Podcasts about Robert Hayden

The Squad leaps back into the keys to writing an interesting poem with Nate Jacob reading a poem by Robert Hayden. Next up to the plate, Brian shares his list. Tim brings up the question of subjectivity, and Katie shares her own top ten keys. We also read poems by A.E. Stallings and Dorianne Laux.At the Table:Katie DozierTimothy GreenBrian O'SullivanDick WestheimerNate Jacob

Read by Stephen A. Molloy Production and Sound Design by Kevin Seaman

What sacrifices were made by your parents when you were a child? How did you think about them as they were happening? And how do you think about them now? In his poem “Those Winter Sundays,” Robert Hayden holds space for a weighted childhood memory and the regret, love, and pain it evokes.Robert Hayden (1913-1980) was the first Black American poet to be appointed the Consultant of Poetry to the Library of Congress (now known as the U.S. Poet Laureate); he held this role from 1976 to 1978. Hayden was the recipient of numerous awards, including a Hopwood Award, Academy of American Poets Fellowship, Grand Prize for Poetry at the First World Festival of Negro Arts, and Russell Loines Award for distinguished poetic achievement from the National Institute of Arts and Letters.Find the transcript for this show at onbeing.org.We're pleased to offer Robert Hayden'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. 

Poetry Unbound with host Pádraig Ó Tuama is back on Monday, December 2. Featured poets in this season include Robert Hayden, Kinsale Drake, Danielle Chapman, Diannely Antigua, and many more. New episodes every week through March 3.Follow us on Apple Podcasts, Spotify, Pocket Casts, Overcast, or wherever you listen.Find the transcript for this show at onbeing.org.

Sermon show notes for podcast and YouTube: 1. “The nature of faith is to live constantly out of tune with the world as it is presently, and constantly in tune with the way God intends it to be.” -N.T. Wright, “Following Jesus: Biblical Reflections on Discipleship” 2. “Christianity stands or falls by its revolutionary protest against violence, arbitrariness, and pride of power, and by its witness for the weak. I feel that Christianity is doing too little in making these points rather than doing too much. Christianity has adjusted itself much too easily to the worship of power. It should give much more offense, more shock to the world, than it is doing. Christianity should take a much more definite stand for the weak than for the potential moral right of the strong.” --Dietrich Bonhoeffer, “My Strength Is Made Perfect in Weakness” 3. “If only it were all so simple! If only there were evil people somewhere insidiously committing evil deeds, and it were necessary only to separate them from the rest of us and destroy them. But the line dividing good and evil cuts through the heart of every human being. And who is willing to destroy a piece of his own heart?” -Aleksandr Solzhenitsyn, “The Gulag Archipelago” 4. “We must not be frightened nor cajoled into accepting evil as deliverance from evil. We must go on struggling to be human, though monsters of abstractions police and threaten us. Reclaim now, now renew the vision of a human world where godliness is possible and man is permitted to be man.” -Robert Hayden, “Collected Poems” 5. Les Miserables, by Victor Hugo

As the school year begins, today's poem goes out to all of those everyday saints performing the unseen and unsung acts of love that make life possible for rest of us!Born Asa Bundy Sheffey on August 4, 1913, Robert Hayden was raised in the Detroit neighborhood Paradise Valley. He had an emotionally tumultuous childhood and lived, at times, with his parents and with a foster family. In 1932, he graduated from high school and, with the help of a scholarship, attended Detroit City College (later, Wayne State University). In 1944, Hayden received his graduate degree from the University of Michigan.Hayden published his first book of poems, Heart-Shape in the Dust (Falcon Press), in 1940, at the age of twenty-seven. He enrolled in a graduate English literature program at the University of Michigan, where he studied with W. H. Auden. Auden became an influential and critical guide in the development of Hayden's writing. Hayden admired the work of Edna St. Vincent Millay, Elinor Wiley, Carl Sandburg, and Hart Crane, as well as the poets of the Harlem Renaissance—Langston Hughes, Countee Cullen, and Jean Toomer. He had an interest in African American history and explored his concerns about race in his writing. Hayden ultimately authored nine collections of poetry during his lifetime, as well as a collection of essays, and some children's literature. Hayden's poetry gained international recognition in the 1960s, and he was awarded the grand prize for poetry at the First World Festival of Negro Arts in Dakar, Senegal, in 1966 for his book Ballad of Remembrance (Paul Breman, 1962).Explaining the trajectory of Hayden's career, the poet William Meredith wrote:Hayden declared himself, at considerable cost in popularity, an American poet rather than a Black poet, when for a time there was posited an unreconcilable difference between the two roles. There is scarcely a line of his which is not identifiable as an experience of Black America, but he would not relinquish the title of American writer for any narrower identity.After receiving his graduate degree from the University of Michigan, Hayden remained there for two years as a teaching fellow. He was the first Black member of the English department. He then joined the faculty at Fisk University in Nashville, where he would remain for more than twenty years. In 1975, Hayden received the Academy of American Poets Fellowship and, in 1976, he became the first Black American to be appointed as Consultant in Poetry to the Library of Congress (later, U.S. poet laureate).Hayden died in Ann Arbor, Michigan, on February 25, 1980.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Bio: African-Italian performance poet based in Oakland, California. Active on creative writing & Spoken Word since the early 1990s. Author of 9 books--Boneyard, Unwritten Law, Stormwater, Skeletal Black [all from POOR Press], Elohi Unitsi [Conviction 2 Change Publishing], Rusty Gallows: Passages Against Hate [Vagabond Books], Plans [originally Nomadic Press, now re-issued from Black Lawrence Press], Crimson Stain [ EYEPUBLISHEWE] and his newest, Discovery [ Southern Arizona Press] -- and 73 anthology appearances under his figurative belt so far. Episode Summary: As the episode unfolds, Dee's definition of poetry is explored, as well as his views on the insane nature of modern reality, and the political and environmental issues that motivate his work. Throughout the episode Dee shares personal anecdotes, including his first live performance experience, and reads poems from his latest book, 'Discovery.' The conversation also touches on his influences, such as Langston Hughes, Robert Hayden and Sonia Sanchez. It also examines his thoughts on the poet's role in society, the editing process, and the ways in which his remarkably authentic, powerful and distinctive work contributes to the development of empathy and understanding between groups of different sociocultural and ethnic origins. Book: Discovery https:/www.amazon.com/dp/1960038540

I'm this episode I share some well known poems written to fathers, present and absent alike. While reading these poems I was inspired to write my own. Let me know what you think… ***Forgiving my father by Lucille Clifton, Those Winter Sundays by Robert Hayden, My Papa's Waltz by Theodore Roethke, Father from Asia by Shirley Geok-Lin Lim, and A Message on your Voicemail by Carolina Huggins ***

An episode from 1/19/24: Tonight, I read a handful of poems about childhood. How does poetry capture our earliest memories, and how can it express the act of remembering itself, of nostalgia? The poems are: The Pennycandystore Beyond the El, by Lawrence Ferlinghetti (1919-2021) "Other echoes/Inhabit the garden," from Burnt Norton, by T. S. Eliot (1888-1965) Squarings #40, by Seamus Heaney (1939-2013) A Map of the Western Part of the County of Essex in England, by Denise Levertov (1923-1997) Those Winter Sundays, by Robert Hayden (1913-1980) Learning to Read, by Laurie Sheck (1953-) My Papa's Waltz, by Theodore Roethke (1908-1963) The Latin Lesson, by Eavan Boland (1944-2020) Fern Hill, by Dylan Thomas (1914-1953) The Leaving, by Brigit Pegeen Kelly (1951-2016) The Month of June: 13 1/2, by Sharon Olds (1942-) Autumn Begins in Martins Ferry, Ohio, by James Wright (1927-1980) "I'm ceded" (#508), by Emily Dickinson (1830-1886) Soap Suds, by Louis MacNeice (1907-1963) You can support Human Voices Wake Us here, or by ordering any of my books: Notes from the Grid, To the House of the Sun, The Lonely Young & the Lonely Old, and Bone Antler Stone. Email me at humanvoiceswakeus1@gmail.com. --- Send in a voice message: https://podcasters.spotify.com/pod/show/humanvoiceswakeus/message Support this podcast: https://podcasters.spotify.com/pod/show/humanvoiceswakeus/support

The queens have a mind of winter in this showcase of iconically cold poems. Ice, ice, baby!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 "Those Winter Sundays" or listen to Robert Hayden read it here. Read more about A Ballad of Remembrance. Read Robert Frost's poem "Birches." Frost reads it (audio only) here (~3 minutes). You can read "More" by Marie Howe here. Watch a sock puppet read Timothy Liu's poem "Winter" -- because like why not? Poetry is for puppets, too, girl. Or read the text of it here. Read Jennifer Chang's "The World." Here is Christina Rossetti's "In the Bleak Midwinter."Read "Paul Revere's Ride" here. 

Today's poem is 'Ice Storm' by Robert Hayden. It's read by Jane Davis from The Reader. From 'Collected Poems' by Robert Hayden (Norton, 2013). Permission requested. Production by Chris Lynn. Music by Chris Lynn & Frank Johnson.

Read by Terry Casburn"Bone-Flower Elegy" by Robert HaydenThe poem describes a dream journey through different vast and intimidating locations, where erotic and violent scenes unfold on a stage. The speaker also encounters a haunting funeral chamber with a dancing naked corpse and comes upon groves of enormous, bone-like flowers in a desert, embodying both terrifying and tantalizing imagery. The poem concludes with a dichotomous creature, 'beast angel/angel beast', which embodies both violence and tranquility. According to the poem, the battle between what is right or what is wrong, between grotesque and beauty, may end on earth but it continues in death, it continues in the ideas of the living.

Today's poem is Frederick Douglass by Robert Hayden. The Slowdown is your daily poetry ritual. In this episode, Major writes… “Today's monumental poem keeps alive the fighting spirit of one of the great minds of the 19th century, whose eloquent speeches and books brought into focus freedoms we sometimes take for granted.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

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

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

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

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

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

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

Derrick Austin reads a poem by Robert Hayden and "Black Docent." Queer Poem-a-Day Lineage Edition is our new format for year three! Featuring contemporary LGBTQIA+ poets reading a poem by an LGBTQIA+ writer of the past, followed by an original poem of their own.  Derrick Austin is the author of Tenderness (BOA Editions, 2021), winner of the 2020 Isabella Gardner Poetry Award, and Trouble the Water (BOA Editions, 2016) selected by Mary Szybist for the A. Poulin Jr, Poetry Prize. His first chapbook, Black Sand, is recently out from Foundlings Press. Tenderness was a finalist for the Lambda Literary Award for Gay Poetry, a Golden Poppy Award, and a Northern California Book Award. He is a 2022-2023 Amy Lowell Poetry Traveling Scholar. Text of today's original poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language.  Find books from participating poets in our library's catalog.  Queer Poem-a-Day is directed by poet and teacher Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Deerfield Public Library. Music for this third year of our series is AIDS Ward Scherzo by Robert Savage, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by generous donations from the Friends of the Deerfield Public Library and the Deerfield Fine Arts Commission. 

Hello to you, here's a poem in English dedicated to the memory of Robert Hayden who I already mentioned aforetime. He was a poet-laureate of the United States and a Bahá'í. Happy listening!

This week, Ashley M. Jones speaks with Marcus Wicker about a project he began early in the pandemic while looking for sources of calm in books and music. Many of these were space-influenced—OutKast's album ATLiens, Robert Hayden's poem “American Journal”—and Wicker began exploring what an extraterrestrial who lands in Atlanta in 2020 would think of America and the way humans treat one another. We'll hear two poems from this project, “Dear Mothership,” and “How did you learn to speak English?” which appear in Poetry's December 2022 issue. Like much of Wicker's poetry, these pieces incorporate popular culture and music references alongside unflinching observations and exciting wordplay.

Just in time for Halloween! We're talking about zombie pathogens, evil qi, old bogeys, spectral entities, ghost possession, and a super deadly worm that's created by black magic. That's right, we're peering into the dark corners of Traditional Chinese Medicine, in search of some forgotten ghosts. And there's no better guide for our expedition that Robert Hayden.Robert Hayden has been an acupuncturist for 27 years and an educator for over 20 years. He practices at Presence Center for Acupuncture in South Florida, and also researches and writes about all sorts of interesting Chinese medicine topics on Substack at Clinical Mulch.I invited Robert to join me on the podcast to talk about some of his favorite topics, which include some centuries-old principles that have been swept away from the modern construct we call Traditional Chinese Medicine. Our conversation covers a lot of ground. First, we condense 1500 years of pathogenic factor theory into about five minutes. Then we talk about how to apply these age-old principles to modern diseases—things like autoimmune disorders, Lyme disease, and long covid. We touch on the innate intelligence of herbs, and the idea of expelling pathogens from the body by guiding them towards a convenient exit. Robert also introduces us to the Divine Farmer and the supernatural properties of herbs—accepted uses for our medicine that persisted for thousands of years, before being purged from the materia medica in the 20th century. Did I mention ghosts? And demon possession? And old bogeys? And something called Gu toxin? It's a wild ride through the paranormal passageways of our medicine. One of my favorite things about talking to other acupuncturists on this podcast is the renewed appreciation it gives me for the medicine I practice. This conversation with Robert certainly didn't disappoint—I learned new herbs, new ways of looking at old theories, and even some new pathogens to watch out for. As I said to Robert at the end of our conversation, “I feel like I've gone back to acupuncture school…in a good way!”Towards the end of the episode, I reference a recent Facebook post from Robert. Here's that full quote: In acupuncture, we have something really unique: an inexpensive, simple way to regulate and even improve function on everything from a biochemical level to a mental-emotional (some would even say spiritual) level, that can be done on virtually everyone in any stage of life.Instead, what we are trying to do is to promote it as an alternative (and thus, competition) to modalities that already exist: "It's like painkillers but without the side effects", "It's like Botox without shooting poisons into your face", or what have you.Don't get me wrong. I think it's great that some ERs are starting to use acupuncture for pain management. I enjoy seeing more scientific attention to possible mechanisms for some discreet effect of acupuncture such as pain control. It's fantastic that people are finding that they have fewer wrinkles and thus improve their capacity to love themselves and be more confident in the world. But don't go throwing all your eggs into the reductionist basket. You're limiting the potential of something that can give us so much more.It's like finding Excalibur and using it to cut weeds in your yard. What we have is unique. Don't lose sight of that.So brew yourself a strong cup of herbal tea and settle in for an adventure. Let's find out what haunts those old, boarded-up rooms in the mansion of Traditional Chinese Medicine.Love and gratitude,Your AcupuncturistHuge thanks to Robert Hayden for the great conversation, and to AudioCoffee for the music in this episode. How to keep up with Robert: Presence Center for Acupuncture in South Florida: http://presencecommunityacupuncture.orgClinical Mulch on Substack: https://clinicalmulch.substack.comOn Instagram @presence.center.acupuncture And big thanks as always to my paid subscribers for making my work more sustainable! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit notesfromyouracupuncturist.substack.com

QUOTES FOR REFLECTION “We must not be frightened nor cajoled into accepting evil as deliverance from evil. We must go on struggling to be human, though monsters of abstractions police and threaten us.” ~Robert Hayden (1913-1980), poet, essayist, and educator “When Christ calls a man, he bids him come and die….” “Judging others makes us blind, whereas love is illuminating. By judging others we blind ourselves to our own evil and to the grace which others are just as entitled to as we are….” “How would you expect to find community while you intentionally withdraw from it at some point? The disobedient cannot believe; only the obedient believe….” “Cheap grace is the preaching of forgiveness without requiring repentance…. Cheap grace is grace without discipleship, grace without the cross, grace without Jesus Christ, living and incarnate. “Costly grace is the treasure hidden in the field; for the sake of it a man will go and sell all that he has. It is the pearl of great price to buy which the merchant will sell all his goods. It is the kingly rule of Christ, for whose sake a man will pluck out the eye which causes him to stumble; it is the call of Jesus Christ at which the disciple leaves his nets and follows him. “Costly grace is the gospel which must be sought again and again and again, the gift which must be asked for, the door at which a man must knock. Such grace is costly because it calls us to follow, and it is grace because it calls us to follow Jesus Christ. It is costly because it costs a man his life, and it is grace because it gives a man the only true life. It is costly because it condemns sin, and grace because it justifies the sinner. Above all, it is costly because it cost God the life of his Son: ‘Ye were bought at a price', and what has cost God much cannot be cheap for us. Above all, it is grace because God did not reckon his Son too dear a price to pay for our life, but delivered him up for us. Costly grace is the Incarnation of God.” ~Dietrich Bonhoeffer (1906-1945) in The Cost of Discipleship SERMON PASSAGE John 9 (ESV) 1 As he passed by, he saw a man blind from birth. 2 And his disciples asked him, “Rabbi, who sinned, this man or his parents, that he was born blind?” 3 Jesus answered, “It was not that this man sinned, or his parents, but that the works of God might be displayed in him. 4 We must work the works of him who sent me while it is day; night is coming, when no one can work. 5 As long as I am in the world, I am the light of the world.” 6 Having said these things, he spit on the ground and made mud with the saliva. Then he anointed the man's eyes with the mud 7 and said to him, “Go, wash in the pool of Siloam” (which means Sent). So he went and washed and came back seeing… 13 They brought to the Pharisees the man who had formerly been blind. 14 Now it was a Sabbath day when Jesus made the mud and opened his eyes. 15 So the Pharisees again asked him how he had received his sight. And he said to them, “He put mud on my eyes, and I washed, and I see.” …17 So they said again to the blind man, “What do you say about him, since he has opened your eyes?” He said, “He is a prophet.”… 24 So for the second time they called the man who had been blind and said to him, “Give glory to God. We know that this man is a sinner.” 25 He answered, “Whether he is a sinner I do not know. One thing I do know, that though I was blind, now I see.” 26 They said to him, “What did he do to you? How did he open your eyes?” 27 He answered them, “I have told you already, and you would not listen. Why do you want to hear it again? Do you also want to become his disciples?” 28 And they reviled him, saying, “You are his disciple, but we are disciples of Moses…. 34 They answered him, “You were born in utter sin, and would you teach us?” And they cast him out. 35 Jesus heard that they had cast him out, and having found him he said, “Do you believe in the Son of Man?” 36 He answered, “And who is he, sir, that I may believe in him?” 37 Jesus said to him, “You have seen him, and it is he who is speaking to you.” 38 He said, “Lord, I believe,” and he worshiped him. 39 Jesus said, “For judgment I came into this world, that those who do not see may see, and those who see may become blind.” 2 Corinthians 4 (NASB95) 3 And even if our gospel is veiled, it is veiled to those who are perishing, 4 in whose case the god of this world has blinded the minds of the unbelieving so that they might not see the light of the gospel of the glory of Christ, who is the image of God. 5 For we do not preach ourselves but Christ Jesus as Lord, and ourselves as your bond-servants for Jesus' sake. 6 For God, who said, “Light shall shine out of darkness,” is the One who has shone in our hearts to give the Light of the knowledge of the glory of God in the face of Christ. 7 But we have this treasure in earthen vessels, so that the surpassing greatness of the power will be of God and not from ourselves; 8 we are afflicted in every way, but not crushed; perplexed, but not despairing; 9 persecuted, but not forsaken; struck down, but not destroyed; 10 always carrying about in the body the dying of Jesus, so that the life of Jesus also may be manifested in our body. 11 For we who live are constantly being delivered over to death for Jesus' sake, so that the life of Jesus also may be manifested in our mortal flesh.

I can't believe I didn't share this poem with you last year. Sorry about that! But here it is, before winter officially ends.  The link to the audio poetry collection I mention: https://www.powells.com/book/-9780738934433/ And here is a recording of Robert Hayden reading his own poem: https://www.youtube.com/watch?v=XmJYs6PQKVc

QUOTES FOR REFLECTION “It is better to light a candle than curse the darkness.” ~Eleanor Roosevelt (1884-1962), U.S. first lady, diplomat, and activist “If you think that moral reasoning is something we do to figure out the truth, you'll be constantly frustrated by how foolish, biased, and illogical people become when they disagree with you.” “Our moral thinking is much more like a politician searching for votes than a scientist searching for truth.” “People bind themselves into political teams that share moral narratives. Once they accept a particular narrative, they become blind….” ~Jonathan Haidt, social psychologist and NYU professor “…what the heart loves, the will chooses, and the mind justifies. The mind doesn't direct the will. The mind is actually captive to what the will wants, and the will itself, in turn, is captive to what the heart wants.” ~Dr. Ashley Null, scholar at the Humboldt University of Berlin “Pharisees are not an extinct breed. Whenever we find ourselves valuing the letter of God's law above its spirit; whenever we find ourselves unable to rejoice in the saving and renewing of lives simply because the instrument used was not someone who dots all the i's and crosses all the t's of our…group; whenever we lose the daily, hourly sense of joy in the grace of God…, then we need to be beware. ‘Lord, is it I?' The only security against Pharisaism is grace, which is perhaps the reason the Lord may from time to time permit us to stumble in our Christian walk so that we may have opportunity to rediscover it. Luther's observation, ‘there is no cure for spiritual pride like a little over-eating, over-sleeping or over-drinking' is to the point…..” ~Bruce Milne, pastor and professor “We must not be frightened nor cajoled into accepting evil as deliverance from evil. We must go on struggling to be human, though monsters of abstractions police and threaten us.” ~Robert Hayden (1913-1980), poet, essayist, and educator SERMON PASSAGE John 9:1-41 (ESV) 1 As he passed by, he saw a man blind from birth. 2 And his disciples asked him, “Rabbi, who sinned, this man or his parents, that he was born blind?” 3 Jesus answered, “It was not that this man sinned, or his parents, but that the works of God might be displayed in him. 4 We must work the works of him who sent me while it is day; night is coming, when no one can work. 5 As long as I am in the world, I am the light of the world.” 6 Having said these things, he spit on the ground and made mud with the saliva. Then he anointed the man's eyes with the mud 7 and said to him, “Go, wash in the pool of Siloam” (which means Sent). So he went and washed and came back seeing. 8 The neighbors and those who had seen him before as a beggar were saying, “Is this not the man who used to sit and beg?” 9 Some said, “It is he.” Others said, “No, but he is like him.” He kept saying, “I am the man.” 10 So they said to him, “Then how were your eyes opened?” 11 He answered, “The man called Jesus made mud and anointed my eyes and said to me, ‘Go to Siloam and wash.' So I went and washed and received my sight.” 12 They said to him, “Where is he?” He said, “I do not know.” 13 They brought to the Pharisees the man who had formerly been blind. 14 Now it was a Sabbath day when Jesus made the mud and opened his eyes. 15 So the Pharisees again asked him how he had received his sight. And he said to them, “He put mud on my eyes, and I washed, and I see.” 16 Some of the Pharisees said, “This man is not from God, for he does not keep the Sabbath.” But others said, “How can a man who is a sinner do such signs?” And there was a division among them. 17 So they said again to the blind man, “What do you say about him, since he has opened your eyes?” He said, “He is a prophet.” 18 The Jews did not believe that he had been blind and had received his sight, until they called the parents of the man who had received his sight 19 and asked them, “Is this your son, who you say was born blind? How then does he now see?” 20 His parents answered, “We know that this is our son and that he was born blind. 21 But how he now sees we do not know, nor do we know who opened his eyes. Ask him; he is of age. He will speak for himself.” 22 (His parents said these things because they feared the Jews, for the Jews had already agreed that if anyone should confess Jesus to be Christ, he was to be put out of the synagogue.) 23 Therefore his parents said, “He is of age; ask him.” 24 So for the second time they called the man who had been blind and said to him, “Give glory to God. We know that this man is a sinner.” 25 He answered, “Whether he is a sinner I do not know. One thing I do know, that though I was blind, now I see.” 26 They said to him, “What did he do to you? How did he open your eyes?” 27 He answered them, “I have told you already, and you would not listen. Why do you want to hear it again? Do you also want to become his disciples?” 28 And they reviled him, saying, “You are his disciple, but we are disciples of Moses. 29 We know that God has spoken to Moses, but as for this man, we do not know where he comes from.” 30 The man answered, “Why, this is an amazing thing! You do not know where he comes from, and yet he opened my eyes. 31 We know that God does not listen to sinners, but if anyone is a worshiper of God and does his will, God listens to him. 32 Never since the world began has it been heard that anyone opened the eyes of a man born blind. 33 If this man were not from God, he could do nothing.” 34 They answered him, “You were born in utter sin, and would you teach us?” And they cast him out. 35 Jesus heard that they had cast him out, and having found him he said, “Do you believe in the Son of Man?” 36 He answered, “And who is he, sir, that I may believe in him?” 37 Jesus said to him, “You have seen him, and it is he who is speaking to you.” 38 He said, “Lord, I believe,” and he worshiped him. 39 Jesus said, “For judgment I came into this world, that those who do not see may see, and those who see may become blind.” 40 Some of the Pharisees near him heard these things, and said to him, “Are we also blind?” 41 Jesus said to them, “If you were blind, you would have no guilt; but now that you say, ‘We see,' your guilt remains.”

The mystical experience of the poet on the day of the passing of the Bahá'í poet Robert Hayden.

Frank shares a cold, sad Sunday morning with Robert Hayden. The poems referenced are Those Winter Sundays and The Whipping by Robert Hayden.

This poem, on the first day of the Bahá'í Ayyam-i-Ha Festival, is dedicated to the memory of the great poet Robert Hayden.

To read Hayden's poem, click here (https://www.poetryfoundation.org/poems/46460/frederick-douglass). Thanks to W.W. Norton & Company for granting us permission to read this poem. Reginald Dwayne Betts's introduction to the Collected Poems of Robert Hayden (https://wwnorton.com/books/9780871406798/about-author) is very moving, as is the afterword by Arnold Rampersad. For a series of insightful observations about Hayden's sonnet, see Ross Gay, Aracelis Girmay, Aimee Nezhukumatathil, Patrick Rosal, and Ira Sadoff, "Poets Respond: A Discussion of "Frederick Douglass" by Robert Hayden." American Poetry Review, 38.3 (2009): 25-28. For a helpful close reading of the poem, see Fred M. Fetrow, "Robert Hayden's 'Frederick Douglass': Form and Meaning in a Modern Sonnet." CLA Journal 17.1 (September 1973): 78-84.

"In Robert Hayden's work the actualities of history and culture became the launching places for flights of imagination and intelligence. His voice characterized by musical diction and an exquisite feeling for the formality of pattern is a seminal one in American life and literature." — Arnold Rampersad

Poet Robert Hayden (1913-1980) surprised Jacke with his description of freedom in his sonnet "Frederick Douglass"; in this episode, Jacke considers the nature of freedom and attempts to determine exactly what Hayden meant. PLUS Professor Scott G. Bruce stops by to talk about his work editing The Penguin Book of the Undead: Fifteen Hundred Years of Spiritual Encounters. Help support the show at patreon.com/literature or historyofliterature.com/shop. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's program continues my consideration of December and focuses on poems that incorporate an actual or a metaphorical hearth or fireplace into their lyrical or narrative frames. I read poems by J.R.R. Tolkien, William Butler Yeats, C.K. Williams, Robert Hayden, and Ken Hada.  I end the program with two of my own poems.

The poets are back, and they need coats, hats, and gloves. It's cold outside, and we're breaking lines over it. Bob reads "Those Winter Sundays" by Robert Hayden, Chris reads "In Winter" by Michael Ryan, and then the guys discuss watching full days of basketball.

By Eduardo C. Corral

NB: (1.) I meant to say “Aristotle,” not “aerosol.” (2.) Yeah, I know, it's not Mattie Lee's family but her friends who pass judgment on/express concern for her.Some of the topics mentioned in this episode:– Derek DelGaudio's taped magic show In & Of Itself– Piero della Francesca's fresco cycle The Legend of the True Cross– Coleman Glenn's good poem “Antipodes”– Alice Allan's good poetry podcast Poetry Says– Robert Frost's poems “Putting in the Seed,” “The Silken Tent,” and “Home Burial”– Tom Stoppard's play Rosencrantz and Guildenstern Are Dead– Danielle Rose's utterly anodyne and bizarrely controversial tweet and Barren Magazine's stupid and histrionic response– George Orwell's essay “Poetry and the Microphone”– Emily Dickinson's poem “Because I could not stop for Death”– Rebecca Hazelton's essay in which she argues for the importance of mastering scansion by demonstrating that she has not mastered it– Robert Hayden's poem “Unidentified Flying Object”Please rate, review, and subscribe! Or just recommend the show to a friend!Send questions, comments, and suggestions to sleerickets@gmail.com. Music by ETRNLArt by Daniel Alexander Smith

Finish the conversation between Julian Peters, comic artist of Poems to See By  and Charity Hill.  We reflect on Julian's visual interpretation of "Those Winter Sundays" by Robert Hayden  from Poems To See By, the role of beauty in comics, and the suitability or unsuitability of adapting certain works of literature to comics.Please refer to this link to see Julian Peters' images of  "Those Winter Sundays" on the blog.You can pursue all the rich content of Poems To See By  by purchasing it through my affiliate link.To learn more about Julian Peters, visit his website.

Today we are talking about the next City Council meeting, coming up Monday, August 2nd. We touch on a bunch of interesting agenda items. Links from today's show: - the investigation report on the soon-to-be-former City Administrator,- the Ann Arbor Humans Who Wonk facebook thread from the last episode discussing the City Administrator firing/resignation, - more about poet Robert Hayden,- Scott Trudeau's blog post on the Home Occupation ordinance, - an LGBT map project, including conversion therapy, and - a little more info on Michigan Dark Skies.Support the show

Today we are talking about the next City Council meeting, coming up Monday, August 2nd. We touch on a bunch of interesting agenda items. Links from today's show: - the investigation report on the soon-to-be-former City Administrator,- the Ann Arbor Humans Who Wonk facebook thread from the last episode discussing the City Administrator firing/resignation, - more about poet Robert Hayden,- Scott Trudeau's blog post on the Home Occupation ordinance, - an LGBT map project, including conversion therapy, and - a little more info on Michigan Dark Skies.Support the show

This week Alice discusses the first Black Bottom Saint and first Black poet laureate, Robert Hayden. Themes of cancel culture, redemption and self identification are explored as we dive into the first Sunday after Father's Day of the Black Bottom Saints podcast.

Robert Hayden was one of the greatest American poets of the twentieth century. His poems are known for their formal grace and his deep and broad explorations of the African American experience. "Those Winter Sundays" is one of our all-time favorite poems. We hope you enjoy this conversation. For the text of "Those Winter Sundays," click here: https://www.poetryfoundation.org/poems/46461/those-winter-sundays For more about Robert Hayden, click here: https://www.poetryfoundation.org/poets/robert-hayden We love Reginald Dwayne Betts's introduction to the Centenary Edition of Robert Hayden's Collected Poems, edited by Frederick Glaysher. Please do find a copy at your local library or at your favorite bookstore: https://wwnorton.com/books/9780871406798

Some of the topics mentioned in this episode:– Mary Oliver's A Poetry Handbook– What makes a writing manual worth reading– Too much talking, not enough poems!– The SLEERICKETS logo– Van Gogh's “Head of a Skeleton with a Burning Cigarette”– Daniel Alexander Smith: designer, artist, measurably cooler sibling– Steve Jobs ruined fonts– Janet Loxley Lewis' poem “Days”– Eratosphere exists and is good– Some well-reasoned dissent re: the teachability of dessert and the artistic value of ASMR, podcasts, and (maybe) porn– Young people love/tolerate/acknowledge the existence of SLEERICKETS!– Robert Hayden's poem “Paul Laurence Dunbar”– Paul Muldoon and Kevin Young are talented and have at least two other things in common – The New Yorker Poetry Podcast's February 17, 2016 edition – Donald Justice's poem “There is a gold light in certain old paintings”– Uncle Vanya– Louis Malle's porn-free last movie, Vanya on 42nd Street (Don't be fooled by the trailer on YouTube, which badly misrepresents the tone, pacing, and atmosphere of the movie!)– What the fuck “sleerickets” means– Anthony Hecht's poem “A Letter”– Ashley Anna McHugh's poem “The Unquarried Blue of Those Depths Is All But Blinding”Please rate, review, and subscribe! Or just recommend the show to a friend!Send questions, comments, and suggestions to sleerickets@gmail.com.Music by ETRNLArt by Daniel Alexander Smith

In this week's episode of the Get Lit Minute, your weekly poetry podcast, we discuss the life and work of American poet, essayist, and educator Robert Hayden. He served as a Consultant in Poetry to the Library of Congress from 1976 to 1978, a role today known as US Poet Laureate. He was the first African-American writer to hold the office. Included in this episode is a reading of his poem "Those Winter Sundays."Support the show (https://getlit.org/donate/)

In our second explication, we explore the words of noted Black poet, Robert Hayden as he draws us into a cold home somewhere at some time. The speaker could be any of us, the scene is all too real. In three short stanzas, he crafts a world and an all important lesson for us to take with us as we go forward.

David Grubbs talks to Michial Farmer and Mathew Block about two Robert Hayden poems, "Those Winter Sundays" and "The Whipping."

David Grubbs talks to Michial Farmer and Mathew Block about two Robert Hayden poems, "Those Winter Sundays" and "The Whipping."

Unconditional Love.

It's a bird! It's a plane! It's a UFO! No, it's a new episode of the Books Are Scary podcast! This week, the earthlings known as Emmy and Allie discuss Robert Hayden's "Unidentified Flying Object", a poem about aliens, creepy drunk guys, town gossip, and the mysterious disappearance of a woman named Mattie Lee. The gals talk Modernism, aged Victorian ideals, unreliable narrators, and more! Grab your tin-foil hats and tune in! In our next episode, we will cover "Caring for Plants" by Hye-young Pyun, which can be found here: https://www.newyorker.com/magazine/2017/07/10/caring-for-plants For updates, feel free to follow us on Instagram @booksarescary If you have any comments or story recommendations, please email us at booksarescary@gmail.com Find the reading for today's episode here: https://www.everseradio.com/unidentified-flying-object-by-robert-hayden/

A poem a day keeps the sadness at bay.

This episode was originally recorded for a short-lived podcast called Lists on Nine. Andrew Graney shares a list of nine of his favorite poems and talks for nine-ish minutes about a few poems from his list. I'm so glad I get to re-launch this episode here with Art and Faith Unplugged. Andrew Graney's List of Nine of His Favorite Poems: Still life with Issa at the Gates - Alexander Long Guide - Adelia Prado Against Consolation - Robert Cording Piano Lessons - William Matthews The Quilt - Larry Levis Perhaps the World Ends Here - Joy Harjo Those Winter Sunday - Robert Hayden Filling Station - Elizabeth Bishop Angel Adages - Devon Miller-Duggan Andrew Laurence Graney is a teacher and writer from Wilmington, Delaware. He received his MFA in Creative Writing from Seattle Pacific University. His poems have appeared in Connotation Press, The American Journal of Poetry, Saint Katherine Review, Redheaded Stepchild, and elsewhere. When not writing, he is probably watching stand-up, listening to a comedian's podcast, or wishing he had a ping pong table. More about Art and Faith Unplugged's host: Charlotte Donlon, a writer who reads, a reader who writes, and a certified spiritual director. She holds an MFA in creative writing from Seattle Pacific University where she studied creative nonfiction. Her work has appeared in The Washington Post, The Christian Century, Christianity Today, Catapult, The Millions, Mockingbird, and elsewhere. Her first book, The Great Belonging: How Loneliness Leads Us to Each Other, was published in November 2020. You can subscribe to her newsletter (powered by Substack) on creativity, spiritual formation, the writing life, the intersection of art and faith, and more using a link on her webiste at charlottedonlon.com. And you can connect with her on Twitter and Instagram at @charlottedonlon.

WINNER WINNER CHICKEN DINNER! Today’s prize is criticizing Karens, putting a few notches in the pillar of tradition, and talking about child murderers (kinda). In episode one, Allie and Emmy take on Shirley Jackson’s “The Lottery”, a 1948 piece taking place in a village where the occupants are taking practice in the ominous “Lottery”. What is the lottery? Why do they do it? Emmy and Allie tackle these open questions through analyzing the practice of tradition, the foreshadowing cleverly placed by Jackson, and tying it together with history. You ready to draw? In our next episode, we will discuss "Unidentified Flying Object" by Robert Hayden, which can be found here: "Unidentified Flying Object" by Robert Hayden - E-Verse RadioE-Verse Radio For updates, feel free to follow us on Instagram @booksarescary If you have any comments or would like to request a story for us to cover, email us at booksarescary@gmail.com Here are links to the articles mentioned in this episode: "The Lottery" - https://www.newyorker.com/magazine/1948/06/26/the-lottery "The Haunted Mind of Shirley Jackson" - https://www.newyorker.com/magazine/2016/10/17/the-haunted-mind-of-shirley-jackson "'The Lottery' Letters" - https://www.newyorker.com/books/page-turner/the-lottery-letters

The first ever Close Talking episode to drop on Christmas day is a fittingly wintery pick - Connor and Jack contemplate the many layers of meaning in the classic poem "Those Winter Sundays" by Robert Hayden. They cover everything from the five love languages, to the lifelong impact of Adverse Childhood Experiences, and the limits of the sonnet. More on Robert Hayden, here: https://www.poetryfoundation.org/poets/robert-hayden Those Winter Sundays By: Robert Hayden Sundays too my father got up early and put his clothes on in the blueblack cold, then with cracked hands that ached from labor in the weekday weather made banked fires blaze. No one ever thanked him. I’d wake and hear the cold splintering, breaking. When the rooms were warm, he’d call, and slowly I would rise and dress, fearing the chronic angers of that house, Speaking indifferently to him, who had driven out the cold and polished my good shoes as well. What did I know, what did I know of love’s austere and lonely offices? Find us at our website: www.closetalking.com/ Find us on Facebook at: facebook.com/closetalking 
Find us on Twitter at: twitter.com/closetalking
 Find us on Instagram: @closetalkingpoetry You can always send us an e-mail with thoughts on this or any of our previous podcasts, as well as suggestions for future shows, at closetalkingpoetry@gmail.com.

Production and Sound Design by Kevin Seaman

In this episode, the first page of three books of poetry will be read:Collected Poems by Robert Hayden,West Wind by Mary Oliver, andBurning My Birth Certificate by Pamela Sutton

“Pluto isn’t a planet, so it must be a star." Tiffany’s solo episode on the possibility of children, what kids mean to her, and the stunning realization that parents are just kids themselves. Poem: "Those Winter Sundays" by Robert Hayden.

It’s not quite winter yet but we thought we’d begin with some poems to get us in the mood for the approaching season. Thanks to John O’Donnell, Jean O’Brien, Jane Clarke and Mark Granier for reading some of their favourite winter poems.Today’s Toaster Challenge guest is Kathleen MacMahon, whose new novel Nothing But Blue Sky has recently been published. Kathleen’s choice is The Spare Room by Helen GarnerPoems read:‘Lines in Winter’ by Mark Strand, read by John O’Donnell‘Snow’ by Louis MacNeice, read by Jean O’Brien‘Those Winter Sundays’ by Robert Hayden, read by Enda Wyley‘Small Cold Poem’ by Sally Purcell, from Collected Poems , edited by Peter Jay, Anvil Press, 2004, read by Peter Sirr‘Winter Love' by Linda Gregg, read by Peter Sirr‘River Snow’ Liu Tsung-yuan, read by Peter Sirr‘Mistaking the season’ by Yosa Buson, read by Peter Sirr‘To Juan at the Winter Solstice’ by Robert Graves, read by Seán Lysaght‘February Evening in New York' by Denise Levertov, read by Enda Wyley‘Encounter' by Czeslaw Miłosz, read by Mark Granier'Glacier' by Gillian Clarke, read by Jane ClarkeIntro/outro music: Colm Mac Con Iomaire, ‘Thou Shalt Not Carry’ from The Hare’s Corner, 2008, with thanks to Colm for permission to use it.1000 Years by fourstones (c) copyright 2005 Licensed under a Creative Commons Attribution Noncommercial license. http://dig.ccmixter.org/files/victor/2302 Romance for Piano and Cello by Martijn de Boer (NiGiD) (c) copyright 2015 Licensed under a Creative Commons Attribution Noncommercial (3.0) license. http://dig.ccmixter.org/files/NiGiD/50238 Ft: ATArtwork by Freya SirrTo subscribe to Books for Breakfast go to your podcast provider of choice (Apple Podcasts, Spotify, Google etc) and search for the podcast then hit subscribe or follow, or simply click the appropriate button above. If you want to be alerted when a new episode is released follow the instructions here for iPhone or iPad. For Spotify notifications follow the instructions here.

We are called to consider who we want to be as a people and what kind of world we will build with and for our children. Karen Murphy has been gathering wisdom for this juncture, as she’s worked around the world with teachers and educators in societies moving toward repair after histories of violence. We learn from her about how to prepare ourselves in the U.S. for the civic healing that we are called to ahead.Karen Murphy creates curricula, trains teachers, and leads global gatherings for Facing History and Ourselves, an organization that partners with over 100,000 teachers and their classrooms around the world. A hallmark of this work is trusting the moral and civic intelligence of middle and high school students. Karen has worked from Rwanda to Colombia, from South Africa to Northern Ireland, and she grew up in Illinois.Find the transcript for this show at onbeing.org

We are called to consider who we want to be as a people and what kind of world we will build with and for our children. Karen Murphy has been gathering wisdom for this juncture, as she’s worked around the world with teachers and educational systems in societies moving toward repair after histories of violence. We learn from her about how to prepare ourselves in the U.S. for the civic healing that we are called to ahead.Karen Murphy creates curricula, trains teachers, and leads global gatherings for Facing History and Ourselves, an organization that partners with over 100,000 teachers and their classrooms around the world. A hallmark of this work is trusting the moral and civic intelligence of middle and high school students. Karen has worked from Rwanda to Colombia, from South Africa to Northern Ireland, and she grew up in Illinois.This interview is edited and produced with music and other features in the On Being episode "Karen Murphy — The Long View, II: On Who We Can Become." Find the transcript for that show at onbeing.org. 

Asa Drake on her selections: I read two poems by Ai, "Cuba, 1962" and "Guadalajara Cemetery." I found her book Vice when I started working for the public library. I don't know how this book found its way into Central Florida, but her poems made me feel at home again in the South, where everything outside of me is beautiful and violent, and somehow means more work. Luther Hughes on his selections: For the last several years, I have suffered from depression. It kind of hit me out of nowhere. I've attempted suicide and contemplated it more than several times. "Ice Storm" by Robert Hayden is a poem I love because it exemplifies moments in my life where anything, even nature, will make you question not only beauty, but a higher power--God, really. "The Worst Thing" by Sharon Olds, even though this poem is about her divorce, reminds me of this, too, but it also pushes me to say "the worst thing." To face it with my whole heart. "won't you celebrate with me" by Lucille Clifton and "Instructions on Not Giving Up" by Ada Limon remind me to keep pushing. To breathe. To live.   Ana Portnoy Brimmer on her selections: In Nicole Cecilia Delgado's collection, Apenas un cántaro, a graffiti credited to "la Pensión Meza, cuarto 14" reads: "Vivir es despedirse." To live is to say goodbye. I've been spending a lot of time thinking about departures, leave-takings, distance, even before the Covid-19 pandemic and (extra)exacerbated political crisis came into view. The poems "In Exodus I Love You More," by Palestinian poet Mahmoud Darwish (translated by Fady Joudah), and "Lamento Borincano," by Puerto Rican poet Nicole Cecilia Delgado, seemed like appropriately heart-wrenching reads during moments in which goodbyes (those said, unsaid, feared, postponed, awaited, stolen, uncertain) permeate so much of our linguistic and emotional landscapes, and as we contemplate distance as a political condition. Finally, as a Puerto Rican poet and organizer of profound decolonial conviction myself, it seemed so fitting to read the work of a Palestinian and a Puerto Rican poet, side by side, both places of shared struggles, fighting against colonialism and occupation, and as voices for this meditation and moment.  En la colección, Apenas un cántaro, de Nicole Cecilia Delgado, un grafiti acreditado a "la Pensión Meza, cuarto 14" lee: "Vivir es despedirse." He pasado mucho tiempo pensando en las despedidas, los adioses, la distancia, incluso antes de que la pandemia del Covid-19 y la crisis política (extra)exacerbada se volvieran realidad. Los poemas "In Exodus I Love You More", por el poeta Palestino Mahmoud Darwish (traducido por Fady Joudah), y "Lamento Borincano", por la poeta Puertorriqueña Nicole Cecilia Delgado, me parecieron lecturas apropiadamente desgarradoras para momentos en los cuales las despedidas (aquellas dichas, no dichas, temidas, pospuestas, esperadas, robadas, inciertas) forman gran parte de nuestras esferas lingüísticas y emocionales, y mientras contemplamos la distancia como condición política. Finalmente, como poeta y organizadora Puertorriqueña de profunda convicción decolonial, me pareció oportuno leer el trabajo de un poeta Palestino y una poeta Puertorriqueña, lado a lado, ambxs siendo lugares de luchas compartidas, batallando contra el colonialismo y la ocupación, y como voces para esta meditación y momento.  Daniella Toosie-Watson on her selections: I don’t know how to write love poems. At least when I’ve tried, it’s been wildly challenging. I’m learning how to write intimacy and tenderness, and when I first read this poem by Ilya Kaminsky I thought it was just the perfect way to write those things. I aspire to write and craft love with this kind of subtlety and care.  I chose to read the Carl Phillips poem because it articulates my feelings around sex that I’ve never been able to put to words: “into the self that is partly the animal you’ve always wanted to be, that—depending—fear has prevented or rescued you from becoming.” When I first read that line it was a punch to the gut. You know those poems that you wish you wrote? This is one of those poems for me. Music: "Shift of Currents" by Blue Dot Sessions // CC BY-NC 2.0

Throughout US history, black people have been configured as sociolegal nonpersons, a subgenre of the human. Being Property Once Myself: Blackness and the End of Man (Harvard University Press, 2020) delves into the literary imagination and ethical concerns that have emerged from this experience. Each chapter tracks a specific animal figure―the rat, the cock, the mule, the dog, and the shark―in the works of black authors such as Richard Wright, Toni Morrison, Zora Neale Hurston, Jesmyn Ward, and Robert Hayden. The plantation, the wilderness, the kitchenette overrun with pests, the simultaneous valuation and sale of animals and enslaved people―all are sites made unforgettable by literature in which we find black and animal life in fraught proximity. Joshua Bennett argues that animal figures are deployed in these texts to assert a theory of black sociality and to combat dominant claims about the limits of personhood. Bennett also turns to the black radical tradition to challenge the pervasiveness of antiblackness in discourses surrounding the environment and animals. Being Property Once Myself is an incisive work of literary criticism and a close reading of undertheorized notions of dehumanization and the Anthropocene. Adam McNeil is a third year Ph.D. in History student at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Today's poem is Robert Hayden's "Frederick Douglass." See acast.com/privacy for privacy and opt-out information.

Throughout US history, black people have been configured as sociolegal nonpersons, a subgenre of the human. Being Property Once Myself: Blackness and the End of Man (Harvard University Press, 2020) delves into the literary imagination and ethical concerns that have emerged from this experience. Each chapter tracks a specific animal figure―the rat, the cock, the mule, the dog, and the shark―in the works of black authors such as Richard Wright, Toni Morrison, Zora Neale Hurston, Jesmyn Ward, and Robert Hayden. The plantation, the wilderness, the kitchenette overrun with pests, the simultaneous valuation and sale of animals and enslaved people―all are sites made unforgettable by literature in which we find black and animal life in fraught proximity. Joshua Bennett argues that animal figures are deployed in these texts to assert a theory of black sociality and to combat dominant claims about the limits of personhood. Bennett also turns to the black radical tradition to challenge the pervasiveness of antiblackness in discourses surrounding the environment and animals. Being Property Once Myself is an incisive work of literary criticism and a close reading of undertheorized notions of dehumanization and the Anthropocene. Adam McNeil is a third year Ph.D. in History student at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices

Throughout US history, black people have been configured as sociolegal nonpersons, a subgenre of the human. Being Property Once Myself: Blackness and the End of Man (Harvard University Press, 2020) delves into the literary imagination and ethical concerns that have emerged from this experience. Each chapter tracks a specific animal figure―the rat, the cock, the mule, the dog, and the shark―in the works of black authors such as Richard Wright, Toni Morrison, Zora Neale Hurston, Jesmyn Ward, and Robert Hayden. The plantation, the wilderness, the kitchenette overrun with pests, the simultaneous valuation and sale of animals and enslaved people―all are sites made unforgettable by literature in which we find black and animal life in fraught proximity. Joshua Bennett argues that animal figures are deployed in these texts to assert a theory of black sociality and to combat dominant claims about the limits of personhood. Bennett also turns to the black radical tradition to challenge the pervasiveness of antiblackness in discourses surrounding the environment and animals. Being Property Once Myself is an incisive work of literary criticism and a close reading of undertheorized notions of dehumanization and the Anthropocene. Adam McNeil is a third year Ph.D. in History student at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices

Throughout US history, black people have been configured as sociolegal nonpersons, a subgenre of the human. Being Property Once Myself: Blackness and the End of Man (Harvard University Press, 2020) delves into the literary imagination and ethical concerns that have emerged from this experience. Each chapter tracks a specific animal figure―the rat, the cock, the mule, the dog, and the shark―in the works of black authors such as Richard Wright, Toni Morrison, Zora Neale Hurston, Jesmyn Ward, and Robert Hayden. The plantation, the wilderness, the kitchenette overrun with pests, the simultaneous valuation and sale of animals and enslaved people―all are sites made unforgettable by literature in which we find black and animal life in fraught proximity. Joshua Bennett argues that animal figures are deployed in these texts to assert a theory of black sociality and to combat dominant claims about the limits of personhood. Bennett also turns to the black radical tradition to challenge the pervasiveness of antiblackness in discourses surrounding the environment and animals. Being Property Once Myself is an incisive work of literary criticism and a close reading of undertheorized notions of dehumanization and the Anthropocene. Adam McNeil is a third year Ph.D. in History student at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices

Throughout US history, black people have been configured as sociolegal nonpersons, a subgenre of the human. Being Property Once Myself: Blackness and the End of Man (Harvard University Press, 2020) delves into the literary imagination and ethical concerns that have emerged from this experience. Each chapter tracks a specific animal figure―the rat, the cock, the mule, the dog, and the shark―in the works of black authors such as Richard Wright, Toni Morrison, Zora Neale Hurston, Jesmyn Ward, and Robert Hayden. The plantation, the wilderness, the kitchenette overrun with pests, the simultaneous valuation and sale of animals and enslaved people―all are sites made unforgettable by literature in which we find black and animal life in fraught proximity. Joshua Bennett argues that animal figures are deployed in these texts to assert a theory of black sociality and to combat dominant claims about the limits of personhood. Bennett also turns to the black radical tradition to challenge the pervasiveness of antiblackness in discourses surrounding the environment and animals. Being Property Once Myself is an incisive work of literary criticism and a close reading of undertheorized notions of dehumanization and the Anthropocene. Adam McNeil is a third year Ph.D. in History student at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices

Throughout US history, black people have been configured as sociolegal nonpersons, a subgenre of the human. Being Property Once Myself: Blackness and the End of Man (Harvard University Press, 2020) delves into the literary imagination and ethical concerns that have emerged from this experience. Each chapter tracks a specific animal figure―the rat, the cock, the mule, the dog, and the shark―in the works of black authors such as Richard Wright, Toni Morrison, Zora Neale Hurston, Jesmyn Ward, and Robert Hayden. The plantation, the wilderness, the kitchenette overrun with pests, the simultaneous valuation and sale of animals and enslaved people―all are sites made unforgettable by literature in which we find black and animal life in fraught proximity. Joshua Bennett argues that animal figures are deployed in these texts to assert a theory of black sociality and to combat dominant claims about the limits of personhood. Bennett also turns to the black radical tradition to challenge the pervasiveness of antiblackness in discourses surrounding the environment and animals. Being Property Once Myself is an incisive work of literary criticism and a close reading of undertheorized notions of dehumanization and the Anthropocene. Adam McNeil is a third year Ph.D. in History student at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices

Grace Cavalieri presents 20th Century Poets with minute commentaries. This includes Hayden reading his Immortal poem Those Winter Sundays. Robert Hayden was an American poet, essayist, and educator. He served as Consultant in Poetry to the Library of Congress from 1976 to 1978, a role today known as US Poet Laureate. He was the first African-American writer to hold the office. His poems have become part of American culture.

Jessica B. Harris continues her "Tell Me a Story, Read Me a Poem" series with two readings: Runagate Runagate by Robert Hayden & "Census" from "Simple's Uncle Sam" by Langston Hughes Powered and distributed by Simplecast.

Baha'i mom and poet Andrea Hope shares about the Baha’i Festival of RIdvan. This episode includes a reading of the poem “Baha’u’llah in the Garden of Ridvan" by Robert Hayden. Note 107 of the Kitab-i-Aqdas: https://www.bahai.org/library/authoritative-texts/bahaullah/kitab-i-aqdas/14#170824240Naw-Ruz is Everywhere: https://www.youtube.com/watch?v=AUtZG2buBm4YouTube video The Festival of Ridvan for children: https://www.youtube.com/watch?v=1uKgA-ZPJKs&t=6s Ridvan banners on Etsy: https://www.etsy.com/shop/AGladsomeHearthttps://www.etsy.com/shop/DelightedHeartsShophttps://www.etsy.com/shop/PAPALOTESHOPBaha'u'llah in the Ridvan Garden by Robert Hayden Agonies confirm His hour,and swords like compass-needles turntoward His heart,The midnight air is forestedwith presences that shelter Himand sheltering praiseThe auroral darkness which is Godand sing the word made flesh againin Him.Eternal exile whose returnepiphanies repeatedlyforetellHe watches in a borrowed garden,prays. And sleepers toss upontheir armored beds,Half-roused by golden knocking atthe doors of consciousness. Energieslike angels danceGlorias of recognition.Within the rock the undiscovered sunsrelease their light.Email: info@andreahope.orgWebsite: www.andreahope.org

This week on The Literary Life, our hosts Angelina Stanford, Cindy Rollins and Thomas Banks are back to discuss Act 2 of The Winter’s Tale by Williams Shakespeare. After sharing their commonplace quotes, they begin with a brief recap of the plot. They highlight the story begun by Mamillius upon the entrance of Leontes in Act 2, Scene 1. Angelina explores the concept of Leontes as a tragic hero. Our hosts also get into the ideas of constancy versus inconstancy, lunacy and the Renaissance view of women as changeable. Shakespeare, on the other hand, portrays a man as the one who is changeable and the woman as constant. As we continue through this act, our hosts highlight Leontes’ illness and how it infects Mamillius. They also talk about Paulina as a sort of foil for Leontes, as well as her strength of character in the face of the king’s unreasonable behavior. Cindy points out the unthinkable nature of Leontes’ desire to burn his own wife and child. The Winter’s Tale Show Schedule: February 11: Act III February 18: Act IV February 25: Act V March: Live Q&A for Patreon Fellows Those Winter Sundays by Robert Hayden Sundays too my father got up early and put his clothes on in the blueblack cold, then with cracked hands that ached from labor in the weekday weather made banked fires blaze. No one ever thanked him. I’d wake and hear the cold splintering, breaking. When the rooms were warm, he’d call, and slowly I would rise and dress, fearing the chronic angers of that house, Speaking indifferently to him, who had driven out the cold and polished my good shoes as well. What did I know, what did I know of love’s austere and lonely offices? Robert Hayden, “Those Winter Sundays” from Collected Poems of Robert Hayden, edited by Frederick Glaysher. Copyright ©1966 by Robert Hayden. Book List: Amazon Affiliate Links Range by David Epstein There Was a Man Dwelt by a Churchyard by M. R. James Chanticleer and the Fox by Barbara Cooney The Aethiopica by Heliodorus Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: Find Angelina at  https://angelinastanford.com, on Instagram @angelinastanford, and on Facebook at https://www.facebook.com/ANGStanford/ Find Cindy at https://cindyrollins.net, on Instagram @cindyordoamoris and on Facebook at https://www.facebook.com/cindyrollins.net/. Check out Cindy’s own Patreon page also! Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let’s get the book talk going! http://bit.ly/literarylifeFB

Today's poem is Robert Hayden's "Those Winter Sundays." Remember: rate, review, spread the word. See acast.com/privacy for privacy and opt-out information.

Robert Hayden and his life struggles he has to face, to be able to become successful!

Hello and welcome to the Baha’i Blogcast with me your host, Rainn Wilson. In this series of podcasts I interview members of the Baha’i Faith and friends from all over the world about their hearts, and minds, and souls, their spiritual journeys, what they’re interested in, and what makes them tick. In this episode, I'm at my home in LA with Derik Smith, a professor in the Department of Literature at Claremont McKenna College in California, and his work focuses on African American literary culture, with a particular interest in poetry. We talk about African American poet and Baha'i, Robert Hayden, plus we look at the concept of black people being likened to the "pupil of the eye" in the Baha'i Writings. We also discuss racism, the prison system, constructive resilience, and the role each one of us can play in ensuring individual and social transformation and justice. I hope you enjoy the conversation! Dr. Smith also teaches and writes about representations of blackness in American film and musical culture. His 2018 monograph, 'Robert Hayden In Verse: New Histories of African American Poetry and the Black Arts Era', recently won the College Language Association's annual book award. His current scholarship focuses on the poetics of rap, and the rise of the genre during the final decades of the twentieth century, as well as the connection between critical race studies and the Baha’i Faith. Smith regularly teaches courses in American prisons and nurtures activist interests in prison studies and pedagogy. He and his family live in Southern California, USA. To find out more about Derik Smith and some of the things we covered in this episode, check out the following links: * Read Derek's essay 'Centering the “Pupil of the Eye”: Blackness, Modernity, and the Revelation of Baha’u’llah' (https://bit.ly/35aHafr) found in The Journal of Baha'i Studies (https://bit.ly/35cS1pe), Volume 29, Number 1 Spring-Summer 2019. * We discuss the following quote: "Thou art like unto the pupil of the eye which is dark in color, yet it is the fount of light and the revealer of the contingent world". –Abdu’l-Baha * We mention the following books: i. 'Robert Hayden in Verse: New Histories of African American Poetry and the Black Arts Era' by Derik Smith: https://amzn.to/378YZxt ii. 'The Book of Certitude (Kitab-i-Iqan)' by Baha'u'llah: https://bit.ly/2XpuDT1 iii. 'The Dawn-Breakers' by Nabil-i-Azam: https://bit.ly/2pqWB40 (Baha'i Blog article: https://bit.ly/33UM1S0) iv. 'God Passes By' by Shoghi Effendi: https://bit.ly/37eIqAf v. 'The Most Holy Book (Kitab-i-Aqdas)' by Baha'u'llah: https://bit.ly/33XC5Hk vi. 'The Advent of Divine Justice' by Shoghi Effendi: https://bit.ly/340xgwM vii. 'Tablets of Baha'u'llah' by Baha'u'llah: https://bit.ly/37pdsFI viii. 'The Writings and Talks of Abdu'l-Baha' by Abdu'l-Baha: https://bit.ly/2r0LAHe * Learn more about Robert Hayden here on Wikipedia: https://bit.ly/2psQ8FT * A collection of poems by Robert Hayden here on Amazon.com: https://amzn.to/37i0uJy * Rainn mentions the writer Anand Giridharadas, author of 'Winners Take All: The Elite Charade of Changing the World': https://amzn.to/2CM6JHF * Derek talks about volunteering at the Baha'i World Centre: http://www.bwc.org/ and from this Baha'i Blog article: https://bit.ly/2NYILPT * We discuss "Constructive Resilience", an example of which you can read about from this article by Michael Karlberg: https://bit.ly/37hs1eo * Listen to Michael Karlberg here on the Baha'i Blogcast with Rainn Wilson: https://bit.ly/2KxZXcK Be sure to subscribe to the Baha’i Blogcast for more episodes on: * YouTube: bit.ly/2JTNmBO * iTunes: apple.co/2leHPHL * Soundcloud: @bahaiblogcast * Spotify: spoti.fi/2IXRAnb If you would like to find out more about the Baha'i Faith visit BAHAI.ORG, and for more great Baha'i-inspired content check out BAHAIBLOG.NET: bahaiblog.net/ Thanks for listening! -Rainn Wilson

Spine specialist, Dr. Robert Hayden and his patient share a story of nagging neck pain and its unusual cause and effective treatment. Dr. Hayden began work in health care as a Cardiovascular Clinical Nurse Specialist, but also was an Executive Director of a state association, continuing education consultant, and registered lobbyist while in professional nursing. He earned a PhD from the University of Mississippi while enrolled at Life University, from which he graduated with a Doctor of Chiropractic degree in 1995. He specializes in Cox Flexion Distraction/Disc Decompression technique. Resources: Iris City Chiropractic Find a Back Doctor The Cox 8 Table by Haven Medical

Professor of English at Transylvania University and former Kentucky Poet Laureate, Dr. Richard Taylor, reads “Those Winter Sundays” by Robert Hayden.

Kathleen Driskell, director of the Spalding University MFA program, recites a poem by Robert Hayden titled “Those Winter Sundays.”

Welcome to episode 15. This week, Ed and Eric are joined by Sydney to read and discuss poetry, starting with Silvia Plath's “Daddy,” a poem that is definitely not about the war Bryan! The episode hearkens back to the lost Hannah Gadsby episode but is different in that it's actually good. Poems are copy and pasted below to follow along! See you on the next one.      Next week's homework: learn to code     Listen to more of The Front Bottoms on Spotify and Apple Music   Follow us on twitter @whatsthehwpod   ————   Daddy BY SYLVIA PLATH   You do not do, you do not do    Any more, black shoe In which I have lived like a foot    For thirty years, poor and white,    Barely daring to breathe or Achoo.   Daddy, I have had to kill you.    You died before I had time—— Marble-heavy, a bag full of God,    Ghastly statue with one gray toe    Big as a Frisco seal   And a head in the freakish Atlantic    Where it pours bean green over blue    In the waters off beautiful Nauset.    I used to pray to recover you. Ach, du.   In the German tongue, in the Polish town    Scraped flat by the roller Of wars, wars, wars. But the name of the town is common.    My Polack friend   Says there are a dozen or two.    So I never could tell where you    Put your foot, your root, I never could talk to you. The tongue stuck in my jaw.   It stuck in a barb wire snare.    Ich, ich, ich, ich, I could hardly speak. I thought every German was you.    And the language obscene   An engine, an engine Chuffing me off like a Jew. A Jew to Dachau, Auschwitz, Belsen.    I began to talk like a Jew. I think I may well be a Jew.   The snows of the Tyrol, the clear beer of Vienna    Are not very pure or true. With my gipsy ancestress and my weird luck    And my Taroc pack and my Taroc pack I may be a bit of a Jew.   I have always been scared of you, With your Luftwaffe, your gobbledygoo.    And your neat mustache And your Aryan eye, bright blue. Panzer-man, panzer-man, O You——   Not God but a swastika So black no sky could squeak through.    Every woman adores a Fascist,    The boot in the face, the brute    Brute heart of a brute like you.   You stand at the blackboard, daddy,    In the picture I have of you, A cleft in your chin instead of your foot    But no less a devil for that, no not    Any less the black man who   Bit my pretty red heart in two. I was ten when they buried you.    At twenty I tried to die And get back, back, back to you. I thought even the bones would do.   But they pulled me out of the sack,    And they stuck me together with glue.    And then I knew what to do. I made a model of you, A man in black with a Meinkampf look   And a love of the rack and the screw.    And I said I do, I do. So daddy, I'm finally through. The black telephone's off at the root,    The voices just can't worm through.   If I've killed one man, I've killed two—— The vampire who said he was you    And drank my blood for a year, Seven years, if you want to know. Daddy, you can lie back now.   There's a stake in your fat black heart    And the villagers never liked you. They are dancing and stamping on you.    They always knew it was you. Daddy, daddy, you bastard, I'm through.     Sylvia Plath, “Daddy” from Collected Poems. Copyright © 1960, 1965, 1971, 1981 by the Estate of Sylvia Plath. Editorial matter copyright © 1981 by Ted Hughes. Used by permission of HarperCollins Publishers.   ————   Those Winter Sundays BY ROBERT HAYDEN   Sundays too my father got up early and put his clothes on in the blueblack cold, then with cracked hands that ached from labor in the weekday weather made banked fires blaze. No one ever thanked him.   I'd wake and hear the cold splintering, breaking. When the rooms were warm, he'd call, and slowly I would rise and dress, fearing the chronic angers of that house,   Speaking indifferently to him, who had driven out the cold and polished my good shoes as well. What did I know, what did I know of love's austere and lonely offices?     Robert Hayden, “Those Winter Sundays” from Collected Poems of Robert Hayden, edited by Frederick Glaysher. Copyright ©1966 by Robert Hayden. Reprinted with the permission of Liveright Publishing Corporation.

What's good friends. This week we get down with getting back into the swing of "the poetry world." We also sat down with Rick Barot and got taken all the way to school. He dropped so much knowledge on art and the body and the state of contemporary American poetry. Hurry up and listen already! RICK BAROT was born in the Philippines, grew up in the San Francisco Bay Area, and attended Wesleyan University and The Writers' Workshop at the University of Iowa. He has published three books of poetry with Sarabande Books: The Darker Fall (2002); Want (2008); and Chord (2015), which was a finalist for the LA Times Book Prize and received the 2016 UNT Rilke Prize, the PEN Open Book Award, and the Publishing Triangle's Thom Gunn Award. Barot is the poetry editor of New England Review.  He lives in Tacoma, Washington and teaches at Pacific Lutheran University.  He is also the director of The Rainier Writing Workshop, the low-residency MFA in Creative Writing at PLU. His fourth book of poems, The Galleons, will be published by Milkweed Editions in Spring 2020. THOSE WINTER GIN AND TONICS:  What did we know, what did we know of a gin and tonic's potential to be a winter cocktail? Nothing! (Until we invented this version). The addition of Amaro Averna and fresh blood orange give the refreshing G&T you know and love some deeper bitter notes and a blink more sweetness. The title of the drink alludes to the famous, heartbreaking sonnet “Those Winter Sundays” by Robert Hayden. Ingredients: Gin (we used Seattle-based Big Gin), Tonic Water, Amaro Averna, Blood Orange REFERENCES: "Archaic torso of Apollo" by Rainer Maria Rilke; "Ode to a Grecian Urn" by John Keats; “Styrofoam Cup” by Brenda Hillman; Las Meninas by Diego Veláquez; "An A to Z of Theory: Roland Barthes and Semiotics" by Andrew Robinson; The Princeton Encyclopedia of Poetry & Poetics; "At the Fishhouses" by Elizabeth Bishop; VIDA

This Robert Hayden poem leads D&M into a conversation about parental love and sacrifice.

 “A sonnet,” said the poet Dante Gabriel Rossetti, “is a moment’s monument.” But who invented the sonnet? Who brought it to prominence? How has it changed over the years? And why does this form continue to be so compelling? In this episode of the History of Literature, we take a brief look at one of literature's most enduring forms, from its invention in a Sicilian court to the wordless sonnet and other innovative uses. Professor Bill walked us through a sonnet by Robert Hayden in Episode 97 - Dad Poetry (with Professor Bill). One of the world's great sonneteers, Elizabeth Barrett Browning, had her moment in Episode 95 - The Runaway Poets - The Triumphant Love Story of Elizabeth Barrett Browning and Robert Browning. Shakespeare's Romeo and Juliet, the lovers whose first words to one another magically form a perfect sonnet, found one another in Episode 53 - Romeo and Juliet.  Support the show at patreon.com/literature. Find out more at historyofliterature.com, jackewilson.com, or by following Jacke and Mike on Twitter at @thejackewilson and @literatureSC. Or send an email to jackewilsonauthor@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Poetry for you. The Good Bones by Maggie Smith and Night Blooming Cereus by Robert Hayden

Let's explore the art of intricate noise!  Please join our special guests, fellow Afternoon Poet/Wordsmith, Clark Holtzman and jazz drummer, David Shore for an effervescent episode comprised of tantalizing jazz meshed and mated with words. Clark and David commenced collaborating this past spring, arranging poetry to syncopated jazz rhythms. The concept was to inject classical an original poetry to yield an unconventional duo of voice and percussion. Featured literary works include rich poetic samples embodying: Shakespeare, Lord Byron, WB Yeats, EE Cummings, William Carlos Williams, Robert Hayden, Michael S. Harper and Clark Holtzman himself. Clark asserts that, "This is a program for everybody. We hope to fill the theater with young and old and every age in between. The book of poems accompanying the performance is worth the price of the admission itself." Clark and David will be featured at a special benefit for the Friends of the Seymour Center.   Details are as follows:   "SHAKESPEARE IN 5/4 TIME? THE SEYMOUR CENTER SYNCOPATES THE CLASSICS IN OCTOBER Saturday, October 14—3:00-4:30 p.m. & Thursday, October 19—6:30-8:00 p.m. Venue: Robert & Pearl Seymour Center 2551 Homestead Road, Chapel Hill, NC $15 at the door:  Price of admission includes a book of poems: WORDS, JAZZ & HIP-HOP AT THE SEYMOUR CENTER THEATER: POETRY PERFORMED LIKE YOU'VE NEVER HEARD BEFORE.  

It’s Father’s Day weekend here in the U.S., and that means thinking about golf, grilling, and…poetry? On the History of Literature Podcast it does! Professor Bill Hogan of Providence College stops by the show to discuss some classic poems about fathers and fatherhood, “Digging” by Seamus Heaney and “Those Winter Sundays” by Robert Hayden. Jacke asks the good professor whether his devotion to poetry has affected his relationship with his father or his kids, and the two discuss the two poems that Jacke’s dad loves: “The Passing of the Backhouse” by James Whitcomb Riley and “Little Willie Took a Chance” by Unknown. Jacke also delivers some thoughts about his father’s Eagle Scout rituals, and how a surprising revelation brought his father his son closer together (at Jacke’s expense). It’s a special edition devoted to Dad Poetry on the History of Literature!  Show Notes:  Contact the host at jackewilsonauthor@gmail.com or by leaving a voicemail at 1-361-4WILSON (1-361-494-5766).  You can find more literary discussion at jackewilson.com and more episodes of the series at historyofliterature.com. Check out our Facebook page at facebook.com/historyofliterature. You can follow Jacke Wilson at his Twitter account @WriterJacke. You can also follow Mike and the Literature Supporters Club (and receive daily book recommendations) by looking for @literatureSC. Music Credits: “Handel – Entrance to the Queen of Sheba” by Advent Chamber Orchestra (From the Free Music Archive / CC by SA). “Bummin in Tremolo” by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Robert Hayden's harrowing narrative poem on the slave trade

Larry O. Dean was born and raised in Flint, Michigan. As a young man, he worked with Academy Award-winning filmmaker, Michael Moore, published essays and reviews on popular culture in the alternative press, and also cartooned for fanzines and other underground outlets. He attended the University of Michigan, where he won three Hopwood Awards in Creative Writing, along with fellow poets John Ciardi, Robert Hayden, Jane Kenyon, and Frank O’Hara, among others; and Murray State University’s low-residency MFA program. He teaches creative writing, literature, and composition as an adjunct English instructor, and is a Poet-in-Residence in the Chicago Public Schools through the Poetry Center of Chicago’s Hands on Stanzas program. He was a recipient of the Gwendolyn Brooks Award for teaching excellence in 2004.

Lucille Clifton was the third poet to read in the Raymond Danowski Poetry Library Reading Series and read in 2006. At 16, Lucille Clifton entered college early, matriculating as a drama major at Howard University. In 1969, poet Robert Hayden entered her poems into competition for the YW-YMHA Poetry Center Discovery Award; she won the award and with it the publication of her first volume of poems, Good Times. Clifton served as Poet Laureate of Maryland from 1979 to 1982, and in 2000 she won the National Book Award for her selected poems, Blessing the Boats. Her papers were acquired by Emory in 2006. In addition, MARBL obtained Lucille Clifton’s personal library, now part of the Raymond Danowski Poetry Library.

Archival recordings of the poet Robert Hayden, with an introduction to his life and work. Recorded 1968 and 1977, Library of Congress, Washington DC.

Vikram Chandra teaches creative writing at UC Berkeley. He reads a poem by Robert Hayden. Series: "Lunch Poems Reading Series" [Humanities] [Show ID: 17993]

Vikram Chandra teaches creative writing at UC Berkeley. He reads a poem by Robert Hayden. Series: "Lunch Poems Reading Series" [Humanities] [Show ID: 17993]

Vikram Chandra teaches creative writing at UC Berkeley. He reads a poem by Robert Hayden. Series: "Lunch Poems Reading Series" [Humanities] [Show ID: 17993]

Vikram Chandra teaches creative writing at UC Berkeley. He reads a poem by Robert Hayden. Series: "Lunch Poems Reading Series" [Humanities] [Show ID: 17993]