pet needs to be in the poem, this butterfly has fallen out of the sky like the asteroid. And so and it turned out that the third thing I needed to link our personal, small felt scale with the astronomical and the geological timescale. And it's exactly the problem of scale, both in space and time. I'm constantly zooming in and zooming out. I actually wrote one poem in which I compare this surreal or unreal feeling that we have, if not a knowledge but a feeling of climate change behind the weather as a hit the Hitchcock zoom, where the background suddenly comes into the foreground, right?John Fiege Yeah, and it seems like, you know, the problem of climate change is a problem of scale like, like it's so it's so foreign to our kind of everyday human senses of, of what is danger, and what is something we should be concerned about or care about it. And that problem of scale both, both spatially and temporally. It really prevents us from wrapping our heads around what it means and how to respond.John Shoptaw It does. That's our challenge. I take it as my challenge, for the kind of poetry I write. And I think of of poetry as a science of feelings. And one of the feelings I'm thinking about and trying to understand and work through is denial. You know, people usually think of denial as refusal, you refuse to admit, but look at the facts just face the facts. But as you say, climate is on such a different scale. It's often a problem of incomprehension.John Fiege Yeah, and I think this idea of denialism I mean, we tend to talk about it in very narrow terms of, you know, people of particular political persuasions deny the existence of climate change. And that's one like, very narrow view of denialism. But it really pervades everything in our culture, you know, anyone who eats a hamburger, or flies on a plane, or, or even turns on their, their heat in their house, you know, is is in is kind of implicated in some system of denial. That, you know, ultimately, our societies completely unsustainable. And we have to function we have to move forward, even though even if we know how problematic those various things are. And so just living in the world requires, you know, some sense of denialism.John Shoptaw It does, if you think of the word we commonly used today, adaptation, though, it's really another word for denial. If you see what I mean, we're, we're moving into accepting, partially accepting the reality as it is, so we can live into it. And again, if we think of relativity, flying less, not giving up flying, emitting less, not stopping all the way emissions on a dime, right, but moving as fast as we possibly can, these are things we can do and without being incapacitated by despair. And again, I think, you know, hope and despair are two other very fundamental concepts that poets if they're serious about feeling, can think about and think through and help people we understand.John Fiege Yeah, and I love this idea of impurity that you bring in. Not just with poetry, but, you know, I feel like environmentalism in general is, it's really susceptible to this kind of ideology of purity. And it becomes about, you know, checking all the boxes of, of, you know, lifestyle and beliefs and votes and all kinds of things where solutions, solutions don't come with some kind of attainment of purity. They come with it a shift of a huge section of the way the culture works. And that's never going to be perfect or consistent or anything. It's going to be imperfect, and it's going to be partial, but it can still move.John Shoptaw That's right. So when people say net zero, carbon offsets, recycling, this is all greenwashing. I say, listen to the word all. Yes, there is some greenwashing going on there. There is some self promotion and maintenance of one's corporate profile at work. But there's also good being done. You can recycle aluminum, and you get 90% aluminum back. You can recycle plastic, you get 50% back, but you still get 50% back.John Fiege Well, in the poem, you also give life to what we ordinarily see as inanimate objects. So let me let me reread a section of the poem enticed maybe by our planetary pollen as the monarch by my neighbor's slender leaves milkweed unlike it, even when the fragrant Cretaceous atmosphere media rised the airborne rock, flaring it into what might have looked to the horrid Triceratops like a monarch ovipositing. So in your words, the lifeless, inanimate asteroid is given life and a soul really? Why take it in that direction?John Shoptaw To make it real, to make it real for us. And you will see poets, giving a voice to storms to extreme weather events, seeing things from potentially destructive point of view. And that's what I was doing here is seeing things fancifully from the the meteor's point of view, but I wanted to give that personification to make the link that this is personal. What's happening at this scale, is still personal, it still has to do with us and links with us.John Fiege Yeah, and you wrote this great piece for Poetry Magazine called “Why Eco Poetry” and you bring up these these topics a bunch. And there's one line. I really love, you say, to empathize beyond humankind, eco-poets  must be ready to commit the pathetic fallacy and to be charged with anthropomorphism could could you explain this, this concept of John Ruskin's pathetic fallacy and how you've seen these issues play out?John Shoptaw I think Ruskin had certainly the good sense of what the natural world was. And many artists and poets laziness, when it came to the describing the natural world. storms were always raging, winds were always howling, the words were always that's really what he was getting at. And I appreciate that. You want to make these things real, right. But there is there is a place for pathetic fallacy. But on the other hand, strategically, we often need for that monologue of the lyric poem, to be overtaken by this larger voice, almost like a parental voice from on high, speaking to us and saying, Listen to me, this is real. This is happening. I'm out here. Right? So you've forced me to take over your poem and talk to you about anthropomorphism is, is related phenomenon. And it's it's a word that I, I still find useful and making us really consider and experience the outside world, the world, particularly of other creatures, as they actually are. However, it's a belief it's not a scientific idea. And the idea being that we are ascribing qualities or human qualities to animals or plants, or even inanimate objects, like like meteors. When in fact, when it comes to animals, for instance, we're often identifying qualities behaviors, actions, motivations, we share anyone who owns pets knows pet they have a range of feelings that to say, my dog is happy. My dog is bored. My dog is feeling bad because it feels it's disappointed me in some way, you know, these things are real. And you need to act accordingly to keep things going along. In the canine / human cup, you know, partnership that you have going there.John Fiege Yeah, Descartes must not have had any dogs or cats or ever encountered another animal besides a human in his life.John Shoptaw That's right. It's partly, you know, one feels, how can we know that other world? We shouldn't be so arrogant in our knowledge. And so it seems like we're being modest, and it's a good thing. And we have this anthropological attitude toward the relativity of, you know, consciousness. On the other hand, it's a form of denial, right? anthropomorphism is a form of denial of what we share and poets need to overcome that denial.John Fiege You mean, you mean anti-human anti-anthropomorphism?John Shoptaw Yeah, it's what I know. We don't have the language for it. We don't have that word of the problem.John Fiege Anti-anthropomorphism, it just slips right off your tongue.John Shoptaw That's right.John Fiege Well this point you make about anthropomorphism reminds me really strongly of a story. I've heard Jane Goodall tell many times, she was hired to observe chimpanzees in the wild, and she gave them names. But she was reprimanded by by many in the scientific community, who said, a researcher should use numbers to identify chimps or any other animals they're studying, because scientists must be dispassionate to not confuse animal behavior with human behavior. And she identifies one of her most significant contributions to science as recognizing the individuality and personality and really the souls of non human animals. And that recognition fundamentally changed. Our scientific understanding of chimps and other animals in allow these massive breakthroughs in the field. And you seem to be arguing that with poetry, we're in a similar place in relation to the Earth where we need to find a new language that allows us to empathize more profoundly with the other than human residence of the planet. Does that sound? Does that sound right to you?John Shoptaw Very much, and really, with thinking and realizing that I'm an animal, as a human being. brought on a conceptual paradigm shift for me, unlike anything I've experienced, in my adult life, everything changed. And when I think, what are the animals think about this? How are they dealing with climate change? Etc. It's always revelatory for me to ask that kind of question. I'm looking at a book by Jane Goodall right now on my shelf called the Book of Hope. And something I've been thinking about a lot in relation to this, because animals have not given up and they don't give up until they they have to. An animal with say, a song bird in the clutch of a hawk knows it's over, and you shut down in order to minimize the pain and suffering. They know that, but they know not to do that prematurely. And I think, you know, often we met we think of hope and despair, as antonyms, but they're very intertwined with each other. I mean, the word despair, contains hope. It means that the loss of hope and there as there is a sense of false hope, where you, you keep hoping beyond the point of hope, where reality tells you there's no point in hoping there's also what I would call a premature despair. I don't know if you have run across the Stockdale paradox. I find it helpful. There's a writer on Jim Collins, who talked to Admiral Stockdale who was taken prisoner of war in Vietnam. And he, he survived through seven years and several incidents of torture. And he said, he was asked by Jim Collins, well, who didn't survive? And he said, well, the optimists who said the optimists were saying, Oh, we're going to because we're gonna be led out by Christmas. In the winter that didn't happen and say, Oh, well, we'll be released by Easter. When that doesn't happen and Christmas comes around again. They die. They die of a broken heart.John Fiege Oh, wow. I have heard that in broad terms. I don't remember that story, though. That's great.John Shoptaw Yeah, and the paradox is that you have hope, which is resolute. It's not pie in the sky hope, but it's hope that faces reality. And it's hoped that is more like courage. It's more like resoluteness hope. Hope is not easy. And it does not deny despair, and even allows you to relax for a moment and maybe weep. Maybe you say, Oh, my God, it's over. Before you come back and say, No, I'm still here. I can still help I can do what I can.John Fiege Right, right. Yeah, and I love how you say that. Eco poetry can be anthropomorphic, but it cannot be anthropocentric, which which flips both of these assumptions that are so deeply embedded in our culture.John Shoptaw Now, maybe I could say something about anthropocentrism.John Fiege Yeah, for sure.John Shoptaw It's a word that, I think is maybe in the dictionary now, but maybe not so familiar word, but you know, thinking of everything in the world, a revolving around us and and the universe. We're the universe's reason for being right. That would be the kind of the strongest sense of anthropocentrismJohn Fiege Another another form of heliocentrism.John Shoptaw Yes, that's right. That's absolutely right. That's why I one reason why I, at the beginning of Near Earth Objects, see things for the asteroids point of view, right? To give that kind of scale, but also shifting perspective. On the other hand, lyric poetry is inevitably anthropocentric. We as humans are inevitably anthropocentric. So our moving out of anthropocentrism in poetry is always going to be relative and strategic, and rhetorical and persuasive, never absolute.John Fiege Right and totally. Well, another interesting issue you confront in the article is didacticism and the risks of moralism in eco-poetry. And in talking about this, you evoke two poets. The first is Archibald MacLeish, the renowned modernist poet who wrote "a poem should not mean but be." But then you write, poetics wasn't always this way, for Horace, a poem both pleases and instructs. And I feel like this issue of moralism, and didacticism goes way beyond poetry to encompass environmentalism more broadly. How can a poem please instruct without preaching and being didactic?John Shoptaw Yes, that's, that's a question. Where there's no single answer every poem, for me poses the question differently. And part of the excitement part of the experimental nature of poems is you find a new answer every time to that problem, how not to be preachy, but to leave readers in a different place at the end of the poem, than they were at the beginning. my poem to move people from unlike to less like., if I if I can get them there, in a poem, I have moved him in a way and that's enough for me.John Fiege Well, let's look at the end of the poem. You write less like the monarch for all this, the globe clogging asteroid than like me, one of my kind bolting for the bus? It seems in some ways that you might be settling on an analogy in the midst of of all these intersecting parallels, the asteroid is less like the monarch and more like us, us who have killed the monarchs. Where Where do you feel like the poem lands in terms of making a statement like this and and offering up many conflicting ideas that readers have to contemplate themselves?John Shoptaw What would I say? I think when it comes to guilt or responsibility, as I was saying before, we don't want to think in absolute terms, where I'm as guilty as Exxon, I am not. But I still am right. I am still part of this, this world. That monarch butterfly died naturally after it planted its eggs. Its its, its days, her days were numbered. So, that that is part of this. But yet, I do. I do want to say and this is part of, I think, part of the one of the gestures of poetry in the Anthropocene, the era of climate change, a gesture of saying, I take responsibility, I take responsibility. And this is, this is one of the problems of saying, I give up, you know, there's no point in doing any more. We don't have that option. It's irresponsible to give up to ever give up. So I still, though want to say, even something who that has global potential for damage is connected with me good little me, had taking taking the bus because I'm wondering, I'm one of humankind, and we have this destructive potential. And on the other hand, we have this corresponding responsibility.John Fiege Yeah. And looking back on the title of the poem, it feels as if we, as humans, have what you might call like, a dual contradictory existence? As, as both we're both Earth objects. And we're near Earth objects. Oh, what do you what do you think about that?John Shoptaw Yes, I do. I like that ambiguity. I think, one of the, one of the chances, and the happy accidents of the monarch appearing in my poem, as I was writing it, without planning to have a monarch in it, one of the accidents was to take the monarch also, as a Near Earth Object Near Earth Object is one of these scientific concepts of usually a very large object, like a, like a comet, or an asteroid entering the Earth's gravitational pull. With potentially hazardous effects. But, you know, it can be anything near the earth. And if you take object, also in the title as a goal, my object is to bring us near the earth. not have us simply abstract ourselves, how do we do that - we abstract ourselves by saying, we're special.John Fiege I really like that too, because that also ties into this question of scale. You know, you can be near the earth by being, you know, 1000 miles away. Or you can be near the earth by hovering, you know, centimeters over it. And it can be conceptual to, you can be oblivious to the fact that you live on Earth, or you can be extremely aware that you are of in within and near the earth at all times. Yeah, I really like that. That's beautiful. I love how so many meanings come from this tiny little poem?John Shoptaw Well, may I say I was not in a godlike position with this poem. For me. poems are like gardens and that they're less intended and tended, and they they grow of their own and I just tried to be the best collaborator with the poem that I can and not to ignore when it's trying to tell me something like, I need a monarch in here. Not to ignore that.John Fiege Yeah. Well, can you end by reading the poem once again. I can thank you very much.John Shoptaw Poem“Near-Earth Object”Unlike the monarch, thoughthe asteroid also slippedquietly from its colonyon its annular migrationbetween Jupiter and Mars,enticed maybe byour planetary pollenas the monarch by my neighbor'sslender-leaved milkweed.Unlike it even whenthe fragrant Cretaceousatmosphere meteorizedthe airborne rock,flaring it into what mighthave looked to the horridtriceratops like a monarchovipositing (had the butterflybegun before the periodbroke off). Not much likethe monarch I met when Irushed out the door for the 79,though the sulfurous dustfrom the meteoric impactoff the Yucatán took flightfor all corners of the heavensmuch the way the nextgeneration of monarchstook wing from the milkweedfor their annual migrationto the west of the Yucatán,and their unburdened mothertook her final flitup my flagstone walkway,froze and, hurtlingdownward, impactedmy stunned peninsularleft foot. Less likethe monarch for all this,the globe-clogging asteroid,than like me, one of my kind,bolting for the bus.ConversationJohn Fiege John, thank you so much for joining me today. This has been fabulous.John Shoptaw Thank you, John, for the opportunity. And I love conversing with you.---OutroJohn Fiege Thank you so much to John Shoptaw. Go to our website at ChrysalisPodcast.org, where you can read his poem “Near-Earth Object” and also see some of my photographs of him at his house in Berkeley and find our book and media recommendations.This episode was researched by Elena Cebulash and Brodie Mutschler and edited by Brodie Mutschler and Sofia Chang. Music is by Daniel Rodriguez Vivas. Mixing is by Sarah Westrich.If you enjoyed my conversation with John, please rate and review us on your favorite podcast platform. Contact me anytime at ChrysalisPodcast.org, where you can also support the project, subscribe to our newsletter, and join the conversation. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.chrysalispodcast.org

Today we highlight various authors, poets and educators what have been spotlighted from Huizache Magazine! Maceo Montoya is an author, visual artist, and educator who has published books in a variety of genres, including four works of fiction: The Scoundrel and the Optimist, The Deportation of Wopper Barraza, You Must Fight Them: A Novella and Stories, and Preparatory Notes for Future Masterpieces. Montoya has also published two works of nonfiction: Letters to the Poet from His Brother, a hybrid book combining images, prose poems, and essays, and Chicano Movement for Beginners, which he both wrote and illustrated. Montoya is a professor of Chicana/o Studies and English at the University of California, Davis where he teaches courses on Chicanx culture, literature, and creative writing. He is editor of the literary magazine Huizache and lives in Woodland, CA. Dagoberto Gilb was born in the city of Los Angeles, his mother a Mexican who crossed the border illegally, and his father a Spanish-speaking Anglo raised in East Los Angeles. Gilb's first publication was a small press chapbook out of El Paso, Winners on the Pass Line (1985), which came after he won his first literary prize, the James D. Phelan Award from the San Francisco Foundation. The book's first notice was heard on National Public Radio's "All Things Considered" in a review by Alan Cheuse. Gilb went on to earn more recognition, including a National Endowment for the Arts Fellowship and the Texas Institute of Letters' Dobie Paisano Fellowship. He lives in Austin, Texas. He has been a visiting writer at the University of Texas at Austin, University of Wyoming, University of Arizona, Vassar, and Cal State Fresno. He is now a tenured professor in the Creative Writing Program at Texas State University, in San Marcos, Texas. He is also the founder of Huizache. Roberto Ontiveros is an artist, fiction writer, and literary critic. Some of his work has appeared in the Threepenny Review, the Santa Monica Review, Huizache, The Believer, and The Baffler. His collection of stories, The Fight for Space, is published by Stephen F. Austin State University Press. Vincent Cooper is the author of Where the Reckless Ones Come to Die, Aztlan Libre Press 2014, Zarzamora – Poetry of Survival, Jade Publishing 2019 and forthcoming, Infidelis, Mouthfeel Press, Fall of 2023. Cooper's poems can be found in Huizache 6, Huizache 8, Riversedge Journal, Somos En Escrito, Dryland Lit, co-editor of Good Cop/Bad Cop Anthology, Flowersong Press 2021. He is also a member of the Macondo Writer's Workshop selected in 2015. Cooper is former United States Marine currently living in the southside of San Antonio, TX. Yaccaira Salvatierra's poems have appeared or are forthcoming in POETRY Magazine, The Nation, Huizache, and Rattle among others. Her collection, Sons of Salts, is forthcoming with BOA Editions in 2024. She is a committee organizer for the San Francisco International Flor y Canto Literary Festival and a contributing editor for Huizache. She lives in Oakland, California where she is a dedicated educator to historically marginalized and resilient communities. Jo Reyes-Boitel is a poet, playwright, and scholar, queer mixed Latinx, and parent, now working on their MFA in Creative Writing at the University of Texas – Rio Grande Valley, where they also serve as a teaching assistant. Their publications include Michael + Josephine (FlowerSong Press, 2019) and the chapbook mouth (Neon Hemlock, 2021). Playing with fire, their book of poetry centered on their upbringing, is forthcoming from Next Page Press in November 2023. “she wears bells”, their hybrid opera, was chosen as a finalist for Guerilla Opera's 2022 annual virtual festival.  Nuestra Palabra is funded in part by the BIPOC Arts Network Fund. Instrumental Music produced / courtesy of Bayden Records Website | baydenrecords.beatstars.com

Camonghne Felix is the author of the memoir Dyscalculia: A Love Story of Epic Miscalculation, available from One World Press. Felix, poet and essayist, is the author of Build Yourself a Boat, which was longlisted for the National Book Award in Poetry, shortlisted for the PEN/Open Book Award, and shortlisted for the Lambda Literary Awards. Her poetry has appeared in or is forthcoming from Academy of American Poets, Freeman's, Harvard Review, LitHub, The New Yorker, PEN America, Poetry Magazine, and elsewhere. Her essays have been featured in Vanity Fair, New York, Teen Vogue, and other places. She is a contributing writer at The Cut. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Launched in 2011. Books. Literature. Writing. Publishing. Authors. Screenwriters. Etc. Available where podcasts are available: Apple Podcasts, Google Podcasts, Spotify, Stitcher, iHeart Radio, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram  YouTube TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alabama Poet Laureate and Celebrated Author Ashley M. Jones Joins the Chats to Talk Literacy and Writing Journey.About AshleyAshley M. Jones is Poet Laureate of the state of Alabama (2022-2026). She holds an MFA in Poetry from Florida International University, and she is the author of Magic City Gospel (Hub City Press 2017),  dark / / thing (Pleiades Press 2019), and REPARATIONS NOW! (Hub City Press 2021). Her poetry has earned several awards, including the Rona Jaffe Foundation Writers Award, the Silver Medal in the Independent Publishers Book Awards, the Lena-Miles Wever Todd Prize for Poetry, a Literature Fellowship from the Alabama State Council on the Arts, the Lucille Clifton Poetry Prize, and the Lucille Clifton Legacy Award. She was a finalist for the Ruth Lily Dorothy Sargent Rosenberg Fellowship in 2020, and her collection, REPARATIONS NOW! was on the longlist for the 2022 PEN/Voelcker Award for Poetry. Her poems and essays appear in or are forthcoming at CNN, POETRY, The Oxford American, Origins Journal, The Quarry by Split This Rock, Obsidian, and many others. She teaches Creative Writing at the Alabama School of Fine Arts and in the Low Residency MFA at Converse University. Jones co-directs PEN Birmingham, and she is the founding director of the Magic City Poetry Festival. She recently served as a guest editor for Poetry Magazine, and she is a 2022 Academy of American Poets Poet Laureate Fellow. Humanity Chats - a conversation about everyday issues that impact humans. Join us. Together, we can go far. Thank you for listening. Share with a friend. We are humans. From all around the world. One kind only. And that is humankind. Your friend, Marjy Marj

In conversation with Sharon G. Flake Camonghne Felix is the author of Build Yourself a Boat, ''an exquisite and thoughtful'' (Bustle) poetry collection that was longlisted for the National Book Award in poetry and shortlisted for the Lambda Literary Award, among other honors. A contributing writer at The Cut, her poetry has appeared in or is forthcoming in numerous places, including The New Yorker, Poetry Magazine, and Harvard Review. In Dyscalculia, Felix uses her childhood learning disorder that caused difficulties with math to explore the trauma of a monumental breakup, past troubles, and the concepts of self-love and acceptance. Acclaimed as a modern classic for middle and high school students, Sharon G. Flake's 1998 debut novel The Skin I'm In depicts the travails of a seventh grader dealing with self-esteem issues connected with race, economics, and academic success. It has been translated into several languages and has sold more than one million copies worldwide. Flake is also the author of a dozen other books of fiction, short stories, and poems, including Money Hungry, You Don't Even Know Me, and The Life I'm In, a companion piece to The Skin I'm In published in 2021. Her many honors include two Coretta Scott King Awards, the John Steptoe Award for New Talent, and the YWCA Racial Justice Award. (recorded 3/1/2023)

Why does it always feel like we're on the verge of something — great or terrible? And how do we resist the pull, the lull, and the stress of the void?  Guests: Dr. Matt Connelly — historian at Columbia and author of the book The Declassification Engine Dr. Susan Hough — seismologist at the US Geological Survey Liz Neeley — science communicator and founder of Liminal  Eva Hagberg — architectural historian and the author of When Eero Met His Match.  → → →  Further reading & resources here! ← ← ← ✨ BECOME A TIME TRAVELER ✨Poem Credits:Tracy K. Smith, "Sci-Fi" from Life on Mars. Copyright © 2011 by Tracy K. Smith.  Reprinted by permission of Graywolf Press. www.graywolfpress.org. Audio provided by the Stanford News Service.“Storming Towards a Precipice” From After and Before the Lightning by Simon Ortiz. © 1994 Simon Ortiz. Reprinted by permission of the University of Arizona Press.“Future Memories” by Mario Melendez translated by Eloisa Amezcua, Poetry Magazine, 2017, Reprinted by permission of author.This episode of Flash Forward was written by me, Rose Eveleth, edited by Avery Trufelman, produced by Ozzy Llinas Goodman and sound designed by Ariana Martinez. Much of the music in this episode is by Ilan Blanck. The outro music is by Hussalonia. The episode art is by Mattie Lubchansky. The incredible beat that dropped at the end is by Lazerbeak. Special thanks to Julia Furlan, who hit the streets of New York City to ask people about aliens for us. Thanks also to everybody who sent in voice memos around that question we couldn't use them all and wow there were so many good ones. Thanks also to Ed Yong who read a passage from A hundred years hence : the expectations of an optimist; to Tracy K. Smith who read her poem Sci-Fi, and to Stanford University for letting us use that audio; to Jeffrey Nils Gardner who read Storming Toward a Precipice By Simon J. Ortiz; and to Elena Fernández Collins who called to the void for us and read Future Memories by Mario Melendez in both Spanish and English. 

In this episode, Susan Guthrie, Esq. is joined by philanthropist Caren Yanis who shares the many ways that being generous and sharing with others can actually help you heal after divorce.    Being philanthropic is not just about money. We have social capital, intellectual capital, time or the ability to be purposeful with lots of different tools. Whether someone has millions of dollars or is on a shoestring budget, being able to give, in some way, can make a difference. Caren Yanis joins Susan Guthrie for a conversation about philanthropy as it intersects with divorce, families, your future, and the beyond. There is power in giving. It can help you heal, be an outlet for your children during divorce, and make the world a better place to live.  Caren Yanis is the principal of Croland Consulting, a philanthropic advisory group that guides families, athletes, and celebrities in building a culture of purpose and legacy. Topics and Golden Nuggets include  Divorce is a prime time to do something with your children that is outward-focused, such as giving The benefit of having a philanthropic advisor or sherpa to create a long view goals of giving Philanthropy can help you heal from the trauma of a difficult divorce Examples of women who come at philanthropy not with a lot of financial resources but with energy and attention, and do amazing things Engaging in the arts and using the arts to help other people is a fabulous way to elevate everybody Whether you have billions of dollars or zero dollars, we all have something to give and to benefit others. About this week's special guest: Caren Yanis Caren is the principal of Croland Consulting, a philanthropic advisory group that guides families, athletes, and celebrities in building a culture of purpose and legacy. She was Executive Director of the Oprah Winfrey Foundation and Oprah's Angel Network, (2000-2009) the height of the Oprah Winfrey Show.  She went on to become President of Crown Family Philanthropies in Chicago.  Caren's focus is on deepening intergenerational engagement and social impact using a variety of assets and strategies. Keynotes, podcasts, and panel discussions have included Family Business Magazine's Legacy and Wealth Conference, Yale's Philanthropy Conference, and the Society for Trust and Estate Planners annual and regional conferences. She has been a guest on podcasts including The Heart of Giving (Better Business Bureau), Denton's, Alliance Bernstein, and Family Business Magazine's Legacy and Wealth Conference.  She is an adjunct professor at Tulane University, the University of Chicago Booth School in their Private Wealth Management program, and at the Spertus Institute where she also mentors graduate students. University speaking engagements include Northwestern Law, NYU, Duke and Johns Hopkins. Caren chairs the board of The Poetry Foundation (which received a significant bequest from Ruth Lilly in 2002) and has guided it through meaningful organizational and governance change. She is an advisor to the Aubrey and Marla Dan Foundation, and to the (Deepak) Chopra Foundation, is a member of the Board of Visitors at the Lilly Family School of Philanthropy at Indiana University, and the Women's Philanthropy Institute, a research organization focused on trends in giving. In her spare time, Caren hosts salons that bring bold thinkers together for meaningful conversations. She has a passion for listening deeply, navigating challenges, and guiding people who have the potential to make the world a better place.  Caren Croland Yanis | Philanthropic Advising: caren@crolandconsulting.com  Caren's website: CrolandConsulting.com  Caren on Linkedin: http://linkedin.com/in/carenyanis Also mentioned in this episode: Book a Strategy Session with Susan!  Singing ”Single Bells” This Holiday? Surviving the Solitary Season with Special Guest, Jenny Stevens  PoetryMagazine.org/EventsOffer:1 year of Poetry Magazine for $20. Regular price is $35.   Generosity Project: https://www.ted.com/talks/sasha_dichter_the_generosity_experiment  Women's Philanthropy Institute – The Women's and Girls Index: https://scholarworks.iupui.edu/bitstream/handle/1805/21010/wgi-infographic.pdf  Women's Philanthropy Institute -Women as Change Agents:  https://scholarworks.iupui.edu/bitstream/handle/1805/21440/change-agents-infographic.pdf  Women Moving Millions: https://womenmovingmillions.org/  Thresholds  - mental health and breaking the cycle of poverty: https://www.thresholds.org/  Friends of the Children – mentoring high risk children: https://friendschicago.org/about  Multiple Myeloma Research Foundation: theMMRF.org  If you want to see the video version of the podcast episodes they are available on The Divorce & Beyond YouTube Channel!  Make sure to LIKE and SUBSCRIBE so you don't miss a single episode! 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