Poetry For All

What makes haiku "the perfect poetic form"? This episode reads three wonderful haiku by Kobayashi Issa and explores what makes them so moving and fun. We use the beautiful translations of award-winning poet Robert Haas in The Essential Haiku: Versions of Basho, Buson, and Issa. To see these haiku and others online, visit The Poetry Foundation here. To see (and purchase) the book, see HarperCollins here. Thank you to HarperCollins for permission to read these translations on our podcast. For more on Kobayashi Issa, visit the Poetry Foundation here.

With her quality of attention and focus on vivid, specific images, Ada Limón brings us to a moment of surprising insight in "The Raincoat." "The Raincoat" appears in Ada Limón's book The Carrying by Milkweed Editions. Thank you to Milkweed Editions for permission to read the poem on this podcast. You can find the "The Raincoat" on the Poetry Foundation website. To learn more about Ada Limón, the 24th Poet Laureate of the United States, visit the Library of Congress website. Ada Limón's author website includes information about her six books of poetry as well as interviews, press releases, and her calendar of events. Photo credit: Shawn Miller, Library of Congress

In this episode, we explore the poetry of joy in a world of shade and death, looking to sounds and repetitions while examining how "From Blossoms" speaks back to the poem that immediately precedes it in Lee's great book Rose. For more on Li-Young Lee, see The Poetry Foundation here. Thanks to BOA Editions for granting us permission to read Li-Young Lee's work on our podcast. "From Blossoms" and "The Weight of Sweetness" originally appeared in Rose (BOA Editions, 1986).

In this episode, we read the elegy of Chidiock Tichborne, written the night before his execution, and contemplate the power of repetitions, the balanced precision of a man facing his end, and the drumbeat of monosyllables that takes his imagination beyond the moment of his death. Tichborne's Elegy My feast of joy is but a dish of pain, My crop of corn is but a field of tares, And all my good is but vain hope of gain: The day is past, and yet I saw no sun, And now I live, and now my life is done. The spring is past, and yet it hath not sprung, My fruit is fallen, and yet my leaves are green, The spring is past, and yet it hath not sprung, I saw the world, and yet I was not seen: My thread is cut, and yet it is not spun, And now I live, and now my life is done. I sought my death, and found it in my womb, I looked for life, and saw it was a shade, I trod the earth, and knew it was my tomb, And now I die, and now I was but made; The glass is full, and now the glass is run, And now I live, and now my life is done. For more on Tichborne, see The Poetry Foundation: https://www.poetryfoundation.org/poets/chidiock-tichborne See also all the related content at The Poetry Foundation

In this episode, we are delighted to have Richie Hofmann as our guest. Richie Hofmann is the author of two collections: Second Empire and A Hundred Lovers. His poetry has appeared in The New Yorker, The Atlantic, The Yale Review, and many other literary magazines, and he is the recipient of Ruth Lilly and Wallace Stegner fellowships. To learn more about Richie, visit his website. To learn more about Richie Hofmann's poetry and process, read Jesse Nathan's interview with Richie Hoffman in McSweeney's. Richie Hofmann photo credit: Marcus Jackson

She called herself Vincent, she smoked cigarettes, and she wore shimmery golden evening gowns when she read her poetry to sold-out crowds. Edna St. Vincent Millay was the emblem of the "New Woman" and one of the most important American poets of the twentieth century...but in years after her death, her literary reputation suffered, and only recently have critics and historians revisited and properly celebrated her work. In this episode, we focus on a sonnet that showcases the ways in which Millay approached desire and eros in her poetry. To learn more about Edna St. Vincent Millay and her life and times, take a look Burning Candles: The Life of Edna St. Vincent Millay, an informative documentary available on YouTube: https://www.youtube.com/watch?v=i9ItdEiBR-o&t=2901s Here is the poem: She had forgotten how the August night Was level as a lake beneath the moon, In which she swam a little, losing sight Of shore; and how the boy, who was at noon Simple enough, not different from the rest, Wore now a pleasant mystery as he went, Which seemed to her an honest enough test Whether she loved him, and she was content. So loud, so loud the million crickets’ choir. . . So sweet the night, so long-drawn-out and late. . . And if the man were not her spirit’s mate, Why was her body sluggish with desire? Stark on the open field the moonlight fell, But the oak tree’s shadow was deep and black and secret as a well. We so admire the podcast Poem Talk. In this episode, Al Filreis, Elisa New, Jane Malcolm, and Sophia DuRose offer a close reading of two more poems by Edna St. Vincent Millay: https://www.poetryfoundation.org/podcasts/155947/biologically-speaking-a-discussion-of-love-is-not-all-and-i-shall-forget-you-presently-by-edna-st-vincent-millay photo by Carl Van Vechten

Queen Elizabeth I (1533-1603) was one of the longest-reigning monarchs in all of British history, but she was also a gifted poet. In this episode, we discuss "On Monsieur's Departure," a poem that is inspired by Petrarchan conventions and gives insight into the public and private selves of a powerful queen. (For the text of the poem, scroll to the bottom.) In this episode, we attempt to describe the magnificence of some of Queen Elizabeth's portraiture. To learn more, visit the National Portrait Gallery of London: To learn more about Petrarch and his poems that were such an enormous influence on English poets of the sixteenth century, please read this book, which provides Petrarch's original poems in Italian and Robert Durling's stunning translations into English. To learn more about what it meant to "fashion a self" in the Renaissance, see Stephen Greenblatt's foundational work on this idea . On Monsieur’s Departure BY QUEEN ELIZABETH I I grieve and dare not show my discontent, I love and yet am forced to seem to hate, I do, yet dare not say I ever meant, I seem stark mute but inwardly do prate. I am and not, I freeze and yet am burned, Since from myself another self I turned. My care is like my shadow in the sun, Follows me flying, flies when I pursue it, Stands and lies by me, doth what I have done. His too familiar care doth make me rue it. No means I find to rid him from my breast, Till by the end of things it be supprest. Some gentler passion slide into my mind, For I am soft and made of melting snow; Or be more cruel, love, and so be kind. Let me or float or sink, be high or low. Or let me live with some more sweet content, Or die and so forget what love ere meant.

In this episode, we discuss Kay Ryan's "Crib," a brief poem that begins with an interest in the deep archaeology of language and shifts to a powerful meditation on theft, innocence, and guilt. "Crib" appears in The Best of It © 2010 by Kay Ryan. Used by permissions of Grove/Atlantic, Inc. For more on Kay Ryan and her work, you can visit the Poetry Foundation website. Our favorite interview with Kay Ryan appears in the Paris Review.

This week, Joanne and Abram take a break to write a grant for the podcast. We very much hope you enjoy Poetry For All. And if you do, please leave us a review, share it with a friend, and let us know! Thank you all for listening.

In this episode, we talk with David Baker about "To Autumn" by Carl Phillips, exploring the way Phillips masterfully achieves a sense of intimacy and restlessness in a lyric ode that tosses between two parts while incorporating the sonnet tradition. For more on Carl Phillips, please visit the Poetry Foundation. For more on David Baker, please visit the Poetry Foundation. "To Autumn" has been read from Carl Phillips' latest book of poetry, Then the War: And Selected Poems, 2007-2020. The latest book by Carl Phillips is a collection of essays called My Trade Is Mystery. Purchase at Yale University Press or Amazon or wherever you get your books.