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Welcome to “When Words Fail, Music Speaks,” the podcast that turns melodies into medicine for the soul.In today's episode host James Cox sits down with Jastin Artis—a gold‑and‑platinum‑streamed indie producer, songwriter, A&R mentor, and relentless “chronic‑health warrior.” From the origins of his unusual middle name—Jastin, a blend of his parents' names, and Artist, a tribute to a grandfather he never met—to his journey from a class‑room clarinet player to a guitar‑driven “hip‑hop Renaissance” creator, Justin shares the stories that have shaped his sound.We'll dive deep into his creative process, exploring how a simple keyboard chord evolves into the layered instrumentals of Love in Darkness and the genre‑bending anthem “Tag This.” Jastin reveals the challenges of living with fibromyalgia, insomnia and low testosterone, and how music, meditation, video games, and even Netflix binge‑watching become his lifelines when depression looms.The conversation also touches on:The power of naming and identity in an artis' career.The mastermind collaborations he'd love to see—Pharrell, Jimi Hendrix, and a female legend like Queen Latifah or Alanis Morissette.The songs that move him to the brink of tears—Lauryn Hill's MTV Unplugged performance and John Mayer's “Gravity.”A glimpse of his future merch empire (stickers, throw‑pillows, beach towels) and his relentless drive to turn streams into tangible support for creators.If you've ever felt the weight of chronic illness, the sting of creative doubt, or simply crave a soundtrack for resilience, this episode is your reminder that when words stumble, music never does. Grab your headphones, press play, and let Jastin's story inspire the next stanza of your own journey.As always.....when words fail...music speaks!
The ladies pair poets together that prove complementary--or contrarian!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.SHOW NOTES:Visit Gary Jackson's website.In this interview, Marie Howe talks a bit about Lucille Clifton and feminist poetry.You can listen here to Carl Phillips read and engage in conversation after with Lia Purpura at the Enoch Pratt Free Library in February 2021. Read this great, short essay by Carl Phillips on Linda Gregg.Read Irene McKinney's poem "The Only Portrait of Emily Dickinson"Visit Jehanne Dubrow online at https://jehannedubrow.comRebecca Lindenberg's website is https://www.rebeccalindenberg.com. Read "Catalogue of Ephemera."Visit Erika Meitner's website. And read her poem "Jesus is the Reason." You can watch Ange Minko read her villanelle "Escape Architecture" or read it here. Essex Hemphill's new and selected is called Love Is a Dangerous Word. Finally, Charlie Sheen does indeed identify as bisexual, and apparently there is a lot of ick in the new Netflix documentary about him.
644. Part 1 of our interview with David T. Ballantyne about his book, Fractured Freedoms: Reconstruction in Central Louisiana. "Fractured Freedoms is a riveting history of central Louisiana from the 1860s to the 1890s, focusing on majority-Black Rapides Parish during Reconstruction. Using the region as a case study, Ballantyne reveals what is, in part, a rural Reconstruction success story, emphasizing the resilience of Black politics and the persistence of significant divisions among white residents that allowed the Republican Party to gain and maintain power there. It was only with the collapse of state-level Republican power in 1877 that Democratic forces in the parish were able to dismantle local Republican political control and gradually constrict Black freedoms." (LSU Press). Now available: Liberty in Louisiana: A Comedy. The oldest play about Louisiana, author James Workman wrote it as a celebration of the Louisiana Purchase. Now it is back in print for the first time in 221 years. Order your copy today! This week in the Louisiana Anthology. We've recently added Mosquitoes, one of William Faulkner's early novels. Faulkner was one of the South's greatest writers. He wrote this novel about the artists he had met in the French Quarter. He put them on a yacht that took them through Lake Pontchartrain until they ran aground and were stranded for several days. That's right, Faulkner basically created Gilligan's Isle. "The violet dusk held in soft suspension lights slow as bellstrokes, Jackson square was now a green and quiet lake in which abode lights round as jellyfish, feathering with silver mimosa and pomegranate and hibiscus beneath which lantana and cannas bled and bled. Pontalba and cathedral were cut from black paper and pasted flat on a green sky; above them taller palms were fixed in black and soundless explosions. The street was empty, but from Royal street there came the hum of a trolley that rose to a staggering clatter, passed on and away leaving an interval filled with the gracious sound of inflated rubber on asphalt, like a tearing of endless silk. Clasping his accursed bottle, feeling like a criminal, Mr. Talliaferro hurried on. "He walked swiftly beside a dark wall, passing small indiscriminate shops dimly lighted with gas and smelling of food of all kinds, fulsome, slightly overripe. The proprietors and their families sat before the doors in tilted chairs, women nursing babies into slumber spoke in soft south European syllables one to another. Children scurried before him and about him, ignoring him or becoming aware of him and crouching in shadow like animals, defensive, passive and motionless." This week in Louisiana history. September 20, 1717. Gov. LePinay recalled to France after "ruining the colony." This week in New Orleans history. The last space shuttle fuel tank rolls out of the Michoud Assembly Facility on September 20, 2010. This week in Louisiana. Louisiana Gumbo Festival October 10-12, 2025 326 Hwy 304 Thibodaux, LA 70301 Celebrate Louisiana's Rich Culinary Heritage Indulge in a diverse array of Cajun and Creole cuisines, savor our traditional gumbo recipe, and immerse yourself in the captivating rhythms of live Zydeco and Cajun performances. With exciting activities for all ages, there's something for everyone to enjoy. The Louisiana Gumbo Festival began in 1973. During the 1970s, Louisiana Governor Edwin Edwards signed a proclamation naming Chackbay the Gumbo Capitol of Louisiana. Annually, volunteers cook nearly 500 gallons of Gumbo during the festival weekend. You can also find various Cajun food, music, amusement rides, parade, auction, and so much more for the whole family to enjoy. This year, we are offering Pay One Price Advanced Weekend Armbands for $65.00 + tax. Advanced Armbands allow children unlimited carnival rides throughout the duration of the festival. Advanced Armbands are available for purchase ONLINE ONLY until Friday October 10, 2025. Armbands will NOT be sold at the festival. Advanced armbands can be picked up at the designated line of the festival ticket booth on Friday, October 11th beginning at 5:30pm. Postcards from Louisiana. Street Poet Melody Eloise. Listen on Apple Podcasts. Listen on audible. Listen on Spotify. Listen on TuneIn. Listen on iHeartRadio. The Louisiana Anthology Home Page. Like us on Facebook.
In Part 1 of our discussion on Harriet Jacobs's Incidents in the Life of a Slave Girl: Written by Herself, we welcome editor Evie Shockley to discuss the author's family background, lively language as a storyteller, and influence on Shockley's own creative process as a poet. Evie Shockley is the Zora Neale Hurston Distinguished Professor of English at Rutgers University and the author of Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry. For her poetry collections—including suddenly we, semiautomatic, the new black, and a half-red sea—she has been awarded the Shelley Memorial Award, the Lannan Literary Award, and the Holmes National Poetry Prize, has twice won the Hurston/Wright Legacy Award, has received an NAACP Image Award, and has been named a finalist for the National Book Award, the Pulitzer Prize, and the LA Times Book Prize. She has served as an editor of jubilat and Feminist Studies, and is Editor for Poetry at Contemporary Literature.To learn more or purchase a copy of the Norton Library edition of Incidents in the Life of a Slave Girl: Written By Herself, go to https://wwnorton.com/books/9780393870787. Learn more about the Norton Library series at https://wwnorton.com/norton-library.Have questions or suggestions for the podcast? Email us at nortonlibrary@wwnorton.com or find us on Twitter at @TNL_WWN and Bluesky at @nortonlibrary.bsky.social.
In episode 504 I chat with Jack who has kindly agreed to share his OCD story with us. We discuss his OCD story, guilt and shame, diet and exercise as part of OCD, an eating disorder diagnosis, exposure and response prevention therapy (ERP), medication, support groups, being creative, expressing through poetry, the idea of signal vs noise, self compassion, he reads some of his poetry, and much more. Hope it helps. Show notes: https://theocdstories.com/episode/jack-504 The podcast is made possible by NOCD. NOCD offers effective, convenient therapy available in the US and outside the US. To find out more about NOCD, their therapy plans and if they currently take your insurance head over to https://go.treatmyocd.com/theocdstories Join many other listeners getting our weekly emails. Never miss a podcast episode or update: https://theocdstories.com/newsletter Thanks to all our patrons for supporting our work. To sign up to our Patreon and to check out the benefits you'll receive as a Patron, visit: https://www.patreon.com/theocdstoriespodcast
“Poetry is like one of the great loves of my life, and I think it's probably the longest relationship I'll ever have. I read a lot of poetry. I also wrote these short stories even when I was pretty young, like in second grade, and the stories kept getting shorter and shorter. My family used to go to Damascus in Syria and Lebanon every summer for three months until 2011, when the Civil War broke out in Syria. In 2015, we made our first return after that gap, and my father and I went to Lebanon for two weeks. It's the first time I felt that I belong. To the extent that was true or not, I'm obviously irrevocably American. I speak broken Arabic. I don't think I could ever live in Lebanon or Syria. But for what it was worth at 15 years old, it was a life-changing trip. I wrote my first official poem on the plane back to San Diego from that trip, and I feel that was a formative moment for me. I felt that I had a story to tell and wanted to put it to paper in the form of poetry.”In this episode of the Speaking Out of Place podcast, Professor David Palumbo-Liutalks with poet Maya Salameh about her poetry collection, How to Make an Algorithm in the Microwave, which won the prestigious Etel Adnan Poetry Prize in 2022. The judges remarked, “Maya Salameh's poetry stood out for its inventiveness in cracking the code of life ‘between system and culture'…The turns and swerves the poems make are astonishing; the expectations they upend are remarkable… It's a testament to the aesthetic boundaries and intellectual revolt poets of Arab heritage are pushing, breaking, and reinventing.” We talk about what led her to both technology and poetry, language and story-telling, and the challenges and joys of representing life in the diaspora. In a time of war and genocide, Salameh's poetry shows how patterns of life and reproduction and desire persist. In her readings and discussions of three poems, we find a new lexicon and a new grammar.Maya Salameh is the author of MERMAID THEORY (Haymarket Books, 2026), HOW TO MAKE AN ALGORITHM IN THE MICROWAVE (University of Arkansas Press, 2022), winner of the Etel Adnan Poetry Prize, and the chapbook rooh (Paper Nautilus Press, 2020). She has received fellowships from the National Endowment for the Arts, Sewanee Writers' Conference, Bread Loaf Environmental Writers' Conference, and the President's Committee for the Arts and Humanities, and served as a National Student Poet, America's highest honor for youth poets. Her work has appeared in The Offing, Poetry, Gulf Coast, The Rumpus, AGNI, Mizna, and the LA Times, among others. @mayaslmhhttps://speakingoutofplace.comBluesky @palumboliu.bsky.socialInstagram @speaking_out_of_place
“Poetry is like one of the great loves of my life, and I think it's probably the longest relationship I'll ever have. I read a lot of poetry. I also wrote these short stories even when I was pretty young, like in second grade, and the stories kept getting shorter and shorter. My family used to go to Damascus in Syria and Lebanon every summer for three months until 2011, when the Civil War broke out in Syria. In 2015, we made our first return after that gap, and my father and I went to Lebanon for two weeks. It's the first time I felt that I belong. To the extent that was true or not, I'm obviously irrevocably American. I speak broken Arabic. I don't think I could ever live in Lebanon or Syria. But for what it was worth at 15 years old, it was a life-changing trip. I wrote my first official poem on the plane back to San Diego from that trip, and I feel that was a formative moment for me. I felt that I had a story to tell and wanted to put it to paper in the form of poetry.”In this episode of the Speaking Out of Place podcast, Professor David Palumbo-Liutalks with poet Maya Salameh about her poetry collection, How to Make an Algorithm in the Microwave, which won the prestigious Etel Adnan Poetry Prize in 2022. The judges remarked, “Maya Salameh's poetry stood out for its inventiveness in cracking the code of life ‘between system and culture'…The turns and swerves the poems make are astonishing; the expectations they upend are remarkable… It's a testament to the aesthetic boundaries and intellectual revolt poets of Arab heritage are pushing, breaking, and reinventing.” We talk about what led her to both technology and poetry, language and story-telling, and the challenges and joys of representing life in the diaspora. In a time of war and genocide, Salameh's poetry shows how patterns of life and reproduction and desire persist. In her readings and discussions of three poems, we find a new lexicon and a new grammar.Maya Salameh is the author of MERMAID THEORY (Haymarket Books, 2026), HOW TO MAKE AN ALGORITHM IN THE MICROWAVE (University of Arkansas Press, 2022), winner of the Etel Adnan Poetry Prize, and the chapbook rooh (Paper Nautilus Press, 2020). She has received fellowships from the National Endowment for the Arts, Sewanee Writers' Conference, Bread Loaf Environmental Writers' Conference, and the President's Committee for the Arts and Humanities, and served as a National Student Poet, America's highest honor for youth poets. Her work has appeared in The Offing, Poetry, Gulf Coast, The Rumpus, AGNI, Mizna, and the LA Times, among others. @mayaslmhhttps://speakingoutofplace.comBluesky @palumboliu.bsky.socialInstagram @speaking_out_of_place
“Poetry is like one of the great loves of my life, and I think it's probably the longest relationship I'll ever have. I read a lot of poetry. I also wrote these short stories even when I was pretty young, like in second grade, and the stories kept getting shorter and shorter. My family used to go to Damascus in Syria and Lebanon every summer for three months until 2011, when the Civil War broke out in Syria. In 2015, we made our first return after that gap, and my father and I went to Lebanon for two weeks. It's the first time I felt that I belong. To the extent that was true or not, I'm obviously irrevocably American. I speak broken Arabic. I don't think I could ever live in Lebanon or Syria. But for what it was worth at 15 years old, it was a life-changing trip. I wrote my first official poem on the plane back to San Diego from that trip, and I feel that was a formative moment for me. I felt that I had a story to tell and wanted to put it to paper in the form of poetry.”In this episode of the Speaking Out of Place podcast, Professor David Palumbo-Liutalks with poet Maya Salameh about her poetry collection, How to Make an Algorithm in the Microwave, which won the prestigious Etel Adnan Poetry Prize in 2022. The judges remarked, “Maya Salameh's poetry stood out for its inventiveness in cracking the code of life ‘between system and culture'…The turns and swerves the poems make are astonishing; the expectations they upend are remarkable… It's a testament to the aesthetic boundaries and intellectual revolt poets of Arab heritage are pushing, breaking, and reinventing.” We talk about what led her to both technology and poetry, language and story-telling, and the challenges and joys of representing life in the diaspora. In a time of war and genocide, Salameh's poetry shows how patterns of life and reproduction and desire persist. In her readings and discussions of three poems, we find a new lexicon and a new grammar.Maya Salameh is the author of MERMAID THEORY (Haymarket Books, 2026), HOW TO MAKE AN ALGORITHM IN THE MICROWAVE (University of Arkansas Press, 2022), winner of the Etel Adnan Poetry Prize, and the chapbook rooh (Paper Nautilus Press, 2020). She has received fellowships from the National Endowment for the Arts, Sewanee Writers' Conference, Bread Loaf Environmental Writers' Conference, and the President's Committee for the Arts and Humanities, and served as a National Student Poet, America's highest honor for youth poets. Her work has appeared in The Offing, Poetry, Gulf Coast, The Rumpus, AGNI, Mizna, and the LA Times, among others. @mayaslmhhttps://speakingoutofplace.comBluesky @palumboliu.bsky.socialInstagram @speaking_out_of_place
“Poetry is like one of the great loves of my life, and I think it's probably the longest relationship I'll ever have. I read a lot of poetry. I also wrote these short stories even when I was pretty young, like in second grade, and the stories kept getting shorter and shorter. My family used to go to Damascus in Syria and Lebanon every summer for three months until 2011, when the Civil War broke out in Syria. In 2015, we made our first return after that gap, and my father and I went to Lebanon for two weeks. It's the first time I felt that I belong. To the extent that was true or not, I'm obviously irrevocably American. I speak broken Arabic. I don't think I could ever live in Lebanon or Syria. But for what it was worth at 15 years old, it was a life-changing trip. I wrote my first official poem on the plane back to San Diego from that trip, and I feel that was a formative moment for me. I felt that I had a story to tell and wanted to put it to paper in the form of poetry.”In this episode of the Speaking Out of Place podcast, Professor David Palumbo-Liutalks with poet Maya Salameh about her poetry collection, How to Make an Algorithm in the Microwave, which won the prestigious Etel Adnan Poetry Prize in 2022. The judges remarked, “Maya Salameh's poetry stood out for its inventiveness in cracking the code of life ‘between system and culture'…The turns and swerves the poems make are astonishing; the expectations they upend are remarkable… It's a testament to the aesthetic boundaries and intellectual revolt poets of Arab heritage are pushing, breaking, and reinventing.” We talk about what led her to both technology and poetry, language and story-telling, and the challenges and joys of representing life in the diaspora. In a time of war and genocide, Salameh's poetry shows how patterns of life and reproduction and desire persist. In her readings and discussions of three poems, we find a new lexicon and a new grammar.Maya Salameh is the author of MERMAID THEORY (Haymarket Books, 2026), HOW TO MAKE AN ALGORITHM IN THE MICROWAVE (University of Arkansas Press, 2022), winner of the Etel Adnan Poetry Prize, and the chapbook rooh (Paper Nautilus Press, 2020). She has received fellowships from the National Endowment for the Arts, Sewanee Writers' Conference, Bread Loaf Environmental Writers' Conference, and the President's Committee for the Arts and Humanities, and served as a National Student Poet, America's highest honor for youth poets. Her work has appeared in The Offing, Poetry, Gulf Coast, The Rumpus, AGNI, Mizna, and the LA Times, among others. @mayaslmhhttps://speakingoutofplace.comBluesky @palumboliu.bsky.socialInstagram @speaking_out_of_place
“Poetry is like one of the great loves of my life, and I think it's probably the longest relationship I'll ever have. I read a lot of poetry. I also wrote these short stories even when I was pretty young, like in second grade, and the stories kept getting shorter and shorter. My family used to go to Damascus in Syria and Lebanon every summer for three months until 2011, when the Civil War broke out in Syria. In 2015, we made our first return after that gap, and my father and I went to Lebanon for two weeks. It's the first time I felt that I belong. To the extent that was true or not, I'm obviously irrevocably American. I speak broken Arabic. I don't think I could ever live in Lebanon or Syria. But for what it was worth at 15 years old, it was a life-changing trip. I wrote my first official poem on the plane back to San Diego from that trip, and I feel that was a formative moment for me. I felt that I had a story to tell and wanted to put it to paper in the form of poetry.”In this episode of the Speaking Out of Place podcast, Professor David Palumbo-Liutalks with poet Maya Salameh about her poetry collection, How to Make an Algorithm in the Microwave, which won the prestigious Etel Adnan Poetry Prize in 2022. The judges remarked, “Maya Salameh's poetry stood out for its inventiveness in cracking the code of life ‘between system and culture'…The turns and swerves the poems make are astonishing; the expectations they upend are remarkable… It's a testament to the aesthetic boundaries and intellectual revolt poets of Arab heritage are pushing, breaking, and reinventing.” We talk about what led her to both technology and poetry, language and story-telling, and the challenges and joys of representing life in the diaspora. In a time of war and genocide, Salameh's poetry shows how patterns of life and reproduction and desire persist. In her readings and discussions of three poems, we find a new lexicon and a new grammar.Maya Salameh is the author of MERMAID THEORY (Haymarket Books, 2026), HOW TO MAKE AN ALGORITHM IN THE MICROWAVE (University of Arkansas Press, 2022), winner of the Etel Adnan Poetry Prize, and the chapbook rooh (Paper Nautilus Press, 2020). She has received fellowships from the National Endowment for the Arts, Sewanee Writers' Conference, Bread Loaf Environmental Writers' Conference, and the President's Committee for the Arts and Humanities, and served as a National Student Poet, America's highest honor for youth poets. Her work has appeared in The Offing, Poetry, Gulf Coast, The Rumpus, AGNI, Mizna, and the LA Times, among others. @mayaslmhhttps://speakingoutofplace.comBluesky @palumboliu.bsky.socialInstagram @speaking_out_of_place
“Poetry is like one of the great loves of my life, and I think it's probably the longest relationship I'll ever have. I read a lot of poetry. I also wrote these short stories even when I was pretty young, like in second grade, and the stories kept getting shorter and shorter. My family used to go to Damascus in Syria and Lebanon every summer for three months until 2011, when the Civil War broke out in Syria. In 2015, we made our first return after that gap, and my father and I went to Lebanon for two weeks. It's the first time I felt that I belong. To the extent that was true or not, I'm obviously irrevocably American. I speak broken Arabic. I don't think I could ever live in Lebanon or Syria. But for what it was worth at 15 years old, it was a life-changing trip. I wrote my first official poem on the plane back to San Diego from that trip, and I feel that was a formative moment for me. I felt that I had a story to tell and wanted to put it to paper in the form of poetry.”In this episode of the Speaking Out of Place podcast, Professor David Palumbo-Liutalks with poet Maya Salameh about her poetry collection, How to Make an Algorithm in the Microwave, which won the prestigious Etel Adnan Poetry Prize in 2022. The judges remarked, “Maya Salameh's poetry stood out for its inventiveness in cracking the code of life ‘between system and culture'…The turns and swerves the poems make are astonishing; the expectations they upend are remarkable… It's a testament to the aesthetic boundaries and intellectual revolt poets of Arab heritage are pushing, breaking, and reinventing.” We talk about what led her to both technology and poetry, language and story-telling, and the challenges and joys of representing life in the diaspora. In a time of war and genocide, Salameh's poetry shows how patterns of life and reproduction and desire persist. In her readings and discussions of three poems, we find a new lexicon and a new grammar.Maya Salameh is the author of MERMAID THEORY (Haymarket Books, 2026), HOW TO MAKE AN ALGORITHM IN THE MICROWAVE (University of Arkansas Press, 2022), winner of the Etel Adnan Poetry Prize, and the chapbook rooh (Paper Nautilus Press, 2020). She has received fellowships from the National Endowment for the Arts, Sewanee Writers' Conference, Bread Loaf Environmental Writers' Conference, and the President's Committee for the Arts and Humanities, and served as a National Student Poet, America's highest honor for youth poets. Her work has appeared in The Offing, Poetry, Gulf Coast, The Rumpus, AGNI, Mizna, and the LA Times, among others. @mayaslmhhttps://speakingoutofplace.comBluesky @palumboliu.bsky.socialInstagram @speaking_out_of_place
Jeannie Fulbright and Shiela Catanzarite discuss the benefits and the beauty of a Charlotte Mason education, sharing experiences from the years of educating their own children using Charlotte Mason's model. You'll hear how it brought beauty to their homeschool days and how it prepared their children for college and career. You'll see how employing the Charlotte Mason method equips children for success in the real world. Jeannie and Shiela share the importance of deprogramming from the standardized system of education that is failing our children. By employing the methods Charlotte Mason taught, methods that research confirms effective, you will provide for your children a peaceful, joyful, quiet growing time that honors their uniqueness and gives room for them to discover their gifts and talents. The simplicity of using the Charlotte Mason model enables children to become strong thinkers, writers, communicators, and leaders in their generation. About Shiela Shiela Catanzarite is an author, speaker, editor, and communication coach. She's a 20-year Charlotte Mason veteran homeschooler and has worked as Jeannie Fulbright's editor and designer for 20 years helping develop Jeannie's award-winning Apologia science curriculum and most recently her Charlotte Mason products published through Jeannie Fulbright Press. Shiela is the author of the newly published Living Verse Language Arts in Poetry and is finishing up her second book in the series Living Verse Language Arts in Scripture, to be released spring 2024. Earning a bachelor's degree in Special Education and a master's degree in Christian Education from Dallas Theological Seminary, Shiela has been teaching language arts in some capacity for 40+ years. Her passion remains helping students understand the elements of language and how to use these elements artfully to communicate effectively. Shiela is currently a language communication coach, working one-on-one with students who have language learning and communication challenges. She also writes curriculum for her private middle and high school English language communication classes that focus on writing and speaking. Both of Shiela's and her husband Bruce's daughters attended private universities on scholarship and went on to pursue graduate studies in medicine and global business. She attributes their love for learning and academic achievement to homeschooling with Charlotte Mason's philosophy and methodology. About Jeannie Jeannie Fulbright, a 24-year veteran homeschooler, is the author of the #1 best-selling, multi award-winning Apologia Young Explorer science series: Exploring Creation with Astronomy, Chemistry and Physics, Botany, Zoology, and Anatomy & Physiology. She is also the author of the action-packed historical time travel book series Rumble Tumbles Through Time, as well as preschool science books and activity kits, the Charlotte Mason Heirloom Planner, and many high-quality Charlotte Mason based products. Jeannie and her husband Jeff became empty nesters in 2019. All four of their children all went to the University of Georgia on scholarship (homeschooling works!). For more than 20 years Jeannie has traveled around the country speaking to homeschoolers at conventions, covering a plethora of topics from Charlotte Mason to marriage and prayer. Connect Jeannie Fulbright | Website | Instagram | Facebook | Facebook Group | TikTok | Pinterest Shiela Catanzarite | Website | Instagram | Instagram Homeschooling.mom | Instagram | Website Have you joined us at one of the Great Homeschool Conventions? We hope to see you there! For more encouragement on your homeschooling journey, visit the Homeschooling.mom site. View full show notes on the blog.
Mary Jo Bang is an eminent American poet, reading from her 9th book, "A Film In Which I Play Everyone."
Nin Andrews celebrated poet premieres her new book: Son Of A Bird: A Memoir in Prose Poems.
In this episode of This Teenage Life, we hear from teens who have published their stories with Novelly, a platform amplifying teen voices. We hear about what it means to be a writer, and the powerful possibilities of storytelling. If you're interested in reading awesome teen authors or becoming a teen author yourself, check out Novelly at: https://www.novelly.org/
In this episode, Garrett and Mike discuss fear. They read some original poetry and ask the question, does the bud fear the flower?
Welcome to Off The Bricks, poets and poetry lovers! This month, we feature Stephanie L. Harper. Harper is a neurodivergent (autistic & ADHD) poet, mother, and transplant from Oregon now living in Indiana with the world's most adorable husband, poet, Robert Okaji; cat, Lyra and puppy, Eleanor Rigby (Elly). In a former life, she earned her BA in English & German from Grinnell College, IA, and MA in German from the University of Wisconsin – Madison.Harper is the author of three chapbooks, including We Have Seen the Corn (Kelsay Books). Her poems appear in The Dodge, The Iowa Review, Neologism Poetry Journal, The Night Heron Barks, Pleiades, Salamander Magazine, Taos Journal of Poetry, Vox Populi, and elsewhere. You can find Harper's poetry for purchase at Kelsey Books, Amazon, and you can find her blog at slharperpoetry.com
Kafi: Sanwal Gurmani, translated from Saraiki by Mediah Ahmed, introduced and read by Mediah Ahmed, and the original poet Sanwal Gurmani Published in MPT Rhythms of the Land: Focus on the Poetry of Nature This Kafi by Sanwal Gurmani pulses with the rhythms of love, land, and longing. Set against the backdrop of nature—the forest, the deer, the red earth—it weaves the emotional terrain of human connection into the physical landscape. The forest's anxiety for its fawn mirrors our own vulnerabilities, while the path of love becomes a metaphorical journey across the land. The naghaaraa of love, traditionally used in communal celebrations and declarations, is reimagined here as an instrument of peace—resolving wars through rhythm and resonance. In a world increasingly marked by conflict, this poem calls us back to tenderness, rootedness, and reconciliation—the true rhythms of the land and heart alike.
Welcome back to The Literary Life Podcast! This week we begin a brief, two-episode series covering Christina Rossetti's narrative poem "Goblin Market." Our hosts, Angelina Stanford and Thomas Banks, look at the life and family background of Christina Rossetti, highlighting her devout Christian faith as key to understanding her poetry. Thomas shares the dates for the Victorian and Pre-Raphaelite periods in terms of art and literature. Angelina asks what the form of this poem is as we approach this together, and she and Thomas propose a few connections and preliminary ideas they have about "Goblin Market" before we dive into the full text. Join us next week as they walk through the poem together and further discuss how to read this work as well as so much more! Visit the HouseofHumaneLetters.com to sign up for all the upcoming and past mini-classes and webinars taught by Angelina, Thomas, and their colleagues! We are excited to announce this coming year's annual Literary Life Online Conference, happening January 23-30, 2026, "The Letter Killeth, but the Spirit Quickeneth: Reading Like a Human". Our speakers will be Dr. Jason Baxter, Jenn Rogers, Dr. Anne Phillips, and, of course, Angelina Stanford and Thomas Banks. And to view the full show notes for this episode, please visit https://theliterary.life/294.
Send us a textHave you ever considered that the weathered saddle in your barn might be telling stories you've never fully heard? The Wild West Podcast invites you to listen more carefully to the language of leather and silver that defines cowboy culture.We journey into the soul of western heritage through the lens of a remarkable new book, "A Cowboy's Tale of Words, the Meaning of Saddles and Spurs." This thoughtful exploration goes beyond the surface of cowboy equipment to reveal how these tools are actually vessels of history, carriers of tradition, and expressions of the frontier spirit. As we discuss in this episode, every tooled piece of leather and hand-forged spur contains narratives as rich as any written page.The centerpiece of our discussion features a reading of "Roundup," a powerful poem that transports listeners to the sun-cracked plains where "each creak of leather tells a story, old, of sweat and labor, brave and bought and sold." Through vivid imagery that captures both the harshness and beauty of cowboy life, the poem exemplifies the book's approach to western etymology—revealing how the language of the West grew naturally from the work, the land, and the people who shaped it.Whether you're a working rancher who understands the practical value of good tack, a collector of western memorabilia, or simply someone fascinated by American cultural heritage, this episode offers fresh insights into objects we might otherwise take for granted. The saddle becomes more than a seat, the spur more than a signal to the horse—they become chronicles of the American experience.Ready to deepen your appreciation for western heritage? Search for "A Cowboy's Tale of Words, the Meaning of Saddles and Spurs" online or on Amazon, and discover the stories hidden in plain sight throughout cowboy country. Until then, happy trails, partners.Support the showIf you'd like to buy one or more of our fully illustrated dime novel publications, you can click the link I've included.
Ōama, aka Temmu Tennō, ascended the throne in the Kiyomihara Palace--a rennovated version of his mother's Later Okamoto Palace. Here he ruled with a tremendous amount of authority, continuing the leverage the Ritsuryo system to centralize power in the throne. We'll look at the layout of the palace, and also talk a little bit about what life was like for the members of the court who were serving Oama, and the state at large. For photos, diagrams, and more, see our blog at: https://sengokudaimyo.com/episode-134 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan. My name is Joshua and this is episode 134: An Image of the Court at Kiyomihara Maro sat under the eaves of the hall to which he was assigned. The journey from Mino hadn't been so hard, but he was still far from his family, back home. He knew as much as they did that serving at the court of the Great Lord was a tremendous opportunity. He would be at the heart of the court, in the presence of those running the country, and he could learn a lot from them. After passing his internship, he would have a chance to prove himself. If he worked hard, he could look forward to continued promotion, with the greater stipend and influence that came with it. Maro had no illusions that he would someday be at the top of the court hierarchy, but perhaps he could make some modest improvements in his station. His elder brother was expected to inherit their father's position back in Mino, but the court provided a different opportunity. Maro had always been a quick learner, and had learned to read and write at an early age, devouring whatever knowledge he could get his hands on – and that had helped make him that much more desirable to the court. Now he was learning the ins and outs of how it worked, mostly by doing odd jobs while observing the various interactions, the politics, and the rhythm of it all. Life at the Court really was something. And yet he still felt homesick. And so here Maro sat, looking out at the full moon in the sky, its light so bright that he barely needed any other illumination. Maro wondered at the idea that his family might be looking up at the same moon at the very same time. As that image took hold, he could feel in the experience a poetic verse. He took out one of the wooden slips used for labels and notes, scraped off the previous writing, and began jotting down his composition. He only got through a couple of lines before he heard his name being called, and since he was on night duty he put down the brush and the wooden slip. Poetry would have to wait. With everything put back away, he rushed off to find out what new task awaited him. So here we are, the year is 673 and we are at the start of a new era. Ohoama, aka Temmu Tennou, had defeated his enemies and was now in the process of taking the reins of power and officially ascending the throne. In so doing he was moving the capital from Ohotsu, on the shores of Lake Biwa, back to Asuka. Arriving back, he took up residence in what is called the Shima palace for a few days, presumably as they prepared the Okamoto Palace for him. At the same time, we are told that a “palace” was erected for Ohoama south of the Okamoto Palace, and this was called the Kiyomihara Palace. I'd like to spend this episode talking about this Kiyomihara Palace, and what life was like there, not just for Ohoama but for his new court. While we talked about some of the other palaces, this is perhaps one of the better known from the archaeological record, and it is the backdrop for so much that happens. Ohoama is even known as the Sovereign from Kiyomihara. So let's talk about what the palace consisted of, and what it was, and a little bit about what life was like there. In addition to that, we've discussed in previous episodes how Ohoama's ascension to the throne kicked off a whole new era in the evolution of the Yamato state, with numerous innovations and new paradigms in the idea of the ruler and the court and their relationship – so it's worth taking a closer look at the setting where all of that was happening, so we can try and put ourselves in the shoes of those doing the work, and understand their daily grind, as it were. There is unfortunately plenty about the Kiyomihara Palace that we don't know - it isn't like there is a detailed account of the palace in the records - but its ruins are probably the most complete of all those found in Asuka. This makes sense, given that it would have been built over the earlier palace sites. In fact, for the most part, the Kiyomihara Palace is just the Later Okamoto Palace, in other words where Takara Hime, aka Saimei Tennou, ruled, but updated and expanded to fit Ohoama's and his court's needs. Archeological work in Asuka has done some tremendous work to help us understand the Asuka Palace Site. By studying the various post holes, ditches, and other evidence, along with occasionally discarded items, we have a general idea of the palace's shape, and when we combine this with what we know from other sites—the Naniwa Palace ruins in Ohosaka, the Fujiwara palace ruins in Kashihara, and the Heijo-kyo ruins in Nara, among others—along with an understanding of how palaces were being built on the continent, we are able to piece together what we think was going on. Of course these interpretations aren't unanimous, and there are parts that scholars will no doubt quibble over—such as the use of the Ebinoko compound, which I'll talk about in a bit—but in general we have a picture of what things probably looked like, at least from a layout perspective, and how the site may have been used. To start, let's go back for a moment to the Toyosaki Palace in Naniwa, the first palace purpose built for the new governmental system being brought over from the continent. This was the palace of Karu Ohokimi, aka Koutoku Tennou, uncle to Naka no Ohoye. It was built in the aftermath of the Isshin Incident of 645, an architectural centerpiece of the Taika reforms. As you may recall, this was a massive undertaking. This palace was largely rectangular, and consisted of three compounds from south to north, ranging from most to least public. Most people would enter from the south gate, later known as the Suzaku-mon, the gate of the crimson bird of the south, a pattern that would generally hold true for other palaces. Entering the compound, you would find yourself in the Choshuden, a space holding two pavilions with several rooms where officials could change into or out of their official robes. The gates to the Choshuden would open at sunrise for the clerks and functionaries would enter. At the northern end of the Choshuden was the Southern gate of the Chodoin, the main working area of the court. There were 14 halls, or Chodo, each one dedicated to a different ministry. The size of these halls varied, likely based on importance or at least the size of their government portfolio. Most of the middle area of the Chodoin was open, but at the northern end was the gate to the Dairi, the inner palace. This gate was flanked by two octagonal buildings, and it led to an area between the Chodoin and the Dairi where there sat the building that would become the Daigokuden. This was the main audience chamber for meetings with the sovereign, who would preside and make pronouncements in the early morning hours, at the start of the day. To the north of the Daigokuden was the rest of the Dairi, where the sovereign's personal quarters lay, including the quarters for his consorts and children, maintained by his personal servants.And there were other gates into and out of the Dairi—after all, the palace was so large you didn't want to have to go through the Choushuden and Choudouin just to get to the sovereign's quarters. Those who lived in the Dairi and those who worked there would be able to have their own entrances and exits. Let's contrast all of this with the Okamoto Palace in Asuka. More precisely the Later Okamoto Palace. This was the successor palace to the Itabuki palace, both of which were built for Takara Hime, aka Kougyouku—and by this point Saimei—Tennou. In fact, Itabuki palace burned down at the end of 654, just as Takara Hime came to the throne a second time. This palace was, in total, maybe the size of the Chodoin of the Toyosaki Palace, if that. For one thing, there wasn't as much flat land easily available in the valley, but for another, the builders maybe didn't think they needed quite that much space and that many buildings. You see, while the Toyosaki palace in Naniwa was likely meant to model the kind of infrastructure necessary for the Tang court, in Chang'an, Yamato was still building up its fledgling bureaucracy. It wasn't like there were a flood of reports and correspondences coming in from all over the archipelago that had to be handled by an army of clerks. At least not yet. The Okamoto palace, from what we can tell, was also a rectangle, once again facing south , on the east side of the Asuka river. This palace did not necessarily have the same kinds of dedicated spaces as the Toyosaki Palace. The main gate that we know of was in the south, leading to a courtyard with another building—possibly the Ohoandono, alternatively the Ohoyasumidono or the Daianden. This may have been an audience hall for meeting with public officials. The ground here was covered in gravel, a fairly common thing for palace compounds. Though we don't know exactly what the buildings looked like, we have some idea based on the size and number of post-holes. We also haven't found any ceramic tiles in or around the ruins so far, which suggests that Okamoto Palace did not have ceramic tile roofs as were common on temple architecture, but instead were likely covered with wooden shingles, like the Itabuki Palace that used to be in relatively the same spot. From an archeological perspective, any tiled building of this size leaves a lot of indications behind: over the years tiles fall off, break, get buried, etc. Even if, as was common, the court meticulously dismantled the buildings down and reused as much as they could, we would still expect to see some tiles or tile fragments in the ground where the pillars are found, and yet we find nothing of the sort. To the east and west of the Ohoandono were long, narrow structures, oriented north to south rather than east to west. These are thought to have been the offices where government officials could do their work. Moving into the northern section of the palace, the ground was paved with river stones. There were two large buildings with small wings, running east to west, lengthwise, and situated on the same line as the Ohoandono. These may have been what have been called the To no Andono, or outer Hall, and the Uchi no Andono, the inner hall, and they would have been used for ceremonies for those of the appropriate rank. The middle hall it seems was modified from its original form. While it was similar in size and footprint to the hall north of it, the western wing of the southern hall at some point was destroyed—whether on purpose or accidentally—and it was replaced with what appears to have been a pond. On each side of this central area we see more space for buildings, but only some of the post holes have so far been uncovered. There were other buildings further in the northernmost third of the compound that were likely for the sovereign's private usage, as well as a well, and what may have been a building for some kind of semi-private religious ceremony. This palace, the Okamoto Palace, was essentially what Ohoama started from when he relocated the capital back to Asuka – but when he ascended to the throne, he did make a few changes. Most notable was the creation of something called the ebinoko-kuruwa, the Ebinoko enclosure. This was to the southeast of the main palace, and had a rectangular wall surrounding one large building and two smaller ones. Interestingly, the buildings would appear to be oriented in a symmetrical shape that would suggest a southern entrance, like the other palace compounds we've been discussing, and yet the gate was to the west, opening to the area between the Ebinoko enclosure and the main palace. And based on postholes and other evidence, there appear to have been at least four other rectangular buildings stretching out to the south, outside of the walls. Some have theorized that the large building in the Ebinoko was an early form of the Daigokuden, a ceremonial hall where Ohoama held court, rather than reusing the facilities of the old Okamoto palace. Alternately, perhaps it was actually more like the buildings of the Chodoin in Naniwa, where the different departments of the court actually did business, but here with all of the officials working in one, single building. A third idea that others have suggested that this was actually Ohoama's private residence—again, somewhat odd given the size and shape and the fact that there were the seemingly larger facilities of the Okamoto palace already right there for the taking. So which is it? We do have a clue in the record of the 15th day of the 9th month of 672, and the lines following it. According to the Aston translation of the Nihon shoki: He removed his residence from the Palace of Shima to the Palace of Okamoto. In this year a Palace was erected south of the Palace of Okamoto, and the Emperor removed his residence thither that same winter. This was called the Palace of Kiyomibara in Asuka. So it does seem like something was built south of Okamoto and that is where Ohoama resided. It is somewhat uncommon for a sovereign to reuse an old palace like this. Traditionally, sovereigns had regularly moved to new palaces, seemingly because of the attempts to avoid ritual pollution associated with death. Of course, it had been a while since Takara hime had passed away, and Naka no Ohoye had moved everything to Ohotsu, but nonetheless, is it possible that the Ebinoko kuruwa was built to, in some way, give Ohoama new quarters? We may never know for sure. There are plenty of inconsistencies. For one, if it was meant as a residence, I would expect more buildings for his consorts and others. There are also some things to note about the account in the Nihon Shoki. For one thing, although the initial account calls this the Kiyomihara Palace, the Chronicles also suggest that it wouldn't actually get that name until the 20th day of the 7th month of 686, about 14 years later. That record describes how a new era name was also announced: the Akamitori, or red bird, era. I don't want to get too much into it right now, but suffice it to say that a red, three legged crow is often depicted as the symbol of the sun; and the important south gate of the palace, the Suzaku-mon, is named for the vermillion bird of the south, one of the four guardian animals. When this era name—more commonly read as “Shucho”, today, since era names are commonly red in on'yomi reading rather than kun'yomi—well, when it was declared, we are told that the palace was titled the Palace of Kiyomihara of Asuka. What are we to make of this? Well, today, it is assumed that the Kiyomihara palace refers to the Okamoto Palace starting from the creation of the Ebinoko-kuruwa and its occupation during what is assumed to be Ohoama's rule. Earlier in the Nihon Shoki we are told that Ohoama was known as the Kiyomihara sovereign, and so even though that name technically wasn't applied to the palace until later, it makes some sense just to assume it applied from the start of Ohoama's renovations. One more thing that I would point out. While we talked about the original Okamoto Palace and the newly built Ebinoko enclosure, they were arranged as though around a large open area, like a courtyard. The original palace stood at the north, where one could enter the south gate of the palace, and then the Ebinoko enclosure sat on the east side of the courtyard, with its western gate between the two. The southern and western sides of the courtyard, on the other hand, followed the snaking flow of the Asuka River. From about 675 to 681, on or about the 17th day of the first month of the year, it's recorded that the court held an annual archery shoot in the court of either the West or South Gate—which would seem to refer to this large area. This makes sense, as the space is large enough to accommodate plenty of room for the range and for others to watch The archery exhibition was held here, in the space between the two compounds, like clockwork until 681, when we are just told that it was held in the “Courtyard”, which feels like it is referring to an area inside the main compound of Kiyomihara. There are no more mentions of the tradition after 681, though there is an archery shoot in front of the South Gate on the 5th day of the 5th month of 685, but that was probably done as part of the regular 5/5 celebrations—a holiday today known as Kodomo no Hi, or Children's Day, but more traditionally known as Tango no Sekku, the Iris festival. Some form of celebration on this date seems to have occurred throughout East Asia up until the modern day. Whether the archery stopped or just became such a standard thing that it was no longer noteworthy in the record, I can't really say. However, one can possibly imagine what it was like, with all of the courtiers out there watching as the arrows shot down the field. The occasional twang of bows and the faint whistle as it sped towards its target, hitting the target with a sharp thwack. Murmurs from the crowd regarding how well—or how poorly—any given person was doing. Beyond the courtyard and what we know of the two compounds—the Kiyomihara palace and the Ebinoko Enclosure—there is plenty still to discover. There were likely other compounds around the palace, possibly as an extension of the palace. And then there were the temples: west, across the river, was Kawaradera, and north of the palace and surrounding compounds was Houkouji, or Asukadera. There is even some evidence on the northwest edge of the compounds, southwest from Asukadera, of an ancient garden surrounding several manmade ponds. And so, the entire valley appears to have been filled with buildings and official spaces , running up against and being constrained by the natural features of the valley itself. As I mentioned above, there just isn't that much buildable space in the Asuka valley, compared to other places like Naniwa. And this contributed to one of the other problems that the court would have experienced: according to tradition, the front of the palace and other buildings were all oriented south, but for this location, this meant that they didn't face the expansive fields of the Nara basin, but instead they faced the mountains themselves. All in all, there was not much room here to grow, and yet the government and the court had grown, at least by all accounts. Though, how much had the court grown? Maybe not as much as we might expect, despite Ohoama's ambitions. First of all there had been the purge of the powerful ministers at the head of the Afumi court, but there are some startling omissions in the records from the beginning of Ohoama's reign. There is no mention of the Daijin, or Great Minister. There is no Minister of the Right or Minister of the Left. There is no Inner Minister, and there is no Great Minister of State. There are mentions of the “kugyou”, or “Ministers of State”, which traditionally includes the Daijin, but there is no mention of the Daijin, suggesting that the “kugyou” of this time may have only referenced the heads of the 8 ministries of the Dajokan, the Council of State. What does this mean? Many scholars interpret this period as a time of extremely centralized power. Coming off of his military victory, Ohoama seems to have ridden a wave of support and control. Combine that with the continued absorption of Tang dynasty propaganda-slash-government theory that saw the sovereign—the emperor—as the central authority, and one can see how Ohoama may have been able to do something that few sovereigns in Japanese history were able to actually do, which is to wield real power. This may seem odd for a position translated into English most commonly as “Emperor,” but as we've seen, in glimpses through the way they are depicted in the Chronicles, or through the archaeological record, which shows different loci of power and authority across the archipelago in ancient times, the Ohokimi, later dubbed the Tennou or Sumera no Mikoto, was not necessarily all powerful. Not only did they have to contend with rivals to the throne, but even various court nobles who made their way into the centers of power. From figures like Takeuchi no Sukune, to the Ohotomo, the Mononobe, and more recently the Soga—in all of these cases various nobles often held considerable power, though often in tension with one another. Sources of authority also varied. There were the individual religious centers through which families exercised some ritual authority, while there was also more secular authority in the various court positions. The Ohokimi certainly were respected, from what we can tell, and had a powerful source of authority going back to at least the holy kami of Mt. Miwa. They even spread that authority through their kannushi, their priests, which they sent out as an extension of the state. But they weren't entirely independent, either. But Ohoama seems to have reached a point where he did hold a tremendous amount of authority. Because there is another telling omission from the chronciles: we don't see any more Soga members. With the death of Soga no Akaye, the Soga family's influence seems to have disappeared this reign. We also don't see that much about other prominent families compared to earlier: we see the Mononobe as ambassadors, and we see the Nakatomi are still conducting rituals. But we don't see any of them rising to the same positions as their forebears. Instead, we see a lot of focus on the Princely class—those members who claim some descent from a previous sovereign, or even the current sovereign, and how they, themselves, are divided up with their own system of ranks that are outside the civil service ranking system. Speaking of civil service, it does always strike me that the ranking systems of various east Asian courts very much resemble the way that, even today, many modern bureaucracies create wage scales for their civil servants. In the US the most common such scale is the GS or “General Schedule” pay system. In that system, positions are associated with a particular grade, between 1 and 15, and federal employees are also referred to in terms of those grades. Grade typically reflects some level of seniority and pay. It isn't a one-for-one analogy, of course: the court ranks in Yamato were handed out by the sovereign, or at least through their authority, as were the various court positions, though I doubt that Ohoama was spending much personal time approving promotions for a low level clerk writing down inventories and suchlike—but who knows. But it does emphasize that this system is built to be a centralized bureaucratic monarchy, based on the continental model, and it now seems to have come into its own. The court seems to have bought into the idea, and now, intentionally or not, much of their own position in society was directly tied to the autocratic whims of the monarch, or Ohoama himself. Indeed, some of the first records from the year 673 are focused on the court and court system. The very first thing this entailed: a banquet on the 7th day of the first month of the new year. We are told that it was a “drinking party” or “shuen”, and boy does that draw some parallels with modern Japanese companies. We aren't exactly given the form of this party, but we do have later examples. There was likely a formal start, with various nobles set out at assigned seats based on their rank. It was an official event, so officials would have been expected to wear the appropriate clothing, including their caps of rank, letting everyone know exactly who's who, and reinforcing the social hierarchy imposed by the rank system in the first place. I suspect that it started with ritual and formality. Later, you would have the after party, where people might more freely mingle and drink and recite poetry. This was both an official and social occasion, because there really wasn't much of a line drawn between the two. As a ritual, it displayed Ohoama's power over the state through his ability to host them all. As a social function it was an important time in the political life of the court, where everyone was together, and you could find your cliques and supporters. Drinking alcohol, while being something that many enjoy for its own sake, was also a kind of religious observance. Sake was made to be offered to the kami, as well as to be used at parties. It was made from rice, the staple on which the agricultural success of the archipelago was based, and which held a particularly sacred place in other rituals and ceremonies. And then there was the poetry. As would be true for much of Japanese history, poetry infused all aspects of life at the court, and being able to compose good poetry was just as important to one's social standing as reading, writing, and other such skills. There were generally two kinds of poetry practiced at the court. There was the traditional Japanese poetry, or waka, with alternating verses of 5 or 7 syllables—more properly morae, but no need to get into that. Then there was poetry composed in the Sinitic style. Known as “Kanshi”, which translates directly as “Han Poetry”, this mimics the poetic forms brought over in literature from the continent. It required a certain amount of education to be able to compose and was based on the characters, or kanji, used. Kanshi can generally be divided into at least two categories. There is the Kotaishi, or the Old Style Poetry, which consists of poetic form used prior to the Tang dynasty. Then there is Kintaishi, or Modern Style Poetry, which is based on the forms from the Tang dynasty and later. Kintaishi is usually recognized for adhering to more rules of structure and composition, usually using lines of 5 or 7 characters, while Kotaishi is more fluid and less concerned with specific rules and rhythms. Poetry was also not necessarily a solo activity. It was common in later eras to arrange poetry competition, where the court would divide itself, much like the bureaucracy, between the Left and the Right. Each group would compose poetry, often on a set theme, and then put up the poems they felt were the best against those of the other side and then the entire court would listen and judge. The only tangible reward, assuming the sovereign was not so moved as to do something extraordinary, was bragging rights. And yet, that social capital was important among the nobles of the court. Image was extremely important to individuals, and embarrassment could be a political death sentence. And so many would work hard at these poems to make sure that they were the best they could be. At this point, though, we are still in the early years of many of these traditions. The poetry that we have appears to be less formulaic than we see in later eras, when there were so many precedents to which one was expected to adhere. Poems could be about feeling and were not required to hearken back to previous poems and poetic allusions. By the way, official events like this are also one of the ways that we get compilations of poems, later on. These events would get transcribed and then later those poems would be referenced, particularly if they were noteworthy or by noteworthy individuals. This kind of event may have been where a lot of the poems from works like the Man'yoshu and the Kaifusou, the earliest compilations of Waka and Kanshi, respectively. At some point I”d love to dig into the poetry more in depth, but for the moment, I think it is best to leave it there. Now besides one's skills at poetry there were other skills that the court was interested in. The court system that they had lifted from the continent was based, at least theoretically, on the idea of a meritocracy. The monarch, of course, was judged to be worthy to rule through the mandate of Heaven, which often demonstrated itself early in the regime through the Emperor's forces defeating their enemies, much as Ohoama had defeated his rivals in the Afumi court. However, for the rest of the government, the sovereign needed to make sure that he had qualified individuals. From an early point in history, people recognized that not everyone born into power and wealth was necessarily the best person to help run things. If you could only find those of the greatest intellect, discernment, and moral compass, then those are the ones you would want to have running things, right? And this is fine in theory. However, determining who has those qualifications can be a bit tricky. We talked about this back in episodes 71 and 72 when we talked about the Han dynasty more generally. In that case, while the civil service exam was open to any person, the reality was that only those with enough wealth and leisure time could afford to study to take the test. And so while it did open up opportunities for some, it did not truly apply equally across all classes of people. And this was likely fine with most of the ruling class at the time, since there were also still theories that there were different classes of people, and it simply reinforced their ideas that those in the lower classes just didn't have the same capabilities that they had. In the Yamato court early in Ohoama's reign it isn't clear to me exactly how individuals were being chosen for service. We know that rank was handed out as a reward for service, varying with the individual. Ohoama handed out rank at the end of 672 to those who had helped him to come to power, and then, on the 29th day of the 2nd month of 673, just two days after he formally ascended the throne, we are told that he conferred cap-rank on those who had performed good service, each according to their situation. Of course, that is about how promotions were rewarded. But what about how people entered into service in the first place? How did you get introduced to a job in the bureaucracy in the first place? Well for that we have Ohoama's pronouncement on the first day of the fifth month. He addressed the court and set it up as follows: First, anyone who would take a government position would begin their career as an “ohotoneri”. These were low level functionaries who supported the various bureaus as guards, messengers, and whatever else was needed. Previously, this all would have fallen under the general term of “toneri”, who were those members of the nobility who had been sent to serve in the royal palace. Aston translates this as a “chamberlain”, and thus equates oho-toneri—literally “great toneri”—as “high chamberlain”, though I'm not sure if that was actually the distinction or not. It looks like the term “toneri” itself may pre-date the Ritsuryo system, but now was being more standardized, with expanded categories of “toneri” within the system itself. Interestingly, there is only one other example I could find of Ohotoneri before the reign of Ohoama and that was in the account of Waketakeru no Ohokimi, aka Yuryaku Tennou, which makes me think that might be an anachronism. We definitely see “toneri” used since just before that reign and continuously onward, and we see them in regards to not just the royal house, but as the functionaries and servants in various places and for other aristocratic families, but the “ohotoneri” seem to have been specifically connected to the royal family… and thus the state. Ohotoneri, despite being quote-unquote “great” toneri, were at the relative bottom of the hierarchy. They were the night shift, the guards, the messengers, and the general go-fers. They were essentially paid interns. As they did their tasks, they were learning about how the various offices and ministries worked, and they were demonstrating their own aptitude. Based on how they did, they would then be assigned to various offices as seemed most suitable. There were also offices that were staffed by women. Though separate and distinct, women also had a role in the palace and thus the maintenance of the court and the state. They were to be selected for service regardless of their age or even whether they were married or not, but they fell under a separate set of rules from the men, because, well, patriarchy. So that's what happened when people were selected to serve, but who was selected? The chronicles don't say explicitly until a decree about three years later in the 4th month of 676, when it was decreed that all those from provinces outside of the Home Provinces could enter the service of the sovereign, no matter their family's rank, whether Omi, Muraji, Tomo no Miyatsuko, or Kuni no Miyatsuko. They would also allow men of quote-unquote “distinguished ability” enter service, even though they were commoners. From that we can surmise that when they are talking about “all” people really they are talking about “all” the nobility—the only people for whom the Nihon Shoki was really intended, if you think about it. Thus, logically it would seem that prior to this only members of the nobility were allowed to enter government service—but there is even more. Because before this pronouncement in 676, only people in the Home Provinces were theoretically allowed to enter government service. The Home Provinces, or Kinai, are traditionally the five provinces of Yamato, Kawachi, Izumi, Yamashiro, and Settsu. At this point, though, Izumi was still a part of Kawachi, so it would have just been the four. These provinces were likely the first lands to really come under Yamato's direct control, and as such they all held a certain pride of place. This is also where we assume that the powerful families of Yamato had their strongholds. Certainly the Soga, the Mononobe, and the Ohotomo all had claim to traditional land in and around this region. When the court had moved to Ohotsu it would have been the first time in many years that the capital was moved out of the Home Provinces, which was probably a large part of the dissent expressed at the time. How would you like it if your job up and moved two states away and forced you to relocate with them, likely at your own expense? In 676, though, the court decreed that it would no longer restrict itself to noble families of the Home Provinces, but instead would open up service, and the lucrative stipends that came with it, to members of the nobility in the rest of the archipelago. This seems particularly intriguing given the two swords we have from the time of Waketakeru no Ohokimi, aka Yuryua Tennou, in the 5th century, where elites had served—or at least claimed to serve—at his court. It is possible that during his day the influence of Yamato was more expansive, and that influence contracted after him. Or it could be that it was a different type of service that they had provided. And then there is the comment in Ohoama's decree that the court would also allow men of “distinguished ability” to also enter service, even if they were commoners. How very progressive. This seems clearly designed to suggest the meritocratic system that was the ideal, even if it was only truly observed in the breach. I can't help but think about how this symbolizes the court's expanded control across the archipelago, and the idea that all of the archipelago was truly under their control. It also meant that they had opened up the candidate pool to a wider audience. Does that mean that they were growing the size of the government, too? I also can't help but wonder how the old guard took this—the traditional families from the Home Provinces who suddenly found themselves competing with people from the periphery. Did they see them as equals, or the equivalent of upstart country bumpkins? And let's not even get started on anyone who joined government service as a Commoner. On the other hand, I suspect these new functionaries would have owed their position even more directly to the sovereign and the court, and they might not have strong familial ties to the local area. This is all just theory, but seems to follow with Ohoama's general efforts at centralization and accretion of power and authority to himself whilst further building out the structure that his brother, Naka no Ohoye, had set up. Along those lines, at the same time that the sovereign opened up membership in the court to those outside of the Kinai region, he also meddled with the incomes of the various Princes and Ministers. He insisted that those Princes and Ministers who were receiving taxes from fiefs in the West—by which I assume is meant western Honshu, Shikoku, and Kyushu—they should instead get their income from fiefs in the East. So he was taking away the western fiefs and instead swapping them with eastern fiefs. Those western taxes could then, presumably, come straight into the government coffers, and the princes and ministers would be connected with land in the east, which I suspect meant they would be expected to invest in those fiefs and encourage them to produce. This feels like it goes along with something from two years earlier, in 675, the third year of Ohoama's reign. In the second month of that year he abolished the serfs granted to the various Uji back in 664, and he abolished any claims by Princes—Royal or otherwise—as well as Ministers and Temples to any mountains, marshes, islands, bays, woods, plains, and artificial ponds. It seems clear that he claimed the right of eminent domain to himself and the state. By extension, all land effectively belonged to Ohoama, and everyone else became, de facto, his tenants. They paid taxes up to him, and he had the right to grant or take away the land as he saw fit. I can't imagine that went over well with those who had lost their rights to those lands, but either he compensated in them in some other way or his power had grown such that they didn't dare to oppose him. Certainly not everyone was happy. In 677, Saita no Fubito no Nagura was banished to the island of Izu for apparently scoffing—or otherwise disrespecting—Ohoama. Well, it says his vehicle, but Aston notes that this is probably just a polite euphemism for the sovereign himself. But that rebuke seems to have been pretty light compared to two years earlier when a man—we aren't even given his name, assuming it was known, hiked up the hill east of the palace, cursed Ohoama, and then cut his own throat. How it was known that he had been cursing anyone isn't explained—though perhaps he had written it down or otherwise communicated his intentions. Either way, it was certainly a rebuke. But if it phased Ohoama, we can't tell. He did give those on duty that night a step in rank, presumably for the trauma they had experienced in dealing with everything. Possibly related—we are told that same month there was a great earthquake. So was that thought to be the curse being fulfilled? There is nothing to connect them except that the one immediately follows the other. And yet, Ohoama would continue to rule as he saw fit. In fact, he would rule roughly 14 years, in total, right up to his death in 686. A rather substantial reign compared to so many other sovereigns. And he would continue to make his mark. Next episode we will continue our journey through the reign of Ohoama, aka Temmu Tenno. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts. If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website, SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page. You can also email us at the.sengoku.daimyo@gmail.com. Thank you, also, to Ellen for their work editing the podcast. And that's all for now. Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.
Selections from the forthcoming 2025 Poetry Contest issue, featuring poems by Philip Stern, Buffy Shutt, Susan Miller, and Byron Hoot. Support the show
In this special episode, recorded live at "Torchlight" last April, I reflect on the defining losses, trials, and awakenings of my life through the lens of poetry and personal story. Drawing on Nietzsche's insight that “to live is to suffer, to survive is to find meaning in the suffering,” I explore how our deepest wounds can become bridges—not barriers—to human connection. This is an honest meditation on grief, growth, and the strange alchemy that happens when we turn toward our pain and find each other there. I'd love to hear what you have to say about the episode including thoughts on the poetry and the topics that were discussed. You can email me at poetdelayed@gmail.com. My books of poetry are availabe for purchase at Amazon.com (http://www.amazon.com/Scott-R.-Edgar/e/B0B2ZR7W41%3Fref=dbs_a_mng_rwt_scns_share) "The Ghost of a Beating Heart", "My Mother Sleeps" and "Haiku Village" 
With so much conflict and so many things that divide us, what can possibly connect us? It seems our nation is broken. How can we begin to have unity in such a fractured place? Our guests today have spent decades working toward the idea of hope, peace, and connection. Gary Malkin is a multiple Emmy award-winning composer, resonance strategist, and music and wellness activist; Hope Fitzgerald is a spiritual teacher, intuitive dowser, and healer; and Tezikiah Gabriel is the Executive Director of Pathways To Peace, a UN Peace Messenger Organization, in consultation with ECOSOC and DGC. Gary shares that his father was born in Ukraine. He explains how he was bullied as a child. Peace in the world cannot be created without having inner peace. Gary talks about his journey through grief and trauma and how we, as a society, tend to avoid these feelings of pain. He talks about how we need to metabolism our grief and unburden ourselves. He realized that we cannot have peace if we don't have unity. And we cannot have unity, if we don't address the thing that caused us grief. Hope Fitzgerald talks about the workshops they developed together to awaken people and move them through the grief process. He also works with Tezikiah Gabriel and together they founded “We Rise as One” which is a celebration of connection and compassion through the power of music. Gary explains how they decided on the title and how the intention is to rise above with unity and oneness. It's an inclusive, multi-generational, multi-religious, multi-cultural event as a way to feel our unity. They also talk about the power of forgiveness to offer unity, as well as how music and poetry can lead to peace. This is a way to transcend the toxic division we are experiencing at this time. This is another way to celebrate both the International Day and Week of Peace. They are hosting the We Rise As One – A Celebration of Connection, Compassion & Hope event on Saturday, Sept 27 at Grace Cathedral in San Francisco. This will be a powerful day of music, healing, and unity, live in San Francisco and globally streamed. This event is co-produced with Pathways to Peace (founders of the UN International Day of Peace) and Grace Cathedral. This is Part 2 of the interview. Info: GlobalWisdomFoundation.org and PathwaystoPeace.org.
Welcome to a special episode of the AlzAuthors podcast, part of our first-ever Film Festival! Celebrating our 10th anniversary, host Marianne Sciucco sits down with acclaimed arts educator, author, and filmmaker Mary Crescenzo to explore the transformative role of the arts in dementia care. In this heartfelt conversation, Mary shares her journey from early experiences in nursing homes to the creation of her poetic play-turned-film, "Planet A." We discuss her innovative, age-blind casting, the real-life stories inspiring her work, and practical strategies caregivers can use to bring arts engagement into dementia care—at home or in care facilities. Whether you're navigating Alzheimer's in your family, working in dementia care, or seeking creative approaches to foster dignity and connection, this episode is filled with inspiring insights and actionable tips. Key Topics Covered: Dementia Care & the Arts: Mary describes how music, visual art, dance, storytelling, and poetry can spark joy, communication, and connection for people living with dementia.How the Arts Can Reduce Isolation: Real examples showing that engaging in the arts can counteract boredom, boost mood, and foster community in care settings.Art Activities for Caregivers: Practical advice and encouragement for caregivers to use arts engagement at home—even if you don't see yourself as an artist!Readings from the Film: Moving excerpts from Mary's poetry, capturing the emotional landscape of people living with dementia and their caregivers. Quotes: “Everyone should be engaged in the arts to whatever level, because it's so beneficial to heart and mind and life.” – Mary Crescenzo“Boredom is huge. People decline when they're bored. But you give them something creative, they light up.” – Marianne Sciucco“You don't have to be an artist to make a difference – just pick up a pencil, sing together, or sway to music.” - Mary Crescenzo Takeaways: Try simple creative activities—drawing, music, singing, storytelling—regularly, not just once.Don't let fear or “not being an artist” stop you. The benefits are in doing, not perfection.Engaging in the arts brings meaning, dignity, and even joy to those living with dementia.The arts can transform not only the person with dementia but also relieve and uplift caregivers.Seek out support, community, and inspiration—you are not alone! Resources and Links: Watch "Planet A" – available until year-end on YouTube. Register at AlzAuthors.com to receive linkBuy Mary Crescenzo's Book: "The Planet Alzheimer's Guide – 8 Ways the Arts Can Transform the Life of Your Loved One and Your Own" on AmazonVisit AlzAuthors Website for a wealth of caregiver resourcesLearn about Creative Writing Workshops for Caregivers: Contact Mary CrescenzoSubscribe to our Podcast: Available on Apple, Spotify, Amazon Music, Pandora, iHeartRadio and more.Follow AlzAuthors on Social: Facebook, Instagram, LinkedIn, Pinterest, Twitter/X and Blue Sky for daily support, book recommendations, and community stories. Don't miss our continuing film festival—visit our website for upcoming screenings, panel discussions, and more creative resources for the dementia journey. If you found this episode helpful, subscribe, share, and leave us a review! For more stories and support, visit alzauthors.com. Meet the Moderators Marianne Sciucco Christy Byrne Yates About the Podcast AlzAuthors is the global community of authors writing about Alzheimer's and dementia from personal experience to light the way for others. Our podcast introduces you to our authors who share their stories and insights to provide knowledge, comfort, and support. Please subscribe so you don't miss a word. If our authors' stories move you, please leave a review. And don't forget to share our podcast with family and friends on their own dementia journeys. Proud to be a Whole Care Network Featured Podcast Want to be on the podcast? Here's what you need to know Shop our Store
Lord Mandelson's foolish links with Jeffrey Epstein resurface, raising hard questions about political judgement and leadership in Labour. Meanwhile, a very different story unfolds in the Alps, where a group of elderly nuns have returned to their beloved convent — a tale of faith, joy, and a homecoming far more dignified than Westminster scandals. Finally, Mitchum deodorant, famed for its “one job,” has reportedly caused itchy armpits and left customers less than fresh. What does it all mean? From politics that stinks to holiness that shines, Mark and Pete mix humour, poetry, and biblical wisdom to make sense of a strange world.Become a supporter of this podcast: https://www.spreaker.com/podcast/mark-and-pete--1245374/support.
In this special episode of the Rattlecast, we announce the winners of the 2025 Rattle Poetry Prize competition, and most of the 11 poets share their prize-winning work. The annual contest offers $25,000 in awards for individual poems. Find more info on the prize here: https://rattle.com/page/poetryprize/ As always, we'll also include the live Prompt Lines for responses to our weekly prompt. A Zoom link will be provided in the chat window during the show before that segment begins. For links to all the past episodes, visit: https://www.rattle.com/rattlecast/ This Week's Prompt: Pick a specific obscure award and write a poem about it. Next Week's Prompt: Write a poem about a time you got more than you bargained for. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.
In this episode, we talk with poet Rosemerry Wahtola Trommer about the grief that carries love through unimaginable loss—the death of a child—and of the daily practice of writing and mindful observation that dig the groundwork for self-forgiveness, compassion, and revelation.Rosemerry Wahtola Trommer is a poet, teacher, speaker and writing facilitator who co-hosts Emerging Form, a podcast on creative process. Her daily audio series, The Poetic Path, is on the Ritual app. Her poems have appeared on A Prairie Home Companion, PBS News Hour, O Magazine, American Life in Poetry, and Carnegie Hall stage. Her recent collections are All the Honey and The Unfolding. In 2024, she became poet laureate for Evermore, helping others explore grief and love through poetry. Since 2006, she's written a poem a day, sharing them on her blog, A Hundred Falling Veils. One-word mantra: Adjust.Resource Links:* Explore these paths into Rosemerry Wahtola Trommer's work for poems that fall daily, books that gather what cannot be held, albums that sing through the dark, and talks that change the way we see.Website: wordwoman.comDaily poetry blog: A Hundred Falling VeilsDaily poetry app for your phone: The Poetic PathPodcast on creative process: Emerging FormNewest Books: The Unfolding, All the HoneyTEDx: The Art of Changing MetaphorsPoetry album on “Endarkenment”: Dark PraisePoetry album on love in difficult times: Risking Love* More from David - book releases, workshops, mindfulness talks, upcoming events, and more.Website: Davidkeplingerpoetry.comInstagram: @DavidKeplingerPoetrySubstack: Another Shore with David Keplinger* More from Shawn - free audio meditations, upcoming events, retreats, monthly essays, yoga classes, and music alchemy.Website: Shawnparell.comInstagram: Shawn ParellSubstack: The Guest HouseTogether, we're being human in an era of radical change. Your presence here matters. Bless our work algorithmically with your
The judgy Judies play Toss or Keep to help their friend Tommy downsize his poetry library.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.SHOW NOTES:Some of the poems/poets/people mentioned in this episode include:Robert Creeley, "I Know a Man" which you can read here and listen to Creeley read here. And here's a roundtable discussion of the poem (~11 minutes, with a recording of Creeley reading it during a visit to Harvard).The poet Ai's book, Vice. Experience a video that includes her reading her poem "The Good Shepherd" here. Matthew Dickman, All-American PoemElizabeth (betsy) Cox, I Have Told You and Told You. Read more about Cox's books with Penguin/Random House here. Loiuse Glück. "First Memory" is the last poem in Ararat. Watch this dramatic reading of the poem by Eisa Davis. Diane Gilliam Fisher, Kettle Bottom. Read more about Fisher here. Carrie Fountain, Burn Lake. Read the title poem here.Bob Hicok, Words for Empty, Words for Full. Read the poem "A Primer" mentioned in the show.James's poem "Portrait as My Mother as the Republic of Texas" appears in their first book, Now You're the Enemy (U of Arkansas, 2008). Read that poem and a short interview about it here. Watch this shady interview conducted with Paulina Porizkova about being fired by America's Next Top Model. The comic Beth Littlefield conducted very funny interviews forThe Daily Show in which her interviewer persona sent up Barbara Walters's interviews. In her interview of Dionne Warwick, she started one question this way:"In 1985, you participated in 'We Are the World,' which gathered together some of the top performers of our day, and Latoya Jackson." Watch Warwick fall out here, at the 2:30 mark.
In this episode I look at Heidegger's theories about the role of the poet in carrying the message of the gods to the people, as described in his 1936 essay Holderlin and the Essence of Poetry.
A special episode: Anna chats with award-winning poet Alison Gorman about her debut poetry collection A WOMAN TALKS TO HER TONGUE. These poems examine family secrets, silences and women's voices. Beautiful and assured, we loved this book. Alison joins us fresh from her sold-out launch in Sydney to discuss the moving themes from the collection and other favourite poets, including Judith Beveridge, Eileen Chong, Sarah Holland-Batt, Audrey Molloy, Ada Limón and Sharon Olds. Alison recommends podcasts Poetry Off The Shelf, Poetry Unbound, Close Readings and The Literary Life. Coming up: ENDLING by Maria Reva Follow us! Email: Booksonthegopodcast@gmail.com Instagram: @abailliekaras and @alisongorman Substack: Books On The Go Credits Artwork: Sascha Wilkosz
Andrew Sullins finds solace and comfort in writing poetry.
Published in MPT Rhythms of the Land: Focus on the Poetry of Nature Summer: N.S. Sigogo, translated from isiNdebele by Stephen Walsh Read by Stephen Walsh with isiNdebele read by Albert Nyathi Read online: https://modernpoetryintranslation.com/poem/summer-2/
As we pass Arnaut Daniel, the last penitent soul of Mount Purgatory, let's look back over the discussions of poetry and lust in the seventh (and even sixth) terrace of the mountain.Dante has laid out a fairly straightforward theory of poetry through his encounters with three poets. Are these in a logical progression? Are they causally linked, not just sequentially?Join me, Mark Scarbrough, for some final thoughts (at least for now) about poetry, lust, and how we humans make meaning.If you'd like to support this work, please consider donating through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:50] A progression of poets: Forese Donati, Bonagiunta Orbicciani, and Guido Guinizzelli.[07:20] Francesca was indeed an ambivalent figure in INFERNO--but not now, when we read through the gravitational lensing of COMEDY.[12:56] Simone Weil claims that the hope of religion (or for her, Christianity) is to turn violence into suffering, which can then be interpreted.
In this episode of The Poetry of Reality, Richard Dawkins and Steven Pinker explore the frontiers of science, language, morality, artificial intelligence, evolution, and the future of human civilization. Steven Pinker is a Canadian-American cognitive psychologist, psycholinguist, popular science author, and public intellectual. He is an advocate of evolutionary psychology and the computational theory of mind.
643. Part 2 of our conversation with Roxanne Harde about the Tremé series. Roxanne Harde on the Tremé series. "Set in post-Katrina New Orleans, this hour-long drama series, from executive producers David Simon and Eric Overmyer, follows the lives of ordinary residents as they struggle with the after-effects of the 2005 hurricane. Says star and New Orleans native Wendell Pierce, 'The only things people had to hang on to were the rich traditions we knew that survived the test of time before: our music, food and family, family that included anyone who decided to accept the challenge to return.' The large ensemble cast is supported by notable real-life New Orleanians, including many of its famous musicians." "Roxanne Harde is Professor of English at the University of Alberta's Augustana Faculty, where she also serves as Associate Dean, Research. A McCalla University Professor, Roxanne researches and teaches American literature and culture, focusing on popular culture, women's writing and children's literature, and Indigenous literature." Now available: Liberty in Louisiana: A Comedy. The oldest play about Louisiana, author James Workman wrote it as a celebration of the Louisiana Purchase. Now it is back in print for the first time in 221 years. Order your copy today! This week in the Louisiana Anthology. William F. Waugh's Houseboat Book. The South needs “Yankees.” An ex-Confederate, discussing Alexandria, said: “A dozen live Yankees would regenerate this town, and make fortunes at it.” They would pave the streets, cover in the sewers, build up the vacant spots in the heart of the city, supply mechanical work at less inhuman prices than are now charged, and make this rich and intelligent community as attractive in appearance as the citizens are socially. One such man has made a new city of Alexandria. He has made the people pave their streets, put in modern sewerage, water, electricity, etc., build most creditable structures to house the public officials, and in a word, has “hustled the South,” till it had to put him temporarily out of office until it got its “second wind.” This week in Louisiana history. September 13, 1987. Pope John Paul II begins three day visit to New Orleans. This week in New Orleans history. Drew Brees ties Billy Kilmer's touchdown passing record September 13, 2009. The Saints team record for passing touchdowns in one game was set at 6 by Drew Brees (Saint's vs. Detroit Lions) who tied with Billy Kilmer in a November 2, 1969 against the St. Louis Cardinals. This week in Louisiana. Longfellow-Evangeline State Historic Site 1200 N. Main Street St. Martinville, LA 70582 337-394-3754 888-677-2900 longfellow_mgr@crt.la.gov Site open daily open from 9 a.m. to 5 p.m. closed Thanksgiving, Christmas & New Year's Day Admission/Entrance Fees $4 per person Free for senior citizens (62 and older) Free for children 3 and under Longfellow-Evangeline State Historic Site explores the cultural interplay among the diverse peoples along the famed Bayou Teche. Acadians and Creoles, Indians and Africans, Frenchmen and Spaniards, slaves and free people of color-all contributed to the historical tradition of cultural diversity in the Teche region. French became the predominant language, and it remains very strong in the region today. Henry Wadsworth Longfellow's 1847 epic poem Evangeline made people around the world more aware of the 1755 expulsion of the Acadians from Nova Scotia and their subsequent arrival in Louisiana. In this area, the story was also made popular by a local novel based on Longfellow's poem, Acadian Reminiscences: The True Story of Evangeline, written by Judge Felix Voorhies in 1907. Postcards from Louisiana. Cajun Band at Maison Dupuy. Listen on Apple Podcasts. Listen on audible. Listen on Spotify. Listen on TuneIn. Listen on iHeartRadio. The Louisiana Anthology Home Page. Like us on Facebook.
Poet and author Lalitha Donatella Riback returns to Soulful Valley to celebrate Soulful Poems 4 and bridge us back into our Zero Limits series. We explore poetry as spiritual technology, living in the “Golden Age,” and how Ho'oponopono frees the heart to create. In this episode: How poetry “arrives” and heals—Lalitha's five poems and the fierce voice of the Goddess Kali Yuga → Satya (Golden) Yuga: why she believes consciousness is rising now The Divine Feminine—restoring truth, compassion, beauty, and sovereignty Ho'oponopono beyond forgiveness: “I love you, I'm sorry, please forgive me, thank you” as a path to freedom Why verses (like the Vedas) activate higher cognition and deeper truth From vision to screen: Lalitha's manifestation story of joining the Zero Limits movie Creativity > “writer's block”: replacing fear and comparison with soul-led expression Emotional intelligence, imagination, and the yogic view of limitless potential Lalitha's author journey with Soulful Valley—bestsellers, reach, and rapid creation A nod to neuroscience (hello, John Assaraf) and the science-spirit bridge Connect with Lalitha: Search her full name on Instagram/LinkedIn to find her latest offerings and 1:1 work and visit https://shreemlab.com If you loved this conversation: Follow our Zero Limits series and grab Soulful Poems 4—where poetry becomes medicine and manifestation. If this episode nourished your soul, please follow, rate, and review on Apple Podcasts - it helps more light-workers find us. Show notes include links to submit your poem, join our author community, and step into your next chapter.
The secret wedding of poets Elizabeth Barrett and Robert Browning on September 12th, 1846, was witnessed by just two people. Elizabeth was so nervous about the ceremony, held at Marylebone Parish Church, that she needed smelling salts to calm her. Barrett was already an acclaimed poet, while Browning was relatively unknown at the time. But their correspondence, comprising almost 600 letters exchanged over less than two years, is considered one of literature's great romances. In this episode, Arion, Rebecca and Olly explain how the Brownings' marriage inspired their greatest works; probe into Browning's pet name for Barrett, ‘the Portuguese'; and consider whether, contrary to all appearances, Browning may have had sinister intentions for his new wife… Further Reading: • ‘Elizabeth Barrett Browning: Life, Poetry, Relationship & ‘How Do I Love Thee?'' (HistoryExtra, 2021): https://www.historyextra.com/period/victorian/elizabeth-barrett-browning-who-life-love-poetry-relationship-robert/ • ‘What we can learn from Elizabeth Barrett Browning's years in lockdown' (The Guardian, 2021): https://www.theguardian.com/books/2021/feb/15/what-we-can-learn-from-elizabeth-barrett-brownings-years-in-lockdown •'The life and work of Elizabeth Barrett Browning' (The British Academy, 2020): https://www.youtube.com/watch?v=hkSWGqMDBEY #Literature #Victorian #Romantic #Wedding #UK This episode first aired in 2023 Love the show? Support us! Join
Understanding For Us All - In this episode Paul reads more excerpts from David Tensen and Jonathan FosterIntro Music by: Luke Dimond
Nicelle Davis is a California poet, collaborator, and performance artist. Her poetry collections include The Language of Fractions (Moon Tide Press 2023). The Walled Wife (Red Hen Press, 2016), In the Circus of You (Rose Metal Press, 2015), Becoming Judas (Red Hen Press, 2013), and Circe (Lowbrow Press, 2011).Penguin Noir recently won the Changing Light Novel in Verse Prize from Livingston Press and will be released Summer of 2025. Her poetry film collaborations with Cheryl Gross have been shown across the world. She has taught poetry at Youth for Positive Change, an organization that promotes success for youth in secondary schools, MHA, Volunteers of America in their Homeless Youth Center, Red Hen's WITS program, and with MEP. She currently teaches Middle School in the High Desert of southern California.Also mentioned in the episode: Plants Painting and Poetry, A Youtube Channel by Nicelle Davis and Anthony M Sannazzaro.
Send us a textKaliegh River shares her journey of survival, resilience, and healing after years of intimate partner violence, addiction, and intergenerational trauma. From escaping a life-threatening relationship to finding her voice through poetry, Kaliegh speaks on breaking cycles, reclaiming culture, and raising her daughter in sobriety. Her story is one of perseverance, spirituality, and truth.=============✅ Adopted into a family carrying intergenerational trauma and silence✅ Survived years of manipulation, violence, and near-death experiences✅ Escaped abuse and began recovery through therapy and writing✅ Turned journaling into a book of poetry, She Rises ✅ Speaks on resilience, spirituality, and raising her daughter in sobriety=============Key Learning Points:How intergenerational trauma and silence shape childhood and identityThe dynamics of coercive control, isolation, and manipulation in abusive relationshipsWhy strangulation is a critical red flag in intimate partner violenceThe role of therapy, writing, and spirituality in breaking cyclesHealing as responsibility to self, family, and communityBuilding resilience and reclaiming voice through poetry=============✅ Buy us a coffee!✅ Need HKT Merch?✅ Check SEIU West✅ Bunny Hugs and Mental Health✅ Wellness News=============Follow & Support Kaliegh River:She Rises – available on AmazonKaleigh on Facebook Support the showCheck out the speakeasy podcast Follow Daniel Unmanageable on Facebook Follow Project Sparky We've got fresh merch and it's amazing! Pick yours up HERE For business or speaking inquiries: Daniel@hardknoxtalks.com Follow Hard Knox TalksFacebook: https://www.facebook.com/hardknoxtalkspodcast/Instagram: https://www.instagram.com/hardknoxtalks/TikTok: https://www.tiktok.com/@hardknoxtalks?lang=en Are you getting something from our content? Tap here and buy us a coffee to say thanks and help us keep this train on the tracks! Check us out on YouTube:https://www.youtube.com/@hardknoxtalksWant to watch our episodes uncensored? Become a channel member here!
Poet and van lifer Jeremy Brownlowe, aka the Typewriter Troubadour, has spent a decade creating custom poems on demand using a vintage typewriter at markets, festivals, and events nationwide. In this episode, Jeremy shares how a soul-searching road trip turned into a career, the realities of living as a mobile artist, and why he believes: Poetry Saves Lives. This a raw and inspiring conversation about freedom, creativity, and building a business around your art includes Jeremy typing an impromptu poem on the fly.Connect & Learn Moretypewritertroubadour.comIG: @typewritertroubadourFB: @TypewritertroubadourIG: @cosmichealinghighwayRESOURCESAdventures of a Tramp Printer~~~~~~~~~~~~~~~~~~~~~THE RV ENTREPRENEURhttps://therventrepreneur.com~~~~~~~~~~~~~~~~~~~~~Join the RVE community on Facebook!https://www.facebook.com/groups/therventrepreneurcommunityConnect with RVE on all your favorite socialshttps://therventrepreneur.com/connectGot questions or comments for our hosts? Leave us a voice message! https://therventrepreneur.com/voicemail(NOTE: Audio submitted may be published on the podcast unless specifically requested otherwise.)Got a great story or tips to share with RVE Listeners? Complete our Guest Intake Form:https://therventrepreneur.com/guestform
For Patreon subscriber Greg Bristow! LOVE TRIVIA WITH BUDDS? CHECK OUT THE MNEMONIC TREE PODCAST! “Grow your brain one leaf at a time—tune in to The Mnemonic Tree Podcast.” http://www.themnemonictreepodcast.com/ Fact of the Day: The African eye worm is a parasite that can crawl across the surface of a human eyeball while the person is awake. Triple Connections: Hey Joe, Foxy Lady, Gloria THE FIRST TRIVIA QUESTION STARTS AT 01:22 SUPPORT THE SHOW MONTHLY, LISTEN AD-FREE FOR JUST $1 A MONTH: www.Patreon.com/TriviaWithBudds INSTANT DOWNLOAD DIGITAL TRIVIA GAMES ON ETSY, GRAB ONE NOW! GET A CUSTOM EPISODE FOR YOUR LOVED ONES: Email ryanbudds@gmail.com Theme song by www.soundcloud.com/Frawsty Bed Music: "EDM Detection Mode" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ http://TriviaWithBudds.com http://Facebook.com/TriviaWithBudds http://Instagram.com/ryanbudds Book a party, corporate event, or fundraiser anytime by emailing ryanbudds@gmail.com or use the contact form here: https://www.triviawithbudds.com/contact SPECIAL THANKS TO ALL MY AMAZING PATREON SUBSCRIBERS INCLUDING: Mollie Dominic Vernon Heagy Brian Clough Nathalie Avelar Becky and Joe Heiman Natasha raina Waqas Ali leslie gerhardt Skilletbrew Bringeka Brooks Martin Yves Bouyssounouse Sam Diane White Youngblood Evan Lemons Trophy Husband Trivia Rye Josloff Lynnette Keel Nathan Stenstrom Lillian Campbell Jerry Loven Ansley Bennett Gee Jamie Greig Jeremy Yoder Adam Jacoby rondell Adam Suzan Chelsea Walker Tiffany Poplin Bill Bavar Sarah Dan Katelyn Turner Keiva Brannigan Keith Martin Sue First Steve Hoeker Jessica Allen Michael Anthony White Lauren Glassman Brian Williams Henry Wagner Brett Livaudais Linda Elswick Carter A. Fourqurean KC Khoury Tonya Charles Justly Maya Brandon Lavin Kathy McHale Chuck Nealen Courtney French Nikki Long Mark Zarate Laura Palmer JT Dean Bratton Kristy Erin Burgess Chris Arneson Trenton Sullivan Jen and Nic Michele Lindemann Ben Stitzel Michael Redman Timothy Heavner Jeff Foust Richard Lefdal Myles Bagby Jenna Leatherman Albert Thomas Kimberly Brown Tracy Oldaker Sara Zimmerman Madeleine Garvey Jenni Yetter JohnB Patrick Leahy Dillon Enderby James Brown Christy Shipley Alexander Calder Ricky Carney Paul McLaughlin Casey OConnor Willy Powell Robert Casey Rich Hyjack Matthew Frost Brian Salyer Greg Bristow Megan Donnelly Jim Fields Mo Martinez Luke Mckay Simon Time Feana Nevel
We made it without being cancelled!!! In this landmark bumper episode, we twist and turn through the last 2 years bringing loads of laughs, surprises and the return of some old faves for the dangly bit. If this doesn't go down as one of your fave episodes, we'll be very surprised! Grab a drink and celebrate with us, Deviant style! Chapters:00:00 Welcome to Episode 10001:48 T-Shirts, Cake, and Celebrations09:15 Poetry and Appreciation25:57 Unsolved Mysteries: Percy Fawcett and Hinterkaifeck40:55 Nostalgic British Items and Financial Domination42:14 Best Producer Moments49:07 Colonel Hart's Deadly Collection58:57 The Macabre World of Dolls01:14:35 Unhinged and Dark Themes01:25:38 A Special Surprise for OGs01:34:21 Reflecting on Favorite Moments01:42:01 Fan Favorites and Fun Memories01:56:20 Exploring Kleptolagnia02:05:07 Wrapping Up and Thank You▶︎ Support us on Patreon for bonus content: https://www.patreon.com/ThePaddedCellPodcast▶︎ www.thepaddedcellpodcast.co.uk▶︎ www.thepaddedcellpodcast.store Watch the podcast on YouTube:▶︎ YouTube - https://www.youtube.com/@ThePaddedCellPodcastFollow The Padded Cell for more:▶︎ Facebook - https://www.facebook.com/profile.php?id=61551425184285▶︎ Instagram - https://www.instagram.com/thepaddedcell_podcast/?hl=en-gb▶︎ TikTok - https://www.tiktok.com/@thepaddedcellpodcastRecorded and Produced by Liverpool Podcast Studios▶︎ Web - http://www.liverpoolpodcaststudios.com▶︎ Instagram - http://www.instagram.com/liverpoolpodcaststudios▶︎ LinkedIn - http://www.linkedin.com/company/liverpool-podcast-studios
Mary Anne and Stacey are headed back to Sea City with the Pike crew– plus a few male ghosts from the past that turn Stacey into a bad friend and make Mary Anne question her relationship with Logan. How can she go out and have fun with Alex when Logan is back home waiting for her? Can boys and girls truly be platonic friends? Meanwhile, Vanessa enjoys her first crush on a 12-year-old ice cream server, and learns a few tough lessons of her own. Sea City never disappoints! Join us as we question child labor laws and hope Margo doesn't barf on a trampoline while we discuss Mary Anne and Too Many Boys. Urban Decay Nail Polish unboxing video A history of Howard Johnson'sHave a favorite ice cream flavor or nail polish name? Let us know at stoneybrookreunion@gmail.com. Find us on Instagram @stoneybrookreunion.
Guido Guinizzelli has pointed to another figure in the purifying flames of Purgatory's seventh terrace. And now he steps forward, one of the greatest troubadour poets, a model of high-brow poetry and a writer of the sort of lusty verses that led to Francesca's downfall.Arnaut Daniel breaks COMEDY in some ways. He speaks in (a version of) medieval Provençal. But he also gives the final triplicate rhyme by any penitent on the mountain--and these words sum up the action of poetry.Join me, Mark Scarbrough, as we explore the final words from any penitent in PURGATORIO.Support this work by using this PayPal link.Here are the segments for this episode of WALKING WITH DANTE:[01:32] My English translation of PURGATORIO, Canto XXVI, lines 136 - 148. If you'd like to read along or continue the conversation with me by dropping a comment on this episode, please find its entry on my website, markscarbrough.com.[02:56] Lines in Provençal--that is, French poetry, the very thing that was a catalyst for Francesca's fatal choice.[04:51] Ornate rhetoric that leads to one of the most renowned troubadour poets of the Middle Ages.[09:02] The possibility of complex irony in Arnaut's speech.[11:07] The final triplicate rhyme from any penitent in PURGATORIO: folly, power, sorrow.[14:42] Refining: the action of penance.[16:46] Rereading the passage: PURGATORIO, Canto XXVI, lines 136 - 148.
Introduction: Host Michael Rand starts with a reminder that the Twins have a loaded farm system, at least according to minor league rankings. Their best prospect, outfielder Walker Jenkins, is already at Class AAA St. Paul at age 20 and spoke to reporters on Tuesday. The Twins and Lynx lost, but we don't need to worry about that for different reasons. 8:00: Randy Johnson joins to talk Gophers football ahead of the schedule stiffening with a trip to Cal. 22:00: Award-winning Vikings poetry is back. 36:00: How to feel about J.J. McCarthy and a big stretch for Minnesota United.
About ElanElan Lee (@elanlee) is the co-creator and chief executive officer of Exploding Kittens, a leading gaming and entertainment company. Under his leadership, Exploding Kittens has expanded its portfolio to nearly 30 different games with more than 60 million games sold in more than 50 countries since its founding in 2015.Before founding Exploding Kittens, Lee was the chief design officer at Xbox Entertainment Studios, where he led the Interactive Entertainment Portfolio. Prior to that, he was the founder and chief creative officer of Fourth Wall Studios and co-founder of 42 Entertainment. He began his career at Microsoft Games Studios as a lead designer on the original Xbox.Lee has won a Primetime Emmy for the series Dirty Work; Game Innovator of the Year for Exploding Kittens; a Peabody Award for the world's first alternate reality game, The Beast; and an IndieCade Trailblazer Award for a distinguished career in interactive entertainment, among others.In this episode, Elan and I discuss into how his company built their rigorous playtesting culture, why marketing is inseparable from product design, and how pitching to Target and Walmart is just another kind of game. Whether you're trying to break into retail, sharpen your viral marketing instincts, or simply design games people can't stop playing, this conversation will give you both insight and inspirationAh-ha! Justin's Takeaways* Execution is the Superpower: From manufacturing to social media strategy, Elan's team treats execution as part of game design. Elan explains why 80% of his company are marketers, producers, and logistics experts, all aligned around making games irresistible to discover and play.* Marketing is Product Design: At Exploding Kittens, marketers have veto power. A game might be hilarious to play in the room, but if it can't be captured in a five-second social video, the game never makes it out of the room. Elan shares how his team tests hundreds of games at design retreats, then filters them through a marketing lens to ensure the product is not only fun but also instantly communicable and shareable.* Play to Sell: When pitching to Target or Walmart, Elan doesn't “sell” games—he plays them. He gets buyers into the experience, proving the fun directly. This approach yields extraordinary success rates, with most of Exploding Kittens' pitched games picked up for retail. Elan reframes pitching as playing with new friends, making joy the ultimate sales tool.Show Notes"She said, ‘I just want you to take a moment and take a breath and realize you built this thing.'" 00:04:46It's easy as creators to focus on what's broken or what needs fixing (I know I fall into this mindset myself) but sometimes the most powerful thing you can do is step back, practice gratitude, and recognize how far you've come. Elan's wife reminded him of this during a board meeting, and it's a lesson all of us can use to cultivate more joy in our creative journey."It doesn't matter if it's the best game in the world. If they don't know how to sell it, it is not worth wasting our time on." 00:15:15Sometimes as game designers, we feel like the job ends once the mechanics click. Marketing can seem like an afterthought, but the truth is that it's part of product design. Elan bakes this into his process by giving his marketing team veto power at design retreats. It's a powerful reminder: if you want your game to succeed, you must think not only about how it plays but also about how it will be discovered. For Elan, that means asking whether a game can be sold in five seconds on social media. He shares stories of projects he loved that never made it to market because his team couldn't find a way to sell them. This strategy is tied directly to reaching the casual gameplay audience, which demands this very specific approach."All I do is I talk to my friends about how much fun they are about to have, and then I prove it." 00:32:25Elan's approach to pitching games is radically simple: instead of talking, play the game and let the experience do the work. Whether you're pitching to Target or teaching your prototype at a convention, the best way to win people over is to let them feel the joy for themselves. Hearing this made me rethink my own approach, as I've often been guilty of trying to “sell” too much instead of simply playing.“[Poetry for Neanderthals] is, in its purest form, a tool set to let you talk to other people in the room." 01:04:01Elan describes his games as tool sets that let players entertain each other, which is why games like Poetry for Neanderthals or Codenames can stay fun even after dozens of plays. My philosophy takes a different angle: I aim to design games that last a lifetime, so my team thinks deeply about what the 100th play will feel like, something Elan admits he never has to think about with his own games, designed for his casual gaming audience.Whether your players stick around for ten plays or a hundred, the real secret is the same: Whether they're crushing their opponents with clever plays or laughing together as they stumble through ridiculous challenges—great games create space for players to shine. This is a public episode. 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The ladies get manifesto on that butt! (And mouth.) 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.SHOW NOTES:Read more about D.H. Lawrence here. Read William Carlos Williams's "Paterson" here and "Asphodel, That Greeny Flower" here.Jericho Brown writes about A.E. Housman in Mentor to Muse hereRead Dylan Thomas's poem "A Refusal to Mourn the Death, by Fire, of a Child in London"Here's a link to Stevie Smith's poem "Not Waving But Drowning"For more about Keith Douglas, visit: https://www.poetryfoundation.org/poets/keith-douglasAaron tosses off a quote from "Mayakovsky" by Frank O'Hara, which you can read here. Read Charles Olsen's "I, Maximus of Gloucester, to You"Here's Alan Dugan's "Internal Migration: On Being on Tour"Learn more about Judith Wright here.
Sometimes life achieves the formal perfection of art, or a moment can seem so transcendent that only art can allow us to express what we feel. Get in touch: podcast@gretchenrubin.com Visit Gretchen's website to learn more about Gretchen's best-selling books, products from The Happiness Project Collection, and the Happier app. Find the transcript for this episode on the episode details page in the Apple Podcasts app. See omnystudio.com/listener for privacy information.
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