Podcasts about wislawa szymborska

Listen to JCO's Art of Oncology article, "The Man at the Bow" by Dr. Alexis Drutchas, who is a palliative care physician at Dana Farber Cancer Institute. The article is followed by an interview with Drutchas and host Dr. Mikkael Sekeres. Dr. Drutchas shares the deep connection she had with a patient, a former barge captain, who often sailed the same route that her family's shipping container did when they moved overseas many times while she was growing up. She reflects on the nature of loss and dignity, and how oncologists might hold patients' humanity with more tenderness and care, especially at the end of life. TRANSCRIPT Narrator: The Man at the Bow, by Alexis Drutchas, MD  It was the kind of day that almost seemed made up—a clear, cerulean sky with sunlight bouncing off the gold dome of the State House. The contrast between this view and the drab hospital walls as I walked into my patient's room was jarring. My patient, whom I will call Suresh, sat in a recliner by the window. His lymphoma had relapsed, and palliative care was consulted to help with symptom management. The first thing I remember is that despite the havoc cancer had wreaked—sunken temples and a hospital gown slipping off his chest—Suresh had a warm, peaceful quality about him. Our conversation began with a discussion about his pain. Suresh told me how his bones ached and how his fatigue left him feeling hollow—a fraction of his former self. The way this drastic change in his physicality affected his sense of identity was palpable. There was loss, even if it was unspoken. After establishing a plan to help with his symptoms, I pivoted and asked Suresh how he used to spend his days. His face immediately lit up. He had been a barge captain—a dangerous and thrilling profession that took him across international waters to transport goods. Suresh's eyes glistened as he described his joy at sea. I was completely enraptured. He shared stories about mornings when he stood alone on the bow, feeling the salted breeze as the barge moved through Atlantic waves. He spoke of calm nights on the deck, looking at the stars through stunning darkness. He traveled all over the globe and witnessed Earth's topography from a perspective most of us will never see. The freedom Suresh exuded was profound. He loved these voyages so much that one summer, despite the hazards, he brought his wife and son to experience the journey with him. Having spent many years of my childhood living in Japan and Hong Kong, my family's entire home—every bed, sheet, towel, and kitchen utensil—was packed up and crossed the Atlantic on cargo ships four times. Maybe Suresh had captained one, I thought. Every winter, we hosted US Navy sailors docked in Hong Kong for the holidays. I have such fond memories of everyone going around the table and sharing stories of their adventures—who saw or ate what and where. I loved those times: the wild abandon of travel, the freedom of being somewhere new, and the way identity can shift and expand as experiences grow. When Suresh shared stories of the ocean, I was back there too, holding the multitude of my identity alongside him. I asked Suresh to tell me more about his voyages: what was it like to be out in severe weather, to ride over enormous swells? Did he ever get seasick, and did his crew always get along? But Suresh did not want to swim into these perilous stories with me. Although he worked a difficult and physically taxing job, this is not what he wanted to focus on. Instead, he always came back to the beauty and vitality he felt at sea—what it was like to stare out at the vastness of the open ocean. He often closed his eyes and motioned with his hands as he spoke as if he was not confined to these hospital walls. Instead, he was swaying on the water feeling the lightness of physical freedom, and the way a body can move with such ease that it is barely perceptible, like water flowing over sand. The resonances of Suresh's stories contained both the power and challenges laden in this work. Although I sat at his bedside, healthy, my body too contained memories of freedom that in all likelihood will one day dissipate with age or illness. The question of how I will be seen, compared to how I hoped to be seen, lingered in my mind. Years ago, before going to medical school, I moved to Vail, Colorado. I worked four different jobs just to make ends meet, but making it work meant that on my days off, I was only a chairlift ride away from Vail's backcountry. I have a picture of this vigor in my mind—my snowboard carving into fresh powder, the utter silence of the wilderness at that altitude, and the way it felt to graze the powdery snow against my glove. My face was windburned, and my body was sore, but my heart had never felt so buoyant. While talking with Suresh, I could so vividly picture him as the robust man he once was, standing tall on the bow of his ship. I could feel the freedom and joy he described—it echoed in my own body. In that moment, the full weight of what Suresh had lost hit me as forcefully as a cresting wave—not just the physical decline, but the profound shift in his identity. What is more, we all live, myself included, so precariously at this threshold. In this work, it is impossible not to wonder: what will it be like when it is me? Will I be seen as someone who has lived a full life, who explored and adventured, or will my personhood be whittled down to my illness? How can I hold these questions and not be swallowed by them? "I know who you are now is not the person you've been," I said to Suresh. With that, he reached out for my hand and started to cry. We looked at each other with a new understanding. I saw Suresh—not just as a frail patient but as someone who lived a full life. As someone strong enough to cross the Atlantic for decades. In that moment, I was reminded of the Polish poet, Wislawa Szymborska's words, "As far as you've come, can't be undone." This, I believe, is what it means to honor the dignity of our patients, to reflect back the person they are despite or alongside their illness…all of their parts that can't be undone. Sometimes, this occurs because we see our own personhood reflected in theirs and theirs in ours. Sometimes, to protect ourselves, we shield ourselves from this echo. Other times, this resonance becomes the most beautiful and meaningful part of our work. It has been years now since I took care of Suresh. When the weather is nice, my wife and I like to take our young son to the harbor in South Boston to watch the planes take off and the barges leave the shore, loaded with colorful metal containers. We usually pack a picnic and sit in the trunk as enormous planes fly overhead and tugboats work to bring large ships out to the open water. Once, as a container ship was leaving the port, we waved so furiously at those working on board that they all started to wave back, and the captain honked the ships booming horn. Every single time we are there, I think of Suresh, and I picture him sailing out on thewaves—as free as he will ever be. Mikkael Sekeres: Welcome back to JCO's Cancer Stories: The Art of Oncology. This ASCO podcast features intimate narratives and perspectives from authors exploring their experiences in oncology. I'm your host, Mikkael Sekeres. I'm Professor of Medicine and Chief of the Division of Hematology at the Sylvester Comprehensive Cancer Center, University of Miami. What a treat we have today. We're joined by Dr. Alexis Drutchas, a Palliative Care Physician and the Director of the Core Communication Program at the Dana-Farber Cancer Institute, and Assistant Professor of Medicine at Harvard Medical School to discuss her article, "The Man at the Bow." Alexis, thank you so much for contributing to Journal of Clinical Oncology and for joining us to discuss your article. Dr. Alexis Drutchas: Thank you. I'm thrilled and excited to be here. Mikkael Sekeres: I wonder if we can start by asking you about yourself. Where are you from, and can you walk us a bit through your career? Dr. Alexis Drutchas: The easiest way to say it would be that I'm from the Detroit area. My dad worked in automotive car parts and so we moved around a lot when I was growing up. I was born in Michigan, then we moved to Japan, then back to Michigan, then to Hong Kong, then back to Michigan. Then I spent my undergrad years in Wisconsin and moved out to Colorado to teach snowboarding before medical school, and then ended up back in Michigan for that, and then on the east coast at Brown for my family medicine training, and then in Boston for work and training. So, I definitely have a more global experience in my background, but also very Midwestern at heart as well. In terms of my professional career trajectory, I trained in family medicine because I really loved taking care of the whole person. I love taking care of kids and adults, and I loved OB, and at the time I felt like it was impossible to choose which one I wanted to pursue the most, and so family medicine was a great fit. And at the core of that, there's just so much advocacy and social justice work, especially in the community health centers where many family medicine residents train. During that time, I got very interested in LGBTQ healthcare and founded the Rhode Island Trans Health Conference, which led me to work as a PCP at Fenway Health in Boston after that. And so I worked there for many years. And then through a course of being a hospitalist at BI during that work, I worked with many patients with serious illness, making decisions about discontinuing dialysis, about pursuing hospice care in the setting of ILD. I also had a significant amount of family illness and started to recognize this underlying interest I had always had in palliative care, but I think was a bit scared to pursue. But those really kind of tipped me over to say I really wanted to access a different level of communication skills and be able to really go into depth with patients in a way I just didn't feel like I had the language for. And so I applied to the Harvard Palliative Care Fellowship and luckily and with so much gratitude got in years ago, and so trained in palliative care and stayed at MGH after that. So my Dana-Farber position is newer for me and I'm very excited about it. Mikkael Sekeres: Sounds like you've had an amazing career already and you're just getting started on it. I grew up in tiny little Rhode Island and, you know, we would joke you have to pack an overnight bag if you travel more than 45 minutes. So, our boundaries were much tighter than yours. What was it like growing up where you're going from the Midwest to Asia, back to the Midwest, you wind up settling on the east coast? You must have an incredible worldly view on how people live and how they view their health. Dr. Alexis Drutchas: I think you just named much of the sides of it. I think I realize now, in looking back, that in many ways it was living two lives, because at the time it was rare from where we lived in the Detroit area in terms of the other kids around us to move overseas. And so it really did feel like that part of me and my family that during the summers we would have home leave tickets and my parents would often turn them in to just travel since we didn't really have a home base to come back to. And so it did give me an incredible global perspective and a sense of all the ways in which people develop community, access healthcare, and live. And then coming back to the Midwest, not to say that it's not cosmopolitan or diverse in its own way, but it was very different, especially in the 80s and 90s to come back to the Midwest. So it did feel like I carried these two lenses in the world, and it's been incredibly meaningful over time to meet other friends and adults and patients who have lived these other lives as well. I think for me those are some of my most connecting friendships and experiences with patients for people who have had a similar experience in living with sort of a duality in their everyday lives with that. Mikkael Sekeres: You know, you write about the main character of your essay, Suresh, who's a barge captain, and you mention in the essay that your family crossed the Atlantic on cargo ships four times when you were growing up. What was that experience like? How much of it do you remember? Dr. Alexis Drutchas: Our house, like our things, crossed the Atlantic four times on barge ships such as his. We didn't, I mean we crossed on airplanes. Mikkael Sekeres: Oh, okay, okay. Dr. Alexis Drutchas: We flew over many times, but every single thing we owned got packed up into containers on large trucks in our house and were brought over to ports to be sent over. So, I'm not sure how they do it now, but at the time that's sort of how we moved, and we would often go live in a hotel or a furnished apartment for the month's wait of all of our house to get there, which felt also like a surreal experience in that, you know, you're in a totally different country and then have these creature comforts of your bedroom back in Metro Detroit. And I remember thinking a lot about who was crossing over with all of that stuff and where was it going, and who else was moving, and that was pretty incredible. And when I met Suresh, just thinking about the fact that at some point our home could have been on his ship was a really fun connection in my mind to make, just given where he always traveled in his work. Mikkael Sekeres: It's really neat. I remember when we moved from the east coast also to the Midwest, I was in Cleveland for 18 years. The very first thing we did was mark which of the boxes had the kids' toys in it, because that of course was the first one we let them close it up and then we let them open it as soon as we arrived. Did your family do something like that as well so that you can, you know, immediately feel an attachment to your stuff when they arrived? Dr. Alexis Drutchas: Yeah, I remember what felt most important to our mom was our bedrooms. I don't remember the toys. I remember sort of our comforters and our pillowcases and things like that, yeah, being opened and it feeling really settling to think, "Okay, you know, we're in a completely different place and country away from most everything we know, but our bedroom is the same." That always felt like a really important point that she made to make home feel like home again in a new place. Mikkael Sekeres: Yeah, yeah. One of the sentences you wrote in your essay really caught my eye. You wrote about when you were younger and say, "I loved those times, the wild abandon of travel, the freedom of being somewhere new, the way identity can shift and expand as experiences grow." It's a lovely sentiment. Do you think those are emotions that we experience only as children, or can they continue through adulthood? And if they can, how do we make that happen, that sense of excitement and experience? Dr. Alexis Drutchas: I think that's such a good question and one I honestly think about a lot. I think that we can access those all the time. There's something about the newness of travel and moving, you know, I have a 3-year-old right now, and so I think many parents would connect to that sense that there is wonderment around being with someone experiencing something for the first time. Even watching my son, Oliver, see a plane take off for the first time felt joyous in a completely new way, that even makes me smile a lot now. But I think what is such a great connection here is when something is new, our eyes are so open to it. You know, we're constantly witnessing and observing and are excited about that. And I think the connection that I've realized is important for me in my work and also in just life in general to hold on to that wonderment is that idea of sort of witnessing or having a writer's eye, many would call it, in that you're keeping your eye open for the small beautiful things. Often with travel, you might be eating ramen. It might not be the first time you're eating it, but you're eating it for the first time in Tokyo, and it's the first time you've had this particular ingredient on it, and then you remember that. But there's something that we're attuned to in those moments, like the difference or the taste, that makes it special and we hold on to it. And I think about that a lot as a writer, but also in patient care and having my son with my wife, it's what are the special small moments to hold on to and allowing them to be new and beautiful, even if they're not as large as moving across the country or flying to Rome or whichever. I think there are ways that that excitement can still be alive if we attune ourselves to some of the more beautiful small moments around us. Mikkael Sekeres: And how do we do that as doctors? We're trained to go into a room and there's almost a formula for how we approach patients. But how do you open your mind in that way to that sense of wonderment and discovery with the person you're sitting across from, and it doesn't necessarily have to be medical? One of the true treats of what we do is we get to meet people from all backgrounds and all walks of life, and we have the opportunity to explore their lives as part of our interaction. Dr. Alexis Drutchas: Yeah, I think that is such a great question. And I would love to hear your thoughts on this too. I think for me in that sentence that you mentioned, sitting at that table with sort of people in the Navy from all over the world, I was that person to them in the room, too. There was some identity there that I brought to the table that was different than just being a kid in school or something like that. To answer your question, I wonder if so much of the challenge is actually allowing ourselves to bring ourselves into the room, because so much of the formula is, you know, we have these white coats on, we have learners, we want to do it right, we want to give excellent care. There's there's so many sort of guards I think that we put up to make sure that we're asking the right questions, we don't want to miss anything, we don't want to say the wrong thing, and all of that is true. And at the same time, I find that when I actually allow myself into the room, that is when it is the most special. And that doesn't mean that there's complete countertransference or it's so permeable that it's not in service of the patient. It just means that I think when we allow bits of our own selves to come in, it really does allow for new connections to form, and then we are able to learn about our patients more, too. With every patient, I think often we're called in for goals of care or symptom management, and of course I prioritize that, but when I can, I usually just try to ask a more open-ended question, like, "Tell me about life before you came to the hospital or before you were diagnosed. What do you love to do? What did you do for work?" Or if it's someone's family member who is ill, I'll ask the kids or family in the room, "Like, what kind of mom was she? You know, what special memory you had?" Just, I get really curious when there's time to really understand the person. And I know that that's not at all new language. Of course, we're always trying to understand the person, but I just often think understanding them is couched within their illness. And I'm often very curious about how we can just get to know them as people, and how humanizing ourselves to them helps humanize them to us, and that back and forth I think is like really lovely and wonderful and allows things to come up that were totally unexpected, and those are usually the special moments that you come home with and want to tell your family about or want to process and think about. What about you? How do you think about that question? Mikkael Sekeres: Well, it's interesting you ask. I like to do projects around the house. I hate to say this out loud because of course one day I'll do something terrible and everyone will remember this podcast, but I fancy myself an amateur electrician and plumber and carpenter and do these sorts of projects. So I go into interactions with patients wanting to learn about their lives and how they live their lives to see what I can pick up on as well, how I can take something out of that interaction and actually use it practically. My father-in-law has this phrase he always says to me when a worker comes to your house, he goes, he says to me, "Remember to steal with your eyes." Right? Watch what they do, learn how they fix something so you can fix it yourself and you don't have to call them next time. So, for me it's kind of fun to hear how people have lived their lives both within their professions, and when I practiced medicine in Cleveland, there were a lot of farmers and factory workers I saw. So I learned a lot about how things are made. But also about how they interact with their families, and I've learned a lot from people I've seen who were just terrific dads and terrific moms or siblings or spouses. And I've tried to take those nuggets away from those interactions. But I think you can only do it if you open yourself up and also allow yourself to see that person's humanity. And I wonder if I can quote you to you again from your essay. There's another part that I just loved, and it's about how you write about how a person's identity changes when they become a patient. You write, "And in that moment the full weight of what he had lost hit me as forcefully as a cresting wave. Not just the physical decline, but the profound shift in identity. What is more, we all live, me included, so precariously at this threshold. In this work, it's impossible not to wonder, what will it be like when it's me? Will I be seen as someone who's lived many lives, or whittled down only to someone who's sick?" Can you talk a little bit more about that? Have you been a patient whose identity has changed without asking you to reveal too much? Or what about your identity as a doctor? Is that something we have to undo a little bit when we walk in the room with the stethoscope or wearing a white coat? Dr. Alexis Drutchas: That was really powerful to hear you read that back to me. So, thank you. Yeah, I think my answer here can't be separated from the illness I faced with my family. And I think this unanimously filters into the way in which I see every patient because I really do think about the patient's dignity and the way medicine generally, not always, really does strip them of that and makes them the patient. Even the way we write about "the patient said this," "the patient said that," "the patient refused." So I generally very much try to have a one-liner like, "Suresh is a X-year-old man who's a barge captain from X, Y, and Z and is a loving father with a," you know, "period. He comes to the hospital with X, Y, and Z." So I always try to do that and humanize patients. I always try to write their name rather than just "patient." I can't separate that out from my experience with my family. My sister six years ago now went into sudden heart failure after having a spontaneous coronary artery dissection, and so immediately within minutes she was in the cath lab at 35 years old, coding three times and came out sort of with an Impella and intubated, and very much, you know, all of a sudden went from my sister who had just been traveling in Mexico to a patient in the CCU. And I remember desperately wanting her team to see who she was, like see the person that we loved, that was fighting for her life, see how much her life meant to us. And that's not to say that they weren't giving her great care, but there was something so important to me in wanting them to see how much we wanted her to live, you know, and who she was. It felt like there's some important core to me there. We brought pictures in, we talked about what she was living for. It felt really important. And I can't separate that out from the way in which I see patients now or I feel in my own way in a certain way what it is to lose yourself, to lose the ability to be a Captain of the ship, to lose the ability to do electric work around the house. So much of our identity is wrapped up in our professions and our craft. And I think for me that has really become forefront in the work of palliative care and in and in the teaching I do and in the writing I do is how to really bring them forefront and not feel like in doing that we're losing our ability to remain objective or solid in our own professional identities as clinicians and physicians. Mikkael Sekeres: Well, I think that's a beautiful place to end here. I can only imagine what an outstanding physician and caregiver you are also based on your writing and how you speak about it. You just genuinely come across as caring about your patients and your family and the people you have interactions with and getting to know them as people. It has been again such a treat to have Dr. Alexis Drutchas here. She is Director of the Core Communication Program at Dana-Farber Cancer Institute and Assistant Professor of Medicine at Harvard Medical School to discuss her article, "The Man at the Bow." Alexis, thank you so much for joining us. Dr. Alexis Drutchas: Thank you. This has been a real joy. Mikkael Sekeres: If you've enjoyed this episode, consider sharing it with a friend or colleague, or leave us a review. Your feedback and support helps us continue to save these important conversations. If you're looking for more episodes and context, follow our show on Apple, Spotify, or wherever you listen, and explore more from ASCO at ASCO.org/podcasts. Until next time, this has been Mikkael Sekeres for the ASCO podcast Cancer Stories: The Art of Oncology. The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement. Show notes: Like, share and subscribe so you never miss an episode and leave a rating or review. Guest Bio: Dr. Alexis Drutchas is a palliative care physician at Dana Farber Cancer Institute.

Amanda Holmes reads Wislawa Szymborska's “Hitler's First Photograph,” translated from the Polish by Stanislaw Baranczak and Clare Cavanagh. Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman. This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. Hosted on Acast. See acast.com/privacy for more information.

O editor do Dias Úteis tem vontade de ler em voz alta. De ler os poemas que gosta, quando lhe apetece. Por vezes surgem (ensaios). Como hoje. Wislawa Szymborska, lida por Filipe Lopes. O livro "Febre" é uma edição Edições do Saguão. O Dias Úteis é produzido pela Associação de Ideias, sendo uma ideia original de Filipe Lopes.  No Instagram: Dias Úteis: @diasuteispodcast Associação de Ideias: @associacao_de_ideias Filipe Lopes: @filipegarlopes

Früher gabs im Freibad die "Bunte Tüte" – mit Sauren Schlangen, Brause-Ufos und Gummibären. Die hat inspiriert zur heutigen Folge "Unter Bücher ", die sich bunt gibt, mit Literatur von Isabel Kreitz und Lizzie Doron.

En Cultura Rápida nos acercamos a la recta final de #Cultura25 explorando la charla de hoy: Cultura en tiempos de cancelación. Para ello, hablamos con Rocío Saiz, cantante, actriz, artista multidisciplinar y activista LGTBIQ+.Charlamos con el artista Carlos Yuste sobre su colección Siro personalidad, un curioso estudio de la persona a través de la manera en que cada uno pone sirope sobre una tortita.En Verso Suelto, Abraham Boba nos recita algunos poemas de la Antología poética de Wislawa Szymborska, editado por Visor Libros. En sus versos encontramos recuerdos, normas morales, su condición de mujer y su particular visión del mundo.Y en Rosa por el mundo, viajamos hasta Gante, donde nos habla desde la inauguración del Museo Municipal de Arte Contemporáneo de Gante (SMAK). Se centra en la exposición Pintura tras pintura, un estudio contemporáneo sobre la pintura en Bélgica.Escuchar audio

Abraham Boba viene con su Verso Suelto a recitarnos algunos poemas de 'Antología poética’ de Wislawa Szymborska editado por Visor.En estos versos de Wislawa encontramos sus recuerdos, sus normas morales, su condición de mujer, su visión del mundo y mucho más.Escuchar audio

Daan Doesborgh gaat in gesprek met Bernard Wesseling over Wislawa Szymborska, dichters en gedichten die té bekend zijn en je inleven in iemand met een heel ander leven.

HASIER ETA AMAIA 1x11: Hasier encuentra un poema de Wislawa Szymborska sobre la construcción....

"Het is zo gegaan dat ik hier ben en kijk." - Stine deelt een zin uit de bundel Einde en begin van de Poolse dichter Wislawa Szymborska.

Daily QuoteTime brought resignation, and a melancholy sweeter than common joy. (Emily Bronte)Poem of the DayNothing TwiceWislawa SzymborskaBeauty of Words过戈壁哲中

Do fim para o começo, recomeço diante de um cenário devastador, alguém tem que arrumar a desordem e essa arrumação não cabe somente no cenário do poema, pode ser trazido ou traduzido para qualquer esfera da nossa própria vida. Poema de Wislawa Szymborska acompanhada da obra La Messicana de Ennio Morricone. Obrigado.

Daily QuoteThere is not much danger that real talent or goodness will be overlooked long; even if it is, the consciousness of possessing and using it well should satisfy one, and the great charm of all power is modesty. (Louisa May Alcott)Poem of the DayNothing TwiceWislawa SzymborskaBeauty of WordsOf BeautyFrancis Bacon

Stāsta sociologs, zinātniskā institūta Baltic Studies Centre vadošais pētnieks, LU profesors Tālis Tisenkopfs Šovasar ceļi mani aizveda uz Krakovu. Šī bija mana ceturtā reize pilsētā, bet ne reizi nebija izdevies apmeklēt Čartoriski muzeju un redzēt Leonardo gleznu "Dāma ar sermuliņu". Beidzot biju izlēmis to izdarīt, un pēc sanāksmes devos vecpilsētas virzienā. Pirms bulvāru loka pamanīju jaunizveidotu pilsētas dārzu, kura agrāk te nebija. Koki vēl mazi, bet miskantes jau sakuplojušas; mākslīgajā strautā čaloja ūdens. Dārzu no jaunbūvēm šķīra metāla žogs, pie kura bija piestiprināta gara fotoplakātu virkne. Gluži kā lielie fotoplakāti pie Luksemburgas dārza restotā žoga Parīzē. Es pievērsu uzmanību fotogrāfijā redzamajam sievietes tēlam – gudra, reljefa seja, liels deguns, pirksti, kas tur papīra lapu – Vislava Šimborska, 100 gadu. Nākamajā fotogrāfijā viņa sēdēja bērnu ratiņos aukļu un guvernanšu ieskauta, tad tēvam klēpi uz terases. Fotogrāfiju retrospekcija aizveda pie bērnības sejas, kurā bija ierakstīts, kas viņa kārdeiz būs – Nobela prēmijas laureāte. Redzošas acis, augsta piere, viegls smaids. Tālākās fotogrāfijas rādīja jaunības ainas – kustībā esošas figūras uz Parīzes ielu fona. Blakus viņai arvien bija tādi paši enerģiski, viegli tērpti un slaidi cilvēki. Nobela laureāte – es apstājos un mēģināju minēt disciplīnu. Fizika? Ķīmija? Acu priekšā uzpeldēja Tartu muzejā reiz redzētā slavenu sieviešu zinātnieču fotogrāfiju galerija, bet nevarēju atcerēties uzvārdus, un arī viņu sasniegumi bija izplēnējuši atmiņā. Būt sievietei Nobela laureātei kaut ko nozīmē. Tikai 65 sievietes saņēmušas šo atzinību, kamēr vīriešu ir vairāk kā 900. Sievietēm to parasti piešķir literatūrā vai miera jomā. Pie nākamās fotogrāfijas bija virsraksts "Literārās spēles", bet aiznākamā atkal visu sajauca, jo tur bija rakstīts "kopā ar Kornelu" – vīrietis un sieviete stāvēja, ar plaukstām atspiedušies pret apaļu galdu, noliekušies viens pret otru, un smaidīja. Pazibēja alūzija – Kornela Universitāte Ņujorkā, tātad tomēr fizika vai medicīna. Vēlāk noskaidroju, ka Kornels bija viņas dzīvesdraugs, bet Nobela prēmiju viņa saņēmusi literatūrā 1996. gadā. Kornelam veltīts viens no Šimborskas pazīstamākajiem dzejoļiem "Kaķis tukšā dzīvoklī", kas Ulda Bērziņa atdzejojumā skan šādi: Nomirt – to kaķim nedrīkst nodarīt. Ko kaķis lai iesāk tukšā dzīvoklī. Vai rāpties sienās. Trīties starp mēbelēm. It kā nekas nebūtu mainījies, tomēr viss nomainīts. It kā nekas nebūtu pārvietots, bet viss citā vietā. Un naktīs lampa vairs nedeg. Vislava Šimborska (Wislawa Szymborska, 1923-2012) Krakovā nodzīvoja visu mūžu, un uz jautājumu, kāpēc sarakstījusi tik maz dzejoļu, atbildēja: "Man ir papīrgrozs." Nākot atpakaļ no muzeja, vēlreiz izeju cauri dārzam. Pēdējais plakāts ir liela fotogrāfija – daudz cilvēku, februāra sniegs lielām pārslām. Izskatās pēc pilsētas laukuma, bet ir kapsēta. Šimborskas bēres.  Dzejnieks nerada kontekstu, dzejnieks nerada reliģiju un netēlo pravieti. Visas pielīdzināšanas ir nevietā. Dzejnieku vajag ieraudzīt viņa dzejolī. Piemēram, "1973. gada 16. maijā" Viens no daudzajiem datumiem, kas man vairs neizsaka neko. Lieliem dzejniekiem varbūt piedienētu būt apglabātiem pilsētas laukumā. Šimborskas dzeja turpinās arī nākamajā pilsētas rajonā, kur kādreiz atradās radošais kvartāls, darbojās jocīgi biznesi, rosījās tetovēti cilvēki un bija pilns ar jauniešiem. Tagad kvartāls ir slēgts, to pārpirkuši attīstītāji. Taču uz būvlaukumam apjoztā žoga grafiti stilā uzrakstītas Šimborskas varbūt slavenākās dzejas rindas – vispirms poļu, tad angļu, tad ukraiņu un tālāk arī citās valodās. Latviski es tās tulkotu: Prieks rakstīt. Spēks saglabāt. Mirstīgās rokas atriebība.

T04E01. LA FILOSOFÍA AMA ESCONDERSE. En este primer capítulo de la cuarta temporada de "Un gallo para Asclepio", reflexionamos sobre la fugacidad de la experiencia, inspirados por Wislawa Szymborska. La poetisa nos recuerda que nada ocurre dos veces y que cada momento es único. Esta idea nos llevará a explorar la filosofía del presente, la percepción del tiempo y cómo nuestras interacciones, aunque efímeras, moldean nuestra existencia. Acompáñanos en esta travesía a través de pensamientos que, como las gotas de agua, son distintos pero igualmente valiosos. Conviértete en un colaborador activo del podcast y recibe contenido exclusivo invitándonos UN CAFÉ: ⁠https://www.patreon.com/ungalloparaasclepio⁠   MAR LLAMAS ⁠https://www.instagram.com/mariana_onfire/⁠ ALAN ARGÜELLO ⁠https://www.instagram.com/alanargguello/⁠ ÓSCAR MERINO ⁠https://www.instagram.com/k_merino3/⁠ ADRIÁN ARDILLA LARA ⁠https://www.instagram.com/uzuariodeinztagram/⁠ ARTURO CASTRO ⁠https://www.instagram.com/arturo.castro.ortega/⁠ Quédate, aquí empieza Un Gallo Para Asclepio, un podcast de filosofía para paladares diversos. Filosofía prolija y al alcance.

En esta segunda entrega del cuarto aniversario de Latitudes, tenemos el honor de acercarnos a la obra de una poeta clásica, ganadora del Premio Nobel de Literatura: Wisława Szymborska. Si alguna vez has pensado que la poesía es aburrida, es posible que te estés perdiendo una de las formas más poderosas de expresión. La poesía no es complicada ni distante. Es verdad y síntesis; requiere de una sensibilidad especial, paciencia e inteligencia para disfrutar de su esencia. Te invitamos a darle una oportunidad y a dejarte sorprender. Me encantará que te dejes guiar por mi voz y que más tarde, me digas qué te parece. Anímate y permite que la poesía de Szymborska te contagie con el placer de lo pequeño, lo cotidiano y lo inmenso. #LatitudesPodcast #Aniversario4 #WisławaSzymborska #LaPoesíaEsParaTodos #EscuchaConElCorazón #PoesíaContemporánea

We blikken terug op de programma's van afgelopen seizoen met De Balie Podcast. Deze keer: Van Dis en Deckwitz over troost en hoop. Of je deze zomer onderweg bent in de auto, op de camping staat of aan het strand ligt, De Balie is dichtbij. Met elke week twee programma's om te luisteren.Zelfs mensen die niets met poëzie hebben grijpen in de donkerste uren naar een dichtbundel. Want poëzie kan soms beter verwoorden wat je voelt dan jij zelf, zeker in tijden waarin de wereld tegenvalt. Adriaan van Dis en Ellen Deckwitz vertellen over gedichten die hen raken en die troost bieden.Adriaan van Dis is een veelzijdig, geëngageerd schrijver, getuige romans als Indische duinen, De wandelaar en Tikkop. In 2015 won Ik kom terug de Libris Literatuurprijs en kreeg hij de Constantijn Huygens-prijs voor zijn gehele oeuvre. Zijn laatste roman is Naar zachtheid en een warm omhelzen. In 2024 verscheen zijn pamflet De kolonie slaat terug.Ellen Deckwitz is dichteres, schrijfster, theatermaakster en columniste en podcastmaker. Ze schrijft onder meer voor NRC en De Morgen. De afgelopen jaren verschenen prijswinnende bundels (onder meer De steen vreest mij, C. Buddingh-prijs 2012), boeken over schrijven (het alom geprezen Zo word je een geweldige dichter) en de bestseller Olijven moet je leren lezen. In 2020 verscheen bij Uitgeverij Pluim Dit gaat niet over Grasmaaien. Ellen Deckwitz won in 2021 De Johnny, de oeuvreprijs voor podiumpoëzie. Ze is stadsdichter van Amsterdam.Deze gedichten werden tijdens deze avond gelezen:Lex barbarorum – Hendrik MarsmanIn afwachting van de barbaren – Konstantinos Kaváfis, vertaling Hans Warren en Mario MolengraafZonder titel – Nadya Delaland, vertaling Maria Bloshteyn en Ellen DeckwitzExecutiepeloton – Ilya Kaminsky, vertaling Alfred SchafferAchtervolgd door de mannen van Vasenka – Ilya Kaminsky, vertaling Alfred SchafferDas Knie – Christian MorgensternEr ging een man van huis – Daniil Charms, vertaling Robert Jan HenkesLullopertje – Levi WeemoedtDe terrorist – kijkt – Wislawa Szymborska, vertaling Gerard RaschVoorbeeld – Wislawa Szymborska, vertaling Karol LesmanLoflied op een onverschrokken geweten – Antjie Krog, vertaling Robert DorsmanWij – Ghayath Almadhoun, vertaling Djûke PoppingaStilte – Mourid Barghouti, vertaling Ellen DeckwitzHoe is de toestand – Avner Treinin, vertaald door Shulamit Bambergere l d e r s – Jens MeijenOndertussen in Nederland – Anne VegterVriendinnen – Ted van LieshoutEen Nieuw Paaslied – Gerard ReveGo Mam! – Anna Woodford, vertaling Ellen DeckwitzDit verdriet – Jan ElburgEN TOEN – Cabot Black, vertaling Ellen DeckwitzZonder titel – Pastor Martin NiemullerBedrink je – Charles Baudelaire, vertaling Thérèse Fisscher en Kees DiekstraZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

De Poolse Nobelprijswinnares Wisława Symborska is een van de meest gelezen en gelauwerde dichters van deze tijd. Ter ere van haar honderdste geboortedag bracht uitgeverij Meulenhoff een uitgebreide jubileumeditie uit van haar verzameld werk, Einde en begin (vert. Gerard Rasch en Ad van Rijsewijk), voor het eerst inclusief de postuum gepubliceerde bundel Zwart lied over haar ervaringen in de Tweede Wereldoorlog.Joost, Ellen en Charlotte hebben het over het publiceren van 'jeugdzondes' - Zwart lied was een bundel die Szymborska oorspronkelijk niet in haar verzameld werk wilde hebben, omdat ze het niet goed genoeg vond. Hoe zit het met genres binnen poëzie? En heeft een dichter of kunstenaar een bepaalde rol, en wat is die dan?KOBO PLUS Probeer Kobo Plus nu tot wel 60 dagen gratis! Ga snel naar bol.com/koboplus en pak die korting met de code KPPC2024.WIN WIN WIN Peter Buurmans nieuwe boek: Een kern van waarheid Win één van de drie gesigneerde exemplaren.Vertel ons over de leukste, bijzonderste of ergste buurman die je ooit hebt gehad. (Je maakt een extra grote kans als dit Peter Buurman zelf betreft!)Stuur in via e-mail: boekenfm@dasmag.nl of via DM op Instagram naar @boekenfmZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

UPPLÄSNING: Etienne Glaser ÖVERSÄTTNING: Anders Bodegård Lyssna på alla avsnitt i Sveriges Radio Play. DIKT: ”Ouppmärksamhet” av Wislawa SzymborskaDIKTSAMLING: Ett kolon (Ellerströms, 2008)MUSIK: Maurice Ravel: Pavane de la belle au bois dormant ur Ma mère l'OyeEXEKUTÖR: Wyneke Jordans och Leo van Doeselaar, piano

Conscience

Gedesillusioneerd over de rechtsere koers die de PvdA was gaan varen, zegde oud-politicus Jan Pronk jaren geleden zijn lidmaatschap op. Nu is hij terug, door de winst van de PVV. Hij wil bijdragen aan een progressieve beweging die de uitholling van onze democratie voorkomt. Het gedicht uitde podcast is van Wislawa Szymborska en heet 'Herfsttij van de eeuw'. Montage en audioredactie: Julius van IJperen Muziek: Tin Hat Trio - Osborne Avenue Tin Hat Trio - Pablo Looks Back Tin Hat Trio - March of The Smallest Feet Christina Pluhar · L'Arpeggiata - Oedipus, Z. 583: No. 2 Lees hier het transcript: https://decorrespondent.nl/15046/links-klaar-met-dat-geneuzel-vorm-een-groot-front-tegen-populisme-aldus-oud-minister-pronk Luister hier naar de driedelige podcastserie Pronk: https://decorrespondent.nl/collectie/pronk https://open.spotify.com/show/3FbJBEw3ndTBa28PXAa1OC Wil je vrijblijvend kennismaken met ons journalistieke platform? Schrijf je in voor de proefmail en ontvang gratis een selectie van onze beste verhalen in je inbox:
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Caro leitor/ouvinte, a estante desta semana chamou-lhe a atenção, confesse. A par de três grandes nomes da literatura aparece uma porca. É capaz de ser coisa para intrigar o mais fleumático. Para que conste, a porca chama-se Olívia e é a personagem que tornou famoso o ilustrador Ian Falconer em coloridos álbuns para os mais novos. Entretanto, regista-se a chegada do segundo volume dos Ensaios, de Montesquieu, o inventor do género - um acontecimento editorial. Este ano comemora-se o centenário de uma voz poética vinda de um país de poetas, a Polónia; efeméride que não seria necessária para tornar oportuna a leitura da breve uma nova antologia de poemas de Wislawa Szymborska, sob o título Um Inconcebível Acaso. Finalmente, como é tempo de presentes, que cada um elabore a sua lista de pedidos. O surrealista Fernando Arrabal fá-lo em Carta aos Reis Magos, sempre com um pé no absurdo, esse espelho da vida.See omnystudio.com/listener for privacy information.

Hoy con 'Mester de batería', artefacto literario a medio camino entre el ensayo y la carta de amor a ese instrumento escrito por Ce Santiago, con el balance literario de este 2023 de Inés Martín Rodrigo y con 'La Casa de la Arquitectura', un nuevo museo que se ha presentado hoy en Madrid. LIBROS QUE HAN APARECIDO EN ESTE PROGRAMA:'Mester de batería. La triada en el texto' de Ce Santiago'Sinfonía corporal' de Fernando Aramburu'Escribe si vendrás' de Wislawa Szymborska y Kornel Filipowicz'Una estela salvaje' de Kathryn Schulz'La mala costumbre' de Alana S. Portero'Cuentos completos' de James Salter'Relatos' de Deborah Eisenberg'Aurelia, Aurelia' de Kathryn Davis'Sigo sin saber de ti' de Peter OrnerEscuchar audio

In Episode 13, we accompany Jess on a romp through a Nobel prize-winning poet's birth chart. Wislawa Szymborska was described as surprisingly not narcissistic (for a poet) and pleasantly pessimistic by people who knew her. Adventure to the stars with us, as we dive deeper into our understanding of planets in astrology and listen to some of Jess' favorite lines from Szymborska's collection View with a Grain of Sand. The Poetry Lab Podcast is produced by Lori Walker and Danielle Mitchell. Our managing editor is Marilyn Isabel Ramirez. With writing and collaboration from Jessica June Cato and Kelsey Bryan-Zwick.  Theme song: "Simply Upbeat" by Christian Telford, Kenneth Edward Belcher, and Saki Furuya Visit thepoetrylab.com/podcast for more information.  

Amanda Holmes reads Wislawa Szymborska's “Consolation,” translated from the Polish by Clare Cavanagh. Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman. This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. Hosted on Acast. See acast.com/privacy for more information.

Join our hosts Rebecca, Frances, and Dorian as they discuss MAP: COLLECTED AND LAST POEMS by Wislawa Szymborska, and chat about their current reading. For our next episode, we will discuss MEMORIES OF A CATHOLIC GIRLHOOD by Mary McCarthy. We would love to have you read along with us, and listen in on our conversation coming to you in October or November, scheduling and consistency being our strong points. Want to support the show? Visit us at Bookshop.org or click on the links below and buy some books! Books mentioned: Map: Collected and Last Poems by Wislawa Szymborska, translated from the Polish by Clare Cavanagh and Stanislaw Baranczak The Memoir of an Anti-Hero by Kornel Filipowicz Love at First Sight by Wislawa Szymborska, illustrated by Beatrice Gasca Queirazza Chenneville by Paulette Jiles News of the World by Paulette Jiles Simon the Fiddler by Paulete Jiles Come Back in September by Darryl Pinckney The Maniac by Benjamin Labatut When We Cease to Understand the World by Benjamin Labatut The Forest: A Fable of America in the 1830s by Alexander Nemerov Words in Air: The Complete Correspondence Between Elizabeth Bishop and Robert Lowell The End of August by Yu Miri, translated by Morgan Giles Tokyo Ueno Station by Yu Miri Memories of a Catholic Girlhood by Mary McCarthy Just in case you don't have a copy of Map on hand, here are some links to the main poems discussed in this episode: “Love at First Sight” - https://poets.org/poem/love-first-sight “Allegro ma Non Troppo” - http://mrhoyesibwebsite.com/Poetry%20Texts/Szymborska/The%20Poems/Allegro%20Ma%20Non%20Troppo.htm “In Praise of Feeling Bad About Yourself” - https://www.best-poems.net/poem/praise-feeling-bad-about-yourself-by-wislawa-szymborska.html “Consolation” - https://www.poetryfoundation.org/poetrymagazine/poems/48271/consolation-56d2295fb70bb Szymborska's Nobel Lecture - https://www.nobelprize.org/prizes/literature/1996/szymborska/lecture/ Visit us online at onebrightbook.com. Browse our bookshelves at Bookshop.org. Comments? Write us at onebrightmail at gmail Find us on Twitter at @pod_bright Frances: @nonsuchbook Dorian: @ds228 Rebecca: @ofbooksandbikes Dorian's blog: https://eigermonchjungfrau.blog/ Rebecca's newsletter: https://readingindie.substack.com/ Our theme music was composed and performed by Owen Maitzen. You can find more of his music here: https://soundcloud.com/omaitzen.

Chance

In de eerste aflevering richt Van Dis zijn blik onder meer op de komende verkiezingen, het dekolonisatieproces in voormalig Nederlands-Indië, Ivo Niehe en hoe je de wereld groter kunt maken. Ook draagt hij gedichten voor die hem inspireren, zoals ‘De terrorist - kijkt' van zijn lievelingsdichter Wislawa Szymborska en ‘Lex barbarorum' van H. Marsman. Zijn motto in deze aflevering: ‘Praat eens verder, léés eens wat.'0:49 iedereen tutoyeert2:51 waar gaat deze nieuwe podcast over?3:19 maak in media en politiek de wereld niet te klein6:28 over het dekolonisatieproces van Indonesië11:31 gedicht ‘de terrorist kijkt'15:37 klimaatvluchtelingen zijn allang onder ons20:21 over adriaans nieuwe boek ‘naar zachtheid en een warm omhelzen'24:45 gedicht voor een zieke26:03 ivo niehe, adriaan & de ijsbreker‘De terrorist - kijkt' - Wislawa Szymborska. Vertaling Gerard Rasch. Uit: ‘Einde en begin. Verzamelde gedichten' - Meulenhoff Boekerij (2023)‘Lex barbarorum' – H. Marsman. Uit: ‘Verzamelde gedichten' – Astoria uitgeverij (2015)‘Op de ruïnes van het imperialisme' – Pankaj Mishra. Vertaling Jan Braks. Atlas Contact (2016)‘Luister' – Sascha Bronwasser. Ambo|Anthos (2023)Te bestellen via de webwinkel van Atlas Contact: www.boekenwereld.com/van-disVan Dis Ongefilterd wordt gemaakt door Adriaan van Dis, Simon Dikker Hupkes, Ellen van Dalsem, Bart Jeroen Kiers en Erik Brandsen. @atlascontactwww.atlascontact.nl© Atlas Contact & Adriaan van Dis Hosted on Acast. See acast.com/privacy for more information.

Carlos Chernov nació en Buenos Aires, en 1953. Es escritor, psiquiatra y psicoanalista. Su vínculo con la ficción comenzó a los 40 años y ha resultado ganador de diversos premios con sus obras. Es autor de los libros de cuentos Amores brutales, Amor propio y Amo y de las novelas Anatomía humana, ganadora del Premio Planeta en 1993, La conspiración china, La pasión de María, El amante imperfecto, El desalmado y El sistema de las estrellas. Recientemente Interzona publicó su última novela, Amor se fue, que cuenta la historia de amor entre Alberto y Ana, un amor intenso que sorprende a Alberto, un médico cirujano judío cincuentón y distante con la vida en general, con un vendaval de sentimientos desconocidos. Una tormenta de emociones que lo enfrenta a reflexiones nunca antes visitadas y, también, a todos los riesgos, incluso el de la posibilidad de perder lo que más se ama. Escrita con una lengua argentina clásica y elegante, que cruza el drama con dosis de humor inteligentes y eficaces, los 55 capítulos breves son narrados desde diferentes puntos de vista (narrador en tercera persona y las primeras personas de los personajes centrales). Es a través de esas voces que el lector irá sabiendo quiénes fueron y cómo eran los protagonistas hasta ahora y en quiénes se convirtieron a partir de su encuentro definitivo, vibrante y conmovedor. En la sección En voz alta, Andrea Garrote leyó el poema “Impresiones del teatro”, del libro “Poesía no completa” de la Nobel polaca Wislawa Szymborska. Andrea es dramaturga, actriz, directora y maestra de actores y dramaturgos. Su obra ha sido editada y representada en diferentes partes del mundo. Es fundadora, junto a Rafael Spregelburd, de El Patrón Vázquez, uno de los grupos más prolíficos y longevos de la escena argentina actual. La Ropa, Niños del Limbo, El combate de los pozos, La dama o el tigre en los días humillantes, Siempre tenemos retorno y Juana Ramírez son algunos de sus textos. Como actriz, ha participado en más de una veintena de obras teatrales en el circuito oficial, el comercial y el independiente. Su obra “Pundonor” lleva cinco exitosas temporadas y ahora Blatt & Ríos acaba de publicar el texto en formato libro y con el mismo nombre. En Te regalo un libro, la periodista Marcela Ojeda habló de “Al taco. Historia del rock argentino hecho por mujeres (1954-1999)”, de Carolina Santos, Gabriela Cei y Silvia Arcidiacono, publicado por Gourmet Musical. Marcela Ojeda es una de las más conocidas voces de la radio. Cronista de exteriores en radio Continental hace 20 años, conduce desde hace ocho temporadas el ciclo “Mujeres de acá” en esta radio, Radio Nacional. Desde 2015 forma parte del grupo de comunicadoras del #NiUnaMenos, y fue reconocida por el gobierno alemán por su participación en este movimiento. Por su trabajo Marcela fue premiada con el Martín Fierro y el Éter y fue nominada al Premio Lola Mora. En Bienvenidos Hinde comentó “Historia de la enfermedad actual”, de Anna Deforest (Fiordo), con traducción de Daniela Betancur, “Diario de limpieza”, de Matías Moscardi (Bosque energético) y “Afrodita y Eros, consideraciones sobre mito, culto e imagen”, de Hugo Francisco Bauzá (El hilo de Ariadna) En Libros que sí recomendó “Un caballero en Moscú”, de Amor Towles (Salamandra), traducción de Gemma Rovira Ortega, “El precio de la amistad”, de Kjell Askildsen (Nórdica) traducción de: Kirsti Baggethun y Asunción Lorenzo y “Borges en la biblioteca”, de Patricio Zunini (Galerna) prólogo de Pablo Gianera Y en los libros del estibo agradeció la recepción de “La soledad de las cosas” de Diego Tatián y “Locus lusi” de Carlos Martín Eguía ambos publicados por Paradiso ediciones.

En este capítulo exploramos a través de un poema de la gran poeta polaca Wislawa Szymborska la sensación desconcertante de no saber qué estás haciendo con tu vida. Lo especial en el estilo de este poema es que retrata una duda existencial con una simpleza y humor que te invita a sonreirle a las grandes incógnitas de la vida. Espero que les ayude de alguna manera y gracias como siempre por su valiosísimo tiempo & atención

Join our hosts Rebecca, Frances, and Dorian as they discuss MRS. S by K Patrick, and chat about their current reading. For our next episode, we will discuss MAP: COLLECTED AND LAST POEMS by Wislawa Szymborska, translated from the Polish by Clare Cavanagh and Stanislaw Baranczak. We would love to have you read along with us, and join us for our conversation coming to you in September. We have had to reschedule this chat a few times, but we really think that we can deliver this time. Want to support the show? Visit us at Bookshop.org or click on the links below and buy some books! Books mentioned: Mrs. S by K. Patrick Bear by Marian Engel A Month in the Country by J. L. Carr Blood Wedding and Other Plays by Federico García Lorca Loving by Henry Green Bartleby the Scrivener by Herman Melville The steamy novels of Alberto Moravia Kairos by Jenny Erpenbeck, translated from the German by Michael Hoffman Out of the Sugar Factory by Dorothee Elmiger, translated from the Swiss German by Megan Ewing April in Spain by John Banville Book of Mutter by Kate Zambreno Sleepless by Marie Darrieussecq, translated from the French by Penny Hueston Being Here is Everything by Marie Darrieussecq, translated from the French by Penny Hueston Children of Earth and Sky by Guy Gavriel Kay All the Seas of the World by Guy Gavriel Kay A Brightness Long Ago by Guy Gavriel Kay Bad Cree by Jessica Johns Map: Collected and Last Poems by Wislawa Szymborska, translated from the Polish by Clare Cavanagh and Stanislaw Baranczak Also mentioned in the podcast… Dorothee Elmiger and Kate Zambreno in conversation – “A Meditation on Being a Daughter.” https://vimeo.com/819544960 Visit us online at onebrightbook.com. Browse our bookshelves at Bookshop.org. Comments? Write us at onebrightmail at gmail Find us on Twitter at @pod_bright Frances: @nonsuchbook Dorian: @ds228 Rebecca: @ofbooksandbikes Dorian's blog: https://eigermonchjungfrau.blog/ Rebecca's newsletter: https://readingindie.substack.com/ Our theme music was composed and performed by Owen Maitzen. You can find more of his music here: https://soundcloud.com/omaitzen.

To lead into the next season of Enduring Interest, we're re-releasing our first two seasons, covering totalitarianism and ideology and liberal education.  We'll be back on September 8 with a new season covering free speech and censorship. In this episode I speak with Clare Cavanagh, Frances Hooper Professor of Arts and Humanities and Professor of Slavic Languages and Literatures at Northwestern University. She's the author of a forthcoming authorized biography of Czeslaw Milosz and a prize-winning translator of the poets Adam Zagajewski and Wislawa Szymborska. Her essays and translations have appeared in publications including The New York Times Book Review, the New York Review of Books, the Times Literary Supplement, and Partisan Review. Some of her recently taught courses include What is Lyric Poetry? ; Gender and Revolution in Soviet Russian Culture; Heart of Europe: Poland in the Twentieth Century; Poetry and the Cold War; and 19th Century Russian Poetry. Clare and I discuss three poems by Czeslaw Milosz: “You Who Wronged”; “Child of Europe”; and “Mittelbergheim.” These poems are from an early collection called Daylight, some which were written when Milosz was working as a cultural attaché for the post-war Polish government. Clare calls Daylight a “book of struggle” where Milosz is asking questions about his audience and his own perspective and role as a poet. He writes about the falsification of history and the corruptions of ideology. We draw some connections between the poems and the arguments elucidated in his famous book The Captive Mind. Clare also offers her thoughts on Milosz's conception of the role of poetry broadly speaking. We conclude our conversation with some recommendations for listeners on where one might start to engage with Milosz's vast body of work. Clare also shares some of her experiences in meeting Milosz in Krakow and her impressions of him.

Über die Dichterin Wislawa Szymborska Selten war man sich in Polen über den Rang einer Dichterin so einig wie im Falle der Krakauer Lyrikerin und Literatur-Nobelpreisträgerin von 1996, Wisława Szymborska. Die Eigenart ihres Stils ist, dass er von Gedicht zu Gedicht - je nach Leitidee, Thema, Gattungsart - variiert. Hinzu kommen die Präzision des Ausdrucks und die Knappheit der Form. Die Sendung zeichnet ein Porträt der eigenwilligen Dichterin, das sie - trotz ihrer legendären Medienscheu - mit zahlreichen Selbstauskünften ergänzt hat. 2012 ist Wisława Szymborska gestorben. Anlässlich ihres 100. Geburtstags am 2. Juli erinnern wir an diese einzigartige Künstlerin. Download unter ndr.de/radiokunst, in der NDR Feature Box und in der ARD Audiothek. Mit Peter Lieck, Andreas Szerda, Marianne Lochert, Marianne Mosa Regie: Heinz Nesselrath Technik: Elke Steinort Redaktion: Joachim Dicks Produktion: NDR/SWR 2003

Join our hosts Rebecca, Frances, and Dorian as they discuss AN I-NOVEL by Minae Mizumura, translated from the Japanese by Juliet Winters Carpenter, and chat about their current reading. For our next episode, we will discuss MAP: COLLECTED AND LAST POEMS by Wislawa Szymborska, translated from the Polish by Clare Cavanagh and Stanislaw Baranczak. We would love to have you read along with us, and join us for our conversation coming to you in July. Want to support the show? Visit us at Bookshop.org or click on the links below and buy some books! Books mentioned: An I-Novel by Minae Mizumura, translated from the Japanese by Juliet Winters Carpenter A Little Princess by Frances Hodgson Burnett A True Novel by Minae Mizumura, translated from the Japanese by Juliet Winters Carpenter The Fall of Language in the Age of English by Minae Mizumura, translated from the Japanese by Juliet Winters Carpenter Inheritance From Mother by Minae Mizumura The Makioka Sisters by Junichiro Tanizaki, translated from the Japanese by Edward G. Seidensticker Wuthering Heights by Emily Brontë The Light Room by Kate Zambreno Territory of Light by Yuko Tsushima, translated from the Japanese by Geraldine Harcourt To Write as If Already Dead by Kate Zambreno What a Library Means to a Woman: Edith Wharton and the Will to Collect Books by Sheila Liming Mrs. S by K Patrick The Thursday Murder Club by Richard Osman The Man Who Died Twice by Richard Osman Map: Collected and Last Poems by Wislawa Szymborska, translated from the Polish by Clare Cavanagh and Stanislaw Baranczak Visit us online at onebrightbook.com. Browse our bookshelves at Bookshop.org. Comments? Write us at onebrightmail at gmail Find us on Twitter at @pod_bright Frances: @nonsuchbook Dorian: @ds228 Rebecca: @ofbooksandbikes Dorian's blog: https://eigermonchjungfrau.blog/ Rebecca's newsletter: https://readingindie.substack.com/ Our theme music was composed and performed by Owen Maitzen. You can find more of his music here: https://soundcloud.com/omaitzen.

UPPLÄSNING: Astrid Assefa ÖVERSÄTTNING: Anders Bodegård DIKTSAMLING: Dikter 1945-2002 (FIB:s Lyrikklubb 2003). MUSIK: Georges Bizet: Mellanaktsmusik ur Carmen, akt 3EXEKUTÖR: Eszter Horgas, flöjt och Andrea Vigh, harpa

Översättning: Anders Bodegård Uppläsare: Amanda Ooms Önskad av: Mirja Bergquist DIKTSAMLING: Nog nu (Ellerströms, 2011)MUSIK: Andrés Segovia: Första satsen ur Fem anekdoterEXEKUTÖR: Pablo Sainz Villegas, gitarr

En el espacio dedicado a la ciencia, Manuel Toharia analiza cuál es la utilidad del cambio de hora, también dedica tiempo al Premio Princesa de Asturias de Ciencia e incluso aborda una cuestión muy discutida en los últimos tiempos: la presencia de mercurio en el pescado. No falta fiel a su cita como cada semana la poesía. Hoy de la mano de Wislawa Szymborska y su “Autotomía”.  Escuchar audio

‘Las Premios Nobel de Literatura' (2da. parte). Continuamos con las historias de las mujeres que durante los 121 años que empezó a otorgarse esta máxima categoría literaria, marcaron un hito en el universo de las letras. En esta oportunidad, Patricia del Río nos acerca a las autoras que destacaron por su fuerza y sensibilidad en la narrativa y poesía, como la chilena Gabriela Mistral; la estadounidense Luise Glück; la polaca Wislawa Szymborska; y la italiana Grazia Deleda. Por su parte, la escritora y antropóloga cusqueña, Karina Pacheco, nos habla del estilo narrativo de la bielorrusa Svetlana Aleksiévich y la polaca Olga Tokarczuk. El periodista Diego Pajares Herrada cita esta vez tres películas de libros de las Nobel adaptados al cine: ‘Zurek', de Olga Tokarczuk, dirigida por el polaco Ryszard Brylski; ‘Voces de Chernobyl', documental de Svetlana Alexievich y ‘Chernobyl' (miniserie); así como ‘Julieta', basada en tres relatos de Alice Munro: ‘Destino', ‘Pronto' y ‘Silencio'. Llevada al cine por Pedro Almodóvar. Los libros de la semana son recomendados por el crítico literario y gerente de la librería Escena libre: ‘El pasar de la distancia' (poesía) de Jorge Urbano Malásquez (Editorial Caja negra); ‘Una cocina Surge, crónica rimada de Lima' (crónicas), por Leonardo Aguirre (Editorial Peisa); ‘El verdadero rostro de Túpac Amaru. Perú 1969-1975' (ensayo), de Eduardo Lituma Agüero (Facultad de Letras de la UNMSM y La Catedral). Las canciones y sus intérpretes también tienen su historia aparte: ‘Son of a preacher man', por Aretha Franklin; ‘Gracias a la vida' (instrumental), de Violeta Parra; ‘Much loved', por Rachel Portman; ‘Carmen', por María Callas; ‘Hound dog', por Big Mama Thornton; ‘American pie', por Madonna. Del Youtube hemos reproducido los poemas ‘La casa', en la voz de Gabriela Mistral (tomado de la página ‘No somos musas; ‘El deseo', de Louise Glück (tomado de ‘La voz que lee'); y ‘Fin y principio', de Wislawa Szymborska, recitado por Tomás Galindo (tomado de ‘Poesía recitada). Todo esto, y mucho más, hoy domingo a las 7:00 de la noche en Letras en el tiempo, por la señal de RPP, la voz de todo el Perú. Escúchanos también por rpp.pe y el podcast del programa. Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Dallan Vásquez ||| Episodio 39 – Tercera temporada.

‘Las Premios Nobel de Literatura' (2da. parte). Continuamos con las historias de las mujeres que durante los 121 años que empezó a otorgarse esta máxima categoría literaria, marcaron un hito en el universo de las letras. En esta oportunidad, Patricia del Río nos acerca a las autoras que destacaron por su fuerza y sensibilidad en la narrativa y poesía, como la chilena Gabriela Mistral; la estadounidense Luise Glück; la polaca Wislawa Szymborska; y la italiana Grazia Deleda. Por su parte, la escritora y antropóloga cusqueña, Karina Pacheco, nos habla del estilo narrativo de la bielorrusa Svetlana Aleksiévich y la polaca Olga Tokarczuk. El periodista Diego Pajares Herrada cita esta vez tres películas de libros de las Nobel adaptados al cine: ‘Zurek', de Olga Tokarczuk, dirigida por el polaco Ryszard Brylski; ‘Voces de Chernobyl', documental de Svetlana Alexievich y ‘Chernobyl' (miniserie); así como ‘Julieta', basada en tres relatos de Alice Munro: ‘Destino', ‘Pronto' y ‘Silencio'. Llevada al cine por Pedro Almodóvar. Los libros de la semana son recomendados por el crítico literario y gerente de la librería Escena libre: ‘El pasar de la distancia' (poesía) de Jorge Urbano Malásquez (Editorial Caja negra); ‘Una cocina Surge, crónica rimada de Lima' (crónicas), por Leonardo Aguirre (Editorial Peisa); ‘El verdadero rostro de Túpac Amaru. Perú 1969-1975' (ensayo), de Eduardo Lituma Agüero (Facultad de Letras de la UNMSM y La Catedral). Las canciones y sus intérpretes también tienen su historia aparte: ‘Son of a preacher man', por Aretha Franklin; ‘Gracias a la vida' (instrumental), de Violeta Parra; ‘Much loved', por Rachel Portman; ‘Carmen', por María Callas; ‘Hound dog', por Big Mama Thornton; ‘American pie', por Madonna. Del Youtube hemos reproducido los poemas ‘La casa', en la voz de Gabriela Mistral (tomado de la página ‘No somos musas; ‘El deseo', de Louise Glück (tomado de ‘La voz que lee'); y ‘Fin y principio', de Wislawa Szymborska, recitado por Tomás Galindo (tomado de ‘Poesía recitada). Todo esto, y mucho más, hoy domingo a las 7:00 de la noche en Letras en el tiempo, por la señal de RPP, la voz de todo el Perú. Escúchanos también por rpp.pe y el podcast del programa. Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Dallan Vásquez ||| Episodio 39 – Tercera temporada.

Here is the text that I am readingwww.nobelprize.org/prizes/literatu…borska/lecture/To see all video episodes of Natalia Reads with transcript and to practice with me, join the community of practicecommunity.nataliatokar.me/c/read-out-loud/

Amanda Holmes reads Wislawa Szymborska's poem “Under a Certain Little Star.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman.This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. Hosted on Acast. See acast.com/privacy for more information.

Översättning: Anders Bodegård Uppläsare: Harald Leander DIKTSAMLING: Utopia, FIB:Lyrikklubb 1989MUSIK: Igor Stravinskij: Waltz a Eric SatieEXEKUTÖR: Paul Lewis och Steven Osborne, piano

一切的事情都不會發生兩次。 近期俞涵參與了曾經小時候的舞蹈老師的喪禮，在喪禮上替老師上香，在經歷小時候練舞後，後來因為課業、工作等，就再也沒有去練舞，也很久沒有見到老師了。上次見面已經是6年前，而再次見面已是告別式，一切都恍如隔世了。 「你不會對於你出生的過程有印象，因為你就出生了，你也無法排練你的死亡，」 沒有事情會重來，在讀這首詩的時候，俞涵則更覺得是將最近的心情反芻一遍，原本以為自己會很難過的，可是當俞涵知道老師是睡夢中安詳的走時，便放下了很多。而在告別式上，所有被曾被老師教過的學生，都很感謝老師，希望老師能去下一個地方可以更好。 即使我們在這所世界學校裡，我們是最遲鈍的，但這堂課只授課一次，所有人都奔向了未知。 在節目中，俞涵更分享當初詢問爸爸死亡是什麼的回答，就讓我們在節目裡面相遇吧！ 辛波絲卡‧最後 THE FINAL 作者： 辛波絲卡 原文作者： Wislawa Szymborska 譯者： 陳黎, 張芬齡 出版社：寶瓶文化 《山羌閱覽室》期待每週一次為你而讀，也聊聊我為什麼迷上這書， 請持續每週三收聽，我們約定用一年時間認識52本書吧！ 願每本書曾給我的力量，透過節目傳遞給你， 亦或許在其中你能找到值得一讀再讀的深愛篇章。 FB https://www.facebook.com/babyfishtube IG https://www.instagram.com/lienbaby 節目監製｜凱特文化 K.A.T.E Publishing/Intergrate Marketing 合作洽談｜podcast相關合作請來信 katedog@ms35.hinet.net 聆聽回饋｜cindyharriet@hotmail.com 視覺設計｜萬亞雰 製作統籌｜Marks 節目剪輯｜房子共同工作室 音樂來源 Falling Slowly by Peter McIsaac Short forest ambience, birds, distant river, Cat Tien National Park, Vietnam （sound from https://www.zapsplat.com）

Ken reads three of Nobel Prize winner Wislawa Szymborska's poems - her timely poetic impulse declares “Life goes on” and bears witness to the “incorrigible readiness to start afresh tomorrow”

Guest time! Today, Bob and Chris welcome Hannah Cohen to the show! The three talk about everything from manuscript length to wrestling with abstractions to Tommy Wiseau. Hannah reads "Under One Small Star" by Wislawa Szymborska, as well as her poem "Some Covenant." Then the three plot to become Poet Laureate of Waffle House. Hannah Cohen bio and publications: https://hannahcohen.carrd.co/

Översättning: Anders Bodegård Uppläsning: Anna Azcárate DIKTSAMLING: Sena dikter (Ellerströms, 2019)MUSIK Chick Corea: Childrens songs nr 1EXEKUTÖR Johan Eriksson, marimba och vibrafon, Johan Fröst, piano

Em abril, o Clube Rádio Companhia leu “Vozes de Tchernóbil”, de Svetlana Aleksiévitch. * Participaram da conversa: Enrico Sera, do departamento de marketing; Tamiris Busato, assessora de imprensa da Companhia das Letras; e Pedro Telles da Silveira, professor de História Moderna e Metodologias da Pesquisa Histórica na Universidade Federal do Rio Grande do Sul. * No livro, escrito a partir de entrevista com mais de 500 fontes, numa apuração que durou mais de 10 anos, Aleksiévitch constrói um relato e testemunho da tragédia de Tchernóbil. Em 26 de abril de 1986, explosões seguidas de incêndio na usina nuclear de Tchernóbil, na Ucrânia - então parte da finada União Soviética -, provocou uma catástrofe sem precedentes em toda a era nuclear: uma quantidade imensa de partículas radioativas foi lançada na atmosfera da URSS e em boa parte da Europa. É por meio das múltiplas vozes - de viúvas, trabalhadores afetados, cientistas ainda debilitados pela experiência, soldados, gente do povo - que a autora reconstitui os detalhes e o destino dos indivíduos afetados pela catástrofe. * O episódio contém spoilers e, por vezes, apresenta interferências e ruídos nos microfones por conta da gravação on-line! * INDICAÇÕES Poema “Ocaso do século" (Wislawa Szymborska). Presente em “Poemas”: https://www.companhiadasletras.com.br/detalhe.php?codigo=13056 “Gostaríamos de informá-lo de que amanhã seremos mortos com nossas famílias” (Philip Gourevitch): https://www.companhiadasletras.com.br/detalhe.php?codigo=80047 “Hiroshima” (John Hersey): https://www.companhiadasletras.com.br/detalhe.php?codigo=11512 “Ideias para adiar o fim do mundo” (Ailton Krenak): https://www.companhiadasletras.com.br/detalhe.php?codigo=14916 “Into Eternity”(Michael Madsen): https://www.youtube.com/watch?v=ayLxB9fV2y4 “After Fukushima: The Equivalence of Catastrophes” (Jean-Luc Nancy): https://www.amazon.com.br/dp/B00QH2U2X0/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1 "Piquenique na estrada” (Arkádi e Boris Strugátski): https://editoraaleph.com.br/produto/piquenique-na-estrada/ "Ikarie XB-1" (Jindrich Polák): https://www.youtube.com/watch?v=5kuCLKsEt7o “Por que acreditamos em Primo Levi?” (Mario Barenghi): https://niej.files.wordpress.com/2016/07/04-primolevi.pdf “A última voz humana viva: uma leitua de Svetlana Aleksiévitch em um tempo de catástrofes” (Pedro Telles da Silveira): https://revistas.ufpr.br/vernaculo/article/view/49683

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Amanda Holmes reads Wislawa Szymborska's poem “Nothing Twice.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman. This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. See acast.com/privacy for privacy and opt-out information.

Taste the Reading Rainbow! This week Sarah and Amelia discuss the way that our favorite books can be so deeply entwined with our memory, and in Sarah's case, her digestive tract. Do you have a book that brings you back to a specific point in your life? A novel you've read over time and time again? Or do you cast your personal and reading history into a dark vault which will open only on the hour of your death? Also, Sarah ranks various books based on the mouthfeel of their pages. Books discussed: Eragon by Christopher PaoliniEx Libris by Anne FadimanGoosebumps by R.L. StineAnimorphs by K. A. ApplegateThe poetry of Wislawa Szymborska