Podcast appearances and mentions of stephen burt

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In this new episode of Defence Deconstructed, David Perry discusses the Department of National Defence's efforts towards digitization and the use of data with Assistant Deputy Minister (Data, Innovation and Analytics) Stephen Burt. This episode is made possible thanks to the support of our strategic sponsors, Lockheed Martin and General Dynamics, as well as Microsoft. This podcast is brought to you by Irving Shipbuilding. A strategic partner of the federal government's National Shipbuilding Strategy, providing skilled, well-paying jobs that support Canada's economic recovery.  Participant's Bio: Mr. Stephen Burt, Assistant Deputy Minister for Data, Innovation and Analytics, is the Chief Data Officer for the Department of National Defence. He is the functional authority for data governance and analytics capability within the Department of National Defence and for the Canadian Armed Forces (DND/CAF). Mr. Burt drives analytics adoption and maturity throughout DND/CAF, and leads the department-wide initiative to establish analytics and data governance. Host Bio: Dave Perry (host): Senior Analyst and Vice President with the Canadian Global Affairs Institute (www.cgai.ca/david_perry) Recording Date: 19 March 2021 Follow the Canadian Global Affairs Institute on Facebook, Twitter (@CAGlobalAffairs), or on LinkedIn. Head over to our website at www.cgai.ca for more commentary. Produced by Charlotte Duval-Lantoine. Music credits to Drew Phillips

With Stig Abell and Thea Lenarduzzi – Rory Waterman on the "uses" of poetry and Stephen Burt's admirable, if rather vexing, new collection The Poem is You: 60 contemporary American poems and how to read them; Barbara J. King on the cannibals in our midst (note: fragile-stomached listeners and lovers of banana slugs be warned); When did modern philosophy begin? And who is its godfather? – TLS Philosophy Editor Tim Crane tackles a new book by A. C. Grayling which seeks answers to these thorny questions. Discover more at www.the-tls.co.uk. See acast.com/privacy for privacy and opt-out information.

The prize-wining American poet Jane Yeh, author of Marabou and The Ninjas (both Carcanet) talks to Sarah Howe, co-editor of the winter issue of The Poetry Review. They discuss Yeh's use of dramatic monologue and the often fantastical personas she adopts (ninjas, rabbits, androids) to hilarious effect. “I think of Oscar Wilde's phrase, ‘the truth of masks' – how when you wear a mask it reveals your identity in a way,” Yeh explains. They also discuss contemporary art, installations and film and influences such as Amy Woolard, Stephen Burt, Lucie Brock-Broido and the work of fellow-writers Safiya Sinclair, Ocean Vuong and Timothy Donnelly. Yeh reads her poems ‘Rabbit Empire' and ‘A Short History of Patience', first published in The Poetry Review. To connect with more poetry, visit poetrysociety.org.uk

Nov. 24, 2015. Poet and critic Stephen Burt gave a lecture titled "The Poem Is You." For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7129

Lowell House is home of the Lowell House bell tower, and where Robert Lowell once lived. The House itself is named after former Harvard President A. Lawrence Lowell, an ancestor of the poet. While living in the House, Lowell caused a scandal by dating an older woman named Anne Dick, of whom his parents disapproved; so much so, in fact, that they wrote Dick’s parents forbidding her from visiting their son’s dorm room “without proper chaperonage.” Hear Professor of English and poet Stephen Burt read Lowell’s poem about this incident.

Stephen Burt joins Paul Muldoon to read and discuss Liz Waldner’s “Sad Verso of the Sunny _______.”

Belmont (Graywolf Press, 2013) is a book of poems written by both a grownup and a child and each seem quite aware of the other. This split-consciousness, if you will, hangs around most of the poems, but not in a tense or obvious way, but from afar, after one has put the book down. Belmont is written by a confident adult, with the disassociated charm of a child playing alone: the one doesn’t need to be validated by us, while the other doesn’t know we’re even in the room. This is the book’s strange disposition: a warm and loving indifference. When young poets are eager to impress, they often just bully the reader with novel forms and precious philosophy. This sort of aesthetic nervousness doesn’t exist in Belmont. Instead, Stephen Burt‘s virtue of clarity is reflected back to us in a number of ways: the humbling attention to craft, the amicable but rambunctious diction, and being unapologetic about subject-matter that is both public and private. How many poets have the guts to write about the suburbs and family life without either great cynicism or great sentimentality? Burt’s poems remind us, without ever saying it (which would be indulgent) that for the soul to be quiet and easy, a person has to suffer through nostalgia. Belmont, however, spares us most of that suffering because the poet is looking at what is right in front of him – flourishing – even if the present is sometimes the past. Throughout the book, Burt puts an interesting burden on a reader of contemporary poetry because in order to find pleasure in the poems, one must allow the poems to befriend them, and for them to befriend you, one must be willing to be as vulnerable and mature as Burt is throughout Belmont. Learn more about your ad choices. Visit megaphone.fm/adchoices

Belmont (Graywolf Press, 2013) is a book of poems written by both a grownup and a child and each seem quite aware of the other. This split-consciousness, if you will, hangs around most of the poems, but not in a tense or obvious way, but from afar, after one has put the book down. Belmont is written by a confident adult, with the disassociated charm of a child playing alone: the one doesn’t need to be validated by us, while the other doesn’t know we’re even in the room. This is the book’s strange disposition: a warm and loving indifference. When young poets are eager to impress, they often just bully the reader with novel forms and precious philosophy. This sort of aesthetic nervousness doesn’t exist in Belmont. Instead, Stephen Burt‘s virtue of clarity is reflected back to us in a number of ways: the humbling attention to craft, the amicable but rambunctious diction, and being unapologetic about subject-matter that is both public and private. How many poets have the guts to write about the suburbs and family life without either great cynicism or great sentimentality? Burt’s poems remind us, without ever saying it (which would be indulgent) that for the soul to be quiet and easy, a person has to suffer through nostalgia. Belmont, however, spares us most of that suffering because the poet is looking at what is right in front of him – flourishing – even if the present is sometimes the past. Throughout the book, Burt puts an interesting burden on a reader of contemporary poetry because in order to find pleasure in the poems, one must allow the poems to befriend them, and for them to befriend you, one must be willing to be as vulnerable and mature as Burt is throughout Belmont. Learn more about your ad choices. Visit megaphone.fm/adchoices