Podcasts about solmaz sharif

The queens discuss and revise a recent list of "best poetry," adding other tops (& bottoms & verses & sides, you get the point, miss thing).Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series.James's ROMANTIC COMEDY is available from Four Way Books.NOTES:For a few lists of best 21st Century poetry:                                                                                  The Atlantic (which we read in the show).                                                                                The New York TimesRead Mark Strand's titular poem "Man and Camel"Read Craig Morgan Teicher's review of Glück's Faithful and Virtuous NightWatch Tracy K. Smith's answer to "Does poetry matter" in this conversation with Tracey E. Hucks at the Harvard Radcliffe Institute. If you'd like to see Smith read from her Pulitzer-Prize-winning Life on Mars, here's a particularly good one.Read "Deception Story" by Solmaz Sharif from LookJames mediated a conversation and workshop with Diane Seuss on poetry and mental health, which can be viewed on YouTube hereRead a selection of poems from Patricia Smith's Blood DazzlerThe Brigit Pegeen Kelly poem James talked about in the show is "Closing Time; Iskandariya." Here it is, posted on Ilya Kaminsky's social media. Read a portfolio of writers on Kelly's book Song published recently in West Branch online (edited by Shara Lessley with short essays by David Baker, Amit Majmudar, Gabrielle Bates, and C. Dale Young).

Palestinian-American artist and writer Fargo Nissim Tbakhi speaks with Lauren Wetmore about the political implication of form through two texts: Tbakhi's own piece "Notes on Craft: Writing in the Hour of Genocide" (Protean Magazine, 2023), and Iranian-American poet Solmaz Sharif's “The Near Transitive Properties of the Political and Poetical: Erasure” (The Volta, 2013). “In times of extreme crisis we end up bumping against particular limitations of art,” reflects Tbakhi, while also reminding us that “the idea of artistic engagement with moments of crisis has been curtailed and limited by state powers and oppressive ideologies in many different forms.” This episode continues the Podcast's platforming of Palestinian voices in line with Momus's ongoing commitment to PACBI.Momus: The Podcast is edited by Jacob Irish, with production assistance from Chris Andrews. Many thanks to this episode's sponsor, Daniel Faria Gallery.All episodes are available on momus.ca, and through Google Podcasts, Stitcher, iTunes, or wherever you get your podcasts.

What does literary realism look like in the 21st century—and what can it do? In episode 80 of the Podcast for Social Research, recorded live at Liz's Book Bar in Brooklyn, BISR faculty Paige Sweet sat down with fellow faculty and debut novelist Joseph Earl Thomas plus special guests, writers Nana Kwame Adjei-Brenyah and Vinson Cunningham, to talk about what it means, what it takes, and what it feels like to represent social reality in contemporary fiction. In novels that test the boundaries of realism, traditionally conceived—borrowing techniques from autofiction, speculative fiction, dystopia, satire, and academic non-fiction—Thomas (God Bless You, Otis Spunkmeyer), Adjei-Brenyah (Chain-Gang All-Stars), and Cunningham (Great Expectations) get beneath the detailed depiction of everyday life to discuss, among other things, the world-building that happens in every act of writing; how fiction can serve as a testing ground for theoretical commitments; the carceral nature of our social institutions and their ripple effects through our intimate lives; the violence that goes on under the guise of pleasure; and how to feel and depict life as precious in even the most devastating and dehumanizing conditions. Persons and things touched upon include: the US Constitution, bell hooks, Gayatri Spivak, Ruth Wilson Gilmore, Henry James, Solmaz Sharif, Saidiya Hartman, Goodreads, love, looking, “boundaries,” and beauty.  This episode was produced by Ryan Lentini.

What kind of love do we find in comparison? Keegan Cook FInberg joins the podcast to discuss Harryette Mullen's poem "Dim Lady," which is simultaneously a love poem and a (perhaps?) loving tribute to Shakespeare's Sonnet 130 (itself a love poem and parody). Keegan is an assistant professor of English at the University of Maryland, Baltimore County. She is finishing a book called Poetry in General: Interdisciplinarity and U.S. Public Forms. You can find a sample of the work she's doing in that book in her article in Textual Practice on Frank O'Hara and the Seagram Building. And you can find samples of her new project, on poetry and surveillance, in essays she has written on Claudia Rankine and Solmaz Sharif. Follow Keegan on Twitter.As ever, please follow, rate, and review the podcast if you're enjoying it. And share an episode with a friend! You can also subscribe to my Substack, where you'll get occasional updates on the pod and my other work.

There may be no writer, no thinker, who has shaped my conversations on the show more than Christina Sharpe. Whether her work is explicitly part of a conversation (in episodes with Ross Gay, Solmaz Sharif, Natalie Diaz, and Dionne Brand, to name a few) or whether her thought and vision provide a foundation and subtext […] The post Christina Sharpe : Ordinary Notes appeared first on Tin House.

Nosipho Mngomezulu asks Joel Cabrita about her groundbreaking new book Written Out: The Silencing of Regina Gelana Twala. Together, they discuss Twala's life in South Africa and Eswatini, her writing (ethnography, fiction, letters and newspaper columns), academic gatekeeping, systems of oppression, Twala's subversive politics as well as her family and legacy. Joel reflects on her own positionality, the ethics of biography, legal and copyright issues, and the hope that Twala's words finally find the audience she was denied in her lifetime. Nosipho Mngomezulu is a lecturer in the Anthropology Department at the University of the Witwatersrand and a Research Fellow in Science Communication at Stellenbosch University's Journalism Department. Joel Cabrita is the Susan Ford Dorsey Director of the Center for African Studies and an associate professor of African history at Stanford University. She is also a senior research associate in the Department of Historical Studies at the University of Johannesburg. Her most recent book is Written Out: The Silencing of Regina Gelana Twala (Ohio University Press and Wits University Press, 2023). In this episode we stand in solidarity with Salma al-Shehab, a PhD student, women's rights activist and academic. You can read more about her case here: https://www.pen-international.org/news/saudi-authorities-must-release-womens-rights-activist-salma-al-shehab Nosipho and Joel share powerful messages and tributes for Salma. Nosipho reads an extract from “An Otherwise” by Solmaz Sharif and Joel reads “When the Copperplate Cracks” by Imtiaz Dharker. (You can hear Imtiaz read it here: https://www.youtube.com/watch?v=fkAhvoUzakE) This podcast series is made possible by a grant from the U.S. Embassy in South Africa to promote open conversation and highlight shared histories.

Episode 167 Notes and Links to Mai Der Vang's Work         On Episode 167 of The Chills at Will Podcast, Pete welcomes Mai Der Vang, and the two discuss, among other things, her childhood as bilingual and a voracious reader, formative writers and writing in her life, catalysts to write about Hmong culture, and specifically the towering achievement that is Yellow Rain, with its depiction of an often-dehumanized and preyed upon people and other pertinent issues of empire and colonization.      Mai Der Vang is the author of Yellow Rain (Graywolf Press, 2021), winner of the Lenore Marshall Poetry Prize from the Academy of American Poets, an American Book Award, and a finalist for the 2022 Pulitzer Prize in Poetry, along with Afterland (Graywolf Press, 2017), winner of the First Book Award from the Academy of American Poets. The recipient of a Lannan Literary Fellowship, her poetry has appeared in Tin House, the American Poetry Review, and Poetry, among other journals and anthologies. She teaches in the MFA Program in Creative Writing at Fresno State.            Buy Yellow Rain   Mai Der Vang's Website   “Review: YELLOW RAIN – Mai Der Vang (Graywolf Press),” by Ronnie K. Stephens, The Poetry Question, November 18, 2021   Interviews/Press for Mai At about 6:40, Pete and Mai Der shout Fresno stars like Lee Herrick, Juan Felipe Herrera,    At about 8:00, Mai gives background on her reading and language relationships, starting from childhood, and leading to an overview of her multigenerational family background and Hmong as her first language    At about 12:00, Mai responds to Pete's question about representation for Hmong people in the literary world, including the awkward links to Fadiman's The Spirit Catches You and You Fall Down   At about 16:15, Mai discusses writers and writing that have been “game-changers” for her, including the work of Juan Felipe Herrera, Cathy Park Hong, Solmaz Sharif, and Douglas Kearney   At about 19:00, Pete asks Mai about any “ ‘Eureka' moments” that have guided her into writing as a profession; she cites the Hmong Community Writers' Collective as a guiding force    At about 21:35, Mai answers Pete's questions about ideas of dialogue and silence in Hmong communities regarding the “Secret War” and its aftermath    At about 24:15, Pete outlines Yellow Rain's opening and asks Mai about “following the rains”-she details her research (10 years!)   At about 25:05, Pete refers to a review of the book from The Poetry Question saying the book “defies genre”-Pete asks about goals in mind for the book, regarding its unique and diverse styles   At about 27:40-34:05, Pete cites the Wikipedia article regarding “Yellow Rain” and asks Mai for a background on it in connection to the Hmong and their lives post-”Secret War”   At about 34:05, Pete quotes from and asks about some of the collection's early poems and refers to ideas of the Hmong as disregarded; Mai discusses an oft-quoted line about “gardening”   At about 36:20, Pete and Mai make comparisons between Roberto Lovato's incredible work with Unforgetting and Mai's work   At about 37:10, Pete and Mai discuss a disastrous and racist Radiolab interview regarding the Hmong and yellow rain    At about 39:00, Pete and Mai discuss the theme of dehumanization that runs throughout her collection    At about 40:40, Mai talks about the ineptitude and missteps that led to an inability to make definitive proclamations about yellow rain's provenance    At about 44:05, The two discuss the double meanings of “specimen” and the ways in which a possible chemical weapon used against the Hmong was incredibly destructive and hard to trace   At about 45:30, The bees are investigated and discussed-ideas that bee feces may have been the reason for the yellow mist were put forth   At about 49:00, Ideas of colonization and American empire are investigated via the book's poems    At about 52:35, Pete reads a line that sums up so profoundly ideas of “what if's” and    At about 53:50, Mai talks about ideas of resistance and about any possible political and cultural actions-i.e., the future and any advocacy    At about 59:00, Mai reads the last poem of the collection, “And Yet Still More” and discusses some key lines    At about 1:02:55, Mai gives contact and social media info     You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.    Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl          Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.    Please tune in for Episode 168 with Dur e Aziz Amna. She is from Rawalpindi, Pakistán, now living in Newark, NJ, her work has appeared in the New York Times and Al Jazeera, among others; was selected as Forbes 30 Under 30 in 2022; her standout debut novel is American Fever.    The episode will air on February 21.  

Ett trauma sätter inte spår bara hos den som upplevt det, utan kan prägla flera generationer. Nazanin Raissi reflekterar över fenomenet som kallas postmemory, eller postminne på svenska. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Fotoalbumets pärmar vilar mot bordet. Jag lösgör det svartvita familjefotografiet bakom det skyddande höljet och vänder på det. Baksidan täcks av text som strukits över med täta cirklar och streck av blå kulspetspenna. Jag lutar ögat mot Agfa-luppen som förflyttar mig närmare. Långsamt drar jag luppen över det blå klottret, som likt tusenåriga svårtydda inskriptioner på pergament, får mig att skymta det förflutna genom nuet. Jag visar fotografiet för min far. Berättar att jag vänder på varje fotografi. Minnen är alltid i kris, säger han. Texten förblir omöjlig att dechiffrera. Jag placerar tillbaka fotografiet i albumet. Människorna här är borta men deras spår kvarstår. Postmemory, eller postminne, beskriver en senare generations förhållande till det personliga, kollektiva eller kulturella trauma som en tidigare generation upplevt. Vi talar här om upplevelser som denna senare generation “minns” endast genom berättelser, bilder och handlingar. Upplevelser som överförts så djupt och monumentalt att de tycks utgöra minnen i sig själva enligt Marianne Hirsch, professor i litteratur vid Columbia University som formulerat begreppet. Förledet “post” ska inte tolkas som att vi i den senare generationen lever bortom minnet och att vi upplever det som historia. Nej, tvärtom reflekterar “post” här att minnet fritt förflyttar sig mellan generationer och människors medvetanden och på så vis blir ett slags gemensamt upplevd biografi. Hirsch utgår från Förintelsen i sin analys men menar att postminne kan uppstå i många olika sammanhang där traumatisk överföring sker. Ofta förs minnena vidare inom en familj, men familjeband är inte nödvändigt för att postminne ska uppstå. Vad som är av betydelse är att kunna identifiera sig med den som erfarit traumat. Identifikationen gör det möjligt för traumat att fortplanta sig, att bli ett minne i en yngre generation, också bortom släktskap. Förutsättningen är att där finns en länk till ett kulturellt eller nationellt trauma som skapar känslan av att “det kunde ha varit jag”. Till skillnad från minnen relaterade till posttraumatisk stress rör det sig således inte om lagrade och faktiska minnen, utan om ett slags “icke-minnen” överförda genom “kroppens språk”. Alltså minnen som saknar en konkret relation till det förflutna och som skapats av tystnad snarare än tal och av det osynliga snarare än det synliga. Postminne är att ärva ett stumt och okänt förflutet. Det kan liknas vid Sigmund Freuds beskrivning av traumat – som att ha en “främmande kropp” i psyket som begär att få bli förstådd. Att växa upp med överväldigande postminnen gör att de egna erfarenheterna riskerar att trängas undan och därmed kan en person indirekt formas av traumatiska händelser tidigare generationer upplevt. Med Hirschs ord “händelserna inträffade i det förflutna men deras effekter fortsätter in i nuet”. Eller som poeten Solmaz Sharif skriver: “Enligt de flesta / definitioner har jag aldrig / varit i krig. // Enligt mina / har merparten av mitt liv / tillbringats där.” Postminne är att “minnas” sina föräldrars minnen som vore de ens egna erfarenheter. Att minnas deras sår. Förefaller det dunkelt? Det är för att det är det. Det mänskliga minnet är ett landskap som till stora delar fortfarande är dolt och fyllt av hemligheter.Muntliga och skriftliga berättelser lämnar spår men fotografier gör något mer. Fotografiet är en miniatyr av verkligheten säger författaren Susan Sontag. Filosofen och kritikern Roland Barthes menar att fotografiet ständigt bär med sig sitt motiv. Det är ett närvarobevis och ger därmed ett löfte om tillträde till det avbildade ögonblicket. Barthes skriver: “En sorts navelsträng, som förbinder det fotograferade tingets kropp med min blick: även om jag inte kan ta på det blir ljuset här ett köttsligt element, en hud som jag delar med den som har fotograferats.” För Hirsch är fotografiet postminnets främsta medium. Fotografier som överlever trauman, som överlever personerna på bilden, besitter en sällsam förmåga att verka som spöken som hemsöker nuet menar Hirsch. De visar oss att gränsen mellan de döda och de levande i själva verket är mycket tunn. Vi tittar på personerna och de tittar tillbaka. Vi förmår inte lämna varandra i fred.Varje fotografi behöver tid för att existera. Varje fotografi representerar ett bestämt ögonblick. Fotografiet säger det var. Det var en gång ett krig. Det var en gång en familj. Det var en gång en far som i en hastig flykt valde att ta med ett fotoalbum. Fotografier gör mer än att visa scener och erfarenheter från det förflutna, de frigör sig från sin, till synes, tvådimensionella, stumma, fyrkantiga form och blir till fysiska berättelser menar konsthistorikern Jill Bennett. Vittnesmål som går under huden, berör och skakar om betraktaren. Antonio Damasio, professor i neurologi, beskriver våra synupplevelser som något fysiskt – det vi känner i våra kroppar när vi ser någonting. När vi tittar på fotografier söker vi mer än information. Vi tittar för att bli “träffade”, “sårade” och “chockade”. Vi tittar för att vi knyter an till döda objekt som aldrig svarar och vi genomsyrar dem med liv. Fotografiet får även en symbolisk roll. Det refererar till betydelser bortom det som faktiskt avbildas. Till familj, hem, tillhörighet, trygghet och till den kontinuitet som brutits och som blöder från en generation till en annan. Därför finns en länk mellan fotografi och kropp som möjligen förklarar fotografiets kraft att överbrygga gapet mellan dem som kom före och dem som kom efter. Konst som har sin utgångspunkt i den tidigare generationens trauma utgör fundamentet för Marianne Hirschs teori. När postminnen ges ny form och placeras i nya sammanhang kan de “arbetas igenom” för att åter tala med Freud. Inget kan såsom konsten uttrycka sammanblandningen av närvaro och frånvaro, nu och då, liv och död, ambivalens och begär. Allt det stoff som postminnen består av. Kanske kan, genom konsten, postminnen bearbetas. Jag trär på mig de vita tunna handskarna, tar fram fotografiet och lägger det varsamt med baksidan mot skannerns glas. I bildredigeringsprogrammet ökar jag bildens kontrast. Jag förändrar brännvidden och kommer sakta närmare. Bakom kulspetspennans cirklar och streck anar jag bokstäver och ett årtal men informationen förblir kodad. Jag kommer nära men jag kommer inte fram. Från originalfotografiet skapar jag en ny papperskopia. Med en kulspetspenna ritar jag egna cirklar av blått bläck över de redan existerande. Med en sax rispar jag bort de sista synliga spåren av ord. Minnen är alltid i kris.Nazanin Raissi, psykolog och konstnärLitteratur:Barthes, Roland. (1986). Det ljusa rummet. Översättning: Mats Löfgren. Alfabeta. Stockholm, Sverige. Bennet, Jill. (2005). Empathic vision: Affect, trauma, and contemporary art. Stanford University Press. Stanford, California. Cozolino, Louis. (2006). The neuroscience of human relationships. W.W. Norton & Company. New York City, New York.Damasio, Antonio R. (2003) Descartes Misstag. Översättning: Per Rundgren. Natur och Kultur. Stockholm, Sverige.Hirsch, Marianne. (1997). Family frames: Photography narrative and postmemory. Harvard University Press. London, England.Hirsch, Marianne. (2012). The generation of postmemory: Writing and visual culture after the holocaust. Columbia University Press. New York City, New York.Sharif, Solmaz. (2017). Look. Översättning: Ida Börjel och Jennifer Hayashida. Rámus Förlag. Malmö, Sverige.Sontag, Susan. (1977). On photography. Penguin Books. London, England.

Who decides what's self care and what isn't? Who benefits? Who pays? Upon whom does the burden of self care rest? Solmaz Sharif excavates.Solmaz Sharif is the author of Customs (Graywolf Press 2022) and Look (Graywolf Press 2016), and was a finalist for the National Book Award. She holds degrees from UC Berkeley, where she studied and taught with June Jordan's Poetry for the People, and New York University. Her work has appeared in Harper's, The Paris Review, Poetry, The Kenyon Review, the New York Times, and others. She is currently an Assistant Professor in Creative Writing at Arizona State University where she is inaugurating a Poetry for the People program.Find the transcript for this show at onbeing.org.We're pleased to offer Solmaz Sharif's poem, and invite you to connect with Poetry Unbound throughout this season.Pre-order the forthcoming book Poetry Unbound: 50 Poems to Open Your World and join us in our new conversational space on Substack.

Born in Istanbul to Iranian parents, Solmaz Sharif is the author of Customs (Graywolf Press, 2022) and Look (Graywolf Press, 2016), a finalist for the National Book Award. She holds degrees from U.C. Berkeley, where she studied and taught with June Jordan's Poetry for the People, and New York University. Her work has appeared in Harper's, The Paris Review, Poetry, The Kenyon Review, the New York Times, and others. Negar Azimi is a writer and editor and occasional curator. She is the Editor-in-Chief of the publishing and curatorial project Bidoun, a former fellow at the Cullman Center for Scholars and Writers at the New York Public Library, a member of the Beirut-based Arab Image Foundation, and a board member of Artists Space. 

BM Genel Kurulu için New York temaslarında bulunan Dışişleri Bakanı Mevlüt Çavuşoğlu, F-16 satışına ilişkin soruya sürecin normal işlediğini belirterek “Kongre'den gelen bazı sesler sebebiyle ister istemez herkes bir engel mi çıkacak ya da şartlı mı olacak diye sorular da soruyor ama teknik düzeyde müzakereler normal seyirde devam ediyor, yönetimin bu konuda kararlılığı da devam ediyor” açıklaması yaptı. İran'da, 22 yaşındaki Mahsa Amini'nin gözaltına alındıktan sonra Ahlak Polisi'nin gözetiminde hayatını kaybetmesine, ABD'den kınama ve yaptırımın ardından İran halkının internet erişimini kolaylaştırması açısından İran'a uyguladığı yaptırımlara istisna getirdi. ABD'de yaşayan İranlı gazeteci Solmaz Sharif, ülkede yaşanan protesto dalgasını VOA Türkçe'ye anlattı. Ayrıntılar Stüdyo VOA yayınında

Join Lux and Haymarket for a discussion about feminist internationalism in the face of war. How do we practice feminist internationalism? The question has never been more urgent than today, as war rages in Ukraine. This is a problem feminists have faced many times before. Remember when Laura Bush tried to sell the war in Afghanistan as women's liberation? At the time, the left was hampered by thin relationships with our feminist counterparts in these countries, leaving the anti-war movement vulnerable to claims that women there really did want the help of the US military. Today, we're committed to strengthening those relationships through conversations like this one. The spring 2022 issue of Lux features several explorations of US empire from a feminist perspective. We talk with the women of the Revolutionary Afghan Women's Association about the US withdrawal, profile National Book Award-finalist poet Solmaz Sharif whose work confronts the War on Terror and her own exile from Iran, report on Okinawa's multigenerational anti-US-base movement, and pay tribute to Puerto Rican radical Luisa Capetillo. This event will take on the special role that feminism continues to play in anti-imperalist struggles, from the Middle East to East Asia to Latin America, connecting these struggles, and activists, across borders. ----------------------------------------------------------- Speakers: Rozina Ali is a contributing writer at New York Times Magazine and a fellow at Type Media Center. Her writing covers the War on Terror, Islamophobia, and the Middle East and South Asia. She was previously on the staff of The New Yorker and The Cairo Review of Global Affairs. She is currently working on a book about the history of Islamophobia in the United States. Margo Okazawa-Rey is a professor emerita at San Francisco State University and a transnational feminist activist. She works on militarism, armed conflict, and violence against women in the US and around the world. She is a founding member of the International Women's Network against Militarism and Women for Genuine Security, and was a founding member of the Combahee River Collective. Her recent publications include “‘Nation-izing' Coalition and Solidarity Politics for US Anti-militarist Feminists,” and Gendered Lives: Intersectional Perspectives (Oxford, 2020). Sophie Pinkham is the author of Black Square: Adventures in Post-Soviet Ukraine. She has written about Russian and Ukrainian culture and politics for The New York Review of Books, The New Left Review, The New Republic, The Nation, and many other publications. She produced the short documentary Balka, on women, drugs, and HIV in Ukraine. Sarah Leonard (moderator) is editor-in-chief of Lux magazine. She is contributing editor to Dissent and The Nation. (@sarahrlnrd) This event is sponsored by Lux magazine and Haymarket Books. Watch the live event recording: https://youtu.be/vRuCwaSiHyg Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

Today's poem is Self-Care by Solmaz Sharif.

Today's poem is Self-Care by Solmaz Sharif.

The Department of African American Studies at UC Berkeley's 2021-22 Critical Conversations speaker series is a celebration of the life and legacy of June Jordan, an award-winning poet, activist and longtime professor in the department.At Berkeley, Jordan founded the Poetry for the People program, where writers of all levels wrote and showcased their own poems, and taught poetry to other university students, high school students and community members.In this episode of Berkeley Talks, two Berkeley alumni and former students of Poetry for the People — Samiya Bashir, an associate professor of creative writing at Reed College, and Solmaz Sharif, an assistant professor of English at Arizona State University — read their work, share some of their favorite poems by Jordan, and discuss the Poetry for the People program and the impact it continues to have on their lives.The Feb. 28 conversation was moderated by Chiyuma Elliot, a poet and associate professor in the Department of African American Studies at Berkeley.Listen to the episode and read a transcript on Berkeley News.Follow Berkeley Talks and review us on Apple Podcasts. See acast.com/privacy for privacy and opt-out information.

It's been five years since Solmaz Sharif's first appearance on Between the Covers, for her National Book Award–finalist debut collection Look. Since then, many listeners have pointed to this conversation as one of the most memorable episodes to date. Solmaz returns today to discuss her much-anticipated follow-up, Customs. We talk about belonging, exile and language, about what […] The post Solmaz Sharif : Customs appeared first on Tin House.

Recorded by Solmaz Sharif for Poem-a-Day, a series produced by the Academy of American Poets. Published on October 28, 2021. www.poets.org

Renowned poet June Jordan viewed poetry as a way of “taking control of the language of your life” and as “a foundation for true community.” Jordan, who started the Poetry for the People program at the University of California Berkeley, thoughtof poetry as a way to speak truth. We check in with four poets -- Jasmine Mans, Marcelo Hernandez Castillo, Aja Monet and Solmaz Sharif -- about making art during a challenging time, and what poems are sustaining their spirits. And, we want to hear from you, what are the first few lines of your favorite poem and what poets are you reading these days?

In this episode, we celebrate Black History Month with a reading and discussion of the anthology African American Poetry: 250 Years of Struggle and Song edited by Kevin Young, Poetry Editor of The New Yorker. This incredible anthology is described as "A literary landmark: the biggest, most ambitious anthology of Black poetry ever published, gathering 250 poets from the colonial period to the present," and in it we found familiar voices that we know and love, as well as new poets, and some whose work is hard to find or long out of print. This is a perfect start to reading African American poetry, and we highly recommend getting yourself a copy!  Though there are so many great poets in this anthology, here are those we highlighted in this episode:  Claude McKay  June Jordan Tyhimba Jess Jericho Brown Tracy K. Smith Morgan Parker For further listening, we recommend a recent episode of The New Yorker Poetry podcast called "Radical Imagination: Tracy K. Smith, Marilyn Nelson and Terrance Hayes on Poetry in Our Times" We also recommend two AWP events, for which poets we highlighted in this episode will be panelists:  Sunday, March 7th 1:30-2:30pm Central Time Sn119. Poem About My Rights: June Jordan Speaks, Sponsored by Copper Canyon Press. (Michael Wiegers, Rio Cortez, Jericho Brown, Monica Sok) “I am not wrong: Wrong is not my name / My name is my own my own my own.” A panel of poets and editors will read and discuss iconic works by June Jordan, including the electric, revolutionary “Poem About My Rights.” In her too-short career, Jordan boldly, lyrically, and overtly called out the harms caused by anti-Black police violence, sexual abuse, and heterosexism, lighting a way forward for other writers. Each poet will offer one poem of their own to honor Jordan's literary influence. Wednesday March 3rd, 3:00-4:00pm Central Time W136. The Futures of Documentary and Investigative Poetries. (Solmaz Sharif, Erika Meitner, Tyehimba Jess, Philip Metres, Layli Long Soldier) Investigative or documentary poetry situates itself at the nexus between literary production and journalism, where the mythic and factual, the visionary and political, and past and future all meet. From doing recovery projects to performing rituals of healing to inventing forms, panelists will share work (their own and others') and discuss challenges in docupoetic writing and its futures: the ethics of positionality, appropriation, fictionalizing, collaboration, and political engagement. Thank you for joining us in honoring the lives and writing of Black poets, past and present, and as always, thanks for listening!     

Salut à vous, Aujourd'hui je vous parle d'une jeune poétesse née à Istanbul en 1983 de parents iraniens en transit pour rejoindre les États-Unis. Solmaz Sharif, c'est son nom, a fait paraître son premier recueil Mire (titre original : Look) en 2016 aux États-Unis. Il a été finaliste du National Book Award of Poetry. C'est un livre étonnant dans lequel l'autrice s'appuie sur une publication du Ministère de la Défense des États-Unis : le dictionnaire des termes militaires. Le racisme, la suspicion, la violence, les inégalités parcourent ce livre fascinant et brillant. La traduction française, assurée par Raluca Maria Hanea et François Heusbourg a paru en 2019 aux Éditions Unes. Bonne écoute ! Retrouvez tous les épisodes de Mort à La Poésie sur : https://addict-culture.com/mort-a-la-poesie/

Recorded by Solmaz Sharif for Poem-a-Day, a series produced by the Academy of American Poets. Published on October 16, 2020. www.poets.org

In this episode we learn about erasure poetry and poetic tradition by looking at Jen Bervin's incredible book NETS, composed of erasure poems created from the sonnets of Shakespeare. The erasures are extraordinary--short and moving--and you'll never see Shakespeare the same way again. We also discuss poetic traditions, and the idea of writing into and over top of what has come before. For an important essay on the political implications of erasure poetry, please see "The Near Transitive Properties of the Political and Poetical: Erasure (http://www.thevolta.org/ewc28-ssharif-p1.html)" by Solmaz Sharif. For more on Jen Bervin, please visit her website: http://jenbervin.com/ Special thanks this week to Ugly Duckling Presse for giving us permission to read Bervin's poetry aloud. "18" "63" and "64" by Jen Bervin were first published in Nets (Ugly Duckling Presse, 2009). To purchase Nets please visit Ugly Duckling Presse (https://uglyducklingpresse.org/publications/nets/).

Politics! That's right, we're breaking the third rail. Can poetry affect political imagination? We think so! Bob reads “The Master's House” by Solmaz Sharif, Chris reads “I Walk Into Every Room and Yell Where The Mexicans At” by Jose Olivarez, and then the dudes celebrate the Milwaukee Bucks-led wildcat and the importance of specificity in language.

Yooo we did it! Another week, another episode. In this one, the one-and-only Aria Aber brings in Solmaz Sharif's "The Master's House" to binge and revel and geek and play and laugh and pray. And oh did we— ARIA ABER was raised in Germany. Her debut book Hard Damage won the Prairie Schooner Book Prize in Poetry and was published in September 2019. Her poems are forthcoming or have appeared in The New Yorker, New Republic, Kenyon Review, The Yale Review, Poem-A-Day, Narrative, Muzzle Magazine, Wasafiri and elsewhere. A graduate from the NYU MFA in Creative Writing, where she was the Writers in Public Schools Fellow, she holds awards and fellowships from Kundiman, Dickinson House, and the Wisconsin Institute of Creative Writing. For Spring 2020, Aber will be the Li Shen Visiting Writer at Mills College. She is at work on a second book of poems and a novel. Born in Istanbul to Iranian parents, SOLMAZ SHARIF holds degrees from U.C. Berkeley, where she studied and taught with June Jordan's Poetry for the People, and New York University. Her work has appeared in Harper's, The Paris Review, Poetry, The Kenyon Review, the New York Times, and others. The former managing director of the Asian American Writers' Workshop, her work has been recognized with a “Discovery”/Boston Review Poetry Prize, Rona Jaffe Foundation Writers' Award, and an NEA fellowship. She was most recently selected to receive a 2016 Lannan Literary Fellowship and the 2017 Holmes National Poetry Prize from Princeton University. A former Stegner Fellow at Stanford University, she is currently an Assistant Professor in Creative Writing at Arizona State University. Her first poetry collection, LOOK, published by Graywolf Press in 2016, was a finalist for the National Book Award.  

Today's poem is an excerpt from Personal Effects by Solmaz Sharif.

I sidste uge fejrede reality-branchen sig selv ved Reality Awards 2020, mens nye reality-progammer som 'Roomies - London Calling' og 'Courgarjagt' sammen med velkendte programmer som 'Paradise Hotel' og 'Ex on the Beach' ligger øverst på streaminglisterne.Hvad er det realitygenren kan? Hvorfor følger vi stadig med i sæson 16 af 'Paradise Hotel' og sæson 20 af 'Årgang 0'? Og hvad har reality- og influencerbegrebet med hinanden at gøre?Ugens gæster: Felix Thorsen Katzenelson og Rasmus GejlUgens anbefalinger: '22. juli' på DR, 'The Circle' på Netflix og digtsamlingen LOOK af Solmaz SharifVært og tilrettelægger: Lucia Odoom.Producer: Kathrine Eggert Wadsholt.I redaktionen: Sille Westphal og Nina Kragh.

Today marks the 18th anniversary of 9/11. We're bringing back our episode from April 9th, 2018 called Remixing Guantanamo Bay where former AAWW Executive Director Ken Chen interviews experimental poet Philip Metres. Philip Metres is the author of Sand Opera, the poetry collection that uses redacted texts from Department of Defense manuals for torture sites like Guantanamo Bay to create an aria for the victims of the War on Terror. Solmaz Sharif writes, “Philip Metres’s poetry collection Sand Opera is complex, an untamable polyvocal array of clipped narratives in post-9/11 (if we are to believe such historical markers) America.”  It’s a great conversation diving deep into Metres’ research of the confined and tortured people at Abu Ghraib and Guantanamo Bay and the influence of these documents in response to violence as a poet.   Also: Sorry for the delay on regular episodes, we're working on a couple of other things at the moment (including an original podcast episode!) Hope you are all well and thank you for listening. - R.O.R., AAWW AV Producer

YouTube Edition of this episode: (https://youtu.be/b0xlsP_cW8M). This is the podcast version of my longer chat with poet and teacher Alonso Llerena, who you might recognize as a guest on the Flash Briefings! For the full episode, links and references, visuals of the reading materials, and more, check out the YouTube version. I promise the added visuals and sound effects are a worthwhile addition. For my podcast friends, though, listen in, listen well, learn deeply. More on Alonso Llerena -- Alonso is a poet and teacher in Washington D.C. of Peruvian descent. His work confronts being an immigrant here in the USA, but specifically as a Peruvian who left his country at a young age. His most recent work also addresses the Internal Armed Conflict Peru underwent from 1980-2000. ● The Poetry Vlog is a YouTube Channel and Podcast dedicated to building social justice coalitions through poetry, pop culture, cultural studies, and related arts dialogues. Subscribe to our YouTube channel to join our fast-growing arts & scholarship community (youtube.com/c/thepoetryvlog?sub_confirmation=1). Connect with us on Instagram (instagram.com/thepoetryvlog), Twitter (twitter.com/thepoetryvlog), Facebook (facebook.com/thepoetryvlog), and our website (thepoetryvlog.com). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In today's flash briefing poetry reading, Alonso Llerena is a guest reader. He reads Solmaz Sharif's "Mess Hall." We recorded in two different places and times, so the volume might jump around a bit, but it is worth it to hear a fresh voice here on the vlog's weekday readings! More on Alonso Llerena -- Alonso is a poet and teacher in Washington D.C. of Peruvian descent. His work confronts being an immigrant here in the USA, but specifically as a Peruvian who left his country at a young age. His most recent work also addresses the Internal Armed Conflict Peru underwent from 1980-2000. Transcript of "Mess Hall" and more on Solmaz Sharif -- (https://www.poets.org/poetsorg/poem/mess-hall#) ● The Poetry Vlog is a YouTube Channel and Podcast dedicated to building social justice coalitions through poetry, pop culture, cultural studies, and related arts dialogues. Subscribe to our YouTube channel to join our fast-growing arts & scholarship community (youtube.com/c/thepoetryvlog?sub_confirmation=1). Connect with us on Instagram (instagram.com/thepoetryvlog), Twitter (twitter.com/thepoetryvlog), Facebook (facebook.com/thepoetryvlog), and our website (thepoetryvlog.com).

In keeping with poems as hope and resistance world building: today, I am reading Solmaz Sharif's "The Master's House." The title most likely refers to Audre Lorde's famous quote, "The Master's tools will never dismantle the Master's house." This poem was published in the April 2018 issue of poetry, and the repetition creates the tense it moves into, an "is was." It is four minutes, but hearing/reading the whole poem is worth it. More on Solmaz Sharif -- (https://solmazsharif.com/) // Reading their own work aloud: (https://www.poetryfoundation.org/podcasts/146387/the-end-of-exile) // Transcript of the published poem: (https://www.poetryfoundation.org/poetrymagazine/poems/146216/the-masters-house) ● The Poetry Vlog is a YouTube Channel and Podcast dedicated to building social justice coalitions through poetry, pop culture, cultural studies, and related arts dialogues. Subscribe to our YouTube channel to join our fast-growing arts & scholarship community (youtube.com/c/thepoetryvlog?sub_confirmation=1). Connect with us on Instagram (instagram.com/thepoetryvlog), Twitter (twitter.com/thepoetryvlog), Facebook (facebook.com/thepoetryvlog), and our website (thepoetryvlog.com).

Two years ago on this month, we celebrated the release of Solmaz Sharif's award-winning debut poetry collection Look. Her poetry bears witness to, in the words of NPR, “war in the Middle East, the war on terror, the devastation ravaged upon families in the name of freedom.” Featuring poets and artists Mariam Ghani, Cathy Park Hong, Rickey Laurentiis, and Solmaz Sharif herself, they read from their work analyze state sponsored violence through language, form poems from redacted letters to people imprisoned in Guantanamo Bay, and parse what Rickey Laurentiis calls “the fault line from Ferguson to Palestine.” Moderated and introduced by AAWW Editorial Director Jyothi Natarajan.

This year marks the fifteenth anniversary of the Iraq War, so for this episode of AAWW Radio we’re bringing you an interview that AAWW Executive Director Ken Chen hosted with experimental poet Philip Metres back in 2016. Phil Metres is the author of the poetry collection Sand Opera. Solmaz Sharif writes, “Philip Metres’s poetry collection Sand Opera is complex, an untamable polyvocal array of clipped narratives in post-9/11 (if we are to believe such historical markers) America.” It’s a great conversation diving deep into Metres’ research of the confined and tortured people at Abu Ghraib and Guantanamo Bay and the influence of these documents in response to violence as a poet.

Nowruz Mubarak! Whether you call it Persian New Year, the Spring Equinox, or something else, it’s a time for renewal and refresh celebrated by folks from Iran, Afghanistan, Iraq, Uzbekistan, and more. And so we decided to take a deeper look at how Afghan immigrants celebrate the holiday. First, we talk to political analyst Muhammad Shafiq Hamdam for a quick explainer on Nowruz and its history. Then, we talk to Mina Maqsudi about celebrating Nowruz away from home and learning from her Farsi students. Finally, our producer Rona Akbari chats with Ahmed about the joy of the haft sin. Special thanks to Solmaz Sharif and the New York Persian Cultural Center. Follow Muhammad Shafiq Hamdam @shafiqhamdam. Follow Rona @TheRonaLisa. Follow Ahmed @radbrowndads. Follow the show @seesomething and facebook.com/seesomethingpodcast. Find more episodes at buzzfeed.com/seesomethingsaysomething. Email us at saysomething@buzzfeed.com. Our music is by The Kominas, follow them at @TheRealKominas and kominas.bandcamp.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Solmaz Sharif's book "Look", published by Graywolf Press, has received critical praise and numerous accolades. Connor and Jack dig into a work from the collection "Perception Management: An Abridged List of Operations" a found poem that takes the names of real military operations and recontextualizes them to draw out infinite meanings and connections. Connor finds connections to a Das Racist song and draws out multiple ways to read the poem. Jack gets thinking about Edwin Starr, wrestlers, Georgetown University Law professors, and the Punisher. Strap in, it's a wild one. For more on Sharif: https://www.poetryfoundation.org/poets/solmaz-sharif For more on "Look": https://solmazsharif.com/look/ Find us on facebook at: facebook.com/closetalking Find us on twitter at: twitter.com/closetalking 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. PERCEPTION MANAGEMENT An abridged list of operations BY Solmaz Sharif ANTICA BABILONIA • BAGHDAD • BASTILLE • ABILENE • SUICIDE KINGS • GUN BARREL CITY • GOD HELP US (ALA ALLAH) • ARMY SANTA • CAVE DWELLERS • ROCK BOTTOM • PLYMOUTH ROCK • RAT TRAP • COWPENS • BAGHDAD IS BEAUTIFUL • BACKBREAKER • BLOCK PARTY • SWASHBUCKLE • SWARMERS • PUNISHER • BEASTMASTER • FLEA FLICKER • FIRECRACKER • LIGHTNING HAMMER • IRAQI HOME PROTECTOR • TOMBSTONE PILEDRIVER • BONE BREAKER • IRON REAPER • BELL HURRIYAH (ENJOY FREEDOM) • SPRING BREAK • ROCKETMAN • GLADIATOR • OUTLAW DESTROYER • DIRTY HARRY • GOLD DIGGER • UNFORGIVEN • RAGING BULL • THUNDERCAT • MR. ROGER’S NEIGHBORHOOD • SHADYVILLE • HICKORY VIEW • SCORPION STING • EAGLE LIBERTY • WOLFHOUND FURY • FALCON SWEEP • FALCON FREEDOM • SCALES OF JUSTICE • RAPIER THRUST • RELENTLESS HUNT • WOLF STALK • SWAMPFOX • TOMAHAWK • CRAZYHORSE THUNDER • GERONIMO STRIKE • PATRIOT STRIKE • QUICK STRIKE • RESTORING RIGHTS • CONSTITUTION HAMMER • INDUSTRIAL REVOLUTION • MONEY WORTH • RODEO • ALOHA • FOCUS • FLOODLIGHT • HARVEST LIGHT • RED LIGHT • RED BULL • PITBULL • BRUTUS • HERMES • SLEDGEHAMMER • GRIZZLY FORCED ENTRY • VACANT CITY • RIVERWALK • IRAQI HEART • RUBICON • RAMADAN ROUNDUP • GOODWILL • LITTLE MAN • ALKAMRA ALMANER (MOONLIGHT) • SALOON • STALLION RUN • LION HUNT • AL SALAM (PEACE) • JUSTICE REACH • ROCK REAPER • DEMON DIGGER • RAIDER HARVEST • IRON JUSTICE • UNITED FIST • WHITE ROCKETS • DONKEY ISLAND • BARNSTORMER • SOUK JADED (NEW MARKET) • CHURCH • CHECKMATE • KNOCKOUT • BACKPACK • SOCCER BALL • DOCTOR • THERAPIST • HELPING HAND • SCHOOL SUPPLIES • COOL SPRING • OPEN WINDOW • GLAD TIDINGS OF BENEVOLENCE

It's the question on everyone's mind: How the hell did we get here, Donald Trump's America? How did our belief in democratic ideals get warped into what Errol Morris terms the “bat shit craziness” of the Trump era? LARB's Tom Lutz talks with Morris about his brilliant new film Wormword, which debuts this week on Netflix, and how it's tale of an army scientist's suspicious death in 1953 relates to the current crisis of a government we feel we fundamentally can't trust. As Morris explains, a society that builds powerful, secretive, violent institutions cannot also be an honest democracy with citizens who demand to know the truth - and what better way to deliver this message than an uncanny, six-part, binge-worthy, murder mystery. Also, John Freeman returns to recommend Solmaz Sharif's sublime book of verse, Look.

AAWW Radio is the podcast of the Asian American Writers' Workshop, a national nonprofit dedicated to the idea that Asian American stories deserve to be told. Listen to AAWW Radio and you’ll hear selected audio from our live events. We’ve hosted established writers like Claudia Rankine, Maxine Hong Kingston, Roxane Gay, Amitav Ghosh, and Hanya Yanagihara, as well as more emerging writers like Ocean Vuong, Solmaz Sharif, and Jenny Zhang. Our events are intimate and intellectual, quirky yet curated, dedicated to social justice but with a sense of humor and weirdness. We curate our events to juxtapose novelists and activists, poets and intellectuals, and bring together people who usually wouldn’t be in the same room. We’ve got it all: from avant-garde poetry to post-colonial politics, feminist comics to lyric verse, literary fiction to dispatches from the racial justice left. AAWW Radio features curated audio from the literary events we hold weekly in our New York City reading room, a legendary downtown art space that hosted Jhumpa Lahiri’s first book party and where Junot Díaz used to play Super Nintendo. Founded in 1991, AAWW is an alternative literary arts space working at the intersection of race, migration, and social justice. A sanctuary for the immigrant imagination, we’re inventing the future of Asian American literary culture. Learn more by visiting aaww.org. Our first episode will be dropping some time in November, and we'll be releasing weekly episodes after our launch. Hit the subscribe button for immediate updates!   This podcast is produced by our AV Producer Robert Ouyang Rusli. This teaser episode is narrated by Nadia Q. Ahmad, writer and former AAWW Programs Associate.

Denison’s Beck Series welcomes poet Solmaz Sharif. The former managing director of the Asian American Writers’ Workshop, Sharif’s first poetry collection “Look” was a finalist for the National Book Award. Her work has appeared in The New Republic, Poetry, The Kenyon Review, jubilat, Gulf Coast, Boston Review, Witness, and others and has been recognized with a “Discovery”/Boston Review Poetry Prize, scholarships the Bread Loaf Writers’ Conference, a winter fellowship at the Fine Arts Work Center in Provincetown, an NEA fellowship, and a Stegner Fellowship. She is currently a lecturer at Stanford University.

In this virtuosic array of poems, lists, shards, & sequences, Sharif assembles fragmented narratives in the aftermath of war. Those repercussions echo in the present day, the grief for those killed in America’s invasions of Afghanistan & Iraq, the discriminations endured at the checkpoints of daily encounter. At the same time, these poems point to […] The post Solmaz Sharif : Look appeared first on Tin House.